Cartoon Industry thread - Showcasing the Spergery of the Animation Industry

  • Want to keep track of this thread?
    Accounts can bookmark posts, watch threads for updates, and jump back to where you stopped reading.
    Create account
Do you guys think if tumblr didn’t ban porn or it never existed we wouldn’t have this happening
Easy no, any website could've taken Tumblr's place. Tumblr was in the right place at the right time. If it wasn't Tumblr, it would've stayed Livejournal, or become Instagram, or any other website people flocked to.
A child gave him the ick? What the fuck does that even mean. The ick is exclusively used in the context of a woman deciding whether or not she wants to fuck a guy and finding red flags, so I can only assume this means that this bluey adult was madly attracted to these children before the kids started asking about his tattoo and it turned him off.
We live in the age of freakazoids picking up on easily adopted modern lingo and adopting it into their vocabulary in a half-hearted attempt to make themselves seem hip and normal
Don't be autistic about it, clearly the phrase has been diluted and he's using it to mean that the kid made him uncomfortable. The core of "X gave me the ick" is "X made me uncomfortable." The core and primary definition is a woman being turned off by something a guy did, but any word or phrase cannot stay exclusive for long.
 
This is the part that cuts off any sympathy I’d have for their plight.
What kind of retard, in 2025, with every advantage an independent animator has in terms of digital animation software, remote networking, crowdfunding, social media marketing, etc etc etc… want to sell off their intellectual property to a mega conglomerate that WILL screw them?!

Is the validation from Daddy Disney really so worth it? Knowing FULL WELL that you could end up losing your concept FOREVER if someone like David Zaslav decides your baby is more lucrative as a tax write-down than filler for the streaming platform? It happens all the time.
>advantage an independent animator has in terms of digital animation software, remote networking, crowdfunding, social media marketing.

Indie animation still has a long way to go. Anything else that is Vivziepop or Glitch doesn’t get a lot of praise or just trashed. Kiana Khansmith’s pilot was mentioned for a week or two and after that people forgot about it; only to be labeled as another magical girl subversion with nothing new being added. Same thing with LS Mark’s pilot and the less said about whatever the hell DaftPina made, the better.

To me, Harry Portridge and Zeurel seem to be the only two animators that have their own series and while their animations takes longer to make. They put better quality into their work. I don’t know what RebelTaxi or Tariq’s pilots will be but I do remain interested in what LokiIRL and Hey’s going to be.
 
Do you guys think if tumblr didn’t ban porn or it never existed we wouldn’t have this happening
I don't think it actually banned porn. It demanded marking that shit properly which would lower it's visibility as at the time it was basically a porn site and the CEO's wanted it to be also for normal people. Though I might be remembering it wrongly.
 
>advantage an independent animator has in terms of digital animation software, remote networking, crowdfunding, social media marketing.

Indie animation still has a long way to go. Anything else that is Vivziepop or Glitch doesn’t get a lot of praise or just trashed. Kiana Khansmith’s pilot was mentioned for a week or two and after that people forgot about it; only to be labeled as another magical girl subversion with nothing new being added. Same thing with LS Mark’s pilot and the less said about whatever the hell DaftPina made, the better.

To me, Harry Portridge and Zeurel seem to be the only two animators that have their own series and while their animations takes longer to make. They put better quality into their work. I don’t know what RebelTaxi or Tariq’s pilots will be but I do remain interested in what LokiIRL and Hey’s going to be.
There's also a Kickstarter for a fujo Scooby Doo pilot. It was full of jabs at itself, and at some point it's like: if you have this little faith in your project, why'd you even make it? I haven't seen Monkey Wrench in a while, but there are a bunch of indie series that have been going on for years, like No Evil. Here's a part that's around 12 years old.
Here's a new part for comparison
 
Last edited:
There's also a Kickstarter for a fujo Scooby Doo pilot. It was full of jabs at itself, and at some point it's like: if you have this little faith in your project, why'd you even make it?
Are you talking about this one? Or another one? Most Kickstarter pilots nowadays looks to similar to each other.

1751662289753.webp
 
Are you talking about this one? Or another one? Most Kickstarter pilots nowadays looks to similar to each other.

View attachment 7601052
I should've been more specific. They don't have pronouns in their character bios but these people come out of the same vat anyway.
Guess I'll post it.

Far-Fetched Kickstarter pitch just dropped an hour ago.

https://youtube.com/watch?v=jGhf72_3dmw
The animation is nice, sure. But I still have no idea what this show is about or why I should care about any of the characters or what they're doing. I've watched the pilot teaser a few times over the last 3 years and it's just a mess. But idk. Does anyone here actually like what it's about? It just feels like another indie animation project for the audience of "college-aged indie animation enthusiasts" instead of an actual... you know... audience. Or an audience of people with money for that matter.
 
