If you're in your 20's and still consider yourself the same as you were when you were 19 then you have issues. The fact that you immediately interpreted it as leftist gobbledyasiatic just confirms that
I never understood change for the sake of change. I'm 35, but I'd say I'm still the same core person I was at 19. I've gone through some slight changes, but I don't think my past self would be too surprised with my current self.
Change for the sake of it isn't always good. Though sometimes it is good. But really people like OP's pic sometimes turn out to be a Randy Pitchford, Anthony Burch, C.B. Cebulski, or Dan Slott or whatever spewing cringy "badass", smarmy dialogue, art, or behavior that is inherently shit. It's just now they realize that their behavior was bad so now they make it uber safe and wholesome while still retaining their shit skills. Either way, Pitchford, Burch, and Slott are still weirdos and as anons have said, people don't give a frick how much you've grown. If you do something bad then you either apologize or if it's real bad then you frick off until it's better or for eternity depending on how bad it is. Simple as that.
>crippling loneliness because women don't want to date me and the guys that do could only long distance with me >no job thanks to the pandemic destroying the validity of my bachelor's education "you earned that in zoom you have no real knowledge" (actually said to my face by an interviewer)
It's been 8 years since I was 19 and I'm still the same exact person I was because the world won't let me change who I am. Leftists use the term "progress as a person" because they always obsess over self-correction to the point they erase all distinguishable original ideas and personality from themselves because it could "offend" someone and turn into social parrots.
If you're in your 20's and still consider yourself the same as you were when you were 19 then you have issues. The fact that you immediately interpreted it as leftist gobbledyasiatic just confirms that
Anon is right for the wrong reasons. Growing as a person is good, but Charlie here is an insufferable twat. He called that one CalArts animator a bigot for tweeting the Matt Walsh documentary.
"People" on this board will do everything possible to interpret this statement in the worst possible way, but you are right. It is a dog whistle from the therapy cult.
I really wonder how he used to draw back then, knowing how everything he's drawn for the last years, apart from those drawings with that pink avatar or whatever, is stuff like this
Why do these "industry artusts" always draw the same looking shit? >basic shapes >basic colors >beanmouth >nothing detailed or interesting in their portfolio
I agree that storyboards, at the beginning stage shouldn't focus too hard on making things look pretty (because trying to be a perfectionist about it will only stall you from finishing it) but finished cartoons nowadays look just as bad as the initial boards.
The biggest thing everyone will tell you in how to land a story gig is to draw what the guys currently working are drawing and in the exact same style. This is how they get hired, they have to do this. I had to do this, and I currently tel others to do this.
It probably helps companies weed out the more eccentric candidates too. I imagine they treat you guys are fairly disposable and want to make sure whoever they hire is going to do exactly what they want, how they want it, without much oversight
Based sober take.
It was the same thing for music. I came out of school writing really experimental work that often had me writing my own software from the ground up because tools at the time wouldn't allow me to do what I wanted.
I spent ages getting no jobs. I knew I could write the typical sort of music used in tv and film but thought that people could see that by looking at my more "difficult" and stylistically unique stuff. Turns out people won't believe you can do something unless you overtly show that you can do it.
I finally bit the bullet and started building a portfolio of more generic stuff and suddenly I was employable.
Anons on Cinemaphile like to shit on artists, but we're typically not the ones who have enough power to make stylistic decisions. Someone with more money than taste is calling the shots and you can either fall in line and get work, or refuse and spend most of your time doing menial work at a completely unrelated job that you hate even more. I spent a long time working shit jobs while I tried to do things 'my way'. At the end of the day, it turns out I'd rather write generic music for a living than wipe down brunch tables.
The only people who would shit on you for making that choice are not good enough to even HAVE that choice.
But anon, what about when you make portfolios to prove you do have the skills needed to fall in line, and yet they still don’t hire you because you “lack a voice of your own to contribute”
Have both original and derivative stuff in the portfolio
7 months ago
Anonymous
>”Have both wholly original and compelling ideas but also be an exact style copying machine so we can employ you to clean someone else’s storyboards.”
You’re not wrong and I’ll most likely be doing this, but this is what I mean about the absurd levels of skill needed to demonstrate just to get a big standard entry level job. Thanks in any case.
7 months ago
Anonymous
Even with a good portfolio nobody hires me with no experience. Also >original compelling ideas >absurd levels of skill
If you think designing a couple of random characters in your personal style is absurd then those portfolio videos from goeblens must be wizard level
7 months ago
Anonymous
>If you think designing a couple of random characters in your personal style is absurd then those portfolio videos from goeblens must be wizard level
It depends. The characters need to be informed enough where the design isn’t haphazard, but also be translatable to production, or at least be representative of something you’d want to see in production.
Not to mention penning down what a “style” is, what colors and lines to use, the tone you want to convey, would your character designs and so on even fit this style, and all this for something most people don’t expect to ever see production maybe like, a webcomic. A lot of the time, people just had to be able to just reproduce the house style of the production and get in that way, nowadays if you’re not part of the art school circuit, they expect you to be a fully formed independent artist who happens to want to work in a production line and comply anyways. It feels a little counter productive, especially because people used to just get the experience working within a system and figure themselves out afterwards. None of this is impossible, obviously, I’m just saying it’s a bit much for jobs that ultimately ask for you to stick to style guides anyways.
And yeah, those Gobelins portfolios are pretty daunting, people being that self realized that young is crazy. It’s impressive as all hell, but still crazy. Especially to hold that as any sort of standard.
7 months ago
Anonymous
They just wanna be israelites and save time paying money to train newbies like it was in the past
7 months ago
Anonymous
>no experience
You don’t get hired with no experience. Build up ultime chops and portfolio working for free on student projects. There are tons of them out there. Once you do a few, you’ll be in a stronger position to apply for jobs. If you can’t get people to hire you for free, work on your shit. You’re not good enough.
yeah, that's happened to me too. I was rejected for jobs because my stuff was too weird, but after building up a strong 'mainstream' portfolio, I've been rejected from jobs because they wanted something more 'unique'.
It's a horse and cart thing. I think you need to prove that you can do the basic bread and butter shit first, but then additionally be able to show that you can do more unique shit.
When it comes to actually bidding for a client or job, you need to do your research, figure out what they will probably want to see, then make a portfolio for THAT gig specifically. Keep you general portfolio findable, but when going after specific jobs make sure to put together both generic and unique samples of your work that would fit their vibe. If you have time to throw something bespoke together, that also helps. Tell them "this is a potential direction I was thinking might work for your project" and invite them to discuss it.
7 months ago
Anonymous
Screencapping this for future reference when I get time to work on my portfolio, Thank you, anon. I appreciate the genuine response, best of luck on your career as well.
7 months ago
Anonymous
Good luck! Remember, half the battle is getting people to see what you want them to see. You can make tons of different types of art, but each person looking at your work is looking for a very specific thing. They're not looking to hire 'a good artist'; they're looking to hire an artist who can make their very specific vision happen.
General portfolios are a crapshoot since they may not look beyond the first 2 samples, so control that by only showing them what you want them to see. If you use a web design service that allows you to track metrics, this also has the added benefit of allowing you to track activity. Instead of wondering if Johnny Network actually looked at the work samples you sent, you can look at the network activity on the private link you sent them. If anyone but you looked at it, there's a good chance they at least saw it (and unfortunately probably decided to pass). If no activity is on that page other than your own IP address after a week or two, then it might be worthwhile giving them a prod.
7 months ago
Anonymous
>when I get time to work on my portfolio
What, so you can get hired by Burbank studios just to make garbage like this for the rest of your life? It’s not worth it. The mainstream animation industry is a carcass being eaten by maggots. If you want to make a cartoon, do it online and raise funds in hopes your idea becomes a reality. Don’t stoop yourself into these kinds of conditions just so you can befriend large talent that shuns anybody for disagreeing with them politically.
7 months ago
Anonymous
>It’s not worth it.
Depends what your goals are. When I was in high school I thought that people who did shit for money were 'sellouts' and that it was better to work shitty jobs and stay true to your art. After dedicated a major chunk of your life to refining skills and abilities to a professional level, it's a pretty big kick to the balls to suddenly not be able to use any of that skill set to actually make a living.
If your goal is to make 'le art', then frick making a portfolio and trying to find a gig. You can work at a coffeehouse doing leaf patterns in lattes to barely scrape by and work on your masterpiece that will take 15 years on your own time.
If your goal is to utilize some of your specialized skills to make a living doing something you love (even if the specific project isn't something you'd dream about), then making concessions is pretty much expected.
Everyone gets to make their own decisions. I tried the former for way too long, and eventually decided the latter was better. As much as I might not love working on some mainstream projects, as a job I like it WAY more than most of the other non-art gigs I've had. Given the choice between waiting tables or working on a cartoon that isn't my favorite, I'd much rather work on the cartoon. You're going to have to work on your own ideas in your own time in either case.
Crowd-funding works for some people, but it's not for everyone. You need to CONSTANTLY be online and doing twitch streams, and posting to social media, etc, and even then, it pays like shit. It's not for everyone.
7 months ago
Anonymous
I think it would be good to find a good middleground, like you work on mainstream stuff but it's also something you can kind of get passionate about and like doing
7 months ago
Anonymous
>work on mainstream stuff but it's also something you can kind of get passionate about and like doing
naw, that sounds exhausting. Go in, do the work, and then allow yourself to clock out. Save your passion for you. The passion in your job is for your craft.
Sure, you might not absolutely love the owl you're drawing for the kindergarten cartoon, but you DO love drawing. You care enough about your craft to want to do a really fricking good job of drawing that owl and bringing him to life.
It's ridiculous to expect artists to only work on productions they are passionate about. Nobody else with any other job has to do that. Mechanics work at garages they don't necessarily love, but they like doing mechanic work so they make it work. Every production is temporary, so even if you find a gig you love, you're going to need to find another one once the job ends and the likelihood that you'll be able to keep webslinging from one passion project to the next is unrealistic. Get the jobs that you can, and love your role even if you dont' love the project.
7 months ago
Anonymous
>I think the best way is to just change who you are and have a different perspective from yourself
The thing about art is that it's like an expression of who you are. The people who do mainstream work and then feel really good about it are people expressing themselves. Like there's a couple of animators who are popular right now, and 95% of what they do is stealing memes and other people's jokes. They have Discords you can join, and you can talk to them, and they have that basic b***h personality. None of it is calculated. They just look at these memes and think they are the funniest shit in the world, and then joyfully animate them in their own style.
But if that's not you, then mainstream work, whether for the industry or the internet, isn't going to be an expression of "you". That's just how it is. There's pay in doing mainstream work and common denominator stuff, but for a lot of artists it's a compromise. The artists who genuinely love mainstream work that has them just animating TV dinners tend to be... neurodivergent, is the polite word they use these days.
7 months ago
Anonymous
Not to mention it’s a lot easier to sell your passion projects and get people to help you work on them if you’re experienced in an industry specialized towards that. Like I don’t understand why anons think once you take industry jobs, that locks the pathway for any independent work in the future when it’s the complete opposite.
7 months ago
Anonymous
Harry Partridge leans into "so good it's bad" quality. Like RubberRoss, their stuff just looks overpolished and soulless.
Based sober take.
It was the same thing for music. I came out of school writing really experimental work that often had me writing my own software from the ground up because tools at the time wouldn't allow me to do what I wanted.
I spent ages getting no jobs. I knew I could write the typical sort of music used in tv and film but thought that people could see that by looking at my more "difficult" and stylistically unique stuff. Turns out people won't believe you can do something unless you overtly show that you can do it.
I finally bit the bullet and started building a portfolio of more generic stuff and suddenly I was employable.
Anons on Cinemaphile like to shit on artists, but we're typically not the ones who have enough power to make stylistic decisions. Someone with more money than taste is calling the shots and you can either fall in line and get work, or refuse and spend most of your time doing menial work at a completely unrelated job that you hate even more. I spent a long time working shit jobs while I tried to do things 'my way'. At the end of the day, it turns out I'd rather write generic music for a living than wipe down brunch tables.
The only people who would shit on you for making that choice are not good enough to even HAVE that choice.
That doesn’t answer why Charlie still draws like this outside of work, shouldn’t drawing shitty doodles only apply when working? Or are corporate suits so butthurt about people drawing in their natural style that they monitor their social media pages and fire people the moment they make a decent sketch? If that’s the case. It’s no wonder younger artists are refusing to move to Burbank just so their art can be butchered and are instead making Indie slop.
Say what you will about Vivziefart or the SMG4 guy. But I Imagine they let their employees draw cool shit. It’s a much better environment than wasting your adult life making awful art like this because you are forced to. Like homie, I wouldn’t be caught dead making my boy Crash Bandicoot look like this.
If you want 2D work, sure. But you can absolutely gear your portfolio and boards to CG shows. Many of them pay from slightly to significantly less (depends on the project) and are often not done in-house, but you get to be much more off-model and draw in a much more appealing way if that's what you're looking for.
