Even Evolution?
I'd say the movies are much worse for the most part, especially in terms of continuity.
Western Animation - Discuss American, Canadian, and European cartoons here (or just bitch about wokeshit, I guess)
- Thread starter Morbid Boredom
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I'd say the movies are much worse for the most part, especially in terms of continuity.
Basic Blond Boy
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Weirdly, I think things are more censored now. Other than LGBT+ content, violence has been significantly pushed back on, no death and no guns . They also don't seem to allow talk of religion to any degree these days or really any adult concept that isn't BLM/LGBT. Sometimes the censorship is so clamped down that the libs writing these shows are destroying their own beliefs to not offend, with the recent Avatar live action removing Saka's sexism being a good example.
Since early-2010s, support for Vanguard, ESG and BlackRock are what the media has been focusing on and are the reasons why the western civilization is dying
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I never thought I'd miss the days where menters claim of "adults don't care what their kids watch as long as they don't show a disabled or gay person." Was actually kinda true. And he said that back in 2013...it feels like a whole different world now...how long ago was it episodes like the cissy of South park or quagmires dad of family guy was considered satire?
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That one I blame Brett Ratner, and Fox for not watching the other films, and for lacking a continuity specialist on set to approve the script. The 3rd film already had a clusterfuck of a production, and it ended up doing damage to the continuity in the long run.
starborn427614
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Lots of these studios are co-funded by foreign branches who aren't afraid to withdraw funding if they see something they don't like. China, in general, is a big influence on why you don't see certain things in movies or tv shows these days. Skeletons, ghosts and spiritual things especially.
Basic Blond Boy
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The Avatar example I used is applicable for this too. The entire Ba Sing Se plot line is axed as it makes China’s government look bad. It is now a peaceful nation with no dark underbelly.
EDIT: Sorry, I misread
But yea, it's not just Brett Ratner either, it's also Simon Kinberg
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@Basic Blond Boy I admire the effort, one tiny issue, you didn't dig deep enough.
Most of you, those that know anyway, probably only know Jim Staples as the CN president that quit after the ATHF Boston bomb scare but before that he was the head of CN Latam from Argentina and to this day every summer has a little campaign centred on football that was approved during his tenure (one that brought South Korea’s Dreamkix and the Italian-French Foot 2 Rue just for a couple of months every year). Suffice to say, he won Latin America for CN and is a fact that was still the case until very recently due in fact because the Cartoon Cartoons were allowed to carry the weight in the schedule until Flapjack's alumni were given their own shows. It is due to the connections made during those years that what few animation funds exist in Latin America are helped by Warner Discovery and I think you already guessed what I meant by real Latino representation beyond just keeping the Ben 10 franchise alive.
Allow me to introduce you to my friends, colleagues, teachers and other fools that sold themselves to rot in HBO Max, listed roughly in order of importance and only including originals that weren’t just reusing footage from American shows.
Brazil:
M- Irmão do Jorel
M- Historietas Assombradas (Para Crianças Malcriadas)
Turma da Mônica (shorts and had a spin-off about them being teenagers)
Any Malu (technically a franchise with shorts, web shorts and a special)
Ninjin (three whole ass runs of shorts)
M- WeeBoom (straight to Boomerang)
M- Oswaldo (managed to stretch a single season for three years)
Sítio do Picapau Amarelo (pre-school)
Zuzubalandia (animated spin-off)
Chile:
M- ¡Golpea Duro, Hara! (this one was created by a YouTube studio that once gave Frederator the rights for a series that English speakers may recognize as Fin Punch, earlier this month the studio mentioned that they finally added Hara in HBO Max)
M- Las Aventuras de Ogu, Mapato y Rena
La Leyenda de Zeta y Ozz (shorts), I only heard of this one because a Youtuber was paid to talk about it.
