Animation

Anomaly Appraisal: Daria: The Complete Series

Animation /

This is a bit of a rare post, just warning you in advance. I don’t normally tend to rant about stuff, but when something as idiotic as I am about to describe occurs, I can’t help but bang my head against the wall.

Daria. We all know the show (or should for that matter). Broadcast on Music Television (which is what I prefer to call it, not only out of respect for Fred and Frank, but also because the acronym “MTV” has been turned into a redundant one, ironically enough as a result of shows such as Daria) starting in 1997, the show was a spin-off from the teenage animated show of the 90s, Beavis & Butthead. Centred on the eponymous Daria Morgendorffer and her life at home and in school, it was notable for being perhaps the most sarcasm filled show ever made.

This fact however, was to the show’s benefit. Daria was hugely popular with teens because it pretty much mocked authority in a much more subversive way than Beavis & Butthead. Not withstanding the usual high-school stereotypes (the jock footballer, the blonde cheerleader, nerds and geeks, etc.), the core of the cast were perfectly poised against each other while we, the audience, got the chance to sit back and enjoy the fireworks.

Should you watch this show? The short answer is yes, yes you should. The writing is still as sharp today as it was back then, which for a TV show is a pretty difficult thing to achieve, especially one such as Daria that uses poop-culture references fairly often.

But that is only part of the story. The real talking point about the Daria DVD release, is that all (or rather, 99%) of the original music has been substituted with original works. Why is this so? Well, according to series creator Glenn Eichler,

…the cost of licensing the many music bites we used would have made it impossible to release the collection (and for many years did).

So the bottom line is, because Daria used actual music samples in episodes, they must then be licensed again for a DVD release. This once again shows how ridiculous the whole music business is at the moment and why they continue to shoot themselves not only in the foot, but in the bloody face as well.

The long and the short of it is that because record companies demand a quick buck from 30 second recordings, a show must be altered. The studios don’t get a penny, so they end up with nothing. Why on earth would you do something like that?

If Music Television, the one channel that has perhaps done more to grow the music industry than any other, and indeed create a whole new industry in music videos has to pay for short bursts of actual songs, there is something seriously wrong.

Why oh why couldn’t someone have realized that if the actual music was used, there might be a upsurge in demand for the music? Don’t say it doesn’t work. Look at the Sporanos, they used that one Journey song and suddenly I can’t change the radio without hearing them. Once again, short-sightedness gets in the way and ruins everything for everyone in the process.

Does the change in music ruin the show? Not entirely, and it shouldn’t stop you from buying the boxset, It’s well worth the money, especially for 8 discs packed with episodes we all know and love.

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Anomaly Approved: Steve Lambe

Animation, Anomaly Approved /

I tend to like character designers, I’m not sure why though, but it probably boils down to the vast variety of designs they normally put out, often drawing many different characters in the same show. Some have a speciality for envisioning characters that are the creations of others (Bill Morrison of Futurama and Bongo Comics springs to mind here) others can pull designs out of mid-air with the greatest of ease.

Today though, it’s a shout out to Steve Lambe, who has worked on the Nickelodeon/Frederator co-production, Fanboy & ChumChum as well as the Ricky Gervais Show on HBO. Steve is much more than a character designer though, he’s also done numerous title cards for the former and has a bit of a flair for illustrations too.

With mainstream TV animation there is the danger that character designs can get bogged down in repetitiveness (just look at the Simpsons for proof). That being said, most cartoons being put out on cable are interesting enough for the designer to engage in a bit of exploration or experimentation. One need only look at some of the character designs being put out for Adventure Time to see the superb work that can be done.

Steve is clearly adept to different styles. Take for example the difference between the designs for El Tigre and Fanboy & ChumChum.

Besides his work for Nickelodeon (and currently, Disney), Steve engages in some freelance stuff as well. I love seeing people’s freelance stuff mainly because it is much closer to their personal tastes than studio work. Below is a fun design of a sailor frog. Goodness knows where he got that idea from!

Steve also has a great passion for illustration, as is clear in his fondness for Little Golden Books. I have him to thank for posting about an exhibition on said books that was going on right here in Baltimore without me even knowing it! It was fantastic and truly memorable to see the actual art used in many of the books I read as a kid. Thanks Steve!

Like an good artist, Steve has some of his stuff available for sale over in Lambey’s Lot. Why not wander over and pick up this fascinatingly quirky take on Willy Wonka and the Chocolate Factory.

If that doesn’t tickle your fancy, how about the Swinging Belles?