I should've been more specific. They don't have pronouns in their character bios but these people come out of the same vat anyway.
"Outsider art" used to describe truly independent creators. Now, everyone craves online fame, but their content often lacks substance. Unlike the risk-taking underground comics of the past, which genuinely connected with a niche audience, today's creators seem to misunderstand why those risks paid off. Many, having grown up with the internet of the '90s or 2000s, where things like high school and anime were already mainstream in their social circles, don't grasp the concept of genuine counter-culture. It's jarring to see anime, once something people were bullied for liking, so normalized that we now get animated pilots with no real characters or cohesive plots. It's like an even emptier 'animated Seinfeld,' devoid of meaning even in fantasy or supernatural settings. We're essentially seeing animated real life, and no one is there to push for better.

Just look at Rare's Everwild. They confessed to having no coherent gameplay style or story for it, beyond a vague fantasy setting with magical creatures and strangely alien-looking "multicolored women." Unsurprisingly, the game was canceled, and its long-time leaders resigned. While Everwild initially gave me strong Princess Mononoke vibes – a story of humanity clashing with nature, where technology sickens animals and humans are the antagonists – my hopes for a unique British interpretation were dashed. Discovering they lacked any narrative or gameplay direction solidified my concern that it was an artistic whim rather than a genuinely well-designed game.

Sony's Horizon games, despite their similar premise of humanity facing advanced machines in a post-apocalyptic world (potentially linked to Killzone), prove that artistic vision can coexist with strong design. Horizon offers a compelling story, engaging gameplay, and diverse challenges beyond just robot animals, delving into human conflicts and world history. My point is this: while it's fine to be artistic and express your vision, you must hook your audience from day one. Otherwise, your project will drown in a sea of mediocrity. This is precisely why I avoid Kickstarter and Indiegogo; most crowd-funded projects are, at best, mediocre.
 
Been thinking about it and Elio was doomed to fail. Little boys don't go to movies to see movies about their lives. Boys go to movies to see cool shit and some pansy crying about dead parents and aliens is the exact opposite of cool.
 
>advantage an independent animator has in terms of digital animation software, remote networking, crowdfunding, social media marketing.

Indie animation still has a long way to go. Anything else that is Vivziepop or Glitch doesn’t get a lot of praise or just trashed. Kiana Khansmith’s pilot was mentioned for a week or two and after that people forgot about it; only to be labeled as another magical girl subversion with nothing new being added. Same thing with LS Mark’s pilot and the less said about whatever the hell DaftPina made, the better.

To me, Harry Portridge and Zeurel seem to be the only two animators that have their own series and while their animations takes longer to make. They put better quality into their work. I don’t know what RebelTaxi or Tariq’s pilots will be but I do remain interested in what LokiIRL and Hey’s going to be.
I'm bummed that Becky Prim is only the proof of concept, it gave me Billy And Mandy vibes.
 
Owen Dennis, the creator of Infinity Train has made a response to people who are saying to just go independent when it comes to
View attachment 7603221
View attachment 7603225
Surprisingly measured response in terms of being an animator/artist in current year, and kind of ties back to my last post about using AI to actually help bring your creations to life while trimming down the immense amount of work needed to do so (even if she'd be against AI like all the other artheads in her space).
Lobbying against corporations for better benefits for artists, while good, is certainly gonna be a tough act to follow since "The Industry" as it stands is so gay and retarded (both literally and figuratively) that trying to "fix it" almost seems like a lost cause, and that it would be better for Artists to "Go Their Own Way" in finding better options to get their funding (of course it kind of loops back around to "going indie almost certainly means bleeding cash", so it really is a matter of picking your poison or finding more lucrative job options, if they choose not to use AI for their work).

More power to people in striking for what's right, but when your entire Industry is an ocean full of oil, at what point do you stop being a water treatment operator?
 
It's interesting how the conversation went from "maybe do art as a side hobby for personal enrichment" to talk about going independent, crowdfunding, etc.

These people seem to have no concept of not monetizing every action and thought they have. Yes, healthcare is tied to employment. Yes, I understand you want to do something that you feel utilizes your skills and talent. YES, I get that you feel like this career path will one day bring you the joy you felt watching that old 90s Disney movie in theaters.

But, to reiterate my original point, at what point do they realize making this their day job is not as fulfilling as they thought it would be, and they should switch careers?

Some ideas are best left as short-form experiments. Not everything can be stretched to a full length movie or 5 season show. And creating something with a partial motivation for money and external validation can and does compromise quality and message.