Condorito Jr. (shorts so bad not even diehards came to defend it)
Colombia:
M- Juaco vs. Paco
Argentina:
The Rubbles (yes, that series of shorts of Barney and his family acting like the Osbornes and it might the fucking pinnacle of technical achievement for the region)
Fracasitos (shorts)
Guau (shorts)
Miau (shorts, yes same creator as above)
Mexico:
M- Villanos aka Villanous (started as shorts and probably the only one you knew about)
M- Sustos Ocultos de Frankelda (stop-motion, one outing)
Santo contra los clones (shorts, Mexico really loves its luchadors)
Rey Misterio vs. La Oscuridad (same vibes from something called La Liga de los 5)
Viking Tales aka Vikingos (shorts)
Bobots (shorts, first 3D cartoon in the region and by the same guy that brought us Santo)
La vida secreta de tu mente (made for Pictoline, basically latino Buzzfeed and sound design was made at a studio named Pinche so you know is Mexican)
Era solo una roca que se parecia a alguien (shorts, lit It was a rock that looked like somebody) is a special case because it was by a Bolivian creator.
Before you ask, the kino that is 31 Minutos was made by a Chilean production house and the rights went to Nickelodeon. The animated shitposts that is the animated version of El Chavo and Chapulin Colorado were produced in Mexico (either by cutting corners or asking help from overseas) and aired in CN. Las Leyendas aka The Legends series of films and show and La Liga de los 5 are also produced and distributed outside of CN's sphere.
M- stands for they actually gave us a whole show and all of these names that mean nothing to youse are 20 years of history. None of those M besides the Brazilians ran for more than 1 season and even them only made it to 2-4. Villanous and Any Malu received the most chances. Villanous and Mapato are in limbo btw and the showrunners came to peace with it being over pretty much came the season finale. Mexico started earlier but Brazil has the true edge while Argentina has made the most out of the few opportunities they were given, Chile is not slouch either. Colombia is a non entity. If you are asking about the dubs, all are in neutral Spanish because even tho Spanish isn't like Arabic, Mexicans get mad when they can't understand you and then act coy when they do the same to you like with the KND dub. Mexico has the dubbing industry by the balls so some of these shows were dubbed twice. Chances are that not even Latino kiwis knew half of these.
Some time ago I attended a conference by Jorge Gutierrez, he and his wife Sandra are without a doubt the region's biggest source of pride specially for Mexico. Mucha Lucha and The Buzz on Maggie would't have their identities without them and if it weren't for those chances we wouldn't have El Tigre, The Book of Life and Maya and the Three. All in all I left that conference both with immense respect for the man and what he represents but also not with much a change of opinion.
The man waxed poetically about the untaped potential for animation in Latin America but also admitted that when he tried to come back to Mexico and produce he was desillusioned about how easy it was for Mexican studios to outsource to Spain and the Phillipines, mainly because of art funds. He namedropped Hazbin Hotel but not a peep about any of the shows I just listed nor any of the atendees asked about their contemporaries.
There was a big emphasis in the role painting had in his life and we showcased several murals he made in LA. He stopped at his Trump mural but one beforehand that really took my attention was ‘El Sellout’, a skeleton of Manolo from The Book of Life. This is for all animators outside the U.S., I don’t give two fucks about your code, if you can fuck off to the States fucking do it.
There was this very interesting turn during the presentation when Gutierrez talked about how Latinos tend to struggle to represent their own cultures and pitch it to big studios, this came when talking about how Mucha Lucha's creators Eddie Mort and Lili Chin had no connection to Mexican culture but were eager to learn and sell it to WB with the aid of Mexican designers as such the show feels closer to the Mexican-American experience than any real Latin American production. There's a problem with how latino animators don't really seem interested in presenting their cultures in their work but there's also very little incentive to do it. Villanous was able to pass so well as something made outside Latin America that some people in /co/ still don't know it was a cartoon and not just a line of OCs. Here I have to make a very clear distinction for Americans, all animation done outside the U.S. relies on government funding and some countries like Canada and Australia do require you to present country elements but others like Spain have carved a niche by making 'I can't believe this isn't American animation', Latin America has very little funding and specially so for animation so we draw the full circle coming back to WB-Discovery being one of your only venues to get your show funded. They either produced it or distribute it, but you can't make it without them or Netflix, who also love to produce high effort, trail-blazing shows that are only made to spike subscriber counts.
I want to leave on a hopeful note.
