Western Animation - Discuss American, Canadian, and European cartoons here (or just bitch about wokeshit, I guess)

I'm kinda sorry that my first post is Owl House sperging.
Slideshow Bill said:
But Luz is the quirkiest, most special girl in existence, ignoring the fact that she's basically from Halloweentown. A town called Gravesfield, where stories of witches are imbedded in the culture of the town, witchhunters are seen as folklore legends, there's a museum dedicated to the supernatural and occult, but Luz doesn't fit in because she likes "spooky and weird" things? Okay. I'm sick of outcast characters written by people who were obviously never outcasts.
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That's not even the best part!
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Yeshuash said:
Luz being a spoiled brat that would shove snake skins into other kids faces and show a lack of ANY logical thinking.
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I still find it kinda funny how Vee, a being from another dimension, has an easier time to fit in human society than Luz. Despite being born in captivity and having no clue about human social norms.

The more I think about the show the more I wonder why Disney even greenlit the show, because it feels like that Dana hadn't even bothered to figure out the basics of her show beyond the "girl gets trapped in a demon world and learns magic." How she wanted to fill 5 seasons (if that statement is true) is beyond me.

Even a comedy comic like Asterix has more consistent and better worldbuilding than that show. (And it doesn't pretend to be deep.)
 

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A Grey Cat said:
"Nuevo Weimar girls of animation."

Reject Modernity
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Embrace Tradition
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I think the biggest issue with the 'Calarts look' is that it takes the most surface level elements of anime and doesn't focus on all the admittedly beautiful and more intricate aspects that the art style has to offer, the whole bean mouth look people say is too simplistic is entirely based on the studio Ghibli look that used this look in most of their works. Despite how much people crap on anime for looking all Sailor Moon 'kawai desu' anime actually actually has an enormous variety in the way it looks. If western animation intends to ape the look of it's eastern contemporaries than it should derive so much content from other types of series. Like not just the rounded and spherical designs of Ghibli, but the angular and muscular look of the Dragonball franchise or the immense and almost photorealistic detail from so many seinen series like Berserk, Vagabond or Fist of the north star.

There are so many positive aspects of anime that Western media could ape but they just go for the most basic bitch, average surface level designs like facial expressions and some character design features, there are many ways in which it could be incorporated that I think could make for an amazing series. Superhero cartoons have been rising in popularity again and I think the could really benefit using this style. Honestly if you're looking for a series that combines western comic look and anime well than watch Cybersix, this beautifully animated 1999 Canadian adaptation of the Italian/Argentinian comic from the early 90s that aired on Teletoon around the turn of the century that manages to combine a comic book/anime perfectly in all the best ways. Sadly It's very brief at only 13 episodes long and never had an official DVD release but the whole series is readily available on Youtube and worth a watch.
It also has one of the best opening themes i've heard for a superhero cartoon, more modern day cartoon's should take inspiration from this.
 
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SpiderBitch said:
The animation is the Mario movie is absolutely gorgeous.
We're living in a world where an ILLUMINATION movie based on a video game has a more appealing artstyle (and is just a better more fun product overall even with the celebrity voice cast) than recent Disney/Pixar...

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You can thank Shigeru Miyamoto and Koji Kondo for that. There’s a strong chance that those two made it an important goal to make sure that children with parents will actually have fun, and more importantl, be allowed to do so.
 
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A Grey Cat said:
"Nuevo Weimar girls of animation."

A girl character in western animation created by another female writer (or a beta male/troon writer) created to be the ideal "modern girl." Overly tomboyish to the point of bordering on being a pooner in later life, a sexuality that's anything but straight, has absolutely zero social graces or sense of boundaries, (much like their creator) is nuerodivergent retarded in some way, (also like the creator) and very raley is fully white and raised by a nuclear couple, and if not fugly as sin at first will be made fugly as the show progresses.
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A Grey Cat said:
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These people have NO idea how to create unique characters.

I see a lot of these ‘writers’ just copying other people’s characters, and making an inferior version or they just make shit characters like how you described Luz and Amity.
 
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Grumpy Pickle Rick said:
an inferior version or they just make shit characters like how you described Luz and Amity.
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To be honest, I have been listening to this one song by cybord9k weimar girls.
I've listened to it so much and while looking over the recent influx of how girls in western animation are being written lately that i just...came up with the term "weimar girls of animation." Yet...let it forever serve as a label for them all, forget calarts we live in the jewnited states of weimarica.

oh and to @thegooddoctor ?


