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volleypearlfan · 11 months

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Canadian Cartoons Are Great

Today, the popular cartoon YouTuber Saberspark uploaded a video talking about the infamous “fart episode” of the 2023 Total Drama series. The comments were filled with hatred and generalizations towards Canadian animation. These terrible comments are not the fault of Saberspark, but it is true that the “big users” in the cartoon community are (mostly) Americans who spread myths and stereotypes about Canadian cartoons. This has bothered me and a few others for quite a while, so here, I’m going to prove why Canadian animation is great, actually, and dispel common misconceptions

All Canadian cartoons are about fart jokes - if you say stuff like this, you clearly have never seen a Canadian cartoon outside of Total Drama and Johnny Test. That’s like if I said “all anime is naughty tentacles” or “all American cartoons are about anvils falling on your head.” And don’t act like your precious USA cartoons and anime are exempt from toilet humor. One example of an anime with toilet humor is Panty and Stocking with Garterbelt - their first episode was about a monster made out of shit. And we all know about the gross out cartoons such as Ren and Stimpy.

Canadian cartoons are cheaply mass-produced because of CanCon - No. What CanCon ACTUALLY states is that a certain percentage of content on a Canadian channel has to be Canadian-made. The policy is about supporting Canadian art, not “mass-producing” cartoons, since this applies to ALL Canadian TV and radio content, animated or otherwise.

Now, let me tell you some reasons why Canadian animation is actually great

Some of your childhood shows, such as Arthur, Franklin, and Little Bear are Canadian in origin.

Some of the most acclaimed cartoons within the cartoon community, such as Ed Edd n Eddy and MLP:FIM, were both animated in Canada and had voice actors from there (same talent pool, in fact - Vancouver)

Inspector Gadget and the Beetlejuice animated series helped keep good animation afloat during the 80s. In a decade full of uninspired and insipid cartoons, these were two of the highlights.

Canada is still a great place to outsource animation, as proven with the works of Nelvana, Mercury Filmworks, Jam Filled, and countless others.

If you grew up without cable, you probably watched PBS Kids and/or Qubo a lot. Guess what - lots of the shows on both of those channels were Canadian. For example: the PBS Kids Bookworm Bunch: Timothy Goes to School, Seven Little Monsters, Marvin the Tap-Dancing Horse - these shows are all Canadian! Qubo was also home to Jane and the Dragon, Jacob Two Two, Babar, Spliced, etc - they’re all Canadian too.

Because Canada’s censors are far more lax compared to American ones, Canada has made huge strides in teen and adult animation. Such shows include Total Drama, 6teen, Detentionaire, Undergrads, Producing Parker, etc as well as the movie Heavy Metal.

Also because of the lax censors, Canadian cartoons had positive LGBTQ representation far before the United States did. One episode of 6teen has a character stating “I’m gay,” and in Braceface, the main character assists her gay friend in finding a boyfriend. Unsurprisingly, these episodes never aired in the US.

6teen also dealt with periods before Turning Red, Baymax, and Molly McGee did it (again, the episode was banned in the US).

Finally, here are a few Canadian cartoons I recommend, and where to watch them:

Cybersix (it was a Canadian and Japanese co-production). The whole thing is on TMS’ YouTube channel.

Redwall is on Pluto, and there are episodes of it on YouTube courtesy of Treehouse Direct

Toad Patrol (unfortunately you’re gonna have to resort to low quality YouTube uploads)

Silverwing - again, the complete series is on YouTube

Detentionaire- On Tubi and Pluto!

Ruby Gloom is a great show if you like cute gothic stuff; it too is on Tubi and Pluto

The Adventures of Sam and Max: Freelance Police - on Tubi

One of my favorites, The Raccoons. Basically the Canadian equivalent to The Simpsons, and with a banger ending song. The show’s production company has uploaded episodes of it for free on YouTube.

The original Clone High was animated by the legendary Nelvana (if you’re wondering, the new season is not outsourced to Canada 😔) It is on Paramount Plus and HBO Max

Undergrads - yet again on YouTube, in low quality unfortunately. Like Clone High, it was on MTV.

I also recommend watching some short films from the National Film Board of Canada. My personal favorite is the Log Driver’s Waltz.

Tl;dr - American cartoons are not bad because of Allen Gregory, anime is not bad because of Pupa, and Canadian cartoons are not bad because of Johnny Test or fart jokes.

#my animation essays #< new tag #animation #Canadian animation #Canadian cartoons #Canada #clone high #Ruby gloom #inspector gadget #total drama #the raccoons #silverwing #toad patrol #Detentionaire #redwall #Nelvana #6teen #long post

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tootern2345 · 4 months

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Since it’s the holiday season…. Here I present to you, some storyboards from the Season 2 R&S episode, Son of Stimpy (Stimpy’s First Fart) by Peter Avanzino. Most of the boards here were cut/trimmed down for time. As the episode itself had a lot of production trouble (one example being the episode took about 15 weeks/3 months in layout and how the post production department screwed over the hand drawn snow effects done at Carbunkle) and was conceived as a satirical parody against the act of pathos. It worked.

Directed by the infamous John K. for Spümcø & Games Animation, Inc

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childhood90snostalgia · 6 months

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90s/00s Holiday Specials

Christmas TV Specials

Animaniacs - Wakko’s Wish The Flintstones Christmas / Christmas Carol A Garfield Christmas Special Invader ZIM - The Most Horrible X-MAS Ever Ren and Stimpy - Stimpy’s First Fart The Simpsons - Marge Be Not Proud The Simpsons - Miracle on Evergreen Terrace The Simpsons - Simpsons Roasting on an Open Fire South Park - Mr. Hankey the Christmas Poo South Park - Merry Christmas Charlie Manson South Park - Mr. Hankey's Christmas Classics South Park - A Very Crappy Christmas South Park - Red Sleigh Down South Park - It's Christmas in Canada South Park - Woodland Critter Christmas Tom and Jerry - The Night Before Christmas