Although he doesn’t update too regularly, I always relish seeing what it is Steve has to post. I thereby certify him Anomaly Approved.

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Anomaly Appraisal: Tales from Earthsea

1 Comment / Animation, Anomaly Appraisal, Film, Japan, Review /

I read the announcement a few days ago over on Cartoon Brew but having bought the DVD back in 2008, it doesn’t matter that much to me. Having said that, I’d thought I’d post my thoughts on a movie that while from the venerable Studio Ghibli, is not by it’s most famous director but rather his son, Goro.

The movie is based on the series of books by Ursula K. LeGuin but differs substantially from the original material. The protagonist is Arren, a young lad who has run away from home after murdering his father, who just happens to be the king. He meets a wizard by the name of Sparrowhawk who saves him from a pack of wolves. Arren follows Sparrowhawk into a bustling city, where he rescues a young girl named Tehru from a bunch of tough guys rounding up people and forcing them into slavery.

The story takes an interesting turn with the entrance of Lord Cob, an apparently powerful wizard who is in search of the source of eternal life. Strange things begin to happen to Arren and eventually, it is up to Sparrowhawk to help rescue him, along with Tehru.

The film is vastly different from those we have come to know and love from Hayao. The plot is more complex and at times bizarre. There are many subplots presented that the viewer must contemplate while watching the film. Not that any of this detracts from it, not in the least. If anything it rewards the viewer in a different way than Hayao’s works. The plot does tend to wander though, and I suspect that about 15 minutes could have easily been removed from the film in numerous places to stop it feeling as long as it does.

The characters are not as easy to sympathize with as you would expect, Arren is, after all, a murderer. He is somewhat flat, as are the rest of the cast, but that is a minor quibble. The voice-acting talents of Timothy Dalton and Willem DaFoe (in a very quirky role, even for him) help make up the difference.

The animation is superb, with detailed backgrounds, dramatic cities and foreboding castles. The character design is recognizably Ghibli but perhaps on a slightly more muted level. The use of digital enhancements does not hinder the enjoyment of the film.

Is it a film worth seeing? Well, that really does depend. If you go into this film expecting a carbon copy of Hayao you will be bitterly disappointed. It is not near the same. Instead, embrace it as the different movie that it is. If you can get past the hurdles of a twisty plot and pedestrian pacing, you will be rewarded by a surprising ending. Personally, it took me two viewings before I could say I enjoyed it.

Below is the trailor for your viewing pleasure:

[youtube=http://www.youtube.com/watch?v=05sCTxnEs9Y&feature=player_embedded]

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Dennis The Menace Versus Bart Simpson

1 Comment / Animation, Comics, The Simpsons /

I am referring here, of course, to the British Dennis the Menace of The Beano fame and not the American creation of Hank Ketcham.

On the one side, we have a naughty little boy who stirs up trouble every single week. On the other side we have a naughty little boy who used to stir up trouble every single week. What separates the two, well, age for one. Dennis has been running in The Beano since 1951! Bart Simpson on the other hand has only graced out TV screens for the past 20 years.

Both characters share many similarities, both being boys for a start, both having dogs that engage their shenanigans (Gnasher with Dennis and Santa’s Little Helper with Bart) and both seem to revel in creating mischief for pretty much any figure of authority.

Disregarding the fact that Dennis is older than my father, it is clear that his character is immensely popular and has endured the constantly changing shifts in consumer tastes and contemporary culture. Why has Bart Simpson not followed suit?

The reasons are many. Bart is a cartoon character as opposed to a comic strip one. He therefore has to be so much more whole in the eyes of the audience. Comic strips are dependent on the reader filling in the gaps between panels and using their imagination to bring the characters to life. Animation on the other hand tricks the mind into thinking it is seeing a moving image and requires little imagination.

The other reason is that an animated TV show has a much longer plot than a comic strip, whose stories can be read in about a minute as opposed to a cartoon which lasts upwards of 20 minutes. This however, does not explain how Bart’s character has become as flat as it has.

Dennis interacts with adults only when he is about to get into trouble. His parents are to some extent rarely seen in the comics. Bart’s parents on the other hand are all over the place. In fact, in the early stages of the shows development, it was perceived that Bart would be the main protagonist. Once the show was broadcast, that role was rapidly transferred to Homer where it has remained to this day. This move had the result of pushing Bart into a secondary position within the series. Today, it is rare for a plot to centre around him and him alone without at least some interference from Homer (in fact, nowadays Bart often acts as Homer’s sidekick).

