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seeksstaronmewni · 5 years

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The Future of Star Butterfly... or The End?

The end of @disneyanimation‘s/@disneyxd‘s finest franchise yet, @daronnefcy‘s Star vs. the Forces of Evil, is a time of great lamentation for me, as I love Star Butterfly to an insane extent (and thus the respective franchise).

I love Season 3 more than Season 4 (and in Season 3 is the most important reason why I love Star), but the show’s been little different since Season 2. The show changed very much after Season 1 (my favorite season) in character design, animation and the storyboard artists involved. SvTFOE is a really great show, but I personally see room for improvement, if Disney chooses to produce any future content, whatever media that is. Before we act on petitions for new content (try not to push Disney Television Animation too hard on this. It’s up to them, NOT Daron Nefcy, and Disney’s probably really busy with other shows at the moment), let’s consider some aspects of the show...

First, I note some specific things that I dislike about SvTFOE in general.

Mostly “Traditional” Animation: What happened to the animation? The animation started out in Season 1 (and the pilot) as what I call “model-rigged” animation (some call it “flash”), animated by @littledigits at Mercury Filmworks (The Powerpuff Girls Movie, Mickey Mouse, Wander Over Yonder). The visual approach appeared to be very cartoon-y, like WOY, and the attention to detail in not only character design but also the effects design, multi-layered background panning and camera de-focusing was present only in 13 individual (11-minute) season 1 episodes, and also in the 2017 “Interdimensional Scavenger Hunt”. Such things of those episodes are not in later episodes as they are only traditionally animated. Toon City’s animation seemed slow-paced and a little jerky to convey quick movements at times, which didn’t feel like that of Mercury. Now, I came to love model-rigged animation because of SvTFOE, but generally I prefer traditional animation, which is fairly fitting for the more dramatic, intense episodes of the series. The first Toon City episode, “Mewberty”, had a number of design/animation mistakes (i.e. the shots of the “My turn” moment). Of the 2 animation companies that were involved, Rough Draft Korea (which also worked on the Season 1 episode “Blood Moon Ball”) and Sugarcube, though Rough Draft does animation for some of the best in American animation, yet I prefer the visual approach of Sugarcube as the designs are much cleaner and look a little more on-model. The lines in Rough Draft episodes aren’t as smooth and the models kind of look more different (perhaps off-model) per shot and/or movement, but the animation Rough Draft did on Samurai Jack EPISODE XCVIII, namely Ashi’s fight scene, looks amazing. rwinger24 pointed some important elements lacking in the 2016-2019 episodes out: “Absent from the Mercury and Toon City animation (are) these animation principles- Anticipation- Follow through and overlapping action- Slow in and slow out (the Rough Draft Korea episodes miss this principle as the animation appears jarring/unnatural)- Secondary action(And notable absence of motion smears)... (and, like) 80s /90s cartoons sometimes (the picture bobbing/weaving from the telecine transfer, and not the constant use of 24 drawings like SVTFOE does (mostly from Rough Draft Korea).

Different, Less-Detailed Character Design?: The character design never looked more graphic and detailed than in Season 1, done by @cheyennecurtisart and @lynnvwang as well as @cunch. This’s particularly noticeable in the Mercury Filmworks episodes. The designs in the Toon City episodes aren’t as smooth and, the way the episodes are, not necessarily as exaggerated in cartoon-y fashion as the Mercury Filmworks episodes. The change in character design, which I noticed, is so drastic, that my follower rwinger24 suggested that I should make a post about the changes. As for the rest of the series, @aniramiart became the main designer along with @beckyandfrank / @tinykittenteeth. They do some good designs, given what Star endured or how she reacted at certain times, but most of them aren’t as detailed as Cheyenne’s. What I dislike most about this design change is that, regarding mostly Stephanie Ramirez’s designs (plus storyboard artists and Rough Draft’s animation), the character design of at least Star begins to resemble Gravity Falls a bit much, which detracts from the unique designs of SvTFOE in its first Season. Relatively, one of young Star’s designs in “Marco Grows a Beard” (Tyler Chen’s first episode) also resembled the character design of Gravity Falls, but that was still Cheyenne & Lynn Wang on the episode. On the other hand, the Season 2-4 designs look more on-model and smoother in the Sugarcube episodes. Otherwise, in potentially cartoon-y designs, it just doesn’t stretch as far as those of Season 1/Mercury episodes, though that wouldn’t exactly be fitting for the more dramatic episodes. The designs, of course, depend somewhat on storyboards. Perhaps the wackiest storyboards are by Ian Wasseluk (who rwinger24 references in the cartoon-y looking approach on the series), as well as Dave Stone (from Teen Titans GO!) on “Match Maker”.