I still think you're cool though bro.
 
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Oilspill Battery said:
This is what I hate about both modern science and modern fantasy.

The era of tring to make consistent, coherent, believable worlds is long gone and the very concept of Verisimilitude is basically dead.

Writers no longer care about how their world would actually function, or the short or long term implications of anything they do.

The worst part is if you dare question any of it the comeback is always "Bro, there's spaceships and magic, you think those are realistic too?" to dismiss any issues you have with it.

They don't seem to understand the difference between "realistic", "plausible", "Verisimilitude" and most importantly "Consistent".

I know this is a cold take, but I blame "diversity" as the root of all this. The incessant need to shove blacks and women everywhere and especially in places where they didn't belong in the name of inclusion just opened up the door to completely abolish internal and external consistency of invented worlds because at that point the message was more important than the story itself and all else followed.

After that you didn't have to justify anything in your story and that's how we got to where we are now.

Yes, I'm sure your medieval european kingdom has 2 black lesbian queens, a deaf general and a blind captain, and I'm sure your mediterranean island kingdom is 50% black men with the military and police being 50% women.

Once we reached the point where writers stopped needing to justify the inner workings of their worlds, it was naturally going to go downhill from there.
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Unpopular as fuck opinion, but I think that viewing white men as the default and everyone else as "others" led to this problem in the first place. People who make "forced diversity" feel like they don't have to try as hard because hey, it's diverse and that should be virtuous enough right (which is ironically more racist/sexist than not having the characters at all)? No. You still have to write good stories, no matter what your protagonist looks like. On the other hand, people bitching about women and nonwhites being in fantasy settings and that their existences should be "justified" is retarded. The world has billions of women and nonwhites so who really gives a shit if Magical Space Kingdom #7 has them. (Historical and cultural fiction is obviously different)
Obviously, something based in a specific culture should look like the area it's depicting. Something that is supposed to take place in 1600s England wouldn't look like modern day New York in terms of race. Distant island nations are going to be more culturally homogenous than nations that are not. Trading cities in the Mediterranean that had contact with many groups of people in the old world were likely more culturally diverse than a lot of people realize. People move, people fuck. That is the one constant in humans.
 
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@thegooddoctor
never had an official DVD release
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Are you sure about that? (I can't post the boxart the farms is acting fucky)

Doctor of Autism said:
Once again the "Animation is Cinema" crowd has a good point but constantly just say that to justify children's films
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No shit, it's the children's films that get all the hub bub. Other stop motion flicks like "Isle of Dogs" and "Mary & Max" were glossed over because they were more adult. The Academy is still on their bullshit of thinking animation is for kids despite it not coming from The Mouse exclusively anymore. An easy fix would be for the frenchies to port more of their quality stuff to the US already. Anime and manga are dominating, get in while the getting is good!

who gives a fuck what the Academy thinks anyway. Don't make me tap the sign, independent animators. 🚬
 
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Prophetic Spirit said:
Let me guess:
Another parody of Jason and the Argonauts?
At least that 70's animation about a group of... cat girls? Was more interesting.
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It's supposed to be like a inspired by shows like TMNT or Street Sharks, but personally... i wouldn't wanna watch a cartoon made by a chick who has posted stuff like this in the past...
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(Archive)

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Oilspill Battery said:
The problem with this comment is that I've actually seen people unironically espouse this opinion, so I can't tell if you're memeing or not.
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I feel like everyone behind HTTYD was in a "damned if you do, damned if you don't" situation because they made the mistake of interacting with the fandom. Before the third movie came out, everyone was dreading the ending because everyone knew that Hiccup and Toothless would have to separate. But there were fans who didn't want them to be separated at all, think some even threatened harm whether to themselves (lulz) or to the director (not lulz) should that have happened. So I think this was DreamWorks wanting to have their cake and eat it too and play up to the audience's (fanbase's) emotions to get the ugly crying that they wanted while still having a feel-good happy ending. (Though if you ask me, they should've saved this for later instead of having it as a tacked-on epilogue for the movie, but I get why they did it.)

And also all the sequel/spin-offs they could milk on top of that, because whenever characters have babies together, they have to make up stories for the kids, too. It's a nasty cycle.

I think HTTYD works as a trilogy with the supplemental material being generally pretty good (Riders of Berk really-and-truly was good), but that first film is super special. Bless Dean DeBlois for sticking with the series all the way through, yet Chris Sanders should've just remained with him.
 
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