Christmas Shorts

A Chipmunk Christmas Annabelle’s Wish Buster and Chauncy’s Silent Night Christmas Comes But Once a Year Christmas Elves Christopher the Christmas Tree Disney’s On Ice Donald’s Snow Fight Frosty the Snowman Hectors Hectic Life How the Grinch Stole Christmas Mickey’s Christmas Carol Nick and Noel The Nutcracker Prince Pluto’s Christmas Tree Santa’s Workshop Silly Symphonies - The Night Before Christmas Twas the Night Before Christmas

Christmas Movies

A Christmas Story Bad Santa A Christmas Carol (1930s) Elf Ernest Saves Christmas Gremlins The Grinch I’ll Be Home for Christmas Home Alone Home Alone 2 Jack Frost Jingle All the Way Look Who’s Talking Now Olive the Other Reindeer Rudolph the Red Nosed Reindeer The Santa Clause Santa Clause is Coming to Town

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feyariel · 2 years

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Fey Ranks (Older) Nicktoons

Because I was dead serious when I called My Life as a Teenage Robot stupid.

I remember when Nicktoons first debuted -- in fact, I remember the cadence of narrator's voice in the preview commercial.

We started with Rugrats, Doug, and Ren & Stimpy (listed in that order); Klasky/Csupo would go on to make a good chunk of the early stuff, which I'll consistently rank poorly. I stopped watching Nicktoons just before Catscratch debuted, about when Avatar: the Last Airbender began; since Avatar is a Nicktoon technically but so different (in content and quality) from the rest, I'll stop with Danny Phantom, for a total of 22 Nicktoons. However, since KaBlam! and Oh Yeah! Cartoons were both animated short compilations that were "incubators" (audience tests), I'm not going to count them, so 20.

Invader ZIM. If you know me, you had to see this coming. No contest. You could say that it is a successor to Ren & Stimpy in being a comedy that crosses lines set by the studio for its supposed target demographic, but ZIM's structure and overall animation is wildly different.

Spongebob Squarepants. There's enough spiritual successor to Ren & Stimpy here that Spongebob probably wouldn't exist without it, but it's in most regards better for not being a clone.

Hey Arnold! This is what Doug was trying to be, but couldn't really accomplish because it was too caught up in its own wholesomeness to have much of a sense of humor. (We can probably thank Rugrats' influence: Arnold and company go on adventures which the kids on Doug are too rule-abiding to do and imagination spots tend to be much more vivid [to say the least; the show at times borders on magic realism] and less stock wish-fulfillment fantasy than Doug's.)

The Angry Beavers. This one is oft-forgotten, but it's rather imaginative and is something of a combination of Rugrats (small group of people going on imaginative adventures) and Ren & Stimpy (zaniness). It had enough good lines and running gags that it could have been a source of memes if it were better known (debuted later/had a presence on the Internet at all).

Rugrats. The OG Nicktoon was listed first in the preview commercial for a couple of reasons. First, it's a fairly good show, at least before the movie. It covers everything (fantasy/sci fi adventure, domestic comedy, direct social commentary, moralistic fable, you name it) and does so in a way that engages the audience (the genre shifts from one episode to the next and within single episodes are done skillfully enough not to be distracting). Second, while it is imaginative and funny, it isn't so zany that it makes Looney Tunes look tame, nor does it seek refuge in audacity to the point that it draws undo scrutiny (Ren & Stimpy). Rugrats was excellent. Unfortunately, nothing else by its production company (Klasky-Csupo) was anywhere as good.

(Tie) The Ren & Stimpy Show. Ren & Stimpy set a tone for later Nicktoons (and cartoons on other networks) to try to imitate; the trouble was, so much of Ren & Stimpy was yelling, scatological, and just plain gross that it could become a bit much to watch after a while. The other problem was that the creator, John Kricfalusi, started the trend of creatively-minded show writers coming into conflict with Nickelodeon studio execs (some of which was general production drama, but I wouldn't doubt that some of it's because he's a fucking psycho pedo). In short, R&S was equal parts great and awful and its legacy dominated Nickelodeon at least through Zim's run.

(Tie) Rocko's Modern Life. "Garbage day is a very dangerous day." This show was the fourth Nicktoon and the first to debut after the format block had been established. It is very obviously a toned-down Ren & Stimpy in that most episodes involve gross-looking shots, the occasional fart sound, and lots of yelling, but never to the same degree as R&S. Its social commentary is more rooted in the contemporary (though at the time not so much the exact moment as a vague present) rather than 1950s cartoons and sentiments (as R&S was) and its adult humor is done well enough to go over younger viewers' heads entirely (whereas R&S at times failed to do that). I think its relative tameness in the wake (and presence) of R&S was both to its advantage (acceptance) and detriment (forgettability).

The Adventures of Jimmy Neutron, Boy Genius. Jimmy Neutron came out a year after Fairly Oddparents made its serial debut (see below) and at the same time as ChalkZone (see further below). I list it higher than either because it had a better ensemble cast, a better premise, and occasionally better humor.

The Fairly OddParents. This show originally debuted as a short on Oh Yeah! Cartoons; in that version, Cosmo was suave, rather than stupid. The trouble I have with this show is that Cosmo's stupidity gets annoying after a while (it is a source of great humor at first, though), the plots eventually ignore the premise (Vicky is supposed to be the constant antagonist; they run out of material to use with her after a season or two), each episode follows an overly predictable pattern (Timmy tries to use magic to solve his problems, but DA RULEZ get in the way and there are drastic consequences), and the humor varies from sound to terrible.

AAAHH!! Real Monsters. Of the Klasky-Csupo shows, this one is probably the most forgotten (besides As Told by Ginger), which is a travesty, as it had its moments. Part of the problem is that none of the main characters are humans and xenofiction (let alone xenofiction of beings that are antagonistic towards humans) isn't something that sells very well. I loved it, but I also recognize that it can be middling.

