Canada had their chance
They've shown all they can produce now is forgettable kids cartoons
They only two things I've enjoyed from them is Reboot and Total Drama
>"MUH CALARTS!"
calarts is a symptom of the larger problem. the execs are the only people to blame, and western animation will never recover unless all of us say "frick it" and return to indie. this is the ultimate trvthnuke but Cinemaphile is more keen on shitting on dumb ass industry artists, than the big wigs and ceos who fester this sort of environment in the first place
Execs are to blame because they are still stuck in the 1960s-70s mindset of cartoons is just dumb kiddy shit that doesn't matter. Not like REAL entertainment like reality shows or live action adaptations of cartoons!
So they are not willing to keep a budget for something they believe is a distant second to any other form of entertainment
>This
Even when the calarts projects usually get the blame for noodle arms and bean mouth design, when you see concept art, they look way better, it's usually the execs and studio forcing them to be extremely cheap, i'm not saying there a lot of crappy shows made by this people, but someone allowed those shows to be that way
I agree but the state of indie animation is unfortunate >Gay demon show >Skibidi Toilet >Actually good shit that takes like 8 million years per 6 minute episode
Youtube fricked indie animators raw with the algorithm and the scene hasn't recovered.
Animation takes a shitload of employees to make a single episode of anything. And no studio is willing to pay three dozen people near six figures to do it since everyone is based in Burbank.
it's the gay demon fujo cartoon or the two-faced gay peruvian cartoon girl that has vaporwave powers. choose your poison. honestly im just gonna watch old shit
> Michael Ouweleen (born 1967) is an American television executive and screenwriter. He is the current president of The Cartoon Network, Inc. (CNI), the operating company of Cartoon Network (which includes the Cartoonito and ACME Night blocks), Adult Swim (which includes the Toonami block), and Boomerang. > Previously, he was best known as a creative, co-creating the animated television series Harvey Birdman, Attorney at Law and the show's spin-off, Birdgirl, and is the executive producer of the television film Re-Animated. He was a long-time creative director at Cartoon Network since 1996, and ran content development and oversaw programming for the network in the mid-2000s.
There is no platform to publish indie content and get a reliable return. It's not coming.
The problem is monopoly, anon. Anti-trust laws have been toothless since the 70's. They let a single company, or at most two or three, control entire market sectors. There's no competition, there's no options.
They do not care, they are the board of directors.
the problem is the indie people aren't as good either and there's not really a great way for indie creators to earn money for animation these days. there's not a steam for tv/movies ironically steam used to be that, but decided to drop that.
That's it right there. Games have done an amazing job on social media and news outlets for over a decade talking about the work and sacrifice that goes into games. They have nurtured a relationship with their consumers that their hard work deserves money. People will often buy DLC to "support the company."
Animation doesn't have this. If there were DLC episodes you had to buy it would cause an uproar. Animation can't go indie as easily as the games industry.
7 months ago
Anonymous
>
That's it right there. Games have done an amazing job on social media and news outlets for over a decade talking about the work and sacrifice that goes into games. They have nurtured a relationship with their consumers that their hard work deserves money. People will often buy DLC to "support the company."
So essentially, good marketing, which in that case I agree. At least for the western side of things
>Animation doesn't have this.
I dunno about that. There are plenty of documentaries that go into the trials and tribulations of making an animation. They happen to be mostly on the anime side of things, however.
There is absolutely NOTHING stopping talented writers and animators from starting up their own agency on Kickstarter or Patreon and being crowdfunded for it and uploading the content to YouTube.
>It is if you have a dream and actual fricking talent, (see Wakfu and Lackadaisy)
dreams and talent aren't what put animation on screen, work ethic and project management are.
7 months ago
Anonymous
>work ethic and project management are
then why do I know of people who have failed upwards in production managment while artists burn out?
You still need to shill or pay people to shill your crowdfunding stuff. Running a real studio isn't cheap you can't do it on Youtube partner money.
7 months ago
Anonymous
>Running a real studio isn't cheap
Just out-source all the inbetweens to wherever is cheapest but still gives passable quality like all the big western cartoons used to do in their heyday. Easier to do than ever with the internet.
