Animation on a global scale is growing like never before. Unlike times gone past, there are now a multitude of local employment choices for animators in many countries. That said, America continues to be a draw for many foreign artists. I talked to Blue Sky animator Ricky Renna to find out why.
Although I tend to focus more on larger industry matters here on the blog, I’ve an interest in smaller issues as well. For instance, what kind of things affect the independent animation producer. Frshta Mangal currently serves as producer of the animated series Library of Horror. She took the time to answer some of my questions on some of the unique challenges that she’s faced as the project came together.
YouTube’s algorithm isn’t a friend of animation as of late. Changes announced a few years ago created a storm of protest from creators as they realised their revenues were at risk. Since then, things have failed to get better, and an analysis of the company’s method of delivering content proves that animation as an artform is not welcome on the platform.
Animation is making leaps and bounds as I write this. So far, 2016 is turning out to be a great year for variety in terms of choice and styles. Yet in relative terms, we’re still well within the comfort zone. Animation art is entertaining us, and amazing us, but are we being challenged?
Half-hour episodes: the bedrock of just about every television success story. Efficient, profitable, and rapidly becoming outdated. The Simpsons owes a large chunk of its success to the format, but it blunts the show’s formerly raw edge.
Is the relationship between creators and fans today a healthy one? Has the new closeness made things ever more personal? Kickstarter and other crowdfunded content are coming under increased scrutiny with the biggest lesson so far being that when backers contribute money, they don’t make requests, they make demands.
Traditionally, the twin concepts of Disney and high-fashion being mentioned in the same sentence would have been laughed at. Low-grade, mass-produced, and with mass-appeal are what defined Disney merchandise for decades. Things appear to be changing though, as the company makes a concerted push into luxury fashion in a move that is bewildering yet not entirely surprising.
Video is undergoing a massive shift as we speak. The video feed is about to supplant television channels. As a form of video, animation is obligated to go along with the direction that the industry eventually takes. So just what form will that be, and how can animation create a place for itself within it? An excellent article on REDEF suggests one particular model that may work well for the artform and the industry.
Disney’s latest addition to the princess lineup ticks all the right representation boxes, yet still isn’t pleasing everyone. What’s going on?
Animation used to serve up tons of satire in years gone past. Where has it gone and what have we lost as a result?
Virtual reality (VR) is the next big technology in storytelling and entertainment. Live-action is the current focus of development, but will animation benefit from such consumer immersion? If so, is it ready to adapt?