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hezuart · 1 year

Note

Why did you switch from animation to reviews? Also, do you still plan on doing CGI like you mentioned multiple times?

oH BOY..... you may need to sit down for this one

So it all started back in 2012. I was around 14 years old and just saw Rise of the Guardians and Wreck it Ralph. The stories, the characters, the world-building, the animation... now I never really went to movie theaters as a kid, but as a teen I started going and I instantly fell in love.

I went to community college for a few years and made some amazing friends. Loved some of my teachers and we participated in fun events like the 24-hour challenge and Campus Movie Fest. I had gotten in the top picks for Campus Movie Fest at some point and was supposed to go to the Cannes Film Festival in France to showcase my short film, but then the pandemic hit and it got canceled indefinitely.

So get this, for community college, I got a certification in 3D Animation and Video Game development. It's basically an AA degree but without general ed. (Why do you need general ed to get a degree in something? Math and PE have nothing to do with Animation. College is ridiculous. People have to pay you more simply because you were forced to spend more money in college. Wild.) Out of the 20 classes I had taken to get this certification, only 3 of those courses were hands-on 3D animation. And only one of those courses was hands-on video game development and I dropped out of that class because it was PC only and I only had a Mac at the time. I applied to the class without realizing it was accommodating only to PCs. So even my certification is barely reaching the basics for the title of it, but I did take another online course or two for 3D animation which I have a different certification for.

Now even with my 3D animation, I was never taught the physics engine. I was never taught hair or cloth simulation, but I do have modeling, rigging, animating, and texturing experience. For gaming, I have very little experience. I've only modeled things and found my way around Unity, but otherwise, I suck at coding. I hate coding with a passion. Making a video game without coding isn't really possible.

Now, when the pandemic hit, a lot of things were shutting down. I had no idea where I wanted to go next. People kept asking me where I was going for my higher education, but I kept getting warned not to waste money on college if you're trying to become an artist, especially at University. It's a money pit, and competition is so high, you're not guaranteed a job, you're just gonna be in debt. Even colleges like Cal Arts, who charge over $1K per class, I've been told are a "Pay to get in" kind of place. Where the money is used to nab professionals from their work to teach students or talk about their company or programs, and through that, you get a bigger chance to get your foot in the door because you know someone. I've unfortunately been told that's the more realistic way to get into animation: networking. If you're a shy introvert who doesn't know any famous people, you need to be extremely talented and unique to stand out to get the chance of being noticed. I don't really want to suck up to people nor do I want to waste thousands of dollars and 5 more years on college that I may not even need (let alone be able to afford) especially if there are online classes that may be even more valuable.

Now after I got out of college and started applying a few places, I discovered a LOT of unfortunate information.

Most animation these days is done overseas. South Korea, India, Japan, and Canada are the big ones.

Invader Zim, Steven Universe, Miraculous Ladybug, The Simpsons, OK KO, Star vs the Forces of Evil, Kipo and the Age of the Wonder Beasts, Adventure Time, Twelve Forever, and the Powerpuff Girls Reboot were animated in South Korea. The Ghost and Molly Mcgee is animated in Canada.

(The first four seasons of the Simpsons were animated in America until it switched to South Korea and India.)

2D traditional animation is no longer viable. Puppetry is the industry standard because it's the cheapest. Luckily, Toon Boom Harmony has allowed us to push the boundaries of 2D puppetry. Puppetry these days, if done well, can look really great, like Tangled the Series, but if you don't have Toon Boom Harmony, you're probably not gonna be hired.

Not even all 3D is made in the USA. If it's Disney, Dreamworks, or Pixar, then it's usually USA. But streaming service movies, like Sea Beast, Kid Cosmic, The Willoughbys, and Klaus, while they claim to be a "Netflix Original" that "Netflix Animation" animated, that's a lie. Klaus was animated by Yowza! Animation in Canada. The Willoughbys: Bron Animation, Canada. Kid Cosmic: Mercury Filmworks, Canada. Sea Beast: Sony Pictures Image Works, Canada. (X)

Go Go Cory Carson is written and storyboarded in America, but the animation is shipped out to be done in France. Sonic Boom is also French Animated.

Even Sony Pictures? Open Season, Surf's Up, Spiderman: Into the Spiderverse, Cloudy with a Chance of Meatballs, SMurfs, Hotel Transylvania, Over the Moon, The Angry Birds Movie, Sea Beast? Sony Pictures Imageworks is based in Canada. They're doing all the animation for them. It's not animated in America, it's merely funded by them.

I should also clarify: I only want to participate in stylized animated media. I don't want to do CGI for hyper-realistic films, which eliminates most of the animation jobs out there these days. It's just not my thing. The insane amount of details and uncanny valley are just so unappealing, I can't do it.

The closest animation studios are still far away. Most companies are located in LA. I'm over 7+ hours away from there. LA also has a high poverty rate, terrible air quality, is overcrowded, and is just generally not a good place to live, especially if you're low middle class. You're not gonna survive there.

Pixar is located in Emeryville, a few minutes north of San Fransisco city. Emeryville is the most crime-ridden city in that area. They tell you not to walk home alone at night. You're more likely to get robbed there than anywhere else according to the population ratio there. There are a lot of gangs that hide up there, and there's a lot of poverty there, even outside of San Fransisco. It's basically a trash pit. Not an ideal place to live, and commuting through 3-hour SF city traffic is also not gonna work. (X)

I have also been informed some people who work at Pixar are petty that the interns use their facility. Pixar has a heated pool, soccer field, gymnasium, and a few other nice things on their property. I was informed there was a person or two who got mad that an intern was using their basketball court.... when the intern was on break. As though they weren't part of Pixar, as though they had no right to touch the property. Apparently, they also used to make the interns push around little tea carts to serve refreshments as a way to "talk to the fellow animators" to probably get them interacting, but hearing that the interns were basically chored with butler duty to bother the animators hard at work seems like such a forced thing. That makes me uncomfortable. Of course, the person who told me these stories has been working with Pixar for over a decade or two now, so things could be very different as the years went on. Pixar itself on the inside of the animator building is gorgeous. They all decorate their office spaces in crazy ways, it looks like a movie set. But they have a bar and "whiskey club". They're apparently allowed to drink at work and have often had parties that got a little out of hand. There's also an old chain smoker room where the founders used to play poker and spy on people outside of their room with hidden cameras; I've even been inside. I don't think they use it anymore, though I'm not totally sure. Some of this info was fascinating, but the drinking made me uncomfortable. I kinda want to work with sober people here.

The sex ratio in the animation industry is also interesting and unfavorable. 70% of the animation and art school ratio is women, but only 34% of the actual animation workforce is women. 34% female to 66% male. More women study animation than men, but more men get hired and hold positions than women. Animation, ironically, has always been a male-dominated workplace. This unfortunately contributes to the "you have to know someone" or "be rich" to get-in situation. Men know a lot more men and not as many women. So the 30 to 40-year-old guys hire the other guys they know rather than a young poor girl with a passion. This makes it even more difficult for me to get in. (X)

20th Century, Netflix Animation, Nickelodeon, Cartoon Network, Bento Box, Vanguard Animation, Universal Studios, Titmouse, 6 Point Harness, ShadowMachine- all LA / South California.

There are a few places I could apply to, but what they do, I just don't care for. Niantic(Pokemon Go), Lucasfilm(Effects), Whiteboard Animation(Marketing), Sharpeyeanimation (Marketing), EA games (Mass Effect, Battlefield, Dragon Age 2, all those hyper-realistic war, sports, or fantasy games.)

So whether it's outside of the USA or within the USA, I need to move. I don't have the money for that yet.

