“Wanna live up in the sky?”🦄🪽
"I wanna fly sky hiiiiigh!" "Let's gooo together!" Instantly had Sky High from Daytona USA in my mind after seeing this. https://youtu.be/q0phmMlyIcQ?is=L2ECr3qVMmHNDC2V

Product Placement

titsay

oozey mess

shark vs the universe
Not today Justin
Jules of Nature
Three Goblin Art
wallacepolsom

祝日 / Permanent Vacation
Sade Olutola

izzy's playlists!
occasionally subtle

tannertan36
Sweet Seals For You, Always

PR's Tumblrdome
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RMH

blake kathryn
Misplaced Lens Cap

Love Begins

seen from India

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@klonoa13
“Wanna live up in the sky?”🦄🪽
"I wanna fly sky hiiiiigh!" "Let's gooo together!" Instantly had Sky High from Daytona USA in my mind after seeing this. https://youtu.be/q0phmMlyIcQ?is=L2ECr3qVMmHNDC2V
As I'm sure many of you are already aware, Did You Know Gaming (who have been doing some really great investigative work lately) recently put out a video on canceled Sonic games. The whole thing's worth a watch, but I have to bring it up here specifically because they talk about the plans for Sonic Chronicles 2 with a LOT of new info directly from the lead designer.
The section on how the story of Sonic Chronicles 2 would have went starts at 9:45. It's very interesting! He outlines the whole plot, including the fact that they were going to end with ANOTHER obvious plot hook for a sequel in the hopes that they or some other studio could keep the Sonic Chronicles series going indefinitely. Sonic Team even claimed they were interested in using Chronicles characters like Shade in other games. It's crazy to imagine a timeline where this might have become a pillar of the franchise.
I refuse to mourn the loss of the sequel, though, because y'all saw me stream the original. It was miserable. And with the original game selling and reviewing decently well, they would have had little reason to go back to the drawing board and overhaul that game's bizarrely hateful design.
Of course, DYKG also had to talk about the reason why the game was canceled. I was dreading this because of how often people tend to get the basic facts of the Penders cases wrong or downplay the obvious Archie Knuckles inspiration in Chronicles. But no, they did their homework! And they got the details right in part because, well... they asked Penders for comment directly. And he sent them back a MASSIVE wall of text about the whole ordeal, including some fascinating details that I don't believe I've heard before!
You can go to 15:19 in the video and scrub through to read the many, MANY screencaps of their emails from Ken, but here are the most interesting and/or hilarious tidbits to me:
Yellow Plump Sponge Cake!
Interesting idea >:3c XDD
Potential keychain design, but mostly silly little thing
Hee hoo! I love these little dorks
my friend momo asked if pik and quat could give some encouragement to their brother for having a really hard summer. Hang in there Hunter!
Hi! Hamtaro: Little Hamsters Big Adventures - Ham-Ham Challenge ✰ 2008 ✰
Pac-noko
Nokka Nokka!
"ghost" for the last day of #peachtober. happy spooky halloween!
Nidorinawa
Except this version doesn’t die. *Cough* :ェ
Click on the artwork to be taken to the source page. You can read my original description for this in the Poke Island Series micro-gallery!
Spring and summer seem to be convention season. I need to do another one of these. Not so much redo this one, as character personalities may have changed *cough*Lisa*cough*, but have another interpretation.
I love how Nidorina and Nidorino are still the most attractive people there without trying. Needles is still adorable.
Click on the artwork to be taken to the source page. You can read my original description for this in the Others micro-gallery!
Spa under the moonlight
Okay this is super cute! Seeing Candy relaxing in a hot spa bath! ;w;
Do you think were any kind of specific aspects of the culture, industry, economy, etc that made making cartoons in 90s / 2000s better or worse than trying to make them today?
They're literally different worlds.
As a 22 year old neurodivergent, I was able to pitch show ideas directly to executives. Part of that was because TV Animation wasn't a glamorous profession (quite yet), so the higher-ups were genuinely passionate about the medium. I earned good money for the time and was generally trusted to run my show and tend to the crew. I would periodically be handed portfolios, which I would personally review and pass on to other show runners. For the networks it was always corporate, cutthroat, and ultimately about the money, but as an artist you could still have a voice and make art while being paid a living wage.
