Is he wrong, though?

Paradise PD, Brickleberry, Bordertown, Hoops, that new Star Trek cartoon etc... it has a lot to answer for

>the Sublo and Tangy Mustard guy
>the author of Sick Little Monkeys
Yeah. They're right, unfortunately. Sublo and Tangy Mustard is very well animated, but I saw what Aaron Long did under the restrictions of Tuca and Bertie and it wasn't very good.

Some idiot tried to argue that the only problem is cartoons being written by writers instead of storyboarders, and this was his response

how is he so based

he only did the opening titles and a few other bits though, the rest was just done the same style as Bojack ie shitty flash puppets

Why do animators hates writers writing for animation when animators are terrible at writing?

Writers do all the heavy lifting and handle the tight deadlines.

He didn't mention "nobody is willing to work hard anymore"

Animators have no sense of timing, consistency and context. Writers handle all the nitty gritty details that animators leave out

All the hard workers don't work in tech to begin with. The hard working types used technology to lighten the workload or payment processing. Cartoonists are lazy.

Animators hate anyone who conflicts with them. You look at the history of animation that's usually told and it's all about how animators had their creativity unjustly limited.

I hate this fucking argument.
>FUCKING ANIME IT JUST LOWERED/ERASED STANDARDS
No, YOU lowered and erased your standards. Anime in the 90's didn't destroy cartoons, because cartoons had standards they had to live up to and they consistently met them. Anime started kicking your ass and eating your lunch because YOU got rid of those to make progressively cheaper and crappier products, and now it's 2020 and you're whining and screaming about trends in an industry that you helped ruin in order to appeal to suits.

And what are you going to do about it? Cry? Scream? Moan? That's all you've been doing about it for a decade. You're the ones who helped create these trends, it's up to you to help break them if you want to save your industry.
He's also partially wrong. Cutting back on budgets is why we got shit like storyboarders writing most of everything and writers basically vanishing from the storyboarding process. It's cheaper to hire a small team than it is a large team. He's saying the same thing as the person he's 'debunking' but doesn't want to admit it because it probably reflects pretty poorly on his twitter opinions.

Attached: D7JQ_HxUcAAQ_Bq.png (299x224, 52.03K)

that's pretty much the opposite of the reality but the point remains that most artists can't write for shit.

What would be the point of that

Family Guy improved production time with their animation. wtf is that nobody complaining about lmao. There's just no good series creator

>Some idiot tried to argue that the only problem is cartoons being written by writers instead of storyboarders
sounds like john k lol

>Combined jobs
As a board artist on a Nick Jr. show who has to micro-manage certain actions to the point where I'm doing keyframed animations and even have to do my own timing alongside the scratch track for the first pass animatic DESPITE there being an editor, I'm so fucking sick of this. It should not have to be my job to put in all the camera movements and even open up the graph so they can be timed properly in Storyboard Pro.

>Giving people too much responsibility fresh out of school
And this is another pet peeve. There have been times they hire artists with very little experience as board artists and it takes them several episodes to grasp the production. Not only do a lot of these productions not have streamlined guides on how they want the files to be organized beyond naming convention, some of these people come in barely knowing how to use Storyboard Pro. This is why the revision department exists.

I understand in the old days of storyboarding, all you had to do was draw on paper and put it up and get good at pitching. Now-a-days, if you use certain functions in a program like image sharing or palettes outside of the library, it can mess up the pipeline. But there HAS to be a better way than just making mistakes and learning on the job. Make a Do's and Don'ts guide at least. Many productions don't tell their crew little details they might not have thought of, such as DON'T use bitmap brushes, only use vector brushes to make it easier to revise. Fuck.

Attached: 1589162827621.jpg (480x360, 14.79K)

>you are arguing in bad faith!

That was what Long's point IS though, that cutting budgets resulted in storyboarders taking on more writing which was a bad thing. His argument makes sense.

Thad's anime comment is ridiculous though, anime blows the shit out of most american shows in terms of effort.

Okay, that makes more sense.

It's not as if a single person is allowed to go off-style just for a scene. They have to match the style of the rest of the show unless given direction otherwise. You could force James Baxter within the art restrictions of a South Park episode and you're going to get shit.

No I'm really not, it's much more work to actually make the cartoon than to write it. Writing is arguably the most important part but generally takes less time and effort. And the deadlines get tighter the further into the production process you get. Post-production barely has any time because everybody before them has already blown their deadlines. BUT writing requires a skill which most boarders don't have, ie actually writing.

retard

Indeed, what gives?

Animators are great at timing. They can make a cat walk across the room and then get hit on the head at just the right time.

And then they can make a dog walk across the street and then get hit on the head at just the tight time.

And then they can make a fat guy walk down a beach and then get hit on the head at just the right time.

Rinse, repeat, call yourself a genius.

It's not about the design, but how quickly you can vomit out your most impulsive thoughts for the world to see. Everyone who uses twitter is either a voyeur or an exhobitionist, or both.

Would you believe it's gotten worse over time? It used to be a very easy to read, spread out format that was excellent for widescreen but then everyone at Twitter got a collective spike through their head to suddenly make one of the ugliest fischer-price UI designs ever.

His point seems to be importing was cheaper than production. But that ignores the great pipeline the anime industry has set up. A huge number of series are successful manga basically giving a blue print, if not they are usually some other product being adapted to a show and when they aren't it is very often heavily referential. Once that is done they can make a stage play, some drama CD and maybe a pop up cafe. You want a show accurate well articulated figure of an OVA from the 90s? Okay well I hope 2 heads and 8 hands along with effect pieces for iconic poses is enough for you. It is a well oiled machine, the oil is the blood of artists but that is hardly a surprise.

If cartoons did half of this shit and then sold it successfully to Japan they'd be in a great state. In fact We Bare Bears basically did, they fucking love that shit. But the plan for most shows is find a single hit and rerun it for decades pumping out merch only aimed at little kids. Japan really understands building and cashing in on fans. Toku vs PR shows this event more

twitter.com/allnewzbadnewz/status/1317709603027718144

Thank you for your work even though you probably work on kintergardener shows.

Basically this, it's like he forgot why it's so cheap for them to export it when they've had a healthy ecosystem in their country for years that is all about the animation industry.
Almost every new cartoon production has to re-invent the wheel on its production in order to get off the ground, and it's because there is next to no support network in this country for animation. Perfect example is how famous animators get cannibalized and thrown away after every new production because the big retards at the big retard companies don't understand why you would want to keep a talented animator and keep him making projects that he is the director on.