One could argue that the intended audience is another reason. Dennis the Menance’s target audience remains firmly in the children’s age range with a few dedicated adult fans. Bart on the other hand has had to please audiences from those same young kids all the way up to folks in their middle-ages. That’s hardly an easy task for the best of us!

The Beano is still as enjoyable today is as it’s always been. Sure the style has changed and it’s now in full colour, but it has moved with the times, updated the lifestyles of the characters and stayed fresh with the storytelling. Bart on the other hand has been allowed to stagnate while the rest of the planet has surged ahead. As noted by Seth McFarlane, the notes he receives from the network are of a far more serious tone than those that were given to the Simpsons back in the day.

The point of this post is not to beleaguer the point that The Simpsons is past its prime, it’s just to illustrate that it is possible for characters to remain popular over a substantial period of time. South Park is a show that has managed to stay fresh and relevant, whereas Family Guy has started to turn a wee bit stale. Other shows like the original Nicktoons still seem as fresh today as they ever have. The proof is in the pudding, strong characters and a willingness to make them interesting and relevant to contemporary society can give them very long lives indeed.

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Recap of The 41st ASIFA-East Festival

3 Comments / Animation, ASIFA-East, New York /

Here it is! Photographic proof that I was at the ASIFA-East Festival held this past Sunday. That brown blob of pixels happens to be my cap, which I was thnkfully wearing otherwise you wouldn’t know that was me at all!

What can I say, it was a fantastic evening for all concerned. I arrived extra early in contrast to last year when I crashed through the doors at the last moinute. The house was slightly less than full, but most everyone was in agreement that it being Mother’s Day probably had something to do with that.

The caliber of the films was impressive to say the least. Not only were the student films amazingly creative, and, in the case of “Sam the Super Sticky” by George Thorman, quite hilarious in a silly way. The overall winner in the student category “Down to the Bone” by Peter Ahern, is one of the more interesting student films I’ve seen in recent times with some very interesting characters and a plot that certainly caught everyon’s attention.

The commercial category threw up an interesting video in the Beano’s very own Dennis & Gnasher, which I thought for sure I’d never see again having moved to the other side of the pond. The winner was “Don’t Miss It” by David Cowles and Jeremy Galante for the Rochester Philharmonic Orchestra, a fantastic piece that asserts the drama of classical music to great effect.

For the sponsored films, we had en ecelectic selection with education mixed with entertainment. My favourites were the two based on Mo Willem’s books, “Don’t Let The Pigeon Drive The Bus” and “Knuffle Bunny Too: A Case of Mistaken Identity”. I found both to be highly entertaining even though I’m at an age where I am considered a “mature” student.

For the independent films, there was a great mix of storytelling (such as Elliot Cowan’s “The Thing in the Distance”) as well as techincal fantasies (Tom Gasek’s “Off-Line”) to funny songs like Stephen Neary’s “Let’s Make Out”, which is shown below because I got a big kick out of it.

[youtube=http://www.youtube.com/watch?v=yJexf6aWOX0&feature=player_embedded]

After all that with an unscheduled break inbetween, it was time for Best in Show, which went to Aaron Hughes and Lisa LaBracio’s “Backwards”. I’m not going to spoil the film (embedded below) but suffice to say it takes what could have been a very formulaic plot and turns it into a truly intersting, complex and surprising piece of storytelling that makes it stand out from the crowd.

[youtube=http://www.youtube.com/watch?v=uKcyLVR85Ms&feature=player_embedded]

Afterwards there was a the after-party where much socializing and debate occurred. Kudos must be given to the organizing committee who lobbied hard for more beer this year and whose efforts were very much appreciated.

It’s sad that such an event comes around only once a year, but thankfully, ASIFA-East puts on many more events throughout the year that I am more than happy to attend. The festival is a celebration of what animation has been made in the previous year and I know for certain that even as I write this, the next round of films are already being made.

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Should Comic Films be Animated Rather Than Live-Action

1 Comment / Animation, Comics /

A really quick post because I’m literally getting ready to head out the door for New York.

Just throwing out the question, but does anyone else think that the upcoming Scott Pilgrim movie could have been animated instead?

I know I am perhaps jumping to some conclusions here seeing as the film isn’t even released yet, but I seem to have an affinity for comics done as animation rather than live-action. I feel animation retains more of what made me like the comic in the first place you know what I mean?