This art is absolute unforgivable garbage. Whatever this guy thinks he knows as an artist, he doesn't know jack shit. Honestly the least effort least appealing, purely representational crap art out there. Hopefully in ten more years he'll be calling himself toxic and smacked down for drawing shit like that. Holy frick nothing in these images is even slightly designed to be looked at.
this is the only art I could from him, it's a better representation than 5 minute doodles at least. I don't know how much the fidelity of your art matters when you're a storyboard artist anyway, most of the time you're just laying down the groundwork for how an episode plays out
I really wonder how he used to draw back then, knowing how everything he's drawn for the last years, apart from those drawings with that pink avatar or whatever, is stuff like this
https://i.imgur.com/chw3l1w.jpg
Did he deserve it?
There are no words to describe how much I fricking hate this terrible artstyle. Souless as souless can be. The dude was made in a lab just so he can do shitty storyboards for disney.
>Multiple people have said he’s insufferable to work with
I’ve never heard this, but I believe it. He seemed jealous of people that have more followers that like anime.
Industrygay here
As far as I know everybody fricking hates this guy. Completely spineless moron, parroting the popular opinion, never had a real job so he thinks storyboarding is hard and unrewarding. He DMmed everyone he could to try and get them to give him money for his stupid fricking indie project but everybody hates him lmao
Honestly not surprised based off the way he depicts himself in his comics. He also doesn't seem to have too many industry peers/friends for how long he's been in the industry which is always a bad sign.
I give it a few years before someone comes out about him being abusive lmao.
> never had a real job so he thinks storyboarding is hard and unrewarding.
homie, how the frick he is still around?
Because he just does what he is told. He's also pretty talentless so he's probably inexpensive to keep around.
"Doing better" never actually means what it's supposed to mean, it just means you got tricked into thinking your behavior is somehow bad and you need to completely change yourself without actually doing so
>BEING BETTER?!!?!?
Better at what? If it was specific and he was actually proud he'd say how, whether that be in fitness, relationships, life skills or any other way.
Instead he doesn't because he's only progressed at regurgitating ideological garbage.
Sounds reasonable, if a little self-hating. I say learn from things but let kids be kids, including your past teenage self. I wonder what he did though and what he learned
I wish I could just get a job at 19 and not have to jump through so many hoops and prove unreasonable levels of skill as an outsider to even be considered for revisionist positions. I do think that early success probably fricked the guy up though, and his Boxtown pilot proved he hasn’t really meditated on his art beyond doing the jobs that can make him money.
I wish he would stop making these terrible vent post comics though.
>his Boxtown pilot
You're talking about this as if you've seen it.
Nothing has been released yet. It might end up sucking, but there's a chance it could be good.
I know it's popular to shit on it here, but I personally want to at least see a pilot.
no, I'm not Charlie. I just believe in forming opinions AFTER I've seen something.
I understand and respect that principle, anon. I just think relying on “star power” like the Boxtown campaign did was indicative of a lack of confidence in the concept beyond pitching it with the vague notion of “supporting indie animation.”
I strongly believe you don’t need an elaborate ghost kitchen like “studio” to produce a compelling pilot/concept, nor do you need crowdfunding especially if you’re a relative unknown in the grand scheme of things, but even then, Long Gone Gulch ended up getting done after their respectable 25k funding vs the asking price of 150k for something that looked much simpler in style and substance like Boxtown.
I also understand and respect your position. That said, I can get why the Boxtown crew wanted to flex the connection to Alex Hirsch and Tara Strong so hard. It's fricking tough getting people interested in things, but both Hirsch and Strong have a pretty dedicated fan base and I think they were hoping to tap into that network. People aren't necessarily going to donate to a project just because Hirsch and Strong are attached, but those names WILL help get the campaign a lot more tweets/retweets and potential articles which helps get the word out. A lot of people do this. One of the reasons there was so much hype around Inside Job was because networks kept flexing the connection to Alex Hirsch. The project still had to stand on its own legs, but mentioning Hirsch got people to pay attention and at least check it out.
To Boxtown's credit, they DID recently cut ties with one of their major stars (for reasons I won't get into because jannies are ban happy these days when it comes to even mentioning events that cannot be named). If 'star power' was all they had to the production, I highly doubt they would have opted to cut out their biggest star.
LGG did operate on a shoestring budget, but it took like 10 years to put together (5 years to produce post-funding) and they ended up calling in a lot of favors from friends who either worked very cheaply or for free (as stated directly by Tara and Zach in multiple interviews). From the little that I know from friends etc, Boxtown is actually paying their staff typical industry rates which, while not glamorous, are at least somewhat livable.
But why does Boxtown look the way it does? It’s not held back by the industry, they can draw in whatever style they want. Yet it still looks the same as the Disney TVA garbage that this board creams themselves over.
I don’t know why Cinemaphile is the only community on Cinemaphile that’s willing to bootlick industry professionals just because Pendleton Ward happened to post his buttcrack here once. I don’t care about feelings getting “hurt” or any of that shit. They are grown ass adults and probably view anybody the right of Bernie Sanders as a neo-nazi. It’s dead on arrival and the fact they fired Tara Strong just because she didn’t like her people getting butchered by sand dwellers only exemplifies it.
>artists aren't drawing things the way I think they should be drawn so that means they're wrong
They decided to make a show the way they wanted to make it. That will inevitably include making decisions that you, personally, do not like.
You are also free to try to make a show the way you want to make it. If you hate that all shows have a similar style, then create one that is different.
Just because they are making a show that isn't held back by the industry doesn't mean that some of their choices won't align with the industry. Perhaps character designs weren't one of the specific things they felt constrained by.
This is called a fallacy of false dichotomy, btw. You see this all the time in the news.
7 months ago
Anonymous
Yeah you are definitely a shill
7 months ago
Anonymous
Nope, just don’t get the hate boner people have for this thing
7 months ago
Anonymous
They have functioning eyes for one thing
7 months ago
Anonymous
Industrygay here >it's an unoriginal concept that seems like it would be on Netflix or some shit >It probably got rejected from a couple places before he decided to go indie >Charlie is a sniveling cuck with an obnoxious online presence >It's ugly >He doesn't support other indie projects
i remember when SU was really popular and one janny banned me for shitting on the show, it wasn't even in their general.
I was surprised at the time but now i remember that moment fondly from the time jannies used to be fun.
I get what you’re saying, but Inside Job had the tangential benefit of being a Netflix produced and backed product. Hirsch’s name attatched certainly helped, but the show was able to find an audience because they had a wide distribution and ultimately things about the show itself appealed to people even if it wasn’t fast enough for the Netflix machine. I’m just saying, your core concept needs to be strong as hell if you’re asking the money they were asking for. I won’t get too into them cutting Tara since that’s a whole other discussion, but even if I don’t care for her or her opinions, I don’t think that was a smart move either especially for such a burgeoning project which, as you said, is relying on their pre-established fanbases to care
>From the little that I know from friends etc, Boxtown is actually paying their staff typical industry rates which, while not glamorous, are at least somewhat livable.
That’s certainly commendable to a certain extent, but it’s not exactly conducive to getting a project funded or done. I think Charlie jumping to being a showrunner period was kind of a bad mood since the guy is barely known outside his obnoxious pink avatar vent comics, and again it’s all just sort of selling itself on the vague notion of “indie animation!!!!!” rather than a good, compelling pilot. At the very least, I’m trying to explain why I looked at the Kickstarter campaign with massive doubts and that detail just makes me think they’re again trying to sell itself more on the values being espoused rather than working within his means. I’ll say that LGG’s situation isnt always ideal and is obviously not applicable everywhere, but I supported it till the end. It met its money goal, produced a good pilot and it exists.
I don’t know. Maybe it’s my own biases but it’s harder and harder to see that happening here with Boxtown.
>I get what you’re saying, but Inside Job had the tangential benefit of being a Netflix produced and backed product.
yeah. And they STILL fricking leaned on Hirsch's name to build up hype. The fricking Mario movie leaned on their celebrity casting even though that was a beloved franchise for literal decades. Indie projects need all the help they can get so if they were actually able to get help from industry celebrities, I don't blame them for pushing that in their campaigns.
Still, you see that and think that's all they have. I don't give a shit about Hirsch and I didn't give a shit about Tara when she was still attached. I saw an indie project created by a bunch of people who have industry experience so they understand how the professional production pipeline works. They're making a show that has noir influence, but is obviously not buying into nearly ANY of the noir tropes. I see a character who looks drunk and kind of morally ambiguous and a happy go lucky younger kid who may or may not have a serious violent streak.
I want to see what Boxtown has to offer and it has nothing to do with celebrities. It might suck, but it might be cool. I'm willing to watch it.
I'll also watch Hazbin, and digital circus, and murder drones, and lackadaisy, and if monkey wrench keeps going, I'll watch that too. We're in exciting times of indie animation. It won't all be good, but I'll give everything a shot.
And if you make something, I'll watch that too, tbh.
7 months ago
Anonymous
>It won't all be good
Will any of it be good?
7 months ago
Anonymous
The only gentile crew is Lackadaisy and Tracy is allergic to making a definitive story with an ending.
7 months ago
Anonymous
Murder Drones is pretty good. Best indie production out there right now.
>be Gavin >detest how the industry has become with only wanting IP driven series >decide to open a crownfund for a indie-web series >hire union-driven people >decide to hire Tara Strong, what could possibily go wrong? >Strong starts with islamphobe posts >decide to fire her >acusse your show of racist >make a community note on twitter calling Tara as "this was NOT a dificult choice" >Her VA pals come to attack your project >likely getting blacklisted for this
If you're in your 20's and still consider yourself the same as you were when you were 19 then you have issues. The fact that you immediately interpreted it as leftist gobbledyasiatic just confirms that
That would paragraph is filled with stupid gobbledyasiatic, but not because of that sentence.
OH I WAS AN butthole WHEN I WAS 19 BECAUSE I WAS SO WELL OFF
They're still conceded, no one could possibly give a shit about such unsympathetic problems and them thinking they could find it and need to talk about with shows their lack of self-awareness. They can get fricked
(1/2) I realized a couple years ago the only reason I wanted to get into the animation industry was because I liked the shows I was watching. Animation is unironically my passion, but I believed the only way I could possibly enter the industry was through art. So I started drawing a lot, on a daily basis, grinding to improve my work, and you know what? I enjoyed it. I was really enjoying being able to express all of my ideas visually. It just so happens that storyboard artists are the most talkative people in the industry next to creators so thats what I aimed to do. But when I actually talked to storyboard artists about my work (I was lucky to take a lot of free lectures during the pandemic) they always critcized my work for not looking the industry way. And I unironically found out that being a storyboard artist SUCKS because it's literally just drawing with a bunch of rules and regulations. There's a whole bunch of guides out there from other storyboard artists saying things like "you need to do this, or this, or this.." and I realized it was more fun to just draw the way I want to. I genuienly think the reason the industry sucks so much now are people who kneeled down to the corporations to do what they're told to do as employers and yet somehow tricked themselves into thinking their corpo styled art is their artstyle and that they're somehow not soulless artists for literally doing things. the way they should be done. And its just getting fricking worse man, animation is being simplified so much that you have to everything to a T. to work for studios. I think the best way I can describe it is that it's a corporate dystopia full of people trying to convince themselves that it's "not that bad."
(2/2) TLDR, don't join the industry unless you're prepared to prostitute yourself out to the guys in suits. I found that I enjoy art as a hobby more then a professional thing and I also write now too because I love storytelling and stories are probably the most interesting part about cartoons. It's genuienly better to be in charge of your own art then it is to work for someone else, and despite not entering the industry like I originally intended to I now live a more happier life then I probably ever would have in california.
>don't join the industry unless you're prepared to prostitute yourself out to the guys in suits
I mean, yeah. It's a job. You can enjoy mixing drinks at home, but if you get a job as a bartender there will be rules for how to make specific recipes, presentation, cleanliness standards, proportions, portions, etc. It honestly doesn't matter if you have the best recipe for a mai tai ever. You can pitch the idea to your boss but if they tell you they like their house spec better, guess what you're going to be making?
The creative industry is an industry. People get into art because it's a fun way to express themselves, but making a living doing it is a very different thing. Art is what you make on your own time. When you're on the job, you use your drawing skills in service of someone else's vision. Some people enjoy drawing enough that this can be a tolerable way of making a living which is about the best you can expect from a job. No matter what you're doing, eventually work is going to be work.
I"m not against the idea of work I just think the way they're running the industry now sucks. Doing things by the book isn't a bad thing but when you got all these rules and shitty show after show is being made, what's the point? Animation in the past was unironically less restricted and had a better quality output. Passion is dwindling in the industry all for the sake of monetary gain for people who don't even care.
>Animation in the past was unironically less restricted
No the frick it wasn’t lol. If your main concern is pitch bibles and style guides, those existed since the dawn of animation studios.
