#to the studio's roots of a 2d

[marciabrady]

I liked your thoughts on diversity issues in the LA TLM. Would be happy to read your analysis of the whole movie.

Thank you for enjoying my thoughts! I think people are really blinded by the casting of Halle to realize that a film set in the Caribbean (TLM 2023) should not look like this:

It's also worthy of noting that the only two people of color in this picture aside from Halle are only featured via their voice- Halle's father, uncle, and love interest are all white- even Ariel's "alter ego" (ie the one who stole her voice and is using it, so should conceivably look enough like her to believably be the original owner of the stolen voice) is also a white British woman...such a missed opportunity. Especially since Disney doesn't have a black Prince (Naveen is South Asian).

Honestly, that specific fandom is probably the worst to interact with if you aren't blindly praising the movie. I think it was a mistake just like every other live-action Disney movie, which are always inferior versions of their original counterparts. I could get more granular but, again, I really don't feel like being countered on why this movie is the best ever and every choice was genius when I have a difference of opinion. I think the added lore was confusing and convoluted and never paid off, the design of the costumes and the worldbuilding was ugly tbh, I think they put WAY too many expectations on Halle and the character of Ariel to the point where it obliterated the very human and vulnerable components of her, they went against all of Howard's original notes of effect vs going broad, and Rob Marshall showed who he was multiple times by saying how he felt the original had a shallow love story that he never connected with, Eric was two dimensional character in the original, and just all the other negative things he said about Ron and John's great work while simultaneously ripping them off (Jodi's said multiple times that Ron kept mentioning to her during the screening that they used a ton of his lines from his original story treatment).

I think the performances were wooden, to put it mildly. And, honestly while a lot of this boils down to bad acting and lack of chemistry (Javier might give the worst performance I've ever seen in a film), it also isn't fair to have actors navigate a heavily CGI'd world compared to the medium of animation that has like four performances for a single character (between the many supervising and sequence animators a single character might have, their voice, the dialogue director, etc). In the original, you can see how Triton and Ariel keep interrupting one another in a masterclass of expressive animation and dimensional voice acting, they're almost one top of each other, and the heave Ariel musters as all the emotions build in her chest. We can feel how frustrated she feels at her inability to be heard and how she's fighting to keep her emotions from getting the best of her. Halle and Javier have a different dynamic, where they never really get that heated or emotionally charged and they're barely interrupting one another; they're super still, and the calm way with which she stares at him before swimming off...I'm sorry, this just isn't it for me lol the film isn't as bad as Lily's Cinderella but nothing ever will be lol

[art]

Meet the Artist: @erindrawsstuff

Hi, I’m Erin, and I draw stuff! I’m an illustrator and 2D animator based in Austin, Texas (yee-haw). I’ve been in and out of the animation/entertainment industry for about 3 years, working many different roles like character designer for Rooster Teeth, animator for The Daytripper (a Texas-based PBS special), and character and prop designer for Lowbrow Studios (Adam Ruins Everything, etc.). Most of my work is now in personal projects like my webcomic “SUBSIX” (I promise I’m coming back to it!) and working with friends and colleagues within indie spaces, all while working my day job and returning to school for a degree in 3D animation! Most of my inspiration can likely be traced back to my cringe anime roots and the more obscure 2D animated movies from Disney while looking to new inspirations like Into the Spider-verse and Delicious in Dungeon. I think my main goal has been to create compelling stories with enticing characters while trying to navigate the complexities of life and the people in it (both in the media I create and irl). In the meantime, I explore this through reading works like The Locked Tomb, listening to Philosophy Tube, playing disaster lesbians in our DnD campaign of nearly 4 years, playing video games that make me cry and question things, and challenging myself to grow and improve in all aspects. I hope someday I’m able to return to being a full-time artist, but for now, I’m rediscovering why I create and how to maintain a reasonable work/life balance. I’m truly grateful that people enjoy my work, regardless of how big or small my following is or becomes in the future. I hope one day I’m able to be an inspiration to someone as many have for me! Thank you for this opportunity to introduce myself!

Nice to meet you, Erin! Below are some pieces they have shared with you all.

Check out more of Erin's work over at their Tumblr, @erindrawsstuff!

[heymusings]

Wish was fine, but overall disappointing for a film that is supposed to mark the celebration of 100 years of Disney animation. As much as I love Disney, I can't deny that it did not live up to what it was intended to be. 1) Originally it was to be hand drawn animation & go back to the roots, only to backtrack & do computer animation instead with the argument that they used 2d backdrops so it's the same thing. It’s not. It’s really disappointing to me because Disney has gotten stuck on the animation front. They now seem to look down on hand drawn animation which is ridiculous because people are screaming for a return to that style. I feel like they use their last hand drawn film as an excuse to not create such films anymore because they aren't successful. In reality, they didn't promote those films so people just weren't that aware of them when they were in theaters. This has become a bad habit of Disney. The mixing of animation styles at several points seemed disjointed. Plus, there is the fact that so many other animation studios have been doing mixed animation better & are outpacing Disney in animation development because Disney isn’t really doing anything as new or daring as other studios. I am not saying the animation of the film is bad, in fact, it is still pretty, but Disney/Pixar’s style has remained pretty much the same since the early 2000s. 2nd, Others have discussed this issue & I agree. There was nothing all that interesting about Asha & she certainly isn’t unique because it's pretty much the same personality we’ve seen in the last several years of Disney films. 3rd, Why the hell is the King’s wife even in this movie?! If they weren’t going to go with the original intent of them being almost a crime family duo (which, by the way, it is a travesty they didn't do this idea), just cut her character because she really hindered my seeing Magnifico as an interesting villain. In fact, cut the semi sympathetic backstory. He should’ve been more evil and honestly until Asha’s interference he wasn’t that bad. I would just like a fully evil Disney villain who is a full villain from the get go. He has a Dr. Facilier vibe, which is great, but Disney has & could’ve dug deeper & committed. There was so much potential here. 4th, The songs were mediocre at best and it’s exceedingly obvious that the writers aren’t musical writers. The songs don’t tell a cohesive story or develop character much, and they certainly don’t have much depth, they’re just there. They’re not songs that people are going to be singing. I honestly think that Howard Ashman is rolling over in his grave due to the soundtrack of this movie. 5th,There are way too many characters. Asha’s friends are the most forgettable wastes of time. I get the want to reference Seven Dwarfs but them, plus valentino, plus the star…too many to care. I think it was one reference that could’ve been left behind (it’s not like there weren’t many references to Disney animation throughout to make up for it– because there were TONS). 6th, that is the lamest dress change that Disney has ever done. With so many epic and magical dress changes how is this what they come up with? They literally went, just make what she’s already wearing sparkle and call it a day. Everything being said, I do like the idea of this being the starting point for Disney stories and Asha being the first fairy godmother. That is a great idea and is perfect for this 100 years of Disney animation. It’s just that there were so many things that just did not live up to or respect the history of Disney animation as this film was supposed to do.

