Passive storytelling has been around since the dawn of time. It will likely continue to exist until the end of time too, as humans have exhibited the trait across generations and cultures without fail. Storytelling exists today in many forms, and it is in that sense that modern passive storytelling (where the audience merely listens or watches) may be reaching the end of its long dominance of the entertainment business.
Being in development for some time, Miraculous: Tales of Ladybug & Cat Noir has been through a convoluted development process that wound it’s way through various countries and formats before finally landing on the kid-friendly, 3-D CGI production we have today. It’s the type of show that’s becoming increasingly rare, but for a variety of reasons that are worthy of discussion.
This time last year, I speculated that the ‘You’ part of ‘YouTube’ was about to become as irrelevant as the ‘Music’ part of ‘MTV’. As it turns out, that speculation has turned out to be correct. Unfortunately, the future looks even more gloomy for independent creators for an even more troubling reason.
If the thirteen episodes mentioned in the title seems a bit short, just imagine how the Simpsons would be viewed today if the original order was all that was made. Would it still be viewed as a classic, or be relegated to a footnote of television history? Regardless of what would have happened 25 years ago, the future is pointing inexorably towards series runs of a predetermined length and story structure.
The production of animated TV programs has never been greater. All three kids channels have full slates, numerous cable networks have their own shows, and FOX continues its long tradition of animated programming on Sunday nights. It’s a good time to be an optimist, yet it’s never been more important to be pessimistic about this sector of the business, because it’s about to go barrelling over a cliff.
If the events of the last 15 years have taught us anything, it’s that young people in particular, really don’t give a damn about copyright. What it stands for, why it exists, and the purpose it serves are so lost on the youth that they often act as if it isn’t even real. Unfortunately for one upstart streaming website, the corporate parent of Nickelodeon begged to differ, and wasn’t afraid to sue to remind them either.
Nickelodeon is launching an OTT service. Yes, basically it’s like Netflix, but just for Nickelodeon shows. That should be an awesome announcement, right? Well, in theory, yes, it should. However the reality is different. Nickelodeon is a major producer of animation in the US, and by launching an OTT service, it endangers the future of the artform.
Merchandise has become an ever more important part of the making-money-from-animation pie. Services such as Redbubble, Society6 and Etsy have exploded the number of options available to creators and producers alike looking to profit from their wares. That being said, a good old fashioned auction is still a powerful draw for fans.
If we’re being honest, even I wouldn’t have believed that headline if it was written even six months ago. Clearly being only vaguely aware of who Hatsune Miku is wasn’t enough and it took a proper introduction before I ‘got’ her. Of course there’s a lot of appeal to the character of Miku herself, and that forms the basis for many young fans’ devotion. That’s not what makes her appealing to me though; it’s the concept and execution of the character’s role, and what she represents from a business standpoint. To put it simply: she’s the future.
Cartoon Network was the original home for the vast library of Hanna-Barbera and MGM cartoons that Ted Turner had at his disposal. It soon outgrew that purpose as original content began to be broadcast on the channel and eventually banishing them altogether to a new network: Boomerang. To say they languished there is an understatement, but Turner’s attempt to make amends comes too little, too late.