really really enjoyed your article on hazbin hotel. have been hearing about it for years, but did my active best to learn literally nothing substantial–until your article. even all the incredible bigotry aside, it's shocking to me just how...messy the show seems to be? i've never, EVER heard of a show where you're expected to have fandom and pilot knowledge ahead of time. that's nuts. cannot fathom how it all got approved with such a massive budget & cast given how Clearly Haphazardly put together it is. anyway. great article, spread it to a few friends, your writing was really engaging and drew me in 👍
I ended up not talking about this in the piece because it was already more than long enough, but I do wonder if the messy writing could partially be a result of A24 being a bad match for the project. Because, you know. A24 is not an animation distributor. This was the first animation project they funded.
Obviously I wasn't a fly on the wall at Spindlehorse and this is pure speculation, but based on the show itself it does feel like A24 looked at the millions and millions of views the pilot had on YouTube and went "Well, you guys clearly know what you're doing! We'll stay out of your way." When in reality, like I said in the review, what I think the show really needed was just an experienced cartoon showrunner on hand who could gently nudge things in the right direction and help them nail down basic TV writing stuff. Not calling the shots, but just looking over Vivzie's shoulder with feedback like "Does this episode have a satisfying three-act structure?" or "Could you explain this worldbuilding detail a little more clearly?" or "This episode doesn't have a clear enough focus on its central emotional arc." I have to wonder if a studio with an actual history making cartoons could have more easily hooked Hazbin up with someone like that.
(Some of the work on Hazbin was also done by Bento Box Entertainment, who've worked on a bunch of adult cartoons like Bob's Burgers, but I'm not sure how much creative input they actually had.)
Without that outsider perspective, I can see how it's extremely easy to get lost in the weeds and just write for the audience that's already there. Of course dedicating an entire three-minute musical number to Vox in the second episode seems like a good idea when you're surrounded by excited fans who've spent the last five years asking what's up with the TV head guy teased in the pilot. Of course you take for granted how much people already know about the characters and world when you've been talking about them online for years, and also producing a bunch of supplemental material like a whole spinoff show. It takes a lot of effort to not fall into that mindset and put yourself in the shoes of someone who's going in blind.
Again, this is all speculation. But these are easy traps for independent creators, especially ones coming from the world of webcomics, to fall into.