[imagitory]

Review: Wish (2023) [SPOILERS]

Evening, everyone! Tonight my mother and I went to go see Disney's most recent film, Wish, which fortunately came to theaters in my area right before its formal American release date. I'd been very curious to see how this tribute to Disney's last 100 years of filmmaking would turn out, and now that I've seen it...well, I have to be honest, I was a little disappointed. I want to be very clear both that I was going into this with a rather sunny outlook and that there are things I really liked in this film...but overall, it felt like a lot of the good ideas it had were only half-baked, and I found myself -- forgive me -- "wishing for something more" than what we got.

For a more comprehensive deep-dive...a cut!

The Good!

+The single best element in this film for me was Chris Pine's performance as our villain, Magnifico. There are definitely some things I can critique about Magnifico's overall storyline and "character arc" further down, but Chris was clearly having a grand old time being an egotistical, sassy jerkwad, and it totally showed. Even in his villain song This is The Thanks I Get?, which just screamed "passive-aggressive abusive parent," you can hear how much fun Chris was having in the studio, recording it. I just about always enjoyed when Magnifico was on screen, and I actually did really like the idea that a lot of his villainy is rooted in him being obsessed with control over everyone and everything. In a weird way, Magnifico's turn to the Dark Side parallels Anakin Skywalker's in the sense that he lost so much in the past that he's determined to never lose anything important to him again -- especially the power he's accrued to make himself feel strong, after having felt so powerless. I find that very interesting, and I kind of wish that aspect was really highlighted more in the story, but we'll talk about that later.

+Asha was a likable enough heroine, even if I found her to be a lot like a two-way fusion of Mulan and Anna placed in a vaguely Snow-White-ish role in her clearly Seven-Dwarf-inspired friend group. Ariana DeBose portrayed her rather well, both acting and singing-wise. I also liked the "social justice" bent to Asha's character where she wants better things not just for herself and her family, but also Rosas overall -- in the French translation of her main song "This Wish," they even push this further by having Asha wish "to see the world happy again someday." We haven't seen a heroine really express this kind of desire for a positive change in the world since Esmeralda in The Hunchback of Notre Dame, and that's cool! Plus representation in mainstream media for previously underrepresented groups is always nice. ^.^

+As much as I don't think they all got enough focus as individuals, I liked Asha's friend group! Especially the fact that it is a friend group made up of people that are around the same age as our protagonist, which -- let's be honest -- isn't that common for Disney heroines. Often with "sidekick groups," you're more likely to have situations like Cinderella with the mice (who are more like cutesy sidekicks than equals) or Snow White with the Dwarfs (who are all quite a bit older than our heroine)...so a friend group made up of peers with their own personalities and motivations was kind of fun.

+The setting of Rosas itself could be pretty. I liked a lot of the Mediterranean-inspired architecture, especially inside Magnifico's tower.

+The combination of 3D and 2D-esque animation was also interesting! It really served to give the film its own distinctive visual style that sets it apart from other Disney projects, which I always appreciate.

+Star was...cute. Obviously just designed to sell plushies and definitely reminded me way too much of Kirby, but cute enough. I do think it's kind of cool that they're never gendered at all in the entire movie, because it'd be silly to think of a sweet little androgynous ball of stardust as being specifically male or female.

+I liked the idea of Simon "betraying" Asha, only to be turned into a pawn by Magnifico in the process, but not being treated unsympathetically by the story for it. Didn't love the full execution of the idea, but hey, that's what the negative section is for.

+The idea of everyone finding the power inside of themselves to stand up against Magnifico (because they're "all stars," and presumably all have the magic needed to make their wishes come true) was a little predictable, but still sweet. I have problems with how the film wrote it (which we'll get to), but the idea itself was wholesome and fitting.

+I like several of the songs, just on their own -- I added This Wish and Knowing What I Know Now on my ITunes as soon as I first heard them prior to the film's release, and now I've added At All Costs too: it's a really pretty duet! (Gorgeous work, Chris and Ariana!) I'll leave my praise here, though, because sadly the soundtrack is going to get a lot of discussion in the less positive section.

The Not-So-Good...

+This film being "Disney's 100th anniversary film" really got in the way of this movie telling a compelling and unique story sometimes. The whole movie really twisted itself into a pretzel trying to check off all the usual Disney tropes, and there were points that certain choices made the story seem incredibly stilted. For instance, one common Disney trope is a dead parent, so of course Asha has lost her father -- but we learn so little about him and he ends up playing such a small role in Asha's arc and story that it seems like an unnecessary detail. Asha's grandfather honestly plays more of a role in Asha's motivation throughout most of the film, so it would've made just as much sense to have Asha's grandfather be the one who believed in stars having power, rather than her father. Another example is the concept of the cute animal sidekick who's just there to make jokes -- as much as Valentino the goat didn't annoy me personally, he added just about nothing of value to the story whatsoever aside from comic relief, in contrast to other funny sidekicks like Sebastian from The Little Mermaid or Olaf from Frozen, who also serve a plot purpose and have a developed relationship with the protagonists. Then there's Asha being cut from the same "naive, awkward, wide-eyed idealist" cloth as many of our Disney Revival heroines like Anna, Rapunzel, and up to a certain point even Mirabel are; Star being in a similar vein to cutesy, innocent sidekicks like Pua, Crikee, and Baymax while Valentino is more akin to sassier, comic ones like Mushu and Sisu; her friends literally being based on the Seven Dwarfs from Snow White; our heroine getting a pretty standard "I Want" song and the villain getting his own solo number that doesn't really take any risks...oh yes, and we mustn't forget the trope of the Storybook opening, which (I'm sorry) I know was supposed to be a reference to Snow White, Cinderella, and Enchanted, but just gave me Shrek vibes the entire time. I was waiting for Shrek to rip out the page and use it for toilet paper any minute. It just felt a lot of the time like the movie was very paint-by-numbers, rather than throwing in much that was surprising or different.

+This isn't even touching all of the pointless meta references to other Disney movies. Asha wearing the Fairy Godmother's cloak and getting a wand like hers at the end -- the mushrooms crowing "we love crazy!" the way Hans did in Love is an Open Door -- Asha riding the reindeer the way Kristoff did in Frozen 2 -- Magnifico using green smoke hands a la Ursula -- the ending with those obvious Wendy and Peter Pan look-alikes, come on, really??? That was just painful.