Quiet (and typical) Sound Design: Throughout the show, the sound design’s style was very quiet. It’s more foley than SFX. The sound effects designed by both music score composer @brianwithanh and Advantage Audio’s Robert Poole (Season 1) and Heather Olsen (Seasons 2-4) are unique to the series and absolutely nothing I criticize. What I dislike of the sound design is that, given the very cartoon-y visuals (particularly Seasons 1-2), the sound design is more realistic than cartoon-y (save for very rare cases like the opening scene to Bon Bon the Birthday Clown, which was very deliberate as I imagine). Usually, Advantage seems to sound either too cartoon-y (i.e. The Fairly OddParents) or too quiet. In the case of more dramatic episodes, the cartoon-y sound shouldn’t be pushed. If Jesse Aruda, Roy Braverman, and/or Rich Danhakl did the sound design (Danhakl did the sound design of The Tom and Jerry Show at Advantage and edited sound on “Mathmagic” & “The Bounce Lounge”), their array of cartoon sounds would be better than the usual, very specific designs of Michael Warner, Robert Duran, Poole II and Olsen. The other main critique I give is that, like most sound services, the action-y sound effects (explosions, crashes, etc.) depend more on typical Hollywood Edge/Sound Ideas (that is “stock” sound effects) than the unique sounds of Joel Valentine and Skywalker Sound; there’re also the common, if applicable, use of “Cats Two Angry Yowls”, “Medium Exterior” Crowds and other cliche vocal recordings that are overused, particularly by Advantage Audio. Recording walla as well as other animals (or at least using lesser-used animal and crowd vocals) would be an improvement. Even the horse sounds used (rarely using one from the Sound Ideas Lucasfilm Sound Library) are mostly the typical, pitched-up if necessary. Compare that to an entire SFX library of horse sounds that Skywalker’s Nia Hansen (sound design assistant of Big Hero 6′s movie but not the show) recorded just for War Horse--and she was credited as only an apprentice [sound] editor!

“Controversial” Content: The last thing I dislike, from more or less a Christian point-of-view, is that there are a few episodes that have material and/or images that I, for one, among many, would view as “controversial” or “polarizing”. I’m a little suspicious of some situations that may regard controversial subjects in a few other episodes as well, though no dialogue explicitly states such things. I can not say what that material is or what episodes have it, but I mean the best in concern for the sake of the series’ reputation. The least that we can do (and I certainly do), in all situations, is to pray for the salvation and sake of Daron Nefcy and her amazing team.

(BRIEF SPOILER!) Second, before we can give influence to anyone to contribute to the Star vs. the Forces of Evil franchise, we need an answer to this very important question:

Is this really the end of Star vs. the Forces of Evil?: It was always on my mind as to whether or not “Cleaved!” was more than the end of the main story linked throughout Seasons 1-4 (though the last villain, in Season 4, is Mina, from Season 2). Does Disney claim that it’s the series finale because they had to move on to other projects, or is the story of Star Butterfly, the Underestimated, at the true end that Daron Nefcy wanted? Think about Wander Over Yonder: it was cancelled after season 2, but, although that season wrapped up a story throughout that season (and began at the very end of Season 1), still there are more stories that could be told... if Disney wanted to produced new WOY content, with or without Craig McCracken. Also, (spoiler) Star is not gone; worlds collided, and there can be more adventures for the franchise (perhaps Hope Hadley or Charlie Booth/“Gustav” could get a spin-off?). Whatever more we want of SvTFOE or WOY, we must speak to Disney Television Animation about this and let them to know, NOT the show creators. Don’t ask Daron Nefcy about new SvTFOE content in the future; ask Disney TVA about that.

Third, in response to what I personally dislike about major changes in the series since SvTFOE Season 2, and as a devote fan of Star Butterfly / Star vs. the Forces of Evil, I wish to propose, to all of those at Disney Television Animation, suggestions of creatives who deserve to contribute their amazing talent to the future content of Disney’s most beautiful franchise yet.

Who should run the show?: As far as I know, creator Daron Nefcy suggested that she left Disney after SvTFOE (“I’ve been slowly cleaning out my office (I know, sad!)”) to do a voice on Nico Colaleo’s Ollie and Scoops, so, if Disney intends to produce any new content, then it may happen with Daron out. Who would I suggest to help run the show? Dave Wasson, Season 1 Co-Executive Producer/Supervising Director, could return. I strongly believe that Lynne Naylor-Reccardi (Samurai Jack, The Ren & Stimpy Show, The Shnookums and Meat Funny Cartoon Show) would be a very good choice in running the show, in addition to storyboarding, writing, directing, character design, and/or art direction; she produced Hercules and Xena: The Battle for Mount Olympus and was a major part of that film. Then, of course, for the sake of detail and action, Genndy Tartakovsky would be a great choice; he’s currently with Sony on a few projects and CN for Primal, so at least people from his team, like Paul Rudish of Mickey Mouse and Bryan Andrews and/or Mark Andrews of Sym-Bionic Titan, would be really good for directing. I certainly trust how good they are at both action and heart, on shows like Samurai Jack. As for really wacky, cartoon-y styles, I also would recommend Kyle A. Carrozza, @tvskyle from CN’s Mighty Magiswords, who is currently at Warner Bros. on Animaniacs, and Bob Camp from The Ren & Stimpy Show (also a storyboard artist for Sym-Bionic Titan and Suburban Daredevil), to contribute directing/producing and storyboarding. I would recommend @crackmccraigen, who "wanted to make Star when back when @daronnefcy pitched it to us at The Cartoonstitute. CN said no though.” However, so far, Craig left Disney; he currently produces Kid Cosmic for Netflix.

