CHP12: The Indian Animation Shows And The CopyCats!

CHAPTER 12

THE COPY OF A COPY

AND WHY WE STRUGGLE?

“Good artists copy, Great artists steal.”

― PABLO PICASSO

Let’s get honest here; it’s no more a mystery to us that when art is created, it is usually inspired by something that has already been done. Even the lights of Michelangelo, Van Gough and Walt Disney were influenced by their predecessors and spent their early years recreating the same old work.

No one is spared by the temptation of plagiarism, as many of us don’t want to spend the time, effort, and money required in reinventing the wheel.

And the same goes when it comes to the art of storytelling. Yes, although the style, genre, message in every story we witness seems different at face value. But at the core, they all follow the same basic structure that has been laid down brilliantly by a widely respected philosopher and theologist “Joseph Cambell“ in his book “A hero with thousand faces.”

In this masterwork, Campell illustrates the hero’s journey, how the hero or the protagonist goes from the ordinary world into a region of supernatural powers and out of his comfort zone.

Where he or she encounters fabulous forces, and after a life-altering battle, gains the victory. The hero then comes back from this spiritual adventure as a changed person with the power to bestow boons on the society at large.

This hero’s journey is a pattern you will see even in all the mythologies of the world, and nothing has been changed since the dawn of storytelling due to its soul-satisfying structure that we all crave emotionally and spiritually.

And when it comes to the story structure of Indian Animation shows, it isn’t surprising to see this same rhythm and balance been utilized frequently. But, the main issue with Indian Animation and especially TV shows, isn’t the use of the hero’s journey. Instead, it is following the same style, genre, and message.

Yes, every show looks the same with just a little tweak in the personality of the main characters.

All the popular indian animation shows have this ten-year-old, super-powerful male protagonist assisted by a smart female friend, a fanboy side-kick, and a goofy animal.

And most of the time, these characters are the epitome of perfection and moral values and are usually mature way beyond their current age.

In a typical episode, they will battle the outside forces using their quirks and wits and, more importantly, without making any mistakes or doing something that an average ten-year-old kid will do.

And that’s completely fine at a level because these shows are carrying the responsibilities of grooming the future generation and surely wants to play safe to avoid any complaints from parents.

But the basic formula of all these superheroic shows are so similar that from a viewer’s perspective, it gets dull and monotonous, and it feels like we are watching the same show just with different looking kids.

Yes, If I take the hero of one show and put it in another, nothing will change. And that’s poor storytelling and world-building, and such shows will never be able to impress the mature audiences.

Because the problems and obstacles should be uniquely limited to the characters of the particular world to make the viewer’s switch on your channel and get submerged into your realm.

For example, If I’ll put Batman against Green Goblin, he will fight the antagonist way different than Spiderman will do, or even Superman will do.

the indian animation shows — Pic Courtesy: Google

And that’s precisely the reason we would be excited to witness such a cross over as each of these characters uses their abilities in their own style, rhythm, and pace to tackle the evil in front of them.

Best Indian cartoons — Pic courtesy: Reliance Animation

But if I take Little Singham and put him against any of the villains of Chhota Bheem, I don’t expect any different approach from the protagonist. And even the antagonist need not worry about altering their plans because both the heroes are almost identical in their strength and, of course, no weaknesses. Same goes for Kisna, Arjun the Prince Warrior, and even Motu Patlu followed the same pattern after a point.

But I know what everyone must be wondering; despite being a copy of a copy, our kids are hooked on the Tv screen and adore these characters more than anything.

Well, the reason behind it is because they are not exposed to other things yet and are forced to consume these products with no or limited choices.

One of the main factors most of us who grew up in the 90’s aren’t a big fan of our domestic shows is because we have seen productions that are highly creative and technically strong. Thus we can immediately identify the difference and express our opinions for it.

And this factor isn’t limited to our cartoon shows and kids, in recent times this phenomenon can be seen in movies as well, due to the availability of the better quality product provided by international media through streaming services and theater releases.

We have have been witnessing that a significant number of people have been raising their voices against Bollywood films and asking the creators to raise their standards as well.

Similarly, once our kids explore the different creative shows, they tend to move on like everyone else.

But to be honest, we don’t want the kids to move on. We want them to cherish our local heroes forever in their memories and hearts and look at them as inspiration to deal with the issues and problems life throws at them that are unique according to a person’s circumstances and experiences.

And to do that, we need to give our heroes their unique style, strength, world, and, most importantly, the weaknesses. And to do so, we need to steal from history and learn how the shows that left such an impact on the minds of a generation manages to embrace their identity in the world full of a copy of a copy.

(Imp Note: This is one of the reasons behind the struggles of Indian Animation. In my blog series, “The Faults In Our Art! We will explore multiple factors that are keeping Indian animation behind. So I request you to please support my initiative by subscribing to my website by filling the form below)

December 5, 2021December 5, 2021

CHP 11: Indian Animators And The Missing Link

CHAPTER 11

THE MISSING LINK

AND WHY DO WE STRUGGLE?

“It is hard to separate the art from the artist.”