+As much as Magnifico was an awesome idea for a character and Chris Pine's performance was beyond entertaining, the movie did not always write him as well as they could've. From the very start, we see this guy is an egotistical control freak -- obsessed with his own image, incredibly hard-to-please, arrogant, vain, desperate for attention and unwavering praise and adoration from all of his subjects, and determined to keep an iron grip on everyone else's wishes because of the power it gives him. He's ALREADY a terrible person, from the start -- and yet the film tries to introduce this dark magic book that gets no explanation or backstory whatsoever and has no real characterization or presence, so it leaves no real impact on the audience corrupting him and making him a bad person, when it didn't need to! Magnifico was already the villain this film needed! Just let him fall head-first into madness without the book prompting anything! Even if Magnifico "lost everything" in the past, that doesn't make him a good person, if he takes everyone's wishes away from them and hoards them all to himself, only to grant a few now and again when it would make him look good.

+This above point actually leads nicely into one change I really, really wish the film had been ballsy enough to make -- have Asha already be Magnifico's apprentice, not trying to become it at the start of the story. Give our villain and hero a real relationship, with history that started before the events of this film! Asha lost her father at the age of 12...how interesting would it have been -- whether to make Magnifico more of an anti-villain or show how manipulative he really is -- if he'd tried to fill that fatherly role for our main character and twist her to serve his ends? What if At All Costs was rewritten to be about Magnifico not just being determined to hold onto all of the kingdom's wishes, but also this apprentice he sees as an extension of him and his legacy, while Asha is determined to protect this Star she's accidentally summoned and the suppressed wish of hers it represents? This change would've made Asha's break with Magnifico so much more powerful for both of them -- it would've both justified Magnifico's descent into madness and given Asha more reason to feel like it was her responsibility to stop Magnifico. You even could've then played more with Asha's relationship with Queen Amaya too, in this kind of a scenario.

+Oh yeah, and on that note, Queen Amaya. OOH, this really annoyed me -- okay. So this woman is supposed to be a good guy, in this story. But as I touched on earlier, Magnifico was already a pretty awful person, hoarding people's wishes away in order to make himself powerful. Was Amaya truly so blind to that? Did she truly never question anything, ever? But no, really, she only turns on Magnifico after he starts using the dark magic book and actively threatens her. Only that makes her turn from him, and it's pretty damn immediate. Now okay, I hear you saying, it's like Amaya sings in Knowing What I Know Now, right? "The good in him, I've watched it melt // I was blinded by the love I felt"? Excuse me, lady -- but Magnifico wasn't a good person, before. He was just playing a part so as to stay powerful and adored by the masses. And if the story wants to claim otherwise, and act like that dark magic book was responsible for Magnifico going bad, then why would our Queen decide to keep him locked up in his staff's crystal forever? If the book was responsible, then Magnifico would be the Frodo or Golum to the book's One Ring -- he'd be a victim, in such a scenario: one in need of help and pity, not punishment. So either Amaya is a selfish person who only cared about her husband's mistreatment of others when it affected her, or she's a needlessly cruel person who decides to punish her husband for a vice that anyone could fall prey to. Either way, I don't want this woman ruling anyone! Make this woman a straight-up villain, same as her husband, and have the whole monarchy come crashing down after she and Magnifico both go down in flames! VIVE LA RESISTANCE! (Playing into my idea with Asha being Magnifico's apprentice all along, maybe there could even be a twist on the Evil Stepmother trope with Amaya, where she's jealous of how much Magnifico has tried to groom Asha as his apprentice, rather than spending time and/or starting a family with her or something.)

+As I touched on earlier, there wasn't even close to enough time to develop all of these characters properly. Since our heroine and friends are most similar to Snow White and her friends the Seven Dwarfs, let's compare cast size. Snow White is 83 minutes long and has a cast of ten (Snow, the Prince, the Queen, and the Dwarfs) -- Wish is 95 minutes long and has a cast of fourteen (Asha, Magnifico, Star, Valentino, Amaya, Asha's mum and grandpa, and our seven Friends). This results in us getting the vague idea that "Grumpy" role Gabo is sweet on our "Bashful" role Bazeema, but no time to develop their relationship or give it any kind of conclusion; the others saying "Sneezy" role Safi apparently loves the castle chickens with no sympathetic explanation why, to the point that he gets super excited about a chicken growing to a giant size for no real reason; "Doc" role Dahlia having a crush on Magnifico that is then dropped immediately after Asha turns against him; oldest kid and "Sleepy" role Simon feeling incomplete without the dream he gave Magnifico and "betraying" Asha as a result in an attempt to get it back, only to get stabbed in the back by Magnifico, and then have no time for a proper redemption after he's unhypnotized; Asha's grandfather turning on a dime about whether or not he wants to know what his wish was if Magnifico thought it was dangerous; Magnifico getting some justification in his backstory for his bad behavior, but Amaya's backstory being a complete black hole before she married Magnifico when you'd think it'd explain all the more why she stuck with him so long; and Asha's mum having her wish crushed to dust by Magnifico and then given back without us EVER LEARNING WHAT IT EVEN WAS IN THE FIRST PLACE, even after we see just about everyone else's wishes as soon as somebody picks it up and Asha's mum's wish gets picked up multiple times!! Come on, if you're going to set up NOT showing it, you may as well have a pay-off for it!! At least give us some moment where Asha's mum hugs her in relief and acknowledges that her daughter was her wish! That would've been a nice "aww" moment for everyone!

+Okay, I said I was going to talk about my problem with the songs, so here goes. As I said before, I listened to the soundtrack before watching the movie, and even when I did, I could immediately sense a problem: these songs did not tell me much of anything about the movie, just on their own. Welcome to Rosas, which is pretty much just an exposition dump about the kingdom and how Magnifico founded it, didn't really paint a picture of our setting or characters much at all, the way opening songs like Belle or The Family Madrigal do. This Wish, although pretty, was something I could hear just as easily on the radio -- it didn't feel as tied or necessary to understanding our heroine the way something like Part of That World does. I'm a Star, quite frankly, felt like a lot of inspirational word salad, rather than anything particularly memorable or revelatory -- why else wouldn't it even be worthy of a musical salute in the reprise, where Asha remembers that she and everyone else are stars during the climax? Even after reading summaries of the plot and spoilers from the storybook for this film, I could not figure out for the life of me how At All Costs would fit organically into such a story, being sung by our villain and hero. It wasn't until I saw the film that I saw how the filmmakers decided to fit it in and honestly...the song didn't help tell that particular scene at all. It's a really pretty song and I like it a lot -- but it lacked any of the irony or contrast that kind of a scene that introduces the difference in focus between our hero and villain required. If the scene itself is needed to understand what's supposed to be going on while the song is playing, then the song is not effectively telling the story and is therefore unnecessary. There wasn't even a particularly Spanish or Mediterranean flair to the soundtrack to help set the stage, aside from the occasional flourish of castanets -- instead it sounded very contemporary, which I guess is appropriate, since it was largely written by pop composers rather than any musical theater talent.