>Passion is dwindling in the industry
Depends. Artists are as passionate as ever. Every kid studying art with hopes of finding work drawing/painting/animating is told from a very young age that artists are usually very broke and yet they pursue it anyway. They are driven by their passion. I know people like to shit on art school, but if you could actually be in that environment it is fricking full of people who give SO many shits about the tiniest details that the rest of the world doesn't give a frick about. As mad as you are about budget cuts and cheap productions, artists are even more upset - I promise you that.
Artists WANT to be able to have the time and budget to do things by hand. They WANT to have the time and budget to make things really fricking heartbleedingly good. They are even geekier about animation than you are.
The problem is at the top. Execs no longer back projects because they have a vision for what a network could be creatively...they follow data. Original idea is too risky, better reboot the fricking ninja turtles again. Doing animation by hand is too expensive, how can we make this cheaper and faster? Better lean on the puppet rigs and no, you can't have the time to work more secondary movement into this scene...the character just needs to jump, how hard can that be?
Cinemaphile likes to blame artists because they're simpletons, but it's the fricking Gen X and Boomer execs who are ruining shit. Nobody has the balls to believe in a project and see it through.
I hate you and the execs about the same, which is a lot. At least the soulless execs are capable of being charming sometimes, you're not.
7 months ago
Anonymous
>At least the soulless execs are capable of being charming sometimes
LMAO
7 months ago
Anonymous
They really are when they want something. They don't have vision, which separates them from someone like Walt and is probably why they rely on trends and the ol' reliable back catalog of old IPs so much.
(2/2) TLDR, don't join the industry unless you're prepared to prostitute yourself out to the guys in suits. I found that I enjoy art as a hobby more then a professional thing and I also write now too because I love storytelling and stories are probably the most interesting part about cartoons. It's genuienly better to be in charge of your own art then it is to work for someone else, and despite not entering the industry like I originally intended to I now live a more happier life then I probably ever would have in california.
Fricking this, glad somebody understands my point here
>It’s not worth it.
Depends what your goals are. When I was in high school I thought that people who did shit for money were 'sellouts' and that it was better to work shitty jobs and stay true to your art. After dedicated a major chunk of your life to refining skills and abilities to a professional level, it's a pretty big kick to the balls to suddenly not be able to use any of that skill set to actually make a living.
If your goal is to make 'le art', then frick making a portfolio and trying to find a gig. You can work at a coffeehouse doing leaf patterns in lattes to barely scrape by and work on your masterpiece that will take 15 years on your own time.
If your goal is to utilize some of your specialized skills to make a living doing something you love (even if the specific project isn't something you'd dream about), then making concessions is pretty much expected.
Everyone gets to make their own decisions. I tried the former for way too long, and eventually decided the latter was better. As much as I might not love working on some mainstream projects, as a job I like it WAY more than most of the other non-art gigs I've had. Given the choice between waiting tables or working on a cartoon that isn't my favorite, I'd much rather work on the cartoon. You're going to have to work on your own ideas in your own time in either case.
Crowd-funding works for some people, but it's not for everyone. You need to CONSTANTLY be online and doing twitch streams, and posting to social media, etc, and even then, it pays like shit. It's not for everyone.
That’s a good point, all depends on the investment you are willing to make. If you like drawing dumb doodles and living in the worst state in the country. That’s your choice. People will do anything to live comfortably. Especially in today’s economy.
> If you like drawing dumb doodles and living in the worst state in the country.
Sounds like it isn’t for you. As an “artsy weirdo” who grew up in the middle of fricking nowhere in the Midwest where you were “gay” if you liked art more than football and get beaten up accordingly, escaping to somewhere like LA, NYC, ATL, or Vancouver is a dream. These are my weirdos and yeah, doing creative shit for a living beats the frick out of bartending for me. I’d rather work artistically on stuff I don’t absolutely love than have to listen to people I hate tell me stories while I wipe up their mess, laugh at their stupid jokes, and pretend to be passionate about whiskey. It’s not for everyone though.
>living in the worst state in the country
Only people who genuinely belive this are either foreigners or subhumans who live in flyover states. All cities in America are equally full of homeless people and general decay, it's not even an exclusively American thing, look at videos of Paris, that place is a shithole too.
(2/2) TLDR, don't join the industry unless you're prepared to prostitute yourself out to the guys in suits. I found that I enjoy art as a hobby more then a professional thing and I also write now too because I love storytelling and stories are probably the most interesting part about cartoons. It's genuienly better to be in charge of your own art then it is to work for someone else, and despite not entering the industry like I originally intended to I now live a more happier life then I probably ever would have in california.
I think a lot of people forget that you're ultimately making a product that has to make a return on its initial investment. Passion is great for personal projects, but the industry wants people who can work fast and cheap. That's the main driving force behind a lot of the cartoons you've seen on television for the last 50 years.
Feels like a lot of people who want to do animation as a career don't seem to understand that artists are just cogs in a larger machine, that the most important thing is being a team player so that productions can chug along without any issues.
I think the animators who actually get work in the industry know that very well. The ones who don't get that either don't get jobs, they learn that lesson quickly, or get fired quickly and not hired again. The dickweeds on Cinemaphile seem to forget that, though, and blame the animators for all the things they have zero control over.
Absolutely truthpilled post. Draw how you wanna draw, that’s what Jhonen Vasquez did, and that’s how he found success as an artist before he even did cartoons. He hates the industry.
Jhonen Vasquez was from another time and even then his show got cancelled. I don't believe in the current era another artist like him would be given the chance he had.
If you're in your 20's and still consider yourself the same as you were when you were 19 then you have issues. The fact that you immediately interpreted it as leftist gobbledyasiatic just confirms that
Again, they are making a show the way they wanted to make it. You're making a false assumption that character design is the only thing that sets productions apart.
I get that you're dead set on hating it and that's your choice. I will wait to see a pilot before I make a decision. It might be shit. It might be good. I see no reason to drag it before I actually know.
It’s not that I hate it, I’m sure Charlie is a really cool guy. I just think it’s ya’know, bland. I think the color choices are excellent. I kind of wish It was less round and looked something akin to this.
this kind of style works for an ad or a short and then nothing more. I tried to push a project in UPA style and it got barely any attention compared to my usual stuff. People like weeb western art now.
Industrygay here
As far as I know everybody fricking hates this guy. Completely spineless moron, parroting the popular opinion, never had a real job so he thinks storyboarding is hard and unrewarding. He DMmed everyone he could to try and get them to give him money for his stupid fricking indie project but everybody hates him lmao
I don't follow him so he can't DM me. I only heard other people talk about it.
why do people hate him? I met him briefly at an event. Seemed nice enough to me.
There are a number of people in the industry who people have negative opinions of based solely on their Twitter activity and he's one of them. Soapboxing constantly about the job is cringe, but personally anyone who constantly talks about "burnout" is a rich kid who didn't think drawing pictures for a living would be hard. I've only heard secondhand that he's not turned in work assignments on time but posted those shitty comics during the time he was supposed to be working
Its because these "artists" are friends of people who were hired because they were friends. Meanwhile actual artists like Milton Knight whos been in the industry for 40 years have been thrown to the curb. These homosexuals don't care they just see it as earning money and nothing else.
If you’ve ever been to a university campus, you’ll have these type of people talk to you. They share this cause it’s very much a part of their identity, and having successfully beaten it, they need to keep that on notice.
Or, he’s baiting for funding by play the sympathy card.
>Remembers when I was struggling with my drinking in college >Went to a variety of recovery/moderation groups
It is actually fricking weird, if "Jesus Jesus Jesus" isn't involved, then you bet your ass that "WE ARE ALL SO STRONG AND BRAVE AND AMAZING!" was the only other option until I decided to just do 1-1 therapy
NTA but I personally find artists who make their entire brand online about being “retrospective”, “meditating on success but also not really success???” and whatever other myopic ways of phrasing vent posts to be extremely obnoxious. All this guy is known for is his stupid naval gazing Twitter comics about why mindfulness is key in his horrible situation of getting to work in a field he studied in at a young age, and it all gives me the same migraines something like Brain Dump does. Especially when you find out his pink blob boy is actually a character from a rejected pitch then repurposed into his speaking device just like Max with Goofball.
>All this guy is known for is his stupid naval gazing
He directed on Strange Planet, and storyboarded on Clarence, Harvey Beaks, Big City Greens, Jellystone, and The Mighty Ones. I don't care about him one way or the other, but he does have a good amount of real work under his belt.
Nah, that’s experience for sure, but to say he’s KNOWN for that is a stretch. I don’t think there’s any episodes in those series that you could pull out and say “ah yeah, this episode wouldn’t be like this without Charlie Gavin at the helm.” He did his job, and that’s fine, but it’s like citing what JG Quintel is known for is his work on Camp Lazlo and not his college shorts or Regular Show/Close Enough. Rebecca Sugar is like the only person I can think of who left a particularly strong imprint on the show she was working on before getting her own show running gig, but she already had her student short and comics that helped give her an identity to those in the know. I’m getting nothing here.
>All of these shows basically have the same exact style
I recall some of the SU storyboarders going in with actually cool looking art styles and leaving with their art styles having transformed to resemble SU's. I bet the same exact thing happened to this guy, and it's sad.
>The Mighty Ones
Frick you for making me check out this piece of shit show's trailer.
artists have to be able to replicate any style they are working with. I'd imagine if you were working on any production for any amount of time, a certain amount of that would rub off on you. Fortuantely that can be changed if they want, but if artists are just quickly scribbling something for a twitter post, they'll probably fall back on the style they drew hundreds of thousands of times for a production. I could definitely see the style of those shows rubbing off on Gavin.
>The Might Ones
Not saying it was a good show. A gigs a gig.
[...]
Honestly not surprised based off the way he depicts himself in his comics. He also doesn't seem to have too many industry peers/friends for how long he's been in the industry which is always a bad sign.
I give it a few years before someone comes out about him being abusive lmao.
[...]
Because he just does what he is told. He's also pretty talentless so he's probably inexpensive to keep around.
We know it's you, Tara. Know your audience: show pics of your feet or get out.
>so when he cries about what we say he looks pathetic
Maybe he wasn't acting like someone shoved his stick up his ass so much, he would have at least be appreciative that he made it far into the industry, rather than treat it like he regretted working there. Just imagine how many other people that dreamed to achieving that particular goal into animation only to get shot down on sight after trying to pitch their work.
I mean, not saying he's wrong on how the way the industry is now, which became jaded with projects that are profitable and beneficial to the company, but not the sole creator or anybody working alongside with the creator. But i wished he wasn't so self-absorbed into being more assured on what he knows in POV. The only thing that i'm bothered by him aside from drawing his shitty pink OC, is cynical and, pessimistic attitude.
not an industry artist but an independent
followed me and DMed me for this too, saying he likes my art, but unfollowed after a day. Which is fine but a tad slimy. Came off the type of guy to only see people if they can be of use or not
Keep going anon Stephen Hillenburg didn’t get a show til his 30s. These teen storyboard artists only get these jobs because they’re industry plants that know people.
You're 22, your life hasn't even started yet. In 10 years you'll be glad you haven't given up.
But if there aren't extenuating circumstances which have caused you to redo your first year 4 times, perhaps examine your habits and adjust your lifestyle so you can get through college.
>”Gee whiz, Miss Tara Strong seems like a hassle to work with!” >”Maybe I shouldn’t cast her in my upcoming pilot I’m staking a majority of people’s livelihoods on.” >”B-But that’d mean I’d have to *gulp* make interesting concepts for my pilot!!”
Tara Strong being a bit of a c**t has been an open secret for so long, but cutting her off like this is a self fulfilling prophecy. They could have privately told her they were not moving forward with her after the pilot was completed, but they needed to remind people the pilot exists by unironically signal boosting (I hate that term, but this is what it is.) I got no sympathy for this pink blob man.
'firing' her via twitter was a really shity fricking move, no question. That said, this was not done as a signal boost and I'd bet any bump they're getting in attention is not particularly wanted at this time given the nature of the attention.
Tara was front and center on their PR; it wouldn't make sense to cut her out to get press. They fired her because keeping her on was ultimately going to be more problematic in the long run. Still, it fricking sucks that they did this via social media. She at least deserved an e-mail or a phone call first.
They put out a big post on their blue checked (lmao) accounts. Maybe the initial firing wasn’t meant to be as big of a deal as they want, but they double downed on it in any case. Go look up the “official” Boxtown Twitter account, I’d post it here but I have to be careful given the relation to certain topics.
As you said, this wouldn’t have been as big of an issue if they just contacted her privately, but now it is and now they wanna score some PR points from the masses. It all comes off as shitty and rather transactional, and I’m saying this as someone who is understanding of not wanting to work with people who make you uncomfortable. They literally made her one of the main faces of their campaign though so again, hard to sympathize whatsoever.
I know, I've been following this project since before they did their first crowdfund. (I keep tabs on a lot of indie projects).
They were candid about springing for the blue check on twitter because they were getting close to finishing up their second crowd fund campaign and Elon Musk changed the algorithm to basically bury anyone who wasn't verified. They wanted to keep the PR train rolling so they paid to be verified just so their tweets would remain somewhat visible. They weren't happy about doing that and had tweeted about it.