― JUICE WRLD

the missing link — Pic Courtesy: Wikipedia

You were captivated by the surrealism of Spirited away; you felt emotionally moved and inspired by the touching journey of a little rat in Ratatouille. You witnessed a jaw-dropping new atmosphere in the first-ever three-dimensional toy story movie, and most of us surely grew up watching the adventure, romance, and magic of Disney’s fairytales and Hanna Barabara’s fun and adventurous acts in the nineties.

Undoubtedly, the industry is blessed with many such highly creative movies, shows, and memorable characters that we all cherish and love.

Indian Animators — Pic Courtesy: Wikipedia

And when it comes to Indian animated films. The one movie that will instantly appear in your mind is the highly appealing epic mythology of Baby Hanuman, which was released in 2005 and directed by one of the pioneers of Indian Animation, none other than V.G Samant.

And that was, in a way, the dawn of commercial full-length animated feature films in India, and its success and popularity paved the way for many bold filmmakers to try their hands on this medium.

As a result, within a short period, we saw the release of movies such as Roadside Romeo, Delhi Safari, and many more that failed to repeat the magic and impression that Baby Hanuman left on people’s minds.

And soon, we noticed the deterioration in the reputation of Indian animated films at the box office.

But what was the reason behind it, why Disney, Pixar, and Ghibli continue to perplex the audiences after so many years, and Indian commercial movies suffered a decline in their revenues at the silver screen?

Well, the instant reply could be that the stories in Indian films weren’t captivating enough, the quality wasn’t up to the level, or it was challenging to resonate with the characters in those films.

But it is crucial to understand that those factors are secondary because before we can witness a great art, what comes into the picture is the artist.

Yes, one vital point that binds all the artistic masterpieces together is the artists working behind them, and more importantly, the artist leading them.

Similarly, let’s take any of the classic motion pictures filled with the illusion of life. You will see legendary names such as Hayao Miyazaki, Brad Bird, John Lasseter, Genndy Tarkovsky, and of course, Walt Disney himself.

They were the creators, minds, and souls behind many iconic and endlessly imaginative movies and shows that helped art reach its honorable place today.

And if you delve more profoundly into it, you will see that one common trait all these creators possess is that they all are “Animators.”

Yes, although Indian producers saw the financial capabilities of animated films, they failed to acknowledge an ancient Indian proverb that says, “The work suits in the hands of the one skilled to do it.”

And suppose you look at the credits of many unsuccessful Indian movies and series. In that case, you will notice that they were often directed, produced, and managed by people who are not into Animation or understand the art the way an Animator would generally do.

I am not stating that a non-animator can’t direct animated films or lead the team of artists, sure they can, and there are exemptions.

But what I am emphasizing is that these films need a specialized technique and strict attention to detail as their core characteristics separate them from the live-action movies, which a non-animator could inadvertently miss.

So being aware of the creative and technical aspects of animation film gives an animation artist a considerable advantage to push the boundaries of conventional craft and effortlessly focus on the soul of the story to strike a delicate balance between fantasy and reality.

So it’s imperative to understand this very fundamental aspect of this illusional art and offer the artists the needed liberty and opportunity to bring their vision on the screen as they are the ones who can get the necessary momentum into this industry.

And that’s just not limited to the process of directing the movies. It should be mandatory for the writing producers operating for the television broadcasters and business heads to have good technical and creative working experience of Animation in their portfolios.

So that they will be able to match the artistic vision of the animation directors, creators, and writers working at the studio level and connect the missing link to help achieve the respect we are striving for in the eyes of our viewers.

But that looks like a long road to travel as animators in our country don’t get the recognition they rightfully deserve and are treated as a labor force than a creative one.

People often forget to discuss their contributions even though they are the ones who put life in a character. An animator in a movie is as important as the actors in live-action films, they are the unsung heroes, and without them, there won’t be the art of animation.

But the problem goes way beyond the recognition. Like so many other factors like long working hours, minimum wages, and mistreatment restrict our artists from expressing themselves freely and contributing to their full potential, unlike artists in the west and Japan who enjoy the perks of creative freedom to improvise their work.

So before we bring the change towards the art, it’s essential to look up to our artists for the longevity and success of this medium.

The time has come that we start to recognize the artistic talent our Animators possess and show faith in their ability to deliver the stories that not only entertain the audiences but leave an everlasting impression that becomes a core part of our memories.

Just a little appreciation and love for our artist can go a long way, and you never know that we might end up finding the next Walt Disney or Gendy Tartakovsky of India.

thebestanimators — (From Left: John Lasseter, Hayao Miyazaki, Walt Disney, Genndy Tartakovsky, Brad Bird)

(Imp Note: This is one of the reasons behind the struggles of Indian Animation. In my blog series, “The Faults In Our Art! We will explore ten major factors that are keeping Indian animation behind. So I request you to please support my initiative by subscribing to my website by filling the form below)

December 1, 2021December 5, 2021

CHP10: The Sense Of Humor ( The Art Of Cartoon Comedy)

CHAPTER 10

THE SENSE OF HUMOR

( The Art of Cartoon Comedy)

AND WHY DO WE STRUGGLE?

“Comedy is a serious business. A serious business with only one purpose – to make people laugh.”