Most of the shit people are nostalgic about was 90% animated by the Japanese and after the 90s by South Korea.
7 months ago
Anonymous
You mean like they already do?
7 months ago
Anonymous
It'd probably be Vietnam if they were serious about getting cheap labor at this point.
7 months ago
Anonymous
>Just out-source all the inbetweens to wherever is cheapest
congrats youre just doing what the big studios are already. You are just perpetuating the same cycle
They’re literally moronic. As in they can’t even break away and found their own studios and companies. They cite le late stage capitoolism as the problem when many are just awful in the business sense. That being said, no one wants to invest in animation of art, because there just isn’t any audience for that sort of thing. Just fans and consumers.
Wait, are you telling me that
ambiguous brown girl goes on magical gay adventures show,
ambiguous brown girl goes on gay frog adventures show,
ambiguous brown girl goes on gay ghost adventures show,
ambiguous brown girl sings about magic house movie
ambiguous brown girl goes on gay alien adventure movie
Buzz Lightyear with ambiguous gay brown girl goes on space adventure movie
ambiguous blue girl goes on gay underwater adventure movie
ambiguous brown fish goes on gay Italian adventure movie
ambiguous brown girl is a complete b***h to everyone in her high school show
were somehow...not profitable?
>Del Toro's Pinocchio was primarily animated in Mexico. >Frankelda's getting a movie and a proper US release (with a redone English dub instead of the original Miami rushjob) because Del Toro wrote a letter to the WB execs demanding them to give Cinema Fantasma all the support it needs. Besides Frankelda, Cinema Fantasma has like three or four other projects in development >Del Toro has basically said he's only doing a few more live-action movies before going all in on animation, presumably continuing to work with Mexican animators >Laika's moving onto live-action for some reason
Portland has fallen, stop motion belongs to Mexico now.
i find it funny when people bring up shows that ended like a decade ago to justify that western animation isnt dead lmao.
7 months ago
Anonymous
Is there any animation industry that isn't dead now?
7 months ago
Anonymous
video games
7 months ago
Anonymous
Video games is in free fall right now. Really the whole media industry is crashing.
7 months ago
Anonymous
it's over for media in general. let's go back to reading books
7 months ago
Anonymous
Even that's not safe
Now it's flooded with low effort young adult novels trying to get that audience that Fault in our stars, Hunger Games, and so many others had
7 months ago
Anonymous
China and Japan literally make billions of dollars. It's America that makes shit games.
7 months ago
Anonymous
I feel like even indie gaming's gotten to its "twilight years", for lack of a better term; at least I feel there's not nearly as much momentum as there was during the mid-late '10s (could be wrong, though). I mean, indie animation has had a rocky start, but then again, so did it's gaming cousin in the very early half of last decade, to be fair.
7 months ago
Anonymous
VFX maybe
7 months ago
Anonymous
Japan's.
https://www.globenewswire.com/news-release/2023/01/20/2592474/0/en/anime-market-is-expected-to-record-growth-at-a-cagr-of-9-5-during-the-forecast-period-2022-2029-business-growth-recent-innovations-technological-advancements-and-market-size.html
China/Bilibili is making a massive push into the sector.
https://www.cartoonbrew.com/streaming/chinese-streamer-bilibili-unveils-68-title-animation-pipeline-as-demand-for-local-productions-skyrockets-233267.html
7 months ago
Anonymous
China's animation has seen major expansion since tons of art work for vidya, cartoons, movies, VFX, anime, and even commercials is outsourced there.
Now that I think about it, what new shows even premiered this year?
You can probably count the new cartoons for each channel so far this year on one hand. >Cartoon Network
MAWS
Unicorn Eternal
Tiny Toons Looniversity
CotC spinoff
Everything we warned them about and said would happen, happened.
Cal Arts, anti-fans, and activists don't even deserve the full blame. It is also the WGA. It is also SAG AFTRA. The writers and actors prevailed in getting a bigger piece of the budget pie that is not growing in size. Where did animators think the extra money would come from? Where did they think the cuts would go?