They double down on firing Tara because she tried to claim that they did it because of her religious and ethnic background (not going to mention the exact circumstances because jannies are ban-happy). Apparently that ended up riling up her simps and now the crew is getting harassed and sent death threats etc.
But yes, I agree that the way they fired her was shitty (especially after her face and name was plastered ALL over their PR). I think that people give Boxtown an undeserved amount of shit considering they haven't even released anything yet, but they should have contacted Tara directly. Announcing that she was let go on twitter before contacting her was a dickless way to go and regardless of her behavior, she deserved better.
Digital Circus at least had to come first before becoming incredibly annoying.
BoxTown is cancer infested horseshit riddle with aids and its only a trailer.
Digital Circus also has a premise that people could potentially like and visuals that are different from a lot of what's available currently. I will not go as far to say that it has a good premise and visuals, but it stands out from the crowd. Boxtown has a soulless artstyle that looks like a dozen corporate cartoons and doesn't have anything to help differentiate it from any other shlock.
>I became successful making comics at 13
TIL making $10 for selling your 'comic' to family members is successful > I was a piece of shit, and I didn't have to change as a person at all
we know
Whoever this is, they're just doubling down by being an attention prostitute about a problem within his workplace/friend group by telling outsiders about it..
Also OP you should be banned for makin such a garbage thread about supposed drama and you don't even give any info. What a joke that the mods are keeping this thread up.
Bruh this whole moronic controversy is now being covered by the fricking New York Post
Holy shit
This stupid bland cartoon doesn’t deserve this level of attention what the frick
https://nypost.com/2023/10/18/veteran-voice-actress-fired-from-animated-show-over-israel-hamas-posts-just-found-out/?utm_campaign=nypost&utm_source=twitter&utm_medium=social
I hope Charlie is happy with all this new attention his show is getting.
By the way as the boss of this entire production he is well within his right to sack Tara. But the way he went about it by letting her know through a public tweet was so stupid, cowardly and unprofessional that I’m sure helped fan the flames of this controversy. Dude should have grown some balls and fired her face to face or even through an email
firing her via twitter was tactless, but it's crazy that this tiny indie production is getting press attention at all. Tara must have her PR team doing heavy damage control.
To be fair it is the New York Post
maybe Tara's team is trying to get back at Charlie by going public, I dunno
One thing that will always bother me is why they went with her in the first place.
Charlie...you c**t, its an INDIE production, why get an A-List voice actress for this? What better way to say "Hey this isn't a corporate show its an INDIE production" by getting fresh young talent? Would have been cheaper too, not to mention no one cares about A-Listers, not even executives, case in point: Hazbin Hotel.
Its not like her character was that difficult to voice, its easy, just get a female voice actress and tell her to make her voice deeper and VOILA, you got your very own little boy voice
Ironically if he ever gets another job he will most likely get fired on twitter too, considering what race is disproportionally controls hollywood. I wonder which group of people is that and which group he decided to piss off for no reason
>I hope Charlie is happy with all this new attention his show is getting.
By the way as the boss of this entire production he is well within his right to sack Tara. But the way he went about it by letting her know through a public tweet was so stupid, cowardly and unprofessional that I’m sure helped fan the flames of this controversy. Dude should have grown some balls and fired her face to face or even through an email
At this point, the charlie dude is jaded within the whim of this pessimistic attitude, considering something like Boxtown, which will go down into infamy despite being a project that might soon become vaporware at this rate. Better forgotten than heavily remembered because of what Tara did or said.
>fire a big name actor for condemning wholesale murder >publicly announce this
Why is it that executives in hollywood are completely moronic? I know that idiot executives are all over the place, but I swear that in the entertainment industry, they seem to be the rule rather than the exception.
Considering twittergays are quick to support the other side, which hates gays, trannies, israelites, christgays, blacks and browns. I bet they frick around with them, and then next, they're beheaded.
>a modeler is gonna be the next crew member to get booted
maybe? They do stir up an awful lot of shit and also tag people directly. Their modeler is the equivalent of zebirdbrain from lackadaisy who just could not shut the frick up and made things exponentially worse for everyone. I don't see them getting let go, but at some point it would probably not be a bad idea to tell them to either chill out or make a separate account for hot takes.
Use twitter to promote your shit and post art, but talking politics in chunks of 240 characters is fricking stupid.
Make friends while you're there, keep political opinions to yourself, make friends while you are there, avoid posting on social media, MAKE FRIENDS WHILE YOU ARE THERE, dead serious the most important thing you can do is kiss people's ass.
If you're the kind of lone wolf type who likes to post on Cinemaphile, you are going to have to fake social skills. Don't talk about being miserable or single or alone. Ask people about their personal projects and what their dream job in the industry is when you get the chance. If you have hobbies outside of art, it would be good to talk about those sometimes, otherwise I would recommend just taking walks in parks and possibly you will see things in the wild that will give you future conversation topics.
They became much more vocal once they already had their own show. I think a lot of creators Ed it as “their responsibility” to use their status and platform to yadda yadda. Both are pretty quiet these days so it’s likely they realized using Twitter like a diary wasn’t a good move.
If you are on the left you are fine (among your peers anyway). Anything the left considers right wing will get you thrown out of social circles (full of lefties).
It's just best to shut your mouth.
Industryanons itt do any of you have some advice so I don't end up like this guy? Just got accepted for a bg layout internship and wanna do well
Something other anons did not mention is to not critique other industry artists work. They really don't like it even if its to help. If you look at any recent shows and movies that get shit on theres always industry artists to defend them.
Also be nice but not so much it seems fake or annoying.
Cheers guys.
I've got a friend or two helping me get in the industry already and will for sure be focusing on making some more.
Ill make sure to keep shit to myself weather it be criticism or politics. I don't want to end up being like Charlie.
I appreciate the advice
Dana at least isn't that rich. Disney showrunners make enough to buy a modest house in LA if they don't have student debt. They don't make residuals unless they're voice actors in SAG (so Alex probably makes more) but none of the people you can think of are set for life.
Make friends while you're there, keep political opinions to yourself, make friends while you are there, avoid posting on social media, MAKE FRIENDS WHILE YOU ARE THERE, dead serious the most important thing you can do is kiss people's ass.
If you're the kind of lone wolf type who likes to post on Cinemaphile, you are going to have to fake social skills. Don't talk about being miserable or single or alone. Ask people about their personal projects and what their dream job in the industry is when you get the chance. If you have hobbies outside of art, it would be good to talk about those sometimes, otherwise I would recommend just taking walks in parks and possibly you will see things in the wild that will give you future conversation topics.
Best of luck, m8
said except I have some things to add: >avoid posting on social media
Posting online helps a little bit in getting a job, it gets your work out there. Just post your art and don't post any political/offensive shit of any kind.
>If you have hobbies outside of art, it would be good to talk about those sometimes, otherwise I would recommend just taking walks in parks and possibly you will see things in the wild that will give you future conversation topics.
Definitely follow this advice. All of the most boring people I've met in the industry only had art related hobbies or only went to an art school and never had an average job. Experience life and you'll have some fun stuff to talk about.
A lot of people are giving you general socialization and networking cues, but if you really REALLY don’t want to want up like Charlie, internalizs the following: >You will NEVER achieve a “perfect style” and that’s okay. Be open to practicing new things, learning fundamentals and stealing like an artist to develop yourself on your art journey. For backgrounds especially, learn how to master breaking down background perspective and adapting to more complex styles >Don’t just watch media passively, really jot down what evokes emotion in you from whatever you experience and work on curating your own taste. Once this gig is done, you’ll have a nice badge of experience, but you still need to develop a portfolio beyond your work examples, and you can’t start if you don’t have an idea of what evokes any emotion from you.
Basically, keep an open mind and be willing to always improve. I think Charlie Gavin got a lucky break at a young age, but it’s stunted his artmaking since he never had to develop a personal portfolio, and you can see it materialize in how utterly uninspired Boxtown looks and sounds, and now he treats his extremely privileged position as a burden in his shitty vent comics. You can worry about audience building and whatever later if you wanna go indie, but for now focus on your personal development as an artist, even if you seemingly “made it”
Everybody here is right. Making friends is very important, keep political opinions to yourself, don't be annoying on social media (I don't put anything serious on any of my public accounts) and complete your assignments on time. Ask for feedback from your superiors. You'll do fine anon, good luck!
Considering his art still fricking sucks and the only thing he's learned is not to act like he's hot shit, but to instead act like a sanctimonious c**t, I'd say he's worse off than when he was younger and had an excuse. He didn't really change at all, he just pretends he did because that strokes his "I'm such a big fricking deal" ego.
op here. I must bee too new here. what's so bad about these shows. There's very few originals and a couple of outsourced cartoons
Anyhow it's not like Nick and Cartoon network are the only sources for storyboard job.....right?!
Yeah, for all this talk about how you have to fall in line and suck up to the exeuctives, they're firing everyone and gutting their animation departments anyway.
Yeah, for all this talk about how you have to fall in line and suck up to the exeuctives, they're firing everyone and gutting their animation departments anyway.
Still better than having to mop up shit in a bathroom and deal with screaming fatasses because their mcdouble meal is missing a fry on a daily basis.
he also runs a YouTube channel, it's so painfully obvious he only cast Strong and Hirsch to begin with because those are two names cartoongays care about lol
"OH gee how am I gonna get pity points for this?"
I like how hard these people act and as soon as they receive an ounce of criticism they hide like a b***h.
>make a public spectacle of her firing instead of just keeping it respectful and behind the scenes >surprised when the controversy doesn’t magically disappear
Actual fricking moron
lmfao one of the funniest things about boxtown is there are basically no genuine fans its all just people trying to network with gavin and get a job cause that one person did
wonder when the allegations of lowpay/mistreatment will come out since hes hiring people with no/little industry experience
are they actually breaking the contract or whatever it is? that screenshot
Hey I'm gonna give you advice homosexual so listen. If you wanna really make em mad just ignore them. Constantly doing the "Lul so mad?" shit is just gonna make them frick with you more. Ignoring is the best frick you to somebody. It works too, because they end up looking like jackasses themselves.
The fricker couldn't just keep it professional and be diplomatic when he layed off Tara Strong, he had to turn it into a fricking circus show.
Of course people are going to come at you, you stupid prick.
I mean he probably got a lot of publicity, I had no idea who the frick he was before all this, and i can see now morons supporting him to own the "bigots"
[...]
The fricker couldn't just keep it professional and be diplomatic when he layed off Tara Strong, he had to turn it into a fricking circus show.
Of course people are going to come at you, you stupid prick.
At this point, I'm hoping the Boxtown gets permanently cancelled, just to see Charlie rot in hell.
I really fricking hate this design. It looks so amateurish. Smiling friends looks less "made-for-kids" despite intentionally trying to look cutesy to contrast with the more grotesque nature of its world.
[...]
The fricker couldn't just keep it professional and be diplomatic when he layed off Tara Strong, he had to turn it into a fricking circus show.
Of course people are going to come at you, you stupid prick.
I wish I got my first storyboard job at 19
Literally who?
>progress as a person
Huge red flag. You can already tell this guys brain is full of leftist waffle through this one phrase
If you're in your 20's and still consider yourself the same as you were when you were 19 then you have issues. The fact that you immediately interpreted it as leftist gobbledyasiatic just confirms that
This
To be fair, not all progress is good. You can become more of an butthole and still interpret it as "growth"
That's true. I don't like this guy's art or attitude
I never understood change for the sake of change. I'm 35, but I'd say I'm still the same core person I was at 19. I've gone through some slight changes, but I don't think my past self would be too surprised with my current self.
I'm 25 and still basically the same person I was when I was 19, in terms of how I act
Not everyone was as shitty as you were in your twenties, some of us never got to grow up thinking we were immortal.
Change for the sake of it isn't always good. Though sometimes it is good. But really people like OP's pic sometimes turn out to be a Randy Pitchford, Anthony Burch, C.B. Cebulski, or Dan Slott or whatever spewing cringy "badass", smarmy dialogue, art, or behavior that is inherently shit. It's just now they realize that their behavior was bad so now they make it uber safe and wholesome while still retaining their shit skills. Either way, Pitchford, Burch, and Slott are still weirdos and as anons have said, people don't give a frick how much you've grown. If you do something bad then you either apologize or if it's real bad then you frick off until it's better or for eternity depending on how bad it is. Simple as that.
I was 19 three years ago.
"Progress as a person" just means "I was an ass earlier but now that I've faced social consequences I will mask that." People don't change.
>People don't change.
not without effort, but only lazy people think real change is impossible.
This. Believing people don't change is just an excuse so you don't have to be vulnerable around others or work on yourself. It's pathetic.
