tag:blogger.com,1999:blog-6956070.post7814831590436110249..comments2023-11-03T11:37:13.579-04:00Comments on Something Old, Nothing New: Storyboard NowJaime J. Weinmanhttp://www.blogger.com/profile/15128500411119962998noreply@blogger.comBlogger10125tag:blogger.com,1999:blog-6956070.post-41663162077443293632008-01-11T23:48:00.000-05:002008-01-11T23:48:00.000-05:00In all this mud slinging, I am not going to take a...In all this mud slinging, I am not going to take any sides. I am going to continure to go on John K.'s blog, the ASIFA archive website, and Micheal Barrier's site. Each side of the fence is delivering vauluable information but I just filter out all the biases, it's too be excepted anyway. No one devotes themselves to a cause and dosen't completely remove his or her personal views.Ricardo Cantoralhttps://www.blogger.com/profile/00518171797365794688noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-1826333599213373672008-01-11T23:47:00.000-05:002008-01-11T23:47:00.000-05:00This comment has been removed by the author.Ricardo Cantoralhttps://www.blogger.com/profile/00518171797365794688noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-57644588981389283492008-01-11T03:21:00.000-05:002008-01-11T03:21:00.000-05:00J Lee,The thing behind the audience feedback, or w...J Lee,<BR/><BR/>The thing behind the audience feedback, or what little of it still exists, is that the system that shapes a program's future is either being abused, or has moved to a different outlet without being fully acknowledged.<BR/><BR/>The reason television ratings for The Simpsons and Family Guy have been so small in recent years is because most of the audience has migrated to the Internet, where they can voice their feedback in respective communities. Also because the newest episodes are available online only days after their premiere, so why tune in right away on television when it can be easily caught a little later online?<BR/><BR/>Now audiences are ingrained into online communities, where they have a better chance of communicating with the writers of their favorite programs. But some writers don't seem ready to face their fans yet about "the many years they've told them what they disliked about their show", which is why some Simpsons writers have teased about "Jerkass Homer" for the past several years, and why Family Guy continues using their poor stories and ruined characters despite rising complaints since the show's revival. The FG, the very same ratings that were used by FOX to cancel the show in 2002 are being used by the show's writers six years later to nag fans with their own "don't like it, don't watch it" approach to complaints against the show's creative direction.<BR/><BR/>It is because of those few factors that the Neilsen box is no longer a veritable measurement for a show's success.Yeldarb86https://www.blogger.com/profile/10131603833394294520noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-4361829636289600762008-01-10T10:20:00.000-05:002008-01-10T10:20:00.000-05:00I have to correct myself, Jaime (and David), but y...I have to correct myself, Jaime (and David), but you were right. This isn't about animation history, it's all politics. Worth is only trying to convince someone (ANYONE) to give John a job, because the way HE makes his cartoons is the way ALL Golden Age cartoons were made.Thadhttps://www.blogger.com/profile/04443425643665474645noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-28514166983145789832008-01-10T08:56:00.000-05:002008-01-10T08:56:00.000-05:00If we're trying to make cartoons LIKE old cartoons...If we're trying to make cartoons LIKE old cartoons, as in Tiny Toons, Ren & Stimpy, Spongebob, etc, we should use the process they used in the past.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-24628792666135194682008-01-09T20:17:00.000-05:002008-01-09T20:17:00.000-05:00Thad (and Jaime),To clarify: I'm personally trying...Thad (and Jaime),<BR/><BR/>To clarify: I'm personally trying to point out that extensive prose documents, sometimes but not always including scripts, played a significant role in story development at 1930s Disney in particular; and as such, could well precede storyboards in the developmental process.<BR/>I am not trying to minimize the equal significance that I think storyboard-level development also had on the stories.<BR/>I am also (and this is supremely important) not trying to define the 1930s from a pro-written word standpoint *in order* to justify today's executive-pleasing, script-based system, which I probably object to as much as most Spumco employees.<BR/>I do, however, want to get history right on the record.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-2530741729731683232008-01-09T10:53:00.000-05:002008-01-09T10:53:00.000-05:00Isn't story boarding an alternative scriptwriting ...Isn't story boarding an alternative scriptwriting technique used not only in animation but also in some comic book writing?<BR/><BR/>Or am I just being silly?MLOhttps://www.blogger.com/profile/01779450983499873776noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-76557571852335403282008-01-09T10:41:00.000-05:002008-01-09T10:41:00.000-05:00One of the problems today with cartoon characters,...One of the problems today with cartoon characters, scripted or storyboarded, is there's really no audience feedback to any specific story that gives the directors, writers and animators an idea of where their strong and weak points are, and how the character should develop.<BR/><BR/>Whether it's Ren & Stimpy or any of Hanna-Barbera's most stilted creations of the 1970s and 80s, the way a character debuts in Episode 1 of the show is pretty much how that character is going to be forever (and making R&S gay in an Adult Cartoon Party episode is not character development, but just a John K wacky, madcap plot device). Outside of the changes to Homer in "The Simpsons" from how he was portrayed/voiced in the Tracy Ullman segments to how he ended up on the show, I can't think of any personality/design changes of any consequence on TV in the past 40 years, since H-B changed Yogi from a slightly grouchy characters to a happy-go-lucky one more suited to selling Kellogg's cerials to the kiddies. <BR/><BR/>Compare today's TV cartoons to the original designs and/or personalities for characters like Donald, Goofy, Porky, Daffy, Bugs, Woody, etc., and how their creators were able to mold the characters based on audience reaction to each individual cartoon, which allowed them to evolve from their original look and personnas to the ones we're familiar with today. The creators today don't have that luxury, no matter what media they write in, and have to get their characters correct right off the bat or risk early cancellation. That may also be a contributing factor to the current problem, since if your original concept is good enough to make it past Week 13 in the Nielsens, you and the network suits are probably reluctant to to anything that would rock the boat in the wrong direction.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-42732323917506181742008-01-08T22:02:00.000-05:002008-01-08T22:02:00.000-05:00Hasn't Spumco infiltrated every sector of the anim...Hasn't Spumco infiltrated every sector of the animation idnustry and community by this point? they're almost one and the same now.<BR/><BR/>And I'm sure one of us could list a couple of storyboard-driven cartoons that are as talky and word-driven as scripted cartoosn are pegged as being.Kevin W. Martinezhttps://www.blogger.com/profile/12350124651239271608noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-17612235757586648402008-01-08T20:03:00.000-05:002008-01-08T20:03:00.000-05:00Jaime, the issue really at hand, and what people l...Jaime, the issue really at hand, and what people like Mike Barrier, David Gerstein, and I are trying to point out, is that scripts similar to live-action existed prior to 1960, and that Steve Worth is an unruffled liar, only bent on revisionism and self-promotion. The issue of whether cartoons should use scripts or not is a tiresome discussion, which isn't what this is about.<BR/><BR/>Why the hell isn't ASIFA doing something about the Spumco infiltration in their organization? I mean, an award honoring a job Worth is paid full-time for one year, and an award for John K. the next? How much more friggin' brazen can you get?!Thadhttps://www.blogger.com/profile/04443425643665474645noreply@blogger.com