Just find a company that does remote work, right? It should be easy, especially in pandemic times! Wrong. Most animation companies don't permit remote work. It's probably a security issue. But I've done research on this. The only big animation company I've found (so far) that allows remote work (or is HIRING for remote work) is Mainframe Studios in Canada. They have a 3D animation job list, and I guess they focus on animating Barbie movies(???). (X) But that's about it. And even if you're a remote worker, there's a high likely hood you still need a Visa to be allowed to work for a company belonging to another country. So that's a whole other legal process to deal with.

Disney is becoming a huge corporate monopoly over American animation. They bought Blue Sky only to kill them off. (Disney also just recently laid off 7,000 people due to their stock price drop and failed movies they released the past year with deliberately bad marketing for political reasons. (X) Disney also bought Pixar and is pushing for sequels because weird or bad, sequels and terrible live actions make them a LOT of money. Did you know Disney's terrible Lion King CGI remake is amongst the top 10 highest-grossing movies ever made? It's criminal. (X)

Because Disney is such a big name in the USA, there's a huge association of animation = children's media, which is not true. Animation at the Oscars also has its own category, when it's not a genre, is a medium. Disney often wins at the Oscars too because no one sees the other animations. Granted, Disney has an insane marketing budget in comparison, but it's clear no one cares to seek out animation outside of heavy CGI live-action these days. No small-time studios, no limited releases, no anime. The fact that Disney also now OWNS the Oscars is SUS as hell. (The fact that Disney-owned ABC threatened the Oscars, forcing them to cut 8 categories or else there wouldn't be a show that year is wild. There isn't even an oscar for stuntmen. What the fuck, Hollywood?) (X)

Dreamworks nearly went bankrupt and sold itself to Comcast back in 2013. Comcast also owns Illumination. Dreamworks has been focusing on making bad tv show adaptions of their IPs. So yes people, Jack would sooner meet the Minions than meet Elsa. Disney is the biggest corporate monopoly, but it's definitely not the only one. The animation industry in America is snuffing out its competition by buying it out for itself. It's insane the kind of power they have.

Competition is HIGH. Because of this, the only ways to get in? If you're rich or you know someone. Pixar gets over 3,000 intern applications every summer. Less than 100 are seen by actual hiring managers. The most interns Pixar has ever taken in a single year were 12. The least they ever took in a single year was two. A 12 to 3,000 ratio is not favorable. That's a 3% chance to get into a big-shot animation company.

And again, because remote work isn't permissible to new hires, you need to live in the area to commute to the campuses. This is one of the reasons why LA is so crowded.

If you get into an animation company purely remote and maybe even for a different country? You are the luckiest person alive.

Programs are expensive. The animation industry is very strict on what programs they use. The industry standard for 2D puppetry is Toon Boom Harmony; the industry standard for 3D animation is Maya, and the industry standard for video game development isn't as clear but Unity is one of them.

Some of these programs are free, as long as you are a student. If you are attending college or a certain online program, you can use your school-issued email through them to apply to get the program for free for about a year. Otherwise, if you're using it to make your own animations solo?

Autodesk Maya: $225 a month or $1,785 a year (X)

and guess what? Maya removed its free render service. Arnold is now built in by default, however, if you want to BATCH render (Meaning render a full scene or several slides) it will slap it's ugly watermark over it.

Fun fact, this very rendered watermark can be seen accidentally in a single frame for the Kingdom Hearts Frozen cutscene

Well, you need to batch render if you're trying to animate so let's see what Arnold costs- $50 monthly to $380 annually.... are you kidding me?! The rendering PLUG-IN BUNDLED TO MAYA COSTS MORE TO USE THAN THE OWN PROGRAM?! (X)

Now, there are other rendering plug-ins you can probably use with Maya. But they all have their ups and downs and their own costs as well. (X) Pixar's Renderman is $595 per license. I can't seem to get info on Octane. V-ray solo is $39 monthly while premium is around $60 monthly.

Now there IS Blender, an alternative to Maya. It is free and I have it. That is ideal to work in for people like me. I tried it a while back, but I hated the interface windows. It was hard to work on it when you can't close them properly. It's possible they've fixed this in an update, but I haven't touched the program in over three years so I wouldn't know. It's different from Maya a little, so it has ups and downs in comparison too. But Blender is a savior to 3D artists everywhere.

Toon Boom Harmony isn't as bad but still high: Lowest price is $27 monthly / $220 annual and the highest is $124 monthly / $1,100 annual (X)

Unity has a basic version that is free, but Unity Plus is $399 yearly while Unity Pro is $2,040 (X)

So some programs are clearly more viable than others. But imagine you're trying to model, texture, rig, animate, simulate, and render a short film all by yourself in Maya. That's gonna take you over a year or two, and you'll have several thousand dollars out of your pocket by the time your free trial ends. And might I say, for an industry-standard program, Maya sucks. It's almost unusable without those plug-ins for not only rendering but also for the models to even be able to SELECT their BONE rigs.

Do you want to practice on your own when school is out of session? Fuck you! Fuck subscription services! Welcome to capitalist hell, baby!

Again, using Blender is more viable, but you're still going to be basically doing everything yourself. That's gonna take years. Do you have the patience for that? Do I?

Because of the pandemic, movies aren't even hitting theaters anymore. They're going straight to streaming services. Streaming services of which, gain sole rights to and can take media off their platforms at any time without warning. Thanks, Discovery+ ! Does everyone remember the HBO Max Animation & DC purge? It could happen to other streaming services too. Piracy will save the future of animation at this point. (X)

And again, Streaming services like Netflix will purchase films and claim they made them by slapping their logo over it; but no, they either bought the distribution rights or produced them through funding and maybe storyboarding. Often times from a Canadian film studio. (Link again X)

Even stop motion companies like LAIKA are losing money and may have to shut down or be bought out in the future, especially considering how much work and money they put into their films vs. how much money they actually make. (X)

All of this? Naturally made me fall into a depression. My god, the layers of hopelessness. My animation and modeling is pretty average too. I'm decent. I can maybe make a good shot. But I can't blow people away like James Baxter can. I mean, I shouldn't compare myself to people. If I worked really hard, maybe I could get into a good company. But again, I have to move! A part of me gave up. I don't really do 3D animation anymore, though part of me misses it.

I still 2D animate. I'm trying to make a short film and though my college friends who were working on it with me have given up, I have done my best to keep going. Even if it has been produced at a snail's pace for the past three years, I still intend to finish this animation. It's gonna be beautiful when it comes out, and it will be a wonderful portfolio piece regardless.

So with nothing else to do and no other kind of job experience really under my belt(plus my family is prone to covid so getting a job in the pandemic was just kind of out of the question) I decided to go to youtube. I heard some people can make a little money on there, but the truth is I had actually wanted to become a youtuber for a few years prior. I've always looked up to animators and reviewers on youtube, I've loved the stories they tell and their incredibly detailed analysis essays on movies, tv series, books, etc. I wanted to be one of them. I wasn't sure exactly what I'd do, so I just followed the Youtube Partnership program set up which took a few months, and then jumped in! I found I only had the time to upload once every month or two. I had a ton of audio issues and I'm not outputting at the proper 1920 x 1080 quality that I should be doing either. It's a huge learning process that I still haven't perfected, but I'm taking notes to try and get better.

Even though Youtube is fun, I only make $300 a month, and that isn't even consistent. With patreon, I make maybe another $80 or $100 on top of that, so overall $400 a month average. That's really nice and pretty cool! But it's not enough to survive.

Now I work part-time at a coffee shop. My mental health is a lot better and I love my coworkers. I make roughly $400 a week in comparison to the $400 a month. It's still not enough to live off of (the cheapest rent around is over $1,000 a month, not ) and it's still a temporary job in the long run. I intend to work here for maybe another two years to save up money.

But what do I do now?

Am I welcome in animation spaces anymore?