+There were also points where the songs felt the urge to shove in a bunch of extra words just because, rather than have the words flow well and really mean something. I'm a Star is most guilty of this, of course, but even in This is the Thanks I Get?, we hear Magnifico gripe that "I let you live here for free and I don't even charge you rent" -- mate, THAT MEANS THE SAME THING! If you live somewhere for free, then you are NOT paying rent!

+Knowing What I Know Now is a bop and I like it (aside from Amaya's stupidity), but I'm sorry, all I can think when I hear it is "This is clearly trying to be Ready as I'll Ever Be from Tangled the Animated Series, but that song blows this out of the water." However fun the song can be, it would've been so much stronger if it actually addressed the contrast between the characters and revved us up for a big final battle, instead of it just being our eight underdeveloped characters psyching each other up.

+The idea of everyone being stars was a lovely idea, but the execution of Asha remembering this fact and using it to defeat Magnifico was terribly handled. First off, there was no revelatory phrase or action that prompted Asha to remember this fact, so her suddenly saying that "they're all stars" came out of nowhere. Second, even putting aside that there'd be no way any of her friends could hear Asha from all the way up on the tower if they're stuck in the courtyard below, there's no reason I can see for Asha's friends or family to know what the hell she was even TALKING about. They weren't there when the I'm a Star number happened! And the way that number made it seem, just based on the visuals, it looked like the "star" power came from a person's dream, since it's the same glow that returns to Asha's grandfather when he gets his dream back, but most of the town's dreams have been already yanked out by Magnifico at this point! I think the idea is that since everyone is a star, even with that big piece of them and the power accompanying it taken out, they still have enough stardust inside of them to be powerful enough to chase their heart's desires...but yeah, I'm sorry, for all the word salad I'm a Star threw around, this world-building aspect was really not made clear, and because of that and the lack of a proper callback to this plot turn, the climax didn't hit as strong as it should've.

Overall, this film felt a lot like a batch of unbaked chocolate chip cookies that someone decided to throw a bunch of brightly colored sprinkles on top of, just because they could. A lot of ideas just don't feel like they were fully developed, and there was a lot tossed in that didn't contribute to the overall taste or bring the disparate elements together in a cohesive whole, instead feeling more like a distraction than anything of actual substance. That doesn't mean I couldn't eat it -- I like eating cookie dough as much as the next person -- but that doesn't mean it felt like a complete, finished product worthy of great praise. Instead I'm left looking at the wasted potential and wishing the movie had carved out its own path more, one distinctive to itself, rather than just be a mashup of previous Disney concepts and tropes. I won't act like there's nothing to like here, nor that it's completely lacking in heart: I actually would love to see fandom for this movie re-imagine it in ways that could've improved the story and characters, because there were SO many good ideas here...but for me personally, this movie left me colder than it should've and -- like Asha after meeting Magnifico -- a bit disappointed.

So I make this wish...to have Disney make a film better than this.

Overall Grade: C-

[hardcore-gaming-101]

Metroid Prime

The entirety of the Metroid series is covered in HG101 Digest 7: Metroid and Kid Icarus, please check it out!

Despite the widespread acclaim of Super Metroid, the series took a leave of absence during the Nintendo 64 era. Perhaps to make up for this, Nintendo planned for two brand new games to be released in late 2002, with a 3D one for the GameCube called Metroid Prime, developed by the Texas-based Retro Studios; and a 2D title for the Game Boy Advance called Metroid Fusion, developed in Japan. There was quite a bit of doubt over the 3D entry – Retro Studios had some staff from Iguana Entertainment, who had previously developed two of the Turok games for the Nintendo 64, but hadn’t released any games at all in their then-current incarnation. As first-person shooters like Halo were extremely popular at the time, there was also plenty of concern that the series would abandon its exploratory roots in favor of action. In the end, all fears were immediately allayed upon release where, curiously, the 3D Prime ended up being more faithful to the series’ roots than the 2D Fusion.

Read more...

[penny-the-pissed-poltergeist]

When I think about its to see how drastically RWBY changed from beloved indie series to a show that mischaraterized every character and handling by a TERF studio

Cinder went from mysterious femme fatal with mysterious goal to whining villain who got her ass kicked and roasted by almost everyone with a 2d deminsional of goal with no explanation added with a tragic backstory to fit her Cinderella story.

Blake went from Fanus activist and how she saw society treats fanus and wants to find a way to have peace between humans and fanus to "I solve racism in the most unrealistic way possible and because I solve the problem yo racism I can now be happy with my girlfriend"

Raven went from mysterious woman who has shown to care for her daughter to "semi mean woman who hates everyone and now hates her daughter because she didn't join our clan (that is never explained)"

Jaune went from weak bullied underdog that everyone was rooting for to the most annoying main character syndrome

Penny went from shy cyborg girl who was adapting her life as a student and experiencing new things to I got revived twice and got these new superpower that I only had for a short time then died for real this time.

I wouldn't call RT a TERF studio, that would imply they were any kind of feminists.

I agree with you about almost every character but Jaune's always been annoying IMO

[animehouse-moe]

Western Influence on Anime - A Short Closer Look At Lazarus and Ninja Kamui

I wanted to break down something that irks me, not in a way that sends me into a spiral, but one that bemoans Corporate America and their desire to beat things to death. I think Adult Swim is cool, I grew up on some of their series like Robot Chicken (which I definitely shouldn't have been watching when I did). I like a lot of what they put down. I'm just not a fan of all these American IPs and studios/networks getting JP studios to produce an "anime" based on their works. It's not an anime, and I really want to break down why that title is ill fitted to these works (based largely upon Lazarus and Ninja Kamui).

So we'll begin at the root. Both Mappa and E&H Production have been contracted by Adult Swim to produce series for them. Both of them are also working alongside Sola Entertainment, a 3D-based studio that's stayed close to Adult Swim in recent years (even has a US-based office). I think this is the biggest giveaway/red flag as to the departure from a typical anime style, personally. Sola Entertainment isn't just another studio on the series though, they're listed as a producer for it. When looking information up for these projects, neither MAPPA or E&H are listed as producers as well, just the animation studios. If it wasn't clear, this gives Sola the lead/initiative on how to approach both series, and the results speak for themselves.

