The 20th century and the era of World War were a peak for comedy animations (laughter animations), but nowadays mostly social issues makes the basic idea for the animation industry. Even those cartoons with full laughter (like Simpsons) are not considered as an alternative to the classic cartoons such as Tom and Jerry… Is there an end for comedy animation industry in 21st century?
Why does it have to end? Is the focus on how comedy animation might change to find a new audience and retain the old one? – Joseph Cernik3 years ago
I'd be interested to see how it has evolved, rather than an ending...no one is likely to stop demanding comedy - so it's likely to still be produced. – Andi2 years ago
One would also need to examine the movie environment that gave rise to the laugh cartoons in the first place. The movies up to the 1960s in general structured their shows in this way: Newsreel, A-Movie, Cartoon, B-Movie. The Cartoon provided the comic relief in between films. This brings rise to the role of cartoons because it clearly serves a different role today. – J.D. Jankowski3 weeks ago
Inspired by the resurgence of Avatar: the Last Airbender (and soon the Legend of Korra), there seems to be a pretty big subset of adults/teenagers watching more and more children’s TV (particularly animation) entirely of their own accord. What is the benefit of this, and why do we keep coming back to them? What do these shows have to offer us as adults vs as children? Who are they made for, really? And what, if anything, are the downsides?
As an adult who watches animation, let me say this is a great topic. For me, it's about nostalgia and relaxation, mostly. I do notice though, that as an adult, I think more deeply about certain characters and themes than I did as a kid. Hey Arnold is a great example; it's a kids' show on the surface, but wasn't afraid to go dark and deep several times. – Stephanie M.7 months ago
I think this a great subject. I've written on this topic while in College. And while cartoons in the western countries are typically targeted at children, animation originally wasn't intened for kids. It was often used for satire or comedy. Often talking about mature subjects like race, war, and class struggles. But Cartoons were really expsenvie to make. So talking about politics wasn't popular, due to it alienating a portion of the cartoonist audience. It wasn't until Hanana Barbera and Walt Disney built their cartoon empires around using their cartoon character's as marketing pieces to sell merchandise. That's when we started seeing a shift in how cartoons were used/viewed. It became popular to target kids cause you could sell toys, cerals and other products. Cartoons studio's often partnered with advertising/toy compannies. I think you consider looking at markerting for this topic as it completely changed the landscape of cartoons, for better and worse. As cartoons couldn't survive without it, but this is also the reason we don't see many cartoons marketed at adults. (Looking at the Simpsons as well would be a good idea, since it was one of the few adult cartoons to see success.) – Blackcat1305 months ago
First off I love this subject, and secondly I feel if art is great it shouldn't matter who watches it. There is some very obvious entertainment made for children out there, but I believe "Avatar" has something to offer everyone. The series has dialogue that children will find amusing, but the animation, creativity, stories, and character development are still a wonder today. It's great that these can inspire people and they should want to come back to it, as well as show them to people who didn't gain the same experience they had. The only downsides to this (at least to myself) is what do you hope to get out of the show? If you watch these shows or movies simply because you are afraid of change, then I suggest it's high time to cleanse your pallet and experience something new, but if this is simply your source for creative vision than I see no issue with wanting to return to find something you never noticed before. – thepriceofpayne4 months ago
I'm as fascinated and absorbed as anyone else by the so-called "dark" stories (whether in literature, TV, film or games), with complex characters, complicated moral dilemmas, and lots of grey morality. However, I still find myself most strongly and instinctually drawn to those stories which carry a note of hope.This is not to say that animation (or any media in general) targeted at children can be devoid of complex characters, of course. But media that is not specifically targeted at children can fall into the trap of showcasing explicit violence (esp. physical/sexual) just for the sake of it/ for cementing the "darkness" of the atmosphere. There is a very thin line where this is necessary for the storytelling/genre or just plain distasteful/ for shock value. In my opinion, children's animation can depict a lot of these same themes, without the gratuitous violence. Implications of the grand scheme of things can be powerful enough.Not only that, animation as a medium has so much storytelling potential in how the medium itself can be manipulated as per needs of the story to be told: everything from the colour to the artstyle to the fluidity and versatility of animation. Maybe this is why I personally am averse to the rather off-putting/bland art and character design of certain popular adult-targeted cartoons.Yes, there is an element of escapism to me watching the lighter-hearted yet meaningful stories. But real life is gritty enough, and while I welcome the complexity that comes with experience of the world, so different from the black-and-white views of our childhood, it doesn't hurt to watch media that appeals to the purest parts of us, untouched by cynicism. – Malavika1 month ago
I don't think there's anything wrong with adults watching animated films. Adults need just as much, if not more, a break from the real world – CoastalUndertoe1 month ago
I would like to propose an article that studies the evolution of gender diversity and representation in animated media with a particular comparison between Western and Eastern animated media and their subsequent progress. Cultural stereotypes and societal perceptions have always played a great role in influencing the type of media that is usually made available to the public. The same could be said in the case of the animation and anime though through the course of history, the two mediums have taken different approaches in representing gender diversity on screen. How this comes to reflect upon the relevant societies and communities involved as well as the greater evolution of the story-telling medium may offer unique insights into modern discussions on the same topic.
