The Small Press Expo (SPX) is an annual gathering for creators and fans of independent comics and everything to do with them. It’s a two day affair that (mercifully) takes place near Washington DC and is often both a showcase and barometer for what’s happening in the indie comic world. It’s also full of many talented individuals creating some of the finest comics you can find. Given the relationship between comics and animation, you would think it would be a great place to discover great ideas to animate. You wouldn’t be wrong.
Bojack Horesman is Netflix’s attempt to break into the lucrative world of animation that caters to that holy grail known as the male, 18-35 demographic. The innovation of course, is that this is from Netflix, the pretender to the HBO crown of critically acclaimed programming. For all the success of House of Cards and Orange is the New Black, Bojack fails to hit the same mark and provides the latest scrap of evidence that making animation for anyone older than 16 is a conundrum the continues to bedevil anyone willing to take a crack at it. Why is that the case though?
The theatrical market for animated feature films has remained much the same for many decades. A few things have changed of course, but on the whole, things operate in much the same way that they always have. That is to say, films are released to cinemas first, then home media, then PPV cable, then regular cable, before finally spluttering onto regular TV many years after the initial release. Such a model has served the industry well for decades, but for cinemas, the jig may finally be up, and animated features are going to have to change if they are going to survive and thrive.
Is this finally it? Has the last nail been hammered into the coffin of Pixar’s credibility? Long held in high esteem for the quality of their films, their unique NorCal-influenced approach to filmmaking, and the resulting highly artistic masterpieces that embodied the vision of a truly artistic and collaborative effort won them friends and admirers the world over. It would appear however, that a string of sequels and the studio’s inclusion in the recent Silicon Valley scandal that ensnared many tech companies in the region, may finally put paid to Pixar’s esteemed reputation.
Writing for Forbes.com at the end of June (and escaping my attention until know), Merrill Barr postulates that Nickelodeon were wrong to alter their marketing plan for Book 3 of Legend of Korra after the Mexican arm of the network inadvertently let a few episodes from the season get loose on the internet, and are beholden to internet ‘pirates’ as a result. I say that’s poppycock.
Yesterday, I was treated to a screening of an independent animated feature film called The Stressful Adventures of Boxhead and Roundhead. Written, directed and animated almost single-handedly by Australian Elliot Cowan, it’s a film that I’m still mulling over in my head the next day; a good sign if ever there was one. I’m not going to comment on the film itself just jet, however, the entire project has prompted some questions of my own on independent animated films in general and especially those done by one man bands or very small studios.
Over on the Society for Animation Studies blog, Lauren Carr writes about what she perceives as a crisis in animation studies stemming mainly from a desire by students to simply learn the software tools rather than the technique and theory behind animation. If that’s true, then we are heading for an impending apocalypse in the field from which it will be very difficult to recover.
In a brief, but all too painful and to-the-point post over on Tumblr, Keith Lango lays out what it means to create animation for mass consumption. It’s an…
Female characters often have a tough time with variety. While there is plenty of debate and discussion surrounding the prevalence of stereotypes that send poor messages to viewers, there is something else that is completely overlooked. Dave Pressler ponders the interesting question of why female characters are often forced too look feminine by executives.