With Lazarus, what you see is what you get: a 3D-first series. Is it expected? Sort of, they've got the action choreographer for John Wick on tap for the work. Do I think it meshes well? Arguably not, no. It finds an uncanny valley in a lot of the camera movement as it gets overly excited, and not only that, but the choreography lacks the weight usually ascribed to anime action. It floats and flutters rather than jumps and punches.

Could some of that struggle be the cause of the 3D environments? Quite possible yes, but it doesn't account for the struggle in its entirety. It's a very odd middle ground, and immediately you can see some of the shortcomings in terms of composition alone. The characters do a decent enough job of meshing (most of the time), but the difference between environment CGI and object CGI are pretty clear cut.

Fundamentally, I think what this comes to is a lack of understanding of 3D anime between Sola's inclusion and Mappa's experience. Studio Orange pulled Trigun Stampede out from their sleeve this year, and the camera work is on a totally different level. Of course, they had the advent of being a fully 3D affair. Because of that, you might say that Lazarus wants to be a fully 3D series like Blade Runner: Black Lotus (which Sola animated), but is stuck in uncanny valley with its 2D work. But well, I'm sure not many have watched Black Lotus, and I can't say I really recommend it. If you do though, you'll immediately understand the struggles that appear with Lazarus.

Anyways, onto Ninja Kamui, Sunghoo Park's seemingly first series post-Mappa. I'm rather sad about this one, honestly. Park's sensibilities are felt incredibly strong in the trailer, but even still are somewhat masked by the American interference in style.

I'm very comfortable in saying though that Ninja Kamui appears miles better and more confident in its approach and style than Lazarus does. Just take a look at the weight and movement of this action. Even under Sola Entertainment, Sunghoo Park's impeccable eye for action is unmistakable.

Obviously it's not all sunshine and rainbows as things like the camera are still a little trigger happy on shakes and movements compared to the usual. It's such a curious thing that the West prioritizes shock and awe in comparison to the East's more grounded and focused approach. Regardless, it's a very easy tell for the difference between the two.

Anyways, here's Sunghoo Park stating that the action is different because of a live-action influence. Clearly, since the words are coming from him, so we can't explicitly ascribe this to Sola or Adult Swim/Warner Bros, but I think most would be comfortable in making that assumption.

Truthfully, I think this is the crown jewel of reasoning for why Western-produced anime fail.

They try to make a Western anime

It's like trying to make a Japanese Western movie, or a Western Samurai movie (we all know how well these go over). They're entirely incompatible things. The sensibilities, the styles, the history, they are totally incongruent to one another. You're mixing oil and water with the two, and it produces weird things that occupy neither side of the equation, like the new Superman series (which is admittedly better since it's a shallow mimicry at best).

If you want to make an anime based on a Western IP or product, look no further than Cybeprunk: Edgerunners. CD Projekt supplied the story, and allowed Trigger to do all the heavy lifting. It remains a Trigger anime, it remains a proper anime. Series like Lazarus and Ninja Kamui dig up too much of their roots in the name of American greed and control.

Need I say more than Yasuke? The Mappa-animated, Western-created anime that people were hyping up for ages? The series that is in the top 3 worst scored anime series from MAPPA? I love Shinichiro Watanabe and Sunghoo Park, and I'm still going to be 1000% watching these series. But I already know what I'll be getting out of them, and at best, it isn't going to be an anime.

[blubushie]

the animation talk!! i love stop motion i know so much about laika studios and all their movies AND CARTOON SALOON cartoon saloon is 2d animation theyre a studio based in ireland they make gorgeous fucking movies a lot of them rooted in folklore like wolfwalkers and the secret of kells and the song of the sea

Song of the Sea was incredible but my favourite was Wolfwalkers. I mentioned it on a previous post 😅

[game-boy-pocket]

Details about the Donkey Kong expansion for Super Nintendo World have finally been shown off, and as I expected, there are sadly no nods to the Kremlings or anything that wasn't present in the contemporary Retro Studios Donkey Kong games.

It's hard to be a fan of DK right now especially if you're from the old guard that loved Rare era DK and hate to see their contributions to DK stripped away, it's cool that Diddy, Dixie, Cranky, Funky Squawks and Funky are still around. But their absence never should have been felt to begin with, and there is still so much missing from Rare era DK, the Kremlings are the biggest ones but it's not just them, it's the animal buddies, it's a bunch of supporting characters, and it's a writing style.

But call this massive copium, but I found Super Nintendo World to mostly just be a bunch of lip service to New Super Mario Bros and Super Mario 3D World, AKA the most basic ass white bread unexciting sanitized standardized version of Mario we had been eating for years. There were none of Mario's lesser known cast, no acknowledgements to any specific games, just general Super Mario and Mario Kart merchandise... little did I know, Nintendo Nintendo was currently cooking a Mario reneissance with the movie, the best most creative 2D Mario in decades, and remakes of two of the best damn RPGs that preserve a style that would be unthinkable now, and a new Princess Peach game that has a fresh new concept.

So I don't find the lack of pre-Retro Studios characters that disheartening for the future of DK games. If anything the presence of the Donkey Kong Country branding does ease one fear of mine that they were trying to Mario-fy DK, what with those rumors that they wanted Donkey Kong to return to his roots and ditch the "country" series entirely. But it does give me hope that an actual legit new Donkey Kong game could still be in the works with new and familiar faces, and fresh ideas. I mean obviously a game ( Besides Mario vs Donkey Kong ) is in the works, they would not be putting DK in the movie as much as they did, and building theme park expansions centered around DK, and returning the DK line of Jakks Pacific toys only to just do nothing with Donkey Kong.

[eigengrauone]

PLEASE TELL ME WHAT THE OAST WITHIN IS. ABOUT AND ALSO YOUR THOUGHTS ON IT 👀👀👀👀👀👀👀👀👀👀👀👀👀👀👀👀

———

OK IM READY HERES A VERY VERY LONG POST (I have warned you)

So The Past Within is part of a puzzle game series called Rusty Lake by a studio of the same name. There’s 15 games (and a short film!) that precede it and one coming out in September. That SOUNDS like a daunting amount of games but at least the first 9 were released as flash games (and rereleased as a collection) and they’re all relatively short. Most of those games are in the style of the 2D sections of The Past Within or something similar, whereas the 3D was unique to TPW. There’s a variety of different characters, families, and time periods these games take place. I won’t go into too much detail about the other games in this rant so you can either experience them yourself or I’ll explain in another post or whatever! But be warned that those games are a lot darker than TPW and def have more blood, violence, etc.