I think that is a really interesting topic honestly. I especially like that you mention the Eastern and Western depictions because often they will be quite different. I do think that some narrowing of focus will help a lot. Perhaps focusing on the male body versus female body could be interesting. Or exploring the view of the genders as a whole. Just choose a slightly more narrow focus, and allow that to guide the way in which things are being written for this piece. – RheaRG5 months ago
This would be a really interesting topic to write about! I would have to agree with RheaRG in narrowing the topic. Perhaps you could start with focusing on Western animation, or even just gender diversity of animation in the United States. I'd look at the History of LGBTQ characters in animated series pages on Wikipedia, as that might provide some good resources you can use, along with the associated list pages which list the characters specifically. I'd recommend, especially when it comes to animation in the United States, reading through GLAAD's yearly reports, as those are often a gold mine for information. I'd also look at some of those who have most prominently written about this topic, usually on places like Polygon, Comic Book Resources (CBR), Autostraddle, or a litany of other sites. That's just my suggestion. Best of luck! – historyhermann5 months ago
It's always depressing when you see the world and all its problems that the animated world just glosses over – CoastalUndertoe1 month ago
It’s often been said that a character’s design is supposed to tell the audience something about them and complement their personality and role in the story in some way. Non-human characters provide unique challenges and opportunities for animators because they possess features that no human could ever have. The popular kids’ movie Monsters, Inc. does a great job of designing characters to perfectly fit their roles in the story. For instance, the main character, Sully, is huge and strong but also fluffy and colorful; his timid but loyal sidekick Mike is small and has a very large and expressive eye and mouth; and the villain Randall is a slippery and surly-looking lizard voiced by Steve Buscemi. What are some other examples of non-human characters with particularly appropriate or memorable character designs? What is it about their designs that provides insight into their characters more broadly?
This is a great topic! I liked your example from Monsters Inc? Perhaps you can make the topic title, " How character designs of non-human characters in animation tell the audience about their character?" Or what are examples of non-human character animations designs that speak to their character? – birdienumnum1710 months ago
Fun idea. First thing that comes to mind is Inside Out, where emotions are literally personified into characters - anger, sadness, disgust. You don't even need to hear them talk in order to understand what they represent. Maybe an interesting comparison would be between good visual depictions of personality (this was done often and super well in older cartoons) and less creative character designs. Consider all the possibilities of 2/3D animation and how those opportunities can be squandered! I'm thinking of the recent Lion King adaptation here; realism doesn't necessarily translate to an expressive character. – dbotros10 months ago
I think that the design of non-human - or even monstrous - characters often provides insight onto ourselves. That is, the grotesque or Other often reflects our own anxieties about the human condition. When the worst aspects of our psyche/appearance are exaggerated and externalized into non-human characters, they are easy to dislike because they represent the "worst" parts of ourselves. At the same time, mythologically heroic characters represent the best of ourselves, with their looks and demeanour exaggerated to show the potential for goodness and beauty that resides in the human condition.This topic puts me in mind of Peter Jackson/Andy Serkis's portrayal of Gollum in LOTR. The tragic beauty of the character resides in his "fall from grace narrative," for he straddles the line between ultimate corruption and ultimate redemption until his last moments.Smeagol's design incorporates elements of the innocent - his wide eyes and naiveté - while the distorted and expressions of Gollum connote his malice and cunning. Examining the ways in which Serkis/the animators at Weta Digital played with the tension between these two personae can reveal how the archetypes of good and evil originate within our own soul (or psyche, if you prefer). – Rhys10 months ago
This is an interesting topic, and one becoming more and more relevant as animation makes a resurgence in popular media. One interesting area the article could address would be how and why human elements are included in these character designs, as a means to evoke audience familiarity with the emotions of the character (you mentioned Mike Wazowski's eye as an example). Moreover, it might be worthwhile to discuss the uncanny valley and it's effect on the considerations of animated character design.The game Thomas was Alone is also a really pure example of this philosophy of character design, each character being literally a differently sized four-sided shape. – DanielByrne10 months ago
Season 5 of My Hero Academia has been delayed, not just because of COVID-19, but because one of the seiyuus (voice actors) is recovering from vocal cord surgery. Nobuhiko Okamoto plays Bakugo, a hot-tempered U.A. student who yells a lot, and it’s not surprising that the role had a negative affect on Okamoto’s voice.
This article would look at how voice acting has negatively affected the health of some voice actors, whether it be in anime, Western animation, or video games (I believe there was a story a couple years back about people getting sick due to their performances in gaming). It could be a critique of the industry or a reflection on how dedicated the actors are to the roles, or a mix of both. (Keep spoilers to a minimum, though, please!)
Cool topic. I used to be involved in choir and musical theater, and you learn quickly what a precious commodity a voice is. One facet you might look at is how different roles use the voice. For instance, you mention a voice actor who has to yell a lot. The neurologic pathways to speaking vs. yelling are different, so the vocal chords are used differently. Sometimes, voice acting or singing also requires you to pop your larynx, which can cause its own kind of harm. – Stephanie M.9 months ago
From the creation of Pluto, Mickey, and the Disney classic princesses, hand drawn animation was all the rage back then. However once Pixar came around, a new form of animation came about and took over by storm: C.G.I.
Even though C.G.I have created breakthroughs, hand drawn animation is special. It brings a certain life to the page. Explore how hand Drawn Animation differs from C.G.I and argue why it is better than C.G.i
It would be really interesting to all compare the different eras and style of hand drawn animation done by Disney throughout the decades! – Sean Gadus1 year ago
Please, please, PLEASE!!!! CGI is so overrated, and while 3D can be good, it doesn't hold up to the original 2D.
And I definitely agree with maybe comparing their eras. Yes, they're all hand-animated, but Snow White's animation is different from Bambi's and Beauty and the Beast. – OkaNaimo08191 year ago
Animation allows storytellers to directly depict topics and subjects beyond the physical and the real, unlike live-action which is restricted to implying non-physical ideas (such as emotions and mental state) through physical mediums. Actors, for example, must use their facial and body language to indicate the emotions of their character. Animators, however, can get more creative in how they visually depict emotions.
How do animators show emotions through animation-specific methods, and how do those visual representations benefit the story? What do these techniques add to the piece?