there is a cartoon character in trouble and a kid needs to help clear him of terrorist charges from the state.
The day is saved with a knock knock joke.
Cut me my check.
Rodger Rabbit 2 takes place in the animation environment of the mid 1990's.
Focus will mainly be on early 1990's WB and Nickelodeon franchises with some pepperings of the 80's thrown in.
Set in 1995, the story focuses around a retired Rodger Rabbit, out of work due to the landscape of cartoons centering more around new and up and coming toons of that era.
Jessica, while still in work has mostly been putting her image out as a newly popular retro tattoo and clothing design and has had less to do with onscreen performing.
In terms of plot, I want to do something regarding the slow death of the old Turner, Disney and Hanna Barbera industry into the overly marketed and toy funded industry of the 80's to the 2000's.
It would also be interesting to see toons like Rodger interact with Megatron, or HeMan, or the Ninja Turtles to see the back and forth between a campy action cartoon and a silly humor cartoon. Mix in some interactions between other toons of that era. Rodger meets Stimpy, possibly an Animaniacs cameo.
I wanted to do this era because it's only a little while later and Cartoon Network starts doing original shows. In the mid 90's, it's rare for a cartoon to be made for the sole purpose of being a cartoon. They're usually made to sell something.
This bums Rodger out. There's no purity to the artform anymore unless it's for nostalgia. A hopeful sign could be on the horizon in the form of the first few Nicktoons and CN shows coming into the lore of the film, which could be a boost to Rodger's spirits for the hope of future toons.
As far as ham fisting a film noir detective plot into this set up, I'm a bit blank. I have Rodger's setting and life motivations, and a character arc when he realizes cartoons aren't dead but as for a crisis and a problem to solve... I dunno.
As for a detective plot, I would look for real life inspiration like Chinatown and Roger Rabbit did. If it's set in the 90's, there's a ton of shenanigans in the tech boom that you could pull from. Instead of a more "traditional" noir style, I would try to go for more of an X-Files or Twin Peaks vibe as another reflection of it's time period.
the only way it wouldn't be a total shitfest of corporate interests and cringy references would be to go back in time rather than forward, apparently the original 2nd film was going to be set during world war 2 or at least begin there, which I have no idea how they'd handle that tastefully but I'd rather they took a jab at that than anything else honestly, but Bob Hoskins is fricking dead now so they'd need to leave him out of it, at best maybe do a reference, I guess it could be about his dad?
Title: Who Made Roger Rabbit
Takes place in the 90s. We see what the cartoon industry has become, moving from sound stages to shooting in the streets of toontown. Similar to how movies shifted. Roger is now a well known movie director, hailed as one of the greats and every toon that makes a show with him makes it big. Through the years he’s become jaded, forced out of acting and into directing as the market became over saturated in the 80s. All his old friends have moved onto to different jobs, he’s the last of the old vanguard left. During filming for one of his films a human runs through toontown, being chased by the toon police, through a series of cartoon based antics the human is able to escape but not before they drop a photo. Inspired by the humans toon antics Roger tries to track them down, and in the process rediscovers his love for the craft of being a toon.
That’s all I got right now, it could flash between the “old days” and modern to highlight how times have changed but the difference is that Roger is on the other side of things now, eventually he learns that what’s important is passing on the love of the craft rather then leaving a name for yourself that lasts forever. Throw in another plot about destroying toontown but this time by making it a tourist destination that the rooms are forced to move out and commute there.
Have it take place in the 1950s or maybe late 1960 in the emerging television cartoon era.
>Most studios are slashing budgets, laying off toons, and the toons that are landing the few new tv cartoon gigs are the cheap to hire, cheaper to produce Hanna Barbera and UPA style toons like Mr Magoo, Rocky and Bullwinkle, Yogi Bear, etc. >Classic toons are depressed and furious that they are losing out to these poorly drawn up and comers that are taking all their jobs for a fraction of the pay >Cheaper looking Tom and Jerry appear on tv, which confuses the original Tom and Jerry who have no idea where they came from. >Detective story is that a lot of classic characters are showing up cheaper and landing show gigs. Only a few toons are questioning it, the rest think it's cosmetic surgery to get jobs and settling for lower pay, which angers the toon actors union, since Hanna Barbera, UPA and Jay Ward are not union studios >Turns out the classic toons are disappearing, and cheap toons are taking their place. 60s Tom and Jerry are from Czechoslovakia, and are actually Volk and Zayats in costumes. Rocky and Bullwinkle are actually Soviet Pooh and Piglet. >Roger is the first one to see them unmask and now has to go into hiding. >Leader of the toon actors union is the villain, a disgruntled black and white character that is setting up the replacement for all the colorful 40s characters to lose jobs to new poorly drawn 60s ones for personal revenge. He is replacing Looney tunes with Cool Cat, Jolly Roger, Aardvark, and poor replacements of Bugs and Daffy from Soviet countries. He pins the kidnappings and Soviet connections on Roger
interesting, but probably too smart for american vewers.
