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The second golden age of animation is well under way, with Aardman, Miyazaki, Disney Pixar and DreamWorks rolling out rather good stories on a fairly regular basis.

But which characters of the stop-motion, CG or hand-drawn world really make the grade? Which existing characters made the leap from short form to full-length feature with their dignity intact?

How do the newcomers really compare to old hands of earlier eras? Read on to find out The most famous cartoon of all time, all the way down here? Why yes, because Mickey Mouse has never been a big character in feature-length animation, and his best performance was in a tiny segment of classical music oddity Fantasia.

Here, he's the over-enthusiastic but under-disciplined assistant to a sorcerer, who tries to take a short-cut when his master is out of town and ends up with hundreds of magical mops flooding his home - and he's wonderful at it. The moral of the story is that it's best to take pride in your work and do it properly, and also that you should just never clean house because it'll only lead to trouble. The hangdog hangmouse? The raised eyebrow and disapproving stare with which the sorcerer greets the havoc his apprentice has caused was referred to as the "Dirty Disney stare" by the animators on Fantasia and modelled on Walt himself.

Who the hell casts Woody Allen in a kids' film, the debut film from the new DreamWorks at that? Bloody geniuses, that's who. While the film's been overshadowed by Pixar in the years since, Z himself is a distillation of every character Woody Allen ever played, a handy introduction to the director for kids. He's also really, really funny - the middle child of five million, barely able to lift ten times his own bodyweight.

His performance makes this more than yer average, "boy-meets-girl, boy-likes-girl, boy-changes-the-underlying-social-order story".

The fact that, when he's praised for laughing in the face of death, Z explains that, "Actually, I generally just make belittling comments and snicker behind death's back. How sweet and innocent is Fiver, the visionary rabbit hero of Watership Down?

Well, he's voiced by Richard Briers, perhaps the nicest man in the history of Planet Earth. And that's pretty much all you need to know about a character who somehow manages to retain its innocence through the heartbreaking slog of Watership Down, through the savage dog attacks, environmental destruction and perilous journey, and somehow through Art Garfunkel's blinking Bright Eyes.

Hazel John Hurt may be the nominal hero, but it's Fiver's visions of Watership Down that kickstart the story, and he remains the cutest and most fragile of the rabbits, even blaming himself for all the trouble the rabbits endure. Fiver, son, it's not your fault. Imbuing Fiver with an indomitable spirit and an unshakeable belief in his brother, Hazel, that carries him through.

Also, the ability to make our eyes all wet just thinking about him, and the movie. Damn those infernal rabbits! Tricky one, this. Based largely on his movie career, you can't include Daffy Duck - arguably the greatest of all the Looney Tunes, with his scheming and his skiving and his suffering suckatash speech impediment - on this list. But you can't not include Daffy Duck on this list, and you shouldn't hold it against the character that Warner Bros.

And if anyone disagrees, we have an Acme Reader Pulveriser out back, just waiting to be fired up. Just to show how Warners have dropped the ball, Daffy's greatest full-length feature film moment comes in a Disney film. Notably the magnificent dualling pianos scene between him and Donald Duck in Who Framed Roger Rabbit, which ends with the two ducks engaging in a spot of M.

Mel Blanc, the classic voice of Daffy, recorded a novelty single in the 50s called Daffy Duck's Rhapsody. We have to hear this song. Bet Kim Newman has it. And it also has, in the megalomaniacal Toad, Ian McKellen's most deliciously funny big-screen performance.

A pompous, pumped-up buffoon who walks around making wild, grandiose speeches about ruling the sewers while remaining tragically unable to suppress his craving for flies , Toad is a spot-on parody of Bond villains, with more than a hint of the craven idiocy of British politicians thrown in for good measure. Casting McKellen, who tackles Toad's stiff-upper-plumminess with relish and elevates the character into Well, someone worthy of placing 46th on this list. They didn't make him a knight just for the fun of it, you know.