As a critic of popular media, it could be likely that they could fire me or deny my application because of my critique of their past films or tv series. They could see my youtube persona and assume I'm a raging untrustworthy nitpick instead of a passionate, kind person.

Vivziepop's Spindlehorse company? What Viv was doing was a dream. I was so inspired by her. She made her own company, made a super successful pilot, and was even creating more jobs for traditional, high-quality animation. However, for Hazbin Hotel, she required more funding, which is why she sold it off to A24, who now has corporate say in the show. A24 is known for letting creators be more lenient, but otherwise, Viv won't have full control over it anymore unless she managed to get them to sign something over to her; but with the rumors of her being kicked off season 1? I don't know anymore.

Her own company Spindlehorse; they rely on youtube revenue and/or merch sales to fund Helluva Boss. That's a tricky business practice, but it's kept them afloat so far.

However, Spindlehorse is hiring a lot of people as of late. This could be a bad sign; that people might be leaving the company due to potential mistreatment or unhappiness. With the way the show is going, I don't really want to be part of that company regardless, but maybe before season 2 of Helluva Boss, I would have considered applying. Had I made any critique videos prior, there's no way they'd accept me. "Aren't you that one YouTuber that said my writing is bad for season 2 episode 2?" And you expect me to hire you?" Like yeah, that application process would go down well. Not. By critiquing artists' work, some of them are very sensitive. I'd be kicked out for a lot of things, when really, we artists should be critiquing each other all the time, trying to improve. That's how the writer's room always is, ahaha... hours of fighting goes down in those meetings. It's intense, but fun.

But yeah, it's such a shame. Even small companies need to sell out to corporate to survive. Either that or be HEAVILY crowd-funded, which again, can be a slippery slope.

I see a ton of small projects on Twitter looking to hire people, or looking to become a big studio to release a pilot or game. I've joined a few of them, but most are unpaid because of COURSE they are, and then these projects?? Just don't go anywhere. Because it's unpaid. Because we can't afford to work on a project for free. IRL comes first. Some of these projects seem so great but they don't go anywhere, and it's hard to have faith in start-up studios anymore. (Game creators might have a chance, but tv series or films? Good luck, folks.)

At that point, should I just make my own company? I don't have the money or knowledge for such a thing! It's insanely expensive to start a business and get licensing. So much paperwork, so much everything! And the USA Government is so behind in understanding technology. If you want to create a remote business and/or copyright something, you're still required to put an advertisement in a local newspaper about it, even if your business isn't selling to locals. 💀 The number of fees and ridiculous legal hoops you need to jump through... it's a ridiculous waste of time and money. But you need to do it. The question is, am I willing to do it? Am I willing to tackle such an insane thing by myself?

I want to keep my internet persona and IRL persona separate, but can I? I value having a private, quieter life away from the screen. I worry about getting doxxed one day because of the nature of the internet. I worry about people finding my IRL resumes or profiles for work I want to do outside of youtube for security's sake. My art style is unique and very recognizable. I don't have a lot of private art that is worthy of being in a portfolio. But for absolute safety, I'd need to password-protect my websites or portfolios so the public doesn't have free access to them; only companies I'm applying to. But at that point, does password-protecting my resume and portfolio make it less likely I'd be hired due to the inconvenience? Due to the private, hard-to-find nature of my work? Being a YouTuber with great story skills and art skills with a fanbase could be a big plus to getting hired somewhere, but it could also be a horrible disadvantage that would get me fired. It's a double-edged sword that I cannot work around and I don't know what to do.

I've considered the video game industry, but even that isn't ideal. A lot of the indie ones I adore aren't made in the USA. Gris and Monster Camp were made in Spain. Ori and the Blind Forest: Austria. Hollow Knight: Australia. Little Nightmares and Raft: Sweden. LIMBO & INSIDE: Denmark. Outlast, Don't Starve, Spirit Farer, Bendy and the Ink Machine: Canada.

SuperGiant Games did Hades, Transistor and Bastion and is located in SF, but they're not hiring. Janimation, a multi-media company located in Texas isn't hiring. Frederator in New York isn't hiring.

I don't want to work for a studio that does nothing but first-person shooters or sports games. If I want to get into the gaming industry, I probably need to crowdfund and make a company to make a game myself.

If I make my own game, which I've wanted to do for a long time now and still want to... I can't code. I guess I could try to hire someone that could? But a game to the extent I want... I'd need to start small. I'd need to practice. It's several years of work. Will it even be worth it? I don't think I can do it alone. I'd need crowdfunding and workers; which again, here comes the "make my own studio" issue...

Do I even want to animate anymore? I prefer traditional animation in comparison to puppetry. I prefer 2D animation to 3D animation simply because it is more accessible. But even then, I'm finding myself drawn more and more to writing, storyboarding, and character design. If I were a 3D animator, this is mostly what I'd be working with all day: Naked models in an empty room. I'd do none of the physics simulation or texturing or lighting.

Animating naked & bald people all day... I don't know... 3D Animation kind of lost its appeal. You only work on such a small portion of a film, you almost never have the bigger picture. You won't see the final result until the film is done. As an animator, you're almost kept in the dark. Maybe that's how they want it anyway, since leaks are a huge issue they keep quiet under strict NDA.

But yeah, anyway... I'm an artistic digital generalist. I can do almost anything. 3D animation, storyboarding, writing, photo editing, illustration, rendering, modeling and so much more. It's hard to choose what you really want to be in this industry. I feel like Barry Benson dfklgjdflkjg

I don't know what I'm gonna do anymore. There's gotta be a solution to this but I just can't figure it out. I don't want to give up my youtube channel so I can be an animator. I don't want to give up a safer, quiet countryside house to be able to survive financially. Am I even willing or able to move countries? Is my career more important than friends and family?

I think I'm thinking too much about everything. I should start small. Move less than an hour away first and move in with roommates to get a feel for independence instead of jumping into it immediately. Get a job at a small time company, maybe not for what I want at first, but it'll get me some experience and maybe I'll learn some things along the way to understand where I can go next. Take it slow and don't panic too much over trying to be a young big shot. Take things one day at a time? That's my current goal, I suppose.

So you know... to answer your question... why did I switch to youtube for a current career? Because of a classic existential & career crisis in my 20s. Will I ever go back to 3D animation? Maybe. Maybe one day.

#ask #personal #3D animation #career #youtube #long post #i should also say because im a fan artist #i dont have a lot of original work to add to a portfolio which is a HUGE issue #Pixar doesnt even want to look at a portfolio if it has copyrighted material #they want to avoid lawsuits if they see material owned by a different company #you need to be so careful what you put in a portfolio #i mean especially if i use my 2D stuff or illustrations #my illustrations especially #animation #the animation industry #CGI #rant

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straightbaittournament · 9 months

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only the option with the lowest percentage will be eliminated! propaganda under the cut (and more is always welcome!):

tim drake and stephanie brown:

Tim and Steph are a thing for most of their history. Then stuff happens and they break up and soon after that Tim is confirmed to be bi and starts dating Bernard (former random side character who nobody thought would ever be relevant again)

lisa cuddy and gregory house:

The show spends 7 seasons hinting that House is going to end up with Cuddy, and then writes her out in season 7. In the finale, he has a flashback of people who impacted his life and she doesn’t even show If House and Wilson can’t be together, then House and Cuddy should

nell serrano and edward:

Not Dead Yet? More like Not Together Yet

ash ketchum and misty:

They’re basically set up as a kind of enemies to friends story and they make recurring jokes about how she clearly has a big crush on him, but nothing ever happens My childhood, i shipped them when I was 10

matthew and mary crawley:

They spend multiple seasons full of tension to get their happy ever after. There are so many tropes used between these two. They finally get their shit together and get married, and then have a beautiful child together. Matthew is so happy about his child being born that he doesn't pay attention to the road and fucking DIES IN A CAR CRASH. And that's how their story ends. It makes me so livid every time I think about it lol they really killed him off like that right after and I mean RIGHT AFTER his child is born. It's so foul and every man that they set Mary up with after that doesn't feel nearly the same

maka albarn and soul evans:

Throughout the series, they have a deep friendship with each other which is consistently extremely important to the story's narrative. In order for them to be able to fight, they must get along and resonate with each other, and due to the mechanics of their world, fighting independently of each other is extremely difficult. In multiple instances, they are shown to be willing to put themselves in harm's way to extreme degrees to keep each other safe. They are even shown to live together. They are The Singular Straight Ship I have ever shipped and I love them. Also they are really cool and Soul can turn into an awesome scythe weapon that like only Maka can wield. And they fight really awesomely together.

grace blackthorn and christopher lightwood:

Okay so basically in Shadowhunters there was this family tree, and on it it stated that Christopher and Grace got married and had a kid. And in the book series they were just good friends. Cassandra Clare (the author) has said it’s inaccurate. But like cmon you said they were going to get married 😭😭

kipo oak and benson mekler:

It only lasts a few episodes, but this is a very clear INTENTIONAL straight bait from the writers, as it's a female main character with a male major supporting character, and Benson even takes Kipo to a carnival, which Kipo interprets as a date, until she confesses attraction to him, where he tells her he's gay and just wants to be friends.

cali and flynn:

It starts off as a one-sided crush on Flynn’s side, and later becomes mutual when Cali develops feelings for him in the Skylanders IDW spin-off comics, their romantic tension lasts for most of the franchise (five games, a chapter of a spin-off comic, and a few bits and pieces in the spin-off books and mobile games), so far they’ve never gotten together as the franchise is currently still in hiatus mode (says this while on extreme copium) I think we need to appreciate the tropes in Calynn: Opposites Attract, Tough Girl x Himbo, Smart x Dumb, “You’re stupid, I like that in a man” vibes all over this ship! Seven year old me didn’t see Cali calling Flynn her guy in the sky whilst Flynn looked at her with heart eyes to lose to some other pairing!

good luck everyone! now go vote!

#the shadowhunter chronicles #the last hours #skylanders #soul eater #kipo and the age of wonderbeasts #downton abbey #pokemon #not dead yet #house md #dc comics #singles tournament round 1

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historyhermann · 9 months

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Unicorn: Warriors Eternal Spoiler-Filled Review

Unicorn: Warriors Eternal is a mature supernatural fantasy comedy with steampunk elements. Genndy Tartakovsky, who is well-known in the animation industry, is the director and creator. He is best known for Dexter's Laboratory, Star Wars: Clone Wars, Sym-Bionic Titan, and Samurai Jack, and more recently, Primal. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, Unicorn: Warriors Eternal, being reviewed here, wouldn't exist.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-first article I wrote for Pop Culture Maniacs. This post was originally published on July 24, 2023.

This series has a simple plot: a group of heroes are inadvertently awakened by Copernicus, a steam-powered robot, in bodies of three teenagers (Emma, Alfie, and Dimitri), rather than in bodies of adults, like in the past. These heroes are opposed by a mysterious foxlike woman (voiced by Grey DeLisle), who embodies evil.

Unicorn: Warriors Eternal drew me in as a person who enjoyed watching Star Wars: Clone Wars as a kid (and have re-watched it various times), and liked Samurai Jack and Sym-Bionic Titan. Voice actors like Jacob Dudman (voice of Edred) who voiced two characters in Primal, and DeLisle, voice of the mysterious woman and the original Melinda, strengthen this series.

Delisle is well-known for her work in animation, including voicing characters in Invincible, Kid Cosmic, The Owl House, Kipo and the Age of Wonderbeasts, DC Super Hero Girls, She-Ra and the Princesses of Power, Elena of Avalor, Star Wars Rebels, The Legend of Korra, Young Justice, and My Life as a Teenage Robot. In contrast, Hazel Doupe, the voice of Emma in this series, is unique. This is her first voice role, as she has only done live-action series before.

I wasn't as familiar with Jeremy Crutchley, Demari Hunte, Alain Uly, Tom Milligan, Ron Bottita, or George Webster, the voices of Merlin, Alfie, Seng, Lord Edward Fairfax, and Winston in Unicorn: Warriors Eternal. I say this even though Crutchley voiced Glad-One and One in Infinity Train, and Uly as Lieutenant Maylur and two stormtroopers in Star Wars: The Bad Batch.

Others, such as Hunte, Milligan, Bottita, Webster, appear to be new to voice work. Rosalind Ayres (voice of Lord Katherine Fairfax) previously voiced characters in video games while Robbie Daymond (voice of various one-off characters) lent his voice to the notorious Curious Cat in Volume 9 of RWBY! He voiced Jesse in Infinity Train season 2, Raymond in OK K.O. Let's Be Heroes!, and many other English dubs of anime characters.

The steampunk setting in Victorian London, in 1890, in this series, reminded me of Steamland in Disenchantment, the upper city in Arcane, or the similarly steampunk action anime, Princess Principal, which spawned a multi-part film series. The steampunk genre has even reached into indie animation and comics. It includes films like Snowpiercer, Atlantis: The Lost Empire, and Howl's Moving Castle, along with animated series like Nadia: The Secret of Blue Water and The Legend of Korra. I am even reminded of an unaired 2001 pilot for Constant Payne, by Indigenous writer Micah Wright. It has a strong steampunk aesthetic.

Unicorn: Warriors Eternal is different than all of those previously mentioned. It is unique in its own way. Just as Samurai Jack was set in the future, with magic, robots, lasers, and the like, this series is set in an alternate world. Unlikely the haphazard and strange inclusion of futuristic technology in the far-too-short Yasuke, this series is much more complete. It draws inspiration from works by animators Max Fleischer and Osamu Tezuka, films by Hayao Miyazaki (like Howl's Moving Castle) and other steampunk aesthetics.

The show's character designer, Stephen DeStefano, worked on Sym-Bionic Titan, Primal, and other projects, with Tartakovsky. He pushed, as did Tartakovsky, to ensure the series had an "old aesthetic" but was told "in a very contemporary way". The studio producing the series, Cartoon Network Studios, has produced many of Tartakovsky's previous projects. Some of the same animators who worked on his previous projects may be working on this series.

These animators could not do their work without the writers. If a recently circulated spreadsheet is representative of Cartoon Network Studios as a whole, it would mean that, for animators, there is repetitive work, little opportunity for advancement, sterile environment due to the Warner-Discovery merger, disorganization, burnout, and overwork. There are two primary show writers: Darrick Bachman and Tartakovsky. While the latter is more well-known, the former is not, despite his work on Primal, Samurai Jack, Regular Show, Star Wars: Clone Wars, and many animated series, some of which he worked on with Tartakovsky.

If Glassdoor is accurate, each of these writers makes somewhere between $46,000 to $83,000 a year. I would guess that Tartakovsky is paid more than Bachman. In any case, the conditions the writers work in influences whether a show is "high-quality" or "low-quality". High Guardian Spice was said to be the latter, until it was revealed that the working conditions at Crunchyroll were horrendous. This does not appear to be the case for Cartoon Network Studios. The recent closure of the iconic studio's headquarters, with employees told to move to a sterile, lifeless Warner Bros. building instead, it does not bode well.

Even some predicted that under David Zaslav, it is difficult to "imagine a future in which the studio’s original animation output can match what it has been in the past," with a strong shit to reboots rather than original series. However, if the writers, and actors, are successful in their strike, these conditions may change for the better. On the other hand, the studios are doing all they can to burn down motivation of actors and writers, while stockpiling completed works and scripts before the strikes began.