What I'm saying is, take making money out of it, get another job, and keep creating to the low stress realm of hobbying.
 
Owen Dennis, the creator of Infinity Train has made a response to people who are saying to just go independent when it comes to
View attachment 7603221
View attachment 7603225
I'm saying this as an artist, art is a luxury and doesn't deserve support just because. You either make something the common people want and are willing to pay for or you pay it for it yourself. The patriots of the past were paying customers and their pet artists needed to please them just like any servant. Your personal artistic vision is pretty meaningless unless you have fuck you money.
 
I'm saying this as an artist, art is a luxury and doesn't deserve support just because
I see online artists say that all the time. The issue is they seem to forget is that not everyone can afford luxuries all the time, and what happens when people can't afford it? People stop buying.

Being in the "luxury" business is a fickle thing and is in no way a consistent source of income.
 
I see online artists say that all the time. The issue is they seem to forget is that not everyone can afford luxuries all the time, and what happens when people can't afford it? People stop buying.

Being in the "luxury" business is a fickle thing and is in no way a consistent source of income.
Yep. That's why I have a real job too. I accept art for what it is, even if get paid for it every now and then.

I don't recommend it as a career path unless you are willing to take the risk and have a backup plan like a supportive spouse with steady income. It can extremely fulfilling job with tons of fun but it's a gig economy where only very few make it big and even fewer get to do exactly what they want. Most artists people are more happy and better off with art as a hobby and get their money from something else.
 
I think every artist has always dreamed of making their own cartoon at one point or another, maybe even right now, but the overall cost of producing it, both in time and money, was just too much considering how many resources you'd need to pour in to make an episode and even then the RoI doesn't compare to more lucrative options like gaming, livestreaming, or pumping out slop by the hour with AI and raking in the AdSense. Even with the current tools and lower entry bar, there's still a high level of manual work needed for your animation to look good, which of course eats up your time here on Earth. So imagine that in 2025, there's a new tool where manual animating could potentially be entirely automated via machines, thus shaving off literal months of work allowing you to push out episodes faster and achieve your dreams of becoming the independent creator of YOUR OWN cartoon! No longer do you have to go through bullshit corporate ladder climbing just to get a fraction of a CHANCE to get your show greenlit (and even then, there's always the option that Corpo could just pull the plug entirely if it isn't raking in Spongebob money by the first episode).
But for some god knows what reason, artfaggots fucking HATE the idea of AI automating their work for them. I understand making straight AI slop/art doesn't look appealing beyond "it's cool a computer made that", but think of the bigger picture like how you could sketch in movement of a character walking and the AI would finish the look of it entirely. Or how AI could automatically color every frame of an animation, or that AI would fill in the in-betweens of every frame that was manually drawn. The possibilities of cutting down time and effort for a finished product is endless, yet artists would rather slave away taking forever to make their "GIGA STUDIO GHIBLI PIXAR AKIRA MOVIE 9000 (WITH BLACKJACKS AND HOOKERS!)" cartoon that's never coming out instead of finding ways on cutting down the work while maintaining a level of quality. Like many other times the paradigm was shifted for humanity throughout history, this is all just a phase and as the years go by, people will be more accepting of integrating AI into their workflow once it gets better and they won't be autistically, vehemently against it.

The first iterations of the printing press, camera, digital drawing tablet, and Internet wasn't perfect either, so don't act like AI won't do what you're doing but more efficiently later on.
So far I've only seen one sincerely good use of AI in animation and that is in the Undergrads Movie production.
Other than that, I'm still not sold. I'm still waiting to see the benefits outweigh the consequences. The more I'm told the promise of AI making the jobs of artists easier only to see it being used to churn out crap, the more I think I'm being gaslit by lazy fucks, /pol/tarded artists who suck up to AI to own the libs, and egotistical sub-human tech cattle who genuinely hate artists. I feel like we're getting closer to the things we want to do getting automated and the shitty jobs we don't want to do staying the same. Who knows? All I can do is wait and see.
 
So far I've only seen one sincerely good use of AI in animation and that is in the Undergrads Movie production.
https://youtube.com/watch?v=mPJcU4yprO4
I should've linked this video in my post about it since it is an actual creative, good use of AI for a music video.
But yes, obviously we're still not at the point of AI having much practical use for animating outside of uses like above and your video. But eventually there will come a point where this tool will be more practical and useful to an artist, we'd just have to wait and see until something proves fruitful. Until then, it's just more AI sloppa of characters getting their orifices pounded all 7 ways from gooners.
 
Back
Top Bottom