Thread 150891275

This seems like a butthurt thread for OP to vent in

Over-acting -> Exists
Animation = Acting
Therefore, over-animating -> exists

But this whole debate really just kinda shows how poisoned animation as a medium is. Like there's a whole subset of people who genuinely think that comic melodrama is a one-size-fits-all and idealized version of acting.

>>150891275 (OP)
As a cartoonist and animation enthusiast myself I kek everytime I see tards like these. I don’t they realize they already got what they want, all modern cartoons look like cheap garbage, how can you be tired of "overanimation" when like 95% of modern cartoons look incredibly stiff and lifeless? How can animation that "overtakes the plot" mostly be the case these days when most modern cartoons barely put effort into their visuals?

puppets arn't cartoons

>>150891303
Except in animation cartoons usually embrace the fact that you can do what you can’t do in live action, exaggeration is one of animations twelve principles, and that’s how it differs from acting, retard.

Cartoons have been "overanimating" before your father was even born, look at any Bob Clampett-directed Looney Tunes shorts, they’re full of wild takes, high energy slapstick, exaggerated animation of even the most mundane movements, cause they’re embracing the fact that they’re cartoons. I’m not saying all cartoons should be wacky but to say we can’t stylize the motions is bullshit.

>>150891303
over-acting can work, any Jim Carrey film for example, it always depends of the kind of media. I’d expect more over-the-top animation and slapstick in something like Ren & Stimpy or Looney Tunes cause it fits their comedic tones, I wouldn’t expect said stuff in something like Batman TAS, that’d be a real example of overanimation cause of how jarringly unfitting it’d be.

>>150891348
Over-acting and exaggeration exists in countless stage and dance traditions prior to the invention of animation. Disney purposely used ballet, opera, expressionism, and romanticism when they created Fantasia, Snow White, and Bambi, but most animation fans don't really seem to realize that.

>>150891348
But you're talking like audio and scenario context don't matter in cartoons despite the fact all of these are part of the medium. Yes, Bob Clampett makes it work for what he is trying to achieve, but similarly someone like Chuck Jones has a fuckload of cuts where the characters moving slowly and their faces being stiffer helps characterize them and deliver the joke he is aiming for.

I'm not the anon you replied to so I don't know if I'm understanding him right, but the vibe I got out of his post is that he is complaining about people who don't understand the value of both approaches and fail to understand why people feel like stuff like those newer Spongebob episodes have cuts that are trying too hard.

>>150891468
I don’t mind modern SpongeBobs animation in itself, but my real problem with it is how the timing in the animation falls flat most of the time, compared to something like Ren & Stimpy where the characters exaggerated movements move more naturally.

This is why I like that new 3D SpongeBob short, it fixes the issue of NuBobs poor animation timing.

>>150891275 (OP)
https://desuarchive.org/co/

>>150891311
That's kind of the point, though. We rarely ever get the chance to see actual production quality put to the screen, so when it's overdone, it's a massive waste of talent and effort that would've been far more valuable spent elsewhere. Take the demon slayer movies, it's all insanely high quality animation for a story that's just barely interesting enough to keep you engaged, so the animation functions as a replacement to the story itself rather than a complementary element to enhance it and be enhanced by it.

A worst case scenario of this would be the Emoji movie, where the concept is so inherently bad that it hinders the animatiom, sabotaging any future prospects for it's execution being any good and more quality animation for things audiences actually want to see being promoted in the future. It's like the saying goes: "with great powers, comes great responsabilities".

The worst possible example of this right now is undoubtedly Genndy Tartakovsky's FIXED, a movie with just the two things many have been craving for ages (traditionally animated movies AND mature animation) but will never get to enjoy because it's tainted by a shitty concept that does more harm to the medium it's using than good. That movie is a big "FUCK YOU" to animation and deserves to be shunned for it alongside Genndy's credibility as an artist. It's the extremelly tragic nature of the situation that upsets animation enthusiasts more so than being drowned in a sea of slop by untalented recks and out-of-touch executives 24/7.

We live in an age where the powerful people at the top are doing their hardest to demoralize us and condition us to accept mediocrity, own nothing and be happy. 'Over-animation' is just a far more convoluted way to achieve that purpose, but equally as effective. Never ask questions cattle, keep on consuming product and getting excited for next product like a good G0YLEM.

>>150891981
Except these problems lean more towards "style over substance" being the problem rather than "overanimation" itself. The Day the Earth Blew Up isn’t the best attempt at replicating the energy of the theatrical Looney Tunes but it was a pretty fun movie with great animation, unfortunately executives screwed it over by refusing to advertise it. I also wouldn’t say Fixed is corposlop by executives, it’s one of the few animated movies these days that was fully cartoonist driven with Genndy having full creative control, even if the concept isn’t for everyone I do find that fact alone pretty neat.

Though I can agree with you about the fact that executives are ruining animation. I’m not a fan about how common it is for wacky stuff these days like modern SpongeBob and a couple of wacky indie shorts to be style-over-substance when in reality style is just as important as substance, those Mickey shorts are both well-animated and funny. It fucking sucks how executives force animators to beanmouth most projects, not helping is the fact that the animation job market is also pretty fucked these days that people who have more Looney Tunes-esque artstyles can’t find jobs in anywhere that isn’t NuBob or films like Fixed.

>>150891981
>well crafted animation that took a fuckton of work to look good and fluid isn't worth anything if it isn't trying to convince the masses aboud the Joos and to lower the age of consent

please get a tripcode so I can filter you