Yes and no. Keeping the industry all in LA and killing any small studios with their salary fixing and agreement not to offer good deals to get talent from each other did most the damage. The future of American animation is on the internet with passionate people once again. Sadly the unions will eventually get their slimy hands on those people to and suck the life and passion out of them.
And before you give me some shit about anti-union, a lot of good the unions did them when they will all be out of jobs soon.
They came up with solutions before, and people protested it. >In the 80s they teamed up with toy companies who covered half the budgets, people b***hed about targeting kids with ads >In the 90s they had government subsidizing, but people b***hed whenever it was used for something not educational. So only Canada gets government subsidized cartoons >In the 00s they sent the final animating process to South Korea, people b***hed about shipping jobs overseas
Most of the 80s and 90s was being animated in Japan too.
They could copy the Japan route of selling merch to adults but no one with money is going to pay for any Cinemaphile shit. You can't sell merch at premium prices when you're alienating 98% of nerds who don't care for relationship drama or commercial LGBT victimhood.
I’ve been wanting to ask; how does the government or whoever determine what defines a show as a “commercial for toys”? How do they differentiate from shows that happen to have toys?
>Find a low cost of living city >One that also doesn't bleed small business dry with taxes >Start a studio and find reliable talent >Do commercials and short films for a few years >Fund a movie or pilot
It is almost like this is how it used to be done but everyone wants to rush to the finish line.
>Set's up industry to NYC >NYC gets expensive >Set's up industry to Orlando >Orlando gets expensive >Set's up industry to Vancouver >Vancouver gets expensive >Set's up industry to Atlanta >Atlanta gets expensive
Maybe it's an economy problem
You don't understand that any successful hub of employment is going to transform the area around it. You should read "Capital Moves: RCA's Seventy-One Year Quest for Cheap Labor". The author points this out. At first, an industry searching for cheap labor moves into a depressed community. They get their pick of the litter of desperate employees who won't make any fuss for cheap, employees benefit from the job slightly more than other jobs in the area. The success of the factory/company will boost the local economy, which means other industries will benefit as well, meaning the original employer no longer has an advantage in pay/working conditions. Then over time, employers use this as an opportunity to exploit workers with speed-ups. It was especially easy to do this with non-white workers and women. Plus, racial and gender divisions in jobs assigned lead to discontent between workers. But, after enough time, working conditions can be shared between people as a common experience and part of their identity. They can all relate and unite over being "workers" who are upset with the raw deal over working conditions. They band together to strike for more tolerable working conditions. They get their way. And then a few years later, the factory shuts down and the whole process repeats all over again in another town.
RCA did it in New Jersey, then Indiana, Memphis, Mexico, and then in Asia.
>But, after enough time, working conditions can be shared between people as a common experience and part of their identity. They can all relate and unite over being "workers" who are upset with the raw deal over working conditions.
Meanwhile in reality Amazon still keeps heat maps of the diversity demographics of it's employees to this day because heterogeneity remains the biggest indicator against unionization.
Animation has never been easier and cheaper to produce; yet Western animators want ever increasing salaries and benefits because they live in the failed state of California, all in exchange for pic related.
No, short form content killed animation.
Nobody is watching big budget movies or cartoons anymore when they could easily watch some youtuber or tiktoker that has mastered the art of summarizing a blockbuster into a 10 minute video. Unless there's meme potential (ex. Barbenheimer) there's no fricking reason to watch.
Welcome to the future, baby
The death of American animation is due to a multitude of reason. Decades of poor management, out of touch high ups who don't understand how to run a company, poor work conditions and general treatment of creatives, the community itself has ironically become ideologically homogeneous and a trend towards popularity of eastern animation have all contributed the the collapse.
Simple, one costs more money than the other
As someone early said, they need to partner up with toy companies to do that but in doing so the suits are the ones running the show
Then we're back to the problem of shows just being long commercials just to sell toys
Video game companies also require the suits to get involved
That or it'll take a century to make a really good one
They started working on Arcane nearly a decade ago
Cuphead show is a mix bag
And the 80's and 90's were full of cartoons where it's clear the executives didn't care but the writers were high when they made the episodes
Street fighter, mortal kombat, and mega man shows were fever dreams
Most anime are just commercials for a particular product (comics/LNs, toys/model kits, games etc.) and are mostly driven by production committees, yet it still manages to not be as situationally fricked as American animation so far.