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Coming back to the series, Unicorn: Warriors Eternal is a relatable coming-of-age story. The protagonist, Emma (who can transform into Melinda) is struggling to determine whether she is "Emma" or "Melinda". She loses control of her powers after any emotional outburst she has. Having one's powers tied to their emotions is not new. In the last half of Elena of Avalor's final season, the protagonist, Elena Castillo Flores, had to wrestle with the fact that her magical abilities were tied to her emotional moods. The same was the case for Steven Universe in the series of the same name, and in Steven Universe Future.

For Emma/Melinda, her anger and fury seem to be how she expresses her power, in a super saiyan esque transformation. While this expression of raw power can be effective in defeating enemies, it doesn't prevent her from hurting people, unintentionally, in the process. For instance, in the second episode, she uses this power to defeat a huge magically possessed elephant. However, her fiancé Winston is badly hurt in the process and the surrounding area is nearly obliterated.

The use of her abilities in Unicorn: Warriors Eternal are complicated by her relationship with Edred, a warrior elf. He reincarnates in the body of a wanna-be magician named Dimitri. After Copernicus resurrects him, he rushes over to Emma/Melinda, and kisses her. While he has memories of their relationship, Melinda-as-Emma does not. Making matters worse, she still has some romantic feelings for Winston, who wants to "rescue" her from her "new" form.

This contrasts with Edred. He can effectively fight with a sword in manner which almost seems reminiscent of the sword-wielders in anime or those in Western animations like Amphibia, She-Ra and the Princesses of Power, and Steven Universe. Like all Tartakovsky productions, Edred has his own specific style. Every character is stylized in their own way. This is thanks to the aforementioned character designer, DeStefano, and work by many others at Cartoon Network Studios. The same is the case for their battle moves and attacks. It sets the series apart from others with similar themes.

The team of Emma/Melinda, a cosmic monk named Seng (in the body of a young Black ruffian named Alfie), Copernicus, and Edred, make an interesting combination. Each has personal issues they must overcome. Seng cannot fully comprehend the cosmic plane as a young child. Edred has a "clouded" mind despite having a largely intact memory and retains his power. Emma/Melinda has an identity crisis. She even tells Winston, at one point, that she isn't Emma anymore and that the Emma he knew is dead. This is a cold, hard truth which is hard for him to accept.

The complications in each character's lives make it an increasing challenge for these heroes, whose souls are tasked with protecting the world throughout eternity. With the scrambled memories, especially of Emma/Melinda, and the fact that only Edred remembers the most about their role in fighting evil, it makes the story that much more intriguing. The secretive villain is almost as devious as Shadowy Figure in O.K. KO!, but shares more characteristics with Kilgore in Justice League x RWBY: Super Heroes and Huntsmen, Part 1. He aimed to change the Justice League into teenagers, so they are "vulnerable", are ripped apart by the world, and have to deal with emotions they ignore or regress as adults.

There is one major difference. The villain in Unicorn: Warriors Eternal never intended on awakening the Order of the Unicorn (Melinda, Seng, Edred, and Copernicus). Instead, she wanted to destroy Copernicus so the order would cease to exist. The villain exploits the situation for her own ends. She hopes that these heroes will be resurrected one final time. The heroes will do anything they can to stop this evil, with Edred declaring that the villain will "not succeed".

In future seasons, Melinda's insecurities may be exploited just as Invictus did with Ash Graven in Final Space. If so, she may turn against her friends. It is hard to say whether the series villain will be as devious as Aku, who had built an entire empire and dedicated many of his resources to track down Samurai Jack.

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By the show's third episode, there is a clear focus on discrimination, specifically how humans will "other" that which they don't understand. The response of the British police and Scotland Yard to a theft of priceless artifacts bound for the British Museum is to arrest anyone engaged in "magic" in London. There are mass arrests of soothsayers, fortune tellers, and anyone else on Mystic Row.

To make matters worse, they put up a Wanted poster for Emma/Melinda. Even when two spiritualists, Clarice Leydoux and Lao Xi Sheng, tell the police detective the reality, he doesn't believe them. Clearly, the police in this series, including Inspector General Hastings (voiced by Gildart Jackson), do not know how to deal with the situation at hand. People such as Agatha (voiced by Rosalind Ayres), another royal official, try and put in place more order.

Through it all, Emma/Melinda tries to figure out herself. She isn't sure of her connection with Winston, who she inadvertently injured. She even goes to a seance which separated her two identities, making her question whether she wants to be a hero or not. As a result, she declares that she hates the other part of herself. Her father even realizes that she is different, remarking "that is not our daughter". Winston remains in pursuit, even when he clashes with Edred on who "truly" loves her.

After the first two episodes, the series explored the insecurities of Seng. The villains cause him to be swallowed by a cosmic fox. The latter, known as a Lady Fox, attacks them. An amazingly animated chase scene on the rooftops follows, reminding me of similar scenes in Star Wars: The Clone Wars and Samurai Jack. In the fourth episode, this is more apparent. Seng is unable to use his powers while he is trapped on an abandoned ship with other Unicorn team members. He even starts to become translucent! Although they escape this predicament, it could foreshadow more trouble for Seng in the future.

As Emma/Melinda learns more about the story of her Melinda side, with the child version of original Melinda voiced by Marley Cherry Hilbourne. She learns that her mother, Morgan Le Fay (voiced by Peta Johnson), was terribly injured, thanks to her. It is revealed that Merlin (voiced by Jeremy Crutchley) is her father. The conflict between the two halves of herself remains an important part of the story. This is especially the case when they all fight a big squid threatening to destroy the town. Her attempts at reconciliation do not go well, even though she is making some progress by the seventh episode.

At the end of the fifth episode, Unicorn: Warriors Eternal takes a bold step: it appears to kill off one of its protagonists, Copernicus. This is comparable to a similar "loss" of Octus in Sym-Bionic Titan. While Emma/Melinda is most distraught, she works together with Edred to find someone to repair Copernicus. They find an inventor named Otto (voiced by Jason O'Mara), thanks to a robot named Dashwood (voiced by Chris Butler). He works on a huge floating airship, which functions like a space station.

He remarks that Copernicus is like a robot he hasn't created yet, but he says it feels familiar. Copernicus cannot fully come back until his magical power is restored. He is a futuristic magical being. The power from an ancient magical stone is used by Merlin. He brings Copernicus back to life. Even so, this sequence implies that Copernicus can die, in certain instances.

The seventh episode of Unicorn: Warriors Eternal is a rollercoaster ride. It is revealed that Edred left his bride-to-be, in an arranged marriage meant to unite two clans, to be with Melinda. At the same time, it is further implied that Emma/Melinda somewhat remembers this. The quest to get the necessary magical power, the presence of Merlin, and restoration of balance, causes Edred's brother, Aelwulf (voiced by Jack Bandeira), to regain respect for him.

At the end of the seventh episode, the Unicorn team learns that they still have evil to fight, and that their time in this world has not ended. It is implied that Merlin will help they stop it. The eighth episode throws this into question. Out of nowhere, Merlin appears and tells them to come "quickly" to battle an evil machine killing the land. While they meet the mighty tiger Rakshasa (voiced by Sunkrish Bala), Merlin attacks Emma/Melinda, surprising them all.

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The last three episodes of Unicorn: Warriors Eternal lay bare tensions between the group members. This is clear with the addition of a new member, Winston, who can become a werewolf. Predictably, Edred objects, as Winston has feelings for Emma/Melinda. All the while there is the fight against evil, which exudes dark magic.

This reaches a critical point in the ninth episode when the evil leaves Merlin and enters the cosmic realm. They meet an older Seng who has been fighting it for over 20 years, with no success. It is said that if the evil devours everything, the world will end. Merlin and Rakshasa remain optimistic until Emma and Melinda are split apart.