The replies to this post explain SO MUCH about this place
This is Cinemaphile b***h. We clown in this mutha fricka betta take yo sensitive ass back to twitter!
read
Sorry I didn't change in 3 months
>crippling loneliness because women don't want to date me and the guys that do could only long distance with me
>no job thanks to the pandemic destroying the validity of my bachelor's education "you earned that in zoom you have no real knowledge" (actually said to my face by an interviewer)
It's been 8 years since I was 19 and I'm still the same exact person I was because the world won't let me change who I am. Leftists use the term "progress as a person" because they always obsess over self-correction to the point they erase all distinguishable original ideas and personality from themselves because it could "offend" someone and turn into social parrots.
I'm 22, dude. I'm sorry I didn't get to grow up thinking I was invincible like you.
It's actually academic gobblyasiatic, which is almost the same thing.
Anon is right for the wrong reasons. Growing as a person is good, but Charlie here is an insufferable twat. He called that one CalArts animator a bigot for tweeting the Matt Walsh documentary.
To be fair, if someone you knew tweeted out shit like "protect trans kids" you'd probably call him a lefty homosexual
"People" on this board will do everything possible to interpret this statement in the worst possible way, but you are right. It is a dog whistle from the therapy cult.
Seek help
I just wanted to let you know that I know what you're talking about, but at face value this post seems really dumb
It's because he said the no-no words "toxic" and "progress" right?
>seething because everyone who uses lefty babble turns out to he the exact same type of person every time
Honestly based. Anyone who feels the needed to draw attention to that kind of thing usually hasn't made any meaningful progress at all.
>leftism is when you’re humble and grow as a person
Huh?
It's not normal to virtue signal about how much you've "grown" as a person to strangers online
signaling your growth as a person and making a big stink over it isn't being humble.
The idea that you have to go through a humiliation ritual and reshape yourself to fit in with the crowd of low confidence types is.
Depends what tge bad habits were, which they don't elaborate on.
I really wonder how he used to draw back then, knowing how everything he's drawn for the last years, apart from those drawings with that pink avatar or whatever, is stuff like this
Why do these "industry artusts" always draw the same looking shit?
>basic shapes
>basic colors
>beanmouth
>nothing detailed or interesting in their portfolio
Cause its easy to draw, which means anyone can be hired to do it
Storyboards aren't about good or detailed drawings but telling the story. Art isn't the focus of the job. They are basically cinematographers.
Draw a fight scene homosexual
>Storyboards aren't about good or detailed drawings but telling the story
uh? That's the writer's job. I thought storyboards were scene compositions.
Not when the production is board driven and the board artists have to pull double duty.
I agree that storyboards, at the beginning stage shouldn't focus too hard on making things look pretty (because trying to be a perfectionist about it will only stall you from finishing it) but finished cartoons nowadays look just as bad as the initial boards.
The biggest thing everyone will tell you in how to land a story gig is to draw what the guys currently working are drawing and in the exact same style. This is how they get hired, they have to do this. I had to do this, and I currently tel others to do this.
It sucks but I need work.
It probably helps companies weed out the more eccentric candidates too. I imagine they treat you guys are fairly disposable and want to make sure whoever they hire is going to do exactly what they want, how they want it, without much oversight
I wonder if val was serious about maybe trying to get OOPs published and animated in some form or another one day down the line
Reminder that this guy makes around 50k a year doing this comic. If i was him I wouldn't want to rock the boat chasing an animation pipe dream
Grimmy..
Based sober take.
It was the same thing for music. I came out of school writing really experimental work that often had me writing my own software from the ground up because tools at the time wouldn't allow me to do what I wanted.
I spent ages getting no jobs. I knew I could write the typical sort of music used in tv and film but thought that people could see that by looking at my more "difficult" and stylistically unique stuff. Turns out people won't believe you can do something unless you overtly show that you can do it.
I finally bit the bullet and started building a portfolio of more generic stuff and suddenly I was employable.
Anons on Cinemaphile like to shit on artists, but we're typically not the ones who have enough power to make stylistic decisions. Someone with more money than taste is calling the shots and you can either fall in line and get work, or refuse and spend most of your time doing menial work at a completely unrelated job that you hate even more. I spent a long time working shit jobs while I tried to do things 'my way'. At the end of the day, it turns out I'd rather write generic music for a living than wipe down brunch tables.
The only people who would shit on you for making that choice are not good enough to even HAVE that choice.
But anon, what about when you make portfolios to prove you do have the skills needed to fall in line, and yet they still don’t hire you because you “lack a voice of your own to contribute”
Because this has happened. Like a lot actually.
Have both original and derivative stuff in the portfolio
>”Have both wholly original and compelling ideas but also be an exact style copying machine so we can employ you to clean someone else’s storyboards.”
You’re not wrong and I’ll most likely be doing this, but this is what I mean about the absurd levels of skill needed to demonstrate just to get a big standard entry level job. Thanks in any case.
Even with a good portfolio nobody hires me with no experience. Also
>original compelling ideas
>absurd levels of skill
If you think designing a couple of random characters in your personal style is absurd then those portfolio videos from goeblens must be wizard level
>If you think designing a couple of random characters in your personal style is absurd then those portfolio videos from goeblens must be wizard level
It depends. The characters need to be informed enough where the design isn’t haphazard, but also be translatable to production, or at least be representative of something you’d want to see in production.
Not to mention penning down what a “style” is, what colors and lines to use, the tone you want to convey, would your character designs and so on even fit this style, and all this for something most people don’t expect to ever see production maybe like, a webcomic. A lot of the time, people just had to be able to just reproduce the house style of the production and get in that way, nowadays if you’re not part of the art school circuit, they expect you to be a fully formed independent artist who happens to want to work in a production line and comply anyways. It feels a little counter productive, especially because people used to just get the experience working within a system and figure themselves out afterwards. None of this is impossible, obviously, I’m just saying it’s a bit much for jobs that ultimately ask for you to stick to style guides anyways.
And yeah, those Gobelins portfolios are pretty daunting, people being that self realized that young is crazy. It’s impressive as all hell, but still crazy. Especially to hold that as any sort of standard.
They just wanna be israelites and save time paying money to train newbies like it was in the past
>no experience
You don’t get hired with no experience. Build up ultime chops and portfolio working for free on student projects. There are tons of them out there. Once you do a few, you’ll be in a stronger position to apply for jobs. If you can’t get people to hire you for free, work on your shit. You’re not good enough.
yeah, that's happened to me too. I was rejected for jobs because my stuff was too weird, but after building up a strong 'mainstream' portfolio, I've been rejected from jobs because they wanted something more 'unique'.
It's a horse and cart thing. I think you need to prove that you can do the basic bread and butter shit first, but then additionally be able to show that you can do more unique shit.
When it comes to actually bidding for a client or job, you need to do your research, figure out what they will probably want to see, then make a portfolio for THAT gig specifically. Keep you general portfolio findable, but when going after specific jobs make sure to put together both generic and unique samples of your work that would fit their vibe. If you have time to throw something bespoke together, that also helps. Tell them "this is a potential direction I was thinking might work for your project" and invite them to discuss it.
Screencapping this for future reference when I get time to work on my portfolio, Thank you, anon. I appreciate the genuine response, best of luck on your career as well.
Good luck! Remember, half the battle is getting people to see what you want them to see. You can make tons of different types of art, but each person looking at your work is looking for a very specific thing. They're not looking to hire 'a good artist'; they're looking to hire an artist who can make their very specific vision happen.
General portfolios are a crapshoot since they may not look beyond the first 2 samples, so control that by only showing them what you want them to see. If you use a web design service that allows you to track metrics, this also has the added benefit of allowing you to track activity. Instead of wondering if Johnny Network actually looked at the work samples you sent, you can look at the network activity on the private link you sent them. If anyone but you looked at it, there's a good chance they at least saw it (and unfortunately probably decided to pass). If no activity is on that page other than your own IP address after a week or two, then it might be worthwhile giving them a prod.
>when I get time to work on my portfolio
What, so you can get hired by Burbank studios just to make garbage like this for the rest of your life? It’s not worth it. The mainstream animation industry is a carcass being eaten by maggots. If you want to make a cartoon, do it online and raise funds in hopes your idea becomes a reality. Don’t stoop yourself into these kinds of conditions just so you can befriend large talent that shuns anybody for disagreeing with them politically.
>It’s not worth it.
Depends what your goals are. When I was in high school I thought that people who did shit for money were 'sellouts' and that it was better to work shitty jobs and stay true to your art. After dedicated a major chunk of your life to refining skills and abilities to a professional level, it's a pretty big kick to the balls to suddenly not be able to use any of that skill set to actually make a living.
If your goal is to make 'le art', then frick making a portfolio and trying to find a gig. You can work at a coffeehouse doing leaf patterns in lattes to barely scrape by and work on your masterpiece that will take 15 years on your own time.
If your goal is to utilize some of your specialized skills to make a living doing something you love (even if the specific project isn't something you'd dream about), then making concessions is pretty much expected.
Everyone gets to make their own decisions. I tried the former for way too long, and eventually decided the latter was better. As much as I might not love working on some mainstream projects, as a job I like it WAY more than most of the other non-art gigs I've had. Given the choice between waiting tables or working on a cartoon that isn't my favorite, I'd much rather work on the cartoon. You're going to have to work on your own ideas in your own time in either case.
Crowd-funding works for some people, but it's not for everyone. You need to CONSTANTLY be online and doing twitch streams, and posting to social media, etc, and even then, it pays like shit. It's not for everyone.
I think it would be good to find a good middleground, like you work on mainstream stuff but it's also something you can kind of get passionate about and like doing
>work on mainstream stuff but it's also something you can kind of get passionate about and like doing
naw, that sounds exhausting. Go in, do the work, and then allow yourself to clock out. Save your passion for you. The passion in your job is for your craft.
Sure, you might not absolutely love the owl you're drawing for the kindergarten cartoon, but you DO love drawing. You care enough about your craft to want to do a really fricking good job of drawing that owl and bringing him to life.
It's ridiculous to expect artists to only work on productions they are passionate about. Nobody else with any other job has to do that. Mechanics work at garages they don't necessarily love, but they like doing mechanic work so they make it work. Every production is temporary, so even if you find a gig you love, you're going to need to find another one once the job ends and the likelihood that you'll be able to keep webslinging from one passion project to the next is unrealistic. Get the jobs that you can, and love your role even if you dont' love the project.
>I think the best way is to just change who you are and have a different perspective from yourself
The thing about art is that it's like an expression of who you are. The people who do mainstream work and then feel really good about it are people expressing themselves. Like there's a couple of animators who are popular right now, and 95% of what they do is stealing memes and other people's jokes. They have Discords you can join, and you can talk to them, and they have that basic b***h personality. None of it is calculated. They just look at these memes and think they are the funniest shit in the world, and then joyfully animate them in their own style.
But if that's not you, then mainstream work, whether for the industry or the internet, isn't going to be an expression of "you". That's just how it is. There's pay in doing mainstream work and common denominator stuff, but for a lot of artists it's a compromise. The artists who genuinely love mainstream work that has them just animating TV dinners tend to be... neurodivergent, is the polite word they use these days.
Not to mention it’s a lot easier to sell your passion projects and get people to help you work on them if you’re experienced in an industry specialized towards that. Like I don’t understand why anons think once you take industry jobs, that locks the pathway for any independent work in the future when it’s the complete opposite.
Harry Partridge leans into "so good it's bad" quality. Like RubberRoss, their stuff just looks overpolished and soulless.
What do you even make music for? Ads? Tv scores? Vidya osts?
That doesn’t answer why Charlie still draws like this outside of work, shouldn’t drawing shitty doodles only apply when working? Or are corporate suits so butthurt about people drawing in their natural style that they monitor their social media pages and fire people the moment they make a decent sketch? If that’s the case. It’s no wonder younger artists are refusing to move to Burbank just so their art can be butchered and are instead making Indie slop.
Say what you will about Vivziefart or the SMG4 guy. But I Imagine they let their employees draw cool shit. It’s a much better environment than wasting your adult life making awful art like this because you are forced to. Like homie, I wouldn’t be caught dead making my boy Crash Bandicoot look like this.
If you want 2D work, sure. But you can absolutely gear your portfolio and boards to CG shows. Many of them pay from slightly to significantly less (depends on the project) and are often not done in-house, but you get to be much more off-model and draw in a much more appealing way if that's what you're looking for.
I liked that show
>When the showrunner realizes he said 19 and not 9
This art is absolute unforgivable garbage. Whatever this guy thinks he knows as an artist, he doesn't know jack shit. Honestly the least effort least appealing, purely representational crap art out there. Hopefully in ten more years he'll be calling himself toxic and smacked down for drawing shit like that. Holy frick nothing in these images is even slightly designed to be looked at.
this is the only art I could from him, it's a better representation than 5 minute doodles at least. I don't know how much the fidelity of your art matters when you're a storyboard artist anyway, most of the time you're just laying down the groundwork for how an episode plays out
There are no words to describe how much I fricking hate this terrible artstyle. Souless as souless can be. The dude was made in a lab just so he can do shitty storyboards for disney.
90% sure he didn’t draw this, he sucks at drawing.
Multiple people have said he’s insufferable to work with, but what do you expect about a guy that makes shitty “advice” comics.