That's due to the fact that anime have smaller budgets than western cartoons and have the production staff on tighter crunch time
Along that they also cut corners on the animation and really use it in one episode where the plot is getting intense
That and the OPs and EDs
Kids these days are heavily into lore driven shit, look at the popularity of stuff like FNAF. They love gay little connected stories with convoluted histories and random details, usually with a slightly edgy/scary aspect to it. (but not too edgy or scary)
>usually with a slightly edgy/scary aspect to it.
FNAF is about serial killer who murders children. All the indie games kids love like Amanda the adventurer and poppy playtime are way more dark than the average gay shit on Disney channel.
With the streaming they were making too much shit, there was so much shows in any genre and format that they were just burning money, there's shit I never heard of that existed until I heard it was canceled. They have to cut back now, including with animation.
>executives meddle in projects >investors shit up projects >writers are fricking hacks that write like garbage >can't write interesting stories >can't write fun or good characters >can't write jokes >animators suck and/or aren't trained to actually animate >cal arts only churns out cogs to work in the animation slop machine >morons eat the shit up
I will blame everyone in the industry and all who support it.
More like streaming services being a massive battleground for the rights to ips and network execs having been moronic all through the twilight years of television.
The modern animation industry and California cabal has to be destroyed and demolished for animation to progress be reborn into something better
I hope Canada can be the next big thing in animation.
Canada had their chance
They've shown all they can produce now is forgettable kids cartoons
They only two things I've enjoyed from them is Reboot and Total Drama
>reborn into something
You mean Tiktok and Youtube Shorts? Because thats what kids watch instead of cartoons.
>TikTok and YouTube shorts
The situation is so dire man
>"MUH CALARTS!"
calarts is a symptom of the larger problem. the execs are the only people to blame, and western animation will never recover unless all of us say "frick it" and return to indie. this is the ultimate trvthnuke but Cinemaphile is more keen on shitting on dumb ass industry artists, than the big wigs and ceos who fester this sort of environment in the first place
Execs are to blame because they are still stuck in the 1960s-70s mindset of cartoons is just dumb kiddy shit that doesn't matter. Not like REAL entertainment like reality shows or live action adaptations of cartoons!
So they are not willing to keep a budget for something they believe is a distant second to any other form of entertainment
>execs who run a company that makes media aimed at children are to blame because they make media aimed at children
woah
Indie is fricking shit now, it used to be great but it started crapping it's pants after the early 2010's
I didn't expect such a level headed opinion from your opener.
>trvthnuke
back to the sharty with your internet friends
>This
Even when the calarts projects usually get the blame for noodle arms and bean mouth design, when you see concept art, they look way better, it's usually the execs and studio forcing them to be extremely cheap, i'm not saying there a lot of crappy shows made by this people, but someone allowed those shows to be that way
I agree but the state of indie animation is unfortunate
>Gay demon show
>Skibidi Toilet
>Actually good shit that takes like 8 million years per 6 minute episode
Youtube fricked indie animators raw with the algorithm and the scene hasn't recovered.
I like Tom Bates.
Animation takes a shitload of employees to make a single episode of anything. And no studio is willing to pay three dozen people near six figures to do it since everyone is based in Burbank.
> indie
you mean like gay demon fujo cartoon
it's the gay demon fujo cartoon or the two-faced gay peruvian cartoon girl that has vaporwave powers. choose your poison. honestly im just gonna watch old shit
I'll stick with japanese stuff thanks.
Anime is even shittier
Nah. You can't get shittier than modern western cartoon shows.
looks like it's over.
Good Western shows > Anime > Bad/modern western shows
Anime's consistently 7/10, Western ranges from 10/10 to 1/10
>Good Western shows
Unfortunately we don't really get those these days.
No, Primal is not a 10/10 show, especially after season 2.
You forgot
Good anime>>>>>>>>> Good western shows
???
It sounds like American animation isn’t profitable enough to be investor friendly.
