#cartoon industry

[thought-bubble-doodly-doo]

Men like Butch Hartman, Craig McCracken, Gendy Tartakovsky all got to create numerous cartoons during their careers, which are still ongoing so they might make even more.  Butch Hartman had Fairly Oddparents, Danny Phantom, T.U.F.F. Puppy, and Bunson is a Beast.  Craig McCracken has the PowerPuff Girls, Foster's Home for Imaginary Friends, and Wonder Over Yonder.  Genny Tartakovsky had Dexter's Laboratory, Samurai Jack, and Symbionic Titan.

But I don't see that trend in creator's today I guess?  Like Rebecca Sugar has Steven Universe and only Steven Universe.  Alex Hirsch has only Gravity Falls.  Ian Jones-Quartey has O.K. K.O. and nothing else.   And it's not like these people have left the industry by any means.  They're still animating and voice acting and being producers, but I wonder what about the industry changed so that in the 90s and 2000s, if you had one successful show you got to make 3 others, and now if you have one successful show you never get greenlit for anything else.

It could just be these creators don't have an idea for a new cartoon or the Networks didn't like working with them.  But it's hard to believe such creative people have literally no other thoughts they'd like to expand upon in cartoon form.  Or maybe the previous creators just had weirdly strict contracts that demanded they keep putting out new works during their tenure at studios. 

  The one exception to this trend is C.H. Greenblatt, who's been able to create at least two cartoons: Chowder and Harvey Beaks.  

[azuremist]

(Original Tweet)

[rednblacksalamander]

I'm not anti-technology, I just think there's something deeply sick about a society where robots make art and children work in factories.

[indagold-orchid]

One thing that always annoyed me, especially as a professional animator myself, is how toxic the animation fandom is. Like saying you're an adult and can't relate to most cartoons cause they're geared towards kids is almost evil, cursed phrase.

Like I don't hate your beloved cartoon but I'm not the demographic? There's so many cartoons like that which are for a YA audience and would appeal to me if I was 12 but I'm past that age.

How about instead question why animation for older demographics is taboo (unless it's comedy) than get enraged someone can't relate to a show literally geared towards children.

[sc0moftheanimatiomindustry]

it’s been a while since I’ve used this account (hey @seasa1ttrio do you still remember me?)

anyway the reason I’m making this post is very simple:

Kyle Carrozza, the creator of Mighty Magiswords, has been arrested for the possession of child sexual abuse material

Kyle’s inner circle (that includes Jane Amber and Tony Goldmark) absolutely knew about him being a creep. There were multiple other survivors, including Ang Vondra, about which the lovely Jane and Tony said this

Jane was so hellbent on stalking, harassing, abusing and slandering Ang Vondra for many years, even helped blacklisting Ang from the animation industry along with Kyle and Tony Goldmark. Though of course, they’re all back paddling now!

with the exception of Jane

Reminder, these people harassed someone because they were coping from their abuse with cartoons on a private account. These people have absolutely no shame and no heart

they knew Kyle was a predator. They chose to ignore it because it was easier to make life of a disabled abuse survivor a living hell

Ang’s disability has now progressed to the point that a miracle would be needed to cure them. Years of being unable to afford their basic needs has led to a worsening of their health, all because a white creep decided blacklisting Ang from the animation industry, likely the only place Ang actually could work at with their disability, and boot lickers helping him, was more important!

These people aren’t sorry. They just pretend they are. Other people are still going on about how coping with art on a private account is just as bad as a sexual abuser in the animation industry, who got away with it for years

On top of this this implicates a significant part of the animation industry as having actively covered up for a pedophile, and not just that, but doing it by framing a CSA survivor over their cope art. That would mean that they took advantage of the moral panic over art

People are currently suffering through in order to enable a predator. And they did it by abusing a survivor. Using a desire to protect fictional characters. We warned about this scenario happening, were ignored, and it happened.

[adventure-time-news]

The Cartoon Network website has been shut down

cartoonnetwork.com has been shut down and now redirects to a Max sign-up page. Much of the exclusive content on the website is now inaccessible, including a lot of Adventure Time browser games. If you have any of these games downloaded, now would be a good time to archive them somewhere so they don’t become lost media!

Like all streaming services, Max is facing market saturation (i.e. it has all the customers it’s ever going to get) despite capitalism’s unceasing demand for growth. Shuttering the Cartoon Network website is the latest in a series of increasingly futile attempts to save money and capture new customers.

