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pizzzaburrp · 2 months

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KING OF THE HILL #112 (1999)

“King of the Hood”

#hank hill #king of the hill #mike judge #beavis and butthead #blunts #comics #tv animation #adult animation #tv #cartoon #adult cartoon #art #black women

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matt0044 · 5 months

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On RWBY, The Amazing Digital Circus and Toxic Indie Fandoms...

Fans of cartoons, animated movies and animation in general have a... bit of a complex. Largely when it come to snubbing a new movie and/or show for not being just like what ever the standard bearer is at the time. A mentality that really hurts critical discussion than help. Like... getting mad at, say, Big City Greens of what Disney pulled with The Owl House is just not cool.

I find it happens a lot with Animation Twitter spaces being all about taking Disney down a peg be it because Spiderverse or Puss In Boots (take your pick at this point). Though in that case, it's a case of one-up-manship getting way too out of hand since there's at least a vocal push back.

With RWBY being pitted against every other indie animation, it's actually not too much of a unique case.

It has been a small scale project getting massive amounts of hype from the pilot (or Trailers as with RWBY's case) only for the show to come out and split its pre-established audience down the middle.

This split starts and widens when it comes to how a character may be initially presented only for more facets to them to be revealed. It should go without saying buuuuuuut the creative team are not mind-readers. Even the most popular of fanworks will inevitably NOT reflect what the show will develop into whether they come close or not.

However, that investment in fanon is liable to clash with what canon goes with. Some fans take it is stride and are willing to hear the showrunners on their direction. Others... take it personally.

Maybe a character that seemed mean but wronged turns out to be a very shitty person.

Maybe a character that seemed shitty has some hidden depths beyond how they initally came across.

Maybe the story is taking a turn that, well, had precedence but feels alienating to those who preferred the previous status quo.

Maybe the pacing feels off with certain reveals that may be a skill issue on the writer's part.

The issues may vary but a lot of this comes from a sort of "bigger they are" type of backlash with a lot of specific expectations formed of the story before there even was one.

Now this might sound like RWBY but... a lot of them were inspired by the polarized comments of Helluva Boss Season 2.

It happening to Vivziepop.

It's happening to RWBY.

And let me tell you, it WILL happen to The Amazing Digital Circus even if it has a limited run planned.

A character will become more than just some fan's blorbo for better or worse and said fans will loose their shit.

A ship will sail however much they wanted sunk.

No matter what, there will always be ONE FAN that will be pissed off.

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showamagicalgirls · 2 months

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I recently became aware of The Star of La Seine (ラ・セーヌの星) from 1975. It seems heavily influenced by The Rose of Versailles (ベルサユのばら). I look forward to exploring it more and seeing if I find it to be “majokko-adjacent”

#majokko adjacent #昭和 #showa era #retro shojo #retro shoujo #tv #tv animation #tv anime #anime #animation #la seine #ラ・セーヌの星

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maxwellatoms · 8 months

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Congratulations, one of your characters made a cameo appearance in my midlife crisis!

This takes a little time to explain, but on the art web site FurAffinity, living users are represented with a tilde, while living impaired users get an infinity symbol in front of their names. I was at a low point in my life when I drew this, and thought about what would happen when the Grim Reaper eventually closed the loop.

Anyway. This was supposed to be for questions, so I'll ask one. The career of an animator seems to be nomadic... they'll spend some time developing a series for Cartoon Network, then move to Disney, then migrate to Nickelodeon, only to return where they started (cough cough CH Greenblatt cough).

Any reason, or reasons, why this happens? Honestly, I have a difficult time understanding why anyone would go to Nickelodeon to start a show, given the way so many artists have been treated by the network in the past. Do all the networks act like this?

Just curious. Thanks for your time, and for the years of entertainment.

You guys look great together, but no loop closings please!

Gotta bilde the tilde, if you know what I mean.

Anyway, yeah... Animators all know that Other Studios have Other Problems. It's not at all uncommon to hear someone say, "I'm about ready for new problems".

I spent most of my career (until the wonders of the recent mega-merger) at WB, so I've really only known WB problems (with a light sprinkling of Disney Troubles). I've asked friends like C.H. Greenblatt and Jessica Borutski about the long-haul at Nick, so I have a basic idea what the culture is like. But if I land at Nick in five years, it could be a completely different set of circumstances and maybe even a completely different set of employers.

I know maybe three studio execs with solid careers who've spent the majority of their time at one studio. Most of the time, the low level executive track is even more of a meat grinder than the creative track. In fact, I'd go as far as to say that the middle-management meat grinder is the cause of the creative meat grinder.