Who should write and storyboard the stories?: First, I suggest Tim Hodge (@baldmelon, The Tom and Jerry Show, Jonah: A VeggieTales Movie, Aladdin, Mulan), who also worked for Disney, as well as @gadworks, @kalikazoo, @mikepelensky, Darrick Bachman (Samurai Jack, Mickey Mouse) and Richard D. Pursel (Tom and Jerry Tales, Mighty Magiswords, The Ren & Stimpy Show). For more action-y sequences, I’d look to Genndy Tartakovsky, Bryan Andrews and/or Paul Rudish; they sure know their action stuff. Lastly, I note Charlie Bean, David Krentz, Kyle A. Carrozza, Lynne Naylor-Reccardi, Will Finn, Stephen DeStefano, Jeremy Polgar (Samurai Jack Season 5, Teen Titans Go!) and Bob Camp, among others. Former writers/storyboarders Mike Mullen, @ianwasseluk, Scott O’Brien, Kyle Neswald, Kat Ketchum, @brettvaron, @giancarlovolpe and Dave Stone should return. A newer storyboard artist for Spongebob, April “Pinkie” Davis, has some humorous potential too and I’d highly recommend her. Josh “Zeurel” Palmer and @akron-squirrel are also very talented artists/animators who deserve a show.

Who should contribute visual design?: Luckily, Cheyenne Curtis returned for a few episodes after Season 2; she currently works at Nickelodeon but might like to help on the designs. In point of fact, she should be “Lead Character Design”. I’m not sure if it was Cheyenne or Lynn Wang who did the really graphic character designs (Match Maker, Brittney’s Party, The Other Exchange Student, etc.), though hopefully Lynn Wang could occasionally contribute to future SvTFOE content, with or without Cheyenne. Among the 2 (and perhaps Jennifer Goldberg as well), the new character designers I’d suggest to contribute would include Jeremiah Alcorn (@alcornstudios, Teen Titans Go!, Wander Over Yonder), Lynne Naylor-Reccardi (The Ren & Stimpy Show, Samurai Jack), Carey Yost (The Powerpuff Girls, The Ren & Stimpy Show), and April “Pinkie” Davis (Spongebob Squarepants). I’d also recommend Bryan Arnett (Wander Over Yonder, The Mighty B!), Adam Rosette (who did designs for the original test pilot or something in 2014, according to the IMDb), Craig Kellman (The Powerpuff Girls Movie, Dexter’s Laboratory), and Kyle A. Carrozza and Lindsay Smith-Carrozza (Mighty Magiswords), among others. As for the location design, it changed little, but I’d still refer to The Parpan Brothers, Season 1 art directors @joshparpan & @justinparpan (currently art directors at CN for @victorandvalentino) and perhaps their assistant Jason Stebbings. David A. Dunnet and Larry Murphy are very good cartoon location designers. Certainly, Stephen DeStefano (@stephendestefano, Samurai Jack, Mickey Mouse, The Ren & Stimpy Show) would serve as a swiss army knife of visual design in storyboards, character design and location design! I’m not concerned about most of the prop designs either, though Dustin d’Arnault is a rising talent in cartoon props/effects design, like Chris Battle. I’m not too concerned about effects design, referring to the original one, Tony Unser, and the last one, Eric Gonzalez, but contributions from Dustin d’Arnault and the amazing MIchel Gagne would do wonders for the show. As for newer, fresher talent, @akron-squirrel, Josh “Zeurel” Palmer and Scott Forester are some excellent choices for new creatives visual development.

Should the show/new content onward be in a “Scope” aspect ratio, like 2.40:1? Star Wars: The Clone Wars, Tigtone and Genndy Tartakovsky’s Primal are in a “letterbox” widescreen format, and it’d look more cinematic to do the shots in a director-envisioned “CinemaScope” format.