> Michael Ouweleen (born 1967) is an American television executive and screenwriter. He is the current president of The Cartoon Network, Inc. (CNI), the operating company of Cartoon Network (which includes the Cartoonito and ACME Night blocks), Adult Swim (which includes the Toonami block), and Boomerang.
> Previously, he was best known as a creative, co-creating the animated television series Harvey Birdman, Attorney at Law and the show's spin-off, Birdgirl, and is the executive producer of the television film Re-Animated. He was a long-time creative director at Cartoon Network since 1996, and ran content development and oversaw programming for the network in the mid-2000s.
INDIE RENAISSANCE NOW
There is no platform to publish indie content and get a reliable return. It's not coming.
The problem is monopoly, anon. Anti-trust laws have been toothless since the 70's. They let a single company, or at most two or three, control entire market sectors. There's no competition, there's no options.
They do not care, they are the board of directors.
the problem is the indie people aren't as good either and there's not really a great way for indie creators to earn money for animation these days. there's not a steam for tv/movies ironically steam used to be that, but decided to drop that.
>steam for tv/movies
YouTube, but they haven’t paid well since the 2010s
No I mean for producing an animation that people have to pay to watch.
Earnestly, who the hell in their right mind is gonna pay to watch a 10 minute pilot/episode for 5 bucks? Video games I can see, but animation ehhhh
That's it right there. Games have done an amazing job on social media and news outlets for over a decade talking about the work and sacrifice that goes into games. They have nurtured a relationship with their consumers that their hard work deserves money. People will often buy DLC to "support the company."
Animation doesn't have this. If there were DLC episodes you had to buy it would cause an uproar. Animation can't go indie as easily as the games industry.
>
That's it right there. Games have done an amazing job on social media and news outlets for over a decade talking about the work and sacrifice that goes into games. They have nurtured a relationship with their consumers that their hard work deserves money. People will often buy DLC to "support the company."
So essentially, good marketing, which in that case I agree. At least for the western side of things
>Animation doesn't have this.
I dunno about that. There are plenty of documentaries that go into the trials and tribulations of making an animation. They happen to be mostly on the anime side of things, however.
>and there's not really a great way for indie creators to earn money for animation these days
I guess this is why stuff like HB or Lackadaisy are considered huge anomalies for this sect of the medium, especially the latter
>HH/HB*
Hail Buckley
>HB
yeah that's kind of what I was referring to as "not great either"... considering all the shit the creator's done.
Fair, though regardless it's still something of a success story.
There is absolutely NOTHING stopping talented writers and animators from starting up their own agency on Kickstarter or Patreon and being crowdfunded for it and uploading the content to YouTube.
crowdfunding is not the end all silver bullet you think it is
>t. israeli executive
NTA but how did crowdfunding work out for all the people that backed Cans Without Labels?
Badly.
It is if you have a dream and actual fricking talent, (see Wakfu and Lackadaisy)
>It is if you have a dream and actual fricking talent, (see Wakfu and Lackadaisy)
dreams and talent aren't what put animation on screen, work ethic and project management are.
>work ethic and project management are
then why do I know of people who have failed upwards in production managment while artists burn out?
You still need to shill or pay people to shill your crowdfunding stuff. Running a real studio isn't cheap you can't do it on Youtube partner money.
>Running a real studio isn't cheap
Just out-source all the inbetweens to wherever is cheapest but still gives passable quality like all the big western cartoons used to do in their heyday. Easier to do than ever with the internet.
Most of the shit people are nostalgic about was 90% animated by the Japanese and after the 90s by South Korea.
You mean like they already do?
It'd probably be Vietnam if they were serious about getting cheap labor at this point.
>Just out-source all the inbetweens to wherever is cheapest
congrats youre just doing what the big studios are already. You are just perpetuating the same cycle
calarts is a boogeyman
Maybe centering an entire industry and medium around a single demographic isn't a good thing because kids can lose interest in cartoons.
HAHAHAHAHHAHAH HOW DOES IT FEEL?
Shrek is better than all of John "The Wee/a/boo" Kricfalusi's work combined
They’re literally moronic. As in they can’t even break away and found their own studios and companies. They cite le late stage capitoolism as the problem when many are just awful in the business sense. That being said, no one wants to invest in animation of art, because there just isn’t any audience for that sort of thing. Just fans and consumers.