The job of an executive is to make impressive decisions that dazzle their superiors and shareholders. If you've just been hired to replace someone and have inherited a stack of 32 animation bibles in various stages of development with assorted creators, are you really going to just continue going through that pile? I mean, you're replacing someone for a reason, right? So probably better just to toss that whole pile of animation bibles in the trash and start again. Because you're going to look like an idiot if even a single one of those fails. And if it succeeds, it just makes your predecessor look smart, which steals some of your shine. So you axe those creators and all of their support goes away and the cycle begins anew.

During my career, these executive turnovers (and the following creative turnovers) happen about every four or five years. With a little luck, it takes (in my experience) about two years to get a show through development to pilot, and then another year to decide if it's going to be a series. In short, there is precious little time where a creator/EP can interface with and rely on a competent executive to champion them. If you don't have that, you're not going anywhere.

I'm not sure how anything gets made. From the inside, development is always trickle-down sweaty desperation. I guess somehow, every now and then, a neurodivergent 23 year old slips through the cracks and makes a kid's show about The Grim Reaper. It could all be luck.

There are definitely execs who love animation and have made it their life's work. But there are also people who just got into the business as, say, a personal assistant and hasn't watched an animated cartoon since they were six, but suddenly find themselves in control of many millions of dollars worth of IP. There are execs who think of entertainment only as a commodity and who literally don't understand why creatives feel so passionate about "just cartoons" but will remind you "how lucky you are to work in entertainment" if you ask for a raise.

In short, the problems are usually management related. And those problems are mostly the same across studios, with the occasional Infamous Despot you want to avoid at all costs. The good news is that said Despot probably won't last five years.

There are perks at the different studios too. Proximity to decent food. Occasional amusement park passes. Friday morning bagels. The sort of stuff that hopefully nobody is taking a job specifically for.

At the end of the day, there are three or four big studios we can work for. There are also a smattering of smaller indie studios which... make content for those three or four other studios anyway.

The long and short of it is that there's just not a lot of choice where we can work or who we work for. We definitely talk to each other and the studio culture does weigh heavily when you're deciding where to go. Assuming you have the luxury of choice. It all kind of sucks, and it all kind of sucks in the same way. But sometimes you get bagels.

Stay Frisky!

#tv animation #troubles #animation industry

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fiendfifofum · 14 days

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Hey I just finished Blue Eye Samurai. It is ,without a doubt, one of the best shows I have watched in recent memory. Everything from the beautiful animation, to the breathtaking art direction to the way it handles its themes of disability, gender, guilt, revenge and imperialism, to its frankly incredible, nuanced and tragic characters... it's all there folks, and it's all so SO good. I am BEGGING you to watch this show and tell me what you thought about it.

#ps I am an English major #story telling is my whole jam #when I say this one rules through and through I mean it #blue eye samurai #animation #tv shows #tv animation #discuss

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birdyleblanc · 7 months

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if you would’ve told me like 5 years ago i’d be working on my fave show?? I wouldn’t believe you 🤩

that being said, enjoy me in a tactical turtleneck… tactileneck!

Archer is airing every Wed and is up on Hulu every Thurs 👁️👁️ You can catch my work from ep 4 to the finale! So proud of the entire crew absolutely killing it and giving Archer the sendoff he deserves.

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your-pal-lou · 9 months

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Some of my background designs for Praise Petey - first two episodes on Hulu now! Treat yourself to a good time!

#praise petey #hulu #animation #background design #shadowmachine #prop design #freeform #new utopia #illustration #tv animation #Annie Murphy #Anna Drezen #cult #cult leader

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thinkbolt · 23 days

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Here Comes Peter Cottontail (Rankin/Bass, 1971)

#Rankin Bass #archive.org #Peter Cottontail #easter #1970s #classic cartoon #tv animation #stop motion #Danny Kaye #Casey Kasem #Vincent Price #Paul Frees

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keybladespirit · 2 months

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6. Star Wars Rebels

I watched this pretty much entirely so that I could watch Ahsoka and I'm very glad that I did! So much, just so much good in here. Really happy that Hondo came back. They made Maul give evil Yoda and it works so very well. Love the Bendu. I got the sense that Thrawn was sorta dumbed down for younger audiences to be able to understand how smart he is, but he was a joy to watch all the same and it felt fantastic to see him defeated.

Good show. Highly recommended. Kinda hate how lightsabers look in it tho.