Who should direct the animation?: The main timing supervisor Shaun Cashman was a part of The Powerpuff Girls and Sym-Bionic Titan, so that’s good for the *traditional* animation (not to mention timing director Patrick Gleeson, who animated the works of Don Bluth), but personally timing/animation directors and supervisors should include Genndy Tartakovsky, Tony Fucile (perhaps a stretch, but he’s really good), and Robert Alvarez. Rough Draft’s designs should look a little smoother IMO, though I generally prefer Rough Draft over Sugarcube. Of course, for the more comedic SvTFOE content in the future (but not limited to cartoon-y scenes), I want Megan Ferguson to return, preferably with Mercury Filmworks. Mercury could at least help animate background layouts and visual effects for the traditionally animated episodes. Still, I learned from Final Space and namely the Rapunzel’s Tangled Adventure episode “Cassandra’s Revenge” that “puppeted” animation can work very well in more serious, cinematic scenes that aren’t as “cartoonish”. Additional animation contributions from Gabe del Valle and Josh “Zeurel” Palmer would be good to reference too.

Who should contribute sound design?: First and foremost, if I had to pick one and only one sound designer, I’d look to Joel Valentine, a private contractor who generally did cartoon sound for only Cartoon Network Studios until Craig McCracken got him to contribute to Wander Over Yonder Season 2, perhaps leading Joel to work currently on Disney’s Big City Greens (still also on Genndy Tartakovsky’s Primal). He does both cartoon and action sound on a very unique level, and he proved to be very realistic with vocal sfx (babies, crowds, animals) in Samurai Jack Season 5, making very scarce use of Hollywood Edge SFX. I also really like that castanet sound he uses for characters shaking for any reason. With or without Joel, my devote follower @rwinger24 prefers Spongebob sound designer Jeff Hutchins to contribute; Jeff has a hilarious sense of cartoon sound design, and not only did he learn from Joel, but he also received from Joel The Producer’s Sound Effects Library AND Joel’s ADAP library, with which Jeff could replicate the unique sound styles of Joel, like he did before. Jeff also tends to work at Hacienda Post, where founder and supervisor Timothy J. Borquez could contribute and consult sound design just as his team did at Horta Editorial on The Ren & Stimpy Show, which also has its own stylized array of SFX--and this would work very well for a show with design and animation as detailed in comedic fashion as Ren & Stimpy (think “Brittney’s Party”). It was rumored on IMDb that Warner Bros. Sound (division Audio Circus) worked on SvTFOE; Jeff worked there too, and I guess that they could contribute. Then, of course, the show deserves contributions from Skywalker Sound, namely designers like Tom Myers, Steve Boeddeker, David Acord, Frank Eulner and Al Nelson, as well as Chris Scarabosio, Kyrsten Mate and Nia Hansen; Matthew Wood & David Acord are also a good team in voices (I’d even go so far as to suggest Ben Burtt to contribute). With Skywalker, there’d be better selections for action sfx (like explosions or ricochets) and other SFX in general, plus more realistic vocal sfx and walla. I also like the works of Robert Hargreaves (DigiPost.TV) and Glenn Oyabe. Among Joel, Hacienda and Skywalker, still, I intend not to cut Advantage Audio out; the series’ sfx and Brian H. Kim’s sounds are probably there, as are the series’ foley artist John Lampinen, but I would want Jesse Aruda and Rich Danhakl to be in place of Poole II or Olsen. (as of September 10th, 2019 A.D., Danhakl replied to me in an e-mail, “Count me in for the toonie Star spinoff (I’ll pass the message along to Jesse [Aruda] and Roy [Braverman])!”) A main proposition to approach the series’ sound as a whole, as Ben Burtt suggested in an article, is this: “You don’t achieve the final cut of your movie the first time that you cut it. [(Picture) Editing is] too big of a job. You assemble the first cut based upon all of your best available knowledge. You’re finding your way through the story. You’re checking notes, a script, and seeing what the material might dictate. Then you build each successive cut, and you see what’s wrong and what’s right. It takes time and a series of developmental steps. No director want to rush through it. The same process should hold true for sound design. There needs to be a development phase where you have the same type of time to experiment, fail, and nurture the sound design to full bloom in all its beauty.” Speaking of Ben Burtt, he might as well contribute since it seems that he does little sound design for projects these days. Previously I made a post about the important emphasis of the series’ sound design.

I pray every day of my life that Star vs. the Forces of Evil as a franchise of Disney will be blessed with creative talents who I really admire, and I hope for the best. Speaking of Hope, I find supportive/background character Hope Hadley, created by character designer Cheyenne Curtis, to be an interesting and attractive character, so I wonder if Cheyenne (who works at Disney) and Disney (who owns the rights to Hope) would create something out of her, as I said before--and Cheyenne thinks about this possibility: “If I ever get a cartoon show it’s my goal to have multiple episodes throughout the season with rain.” Either way, my devote follower @rwinger24 would agree with some of my choices (particularly of sound and Jeff Hutchins).