Sure live-action movies have been made of comics for years, Superman, Batman, Spiderman, all the usual suspects. Some have been good, some not so good. However, dare I say it, I would rate Batman: The Animated Series higher than say the Batman movie by Tim Burton. On a side note, that movie was far closer to the comic than the Dark Knight. That move (good as it was) was pretty much just a guy running around Chicago in a bat suit. Burton on the other hand, made Gotham out to be the dark, foreboding metropolis that its supposed to be.

That’s all I want to write for now. I’ll bide my tongue until the film comes out. Who knows, maybe it’ll change my mind.

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The ASIFA-East Festival is Tomorrow Night!

Animation, ASIFA-East /

This is perhaps my favourite event of the year which makes it all the harder to believe that it’s rolled around again already.

ASIFA-East as we all know and love, is the New York/North-East branch of ASIFA, the international animation society whose actual name is French. Seeing as I did German in school, we’ll move right along. The group is comprised of mainly of animators and a few producers along with one civil engineer (guess who that is) and besides holding monthly meetings, also organize events from September to June that represent the entire animation spectrum, from student films to commercial movies and everything inbetween.

Tomorrow’s festival isn’t so much the culmination of the past year but more a celebration of the New York animation scene, which has it’s one distinct flavour far removed from Burbank. Awards will be handed out for student films, individual films, commercial films both over and under 2 minutes as well as some outstanding achievement awards.

Last year was the first year I attended and besides asking Amid Amidi whether there was assigned seating, I think I barely said a word to anyone. Of course I almost missed the start having been delayed on the New Jersey Turnpike for well over an hour. Besides the usual faces, there is a mix of folks from various related organizations, faculty from the numerous fine animation schools in the NY area, studio heads, students themselves and one civil engineer (guess who that is).

After the actual event, where people receive their awards and we see their films, there is the official reception which serves as a fantastic meet and greet for all concerned. After that comes the unofficial reception at the local pub where even more conversations occur although perhaps less on an animated subject of conversation.

I mention all of this because I am sincerely looking forward to this year’s event. Besides meeting friends old and new, it’s also an opportunity to talk about a subject I’m passionate about with people whose passion it is.

If you are in the New York area and so not attend, you are missing out on a truly fantastic evening full of animation and companionship.

The 41st ASIFA-East Animation Festival,
Sunday, May 9th,
6pm,
Tishman Auditorium,
The New School,
66 West 12th St,
Admission: FREE!

PS I’ll hopefully have a full recount of the evening in full early next week.

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Should Dreamworks Make a Sequel to Dragon?

Animation, Film, Opinion /

Steven Zeitchik has an insightful post on the Los Angeles Times blog where he makes the case for not making a sequel to How to Train Your Dragon. It’s interesting to observe the changes in attitudes to HTTYD over the time it has been in the public consciousness.

Before opening weekend, it seemed that this would be one of the softer Dreamworks releases which we would go and see and enjoy but ultimately it would fade from our memory, just as Monsters Vs. Aliens has. At this point, there wasn’t much talk of a sequel at all, just the possibility of one.

However, since then, the film has shown remarkable strength, remaining at number two before reclaiming the top spot again. Attention was drawn not only to the resounding quality of the film, but also that strong word of mouth among cinemagoers was playing an important role.

Now, some weeks later (on a fine May evening that may have me going to see the film for a second time), details are emerging of a sequel, spin-offs and a TV series, in much the same vein as The Penguins of Madagascar.

Steven makes the point that HTTYD marks the first Dreamworks film since Shrek that has appealed to audiences on the same level as a Pixar film and that that company is a bit more selective in which properties it chooses to exploit through sequels. On a side note, he points out that the film has performed “…not bad for a star-less spring cartoon.” which as regular readers (all three of you) will know really grinds my gears, seeing as the film very much has all-star “talent”.

This is a fine analysis except that it ignores who instigates the decision to create sequels at Pixar. It would appear that it is Disney, not Pixar that is pulling the strings on that one. Not only was Toy Story 2 originally supposed to be a direct-to-video release, the slate of sequels announced in recent times have all occurred after Pixar’s sale to Disney, even though some films (such as Monster’s Inc) were released while the Emeryville firm was independent.

Steven calls for Dreamworks to hold HTTYD up as an example of their creative capabilities. I myself recommended at the end of my review that you should go and see it before its affect is reduced by the deluge of sequels to come.

Realistically, we will see sequels, lots of them. Besides being based on a series that encompasses seven books in all, Jeffrey Katzenburg has a long history of milking properties for all their worth. Shrek is perhaps the finest worst example and we’ll finally see that flogged-to-death series finally put out of its misery later this year.