Wait, are you telling me that
ambiguous brown girl goes on magical gay adventures show,
ambiguous brown girl goes on gay frog adventures show,
ambiguous brown girl goes on gay ghost adventures show,
ambiguous brown girl sings about magic house movie
ambiguous brown girl goes on gay alien adventure movie
Buzz Lightyear with ambiguous gay brown girl goes on space adventure movie
ambiguous blue girl goes on gay underwater adventure movie
ambiguous brown fish goes on gay Italian adventure movie
ambiguous brown girl is a complete b***h to everyone in her high school show
were somehow...not profitable?
What about straight brown girl completes her bucket list?
Depends. Does that bucket list involve her coming to the conclusion that she's bi?
I dont understand the dreamworks outsourcing after puss in boots 2
is del taco to blame for getting a oscar for a shitty movie
Cucked by Del Taco
>Del Toro's Pinocchio was primarily animated in Mexico.
>Frankelda's getting a movie and a proper US release (with a redone English dub instead of the original Miami rushjob) because Del Toro wrote a letter to the WB execs demanding them to give Cinema Fantasma all the support it needs. Besides Frankelda, Cinema Fantasma has like three or four other projects in development
>Del Toro has basically said he's only doing a few more live-action movies before going all in on animation, presumably continuing to work with Mexican animators
>Laika's moving onto live-action for some reason
Portland has fallen, stop motion belongs to Mexico now.
I am ok with this. I have been a long time supporter of Mexican animation and will be ok if they take the lead for a bit in North American animation.
When American stop-motion can't give us anything better than shit like Wendell and Wild it's not that surprising.
Moral Orel?
The final episode aired nearly 15 years ago
i find it funny when people bring up shows that ended like a decade ago to justify that western animation isnt dead lmao.
Is there any animation industry that isn't dead now?
video games
Video games is in free fall right now. Really the whole media industry is crashing.
it's over for media in general. let's go back to reading books
Even that's not safe
Now it's flooded with low effort young adult novels trying to get that audience that Fault in our stars, Hunger Games, and so many others had
China and Japan literally make billions of dollars. It's America that makes shit games.
I feel like even indie gaming's gotten to its "twilight years", for lack of a better term; at least I feel there's not nearly as much momentum as there was during the mid-late '10s (could be wrong, though). I mean, indie animation has had a rocky start, but then again, so did it's gaming cousin in the very early half of last decade, to be fair.
VFX maybe
Japan's.
https://www.globenewswire.com/news-release/2023/01/20/2592474/0/en/anime-market-is-expected-to-record-growth-at-a-cagr-of-9-5-during-the-forecast-period-2022-2029-business-growth-recent-innovations-technological-advancements-and-market-size.html
China/Bilibili is making a massive push into the sector.
https://www.cartoonbrew.com/streaming/chinese-streamer-bilibili-unveils-68-title-animation-pipeline-as-demand-for-local-productions-skyrockets-233267.html
China's animation has seen major expansion since tons of art work for vidya, cartoons, movies, VFX, anime, and even commercials is outsourced there.
The Shivering Truth
Now that I think about it, what new shows even premiered this year?
You can probably count the new cartoons for each channel so far this year on one hand.
>Cartoon Network
MAWS
Unicorn Eternal
Tiny Toons Looniversity
CotC spinoff
>Nickelodeon
Lol
Lmao
>Disney
Kiff
Hailey's On It
Moon Girl
I'd unironically take Nickelodeon's nothing over Cartoon Network's preschool slop
I'd rather starve than drink diarrhea
Everything we warned them about and said would happen, happened.
Cal Arts, anti-fans, and activists don't even deserve the full blame. It is also the WGA. It is also SAG AFTRA. The writers and actors prevailed in getting a bigger piece of the budget pie that is not growing in size. Where did animators think the extra money would come from? Where did they think the cuts would go?
Yes and no. Keeping the industry all in LA and killing any small studios with their salary fixing and agreement not to offer good deals to get talent from each other did most the damage. The future of American animation is on the internet with passionate people once again. Sadly the unions will eventually get their slimy hands on those people to and suck the life and passion out of them.