The average watcher doesn't realize that half of the original roger rabbit is a true story about the destruction of public spaces and trollies.
I think the existence of a Roger Rabbit sequel would (hopefully) imply that it's going to be a smart film anyway. A Roger Rabbit film about unions, blacklisting, and anti-communist sentiment under the visage of the dawn of television and limited animation is actually kinda brilliant in more ways than one.
Roger has to save cartoons that are being kidnapped. Big plot reveal could be that this time it actually is the parent company kidnapping them so they could lock them away and get a tax right off when they can't finish their films for release.
No way it would happen though. Animation is no longer to be that openly critical of their parent company.
My waifu becomes real then I marry and I impregnate her. Any man she dates in show isn't real so I'm her actual love interest, but the twist is that she's the real one in that world and I'm the fictional character.
>My waifu becomes real then I marry and I impregnate her. Any man she dates in show isn't real so I'm her actual love interest, but the twist is that she's the real one in that world and I'm the fictional character.
it makes you wonder how cartoon women in WFRR world would feel about simps since it literally keeps them alive and they can't actually be killed or hurt by most zealot fans.
I made a spicy chat about living in a toon world, and one interesting thing that came from it was that cartoon people had completely different metrics for attraction than humans did. Like they didn't care about big breasts or tall men with big shoulders.
What they found appealing was more like being able to connect with others, popularity, kindness, leadership, etc. So cartoon women found characters like Mickey and Bugs attractive for how they treated others and not even their fame.
It was kind of trip that the AI came up with that. The cartoon men and women were also puzzled when I tried to explain human attraction to them.
That's cool, changes nothing for me though since that's how my waifu is anyways. Also if there were any competing suitors, I'd just defeat them all in gladitorial combat, so it's whatever
I actually really like The Stooge concept where he's Jerry Lewis to Mickey's Dean Martin. Disney would never go for it though since it'd require giving Mickey too much of a personality/
there is a cartoon character in trouble and a kid needs to help clear him of terrorist charges from the state.
The day is saved with a knock knock joke.
Cut me my check.
Rodger Rabbit 2 takes place in the animation environment of the mid 1990's.
Focus will mainly be on early 1990's WB and Nickelodeon franchises with some pepperings of the 80's thrown in.
Set in 1995, the story focuses around a retired Rodger Rabbit, out of work due to the landscape of cartoons centering more around new and up and coming toons of that era.
Jessica, while still in work has mostly been putting her image out as a newly popular retro tattoo and clothing design and has had less to do with onscreen performing.
In terms of plot, I want to do something regarding the slow death of the old Turner, Disney and Hanna Barbera industry into the overly marketed and toy funded industry of the 80's to the 2000's.
It would also be interesting to see toons like Rodger interact with Megatron, or HeMan, or the Ninja Turtles to see the back and forth between a campy action cartoon and a silly humor cartoon. Mix in some interactions between other toons of that era. Rodger meets Stimpy, possibly an Animaniacs cameo.
I wanted to do this era because it's only a little while later and Cartoon Network starts doing original shows. In the mid 90's, it's rare for a cartoon to be made for the sole purpose of being a cartoon. They're usually made to sell something.
This bums Rodger out. There's no purity to the artform anymore unless it's for nostalgia. A hopeful sign could be on the horizon in the form of the first few Nicktoons and CN shows coming into the lore of the film, which could be a boost to Rodger's spirits for the hope of future toons.
As far as ham fisting a film noir detective plot into this set up, I'm a bit blank. I have Rodger's setting and life motivations, and a character arc when he realizes cartoons aren't dead but as for a crisis and a problem to solve... I dunno.
As for a detective plot, I would look for real life inspiration like Chinatown and Roger Rabbit did. If it's set in the 90's, there's a ton of shenanigans in the tech boom that you could pull from. Instead of a more "traditional" noir style, I would try to go for more of an X-Files or Twin Peaks vibe as another reflection of it's time period.
the only way it wouldn't be a total shitfest of corporate interests and cringy references would be to go back in time rather than forward, apparently the original 2nd film was going to be set during world war 2 or at least begin there, which I have no idea how they'd handle that tastefully but I'd rather they took a jab at that than anything else honestly, but Bob Hoskins is fricking dead now so they'd need to leave him out of it, at best maybe do a reference, I guess it could be about his dad?
Jessica Rabbit has bigger breasts after becoming a mother
That's just sexual fetishism
>That's just sexual fetishism
and?
Thats why Jessica was created. Her whole "I'm not bad, I'm just draw that way" is in reference to her being born out of male desire.