I wish Unicorn: Warriors Eternal had been longer. By the eighth episode, it appears that Melinda is coming to peace with the part of her who is Emma, and vice versa. This seemed too quick. Her struggle with her identity could have stretched across an entire season of 20 to 26 episodes. Take Cassandra in Rapunzel's Tangled Adventure, for example. She is mentally manipulated by Zhan Tri. Even so, she tries to figure out her identity and how she feels about Rapunzel. Like that series, which ended with a bang, this series is burdened by compulsory heterosexuality. Tangled differs by featuring well-recognized gay vibes between Rapunzel and Cassandra, shipped by fans as "Cassunzel".

Much of the internal struggle that Emma/Melinda experiences is couched by a love triangle. Emma loves Winston, while Melinda loves Edred. However, Edred hates Winston and vice versa. Due to the propensity of male characters in this series, there isn't any character, female, non-binary, or otherwise, written for Emma/Melinda that would allow her to have a queer romance.

Even so, the struggle of Emma to reunite with Melinda, resulting in defiance of her by-the-book parents, is promising. Considering this series is set in the 1890s, it is no shock that Emma's parents try to hold her back. They think she is out of her mind and want to bring her to a doctor, who will commit her to an asylum. Her actions, including drawing on equations on the walls of the bathroom, akin to the oft-memed scene from It's Always Sunny in Philadelphia in which Pepe Silvia goes on a conspiratorial rant, don't help her case. In her defense, she is desperate and wants to get back to the cosmic realm at any cost.

This episode goes off the rails when two huge men try to capture Emma and bring her to "the doctor". What follows is an intense chase scene in which Emma has many near-death experiences, and barely escapes those trying to get her, even riding a steam-powered tram to Mystics Row. Two mystic warriors (Clarice Leydoux and Lao Xi Sheng) offer to help her. With their assistance, she uses the Heart of the Forest to get to the cosmic realm.

The Unicorn: Warriors Eternal finale concludes strongly. Emma inspires everyone, reuniting with Melinda, and convinces them to combine their powers into one. They strike a decisive blow against evil forces. This is blunted by the surprising revelation: Morgan is trapped in the heart of the evil beast! At the end of the episode, the protagonists find themselves in a bizarre world in which "the evil" has changed everything. Emma/Melinda gets the last word, noting their determination to save Morgan and defeat the evil being no matter what.

The ending is not definitive, but is open-ended. The central conflict rings true, especially if seen as a metaphorical extension of Genndy Tartakovsky as a Jewish immigrant who faced pressure to support his mother and live up to the myth of a "model minority". A possible second, or even third, and fourth season, could expand upon these characters and their struggles. Possibly, the series may go an Infinity Train route, having different characters for each season.

I hope that any possible future seasons of Unicorn: Warriors Eternal would increase diversity of the cast. Surely, there are talented voice actors like a Black men Demari Hunte (voice of Seng) and Victor Alli (voice of Adult Seng). They are joined by a Filipino man, Alain Uy (voice of Lao Xi Sheng), an American actor of Tamil descent, Sunkrish Bala (voice of Rakshasa), and a British actor of Iraqi, Lebanese, and Indian descent, Brian George (voice of Darvish).

From the available lists of the cast members, I'm not seeing much diversity beyond the aforementioned individuals. A quick read of the cast list for Primal, indicates that the series has a much more diverse cast than this series! Perhaps, this is just reflecting the fact that historically, London was ethnically homogeneous, composed primarily of White British residents, until after World War II. By 1891, over 5.6 million were living in Greater London, a number which would grow in later years.

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Cartoon Network Studios president, Sam Register, is an executive producer, and Shareena Carlson is supervising director. Unicorn: Warriors Eternal is expertly animated thanks to Studio La Cachette in France and Studio Zmei in Bulgaria. Cartoon Network Studios is the aforementioned production company. This is reinforced by the show's music, composed by Tyler Bates and Joan Higginbottom. It is effective, connecting the action with the story. It makes you excited to watch each episode, and become more invested in the characters.

None of this is much of a surprise. Bates is a well-known producer, composer, and musician, primarily of action and horror media, including the John Wick franchise. He was probably chosen because he composed the music scores of Sym-Bionic Titan, the fifth (and final) season of Samurai Jack, and Primal.

Similarly, Higginbottom was a composer on the same season of Samurai Jack, Primal, and John Wick Chapter 4. Tara Billinger, known as the creator of Long Gone Gulch and a storyboarder, did production work on the series as well. The animators either worked on French productions not known in the U.S., or series such as Love, Death & Robots, and Primal. Even Tartakovsky did some storyboarding. The animation, background art, and set pieces are strong in this series.

Unicorn: Warriors Eternal may have been a passion project for Tartakovsky. However, it is incorrect that the plot is "humdrum". Furthermore, Emma/Melinda is not a "poorly written" character, nor does she have a "pat dilemma" or lack emotional complexity. Her struggles are at the series' center. On the other hand, this series, like Dexter's Laboratory, Samurai Jack, Star Wars: Clone Wars, Sym-Bionic Titan, and Primal, is male-centered. In fact, Emma/Melinda is the only female protagonist.

The series has "urgent stakes" and the characters are intriguing. This accompanies amazing mythologies and some worldbuilding. It could be better, but it is not missing "the magic of Tartakovsky". Instead, this series is unique and different from other Tartakovsky series in the past. Surely, I'd love to have queer characters and even have a love triangle akin to the one between Hazumu Osaragi, Yasuna Kamiizumi, and Tomari Kurusu in Kashimashi: Girl Meets Girl. Unfortunately, this series did not go that direction, instead having male-female couples, without any one-way crushes.

Overall, despite my criticisms, Unicorn: Warriors Eternal is an enjoyable series and I'd recommend it. I can hope that it improved to become even better, breaking out of the good-evil dichotomy, and other common tropes used in Tartakovsky's work.

Unicorn: Warriors Eternal can be watched on Adult Swim or streamed on Max, DirectTV, and Spectrum. It can be purchased through Prime Video, Google Play, Vudu, or Microsoft Store.

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fruity-phrog · 1 year

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I find the KATAOW episode Codeword Milkshake so funny because like. It’s always the og trio - Kipo, Wolf and Benson, accompanied by Dave and Mondu. That’s been that status quo for two seasons. But in this episode, it’s Kipo, Wolf and Benson...and Troy. Did Dahlia and Asher go? No. Not even Dave and Mondu went. And I love Troy, but there wasn’t any reason for him to go (I know he picked the lock but they didn’t know they needed to do that). Legit the only reason he went was because of how incredibly homosexual Benson is. I find this amusing.

#cedar crap #kataow #kipo and the age of wonderbeasts #troy sandoval #troyson

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kattahj · 8 months

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Rules: List 10 of your comfort shows, then tag 10 people

Tagged by @katiekeysburg about a month ago. This took me forever, sorry!

Tagging some mutuals from my notes: @minutia-r @sorry-bonebag @re-bee-key @theendofcake @beccaelizabeth315 @anotherlovr @lotesseflower @morathicain @firlalaith @lena221bee

Interpreting this as shows I watch when I want to feel happy and warm and cared for. I don't often rewatch shows, so some of these are ongoing and others are just ones that made me feel good when I did watch them.

Apologies to all the other feel good shows I've had along the way thst didn'tmake the cut. :-)

What's My Line: A game show from the 50s/60s where the panel guesses people's occupations, and also who the celebrity guest is (they're blindfolded for that one). If you want to watch light banter, low-stakes games (extra points are frequently handed out), and hear about jobs you didn't even know existed, this is perfect. Available on YouTube for free, too!

