I’VE BEEN TRYING TO FIND THIS VIDEO FOR MONTHS
I AM LITERALLY WHEEZING OVER HERE
ROBBIE REYES —- ALL-NEW GHOST RIDERYou can also check outthis article over on Newsaramawhere Felipe Smith and I discuss the design!
you’re quite something yourself, mr. magnus
In answer to your first question—and i am in no way speaking for any domestic, 2-D animated Tv show studios— but I think yes. Studios like Titmouse are a prime example, with their recently domestic-produced animated show on the Disney Channel, Motor City which was done in Flash, with outrageously fluid, expressive animation production & also well designed characters by Animation vet Robert Valley:
it’s certainly doable. Does it need to be in flash? Or traditional paper? That’s merely a preference these days, not a matter of whats better or not.
I think shows like Archer are writer-driven shows who’s visual aesthetic displays an intentional, experimental, puppeteer approach to movement reminiscent of the production quality of certain TV shows in the 1970s, which reinforces the overall tone of the show. In a similar vein to Adult Swim’s Sea Lab 2021. It works.
I’m not at all educated fully as to why Animation production for TV in Japan is overall higher amongst the animators community there and depending on who you talk to, Some don’t consider what the Japanese do in TV is better than what’s done here, but I am aware that part of that argument appears to be cultural based off of conversations i’ve had with japanese animation colleagues. Also, much of the animated programming in japan is subsidized. That is not the case for American animation production. Most of our shows are not funded directly by a committee or the government. Also the schools in Japan still teach kids how to actually produce TV animation production. American universities, not so much. They seem to mostly train kids to be concept designers for games and features…when they aren’t pushing them to be CGI animators, modelers and riggers.
The advent of the internet has given rise to new content platforms (Youtube, Vimeo, Vine, ect) allowing more individual voices of newer generation of animators for content absorbers which also gave rise to an increase of cruder, more experimental animated content that may not be up to par with what you’re used to seeing in larger, more conventional productions ( they aren’t formally studio trained, nor do they wish to be). Those individual voices are generating massive views on these new content platforms which are very attractive to corporations who are trying to solve the TV Format Decline puzzle. ( See Fox’s ADHD programming block).
Unionization, budget cuts and rising overhead lead to outsourcing content also played a role. Our increasing dependence of new tools in areas and lacking in overall fundamental drawing ability in others as well. Pre/Post-Production bubble culture here in American TV animation has given rise to an accepted ignorance in the process of animation-making as part of Stat Quo… There’s a myriad of reasons that aren’t all sole culprits. in your case, I think the rest about what’s “good” is subjective.
|—||tradd moore talks about designing robbie reyes (via faithofjevel)|
The merging of two nations.
this is the most beautiful thing i’ve seen on this website
"Piccolo’s Farewell To Arms"
By Akira Toriyama