If you’re a devote SvTFOE fan and you agree with any of these decisions, then SHARE THE POST! Let Disney know, and see what Daron Nefcy also thinks of this too (even if she can not return). I also encourage you to share IMDb lists of Creatives for Future SvTFOE Content and the same for Cheyenne Curtis’s cartoon show and/or this Tumblr post summarizing names of those to join and return on SvTFOE, so that we--and the amazing creatives whom we admire--can be a part of the unique franchise of SvTFOE! I love Star Butterfly enough to want to spark an influence, however we can.

Besides that, Samurai Jack seemed to end after Season 4, but it returned after 12 years, 5 months and 14 days with Season 5. God knows what new content/media Disney could produce (with or without Daron Nefcy) in the future!

Tweet version here. Share that too!

Finally, forget not to share also this complimentary post listing some of the most important creatives for Disney TVA to recruit for new SvTFOE content!

I thank you for sharing, noticing and/or reading the post.

If you wonder why I love Star much, see this post (spoiler if you saw not Season 3 yet)

BTW, if you like The Powerpuff Girls and/or relative team members, check this post out too (and share it if you agree)!

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nickanimation · 6 years

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Stimpy shows his true colors in this Sunday Scribbles by @spongebob storyboard artist Gabe Del Valle @gadworks 💚😸💨

#ren and stimpy #nicktoons #nickanimation #Gabe Del Valle #sundayscribbles

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linzillaart · 5 years

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It’s finally time for more Magiswords designs!!

Here’s a selection of designs I did for Mighty Magiswords “Warts and All” Episode boarded by Mike Pelensky and Gabe Del Valle.

Part 2 of 2

#mighty magiswords #witchy simone #Prohyas #mascott #art #special poses

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nicocolaleo · 7 years

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Hey, it's Episode 4 of TOO LOUD! With special guest voice Katie Crown! And Vincent Price? When his favorite celebrity author comes by for a book signing, Jeffrey is a nervous wreck. Can Sara help her little bro gather the courage to meet him? Created, Written and Directed by: Nico Colaleo Voice Talent: Sara: Kelsy Abbott Jeffrey: Nico Colaleo Kibblesworth Fan: Katie Crown Miz Abbott: Gregg Turkington Storyboard Artist: Eleisiya Arocha Animation: Sandra Rivas Vivienne Medrano Kyra Kupetsky Marie Lum Josh Palmer MC Griffin Josh Herron Backgrounds: Kati Prescott Additional Character Design: Gabe Del Valle Additional Writing: Matt Brailey Additional Clean-Up: Charlie Clark Eleisiya Arocha Louisiana Ramos Ethan Harper “Too Loud” Theme Composer: Dave Neff Executive in Charge of Production: Melanie Augustyn Executive Producer: Birkner Rawlings

#too loud #too loud cartoon #jeffrey and sara #nico colaleo #dreamworks #dreamworkstv

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magisource-blog · 7 years

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Kyle Carrozza’s designs for Bad Man Oldman, based on the storyboards of Mike Pelensky and Gabe Del Valle.

#Mighty Magiswords #cartoon network

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akron-squirrel · 7 years

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Care to name all of your animation, cartooning, etc. influences at the top of your head?

Aaaaaalright, here we go

Ub Iwerks, Rod Scribner, Robert McKimson, Bill Melendez, Ken Harris, Ben Washam, Bob Clampett, Chuck Jones, Maurice Noble, Philip DeGuard, Tex Avery, Ed Benedict, Irv Spence, Ken Muse, Jay Ward, Bill Hanna, Joe Barbera, Bob McAfee, Gary Larson, Jim Davis, Charles Schultz, Ralph Bakshi, Mike Judge, Bob Jaques, Kelly Armstrong, John K, Bob Camp, Vincent Waller, Jim Smith, Chris Reccardi, Lynne Naylor, Bill Wray, Charlie Bean, Carey Yost, Erik Wiese, Derek Drymon, Gabe Swarr, Eric Bauza, Paul Rudish, Craig McCracken, Rob Renzetti, Genndy Tartakovsky, Dan Krall, Scott Wills, Richard Daskas, Danny Antonucci, Scott “Diggs” Underwood, Maxwell Atoms, CH Greenblatt, Robert Alvarez, Rae McCarson, Elle Michalka, Shawn Dickinson, Gabe Del Valle, Mike Pelenskey, AND SO ON, because I know for a fact that I left some out. ^^;

But then pretty much everyone I follow on here (and some I might not be following yet) are huge influences on me too!