Taskmaster: Another low-stakes game show, this time with celebrities having to perform absolutely ridiculous tasks. This frequently involves not so much thinking outside of the box as thinking outside of the planet. Also, the two hosts have an amusingly dom/sub thing going on.

Queer Eye: Five gay people come to a person, or sometimes a group of people, to fix up their appearance, home, and personal lives. The results can be quibbled with sometimes, but for the most part, this is like a warm hug.

Ghosts: A young couple move into a house that turns out to be haunted. Since they're now so deep in debt that they can't move, they have to make friends with the ghosts. Exists in two versions, UK and US. The UK fans will swear up and down that theirs is the only good version, but the truth is that both are good, and as a comfort show specifically, the US version may be more effective, since it's softer and cuddlier.

Kipo and the Age of Wonderbeasts: In the future, humans live underground, mutated animals ("mutes") roam the earth, and everyone is at each other's throat. Until a girl named Kipo accidentally ends up on the surface and decides to make friends with all the animals, which she turns out to be surprisingly good at. Also, there's lots of singing.

Press Gang: Childhood favourite show that still holds up, about a group of teenagers making a newspaper together. Good drama, good humour, and also, the editor is a smart, ruthless girl named Lynda, who has lots of Belligerent Sexual Tension with Spike, one of the reporters and resident rebel, in a classic 80s/90s romantic trope. In case that's your kind of thing. :-)

She-Ra and the Princesses of Power: Girl who was stolen by the Evil Horde as a child discovers that she's actually the destined hero of the Princess Alliance, their enemies. Sweet story, very queer, and with surprisingly nuanced villains. Doesn't quite measure up to Kipo in my book (I know most people disagree), but almost.

Julie and the Phantoms: Musically gifted teenager discovers that the ghosts of a dead rock band "lives" in her garage. From the creator of High School Musical, but so much better. Sadly cancelled after only one season (very unfortunate timing with covid).

And since I've been watching all these Asian QLs lately, naturally I need to add the softest of those:

She Makes My Heart Flutter: Short and sweet about a lesbian bar owner who gets her routine changed when her niece comes to work for her. Only takes a little bit more than an hour to watch, and it's lovely the whole time.

Old Fashion Cupcake: Office romance about a 39-year-old manager whose midlife crisis is interrupted with the help of the 29-year-old working for him, who dares him to try new things and experience life like a young girl would. Lots of tasty food in addition to the romance.

#what's my line?#taskmaster #queer eye #cbs ghosts #bbc ghosts #kipo and the age of wonderbeasts #press gang #she ra and the princesses of power #julie and the phantoms #she makes my heart flutter #old fashion cupcake

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anachronistic-falsehood · 2 months

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It's relatively niche but I've gotta say. KIPO and the Age of Wonderbeasts is sooooooooo good. It's SOOOOOOOOO GOOD!!!! The animation is absolutely gorgeous to watch and the music is all bangers all the time and the level of thematic influence it has had on everything I've created since then is. Insane. It's a show set in a post apocalyptic world where there's humans and mutants [referred to as mutes] [theyre furries. theyre all furries] and the mutes have control of the surface and the humans are generally subterranean because of tensions between the two groups. The main character is the titular human Kipo and the first season's whole plot is her trying to find her father and the rest of her colony after she got separated from them in the middle of an evacuation. She loves life and she's hopelessly optimistic and she single handedly works to bridge the barrier between the two groups and she loves her father and she loves her friends and I'm so abnormal about her. There's a girl named Wolf who wears a wolf pelt as an intimidation technique and also lives in the middle of a scorpions' nest because nobody else will live there. There's an asshole who thinks hes cool and everyone else knows is uncool but love him anyways and has a heart of tarnished gold and wraps himself in layers of irony named Dave.

AAAAA i've been meaning to watch kipo, i just have not had the time and energy yet!!! I WILL THOUGH I WILL!!!!! it seems like a really cool show and i wanna watch it so bad so yk what i will i will!!! beloved mutual u have convinced me i will watch it and probably get hopelessly invested <3

#whiskey yelling into the void #also that last bit. about dave. is there actually a dave like that in the show or are we just making a homestuck joke #Kozzax I Need To Know.#bc if there is actually a dave like that in the show that would be hilarious

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pokeblader3 · 1 year

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We really shouldn't have let corporations start splitting up seasons and calling batches of episodes seasons. 10 or 13-episode seasons of half-hour episodes are alright when they're blatantly marked as half-seasons, but nothing less. You expect me to call a third or a quarter of a season a whole season? Sorry She-Ra, The Dragon Prince, and Voltron, not buying it.

And it's why so many shows have bombed! It's why Voltron was like that: the final two planned seasons were ordered to be written and produced in the second season order instead of just season 2's 26 episodes, note this required them writing 52 episodes in one year, which is why Voltron only ran for 2 years and seemed to explode after the first year.

It's why She-Ra only ran for 2 years, Kipo and Infinity Train for 1 year each. It's why Steven Universe's release schedule was so bungled (seasons 2-3 and 4-5 are each 1 production-season split in two, they aired 2-3 in the same year but tried to space 4 and 5 out to each be their own years despite being half-seasons which is why s4 felt like nothing happened for an entire year of the show, Future was also a half-season which is why it felt so rushed).

If a show reaches 3 seasons, WGA law mandates companies have to pay crews more and give it a higher budget (including paying lead crewmembers residuals), so it's a bottleneck in the industry for a show to get to 3 seasons, but crews naturally improve through working with a show -- of course we don't have equivalents to Better Call Saul or whatever, BCS is 2x the runtime of the longest story cartoons, ATLA. It's also why the closest equivalent to Avatar is FMA:B, which was allowed to run to 64 episodes.

I think people would be a little closer to realizing the reason we haven't had a masterpiece show like Avatar in 17 years is plain just because no show has reached 3 seasons and had a planned ending without getting canceled at season 2 due to corporate greed, not been allowed to end properly due to homophobia (TOH/SU), or were small in budget/scope (Amphibia, Bojack), if we didn't cede that ground to corporations.

#animation #the owl house #steven universe #infinity train #spop #late stage capitalism #capitalism

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nowhere-space · 2 months

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Kipo and The Age of Wonderbeasts Season 2 Episode 6: Fun Gus Part Two

#kipo #kipo and the age of wonderbeasts #fun gus part two #backgrounds #the brunch bunch

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silly-rosemary · 1 year

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I really feel you with your tags about being done with netflix bc yea I agree. honestly considering just watching the netflix shows already on my to-watch list and then nothing more from them that's new 😭 because as much as I dont want to punish the creators of these shows by not watching, I'm also very tired of starting new things i end up loving just to be left with an incomplete story because netflix only cares about stranger things and big mouth (+ wednesday now) and will cancel everything that isnt those :/

I'm so glad they at least let kipo have a satisfying end but god everything else deserves one too ☹ and the cliffhanger dead end was left on too????? MAN 🚶‍♂️

I don't even understand *why*, it's a bad business decision, when they make a new season Netflix gets about the first two weeks of revenue, besides - shouldn't they want to appeal to a variety of audiences?

The only real explanation is that they're burying their gays, this seems to be a new trend with streaming services. Specifically cartoons are getting cancelled, because it's viewed as children's content, so when a cartoon has gay people an executive can argue that it is inappropriate for children and remove it from their service or cancel its renewal.

I think it was a domino effect caused by Disney. When they got away with cancelling The Owl House, one of the biggest cartoons at the time, and they still got views and made revenue from the special Netflix saw that as something that they could get away with as well.

It's like the popular kids in a stereotypical highschool.

#netflix #dead end netflix #de:pp #deadendia #dead end paranormal park #disney #toh #the owl house #fuck netflix #fuck disney

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lily-orchard · 2 years

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One thing that I do think is going to be intresting is that Gen Z is now in Early Adulthood, meaning that the generation that grew up with ASDF and the mess that most of the 2010s was (both in shows and *waves hands in the general direction*) will soon be making their own shows in the next few years.