Gutierrez does deliver the closest thing to his secret technique: work and do it consistently. Most people in the industry are story people not designers (only him and Craig McCracken are art guys that ended up creating shows), so your only key to success is to spam art everyday and outperform your technically impared colleagues. Don't aim for perfection, don't replicate what others do, do something that's yours and keep doing it until you can get money from it. Is better to learn animation from Mike Judge and the OneyPlays gang than wait for the wankers in the soon to be Cartoonito to give you a hand out. Cable is dying, so help me kill it.
Most of you, those that know anyway, probably only know Jim Staples as the CN president that quit after the ATHF Boston bomb scare but before that he was the head of CN Latam from Argentina and to this day every summer has a little campaign centred on football that was approved during his tenure (one that brought South Korea’s Dreamkix and the Italian-French Foot 2 Rue just for a couple of months every year). Suffice to say, he won Latin America for CN and is a fact that was still the case until very recently due in fact because the Cartoon Cartoons were allowed to carry the weight in the schedule until Flapjack's alumni were given their own shows. It is due to the connections made during those years that what few animation funds exist in Latin America are helped by Warner Discovery and I think you already guessed what I meant by real Latino representation beyond just keeping the Ben 10 franchise alive.
Allow me to introduce you to my friends, colleagues, teachers and other fools that sold themselves to rot in HBO Max, listed roughly in order of importance and only including originals that weren’t just reusing footage from American shows.
Brazil:
M- Irmão do Jorel
M- Historietas Assombradas (Para Crianças Malcriadas)
Turma da Mônica (shorts and had a spin-off about them being teenagers)
Any Malu (technically a franchise with shorts, web shorts and a special)
Ninjin (three whole ass runs of shorts)
M- WeeBoom (straight to Boomerang)
M- Oswaldo (managed to stretch a single season for three years)
Sítio do Picapau Amarelo (pre-school)
Zuzubalandia (animated spin-off)
Chile:
M- ¡Golpea Duro, Hara! (this one was created by a YouTube studio that once gave Frederator the rights for a series that English speakers may recognize as Fin Punch, earlier this month the studio mentioned that they finally added Hara in HBO Max)
M- Las Aventuras de Ogu, Mapato y Rena
La Leyenda de Zeta y Ozz (shorts), I only heard of this one because a Youtuber was paid to talk about it.
Condorito Jr. (shorts so bad not even diehards came to defend it)
Colombia:
M- Juaco vs. Paco
Argentina:
The Rubbles (yes, that series of shorts of Barney and his family acting like the Osbornes and it might the fucking pinnacle of technical achievement for the region)
Fracasitos (shorts)
Guau (shorts)
Miau (shorts, yes same creator as above)
Mexico:
M- Villanos aka Villanous (started as shorts and probably the only one you knew about)
M- Sustos Ocultos de Frankelda (stop-motion, one outing)
Santo contra los clones (shorts, Mexico really loves its luchadors)
Rey Misterio vs. La Oscuridad (same vibes from something called La Liga de los 5)
Viking Tales aka Vikingos (shorts)
Bobots (shorts, first 3D cartoon in the region and by the same guy that brought us Santo)
La vida secreta de tu mente (made for Pictoline, basically latino Buzzfeed and sound design was made at a studio named Pinche so you know is Mexican)
Era solo una roca que se parecia a alguien (shorts, lit It was a rock that looked like somebody) is a special case because it was by a Bolivian creator.
Before you ask, the kino that is 31 Minutos was made by a Chilean production house and the rights went to Nickelodeon. The animated shitposts that is the animated version of El Chavo and Chapulin Colorado were produced in Mexico (either by cutting corners or asking help from overseas) and aired in CN. Las Leyendas aka The Legends series of films and show and La Liga de los 5 are also produced and distributed outside of CN's sphere.