ALSO if you’re interested in playing but you’re worried about the cost of 15 whole games, you can buy them all for like $20!!! They’re available on steam as well as mobile and some of them are just straight up free. If you want to test the waters, I would recommend getting the Cube Escape Collection on mobile since they’re free and are the first 9 games. If you don’t want to play them that’s cool too I don’t mind ranting :) BEFORE THE HUGE RANT!!! past this point I’m going to talk abt this game like you’ve seen the sss stream so if you haven’t, stop reading here and I’ll write a non-spoilery rant and review!!! I really really don’t want to ruin the experience if you didn’t watch the whole stream!!!!!

ANYWAYS The Past Within is pretty straightforward. You play as Rose Vanderboom who has received a letter that her father, Albert, has died and you must resurrect him with help from a person from the future. You do this by using a black cube and a golden cube. These cubes are featured in most of the other games. They represent memories and have been shown to manipulate time in some cases. It is revealed that before he died, Albert built a cubical device that utilizes the time abilities of the cubes, and transports the three required “ingredients” to be transported from 1926 to 1984. Another staple of the series are corrupted souls. When Albert became “corrupted” (after Julia put the coins on his eyes and when he was in the tube for Jacob) he was a corrupted soul. These are also featured many times throughout the series and are crucial to many parts of the lore. Some of the puzzles on this device allude to the previous games, such as the use of chess, the masks Albert wears, and the voodoo doll. There’s also appearances of other characters in these games, such as Ida, Albert’s sister, and the suited parrot Jacob sees in the mirror (fun fact: a comment on the vod of the stream said the parrot was actually a super important lore character and it sparked a lot of questions of why he appeared in TPW, which is what really prompted me to look into these games!). A majority of these references are to Rusty Lake: Roots, the game where Albert and Rose originate from. If you have any questions about Albert, Rose, and the rest of the Vanderboom family, Roots is the game for that, but I would not start there as there’s a specific order the games are recommended to be played! Though it is a co-op game, both players are Rose, one in the past and one in the future. (it bothers me SO MUCH that Jacob does not say this until THE END OF GAME despite it literally being written on a piece of paper he just. didn’t acknowledge.) I realize this is not an extremely in depth answer but I can explain more if needed.

Overall, I really enjoyed the game. I really loved the aesthetic and style of it and I thought the co-op puzzle were pretty fun. I know a lot of other people didn’t like the co-op aspect and I think some say the puzzles were too easy, and it makes sense why people would feel this way, but I personally didn’t mind. I think there was also a big complaint that the game didn’t expand much upon the lore and had too many questions rather than answers, and I do agree with that. Looking back on it after having played all the games I can see how annoying it is to have all these new questions that ignore several unanswered ones. Like whatever the ending was. I still don’t understand the ending. However, it is a GREAT game to hook in new players and I’m actually really glad this is the first game I ever saw of the series. TPW has such an intriguing atmosphere and teases at all the lore behind the characters that it draws people in, or at least people like me. I get a bit worried people won’t like the other games bc there somewhat different than TPW, like people might expect them all to be co-op, or just that the other games are a lot…..weirder (it’s weird in a way I really love tho). But it’s a really interesting starting point for those of us who didn’t know abt the series in its flash days. For the characters I really love Rose, she’s everything to me. She doesn’t have a lot of dialogue in the one or two games she appears in, but I love her. On the other hand, I have a lot of complex feelings on Albert in a way I can only describe as “I want to study him like a bug and then smash him with hammers.” I don’t like him, I don’t hate him, but rather a secret third thing. But keep in mind everything I say here is just my opinion and I’ve only known about this series for like. one or two months.

Ok this is the longest post I’ve ever made ever and is probably so incoherent but I’ll stop there. Thank you so much for asking bc as you can see I’m so totally sane abt this……and this was me holding myself back (and not knowing what to say.) If you have any other questions you can add them or send a new ask or whatever bc I will most certainly rant again. Um also if any of my other mutuals see this no you didn’t don’t worry about it

[gemstone-gynoid]

i just got into danganronpa and now suddenly its all over my dash and maybe youve been posting it for a long time and i never paid attention but its a fun coincidence so ty keep it up

ive basically been constantly posting about danganronpa since october. blame @drcuriousvii

its got its rotted roots deep in my brain now. i want to say its a rather unique series. unapologetic infatuation with the raw concepts of hope and despair, 2d in a 3d environment characters that i think ive only seen elsewhere in smile for me (but that certainly must be a trope of other games). intensive argumentative trials unlike the procedural phoenix wright.

im not sure if another game is soon, if youve played all the games yet. but the studio behind danganronpa is coming out with a new game soon called Raincode about an amnesiac detective with a cast of characters with strange abilities so im expecting to see a similar vibe there

[mi5016samringwood]

scavengers reign

as I've been focusing on 3D animation in this project I'm beginning to miss my 2D roots. to compensate this I've been watching some hand drawn animated shows, and one in particular stands out to me. the show is named scavengers reign. the show is exactly the kind of thing i want to see more of. it is a speculative biology fever dream with interesting characters and beautiful animation. the show follows a scattering of survivors trying to make it back to their crash-landed ship. these people are on an unknown planet and have to adjust to their new world. i want to look into how a show as weird as this managed to get made. as by all accounts new and strange ideas are rarely able to get the time or funding that this show clearly has.

scavengers reign. (2023). [tv show] USA: HBO MAX.

when looking into the show the first thing i found out was that there was a short that the show is based on called scavengers, as i hadn't seen it i immediately watched it. and it can bee seen below. this short was commissioned to air on adult swim.

‌

for more information about the short i looked at the IMDB, as seen below.

Bennett, J. and Huettner, C. (2016). Scavengers. [online] IMDb. Available at: https://www.imdb.com/title/tt6461568/?ref_=nm_knf_t_3 [Accessed 7 Aug. 2024].

Anon, (n.d.). Titmouse – We Make Cartoons. [online] Available at: https://titmouse.net/.

titmouse and green street pictures are the two studios that produced the show and out of curiosity i had a look at their job board.

‌

[creativegarage2012]

The Rise of 2D Animation Companies in India

In recent years, India has emerged as a global hub for animation, particularly in the realm of 2D animation. This burgeoning industry is fueled by a unique combination of creative talent, technological advancements, and a cost-effective workforce. As the demand for quality animated content continues to grow worldwide, Indian 2D animation companies are making significant strides, capturing the attention of international markets and clients.

Historical Context and Evolution

The roots of Indian animation can be traced back to the early 20th century, but it wasn't until the late 1990s and early 2000s that the industry began to gain serious momentum. The advent of digital technology and the Internet opened new avenues for animators, allowing them to create and share their work on a global scale. The establishment of specialized training institutions and animation programs further bolstered this growth, producing a new generation of skilled animators equipped to meet the industry's demands.