Being an engineer means I tend to have more of an analytical mind than creative folks. I like to point out that creative folks are more likely to read The New Yorker while I tend to read The Economist. It also means that from a hard business perspective, sequels are a lot more profitable than the originals, mostly because studios tend to reduce the budgets and stretch everything just to make the extra nickel. In Monsters Versus Aliens’ case, the foreign performance didn’t justify a sequel. Fair enough, but I would rather see that movie succeed and get a sequel than  a superior movie like Dragon.

Right now the success and praise that HTTYD has received from the general public, fans and serious animators alike is certainly well deserved. Enjoy it while it lasts, because the second the sequel is released, the aura will fade.

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Live-Action Movies Based on Animation

Animation, Opinion /

I very nearly went with Scooby Doo for the picture, but this one has Robert DeNiro in it!

Although the trend has died down somewhat, the genre just doesn’t seem to die. The Smurfs is the latest to get the treatment and although we will be treated to Hank Azaria as Gargamel, I still can’t quite look forward to it,

Although it has been common to mix animated and live-action characters (most notably in several Disney films and a scene where Jerry Mouse dances with Gene Kelly in Anchors Aweigh), the latest craze has been to use CGI characters.

There have been numerous releases over the last number of years and I can’t honestly remember a good one among them. People are familiar with the characters so that’s not a problem, but of all of them, the main problem seems to be the downright atrocious quality of the script or the actors hired (seriously, Daphne as a blonde???).

All of them have skewed towards the young market. Fair enough if that’s what you’re going for, great! But seriously, with the likes of Pixar churning out movies with complex, believable characters and smart, clever jokes, there really is no excuse for toilet humour.

Sure some of these movies are based on cartoons that were never great to begin with (thank you ACT) but at least they never tried to make us believe they were clever.

Of course, by aiming at kids, the adults who actually remember the cartoons when they were broadcast on TV, they are making a fortune. That’s why we got a sequel and prequel to Scooby Doo and why we’ll continue to see ever more annoying Alvin movies for years to come.

I realize that Hollywood turns out the same crap all the time, but as an animation connoisseur, I find it deplorable what has happened to some characters as they’ve been hauled out and flogged like a dead horse.

There are plenty of examples of studios being able to create interesting movies with original characters, why can’t we see the same with established characters, or do studios assume that the movies will coast on the remnants of the characters embedded in the millions of us who are familiar with them?

Sadly, it doesn’t look like the practice will die anytime soon. My advice? Spend your hard-earned money on an original movie with some depth to it.

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A Few Words on Adobe Flash

Animation /

There has been a fair amount of chatter over the last few days in response to a letter from Steve Jobs,  the head of Apple Computer, where he basically says that Adobe Flash is unsuitable for use in the Web 2.0 world.

Animators have been quick to jump into the debate, which isn’t surprising seeing as numerous TV shows have been made over the years including Cartoon Saloon’s very own Skunk Fu! as pictured above.

With a post over on Cartoon Brew, the debate is pretty much divided with plenty of people supporting the format and plenty of people against it. Having never used it, I can’t pick a side even if I wanted to. Sure there is some truly awful animation produced in flash, but there always has been truly awful animation produced at some point. it’s a poor workman that blames his tools.

Is flash perfect? No of course it isn’t. It was never designed for use in TV shows. It was meant for quick animations on the web. It’s great that someone figured out that it could be used to animate a TV show, but that’s kinda like me using MS Word to make a flip book. It can be done, but it’s not perfect.

Back to Steve Jobs. He’s within his rights to ban flash from Apple devices if he wants, that’s his way of doing things. However, I know myself how many places it pops up on the web because I use NoScript, and I have to approve a lot of flash stuff.

The only problem I have is that he’s trying to force people to move on to the next format (HTML5) when that’s not quite ready yet. This is similar to when he launched the iMac without a floppy drive. A brave choice but floppys stayed around for at least another 5 years.

The problem is that there is no immediate replacement, at least for animators. Sure they have some choice in regards to producing animation, but flash is by far the cheapest, most popular solution right now, and it will take time for a similar product to emerge.

I could get on my soapbox at this point and argue that we need some sort of open standards but that’s never going to happen, at least not for an industry such as animation.

Right now the whole thing is a bit of a moot point. We’ll all just have to sit tight until a solution comes around, which it will. There’s money to be made in one, and if that’s the case, somebody is bound to figure it out.

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