Danny Phantom. [insert gratuitous, obnoxious rap theme song here] I realize that there is a Danny Phantom fandom on Tumblr, but I found it at best mediocre. Much of it is that it's Fairly OddParents' formula reused for a teen super drama: that formula was designed for (and works best in) a comedy, which Danny doesn't want to be, and supers were a dime a dozen by that point, so Danny didn't stand out there, either.

Doug. I've poo-pooed Doug on here already, but I did like it when it first came out. The trouble is that the show reins itself in too much. Recurring gags (like everything relating to beets) don't really work (they're not funny, let alone funny enough for a children's show); most of the show's more imaginative moments and almost all of the show's conflict are in Doug's head, which means that if Doug didn't have an anxiety disorder we wouldn't have a show. Too much of it is trying to be a guide for kids working through issues, but most of the issues it tackles are not readily relatable to those who would be watching it and the characterization certainly isn't relatable to middle school age kids (it's too tame for them, even though it depicts kids of that age).

The Wild Thornberrys. Another Klasky-Csupo production. Eliza Thornberry is an insufferable nerd, Debbie is obnoxiously teenaged, Darwin is Chuckie Finster but unfunny, and Donny can't speak. The only good character is Nigel and I doubt I could stand a show about him.

Action League Now! This show was funny when it was a short (on KaBLaM!) -- enough so that you kinda wanted to see it translated into its own series. However, it couldn't keep up the pacing: it was always meant to work as a short and simply couldn't expand properly.

ChalkZone. Another Oh Yeah! Cartoons short turned series, ChalkZone was great for taking the Harold and the Purple Crayon idea, merging it with the Mirror World trope, and running with it. However, neither of its main characters were interesting and their voices were grating.

As Told by Ginger. Here we get into the dregs of Klasky-Csupo. This is a more relatable version of Doug, but it is almost devoid of humor, imagination spots, or interesting plots. On the bright side, the eponymous protagonist and most of the main characters are girls, which is a nice change of pace.

All Grown Up! The Rugrats spin-off that was trying to be another Doug (i.e., show aimed at older kids); after all, when this came out, original fans of Rugrats were now about the same age as the characters in the show. The premise was fine in a single episode of Rugrats, but like every other Doug clone on this list (except Hey Arnold!) it failed to be anything but a tween drama, of which there were a million at that time, and never took advantage of its medium, as Rugrats and other Nicktoons had.

My Life as a Teenage Robot. Another tween drama (Doug) plus super show in a sea of both, with a main character who is whinier than most. But hey, she's a robot! Seriously, go watch The Powerpuff Girls instead. Yeah, you won't get a narrative that can be interpreted trans-ish, but MLaaTR isn't trans-coded on purpose; what comes across as trans-coding is more issues that every growing child faces in relating to their parent(s'/'s) dissonant expectations of who they are and how they should behave.

(Tie) CatDog. There are four problems with CatDog: the premise is lacking ("Hey! They're conjoined twins of supposedly opposite species!"), none of the characters are especially likable, episodes are rigidly formulaic, and the plot formula usually includes various people (but especially a local gang of dogs) bullying CatDog for being an abomination against nature. (Here, you're torn: CatDog are characterized as not deserving bullying, so these sequences are deeply unpleasant; CatDog themselves are an abomination against nature, so you kinda wish they were gone; and the bullying parts are tedious diversions from what else might have been going on in an episode.) Did I mention it's a comedy?

Rocket Power. "As the Ancient Hawaiians used to say, any show that appeals to people who use the word 'radical' unironically and are deeply into sports involving boards or small wheels (skateboarding, inline skating, roller hockey, snowboarding, and surfing) is a piece of crap." The last of the Klasky-Csupo shows on my list. Notable for having a gay-coded dad and friend, even though the dad is established as having been married and deeply missing his wife. It wasn't devoid of good parts, but one of the four main characters embodies the RADICOOL! attitude and his best friend is both an idiot and a jerk, so it tends to ruin itself. Unlike the other shows that deal with tween drama, though, it tends to handle that aspect mildly well, particularly thanks to Tito, the gay-coded dad's coded boyfriend.

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tomahachi12 · 4 years

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What other shows have/do you watch?

I use to watch a lot of anime

well, maybe not a lot. I’m very picky about the anime I watch lol If I don’t like the art style or how it’s adapted, I won’t touch it.

I’ve watched Hellsing, Pokemon, Digimon, Sailor Moon, Inuyasha, Naruto, Bleach, Soul Eater, Paranoia Agent, Ghost in the Shell (mostly whatever was on Toonami lol)

I got through the first season of My Hero Academia, but that’s it. Good show, I just got lazy

I’m trying to watch BNA now, but same deal, I’m lazy.

as for shows, I hate most of what’s on tv today. The low-brow humor gets on my nerves so much, and pmuch every show taking on the same art style, all blends together for me and I get bored easy.

I do enjoy the shows that have more complex stories and deal with more mature issues. Personally, I believe kids should be exposed to that kind of stuff than random noise and fart jokes (even though I grew up with shit like Ren and Stimpy, Cow and Chicken, Two Stupid Dogs, and the like)

show’s like Steven Universe for example, even though I almost hated the first season lol

I really don’t sit down and watch tv anymore. So I barely know what’s on now. If I catch something on that I like, I may watch it.

I can say there are several shows I’ve seen and I like, but I’ve never sat though a whole series. I’ve never dropped everything to catch a new episode of something.

I’ll just see the updates on tumblr/twitter and go, “huh, that’s cool the show did that.” and move on

I’m a very boring person

If I do have the tv on, it’s just for background noise so I don’t feel so lonely. Even then, it’s mostly on Discovery, Travel Channel, or the news cause I’m old.

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taragrimface · 5 years

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iirc the first scene of ren stimpy adult party cartoon is an extended thing about them living in a spittoon and playing with loogies... like... when john k was given license to make an edgy shocking uncensored reboot of his show aimed at grown adults he came back with "here's all the joyless fart and snot jokes nickelodeon told me they didn't want on their channel, The Revolting Slime Channel" and expected everybody to love it

#unsanitary t

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k-l-neidecker · 6 years

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One Person’s Take on what the Infinity War Pitch Room Conversation was Like — K. L. Neidecker

One Person’s Take on what the Infinity War Pitch Room Conversation was Like

A week or so back, I finally broke down and watched Avengers: Infinity War.