This article has more details:

[maxwellatoms]

Good day sir. Hope I'm not bothering you My brother and I are rewatching The grim adventures and it's been fun. Miss cartoons that were just plain random fun. I'm curious about 3 things if I may ask - Jeff the Spider's design changed a few times, his first appearance was more simple, his second appearance was more detailed and gross looking, then after that he went back to a simple design. Was it because the "gross" design was too hard to animate? - I've noticed in some episodes a few characters with glasses would have green eyes, similar to Nergal Junior. Was there a miscommunication with the animation team? - Lastly, is there anything you wish you could've done differently in Billy and Mandy? Like doing certain episodes or characters different? Just retrospective sorta stuff I know this is probably asking a lot, but I just want you to know you're a great source of inspiration and one of the many reasons why I love spooky supernatural content. Keep up the good fight

Hey!

#1:

The reason that most of the characters changed over time was because I updated the models to help the overseas studios (and our own internal artists) get things on-model. I'll go deeper into Billy & Mandy's history with designs in "Billy & Mandy vs. The Entertainment Industry", but I went from wanting to allow artists to have complete freedom to tightening things down as time went on. The smart play would've to develop solid models first and then explain how, when, and why you can break the rules. That's the opposite of what we did.

Jeff was a more complicated character than most, with his double-mandible, multiple eyes, and eight limbs. I suspect that what happened in this case was that the overseas studio either didn't keep or didn't share the original Jeff model with their teams, and instead only used the "special pose" model of Jeff looking gross. Like a lot of the model stuff, it was a quality control issue. Back then when everything was analog (we still had to deliver on film up through the turn of the century) it was pretty hard to change anything once it had been done. So I'd always say, "next time" and then do a clarity pass over the designs.

#2.

Same deal. In the first few seasons, we had analog color correction, where you'd go to a big suite and some guy would run picture and you'd call out anything big that was bugging you. Chances are that we either didn't notice the error, or did and just couldn't do anything about it.

All of those early Mandy smiles were put in overseas, and I wasn't allowed to fix them. It bugged me so much that I vowed to find a way to fix stuff like that myself. I eventually figured out that I could export individual frames to Photoshop, tweak them, and then give them back to the editor. That way I could actually reanimate things that really bugged me but we didn't have the budget to fix.

#3.

Nah. It's fine.

Thanks and good luck!

[cozylittleartblog]

if star wars was pitched for the first time in today's entertainment industry it would be turned down. and so would any other thing that's currently a "big IP". where do idiot executives think the IPs come from to begin with???

[victusinveritas]

Fattened by the Horrors of War, 1915

Art Young (1866-1943)

[amethystsoda]

the US animation community is banding together to provide resources, information, and fight for proper pay, limiting ai, and against random cancellation!

Here’s their linktree with the social media and other resources:

[newyorkthegoldenage]

Employees of the Fleischer Studios picket the New Criterion Theater to protest the showing of Popeye and other cartoons drawn by striking Fleischer artists, 1937. The five-month strike led to the first union contracts in animation, a later strike at the Disney studios, and groundbreaking new works from frustrated employees who left these animation shops to set out on their own.

Photo: Getty Images/Business Insider

[oldshowbiz]

Bob Clampett's old animation studio at 729 Seward Street located in industrial Hollywood

[astrolotte]

Honestly if a Fairly OddParents reboot that's doing well doesn't get a season 2 then what will. The animation industry fucking sucks man.

[maxwellatoms]

As CN Studios has closed down, I always wondered: is there a reason to why Cow & Chicken and I Am Weasel never resumed production at the new studio? They were initially produced at Hanna-Barbera Studios like Dexter, Johnny Bravo and Powerpuff Girls, yet those 3 continued production over at CN Studios and had episodes in the 2000s while C&C and Weasel were left to rot in the 90s, never reaching the 2000s decade. Since you worked on those shows, what exactly happened that let CN abandon them?

CN hard a hard rule for a while that you got 52 half-hours of a show and that was it. Donezo. The idea was that after 52 half-hours, a kid would outgrow any show so there was no reason to make more. Or the accountants said it wasn't worth it. Who knows. Either way, it was 52 and you're out.

Somewhere along the way,. they decided to make more Dexters and that broke the dam. After that, it was 76 half-hours. I think we ended B&M at 78 or so, including specials. We held the record, if only for a moment.

That was long after Cow & Chicken and I.M. Weasel had stopped production, though. By that time, David Feiss was on to Open Season. I'm not sure if he ever talked to CN about anything else.

[johan-the-unknown]

Animation is DYING, But We Can Save It 

This is getting ridiculous now, I am not happy and am getting tired of News Like this, if you feel the Same, you know what to do, spread this around as much as you can, Spread. The. Word.  #NewDeal4Animation, i don’t know if this is still a thing anymore.