>Multiple people have said he’s insufferable to work with
I’ve never heard this, but I believe it. He seemed jealous of people that have more followers that like anime.
Honestly not surprised based off the way he depicts himself in his comics. He also doesn't seem to have too many industry peers/friends for how long he's been in the industry which is always a bad sign.
I give it a few years before someone comes out about him being abusive lmao.
Because he just does what he is told. He's also pretty talentless so he's probably inexpensive to keep around.
>Multiple people have said he’s insufferable to work with
source: dude, trust me.
this drawing sucks too, and the little kid at the bottom is literally stolen from an OK KO stock photo.
Pot meet kettle. This shit is just as worse the pic you replied off.
It does look bad in KO too but my point was more that Boxtown is a derivative of something already derivative
>just as worse
What a terrible crash knockoff
Bottom right is the only character the art style really works for.
"Doing better" never actually means what it's supposed to mean, it just means you got tricked into thinking your behavior is somehow bad and you need to completely change yourself without actually doing so
>let me diddle kids and shoot my neighbor's dog!!!
You need Jesus.
what are you talking about you stupid homosexual
Literally who's that?
If he did fat fetish art then I'd care.
>BEING BETTER?!!?!?
Better at what? If it was specific and he was actually proud he'd say how, whether that be in fitness, relationships, life skills or any other way.
Instead he doesn't because he's only progressed at regurgitating ideological garbage.
Sounds reasonable, if a little self-hating. I say learn from things but let kids be kids, including your past teenage self. I wonder what he did though and what he learned
I wish I could just get a job at 19 and not have to jump through so many hoops and prove unreasonable levels of skill as an outsider to even be considered for revisionist positions. I do think that early success probably fricked the guy up though, and his Boxtown pilot proved he hasn’t really meditated on his art beyond doing the jobs that can make him money.
I wish he would stop making these terrible vent post comics though.
>his Boxtown pilot
You're talking about this as if you've seen it.
Nothing has been released yet. It might end up sucking, but there's a chance it could be good.
I know it's popular to shit on it here, but I personally want to at least see a pilot.
no, I'm not Charlie. I just believe in forming opinions AFTER I've seen something.
I understand and respect that principle, anon. I just think relying on “star power” like the Boxtown campaign did was indicative of a lack of confidence in the concept beyond pitching it with the vague notion of “supporting indie animation.”
I strongly believe you don’t need an elaborate ghost kitchen like “studio” to produce a compelling pilot/concept, nor do you need crowdfunding especially if you’re a relative unknown in the grand scheme of things, but even then, Long Gone Gulch ended up getting done after their respectable 25k funding vs the asking price of 150k for something that looked much simpler in style and substance like Boxtown.
I also understand and respect your position. That said, I can get why the Boxtown crew wanted to flex the connection to Alex Hirsch and Tara Strong so hard. It's fricking tough getting people interested in things, but both Hirsch and Strong have a pretty dedicated fan base and I think they were hoping to tap into that network. People aren't necessarily going to donate to a project just because Hirsch and Strong are attached, but those names WILL help get the campaign a lot more tweets/retweets and potential articles which helps get the word out. A lot of people do this. One of the reasons there was so much hype around Inside Job was because networks kept flexing the connection to Alex Hirsch. The project still had to stand on its own legs, but mentioning Hirsch got people to pay attention and at least check it out.
To Boxtown's credit, they DID recently cut ties with one of their major stars (for reasons I won't get into because jannies are ban happy these days when it comes to even mentioning events that cannot be named). If 'star power' was all they had to the production, I highly doubt they would have opted to cut out their biggest star.
LGG did operate on a shoestring budget, but it took like 10 years to put together (5 years to produce post-funding) and they ended up calling in a lot of favors from friends who either worked very cheaply or for free (as stated directly by Tara and Zach in multiple interviews). From the little that I know from friends etc, Boxtown is actually paying their staff typical industry rates which, while not glamorous, are at least somewhat livable.
But why does Boxtown look the way it does? It’s not held back by the industry, they can draw in whatever style they want. Yet it still looks the same as the Disney TVA garbage that this board creams themselves over.
I don’t know why Cinemaphile is the only community on Cinemaphile that’s willing to bootlick industry professionals just because Pendleton Ward happened to post his buttcrack here once. I don’t care about feelings getting “hurt” or any of that shit. They are grown ass adults and probably view anybody the right of Bernie Sanders as a neo-nazi. It’s dead on arrival and the fact they fired Tara Strong just because she didn’t like her people getting butchered by sand dwellers only exemplifies it.
>artists aren't drawing things the way I think they should be drawn so that means they're wrong
They decided to make a show the way they wanted to make it. That will inevitably include making decisions that you, personally, do not like.
You are also free to try to make a show the way you want to make it. If you hate that all shows have a similar style, then create one that is different.
Just because they are making a show that isn't held back by the industry doesn't mean that some of their choices won't align with the industry. Perhaps character designs weren't one of the specific things they felt constrained by.
This is called a fallacy of false dichotomy, btw. You see this all the time in the news.
Yeah you are definitely a shill
Nope, just don’t get the hate boner people have for this thing
They have functioning eyes for one thing
Industrygay here
>it's an unoriginal concept that seems like it would be on Netflix or some shit
>It probably got rejected from a couple places before he decided to go indie
>Charlie is a sniveling cuck with an obnoxious online presence
>It's ugly
>He doesn't support other indie projects
Jannies used to be fun
>butchered by sand dwellers only exemplifies it
Who is going to tell anon that israelites are also sand dwellers
i remember when SU was really popular and one janny banned me for shitting on the show, it wasn't even in their general.
I was surprised at the time but now i remember that moment fondly from the time jannies used to be fun.
I get what you’re saying, but Inside Job had the tangential benefit of being a Netflix produced and backed product. Hirsch’s name attatched certainly helped, but the show was able to find an audience because they had a wide distribution and ultimately things about the show itself appealed to people even if it wasn’t fast enough for the Netflix machine. I’m just saying, your core concept needs to be strong as hell if you’re asking the money they were asking for. I won’t get too into them cutting Tara since that’s a whole other discussion, but even if I don’t care for her or her opinions, I don’t think that was a smart move either especially for such a burgeoning project which, as you said, is relying on their pre-established fanbases to care
>From the little that I know from friends etc, Boxtown is actually paying their staff typical industry rates which, while not glamorous, are at least somewhat livable.
That’s certainly commendable to a certain extent, but it’s not exactly conducive to getting a project funded or done. I think Charlie jumping to being a showrunner period was kind of a bad mood since the guy is barely known outside his obnoxious pink avatar vent comics, and again it’s all just sort of selling itself on the vague notion of “indie animation!!!!!” rather than a good, compelling pilot. At the very least, I’m trying to explain why I looked at the Kickstarter campaign with massive doubts and that detail just makes me think they’re again trying to sell itself more on the values being espoused rather than working within his means. I’ll say that LGG’s situation isnt always ideal and is obviously not applicable everywhere, but I supported it till the end. It met its money goal, produced a good pilot and it exists.
I don’t know. Maybe it’s my own biases but it’s harder and harder to see that happening here with Boxtown.
>I get what you’re saying, but Inside Job had the tangential benefit of being a Netflix produced and backed product.
yeah. And they STILL fricking leaned on Hirsch's name to build up hype. The fricking Mario movie leaned on their celebrity casting even though that was a beloved franchise for literal decades. Indie projects need all the help they can get so if they were actually able to get help from industry celebrities, I don't blame them for pushing that in their campaigns.
Still, you see that and think that's all they have. I don't give a shit about Hirsch and I didn't give a shit about Tara when she was still attached. I saw an indie project created by a bunch of people who have industry experience so they understand how the professional production pipeline works. They're making a show that has noir influence, but is obviously not buying into nearly ANY of the noir tropes. I see a character who looks drunk and kind of morally ambiguous and a happy go lucky younger kid who may or may not have a serious violent streak.
I want to see what Boxtown has to offer and it has nothing to do with celebrities. It might suck, but it might be cool. I'm willing to watch it.
I'll also watch Hazbin, and digital circus, and murder drones, and lackadaisy, and if monkey wrench keeps going, I'll watch that too. We're in exciting times of indie animation. It won't all be good, but I'll give everything a shot.
And if you make something, I'll watch that too, tbh.
>It won't all be good
Will any of it be good?
The only gentile crew is Lackadaisy and Tracy is allergic to making a definitive story with an ending.
Murder Drones is pretty good. Best indie production out there right now.
>give the guy who fired his israeliteess cashcow for not being on her knees for Israel a chance
Haha no
A lot of people are dipshits at 20, myself included. Glad he could use the fire to strengthen his resolve like a fine bar of steel.
>be Gavin
>detest how the industry has become with only wanting IP driven series
>decide to open a crownfund for a indie-web series
>hire union-driven people
>decide to hire Tara Strong, what could possibily go wrong?
>Strong starts with islamphobe posts
>decide to fire her
>acusse your show of racist
>make a community note on twitter calling Tara as "this was NOT a dificult choice"
>Her VA pals come to attack your project
>likely getting blacklisted for this
Hoist with his own petard.
That would paragraph is filled with stupid gobbledyasiatic, but not because of that sentence.
OH I WAS AN butthole WHEN I WAS 19 BECAUSE I WAS SO WELL OFF
They're still conceded, no one could possibly give a shit about such unsympathetic problems and them thinking they could find it and need to talk about with shows their lack of self-awareness. They can get fricked
(1/2) I realized a couple years ago the only reason I wanted to get into the animation industry was because I liked the shows I was watching. Animation is unironically my passion, but I believed the only way I could possibly enter the industry was through art. So I started drawing a lot, on a daily basis, grinding to improve my work, and you know what? I enjoyed it. I was really enjoying being able to express all of my ideas visually. It just so happens that storyboard artists are the most talkative people in the industry next to creators so thats what I aimed to do. But when I actually talked to storyboard artists about my work (I was lucky to take a lot of free lectures during the pandemic) they always critcized my work for not looking the industry way. And I unironically found out that being a storyboard artist SUCKS because it's literally just drawing with a bunch of rules and regulations. There's a whole bunch of guides out there from other storyboard artists saying things like "you need to do this, or this, or this.." and I realized it was more fun to just draw the way I want to. I genuienly think the reason the industry sucks so much now are people who kneeled down to the corporations to do what they're told to do as employers and yet somehow tricked themselves into thinking their corpo styled art is their artstyle and that they're somehow not soulless artists for literally doing things. the way they should be done. And its just getting fricking worse man, animation is being simplified so much that you have to everything to a T. to work for studios. I think the best way I can describe it is that it's a corporate dystopia full of people trying to convince themselves that it's "not that bad."
(2/2) TLDR, don't join the industry unless you're prepared to prostitute yourself out to the guys in suits. I found that I enjoy art as a hobby more then a professional thing and I also write now too because I love storytelling and stories are probably the most interesting part about cartoons. It's genuienly better to be in charge of your own art then it is to work for someone else, and despite not entering the industry like I originally intended to I now live a more happier life then I probably ever would have in california.
>don't join the industry unless you're prepared to prostitute yourself out to the guys in suits
I mean, yeah. It's a job. You can enjoy mixing drinks at home, but if you get a job as a bartender there will be rules for how to make specific recipes, presentation, cleanliness standards, proportions, portions, etc. It honestly doesn't matter if you have the best recipe for a mai tai ever. You can pitch the idea to your boss but if they tell you they like their house spec better, guess what you're going to be making?
The creative industry is an industry. People get into art because it's a fun way to express themselves, but making a living doing it is a very different thing. Art is what you make on your own time. When you're on the job, you use your drawing skills in service of someone else's vision. Some people enjoy drawing enough that this can be a tolerable way of making a living which is about the best you can expect from a job. No matter what you're doing, eventually work is going to be work.
I"m not against the idea of work I just think the way they're running the industry now sucks. Doing things by the book isn't a bad thing but when you got all these rules and shitty show after show is being made, what's the point? Animation in the past was unironically less restricted and had a better quality output. Passion is dwindling in the industry all for the sake of monetary gain for people who don't even care.
>Animation in the past was unironically less restricted
No the frick it wasn’t lol. If your main concern is pitch bibles and style guides, those existed since the dawn of animation studios.
>Passion is dwindling in the industry
Depends. Artists are as passionate as ever. Every kid studying art with hopes of finding work drawing/painting/animating is told from a very young age that artists are usually very broke and yet they pursue it anyway. They are driven by their passion. I know people like to shit on art school, but if you could actually be in that environment it is fricking full of people who give SO many shits about the tiniest details that the rest of the world doesn't give a frick about. As mad as you are about budget cuts and cheap productions, artists are even more upset - I promise you that.
Artists WANT to be able to have the time and budget to do things by hand. They WANT to have the time and budget to make things really fricking heartbleedingly good. They are even geekier about animation than you are.