The pay for a freelance storyboard in 2005 is almost exactly what it is today, but now you're likely to have less time and be required to do an animatic on top of it. Portfolios are online, and (beyond metrics) you'll probably never know if anyone looks at it or not.
Animation got big. Too big. The executives got "glamorous", then the talent got "glamorous". By then you probably wouldn't get a pitch meeting unless you were a celebrity or knew one willing to be connected to your project. Animation eventually got so big that it popped. And that's where we are now.
Most of the people I know from Kid's TV Animation are currently unemployed. I have been off Jellystone for over a year, and I'm starting to get genuinely worried. Like, "move away to save money" worried. Most of the employed artists I do know are on long-running legacy series, and they're concerned about their futures when/if those series end. Right now is not a fantastic time for "animation as a money-making profession". The "glamorous" part popped years ago.
That being said, there are still opportunities out there. If you're just starting out, apparently there's a planned surge in adult and pre-school animation. It's also a great time (as long as YouTube remains sane) to be crafting your own content. But I think that the time of Big Studio Patronage is over for most of the industry. It's up to the individual artist now more than ever, not only to make but to promote their own content.
Back at the height of Billy & Mandy, we mostly pulled fours and fives in the Neilsen ratings, but we occasionally got a seven. For reference, E.R. consistently got eights. It's difficult to say exactly how many people that actually was due to how those ratings work, but it was a big deal for the time. Millions. Enough people that if I had a dollar for each person that just watched that one episode, I would have been set for life. Now, nobody gets a seven. A four is huge. Back then there were maybe fifteen or twenty channels of programmed content as opposed to the streaming smorgasbord we were all just enjoying (and which now also seems to have popped). Point being, even though I wasn't paid-per-view, I was able to use those views as justification for an eventual raise. In modern times, streaming numbers are seemingly deliberately kept secret. You'll never really know how well your show was doing until it's over. Or maybe never.
In modern times, a million views on YouTube is enough to get you noticed online. It's a lower bar for entry in a way, but you've got to get there all by yourself. Once you're there (hello Hazbin) a network may indeed come and scoop you up. Even if they don't, you can probably make a decent living with numbers like that if you're savvy and willing to take the time.
I feel like I could go on all day, shaking my fist at the sky, gray-ass beard blowing in the wind. Was it better or easier making cartoons in the past? It seemed that way to me, but that was a world I knew. There was no AI to sell you out to, and the media was more of a "Wild West" than it is today. I do think that AI is going to continue to displace artists (and soon others), making it even more difficult to get anyone's eyes on anything at all.
Culturally, we lack the common touchpoints that bonded our society in the 20th Century. I suspect that the media landscape will continue to become more "bubbly" and disjointed unless some powerful force swoops in to mandate a common viewpoint. Those are two very divergent, uniquely tiring futures, each presenting a different challenge for an artist's survival.
Outside of whatever our modern world is, animation was made for a century by photographing drawings. If Émile Cohl could do it in 1908, you can do it now. It's a lot of labor, but maybe that's part of what makes it special.
Switch Virtual Console was the original plan.
Probably not the final post in relation to the N64 emulator on Switch, but we did get a bunch of new information thanks to a new leak of iQue emails not too long ago. Somehow the gigaleak continued, it seems.
There's a ton of emails in relation to game localization of first party Switch games, but I won't talk about those, there's also tons of stuff in relation to Wii U VC and the Pokémon 3DS GB rereleases, instead I'm gonna focus about the early development of emulators on Switch.
happy 10 years to Undertale lol
Gen 9's been hard on Delibird.