It took me a long time to get around to it. I’m not sure, but I think, perhaps, I’ve seen the requisite number of superhero movies one must watch to be considered a happy and productive human in modern society. Check that box, one piece of being an American consumer fully in place, now on to the next strange trend…

Not that I hate comic book movies. In fact, I enjoy them. Just, hey, a few dozen a year is more than enough, thanks! And let’s not even mention that we are stuck with Marvel movies as DC seems to be having…trouble…making movies that don’t suck since the third movie of the Nolan Batman series.

So, considering the spoilers about Infinity War which assaulted my eyes for months, and the fact I knew what was going to happen…the supposed “big moment”…I simply felt no great rush to see it. Sure, I’d see it sooner or later, but it was way down on the the list of things to do—somewhere below a visit to the proctologist and spraying out the inside of the garbage cans.

But, hey, I figured it would be fine for a movie night.

And from minute one, I knew I made a terrible mistake, one which proves karma is a bitch and in a past life I must have been a terrible person. Maybe Attila the Hun’s third cousin twice removed, Bob the Hunnish.

I’d like to present to you my imaginings if what the pitching and brainstorming room must have been like as they planned Infinity War out.

Neon lights flicker and highlight nicotine stained drop ceiling panels. The energy is high, the air buzzing with electricity, though that could always just be the faulty wiring buried in walls which have been privy to so many great ideas in better days…

“Ok, so me and the boys have been talking,” Jim said, gesturing to a pile of sock puppets discarded in a dingy corner, button-eyes staring blankly into the distance, “and we got some ideas for the next Avengers movie.”

The writer’s room hushed in anticipation. A head writer for Iron Man 2, an artichoke heart pickled in brine, wetly rolled from its perch.

“Ok, so we open with a battle! Action is good, right? People love that stuff.”

A cricket farted in the distance, the mating call falling on dead ears.

“I mean, just some fighting, on a space ship. In space! Bunch of stuff happens. Sure, it will be confusing, and maybe some viewers will wonder, hey, did I miss an entire movie or something, because this scene feels like it’s part of some larger whole…

“And then we kill off some important characters! Yeah, baby, yeah! That will get people invested.”

A murmur of assent rippled through the room, taking the form of various belches and the whisper quiet rustle of a nostril mined for ore by a probing digit.

“Ok, and then the Hulk enters the picture, a being so powerful he’s been sent into space because of how dangerous he is to have around…but Thanos mops the floor with him. And guess what? That’s the last time we see the Hulk for the rest of the movie!” Jim leaned back and placed dirty boots on the table, grinning.

He continued, “So, no Hulk, because hell, who needs him anyway, and it fixes the plot hole where he would simply own Thanos early on, end of movie.

“Then, we add in every Marvel hero we have into the mix. So many, in fact, that they all only get five minute snippets on screen, and we just keep cutting between everyone fast enough to send a third of our viewers into epileptic fits. Thank goodness for CGI because we need a half-thousand sets to marionette these characters over.

“Thor, even though he’s been around multiple earthlings over a bunch of movies, will act dumb as hell and confused about words like ‘moron’”

Moron twitched in his sleep, the sound of his name nearly pulling him out of his comfortable dreamland.

“Also, some of the best characters in our universe, the space cadets from Gargantuans of the Galaxy or whatever it was we made a few years back, will run into Thor at random in the almost infinite reaches of the unfathomable soul sucking emptiness that is the ever expanding universe. Good timing!

“Let’s see…ah, right, Thanos just keeps winning non stop, and our heroes simply throw the same tactics at him over and over to no avail. You know, like punches and missiles and some Kung fu or some shit. Hey, the dude owned Hulk, so why wouldn’t Captain America try punching him in the gob?”

Tim, the newest writer, one not yet broken in by Marvel and not yet fitted out for his Marvel Brand Gimp Suit™, broke his silence when he could take no more. “Hey, uh, this all sounds great and all, but don’t you think—“

“No, I try not to, Tim. Thinking is the direct cause of migraines and bed wetting. Ok, so, we have wizards doing the circle things with their palms, some space folk bopping around almost disconnected from the rest of the story, Avengers not calling other Avengers even though fifty percent of the life of the entire universe hangs in the balance…damn, what else was I going to say,” Jim grasped a bong like an infant would a bottle and ripped on it before smashing it on his own head in victory.

“Right. The love story. Every great tale needs a love story: Romeo and Juliet, Ren and Stimpy, all the greats. So, we have a budding relationship between Vision and whatsherface. Let’s make the viewer care, get them invested.”

Tim nodded, “Right, that’s a solid idea man, sounds—“

Jim cut him off, “Of course, with fifty main characters and a two hour runtime, we won’t actually see any of this love or whatever. We’ll just hint at it a bit, you know. Gotta save screen time for purple ballsack, er, I mean Thanos, to wax laconically about how nice a bro he really is on the inside.”

“Hey, no, I don’t think—“ Tim stuttered.

“Good, my man, good. I think you’ll fit in here with that attitude. So, then let’s kill of all the fun characters. Let’s start with the people of color. First scene to last scene, let’s off some green folk, dissolve some Wakanda heroes, let’s go for broke.

“Again, no Hulk. Just Bruce in a CGI suit, so it’s kinda like the Hulk but suckier. You know, we wouldn’t want that actor to actually be in the movie or anything. Just CGI his ass at all times. Note to self, can we just completely CGI his likeness and not have to have an actor at all?

“Let’s have Dr. Strangelove or whatever his name is willingly hand over the one item his entire order was formed to protect… You know, stay true to the characters.”

The sounds of shattering glass echoed from wall to wall as two writers leapt naked through the windows, fist-bumping one another and shouting, “Brooooooooo!”

