Animation has long been regarded as an art of movement and a moving art. Showing the limits of the movement framework, this article examines suspended animation as an aesthetic category of representation and analyzes the political power of its tendency towards stasis and immobility. Suspended animation is defined as the excessive lack of physical movements and emotions, even to the point of, but never fully reaching inanimation and death. (Over)animation is often used to portray socially marginalized people with the animation principles of movement and plasmaticness. Whereas suspended animation is frequently deployed to depict the less and un-animatable figures, what I call the sublime figures of (in)animation, whose political agency and power increase with their decreased physical movements and emotions. Lacking a clear boundary between them, (over)animation and suspended animation often flow into each other to portray the fluid power relations that exist when a marginalized subject is empowered and a sublime figure is depowered. With (de)animated Tripitaka, Jade Emperor, Mao, and Stalin as case studies, this article argues that political agency, power, and aura are generated from the inclination towards immobility and image building, or what I call the “portrait take,” not from the animation principles of movement and plasmaticness. Given its dormant but never dead energy, suspended animation holds the unique potential to become an animated and animating suspension.