Key Players in the Industry

Several 2D animation studios in India have gained prominence, each contributing uniquely to the industry.

Toonz Animation India: Based in Trivandrum, Kerala, Toonz Animation is one of the oldest and most respected animation studios in India. Established in 1999, it has produced a wide array of content for global audiences, including television series, feature films, and commercials.

Green Gold Animation: Known for creating the beloved children’s show "Chhota Bheem," Green Gold Animation has become a household name in India. The Hyderabad-based studio has expanded its portfolio to include various other successful shows and merchandise, reinforcing its position as a leader in the industry.

DQ Entertainment: This Hyderabad-based company has a vast portfolio that spans television series, feature films, and digital content. DQ Entertainment collaborates with major international studios, providing services ranging from pre-production to post-production.

Tata Elxsi: As part of the Tata Group, Tata Elxsi combines technical expertise with creative flair. While it is known for its engineering and product design services, its animation division has been instrumental in producing high-quality 2D content for various media.

Factors Driving Growth

Several factors contribute to the rapid growth of the 2D animation industry in India:

Skilled Workforce: India boasts a large pool of talented artists and animators, many of whom have received training from reputed institutions. The availability of skilled professionals at competitive rates makes India an attractive destination for outsourcing animation projects.

Technological Advancements: The adoption of cutting-edge technology and software has enabled Indian studios to produce high-quality animation efficiently. Tools like Toon Boom Harmony, Adobe Animate, and TVPaint Animation are commonly used in the industry.

Government Support: The Indian government has recognized the potential of the animation sector and has introduced various incentives and policies to support its growth. Initiatives such as the Animation, Visual Effects, Gaming, and Comics (AVGC) policy aim to create a conducive environment for the industry to flourish.

Global Demand: The increasing demand for animated content from streaming platforms, television networks, and the film industry has created ample opportunities for Indian studios. The ability to deliver quality content within tight deadlines and budgets has positioned Indian animation companies as preferred partners for international projects.

Future Prospects

The future looks promising for 2D animation companies in India. With continuous improvements in technology and increasing recognition on the global stage, Indian studios are poised to play an even more significant role in the global animation industry. As the industry continues to evolve, the focus will likely shift towards creating original content that resonates with audiences worldwide, further establishing India as a powerhouse in the world of animation.

In conclusion, the rise of 2D animation companies in India is a testament to the country’s creative talent, technological prowess, and strategic positioning in the global market. With the right mix of innovation, support, and opportunity, the Indian animation industry is set to reach new heights in the coming years.

[lotusanimation]

Exploring the Fusion of Creativity and Technology: Lotus Animation, a Leading 2D and 3D Animation Company in Bhubaneswar

In the lively city of Bhubaneswar, the animation landscape flourishes, fueled by pioneers like Lotus Animation. As a premier 2D and 3D animation company in Bhubaneswar specializing in both 2D and 3D animation, Lotus Animation stands out for its commitment to pushing creative boundaries and harnessing technology to deliver remarkable content to clients globally.

A Nexus of Creativity and Ingenuity

Lotus Animation has etched its mark in the animation domain by seamlessly blending traditional artistry with modern technology, resulting in visually stunning content. The studio excels in crafting captivating narratives across diverse platforms such as film, television, and digital media. Here's what distinguishes Lotus Animation:

1. Traditional and Digital Fusion: Lotus Animation seamlessly merges the allure of hand-drawn 2D animation with the immersive qualities of 3D animation, producing visually striking content that stands out in the industry.

2. Talented Team: The studio boasts a team of seasoned animators, designers, and storytellers who infuse their diverse expertise and creative flair into each project. Their unwavering dedication and passion enable them to deliver animations that are both technically proficient and artistically compelling.

3. Innovative Storytelling: Lotus Animation places a strong emphasis on crafting engaging narratives that resonate with audiences of all ages. Their stories often feature memorable characters and thought-provoking themes, elevating their animations beyond mere visual appeal.

4. State-of-the-Art Technology: While rooted in traditional animation techniques, Lotus Animation embraces the latest technological advancements to push the boundaries of animation. This approach enables them to create lifelike visuals and realistic effects that captivate viewers.

5. Collaborative Spirit: Lotus Animation values collaboration and works closely with clients to bring their visions to life. This client-centric approach ensures that each project aligns with the desired artistic and narrative objectives.

6. Attention to Detail: From concept art to final rendering, Lotus Animation pays meticulous attention to every aspect of the animation process, resulting in polished and impactful animations.

7. Diverse Portfolio: Lotus Animation's portfolio encompasses a wide array of projects, including short films, series, commercials, and interactive media. This diversity underscores their adaptability and proficiency in handling various styles and formats.

Services Catering to Varied Needs Lotus Animation offers a comprehensive suite of services tailored to meet diverse needs within the animation industry:

1. 2D Animation: Lotus Animation specializes in crafting visually stunning 2D animations that capture the essence of traditional hand-drawn art while leveraging modern techniques. Their 2D work spans from explainer videos to character animations, captivating audiences with its charm and effectiveness.

2. 3D Animation: Leveraging advanced 3D modeling and rendering techniques, Lotus Animation creates high-quality 3D animations that breathe life into characters and environments. Their expertise in 3D animation extends to architectural visualizations, product demonstrations, and immersive storytelling.

3. Visual Effects: Lotus Animation’'s visual effects services enhance films, commercials, and other media projects with seamless and spectacular effects, transforming ordinary scenes into extraordinary visual spectacles.

4. Storyboarding and Pre-production: The studio provides essential pre-production services such as storyboarding and concept art to help clients visualize their projects and plan effectively.

5. Post-production and Editing: Lotus Animation offers comprehensive post-production and editing services to refine and polish projects, ensuring a flawless final product.

Quality and Collaboration at the Core

Lotus Animation attributes its success in the animation industry to its unwavering commitment to quality and its collaborative approach with clients. The studio endeavors to understand each client's unique vision and goals, offering personalized solutions that align with their objectives. Here's how **Lotus Animation** approaches collaboration and quality to achieve exceptional results:

1. Client-Centric Collaboration: Lotus Animation engages in close communication with clients throughout the project lifecycle, actively listening to their ideas, goals, and expectations. Expert insights and feedback are provided to shape the final product collaboratively.

2. Customized Solutions: The studio tailors its animation solutions to meet the specific needs and goals of each client, ensuring that every project is unique and aligns with the client's brand and messaging.

3. Transparent Communication: Lotus Animation prioritizes open and transparent communication with clients, providing regular updates, feedback sessions, and collaborative reviews to keep projects on track and aligned with the client's vision.