“See, Tim,” Jim said, “that’s the kind of energy we need here. Get your shit together. Ok, and lastly, let’s dissolve all the interesting characters we have left. Black Panther for one! Oh, and did I bring up the White Wolf? No? Doesn’t matter. He doesn’t have an arc in the movie anyway. Hell, no one needs a character arc here. It’s only half a story, after all, and doesn’t need to stand alone or anything.”

Joseph the Randy Donkey brayed a lonely song at the water cooler before defecating a sad pile on the floor.

“Damn, I love that donkey,” Jim said while cleaning his left ear with his right big toe. “So, you see where I’m going here, right? For year people have complained we are formulaic, but look at us being all badass and breaking the mold! We will take a decade worth of characters and squash them together, making half a movie that means nothing on it’s own, simply designed to set up our next million dollar movie in a year, needlessly kill off dozens of the best characters in a way that means nothing and will be reversed within the first quarter of the next movie, dabble in romance sorta, and wipe out half the life in the universe to save everyone from running out of food and stuff!”

The room erupted in cheers and whoops. Three men dueled to the death in celebration, Moron awoke from his long slumber in time to vote in the midterms and drive without using his blinkers, seven Hollywood executives took time away from sexually harassing the donkey the stamp and squeal in delight, a motley mob of slatterns boxed with a dusty group of heroin addicts in a mock Walmart, and the seventh seal was opened in the distance.

But a hush fell on the room like a smothering pillow as Tim cleared his throat.

“Hey, um, if Thanos can control time and matter with a mere thought, wielding enough power to kill fifty percent of all living things at the blink of an eye…why doesn’t he simply will infinite resources into being instead of killing untold trillions due to limited resources?”

The silence in the room laid so thick in the air that a large housefly, fat and well fed on over-ripe Hollywood movie drech, collapsed like a crumpled piece of tinfoil from the mere pressure in the room.

Lucky for the brave writers of Infinity War, there was a handy and already broken window to defenestrate Tim from before calling the seventy-five actors and warming up the computers for modern CGI magic.

https://klneidecker.com/2018/10/22/one-persons-take-on-what-the-infinity-war-pitch-room-conversation-was-like/

#Uncategorized

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seeksstaronmewni · 6 years

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It’s the little details that they really appreciate: An In-Depth Study of Spongebob’s Current Sound Design

"Sponge Bob is firing on all cylinders right now. Tony award nominations for the musical. Post sound has a great home with Atlas Oceanic Picture & Sound. The shows are exciting and are funny. SB continues to reach new heights.” - Jeffrey Hutchins

Spongebob Squarepants sound effects designer & editor Jeff Hutchins is exactly right. This guy is as important to Spongebob as Ben Burtt is to Star Wars, which’re some of Hollywood’s biggest franchises.

This is the team that makes up the sound of current Spongebob episodes. Just 4 creatives are listed: sound effects designer & editor Jeff Hutchins, foley artist Vincent Guisetti, foley mixer Aran Tanchum, and re-recording mixer D.J. Lynch. The sound service has been Atlas Oceanic, Inc. since 2012; originally it began at Horta Editorial & Sound, Inc., which folded into Hacienda Post.

All episodes of Spongebob since 2015 have been very rich in exaggerated, humorous, unpredictable character design, animation and, of course, respectively, sound design. Starting in the late Hacienda Post years, Jeff began to create a very predictable style of sound design for his work, among the many unique sounds he formerly created for Spongebob. The style was very predictable during the Oracle Post years, continuing through early Atlas Oceanic episodes, until 2015, when Jeff’s array of sounds would include sounds not often used (if at all) from later 2007-2015, plus a few new sounds. Additionally, Jeff was only the sound fx editor on the pilot, Help Wanted; according to Roy Braverman, Tom Syslo served as the sound fx designer. The sound design isn’t too different, though, from Jeff’s style--in point of fact, most cartoon sound design by Hacienda Post creatives share similar styles to Jeff’s; you could say the same for most creatives of Advantage Audio and Skywalker Sound--many of the creatives of each studio share similar styles.

A number of sound effects in Spongebob have been used to accent character footsteps. Some H-B squeaks accent Spongebob’s shoes, Squidward’s feet are accented by oil splurts (used in Rocky & Bullwinkle), and Mr. Krabs’ feet are accented by “Hollywoodedge, Wooden Blck Hits Raz CRT019402″. For the pilot, though, Tom Syslo approached their footsteps differently.

One of my favorite episode’s sound design in Spongebob includes Krusty Towers, a Hacienda Post episode. It was during Season 4, of course, that the sound design became far more cartoony, like the character design and animation. Another is the scene between Mr. Krabs, Squidward and the exchange chef in Le Big Switch, an Oracle Post episode, as is Walking the Plankton (with some very funny moments of sound design). Also, one of the funniest moments in pre-2015 episodes, Skill Crane, is appropriately accented with the right sound effects as Spongebob does a wild take with his eyes... and then RUNS on ‘em!

One of the most common and funniest parts of Jeff’s sound design is accenting not-so-wild takes with funny sounds, like one of Disney’s “CLANK!”, a Warner Bros. “EHH!” (horn squawk), or my personal favorite: “QUACK!” This quack, “Hollywoodedge, Bird Duck Quacks Clos PE020501″, can be used for many things like impacts or duck-related stuff, but the use of a duck quack for a take was first employed in Mermaid Man and Barnacle Boy II as the episodic title characters react in shock to Spongebob attacking the Atomic Flounder.

I’ll describe of a few episodes: Bunny Hunt, Old Man Patrick, Grandmum’s the Word, Ink Lemonade, My Leg!, and Bottle Burglars. (listing in progress).

BUNNY HUNT

In the beginning, Squidward finds that a sea bunny is eating up his garden and attempts to stop him.