And before you give me some shit about anti-union, a lot of good the unions did them when they will all be out of jobs soon.
They came up with solutions before, and people protested it.
>In the 80s they teamed up with toy companies who covered half the budgets, people b***hed about targeting kids with ads
>In the 90s they had government subsidizing, but people b***hed whenever it was used for something not educational. So only Canada gets government subsidized cartoons
>In the 00s they sent the final animating process to South Korea, people b***hed about shipping jobs overseas
Most of the 80s and 90s was being animated in Japan too.
They could copy the Japan route of selling merch to adults but no one with money is going to pay for any Cinemaphile shit. You can't sell merch at premium prices when you're alienating 98% of nerds who don't care for relationship drama or commercial LGBT victimhood.
I’ve been wanting to ask; how does the government or whoever determine what defines a show as a “commercial for toys”? How do they differentiate from shows that happen to have toys?
If its references in the show and you could buy it IRL then its a toy commercial
Damn did Ruby Gillman literally kill Dreamworks THAT fricking hard?
That's what they get for making that absolute dogshit movie
dreamworks has always been skating on thin ice even before ruby gillman
for every Hit movie they get 3 bombs
Maybe centering an entire industry and medium ALMOST ENTIRELY IN BURBANK was a bad thing?
>Find a low cost of living city
>One that also doesn't bleed small business dry with taxes
>Start a studio and find reliable talent
>Do commercials and short films for a few years
>Fund a movie or pilot
It is almost like this is how it used to be done but everyone wants to rush to the finish line.
>Set's up industry to NYC
>NYC gets expensive
>Set's up industry to Orlando
>Orlando gets expensive
>Set's up industry to Vancouver
>Vancouver gets expensive
>Set's up industry to Atlanta
>Atlanta gets expensive
Maybe it's an economy problem
Who knows?
>Atlanta
More like Texas
Anime studios don't count
Texas would legitimately be a great place for the animation industry to move to. All we have here is Reel VFX and Powerhouse Animation.
Oh and Rooster Teeth of course, but that shit might shut down!
You don't understand that any successful hub of employment is going to transform the area around it. You should read "Capital Moves: RCA's Seventy-One Year Quest for Cheap Labor". The author points this out. At first, an industry searching for cheap labor moves into a depressed community. They get their pick of the litter of desperate employees who won't make any fuss for cheap, employees benefit from the job slightly more than other jobs in the area. The success of the factory/company will boost the local economy, which means other industries will benefit as well, meaning the original employer no longer has an advantage in pay/working conditions. Then over time, employers use this as an opportunity to exploit workers with speed-ups. It was especially easy to do this with non-white workers and women. Plus, racial and gender divisions in jobs assigned lead to discontent between workers. But, after enough time, working conditions can be shared between people as a common experience and part of their identity. They can all relate and unite over being "workers" who are upset with the raw deal over working conditions. They band together to strike for more tolerable working conditions. They get their way. And then a few years later, the factory shuts down and the whole process repeats all over again in another town.
RCA did it in New Jersey, then Indiana, Memphis, Mexico, and then in Asia.
>But, after enough time, working conditions can be shared between people as a common experience and part of their identity. They can all relate and unite over being "workers" who are upset with the raw deal over working conditions.
Meanwhile in reality Amazon still keeps heat maps of the diversity demographics of it's employees to this day because heterogeneity remains the biggest indicator against unionization.
... is that why corpos love diversity so much? Jesus christ.
Do animated adaptations of comics.
Will Hellicious be good?
Animation has never been easier and cheaper to produce; yet Western animators want ever increasing salaries and benefits because they live in the failed state of California, all in exchange for pic related.
>blackwiener reduce the ESG budget
>massive layoffs, economic crisis because no one is actually buying the goyslop
uhh im noticing a patterns
Nature is healing.
what epic games have to do with this
Something about animation studios using Unreal engine to make CG movies.
>all of this and a normie will still consume fionna and cake nostalgiabait garbage.