M- stands for they actually gave us a whole show and all of these names that mean nothing to youse are 20 years of history. None of those M besides the Brazilians ran for more than 1 season and even them only made it to 2-4. Villanous and Any Malu received the most chances. Villanous and Mapato are in limbo btw and the showrunners came to peace with it being over pretty much came the season finale. Mexico started earlier but Brazil has the true edge while Argentina has made the most out of the few opportunities they were given, Chile is not slouch either. Colombia is a non entity. If you are asking about the dubs, all are in neutral Spanish because even tho Spanish isn't like Arabic, Mexicans get mad when they can't understand you and then act coy when they do the same to you like with the KND dub. Mexico has the dubbing industry by the balls so some of these shows were dubbed twice. Chances are that not even Latino kiwis knew half of these.
Some time ago I attended a conference by Jorge Gutierrez, he and his wife Sandra are without a doubt the region's biggest source of pride specially for Mexico. Mucha Lucha and The Buzz on Maggie would't have their identities without them and if it weren't for those chances we wouldn't have El Tigre, The Book of Life and Maya and the Three. All in all I left that conference both with immense respect for the man and what he represents but also not with much a change of opinion.
The man waxed poetically about the untaped potential for animation in Latin America but also admitted that when he tried to come back to Mexico and produce he was desillusioned about how easy it was for Mexican studios to outsource to Spain and the Phillipines, mainly because of art funds. He namedropped Hazbin Hotel but not a peep about any of the shows I just listed nor any of the atendees asked about their contemporaries.
There was a big emphasis in the role painting had in his life and we showcased several murals he made in LA. He stopped at his Trump mural but one beforehand that really took my attention was ‘El Sellout’, a skeleton of Manolo from The Book of Life. This is for all animators outside the U.S., I don’t give two fucks about your code, if you can fuck off to the States fucking do it.
There was this very interesting turn during the presentation when Gutierrez talked about how Latinos tend to struggle to represent their own cultures and pitch it to big studios, this came when talking about how Mucha Lucha's creators Eddie Mort and Lili Chin had no connection to Mexican culture but were eager to learn and sell it to WB with the aid of Mexican designers as such the show feels closer to the Mexican-American experience than any real Latin American production. There's a problem with how latino animators don't really seem interested in presenting their cultures in their work but there's also very little incentive to do it. Villanous was able to pass so well as something made outside Latin America that some people in /co/ still don't know it was a cartoon and not just a line of OCs. Here I have to make a very clear distinction for Americans, all animation done outside the U.S. relies on government funding and some countries like Canada and Australia do require you to present country elements but others like Spain have carved a niche by making 'I can't believe this isn't American animation', Latin America has very little funding and specially so for animation so we draw the full circle coming back to WB-Discovery being one of your only venues to get your show funded. They either produced it or distribute it, but you can't make it without them or Netflix, who also love to produce high effort, trail-blazing shows that are only made to spike subscriber counts.
I want to leave on a hopeful note.
Gutierrez does deliver the closest thing to his secret technique: work and do it consistently. Most people in the industry are story people not designers (only him and Craig McCracken are art guys that ended up creating shows), so your only key to success is to spam art everyday and outperform your technically impared colleagues. Don't aim for perfection, don't replicate what others do, do something that's yours and keep doing it until you can get money from it. Is better to learn animation from Mike Judge and the OneyPlays gang than wait for the wankers in the soon to be Cartoonito to give you a hand out. Cable is dying, so help me kill it.
Last edited:
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I can't find it anymore, but I think John Semper (the Spider-Man TAS showrunner) on his Facebook page said at some point that a lot of the censorship was his own choice, though some of it did come from Fox. Could be historical revisionism (I think he's gone a bit woke in recent years) but no way to prove it. It does make some sense though considering Batman TAS ran around the same time with much less censorship.
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I hate the concept and the mainly the execution of x-men. It has the worst storytelling of all capeshit franchises, even more in the comics. For other media, when you realize you are consuming the same stories of the 70's-90s for decades packaged in different media, its gets even more infuriating.