This scenario could remind one of Bugs Bunny, of course, and that Warner Bros. ricochet that sounds like “CHOW!” (called “Sound Ideas, CARTOON, WHIZZ - FAST WHIZZ BY”) is used often in the episode, like in the above as the sea bunny falls back into his hole...

and also in this shot, to accent Patrick streaking out of the shot. Not common in past episodes of Spongebob, but very typical for cartoon sound design.

Here, the sea bunny shoved a burnt roast into Squidward’s mouth, and proceeds to swallow it... until soon he has to puke it. Unlike many cartoon sound designers these days, Jeff Hutchins is one of the few to use Disney’s trademark gulps from The Hollywood Edge library’s Cartoon Trax Volume 1. The 4th gulp in “Hollywoodedge, Big Single Gulps For CRT026802″ is the most common, as is heard in the shot above. I wouldn’t object to working with the voice actor on gulps, but I’d like to not avoid the use of the goofy vocal sounds Disney created, too.

Knowing Jeff’s style, one would probably expect “FISHFACE” (created by Roy Braverman), but these more recent Spongebob episodes make good use of the infamous Warner Bros. sound called “TROMBONE GOBBLE”.

I don’t know what horn toot is used here (not “Hollywoodedge, Old Car Horns Single CRT021302″, which Jeff tends to use), but it sure stands out. I never heard this particular “ahooga” before, though it kind of sounds like the Hanna-Barbera one. Also, while Jeff tends not to use heartbeats to accent love like other cartoon sound designers (such as Glenn Oyabe, Robert Hargreaves, Michael Warner, Randy Thom), “Hollywoodedge, Sub Woofer Heartbea SDT021301″ (a synthiszed-sounding, heartbeat-like pulse thump), also common to Jeff’s style, is (I think) subtly audible.

The only use of “QUACK!” in Bunny Hunt seems to accent the oven mitt sock puppet opening its mouth. It’s a bit subtle, but perhaps the gag is that the mitt is making the quack. Regardless, not an episode of Spongebob goes by these days without at least one “QUACK!”

In this moment, I picked up on a subtle, funny sound of foley--some sort of stretch sound, admist the typical red-tailed hawk screech--as Spongebob ceases speaking and slumps to a different position. Foley is the art of performing specific sounds, like walking, touching, that help give life in the aural medium and make the scene sound believable. The mixer of Vincent Guisetti’s foley, Aran Tanchum, did the same with J. Lampinen’s on Star vs. the Forces of Evil, which’s probably driven more by foley (among dialogue and Brian H, Kim’s sound effects) than sound effects.

With crazy visuals such as this, the question often comes to mind: What choices might the sound designer make to accent such exaggerated animation? What’s the right sound--or, often, what are the right sounds to accent and/or help tell the story? Bird chirps and saw warbles are some that help accent the insane stage of Squidward at the end of the episode, whacking himself with a mallet, thus causing his brain to fly away.

Most recent Spongebob episodes tend to close out with the classic “iris out”, but Jeff finds different approaches to accenting the transistion without Robert Clampett’s classic guitar string sounds (like one would expect with Looney Tunes and the works of sound master Michael M. Geisler and Glen Oyabe). In Bunny Hunt, “Sound Ideas, RICOCHET - TUBE ARRIVE 01″ (”ShhhOWP!”) is the accent; in Old Man Patrick “Sound Ideas, ZIP, CARTOON - FAST ZIP IN 01″ helps accent.

OLD MAN PATRICK

The detail of sound design can include even the small pieces of animation by accenting the slightest touch, movement, etc. When Patrick tells Spongebob that he’s “all wrinkle-y now”, small raspberries/farts spice up the movements of his skin when he touches it, and his old organs are clearly at work as his stomach growls loudly, perfectly in sound timing as he says “old stuff”.

INK LEMONADE

Essentially the Ren & Stimpy of Spongebob episodes, including character design by Bob Camp; Ink Lemonade has Patrick scare the ink out of Squidward... literally, to sell it in place of lemonade.

Another use of “QUACK!” is used for comedic effect here in addition to a “BIG HEAVY FACE SLAP” to accent Squidward’s face snapping back into place after Patrick blows Squidward’s face out of place with a megaphone.

Patrick goes to extremes for scare tactics... like talking with his intestines. Along with a “gooey splat” for the intestines’ “tongue”, most of the sound here is Vincent Guisetti’s foley to convey the sound of his intestines talking.

As with most of the 2015- Spongebob episodes, the H-B “TEMPLE BLOCK GALLOP” is used for many run accents (in the pic above it accents Squidward rapidly swishing his arms and legs); Jeff also used this for shaking/trembling movements in The Marvelous Misadventures of Flapjack shorts. Also, in Ink Lemonade, Jeff played this sound twice in reverse.

Worthy of note is that accenting Squidward’s fall is a whistle of air that’s different from the usual “Sky Rocket Loud High”, that high-pitched whistle you’d in hear in Cartoon Network’s “Powerhouse” bumpers and most cartoons these days, except for most of Advantage Audio’s projects. Jeff uses “Sky Rocket Loud High” for most falls; in earlier episodes he’d play it in reverse if a character/prop ascends a great distance, and in some Hacienda Post episodes this whistle would accent flying objects (e.g. Squidward’s windows and other parts launched toward his house in Squidville). However, Jeff uses some other whistles on a few occasions too, including “SHELL SCREAMING WHINE DOWN” (the classic H-B/MGM whistle) in The Secret Box and The Good Krabby Name; Jeff also uses sounds of artillery “roaring”.

As I said before, one of the most common uses of “Hollywoodedge, Bird Duck Quacks Clos PE020501″ is for a simple “take” of a character. The pic above highlights the extremes of that take where Jeff tends to put a funny sound to help spice up this little jump of his emotion.

A more poignant take, here, is accented by the H-B “KAZOO PARTY HORN”. Advantage Audio tends to use that sound a lot, particularly Heather Olsen (she even used it in Star vs The Forces of Evil episode “Booth Buddies” for accent when confetti is thrown), but it seems to be an occasional accent in current Spongebob episodes.