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jayalexbarnett · 5 years

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Here are some more pics from the Art Festival. Check out these artist and give them some support: Clayton Kober (claytonkober.com, Kristine Petilla (kristinepetilla.blogpost.com), Izzy Holder (www.izzyholder.com), Brian Aboozia (www.roninleather.com), Jordan Koch (@jordanimation), Andrea Gerstmann (www.agerstmann.com), Lauren Mattson (lmattson.com), Zach Heffelfinger (www.heffstudios.com), Nikkolas Smith (@nikkolas_smith), Sue DiCicco (www.peacecraneproject.org), Courtney Dipoala (courtneydipaola.com), Casey Robin (caseyrobin.com), Kacey Manjarrez (@Kacey_m_art), Susey Chang (www.suseychangart.com), Sophie McNally (sophiemcnally.com), Julia Moraes (juliemoraes.com), Ron Velasco (ronvelascoart.com), David Wentworth (www.davidwentworthart.com), Brian Bean ([email protected]), Katia Grifols (glowinthedark.studio), Jacqui C. Smith (www.jacquicsmith.com), Demi Chen (demi_chen.tumblr.com), Amy Leong (@punbunstudio), Mike Cedeno (www.mikeecedeno.com), Katherine Stocking Lopez (mmmmonsters.com), Jose Tsao (www.joseytsao.net), Lidia Liu (www.lidialiu.com), Victoria Orolfo (@victoriaorolfoart), Christopher Yee (www.chrisyeeart.com), Kim Greenough (@kimbyarting), Kathleen Quaife (www.kathleenquaife.net), Madison Shaffer (@MadisonShaferArt), Gabe Del Valle (gabedelart.com), Jun Vanotterdyk (@merrimonster), Betsy Luk (www.betsyluk.com), Constance Jue (www.constancejueart.com), Keri Palustre (www.ekpcreations.com), John Mahoney (@mahoney_artworks), Mary J. Lai (birdzillastudios.com), Elle Rali (www.ellerali.com) https://www.instagram.com/p/ByLx7zLAEac/?igshid=1lb13s74112dc

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mikepelensky · 7 years

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My first ever Mighty Magiswords episode, cowritten with Gabe Del Valle, premieres tonight!

What could possibly turn Old Man Oldman against the Warriors? And when does Grup get his extremely important cameo appearance? You'll have toupee -- er, to pay close attention to find out! Tune in Friday, Feb 10 @ 6:15p on Cartoon Network!

#mighty magiswords #old man oldman #vambre #prohyas #grup #cartoon network #fan art #for the show that i work on

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parakaybesh-blog · 7 years

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Ang simula

Bes

Naaalala mo ba nung nasa ika-anim na baitang pa lamang tayo? Dalawang taon na ang nakalilipas noon mula noong maging matalik maging matalik tayong magkaibigan. Isa sa pinakaimportanteng bahagi ng pagkakaibigan natin ang panonood....

.... gabi-gabing pagsubaybay sa paborito nating teleserye, ang Mara Clara.

Teka nga, maiba muna tayo. Sa tagal na mula nung huling pag-uusap natin, tila nalimutan mo na ata ang Mara Clara. Oh eto, ipapakilala ulit kita.

Unang lumabas ang Mara Clara noong Agosto 1992. Ipinalabas ito ng ABS-CBN at pinagbidahan nina Judy Ann Santos na gumanap bilang Mara at Gladys Reyes naman bilang Clara. Nagtagal ang teleserye ng mahigit anim na taon bago ito tuluyang matapos noong Pebrero 1997.

Dahil sa tinamong tagumpay ng naunang bersiyon ng Mara Clara, nagkaroon ng anunsyo noong 2010 na muling ipapalabas ang Mara Clara para sa Madla. Ang muling pagpapalabas ng teleseryeng umantig sa puso ng marami ay talagang pumukaw sa pansin ng publikong manonood nito.

Sa muling pagbabalik ng Mara Clara, si Kathryn Bernardo (itaas) ang gumanap bilang Mara David samantalang si Julia Montes naman ang gumanap bilang Clara del Valle (ibaba).

Ang kuwento ng Mara Clara ay umiikot sa dalawang dalaga na ipinagpalit noong kapapanganak pa lamang sa kanila. Ang pagpapalit na naganap ay bunga ng pagnanasa ng isang ama na makaganti sa kanyang karibal. Sa huli, lalabas din ang katotohanan at muling babalik ang mga dalaga sa tunay nilang mga magulang. (link para sa mas detalyadong pagsusuri)

Sa pangkalahatan, hindi naman gaanong nagbago ang banghay ng palabas mula sa 1992 na bersiyon nito ngunit hindi rin naman maiiwasan na magkaroon ng kaunting pagbabago upang mas bumagay ang kuwento sa paraan ng pag-iisip ng madla at sa kulturang popular na sikat sa henerasyon na ito.

Nagmamahal, Bes

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ducktracy · 4 years

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fun fact: not only did LTC boarders Mike Pelensky and Gabe Del Valle both previously work on Mighty Magiswords, they were even board partners together

AHHH HOW NEAT!! it’s so cool seeing all the previous work experience of the crew, that’s awesome!!