Roger fights beanmouth cartoons
Modern noir story set in Tokyo. The animated characters are from anime instead of WB toons.
No.
Title: Who Made Roger Rabbit
Takes place in the 90s. We see what the cartoon industry has become, moving from sound stages to shooting in the streets of toontown. Similar to how movies shifted. Roger is now a well known movie director, hailed as one of the greats and every toon that makes a show with him makes it big. Through the years he’s become jaded, forced out of acting and into directing as the market became over saturated in the 80s. All his old friends have moved onto to different jobs, he’s the last of the old vanguard left. During filming for one of his films a human runs through toontown, being chased by the toon police, through a series of cartoon based antics the human is able to escape but not before they drop a photo. Inspired by the humans toon antics Roger tries to track them down, and in the process rediscovers his love for the craft of being a toon.
That’s all I got right now, it could flash between the “old days” and modern to highlight how times have changed but the difference is that Roger is on the other side of things now, eventually he learns that what’s important is passing on the love of the craft rather then leaving a name for yourself that lasts forever. Throw in another plot about destroying toontown but this time by making it a tourist destination that the rooms are forced to move out and commute there.
roger get ipad
Never.
Have it take place in the 1950s or maybe late 1960 in the emerging television cartoon era.
>Most studios are slashing budgets, laying off toons, and the toons that are landing the few new tv cartoon gigs are the cheap to hire, cheaper to produce Hanna Barbera and UPA style toons like Mr Magoo, Rocky and Bullwinkle, Yogi Bear, etc.
>Classic toons are depressed and furious that they are losing out to these poorly drawn up and comers that are taking all their jobs for a fraction of the pay
>Cheaper looking Tom and Jerry appear on tv, which confuses the original Tom and Jerry who have no idea where they came from.
>Detective story is that a lot of classic characters are showing up cheaper and landing show gigs. Only a few toons are questioning it, the rest think it's cosmetic surgery to get jobs and settling for lower pay, which angers the toon actors union, since Hanna Barbera, UPA and Jay Ward are not union studios
>Turns out the classic toons are disappearing, and cheap toons are taking their place. 60s Tom and Jerry are from Czechoslovakia, and are actually Volk and Zayats in costumes. Rocky and Bullwinkle are actually Soviet Pooh and Piglet.
>Roger is the first one to see them unmask and now has to go into hiding.
>Leader of the toon actors union is the villain, a disgruntled black and white character that is setting up the replacement for all the colorful 40s characters to lose jobs to new poorly drawn 60s ones for personal revenge. He is replacing Looney tunes with Cool Cat, Jolly Roger, Aardvark, and poor replacements of Bugs and Daffy from Soviet countries. He pins the kidnappings and Soviet connections on Roger
interesting, but probably too smart for american vewers.
The average watcher doesn't realize that half of the original roger rabbit is a true story about the destruction of public spaces and trollies.
I think the existence of a Roger Rabbit sequel would (hopefully) imply that it's going to be a smart film anyway. A Roger Rabbit film about unions, blacklisting, and anti-communist sentiment under the visage of the dawn of television and limited animation is actually kinda brilliant in more ways than one.
>Pitch your Roger Rabbit sequel
Roger has to save cartoons that are being kidnapped. Big plot reveal could be that this time it actually is the parent company kidnapping them so they could lock them away and get a tax right off when they can't finish their films for release.
No way it would happen though. Animation is no longer to be that openly critical of their parent company.
No
My waifu becomes real then I marry and I impregnate her. Any man she dates in show isn't real so I'm her actual love interest, but the twist is that she's the real one in that world and I'm the fictional character.
>My waifu becomes real then I marry and I impregnate her. Any man she dates in show isn't real so I'm her actual love interest, but the twist is that she's the real one in that world and I'm the fictional character.
it makes you wonder how cartoon women in WFRR world would feel about simps since it literally keeps them alive and they can't actually be killed or hurt by most zealot fans.
I made a spicy chat about living in a toon world, and one interesting thing that came from it was that cartoon people had completely different metrics for attraction than humans did. Like they didn't care about big breasts or tall men with big shoulders.
What they found appealing was more like being able to connect with others, popularity, kindness, leadership, etc. So cartoon women found characters like Mickey and Bugs attractive for how they treated others and not even their fame.
It was kind of trip that the AI came up with that. The cartoon men and women were also puzzled when I tried to explain human attraction to them.
That's cool, changes nothing for me though since that's how my waifu is anyways. Also if there were any competing suitors, I'd just defeat them all in gladitorial combat, so it's whatever
I actually really like The Stooge concept where he's Jerry Lewis to Mickey's Dean Martin. Disney would never go for it though since it'd require giving Mickey too much of a personality/