Generally speaking when countries are embodied in the form of people, they're big strong muscly men, or women who make up for in weaponry what they lack in coverage around the bosom region.

Aisling represents the spirit of Ireland in this medieval adventure, but instead of being powerful or a bit slutty she's a tiny sprite, an impish younger sister who irritates Brendan as much as she helps him. Oh sure, she's also got magical abilities, but she's magical more in the way that Luna Lovegood is, rather than in the way that Gandalf is. Some might say that that fits Ireland rather well though, so maybe it's for the best. The thing about Thumper is that he's so cute he almost helps you to forget that Bambi's mum has, um, [sob] died.

The scene where the rabbit and the young faun venture out on the ice during their first winter, slipping and sliding around, remains one of the happiest things you'll ever see, guaranteed to raise a smile even if you've just eaten venison before watching the movie and are feeling horrendously guilty.

A sage advisor to Bambi himself, more or less, and a more streetwise forest-wise? Why, it's his trademark habit of drumming his feet against the ground, much imitated but never bettered. Thumper doesn't appear in the original novel, which is darker and more concerned with the natural world than the cuddly baby animals. The Nazis, book lovers that they were, banned the book as an allegory for the treatment of the Jews in Europe. OK, so this guy makes it in not so much on the basis of being layered and complex as because of the fact that he's totally, totally adorable.

He's tiny even by mouse standards , he wears an oversized hat and he's searching for his family on the mean streets of old New York. He also sings a cutesy little song about his sister being Somewhere Out There while he's lost, accidentally gets drawn into a crime ring and manages to bring about a mini-revolution and make the streets of New York safe for the humble mice.

During the Cossack raid at the beginning of the film, Fievel loses his hat and reaches back for it as the terrifying cats approach, in a direct nod to exec producer Steven Spielberg's Indiana Jones.

Strictly speaking, Fievel should be spelled Feivel when coming from the Yiddish. He's named after Steven Spielberg's grandfather. Here's a perfect of marriage of director, author and heroine. Hayao Miyazaki always creates complex, believable heroines. Diana Wynne Jones always writes twisty-turny, slightly trippy plots.

And Sophie herself offers loads of meat to play with, a young woman who mixes a no-nonsense approach to her eccentric wizard employer, Howl, with a crippling sense of her own inadequacy which helps a witch turn Sophie into an old lady, as you do. The resulting relationship is an odd one, with Howl indulging in moments of wild vanity and Sophie spending most of her time wearing support stockings and sounding like his granny.

Still, there is a love story there, and the fact that you buy it at all is down to the fact that Sophie's one of the great heroines. The fact that the film's big action face-off consists of two old ladies trying to climb a long flight of stairs. OK, so there are a few magical battles and air chases too, but this is the one that lingers. Diana Wynne Jones wrote a sequel called Castle in the Air.

This is not to be confused with Miyazaki's unrelated film Laputa: Castle in the Sky. Brad Bird's Pixar efforts are rather more complex of moral than your average cartoon, willing to admit that not everyone is going to end up a princess or a superhero and that some people are just more talented than others.

Remy, here, is a culinary genius, but it's not always easy for him to get ahead. After all, rats and kitchens do not match brilliantly from a hygiene point of view. Still, his obsession with his chosen profession and determination to get ahead make him compelling - even though he's not always entirely sympathetic. Seriously: would you let a rodent puppeteer sit on your head and force you to cook?

Remy's magical, camera-spinning cooking scenes, making the creation of a soup and a ratatouille into a cross between dancing and singing. Patton Oswalt landed the job of voicing Remy after Bird saw a video of his stand-up routine where he waxed lyrical about food. The cutest little fanboy you'll ever see rolling around inside a Perspex ball, Rhino's a TV obsessed hamster who latches on to the film's doggy hero with unshakeable enthusiasm.