#the creator of mighty magiswords follows me on twitter it’s an honor...#digamma-f-wau

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seeksstaronmewni · 3 years

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The Bear Roots of Burbank Cartoons: A Lookback at Boo Boo Runs Wild

5 years ago, [adult swim] aired the greatest of all Yogi Bear / Ranger Smith episodes, “Boo Boo Runs Wild” (1999), on August 13th, 2016 A.D. at 4 AM.

Look and see, kids, how America’s not-so-average bear connects in the wide world of animation that produces many of the cartoons that you love in Burbank, Canada and more!

As and after I saw it, I knew that I found the greatest band of cartoonists out there, and that greatest band of cartoonists out there was none other than...

Spümcø, whose many creatives would end up working at Hanna-Barbera Cartoons, Cartoon Network Studios, and many other popular Burbank and Canadian studios that made the cartoons I grew up and beyond watching.

Obviously, the character design is rather different, but they still look like the right characters, even with the slight color changes...

and with their items of human attire out. Ranger Smith, on the other hand...

Ranger Smith is wildly off model, and probably on purpose, throughout the picture.

Only in one scene appears he with a more familiar face.

Now, I didn’t have to watch Wild Kratts (which, by the way, features 6 Spümcø Canada creatives) to learn that “there’s only one thing a bear likes more than raiding a pic-a-nic basket.”

As the title suggests, Boo Boo loses his temper when Ranger Smith restricts him from tearing bark and decides to go primal in returning to his bear roots: “From this day forth, I’ll not dress in the man’s attire, and I’ll not speak in the man’s tongue. From now on, it’s going on all fours and grunting for me!”

Boo Boo wreaks havoc for the trees with his natural bear roots.

Unlike past episodes, however, the artists went far wilder than the usual Hanna-Barbera cartoon, making the trees alive and screaming in pain! OH, WHAT TOURTUE! Not to mention how I love Boo Boo’s goofy/manical laugh, a beautiful product of John Kricfalusi’s voice (Yes; I know that he was a formerly abusive megalomaniac who still has ADHD, but God knows what cartoons would be like today—at least those produced in Burbank and Canada—if it wasn’t for the many layout artists that he led).

Also unnatural to a Hanna-Barbera cartoon is the extreme levels of slapstick, wackiness and graphic nature of cartoons since such shows as Mighty Mouse: The New Adventures, Beany and Cecil’s DiC reboot, and The Ren & Stimpy Show. Boo Boo and now Cindy Bear are licking away at all of the honey... and bees... with insanely long tongues (may be that they’re sloth bears?). This left Yogi Bear practically speechless.

The mere sequence of dialogue between Yogi and Ranger Smith, discussing what to do about Boo Boo, involved HEAVY work in the storyboards by Vincent Waller. So many expressions that they couldn’t fit in each of Spümcø’s 3-panel storyboard pages!

As you see, in addition to Vincent Waller’s storyboards, John K. added extra poses (storyboard revisions more or less, but definitely layout poses) under the respective scenes. That way, Vincent could focus on telling and writing the story in rough pictures. (source of storyboards)

I also love the sound design. While it’s definitely true to a Hanna-Barbera cartoon, John K. and the late Henry Porch were very creative with some weird, dated and out-of-context sound effects, similar to what they and Horta Editorial did on The Ren & Stimpy Show in the first two seasons. The production music (probably APM and Capitol Records) also gave it a vintage, nostalgic feel.

Ultimately, with the aforementioned abusive megalomaniac aside, Spümcø undoubtedly harbored some of the finest animators and artists ever. Such names as Bob Jaques (Spongebob Squarepants, Buy One, Get One Free*, The Baby Huey Show), Ben Jones (DC Super Hero Girls, Cats Don’t Dance, Teen Titans GO!), Vincent Waller (Spongebob Squarepants, Adventures of Sonic the Hedgehog), Albert Lozano (Inside Out, A Kitty Bobo Show), Todd White (Spongebob Squarepants), Eric Koenig (Atlantis: The Lost Empire, Madagascar, Cats Don’t Dance, The Simpsons, and The Tigger Movie), and Erik Wiese (Samurai Jack, The Mighty B!) are among the hundreds of creatives who ended up almost everywhere working in Burbank and Canadian animation.

Other names on the Spümcø team that one might recognize include Gabe Swarr (Dexter’s Laboratory, The Buzz on Maggie, Foe Paws, El Tigre), and even background artists such as Richard Daskas ( @rdaskas - Samurai Jack, Time Squad, Sym-Bionic Titan, Batman Beyond), Richard Ziehler-Martin (Tiny Toon Adventures, The Wacky World of Tex Avery), Hector Martinez (Tom and Jerry: Robin Hood and His Merry Mouse, Timone and Pumba, Captain N, Evil Con Carne, Dora the Explorer), and Tony Mora (MAD, Teen Titans GO! to the Movies, Pickle and Peanut). I mean: in short, these artists worked for Warner Bros. Animation, Disney Television Animation and Walt Disney Feature Animation, Nickelodeon, and Cartoon Network Studios!