🡐Previous || Hub || Next🡒

#keybladespiritmedia2024 #star wars #star wars rebels #ezra bridger #animation #tv animation #show review

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nine-frames · 6 months

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"There are three things I have learned never to discuss with people: religion, politics, and the Great Pumpkin."

It's the Great Pumpkin, Charlie Brown, 1966.

Dir. Bill Melendez | Writ. Charles M. Schulz

#it's the great pumpkin charlie brown #peanuts #charles m schulz #peanuts tv specials #bill melendez #tv animation #us film #animation #10 frames #1960s #us tv #halloween

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knoxrobbins · 2 years

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Glep takes the Smiling Friends staff on his special wild kind of night out.

#KnoxRobbinsArt #fan art #Adult Swim #Smiling Friends #Zach Hadel #Psychicpebbles #michael cusack #tv series #tv animation #Charlie #Pim #Glep #Alan #Boss #Chills #casino #city

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pizzzaburrp · 1 month

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KING OF THE HILL #199 (1998)

“Hank Goes Off!”

#comics #art #marvel #dc comics #disney #marvel comics #comic strip #hank hill #king of the hill #fox #tv animation #adult animation #adult swim

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coldxdevil · 1 month

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#ronin warriors #anime #manga #hajime yatate #80s anime #80s manga #late 80s #90s anime #mecha art #mecha #tv show #tv animation #art #anime art #manga art #animation

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showamagicalgirls · 8 months

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Last night I watched Ozma of Oz, which was (as far as I've been able to ascertain) an English-language recut of episodes thirty-one through forty-one of the Japanese TV anime The Wonderful Wizard of Oz (オズの魔法使い). These episodes correspond to L. Frank Baum's third Land of Oz book and also to the portions of his stories that were adapted into the 1985 Disney feature, Return to Oz.

So I really didn't think I was going to like it because I thought it was very likely impossible that it would have been recut in a manner that I enjoyed as much as the other ways this story has been told, but actually I thought they did a pretty good job.

And to memorialize this viewing on my blog here, I thought I would post images of three characters from the animated film next to the way those same figures were presented in Return to Oz. It's quite a contrast.

#oz #wizard of oz #the wizard of oz #the wonderful wizard of oz #ozma of oz #オズの魔法使い #return to oz #wonderful wizard of oz #direct to video #film #anime #animation #animated film #anime film #tv animation #l frank baum #l. frank baum #land of oz

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ersh-ova · 8 months

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screenshots of Aster having a huge crush on Vlad (I can't explain this otherwise)

#ersh thinks #fantasy patrol #сказочный патруль #aster #астер #screenshots #tv animation #gay headcanon #crush #teacher crush #(cause Vlad is a teacher but he's technically younger than Aster??? dunno)

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universe-of-peoples · 22 days

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Can we talk about Kiff’s marketing for a second?

Because I’ve been thinking about it a lot since the show first came out. There seems to be a pattern of Kiff ads on Disney channel that are either inadvertently or intentionally made to be annoying to the viewer, and that seems counterintuitive to me. Wouldn’t Disney want to bring more viewers in, instead of turning them away?

Let me elaborate. Before the show even premiered, Disney channel was airing the theme song very often during their commercial breaks - not an unusual thing for them to do recently - but it’s not the catchiest song, and relies more on sudden jarring sounds/instruments compared to other Disney TVA theme songs. It’s not a bad theme song by any means, but it wasn’t designed to be listened to over and over again in a short period of time. By the time the first episode came out, I was so beyond sick of the song. I was really excited for the show to premier, but when it did, I actually had to turn it off before the theme song was even over. I needed a cool off period before hearing the song didn’t make my blood boil and my skin crawl. That’s what initially got me wondering about the marketing for Disney’s animated shows these days. Why overplay the song to the point of turning away potential viewers? Why not just make regular ads for the show?

More recently, there was that ad for new Kiff episodes featuring an edit of Barry screaming for a very long time, which was even worse. My mom started complaining when the ad would come on tv (very unlike her), and I don’t blame her. We had to start muting the ads altogether. I even muted the actual scene in the episode when it premiered!

But you know what? Barry doesn’t actually scream that long in the episode! They edited the scene to make it much longer for the ad, which suggests that they’re deliberately leaning into making annoying ads for Kiff.

I love Kiff so much, it’s a phenomenal show that reminds me a little of the Fungies (rip), but if I didn’t already watch the show, I know the whole Barry screaming ad debacle would turn me away from the show for good. I’m really wondering what’s up with Disney TVA’s marketing right now? Why does Kiff’s marketing almost seem self-sabotaging?

#disney kiff #kiff #disney tva #Disney channel animation #animation #tv animation

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