He steals all the film's best lines and is, pretty much without exception, responsible for all its funniest moments. Voiced by one of Disney's animators rather than a big star, he's cute, cuddly and a total nerd, starry eyed and believing in Bolt's superpowers with a ferocity remarkable for one his size. The line, "I'll go get my ball! The crew modelled Rhino on a real hamster called Doink, who they filmed rolling around in a ball on a clear surface to get his movements right.

Perhaps the strangest thing about returning to this Oscar-nominated classic after all these years is learning that Jerry Orbach provided the voice of Lumiere, the irrepressibly Gallic, lover man, er, candlestick who plays such a big part in the story. The flamboyant Lumiere, forever sneaking off into corners for some private time with a duster, is the most amusing of the new characters introduced for the film, and it turns out that sensible Detective Briscoe has a romantic side after all.

The song Be Our Guest, which sees Lumiere introduce perhaps the greatest dining experience in animation history. One question though: would you really be comfortable putting living cutlery in your mouth? It was legendary lyricist Howard Ashman Little Shop of Horrors, The Little Mermaid who came up with the idea of everyone in the castle turning into objects.

Sadly, he died during production. Call him what you like - Lucifer, Shaitan, the Devil - but he's always scary and badass and in control.

Unless, of course, you're Matt Stone and Trey Parker, in which case Satan may be physically well developed but he's rather more shy and retiring than we're used to - to the extent that his gay lover, Saddam Hussein, physically and emotionally abuses the poor fella. His attempt to regain his own sense of dignity and independence is the closest thing this foul-mouthed classic has to a story arc, and if you end up cheering for the underworld dog, well, all to the good.

Turns out that Satan has a sense of gratitude, offering Kenny one wish in return for his help in getting rid of Saddam Hussein. Well isn't that nice?

DreamWorks, between Madagascar and Shrek, developed a habit of creating supporting characters who steal the leads thunder. While you'd be hard pressed to remember the leads in this zoo adventure, the monkeys and penguins run away with the show - particularly the leader of the Dirty Dozen-style penguins, hijacking tankers like he was born in the Navy SEALs.

Skipper's equal parts unflappable and paranoid, leading his troops with unquestioned authority. They're multi-skilled in combat, tunnel digging, lock-picking - you name it. Not bad for a species without opposable thumbs. OK, so their natural limits sometimes prevent Skipper's plans from working out perfectly, but they never stop trying. We knew penguins weren't trustworthy! Madagascar director Eric Darnell had been working on a film about a Beatles-style quartet of penguins called Rockumentary.

When Madagascar came together he moved them over and turned them into commandos. Other characters in this witty B-movie pastiche are wittier, chattier or have better hair no, not you B.

But Insectosaurus is the one who really charms us, despite expressing himself chiefly in unintelligible roars provided by director Conrad Vernon and a fascination for bright, shiny lights. After all, he's just a little grub who's grown up - waaaay up - before his time, and while he will defend his friends and planet to the hilt, he seems a relatively peaceable sort at heart.

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The second golden age of animation is well under way, with Aardman, Miyazaki, Disney Pixar and DreamWorks rolling out rather good stories on a fairly regular basis. But which characters of the stop-motion, CG or hand-drawn world really make the grade?

In that case, the best animated movie ever is Toy Story 2, released in Inside Out—, hands down. No surprise that Pixar has somewhat of a monopoly on great animated works. Through the personification of these various emotions, Pixar has created an effective and intuitive way of communicating concepts that we experience every day.

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The series was produced by Hanna-Barbera Productions in its first four seasons, and by Cartoon Network Studios in its final two seasons. It centers on Blossom, Bubbles, and Buttercup, three kindergarten -aged girls with superpowers. The girls all live in the fictional city of Townsville with their father and creator, a scientist named Professor Utonium, and are frequently called upon by the city's mayor to help fight nearby criminals and other enemies using their powers. McCracken originally developed the show in as a cartoon short entitled Whoopass Stew! Following a name change, Cartoon Network featured the first Powerpuff Girls pilots in its animation showcase program What a Cartoon!

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