Old Politoed Wisdom

first post on here! I got this idea a few nights back and really wanted to make it into a comic

me too, man

ORIGINAL AUDIO

Pikmin Kinger ♟️

The thrilling sequel to The Tiny Jax Hypothetical, this time with a new spin

I believe they were referring to this:

Hey, you know that "We locked our baby in a car" skit? I wonder if Kinger and Queenie were anxious new parents when Ragatha was a baby? Because I can easily imagine them getting into a situation like that where they both panic. (Kinger more so)

I haven't heard about it but yeah, they were pretty anxious when they had to take care of her, and of course Kinger would be the one panicking more often.

There he go

gummy lamas

Video essay by Jellybox about what's good and bad about indie animation!

Wanted to share this in case it's helpful to anyone wanting to pursue making animation independently. It's also for fans of indie animation who may want some insight into how an indie studio works, why indie cartoons are always selling merch, why release schedules are often erratic, etc.

I also wanted to clarify the video's context, because it seems to have been somewhat misconstrued in some circles. Not long ago, WGA and SAG strikes, followed by TAG negotiations were very much in the news, shining light on the struggles the artists, writers, and actors in the Hollywood studio system are facing. In response, the words 'just go indie' have been tossed around quite a bit lately.

Gene and Sean at Jellybox approached us a few months back explaining that they were planning to make a video about the realities of running an indie studio/producing indie animation, largely in response to that 'just go indie' attitude. They were curious if we'd be willing to share our experience, including information about actual costs and the various difficulties and complications we've encountered. We said yes! We'd like for people to know what it's like. As much as it might look appealing next to the currently very broken studio system, indie has its own set of problems, and we think it's a good idea to be transparent about that because talking about problems is how you begin to address them.

Of course, while you get creative freedom and you have no shareholders to appease with indie production, the primary struggle you're always going to face is funding…and funding avenues are limited. Banks aren't eager to hand out business loans to freelance artists making cartoons, for instance. Social media algorithms reward frequent updates you can't swing with hand-drawn animated content, so you can't rely much on things like AdSense. You can't really insert sponsored ads into your animated videos without being too obtrusive. You can take on client work, but that interferes with your ability to focus on own animated project. Crowdfunds can be great for seed money, but they're also a ton of work to fulfill, and fulfillment itself will tend to eat up a considerable amount of the funds you've raised. Once your animation is produced, there is no well established way to sell the animated episode itself like there is for, say indie games sold on Steam. So, while we consider ways to try to make the terrain a bit more hospitable to indie creations, if nothing else, let this explain why productions rely a lot on merch drops!

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And hey, if you're an animation fan, consider supporting the independent productions you enjoy, whether you're tossing a few dollars their way, buying their merch, or just mentioning them to friends:

The Far-Fetched team is launching a crowdfund very soon to help them complete their pilot!

The Monkey Wrench team is killing it lately, and they deserve so much more fanfare than they've gotten!

And of course, thank you to the excellent folks at Jellybox for starting an important conversation!

1985 / 08 / 10

https://www.youtube.com/watch?v=nT7mxMXRwpA

by storyboard supervisor Erik Fountain

A few years ago, Erik put together these updated AT storyboard guidelines for new board artists and revisionists.