Quickly following it, as Squidward streaks under a rug, is a very high-pitched version of the classic WB siren whistle, “FAST ZING WHISTLE, ZIP”, which is rarely heard in non-Hacienda Post episodes.

Like most cartoon sound designers these days, even a simple movement of a small body part can be accented with a funny sound. Squidward’s eye looking up here is accented by a Warner Bros. double violin string sloop, similar to Joel Valentine’s use of such sounds in The Powerpuff Girls and Samurai Jack.

Relative and notable is that many classic cartoon sound effects come from musical instruments, like violins, slide whistles, xylophones, and even harps [a Jew’s harp, in particular].

[more to be discussed; post in progress]

To solidify knowledge of sound design, I’ll introduce a little about myself in this area: I’ve always been very conscious of sound effects, and my realization of sound design in cartoons has always been a part of my life. In 2010, I began to become the huge fan of Skywalker Sound I am, and I’d read up online about their 500+ staff over the years. In 2013 I joined IMDb to update credits regarding knowledge of credits and articles about the roles of certain creatives involved; soon I looked up the credits of non-Skywalker projects, like Spongebob (Hacienda Post, Atlas Ocenaic/Oracle Post), The Fairly OddParents (Advantage Audio), Tom and Jerry: The Magic Ring (DigiPost.TV), etc.

Eventually, I began to know of an unsung sound designer, Joel Valentine, a mentor to Jeff Hutchins and “a pillar of sound design”, but often uncredited--except as the name of his “sound editing” company “Twenty First-Century Entertianment, Inc.” Though I knew not Joel’s name (or pretty much anyone in post-production sound), yet certainly I was conscious of Joel’s work from an early age, watching The Powerpuff Girls, Dexter’s Laboratory, and Foster’s Home for Imaginary Friends. His sound design for Cartoon Network projects has always been familiar to me, namely that castanet sound he uses to accent trembling, shaking in anger, etc. Joel Valentine & Jeff Hutchins met in 1986 and were roommates at Saban Productions, where Jeff often worked for Saban sound designer Johnny Valentino. Jeff edited sound effects with Supervising Sound Editor Joel on Dead in the Water, and Jeff worked for Joel also on Pirates of Darkwater Season 3. After Sym-Bionic Titan, Joel didn’t work on anything until Season 2 of Wander Over Yonder at Craig McCracken’s request, eventually returning for Season 5 of Samurai Jack, with which Joel and his very small team opened up an amazingly realistic sonic world of sound, but not without some of his signature sounds and some really cool new sounds.

I’m always conscious of sound effects. On January 31st, 2010, I did this camcorder recording shaking and stuff in sync with SFX from “Sandy, Spongebob and the Worm” (tweet here).

Jeff Hutchins also did sound on Bill Kopp’s Tom and Jerry movies, The Marvelous Misadventures of Flapjack, and many Hacienda Post projects. Jeff works usually at Hacienda Post/Sabre Media Studios and Warner Bros. Sound (particularly division Audio Circus); he also worked at West Productions, Inc. and even his own place, Jeff Hutchins Sound Design in Oxford, California.

I feel that some of my favorite shows deserve contribution from certain sound services/creatives, like Disney’s franchise of Star vs. the Forces of Evil (at least for the future) due to its cartoony animation & design but imbalanced sound design.

@rwinger24 and I are people who appreciate the art of sound design and the work/style of Jeff Hutchins, who will always be one of my favorite influences in creative media. Thanks for all of the laughs your aural art creates for us!

#spongebob #spongebob squarepants #sound design #jeff hutchins #jeffrey hutchins #jeffery hutchins #hacienda post #atlas oceanic #duck #quack #sabre media studios #oracle post #vincent guisetti #tom syslo #timothy j borquez #eric freeman

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poppan3rd · 7 years

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When I was kid, I was really into Japanese Anime. Now of course back than there were more options for cartoons. The odd thing is as a child I didn’t know there was a difference. A matter of fact, I didn’t understand the two genres into my pre-teen years. Once Pokémon came out in the US that was the first time I realized that these type of cartoons are classified as Anime and they come from Japan. Also I realized that a lot of Americans do not like anime. Most major studios fought to censor a lot of the Japanese cultural out of the content. As I got older and more into my teens, I started to love anime more than US cartoons. Now as a father, I would rather have my child watch anime than cartoons. For this post I am going to be comparing US Cartoons that appear on the TV. I will not be putting in Pixar or Disney movies in the comparison. What is the difference? Well besides the obvious of origin country, there is quite a bit of difference between the two. The first thing that sticks out is the drawing styles. Anime are meant to depict actually people. I am not here to argue on weather their bodies are realistic or not, I am just stating that they are actually people. American cartoons are typical drawn in a more comedy sense. So a lot of their body parts are disproportional to add to the act. The content of the both are very different as well. Both have they adult type genres where they discuss more mature topics. However in the children section, they both split dramatically. Anime tend to focus more on friends, and coming of age. US cartoons are more towards immature comedy and stunts. The length is also something that differs when geared towards the younger generation. US cartoons tend to be about 5-10 minutes long, so have about 3 mini shows in one full episode. While anime are usually 20 minutes long.

Censorship!

Now this has always been a big issue with me. Japanese anime gets censored like nobody’s business. The American studios listen to every moment of every second and take out anything they deemed inappropriate for children. Yet US cartoons are known for sneaking in little adult jokes here and there. You can see a huge difference in 90’s when it came to these two genres. Dragon Ball Z was reigning champ for anime at the time, they also got censored so much in the US version it was damaging to the story in some sense. It was mind blowing how they censored so much, yet Rocko’s Modern Life and Ren and Stimpy were being played on Nickelodeon.

Granted the 90’s were a very strange time for media, but this gave anime a bad name. Going forward society tend to look at anime as adult TV shows geared towards children. When Pokémon came out, a lot of Americans refused to let their children watch it due to fear of its content. Yet this is still during the time of Simpson and South Park. Now I know certain parents wouldn’t let their children watch those shows either, but it was more acceptable to some than Japanese anime. The truth of the matter is anime geared towards children have nothing inappropriate for the children to watch.