I bet their next slop is gonna fail, the nostalgia factor is gone and people still shit on that awful finale
>Checkmark 4
Max and Netflix are treating animation beautifully in every way except marketing, so I don't know what you're on about.
No, short form content killed animation.
Nobody is watching big budget movies or cartoons anymore when they could easily watch some youtuber or tiktoker that has mastered the art of summarizing a blockbuster into a 10 minute video. Unless there's meme potential (ex. Barbenheimer) there's no fricking reason to watch.
Welcome to the future, baby
NAS
Mario?
>CN building vanished
Because they bought a bigger building for both WBA and CN
Hell it was never WB building in the first place
>Anymore
>Anymore
>Anymore
all they had to do was properly adapt non cape comics like twd
shit even a song of ice and fire animated would be sick but they wouldve had to end it like hxh
The death of American animation is due to a multitude of reason. Decades of poor management, out of touch high ups who don't understand how to run a company, poor work conditions and general treatment of creatives, the community itself has ironically become ideologically homogeneous and a trend towards popularity of eastern animation have all contributed the the collapse.
>the community itself has ironically become ideologically homogeneous
Why is it ironic? It was a deliberate goal of the commies.
yes
Chowder killed western animation
perhaps it would help if they stopped making dogshit nobody wants to watch
Yeah, they should stop making shit like Chowder and Lazlo
They did, that's the problem.
why don't they make a cool show like robots fight evil robot dinosaurs instead of lore-driven adventure therapy time for adults
Simple, one costs more money than the other
As someone early said, they need to partner up with toy companies to do that but in doing so the suits are the ones running the show
Then we're back to the problem of shows just being long commercials just to sell toys
why not team up with video game companies
Video game companies also require the suits to get involved
That or it'll take a century to make a really good one
They started working on Arcane nearly a decade ago
Cuphead show is a mix bag
And the 80's and 90's were full of cartoons where it's clear the executives didn't care but the writers were high when they made the episodes
Street fighter, mortal kombat, and mega man shows were fever dreams
Most anime are just commercials for a particular product (comics/LNs, toys/model kits, games etc.) and are mostly driven by production committees, yet it still manages to not be as situationally fricked as American animation so far.
That's due to the fact that anime have smaller budgets than western cartoons and have the production staff on tighter crunch time
Along that they also cut corners on the animation and really use it in one episode where the plot is getting intense
That and the OPs and EDs
Kids these days are heavily into lore driven shit, look at the popularity of stuff like FNAF. They love gay little connected stories with convoluted histories and random details, usually with a slightly edgy/scary aspect to it. (but not too edgy or scary)
>But muh tires on the batmobile!
>usually with a slightly edgy/scary aspect to it.
FNAF is about serial killer who murders children. All the indie games kids love like Amanda the adventurer and poppy playtime are way more dark than the average gay shit on Disney channel.
With the streaming they were making too much shit, there was so much shows in any genre and format that they were just burning money, there's shit I never heard of that existed until I heard it was canceled. They have to cut back now, including with animation.
too many talentless art-kid dykes and homos from rich families bloating the """industry""" to artificial levels being fired is all this is.
Why don't they start their own animation industry, with blackjack and hookers?
Lack of money to keep said business afloat
No money.
Autistic aphantasia.
Inability to work with others (also autism).
This seems like a plus side, moving to LA to get your dream job sounds like hell.
>executives meddle in projects
>investors shit up projects
>writers are fricking hacks that write like garbage
>can't write interesting stories
>can't write fun or good characters
>can't write jokes
>animators suck and/or aren't trained to actually animate
>cal arts only churns out cogs to work in the animation slop machine
>morons eat the shit up
I will blame everyone in the industry and all who support it.
Seems like indie animation is becoming more reliable while mainstream animation is becoming less reliable
two big indie shows (which are having shaky funding and production issues) does not constitute the entire indie scene
More like streaming services being a massive battleground for the rights to ips and network execs having been moronic all through the twilight years of television.
calarts is super conservative. despite the massive popularity of anime, they still reject to admit it as a genuine animation method/style.
>Is working in this industry survivable anymore longterm?
No not with AI coming. You'll only survive if you're an already established name.
Censorship and so creativity limits are to blame