Spümcø’s production assistants on Boo Boo Runs Wild feature Matt Danner —a fantastic character designer, storyboard artists, director and producer, whose credits range from (Johnny Test and The Legend of the Three Caballeros to Team Hot Wheels and The Looney Tunes Show—and Cartoon Brew editor Amid Amidi. Brian A. Miller was an executive in charge of production, not for but probably in association with Cartoon Network.

Spümcø’s creatives, as I said, are all over the place in Burbank animation. Other shows that still air on @adultswim have ex-Spümcø creatives. For example: today’s re-run of Samurai Jack EPISODE XVI features Chris Reccardi (The Powerpuff Girls, The Grim Adventures of Billy & Mandy)...

Scott Wills (Genndy Tartakovsky’s Primal, The Twisted Tales of Felix the Cat)...

Lynne Naylor-Reccardi (The Shnookums and Meat Funny Cartoon Show, Wander Over Yonder) and Jim Smith (YooHoo and Friends, Tom and Jerry Tales, McGee and Me)...

and Leticia Lacy (TRON: Uprising, Sym-Bionic Titan, Wander Over Yonder, Korgoth of Barbaria).

Even outside of Cartoon Network Studios, where most ex-Spümcø artists end up, @cartoonnetwork’s The Amazing World of Gumball, from Cartoon Network Studios Europe (AKA Hanna-Barbera Studios Europe), features ex-Spümcø artist Charlie Bean (The Powerpuff Girls, Robotboy, Batman: The Animated Series, Timone and Pumba, Creature Crunch) on The Cartoon Network Europe Development Team.

One of Cartoon Network’s biggest and craziest hits, Teen Titans GO!, also features such ex-Spümcø artists as storyboard artist, director and producer Luke Cormican (The Buzz on Maggie, Brandy and Mr. Whiskers, Brickleberry, The Replacements, El Tigre)...

Gerald de Jesus (The Book of Life, The Ricky Gervais Show, TMNT)...

and Eric J. Pringle (Fosters’ Home for Imaginary Friends, The Problem Solverz). What wacky cartoon filled with live-action images, unpredictable visual gags and extreme slapstick humor wouldn’t?

Relatively, you could even tune in to Nickelodeon, the original home of Spümcø’s ground-breaking hit, The Ren & Stimpy Show, and see names of creatives associated with Spümcø and Ren & Stimpy, such as Zeus Cervas (Star vs. the Forces of Evil, Spongebob Squarepants, Clarence) on today’s episode of The Patrick Star Show...

or even Gabe Del Valle (Mighty Magiswords, Spongebob Squarepants) on today’s episode of Middlemost Post!

Overall, Boo Boo Runs Wild introduced me to the cartoon studio whose works I took for granted and on which I was missing out all of my life, and I strongly encourage this generation to support this Yogi Bear / Ranger Smith episode, which you can watch RIGHT NOW on [adult swim]’s site. It was officially on their YouTube channel, but it was removed for unknown reasons. This short never even got a DVD or VHS release!

The last televised airing of Boo Boo Runs Wild on [adult swim] so far was January 6th, 2019 A.D., but Spümcø also produced “A Day in the Life of Ranger Smith” and “Boo Boo and the Man” (based on true events in the life of John Kricfalsui) for Cartoon Network.

As I come to a close, it’s worth noting that layout Ed Benedict, an animator and artist whose credits go all of the way back to the 1930s with Disney and continued with MGM and Hanna-Barbera/Cartoon Network Studios, originally worked on Yogi Bear episode “Yogi’s Birthday Party” as a layout artist, and reprised that very role for “Boo Boo Runs Wild”. What a legacy the animators and artists of this episode leave!

Always will I remember how Spümcø, whose legacy connects to my Cartoon Network-infused childhood, blessed me and graced me that fateful day, August 13th, 2016 A.D., with the ultimate example of the fine art of cartooning that is the Yogi Bear / Ranger Smith episode “Boo Boo Runs Wild”. I was living in the moment, and I thank God for it.

“For years they have [been] asking me to make new Yogi cartoons, but I can’t even get a half a million [dollars] to make one, probably because I actually like the characters, but 60-70 million $ to make walking corpses is economical.” - John Kricfalsui on Yogi Bear (2010)

Another Ranger Smith, Boo Boo or Yogi Bear cartoon from the people behind The Ren & Stimpy Show is highly unlikely today, due to the abuse and harassment of John K. angering the world to the point of hating and condemning the man who helped to shape not only Cartoon Network but also television animation—and animation as a whole—with an undeniable legacy of artists and animators who deserve way more credit and respect than we perhaps thought of giving as kids.

Tweet version of this post here.

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banh88 · 7 years

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