Which do you prefer? Well of course this is obviously a personal choice. There is no right or wrong answer. As for me, I rather have my children watch Japanese anime than US cartoons. Now don’t get me wrong they’re lot of bad anime, just as they’re a lot of bad US cartoons. My decision comes from the content of the two. I can’t tell you how many times I walk pass the TV screen to see my watching terribly written jokes about farts and burps. US cartoons to me seem mindless. They really don’t teach much and it’s more about laughing for 5 minutes rather than teaching about deep life lessons. Anime allow us the viewer to grow with the character and see how he progresses through life. For example, Pokémon follows the journey of Ash. When I use to watch the show back when it first came out in 1999, Ash was more concern with his imagine to be the very best like no one ever was. Well it just so happens that my son is a huge Pokémon fan. Now a days Ash is more concern with proper training and building his team through his leadership. If you would sit down and watch all 20 some season, you would see how much he has grown (mentally, I know he is still like 10 years old). Of course some of these anime’s are gear towards teens and adults, so we as parents have to be a little bit more cautions than cartoons. Just remember, US cartoons aren’t as innocent has they seem to be.

The reason for this post is not to force anime on you, it’s just to open up some eyes. The truth is some may not even let their children watch TV, which is perfectly acceptable too. I am not here to pass judgement on the way you bring up your children. I just want to simply state, don’t judge others on topics you may not know anything about. What do you prefer? What non main stream anime’s do you enjoy to watch with your children? What are your favorite cartoons?

Japanese Anime vs US Cartoons When I was kid, I was really into Japanese Anime. Now of course back than there were more options for cartoons.

#anime #cartoons #censorship #children #Dragon Ball #family #Fatherhood #Japanese #Nerds #Pokemon #TV Shows

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montrealtimes · 4 years

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Sundance 2020: Happy Happy Joy Joy – The Ren and Stimpy Story absorbing, sharp, potent, immaculately researched documentary

If there was one episode from The Ren & Stimpy Show, the cartoon which aired on Nickelodeon in the first half of the 1990s, which encapsulated its creator’s mindset, it was the Christmas season episode Son of Stimpy.

Stimpy breaks wind, convinced that he has given birth to ‘Stinky.’ Ren, of course, does not believe Ren. Stinky runs away and Stimpy desperately searches for his beloved fart.

The…

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#3D Cartoon #Cartoon #Cartoon For Adult #Children Cartoon

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engagedfamilygaming · 6 years

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Family Video Game Review: The Adventure Pals

The Adventure Pals from Armor Games is an absurd jaunt through a bizarre world where almost nothing makes sense. Turtles can do back flips. Whales complain about “hashtag body shaming.” The hero’s best friend, Sparkles the giraffe, can use his tongue like a propeller to slow their collective fall. The villain wants to turn everyone into hot dog monsters. Every single one of those sentences is true. And here’s one more: This game is just as fun as it is ridiculous.

The premise is simple. Your dad has been kidnapped by the maniacal villain Mr. B, and is at risk of being turned into a hot dog. You, Sparkles the giraffe, and Mr. Rock are his only hope. You need to travel through several diverse and colorful levels full of pirates, cowboys, and other (even weirder) oddities in order to save him. Each new zone has a series of quests that will have you exploring complex platforming levels in search of rubies, cupcakes, and other treasures.

No. Seriously. This pirate is made out of bacon and eggs.

The Adventure Pals may be absurd, but that doesn’t mean it is simple. Eventually you will find yourself wall jumping up a passageway, then hovering with Sparkle’s tongue as you attempt to float closer to an element that you can grapple from, only to ride a zipline afterwards. It can be difficult to chain all of these different moves together, and there are no checkpoints to speak of. I would have quit in frustration if the game didn’t go out of its way to help me. The platforming in The Adventure Pals is forgiving thanks to snappy controls, easily timed wall jumping, and a mechanic that lets you mantle up onto a platform if you mistime a jump. This compensates for some devilishly challenging platforming sections as you progress through the games 105 levels. The mantling mechanic alone saved me dozens of times.

This isn’t just a simple platformer either. The Adventure Pals features a leveling system that lets you choose from up to three different perks each time you gain a level. This added a sense of progression and drove me to defeat every enemy I could find in search of blue experience orbs. The perks were varied and all of them felt useful. I loved the ability to improve my inventory size early. But, I was able to unlock pretty exotic perks later on in the game.

No one needs to play The Adventure Pals alone either. The game features drop-in/drop-out cooperative play. This is a great feature for families that have kids who just can’t make up their minds what they want to play.

Is this a kid friendly game?

The Adventure Pals is rated E 10+ by the ESRB for Fantasy Violence and Crude Humor. It is also rated PEGI 7 by the Pan European Game Information organization.

The Fantasy Violence is negligible in this game. You run around fighting hot dog monsters and oddly shaped blobs with a wooden sword. This will not be an issue for the vast majority of parents.

The Crude Humor is where some folks might have concerns. I played through the game and found it to be on par with the humor found in most cartoons on Cartoon Network, or with older Nickelodeon cartoons like Ren and Stimpy. This isn’t intellectual humor here folks. We’re talking fart jokes and bosses made up of literal bacon and eggs.

Can Kids play it?

The Adventure Pals is a challenging game. Inexperienced gamers won’t be sprinting through this one. As I said above, though, the game’s mechanics are forgiving enough to keep it from getting frustrating. Youngsters looking for a challenging platformer after finishing Super Mario Odyssey will be very happy with this one.

Most of the story is delivered through text so I don’t recommend this game for early readers unless they have a helper nearby. The iconography is ok, but it is still pretty hard to follow what’s going on without being able to reason what is going on.

Conclusion

I loved this game and I think that it is worthy purchase for families looking for a smaller game to play. It will launch on Xbox One, PS4, PC/Mac, and Switch on April 3rd.

The post Family Video Game Review: The Adventure Pals appeared first on Engaged Family Gaming.

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