The problem is at the top. Execs no longer back projects because they have a vision for what a network could be creatively...they follow data. Original idea is too risky, better reboot the fricking ninja turtles again. Doing animation by hand is too expensive, how can we make this cheaper and faster? Better lean on the puppet rigs and no, you can't have the time to work more secondary movement into this scene...the character just needs to jump, how hard can that be?
Cinemaphile likes to blame artists because they're simpletons, but it's the fricking Gen X and Boomer execs who are ruining shit. Nobody has the balls to believe in a project and see it through.
I hate you and the execs about the same, which is a lot. At least the soulless execs are capable of being charming sometimes, you're not.
>At least the soulless execs are capable of being charming sometimes
LMAO
They really are when they want something. They don't have vision, which separates them from someone like Walt and is probably why they rely on trends and the ol' reliable back catalog of old IPs so much.
Fricking this, glad somebody understands my point here
That’s a good point, all depends on the investment you are willing to make. If you like drawing dumb doodles and living in the worst state in the country. That’s your choice. People will do anything to live comfortably. Especially in today’s economy.
> If you like drawing dumb doodles and living in the worst state in the country.
Sounds like it isn’t for you. As an “artsy weirdo” who grew up in the middle of fricking nowhere in the Midwest where you were “gay” if you liked art more than football and get beaten up accordingly, escaping to somewhere like LA, NYC, ATL, or Vancouver is a dream. These are my weirdos and yeah, doing creative shit for a living beats the frick out of bartending for me. I’d rather work artistically on stuff I don’t absolutely love than have to listen to people I hate tell me stories while I wipe up their mess, laugh at their stupid jokes, and pretend to be passionate about whiskey. It’s not for everyone though.
>living in the worst state in the country
Only people who genuinely belive this are either foreigners or subhumans who live in flyover states. All cities in America are equally full of homeless people and general decay, it's not even an exclusively American thing, look at videos of Paris, that place is a shithole too.
I think a lot of people forget that you're ultimately making a product that has to make a return on its initial investment. Passion is great for personal projects, but the industry wants people who can work fast and cheap. That's the main driving force behind a lot of the cartoons you've seen on television for the last 50 years.
Feels like a lot of people who want to do animation as a career don't seem to understand that artists are just cogs in a larger machine, that the most important thing is being a team player so that productions can chug along without any issues.
I think the animators who actually get work in the industry know that very well. The ones who don't get that either don't get jobs, they learn that lesson quickly, or get fired quickly and not hired again. The dickweeds on Cinemaphile seem to forget that, though, and blame the animators for all the things they have zero control over.
Absolutely truthpilled post. Draw how you wanna draw, that’s what Jhonen Vasquez did, and that’s how he found success as an artist before he even did cartoons. He hates the industry.
Jhonen Vasquez was from another time and even then his show got cancelled. I don't believe in the current era another artist like him would be given the chance he had.
Good people don't brag about how good they are.
I'm having a hard time finding the sympathy for a smug bean mouth artist.
Again, they are making a show the way they wanted to make it. You're making a false assumption that character design is the only thing that sets productions apart.
I get that you're dead set on hating it and that's your choice. I will wait to see a pilot before I make a decision. It might be shit. It might be good. I see no reason to drag it before I actually know.
It’s not that I hate it, I’m sure Charlie is a really cool guy. I just think it’s ya’know, bland. I think the color choices are excellent. I kind of wish It was less round and looked something akin to this.
Make a show with art more akin to that. I’ll give that a fair shot too, tbh.
I wish people realized the Gravity Falls art style is literal tumblrslop. Slap expensive production values on it and people will suck down anything.
GFs background art was peak comfy. Kind of just watched for the backgrounds alone.
Yeah the backgrounds were excellent and too good for the show. I meant the characters looked like shit.
this kind of style works for an ad or a short and then nothing more. I tried to push a project in UPA style and it got barely any attention compared to my usual stuff. People like weeb western art now.
Such a shame. The UPA/factory style art look is absolute eye candy to me compared to most current styles.
Industrygay here
As far as I know everybody fricking hates this guy. Completely spineless moron, parroting the popular opinion, never had a real job so he thinks storyboarding is hard and unrewarding. He DMmed everyone he could to try and get them to give him money for his stupid fricking indie project but everybody hates him lmao
Provide the DMs or GTFO
I don't follow him so he can't DM me. I only heard other people talk about it.
There are a number of people in the industry who people have negative opinions of based solely on their Twitter activity and he's one of them. Soapboxing constantly about the job is cringe, but personally anyone who constantly talks about "burnout" is a rich kid who didn't think drawing pictures for a living would be hard. I've only heard secondhand that he's not turned in work assignments on time but posted those shitty comics during the time he was supposed to be working
> never had a real job so he thinks storyboarding is hard and unrewarding.
homie, how the frick he is still around?
Its because these "artists" are friends of people who were hired because they were friends. Meanwhile actual artists like Milton Knight whos been in the industry for 40 years have been thrown to the curb. These homosexuals don't care they just see it as earning money and nothing else.
how is your dad's job at Nintendo going?
Not OP but he really did DM a bunch of industry people.
>My journey with mental health
why the frick would you post something like this to strangers
Why don't you fricking ask him instead of Cinemaphile?
If you’ve ever been to a university campus, you’ll have these type of people talk to you. They share this cause it’s very much a part of their identity, and having successfully beaten it, they need to keep that on notice.
Or, he’s baiting for funding by play the sympathy card.
>Remembers when I was struggling with my drinking in college
>Went to a variety of recovery/moderation groups
It is actually fricking weird, if "Jesus Jesus Jesus" isn't involved, then you bet your ass that "WE ARE ALL SO STRONG AND BRAVE AND AMAZING!" was the only other option until I decided to just do 1-1 therapy
Oh nooooooo, this reads like a fricking MLM recruiting template, oh my fricking God NOOOOOOOOOOOOOOO
Same
why do people hate him? I met him briefly at an event. Seemed nice enough to me.
NTA but I personally find artists who make their entire brand online about being “retrospective”, “meditating on success but also not really success???” and whatever other myopic ways of phrasing vent posts to be extremely obnoxious. All this guy is known for is his stupid naval gazing Twitter comics about why mindfulness is key in his horrible situation of getting to work in a field he studied in at a young age, and it all gives me the same migraines something like Brain Dump does. Especially when you find out his pink blob boy is actually a character from a rejected pitch then repurposed into his speaking device just like Max with Goofball.
>All this guy is known for is his stupid naval gazing
He directed on Strange Planet, and storyboarded on Clarence, Harvey Beaks, Big City Greens, Jellystone, and The Mighty Ones. I don't care about him one way or the other, but he does have a good amount of real work under his belt.
Nah, that’s experience for sure, but to say he’s KNOWN for that is a stretch. I don’t think there’s any episodes in those series that you could pull out and say “ah yeah, this episode wouldn’t be like this without Charlie Gavin at the helm.” He did his job, and that’s fine, but it’s like citing what JG Quintel is known for is his work on Camp Lazlo and not his college shorts or Regular Show/Close Enough. Rebecca Sugar is like the only person I can think of who left a particularly strong imprint on the show she was working on before getting her own show running gig, but she already had her student short and comics that helped give her an identity to those in the know. I’m getting nothing here.
I see what you're saying. Fair.
In Sugar's case, I may be in the minority that wished she had left less of an imprint on AT.
>All of these shows basically have the same exact style
I recall some of the SU storyboarders going in with actually cool looking art styles and leaving with their art styles having transformed to resemble SU's. I bet the same exact thing happened to this guy, and it's sad.
>The Mighty Ones
Frick you for making me check out this piece of shit show's trailer.
artists have to be able to replicate any style they are working with. I'd imagine if you were working on any production for any amount of time, a certain amount of that would rub off on you. Fortuantely that can be changed if they want, but if artists are just quickly scribbling something for a twitter post, they'll probably fall back on the style they drew hundreds of thousands of times for a production. I could definitely see the style of those shows rubbing off on Gavin.
>The Might Ones
Not saying it was a good show. A gigs a gig.
>he directed the gay black people cartoon that flopped
>and storyboarded on shitty ugly shows
incredible resume
Pyw
We know it's you, Tara. Know your audience: show pics of your feet or get out.
Why would Tara give a frick on Cinemaphile? Boxtown is some indie shit. Gavin’s definitely in this thread though.
She gave enough of a frick to raise a stink on twatter, didn't she? Besides we know she has drones here if not herself.
That’s Twitter, anon. Only wo/manchildren and animators do Cinemaphile.
So am I getting Tara feet pics or not? I don't give a frick what else comes out of her hole on her social medias. Both holes.
I'd be surprised if she wasn't on wikifeet.
>Gavin’s definitely in this thread though.
Yeah. Only here to collect everything from what everyone in this thread has to say about him and then use it take it back to that shithole twitter.
That's why you give reasonable constructive critiques and don't use slurs so when he cries about what we say he looks pathetic
>so when he cries about what we say he looks pathetic
Maybe he wasn't acting like someone shoved his stick up his ass so much, he would have at least be appreciative that he made it far into the industry, rather than treat it like he regretted working there. Just imagine how many other people that dreamed to achieving that particular goal into animation only to get shot down on sight after trying to pitch their work.
I mean, not saying he's wrong on how the way the industry is now, which became jaded with projects that are profitable and beneficial to the company, but not the sole creator or anybody working alongside with the creator. But i wished he wasn't so self-absorbed into being more assured on what he knows in POV. The only thing that i'm bothered by him aside from drawing his shitty pink OC, is cynical and, pessimistic attitude.
I believe you
he DMed you too? Damn, I gave the guy's project money because we follow each other and I'd feel weird just ignoring it
Why? I ignored it. He didn’t even have anything to show for it, nothing showing the tone and comedy.
Also what is with the main character boy’s stupid goggles?
not an industry artist but an independent
followed me and DMed me for this too, saying he likes my art, but unfollowed after a day. Which is fine but a tad slimy. Came off the type of guy to only see people if they can be of use or not
I'm 22 and I'm repeating my first year at university for the 4th time. I think my life is over
Keep going anon Stephen Hillenburg didn’t get a show til his 30s. These teen storyboard artists only get these jobs because they’re industry plants that know people.
How much does that cost
£9000 tutition plus £9000 accomodation
You're 22, your life hasn't even started yet. In 10 years you'll be glad you haven't given up.
But if there aren't extenuating circumstances which have caused you to redo your first year 4 times, perhaps examine your habits and adjust your lifestyle so you can get through college.
>”Gee whiz, Miss Tara Strong seems like a hassle to work with!”
>”Maybe I shouldn’t cast her in my upcoming pilot I’m staking a majority of people’s livelihoods on.”
>”B-But that’d mean I’d have to *gulp* make interesting concepts for my pilot!!”
Tara Strong being a bit of a c**t has been an open secret for so long, but cutting her off like this is a self fulfilling prophecy. They could have privately told her they were not moving forward with her after the pilot was completed, but they needed to remind people the pilot exists by unironically signal boosting (I hate that term, but this is what it is.) I got no sympathy for this pink blob man.
'firing' her via twitter was a really shity fricking move, no question. That said, this was not done as a signal boost and I'd bet any bump they're getting in attention is not particularly wanted at this time given the nature of the attention.
Tara was front and center on their PR; it wouldn't make sense to cut her out to get press. They fired her because keeping her on was ultimately going to be more problematic in the long run. Still, it fricking sucks that they did this via social media. She at least deserved an e-mail or a phone call first.
They put out a big post on their blue checked (lmao) accounts. Maybe the initial firing wasn’t meant to be as big of a deal as they want, but they double downed on it in any case. Go look up the “official” Boxtown Twitter account, I’d post it here but I have to be careful given the relation to certain topics.
As you said, this wouldn’t have been as big of an issue if they just contacted her privately, but now it is and now they wanna score some PR points from the masses. It all comes off as shitty and rather transactional, and I’m saying this as someone who is understanding of not wanting to work with people who make you uncomfortable. They literally made her one of the main faces of their campaign though so again, hard to sympathize whatsoever.
I know, I've been following this project since before they did their first crowdfund. (I keep tabs on a lot of indie projects).
They were candid about springing for the blue check on twitter because they were getting close to finishing up their second crowd fund campaign and Elon Musk changed the algorithm to basically bury anyone who wasn't verified. They wanted to keep the PR train rolling so they paid to be verified just so their tweets would remain somewhat visible. They weren't happy about doing that and had tweeted about it.
They double down on firing Tara because she tried to claim that they did it because of her religious and ethnic background (not going to mention the exact circumstances because jannies are ban-happy). Apparently that ended up riling up her simps and now the crew is getting harassed and sent death threats etc.
But yes, I agree that the way they fired her was shitty (especially after her face and name was plastered ALL over their PR). I think that people give Boxtown an undeserved amount of shit considering they haven't even released anything yet, but they should have contacted Tara directly. Announcing that she was let go on twitter before contacting her was a dickless way to go and regardless of her behavior, she deserved better.
Aren't all the big ones confirmed divas/prima donnas at this point?
how are you paying for that?
meant for
Digital Circus at least had to come first before becoming incredibly annoying.