Dont remember much about evolution, but that was just another case of a Reboot doing the same shit
@Sleepy Pink Muslim Queen
There is also a long brazilian series called Fudêncio, made by MTV. It is really shodded animated but the focus is on the edgy dark humor from the 00's. It is really curious but I dont think foreigners would get it, too much cultural shit (having a tranny kid, punks, and so on)
The opening is a bop
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Bryan Singer, Simon Kinberg and 20th Century Fox are to blame for the film's incoherency and inconsistency
Can't wait til SpongeBob says nigger
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- Jun 22, 2023
Really the only way to get into MTV, at least before the late 2010’s was like that. The Spanish speaking side to my knowledge only made bumpers and got the rights for two cartoons that started in the Internet: Alejo y Valentina for Argentina and La Familia del Barrio for Mexico. Both are very crass but Alejo y Valentina is generally regarded with more esteem because it was the first time a major network recruited Latino talent and because it’s crass in a more matter of fact way, while Mexicans use cuss words like punctuation. Both are limited animation, both are dialogue heavy, both are ugly to look at and both ran until the network got tired of them and send their creators back to the Internet. Most of the efforts by MTV Latam were centred on telenovelas for teens, reality TV and Daria.
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kiwifarms.net
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There was another earlier, a parody superhero show called Mega Liga dos VJs Paladinos. VJ being video jockey. It was dubbed by each presenter that had a variety in the channel, some were more rock n' roll, some more pop and so on.
The brazilian MTV was actually just using the name and some TV shows from overseas, but most TV shows were original productions. So we had gameshows, comedy bits, parodies, and lots of people who worked there left for bigger things in other channels.
One special TV show was the Rockgol competition, imagine picking all your music players from various bands and make a football tournment with then playing. It was so fucking cool.
In the summer they came to my city to do a live presentation so I brought a paper sign and wrote some stuff, so in that little group I became a legend because of internet stuff autism.
Some years ago MTV name went back to the original MTV, so it became the sloppy version without any of the originallity that it had in the brazilian version.
A tv channel focused on young people that lasted 20 years was really rare, and people really loved it in each era.
I have no idea about how each country's MTV was, but mine was pretty cool.
I loved the comedy era, each week we had a different parody song about some dumb stuff.
This one was about the good sides of being gay
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- Mar 12, 2021
If this is true Tony Kahn is the Phil fish of the entertainment world, this is fucking hilarious. your talent quits because you are a bitch and now you fuck up someone else's property because you can't manage talent for shit.
Jim Cornette was right on this fuck, despite him being a cuckold as well.
Commander X
kiwifarms.net
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Jellystone is returning, I suppose for 60-year old 12-year olds and maybe 30ish people who grew up on HB reruns.
Disgusting, this amateurish vomit is produced by "professionals", this looks worse than the sort of really low-budget "modern" cartoons that would end up on DVD and VHS in dollar store bargain bins.
Say what you will about vintage HB, shows like the Flintstones, YB, etc. would have more funny images in a 25-second stretch than most modern sameface animated sitcoms shows have in an entire season. "Yo Yogi" looks like a triumph of master animators reveling in the potential of the medium in comparison to this.
There have been animators who've shown you could animate classic-style HB and make it work but the Industry cliques don't want them so the only things these people get to work on are stuff like now years-old commercials for predatory lenders.
Disgusting, this amateurish vomit is produced by "professionals", this looks worse than the sort of really low-budget "modern" cartoons that would end up on DVD and VHS in dollar store bargain bins.
Say what you will about vintage HB, shows like the Flintstones, YB, etc. would have more funny images in a 25-second stretch than most modern sameface animated sitcoms shows have in an entire season. "Yo Yogi" looks like a triumph of master animators reveling in the potential of the medium in comparison to this.
There have been animators who've shown you could animate classic-style HB and make it work but the Industry cliques don't want them so the only things these people get to work on are stuff like now years-old commercials for predatory lenders.
This is made by C.H. Greenblatt, the same guy who did Chowder and Harvey Beaks and had storyboarded and written a few season 3 and 4 SpongeBob episodes. Jellystone surprisingly not a bad show and it's easily comparable to The Looney Tunes Show from a decade priorJellystone is returning, I suppose for 60-year old 12-year olds and maybe 30ish people who grew up on HB reruns.
Disgusting, this amateurish vomit is produced by "professionals", this looks worse than the sort of really low-budget "modern" cartoons that would end up on DVD and VHS in dollar store bargain bins.