Almost all films are a commercial venture to some extent but not all are created equal, as the films of Hayao Miyazaki and Disney demonstrate. Both make successful films, but only one does it to genuinely tell stories.
Oishi High School Battle exemplifies much that is wrong with web-native animated shows. Here’s why that should be a real concern.
Disney and Studio Ghibli differ on how they approach the progress of animation as a technique. Here’s why that is.
A few thoughts on animation finance and the changes that are afoot.
Why are there so many mediocre animated shows being produced and why can’t we just have lots of good animation instead?
The 1989 Batman film was one of the most successful at the time but besides the star names on the billing, was the very brand of the film itself. The Dissolve has a thorough post about how the studio, knowing they had a troublesome film on their hands, took an unusual route to getting the news that a Batman film was forthcoming out there.
Three simple, universal rules for creating an animated show that are so often ignored by creators and networks alike.
Luke Epplin at The Atlantic thinks that animated feature films are brainwashing kids into being narcissistic and overly confident. Is he right?
Bee & Puppycat is the latest Cartoon Hangover hit. But why, after 11 minutes of animation do we know relatively little about the two main characters?
Animation employment follows a boom and bust cycle. Productions ramp up and down as necessary, but why can’t they be stable all the time instead?
Theatrical animation has to flourish in order to survive and remain relevant to teen and adult audiences. A rating below ‘R’ would fix that.
The Animation Anomaly