BoxTown is cancer infested horseshit riddle with aids and its only a trailer.
Digital Circus also has a premise that people could potentially like and visuals that are different from a lot of what's available currently. I will not go as far to say that it has a good premise and visuals, but it stands out from the crowd. Boxtown has a soulless artstyle that looks like a dozen corporate cartoons and doesn't have anything to help differentiate it from any other shlock.
Every artists deserves criticism. They need to grow the frick up and handle it already.
True but saying that when they don't accept it when the criticism in particular is a bad take can be annoying.
Why is that YouTube rantsona’s phone so big?
The animation industry is just a cover for a network of pedophiles all protecting each other.
That's funny because I became successful making comics at 13 and I was a piece of shit, and I didn't have to change as a person at all.
>I became successful making comics at 13
TIL making $10 for selling your 'comic' to family members is successful
> I was a piece of shit, and I didn't have to change as a person at all
we know
What's the comic, anon? If you're my age than I'd love to read for the early 2000s nostalgia
Whoever this is, they're just doubling down by being an attention prostitute about a problem within his workplace/friend group by telling outsiders about it..
Also OP you should be banned for makin such a garbage thread about supposed drama and you don't even give any info. What a joke that the mods are keeping this thread up.
Sup charlie
No one knows anyone involved in this cringe drama, you're just showing intense levels of autism by think anyone knows what or who you're referring to.
Come move a piece of paper in my house, homosexual
>life advice from the cartoon manchild board
Bruh this whole moronic controversy is now being covered by the fricking New York Post
Holy shit
This stupid bland cartoon doesn’t deserve this level of attention what the frick
https://nypost.com/2023/10/18/veteran-voice-actress-fired-from-animated-show-over-israel-hamas-posts-just-found-out/?utm_campaign=nypost&utm_source=twitter&utm_medium=social
I hope Charlie is happy with all this new attention his show is getting.
By the way as the boss of this entire production he is well within his right to sack Tara. But the way he went about it by letting her know through a public tweet was so stupid, cowardly and unprofessional that I’m sure helped fan the flames of this controversy. Dude should have grown some balls and fired her face to face or even through an email
firing her via twitter was tactless, but it's crazy that this tiny indie production is getting press attention at all. Tara must have her PR team doing heavy damage control.
This gay's biggest mistake was hiring famous people from the industry
To be fair it is the New York Post
maybe Tara's team is trying to get back at Charlie by going public, I dunno
One thing that will always bother me is why they went with her in the first place.
Charlie...you c**t, its an INDIE production, why get an A-List voice actress for this? What better way to say "Hey this isn't a corporate show its an INDIE production" by getting fresh young talent? Would have been cheaper too, not to mention no one cares about A-Listers, not even executives, case in point: Hazbin Hotel.
Its not like her character was that difficult to voice, its easy, just get a female voice actress and tell her to make her voice deeper and VOILA, you got your very own little boy voice
Ironically if he ever gets another job he will most likely get fired on twitter too, considering what race is disproportionally controls hollywood. I wonder which group of people is that and which group he decided to piss off for no reason
Anon it's the New York Post. They're about as bad as the sensationalist hang-wringing rags in the UK. Every single day is a slow news day.
>I hope Charlie is happy with all this new attention his show is getting.
By the way as the boss of this entire production he is well within his right to sack Tara. But the way he went about it by letting her know through a public tweet was so stupid, cowardly and unprofessional that I’m sure helped fan the flames of this controversy. Dude should have grown some balls and fired her face to face or even through an email
At this point, the charlie dude is jaded within the whim of this pessimistic attitude, considering something like Boxtown, which will go down into infamy despite being a project that might soon become vaporware at this rate. Better forgotten than heavily remembered because of what Tara did or said.
>make it public you fire someone for supporting israel
death sentence for him and all his future projects
gg
charlie's a fricking idiot if he thought that having big name talent wouldn't mean big name consequences if he removed them.
>fire a big name actor for condemning wholesale murder
>publicly announce this
Why is it that executives in hollywood are completely moronic? I know that idiot executives are all over the place, but I swear that in the entertainment industry, they seem to be the rule rather than the exception.
Considering twittergays are quick to support the other side, which hates gays, trannies, israelites, christgays, blacks and browns. I bet they frick around with them, and then next, they're beheaded.
We don't behead as much these days, paragliders are more in cichè
the world is on the brink of collapse again. Lmao.
>a modeler is gonna be the next crew member to get booted
maybe? They do stir up an awful lot of shit and also tag people directly. Their modeler is the equivalent of zebirdbrain from lackadaisy who just could not shut the frick up and made things exponentially worse for everyone. I don't see them getting let go, but at some point it would probably not be a bad idea to tell them to either chill out or make a separate account for hot takes.
Use twitter to promote your shit and post art, but talking politics in chunks of 240 characters is fricking stupid.
> This guy must have had connections to get into the industry cause the shit he draws is not skillful.
Considering
where he’s literally saying he got his first storyboarding job at 19, he absolutely got in by connections/nepotism.
He's gonna have a really fun time selling this property now that he's a Famous israelite Hater, lol.
>being a israelite hater is le bad
Does Cinemaphile really?
a broken clock is right twice a day. he's still a massive unlikable homosexual.
Not that guy but being against israelites is kind of a death sentence in Hollywood
Im just gonna leave this here
https://x.com/TornadaAnims/status/1658487478020440064?s=20
Industryanons itt do any of you have some advice so I don't end up like this guy? Just got accepted for a bg layout internship and wanna do well
Make friends while you're there, keep political opinions to yourself, make friends while you are there, avoid posting on social media, MAKE FRIENDS WHILE YOU ARE THERE, dead serious the most important thing you can do is kiss people's ass.
If you're the kind of lone wolf type who likes to post on Cinemaphile, you are going to have to fake social skills. Don't talk about being miserable or single or alone. Ask people about their personal projects and what their dream job in the industry is when you get the chance. If you have hobbies outside of art, it would be good to talk about those sometimes, otherwise I would recommend just taking walks in parks and possibly you will see things in the wild that will give you future conversation topics.
Best of luck, m8
> keep political opinions to yourself
How the frick others who were vocally political still have their jobs such as Alex and Dana?
They became much more vocal once they already had their own show. I think a lot of creators Ed it as “their responsibility” to use their status and platform to yadda yadda. Both are pretty quiet these days so it’s likely they realized using Twitter like a diary wasn’t a good move.
If you are on the left you are fine (among your peers anyway). Anything the left considers right wing will get you thrown out of social circles (full of lefties).
It's just best to shut your mouth.
Something other anons did not mention is to not critique other industry artists work. They really don't like it even if its to help. If you look at any recent shows and movies that get shit on theres always industry artists to defend them.
Also be nice but not so much it seems fake or annoying.
Cheers guys.
I've got a friend or two helping me get in the industry already and will for sure be focusing on making some more.
Ill make sure to keep shit to myself weather it be criticism or politics. I don't want to end up being like Charlie.
I appreciate the advice
Good luck, anon!
Very very rich. I mean even among rich-os.
There's another one working for DC/whatever who made Safe Space and Tampon. Also obnoxiously rich.
Dana at least isn't that rich. Disney showrunners make enough to buy a modest house in LA if they don't have student debt. They don't make residuals unless they're voice actors in SAG (so Alex probably makes more) but none of the people you can think of are set for life.
What
said except I have some things to add:
>avoid posting on social media
Posting online helps a little bit in getting a job, it gets your work out there. Just post your art and don't post any political/offensive shit of any kind.
>If you have hobbies outside of art, it would be good to talk about those sometimes, otherwise I would recommend just taking walks in parks and possibly you will see things in the wild that will give you future conversation topics.
Definitely follow this advice. All of the most boring people I've met in the industry only had art related hobbies or only went to an art school and never had an average job. Experience life and you'll have some fun stuff to talk about.
Good luck in the industry my friend.
A lot of people are giving you general socialization and networking cues, but if you really REALLY don’t want to want up like Charlie, internalizs the following:
>You will NEVER achieve a “perfect style” and that’s okay. Be open to practicing new things, learning fundamentals and stealing like an artist to develop yourself on your art journey. For backgrounds especially, learn how to master breaking down background perspective and adapting to more complex styles
>Don’t just watch media passively, really jot down what evokes emotion in you from whatever you experience and work on curating your own taste. Once this gig is done, you’ll have a nice badge of experience, but you still need to develop a portfolio beyond your work examples, and you can’t start if you don’t have an idea of what evokes any emotion from you.
Basically, keep an open mind and be willing to always improve. I think Charlie Gavin got a lucky break at a young age, but it’s stunted his artmaking since he never had to develop a personal portfolio, and you can see it materialize in how utterly uninspired Boxtown looks and sounds, and now he treats his extremely privileged position as a burden in his shitty vent comics. You can worry about audience building and whatever later if you wanna go indie, but for now focus on your personal development as an artist, even if you seemingly “made it”
Everybody here is right. Making friends is very important, keep political opinions to yourself, don't be annoying on social media (I don't put anything serious on any of my public accounts) and complete your assignments on time. Ask for feedback from your superiors. You'll do fine anon, good luck!
Considering his art still fricking sucks and the only thing he's learned is not to act like he's hot shit, but to instead act like a sanctimonious c**t, I'd say he's worse off than when he was younger and had an excuse. He didn't really change at all, he just pretends he did because that strokes his "I'm such a big fricking deal" ego.
He's still a toxic manchild
How do I get a storyboard job?
given the current state of the industry, you're better off with pic related.
>current state of the industry
what did you mean by this anon?
https://en.wikipedia.org/wiki/List_of_programs_broadcast_by_Cartoon_Network#Upcoming_programming
https://en.wikipedia.org/wiki/List_of_programs_broadcast_by_Nickelodeon#Upcoming_programming
even just looking at current programming will give you an idea of how bad things are
Middlemost Post should've been crossed out since the show stopped airing a year ago.
op here. I must bee too new here. what's so bad about these shows. There's very few originals and a couple of outsourced cartoons
Anyhow it's not like Nick and Cartoon network are the only sources for storyboard job.....right?!
Yeah, for all this talk about how you have to fall in line and suck up to the exeuctives, they're firing everyone and gutting their animation departments anyway.
Still better than having to mop up shit in a bathroom and deal with screaming fatasses because their mcdouble meal is missing a fry on a daily basis.
>having to put up with hollywood bullshit
>better than basic minimum wage work
I highly, HIGHLY doubt it, tbh.
If you prefer the latter to the former, then good for you. Finding and keeping work will be a lot easier if you can be happy working at McDonald’s.
he also runs a YouTube channel, it's so painfully obvious he only cast Strong and Hirsch to begin with because those are two names cartoongays care about lol
what was his last tweet before he locked his twitter?
I hope he had a funny little whinefest about tara strong
"OH gee how am I gonna get pity points for this?"
I like how hard these people act and as soon as they receive an ounce of criticism they hide like a b***h.
>make a public spectacle of her firing instead of just keeping it respectful and behind the scenes
>surprised when the controversy doesn’t magically disappear
Actual fricking moron
>Not even apart of the Union
Lmao even they know its bullshit. Also props for getting these Discord screencaps.
It will be to bad if someone let the SAG-AFTRA know
lmfao one of the funniest things about boxtown is there are basically no genuine fans its all just people trying to network with gavin and get a job cause that one person did
wonder when the allegations of lowpay/mistreatment will come out since hes hiring people with no/little industry experience
are they actually breaking the contract or whatever it is? that screenshot
is real text just to let you guys know.
So will the whole show be made in blender now
Hey I'm gonna give you advice homosexual so listen. If you wanna really make em mad just ignore them. Constantly doing the "Lul so mad?" shit is just gonna make them frick with you more. Ignoring is the best frick you to somebody. It works too, because they end up looking like jackasses themselves.
Did you quote the wrong post? Did you REALLY just quote the WRONG post?
Yep I'm a dumbass lel. Go ahead and add it in. I'll laugh with you. Lmao.
You know I'll let you slide this time. You actually took responsibility for fricking up and aren't being an annoying c**t about it.
You on the otherhand can frick off.
I don't know about commie but he's certainly a filthy homosexual
The fricker couldn't just keep it professional and be diplomatic when he layed off Tara Strong, he had to turn it into a fricking circus show.
Of course people are going to come at you, you stupid prick.
I mean he probably got a lot of publicity, I had no idea who the frick he was before all this, and i can see now morons supporting him to own the "bigots"
At this point, I'm hoping the Boxtown gets permanently cancelled, just to see Charlie rot in hell.
I really fricking hate this design. It looks so amateurish. Smiling friends looks less "made-for-kids" despite intentionally trying to look cutesy to contrast with the more grotesque nature of its world.
May I see these death threats?
He showed them, not a single one has an actual death threat in them
>says what they are
>doesn't show them
I believe you, anon.
>Hugboxtown.png
What was it?
you know what gets me about this boxtown thing
if this was a brand new upcoming adult swim show, you guys would be flipping out over it by now
I hate most new adult swim shows that have come out in recent years so you're wrong