4. Meticulous Attention to Detail: The studio is renowned for its meticulous attention to detail in every phase of the animation process, resulting in polished and impactful animations.

5. Flexibility and Adaptability: Lotus Animation is flexible and adaptable, capable of working on a wide range of projects across different genres and formats. The team is receptive to new ideas and willing to adjust their approach based on client feedback.

6. Expert Guidance: The studio's team of experienced professionals offers expert guidance to clients, assisting them in making informed decisions throughout the creative process, ensuring that the final product not only meets but exceeds the client's expectations.

7. Timely Delivery: Lotus Animation is committed to delivering projects on time without compromising quality, fostering trust with clients, and nurturing long-term relationships.

8. Client Satisfaction: Ultimately, the studio's objective is to achieve client satisfaction by delivering exceptional results. Lotus Animation goes the extra mile to ensure that clients are delighted with the final product, often leading to repeat business and positive referrals.

By prioritizing collaboration, quality, and client satisfaction, Lotus Animation has earned a reputation as a trusted partner for clients seeking top-tier animation services.

The Lotus Animation Distinction

What sets Lotus Animation apart is its unwavering focus on storytelling and its ability to evoke emotions through animation. The studio's artists possess a deep understanding of narrative structure and visual aesthetics, enabling them to create animations that resonate profoundly with audiences.

Lotus Animation's influence extends beyond Bhubaneswar, reaching audiences worldwide with its work. From educational content to entertainment, the studio's animations captivate people of all ages and backgrounds.

Looking Ahead: The Future of Animation

Lotus Animation stands as a pioneering force in the dynamic landscape of the animation industry, where evolution is the key to enduring relevance. With an unwavering dedication to staying ahead of the curve, the studio consistently embraces cutting-edge tools and technologies, ensuring that its offerings are nothing short of revolutionary.

At the heart of Lotus Animation's ethos lies an insatiable thirst for creativity and a relentless pursuit of excellence. This commitment fuels the studio's relentless drive to push boundaries and challenge norms, setting new benchmarks for innovation and craftsmanship in animation.

By seamlessly blending technical prowess with boundless imagination, Lotus Animation crafts immersive experiences that captivate audiences and transcend the confines of traditional storytelling. Every project undertaken by the studio is imbued with a distinct flair for innovation, pushing the envelope of what animation can achieve and redefining the very essence of visual storytelling.

Through its visionary approach and unwavering dedication to quality, Lotus Animation stands poised not just to shape the future of the animation industry, but to redefine it altogether. With each endeavor, the studio reaffirms its status as a trailblazer, continuously setting new standards of excellence and inspiring generations of storytellers to come.

In Conclusion

Lotus Animation is not just an animation studio in Bhubaneswar—it's a beacon of creativity, technology, and collaboration. With a dedicated team and a commitment to delivering outstanding work, Lotus Animation helps clients bring their visions to life through the magic of animation. Whether it's 2D or 3D animation, visual effects, or comprehensive pre- and post-production services, Lotus Animation is the partner you can rely on to deliver exceptional results.

[weinvert]

Unveiling Mumbai's Cultural Richness: A Journey with Weinvert's Documentary Filmmaking

In the heart of the 2d animation company in Mumbai lies a tapestry of cultures, a vibrant mosaic woven together by its people, traditions, and history. As a bustling metropolis, Mumbai pulsates with life, offering a kaleidoscope of experiences waiting to be explored and captured. At Weinvert, we embark on a cinematic journey to delve deep into Mumbai's cultural tapestry through the lens of documentary filmmaking.

Mumbai, often referred to as the 'City of Dreams,' is a melting pot of cultures, languages, and traditions. From the bustling markets of Crawford Market to the serene shores of Marine Drive, every corner of this city has a story to tell. Through our lens, we aim to uncover these hidden narratives, shedding light on the rich cultural heritage that defines Mumbai.

Our documentary filmmaking approach at Weinvert is rooted in authenticity and storytelling. We believe in capturing the essence of Mumbai's diverse communities, from the centuries-old fishing villages of Worli to the bustling streets of Dharavi. Through careful research and immersive storytelling techniques, we bring these narratives to life on screen, offering viewers a glimpse into the soul of Mumbai.

One of the most powerful tools in our documentary filmmaking arsenal is 2D animation. As one of the leading 2D animation studios in Mumbai, Weinvert harnesses the creative potential of animation to enhance storytelling and evoke emotion. From illustrating historical events to breathing life into cultural symbols, 2D animation adds depth and visual appeal to our documentaries.

At Weinvert, we understand the importance of preserving cultural heritage through film. Our documentaries serve as a time capsule, capturing moments in history and preserving them for future generations. Whether it's documenting traditional festivals like Ganesh Chaturthi or exploring the vanishing art forms of Mumbai's artisans, we strive to create films that celebrate and honour Mumbai's cultural legacy.

In a city as dynamic as Mumbai, change is constant. Through our documentary filmmaking, we aim to document not just the present, but also the evolving cultural landscape of Mumbai. From the rise of street art in Bandra to the fusion of traditional and contemporary music in Colaba, we shine a spotlight on the cultural movements shaping the city's identity.

As a premier 2D animation company in Mumbai, Weinvert brings a unique blend of creativity and technical expertise to every project. Our team of talented animators works tirelessly to craft visually stunning animations that complement our documentary narratives. Whether it's a whimsical illustration or a dynamic infographic, 2D animation adds an extra layer of engagement to our films.

In conclusion, Weinvert's documentary filmmaking offers a window into Mumbai's rich cultural tapestry. Through authentic storytelling and captivating visuals, we strive to preserve and celebrate the diverse heritage of this vibrant city. With our expertise in 2D animation in Mumbai and our passion for storytelling, Weinvert continues to push the boundaries of documentary filmmaking in Mumbai and beyond. Join us on this journey as we explore the soul of Mumbai, one frame at a time.

[digitoonz]

Best 2D Animation Studio: Pioneering Excellence with Digitoonz

In the heart of our journey lies the commitment to excellence, a commitment echoed in every frame of animation crafted at Digitoonz. As the Best 2D animation studio, we stand as a testament to our dedication to quality and innovation. With a legacy dating back to 2009, when our CEO and Founder, Vikas, alongside Co-Founder Nadim and a team of six, laid the cornerstone of our studio, we embarked on a journey fueled by passion and vision. From humble beginnings in a modest flat to becoming a renowned name in the industry, we have consistently delivered outstanding animation, setting benchmarks and redefining standards. Our ethos revolves around forging enduring partnerships and undertaking projects that exemplify our commitment to excellence. This ethos, rooted in our inception, continues to propel us forward, shaping the narrative of animation for the next decade and beyond.