― W.C FIELDS

Cartoons and Comedy are synonyms for each other. And especially children’s show goes way beyond putting a compelling story and exciting characters together. It needs the element of fun in it that has to be witty, intelligent but, at the same time, equally dumb.

Yes, the essential part of any cartoon is the jokes, and more precisely, the visual gags, in other words, a good dose of sense of humor.

Anyone who grew up in the nineties was fortunate enough to witness the looney tunes and Hannah barbara era filled with a genius-level of dumbest things that could crack up even the gloomiest person in the room.

Looney Toons — Pic Courtesy: WB and Hannah Barbara

Although cartoon shows today in the west still follow the same pattern as ’90s shows, at the same time, it has progressed in bold new ways.

But unfortunately, the same can’t be said for the great Indian animated shows.

Yes, if you ask any teen or adult if they find our shows funny, they will surely laugh at the question and give you a sarcastic response.

But what are the factors that make the western shows so humorous compared to the Indian shows and make people judge you if you are a fan of one of the most prominent characters of the Indian animation industry?.

We understand that making people laugh is difficult, and that’s why western animated shows depend upon the people who make a living out of it. Yes, some of the best shows are written by professional comedians who also work on stand-up and late-night shows.

And this is the most crucial difference between them and us that hinders us from creating shows that work for all ages. Most of the animation writers in India are good storytellers, but unfortunately, they are far away from the rules of cartoon comedy and struggle with the art of gags.

Animation writing is not easy, and writers are bound by the rules of the world that they need to follow. But what I have witnessed in almost all the shows is that we shy away from the fundamental element of kid’s shows, and that is cartoon gags. And focus on the activities that are more organic or what we call natural jokes.

Even some of the best comedians like Buster Keaton, Charlie Chaplin, Steven Chow never hesitated to incorporate the cartoon comedy/gags in their line of work no matter how non-sensible it may come across.

The cartoon comedy/gags are a very tricky form of the medium as the joke does not follow the rules of the world, but the sudden shift in the situation makes you laugh.

And in India, we see that jokes are usually played down in patterns where it takes away the most vital element of the comedy, and that is “the Surprise.”

Yes, there are several ways to create a humorous gag. But one of the most effective methods is to use the element of surprise or say something unexpected. You can say something that causes the person to think you are going to say or do but ends up telling or doing the opposite of it.

For instance, here is a gag we used in an upcoming chase comedy called B Bah Boo. You see a butterfly hovering around Chameleon as it waits in ambush.

Comedy Writing — Pic Courtesy: Toonz Media Group

And as soon as the tiny butterfly reaches near the Chameleon…

“SNAP,” the butterfly sticks its tongue out and swallows the Chameleon, a hundred times larger than its size.

I am sure it took you by surprise, isn’t it?

So basically, it’s about building the expectations and then breaking them, and the whole Looney tunes relied on this principle. We often see a character attacking the other one, more often the weak one, just to get harmed due to its ineptitude or failure of their products.

Sure, logic is a big part of cartoon gags as well, but just like anything else in this art form, we need to push that logic at the extreme level and switch it at the least expected moment.

So if we want our audience to laugh instead of cringing upon what they are seeing, keep in mind to surprise them to a level that they use their own mind to solve the joke, keep it short and snappy, don’t spend too much time explaining it and quickly move on to the next scene.

But in most Indian shows, we see the same types of gags forced into the scenes to balance the humor quotient, which generally involves someone crushing on someone from the top, characters bumping into each other, and the sidekicks hiding away in the face of terror. Sure, this can be played well and make people chuckle, but it is often poorly timed, and the choppy animation takes the fun out of it.

But in the end, we understand that comedy is subjective; the things that make me laugh might not work for you, and vice versa, it could be very exhausting for the writers to do something they aren’t equipped with.

So the serious question is, how do we find the missing sense of humor from our shows that can make people laugh despite their age, gender, or culture?

Well, the simple answer to this complex question is what we discussed earlier in the chapter. And that is by bringing people on board who understand the art of writing gags on all levels.

professional comedians — Pic Courtesy: Man vector created by macrovector – www.freepik.com

Cartoon Comedy, like any other form, comes naturally to a few fortunate ones. When someone who isn’t blessed with this skill attempts to write something funny ends up doing the opposite, that comes across forced, unnatural, and at worst, totally cringe.

But the biggest challenge with this is finding people who are not only naturally funny but passionate about animation writing as well. Because without the right set of passion, it won’t be very easy to find the right balance, and without the right balance, it won’t be very easy to earn the respect of the audiences looking for better content.

But, it is just not limited to our writers having a sense of humor. It’s essential to encourage and educate everyone else involved in the storytelling process, right from the directors to producers to broadcasters, about the art of cartoon comedy and gags.

Because in the end, it’s not just about focusing on the story, the characters, and the look and feel of the show, but it’s about putting them all together with an element of surprise.

(Imp Note: This is one of the reasons behind the struggles of Indian Animation. In my blog series, “The Faults In Our Art! We will explore ten major factors that are keeping Indian animation behind. So I request you to please support my initiative by subscribing to my website by filling the form below)