Funnily enough it was documented that most kids didn't like a lot of these cartoons, and were the viewers that dropped ship the soonest. A lot of kids just didn't watch Steven Universe because it just wasn't on most of the time. It spent a long time on hiatus and attention drifts. And even among adult audiences, it's reputation is the definition of a mixed bag.

The environment that created the 90's kid art school brat making their anime-inspired magnum opus just doesn't really exist for Gen Z. Revolutionary Girl Utena is no longer "mandatory watching" for gay kids and teenagers. It was only mandatory watching for teenagers back in the 90's on the basis that there was just nothing else to choose from so the attitude of most people is

Gen Z on the other hand grew up in a time where there's tons of LGBT rep both good and bad, so they can be more choosy and don't have decades of precedent demanding that they don't. They don't have that ingrained obligation to hold up crap that just didn't work on the false dichotomy of "bad rep or no rep."

Gen Z gets to choose between The Loud House, the Casagrandes, Craig of the Creek, the Owl House, Kipo and the Age of Wonderbeasts, Danger and Eggs, and that's just counting the good ones.

Even beyond just LGBT rep, the Adventure Fantasy genre isn't as universally popular as weebs make it look. Teen Titans Go has stayed on the air for almost ten years much to the chagrin of adult cartoon fandom, the fact that Adventure Fantasy shows tend to only last 2-3 seasons while their slice of life counterparts have been quietly going on for 5+ past their notice is nothing to sneeze at either.

It's important to remember that Youtube metrics don't count for much. Some shows you can talk about endlessly if you need to, but that doesn't necessarily translate into popularity or a lasting impression. These days, Korra has been largely forgotten save for their last second handholding in the finale, and nobody really talks about anything else about that show. It didn't leave a lasting impression.

In truth, we won't really know what made a lasting impression on the kids of the 2010's. The 2000's had tons and tons of cartoons released that lasted for enough episodes to reach syndication and then faded, do you think they knew what would be remembered fondly? Do you think the creators of Teamo Supremo cared if they'd be forgotten? Do you think the creators of Kim Possible knew they had a certified mega-hit? Do you think the creators of Delilah and Julius thought anyone would remember them? Probably not.

All I'm saying is that while the 2010's saw the eradication of unique and interesting premises and pushed everything into two genres, a lot of those shows are somebody's favourite. And a lot of stuff in 2010 was very good, made by people who knew what they were doing.

How many poorly written weeb trash cartoons were made thanks to the brainrot of people who read way too much porno fanfiction as a teenager? Like... three?

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hoagmaster · 5 months

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Another Month, Another Sunset

Well I did say I would return to the subject of shows I’ve watched ending since Mario Kart 8 dropped back in 2014, so this is the continuation of that dropped point.

I have watched television animation for as long as I have conscious memories. I grew up with it. I define the stretches of my life based on the big show I watched during each of them: Rugrats, Hey Arnold, SpongeBob SquarePants, The Fairly OddParents, Danny Phantom, The Mighty B!, Gravity Falls, Steven Universe. I was mostly a Nickelodeon kid as you can see, because that was largely the only channel we had around here when I was growing up.

I’ve dabbled in many other shows that aired at the same time as these, but there was always the one I focused on. But each of these shows either ended, whether by its own accord or not, or frankly went to pot and I jumped ship. It was the time when things were stewing in the latter show in 2018 when I decided maybe I’d have my fun elsewhere.

There were several months when I didn’t latch onto any show out of lack of interest, I might say. I watched some but I wouldn’t say I engaged with them.

That all changed in October 2018, when, at the suggestion of someone I used to know along with a forum I frequented, I checked out Hilda on Netflix. I’d never read the comic it was based on, nor did I have much experience with a show designed for streaming.

But despite all that, I loved it. It felt like a rejuvenation into a medium I’d followed since youth. It opened my eyes to the potential of a series made for an online service.

Perhaps as a way to fill in a void left by season one ending, I decided to see what else I’d missed in my admittedly narrow-minded viewing. This led to my current favorite (remaining) show, Big City Greens.

My slate grew to those two. And then there was She-Ra and the Princesses of Power, Carmen Sandiego, Amphibia, Victor and Valentino, Infinity Train, It’s Pony, The Owl House, Glitch Techs, Kipo and the Age of Wonderbeasts, The Midnight Gospel, Kid Cosmic, Centaurworld, City of Ghosts, Invincible, The Ghost and Molly McGee, Inside Job, Arcane, Tear Along the Dotted Line, Maya and the Three, Dead End: Paranormal Park, Hamster and Gretel, Bee and Puppycat, Pantheon, Moon Girl and Devil Dinosaur, Kiff, Hailey’s On It!, and a couple others I’ve checked out some clips of.

Granted, I like some of these shows more than others. I wouldn’t call any of these perfect because with enough time I can find things in each of them that irk me. But I certainly feel I have a stronger awareness of shows that have aired in the past five years than I have for the rest of my life. Gaining a lot more online awareness probably also helps in that regard. I feel like I’m learning more about myself as an artistic person and writer by thinking about these and wanting to write about them.

With the end of Hilda, I feel it also marks the end of an era. Nearly every show I mentioned above has ended, whether by its own terms or not. Some have questionable conclusions, some were cut short, and a handful are ongoing or even just begun. But 2024 will mark the first year in some time where the big show that got me to get further into animation watching will not be on the horizon.

Now, I don’t think Hilda is going away forever. We’ve likely all seen Luke Pearson is already writing a prequel comic. There are more supplemental and side books being released faster than I can keep track of. Most of the shows I mentioned that have ended are still with us in a bevy of ways. With some networks looking for the next big hit they feel content to keep on reminding people about the stuff they already love to keep them engaged. For instance, for all their corporate shenanigans, Disney is doing a good job at keeping people aware of Amphibia.

I think the process of shows going away has been made easier by maintaining a broader range of shows to watch. Even with Hilda finished, I have the remaining episodes of Big City Greens along with the shows that just premiered and have more episodes on the way. Then there are all the upcoming shows that could grab my attention in the ways many of the previously mentioned have.

It does feel bittersweet, knowing we’ve all watched this show and came together for it and may be left wondering where we go now. I regret not engaging with you all more in the past, but who’s to say that can’t change now? At the end of the day, a show like this and many others extend far beyond what’s on the screen.

We’re all here to celebrate a show that we enjoy and that inspires us to create, to tell stories, to meet new people, to reflect on who we are and where we can take ourselves. Looking back, I have mixed feelings on the last season of Danny Phantom, but it was the first show where I talked with folks online about it and looked at fanart and read stories, and it is in this way that I met some of my oldest friends. Some of the most genuine, wonderful people I’ve known for over 15 years. That’s the beauty of an artistic creation like this or any other show.

Looking at the upcoming slate of shows and seeing just a bunch of stuff I don’t recognize does add to the hesitation. It’s easy to think that nothing new could live up and this empty feeling will persist. The strongest sense of “emptiness” I felt recently was when Amphibia ended, but this one is also up there because of what its end brings with it. But looking ahead, who’s to say we won’t all find a show that will enrapture our senses and inspire us the way our past favorites did?

I certainly didn’t think I could move on from Danny Phantom or Gravity Falls or Amphibia at those moments. But with some time, I’ve been able to keep moving forward and find new things that inspired me in all new ways. It may take time, but I think many of us will do the same here.

I’m sure I’ll keep reading the stories, and seeing the fanart, and thinking of my own ideas of stuff to share. To paraphrase Star Trek II, it’s not really gone so long as we remember it.

Here’s to the future, y’all. Cheers.

#hilda netflix #hilda the series #cody writes stuff

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