The film and animation industry has been one of the most impacted by the rapid advancement of artificial intelligence (AI) technology. Many artists are speculating about the possibility of AI replacing animators, VFX artists, and even storytellers in the coming years. While the answer to this question remains uncertain, there is a glimmer of hope to be found in the pages of human history, emitting from a light bulb to save us all from this uncertainty.
There are numerous videos and articles that explain the potential of AI and its ability to produce content cheaply, quickly, and with less manpower. However, let’s not delve into that and instead jump straight into the question:
How can a light bulb save our jobs from AI?
To answer this, let’s consider the light bulb hanging on the rooftop of Livermore Fire Station, which has been continuously running since 1901. Yes, this little thing is proof of what humans can accomplish with technology. But here’s a hard truth: we will never get a bulb like that again. Yes, not just bulbs, in fact, we will never get anything that could last forever, whether it’s a car, a television set, or a cell phone. Why? Well, it’s due to a tactic known as ‘planned obsolescence.’
Planned obsolescence is the practice of designing products with a limited lifespan, in order to encourage consumers to purchase new products more frequently. This can be achieved through various means, such as using low-quality materials that are prone to breaking or degrading, designing products with features that become outdated or obsolete over time, or simply making products that are difficult or costly to repair or maintain. In short, companies intentionally produce low-quality products for continued sales.
While you may view this as a cunning strategy employed by greedy corporations, there is a counterargument that suggests this practice is actually necessary. If everyone were to start receiving high-quality products that last forever, it would lead to a decrease in sales for companies and, eventually, job loss due to reduced production.
The Man in the White Suit
This concept was nicely shown in an Oscar-nominated film ‘The Man in the White Suit’ released in 1951. It’s a movie about a scientist who invents a highly durable fiber to make an unbreakable thread. Initially, everyone is thrilled by his scientific breakthrough, but by the end of the film, we see the workers and owners of the thread factory coming together to destroy the scientist and his invention. And believe it or not, this movie was inspired by real-life events.
Sure, at the core, ‘planned obsolescence’ comes across as an unethical practice, and people are raising their voices against it. However, it makes us aware of the fact that people in authority are aware of the implication of technological advancement on our lives.
The point being made is that just like the production of long-lasting bulbs and other such things was halted for profits and employment, authorities will not allow artificial intelligence (AI) to develop beyond a certain point or at least will not make certain advanced technologies publicly available. This is because the prosperity and economic stability of the people are crucial for the smooth functioning of any country. So, in a way, obtaining low-quality products or technologies can be seen as a blessing in disguise for humanity.
And even if AI advances beyond its current state, which is likely to happen, humans will likely find ways to adapt and work alongside it, similar to how computers have generated more jobs than were initially expected.
In Avatar: The Way of Water
In Avatar: The Way of Water, for example, human animators and VFX artists worked with cutting-edge technology to bring to life the magical world of Pandora. The film shows that while technology is advancing at a rapid pace, human creativity, and imagination will always be essential to the art of storytelling and filmmaking.
So to sum it up, while it is true that AI technology has the potential to revolutionize the film and animation industry, it is also important to consider the fact that the advancement of this technology will be limited by factors such as planned obsolescence and the need for economic stability.
Furthermore, the advancement of AI technology can actually lead to more job opportunities rather than fewer. For example, as AI technology becomes more prevalent in the film and animation industry, there will be a growing need for professionals with the skills and knowledge to work with this technology. This could include roles such as AI programmers, data analysts, and machine learning engineers. Additionally, the use of AI in the industry could lead to the creation of entirely new job roles that do not currently exist.
Moreover, while AI technology can create content quickly and cheaply, it cannot replace the creativity and unique perspectives that human artists bring to the table. The human touch and creative input is an essential parts of the filmmaking and animation process that cannot be replicated by machines. AI can assist and complement the work of human artists, but it cannot replace them entirely.
It is also worth noting that the film and animation industry has a long history of adapting to technological advancements. For example, when computer-generated imagery (CGI) was first introduced in the 1970s, there were concerns that it would replace traditional animation techniques. However, this did not happen, and instead, the two techniques coexist and are often used together in modern films.
In conclusion, while there are concerns about the impact of AI on the film and animation industry, there is no need to fear for our jobs. AI technology can complement and assist the work of human artists, but it cannot replace them entirely. Additionally, the advancement of AI technology can actually lead to more job opportunities in the industry. Therefore, it is important to embrace this technology and the opportunities it presents while also acknowledging the importance of the human touch and creativity in filmmaking and animation.
“I love to see a young girl go out and grab the world by the lapels. Life’s a bitch. You’ve got to go out and kick ass.”
― MAYA ANGELOU
The world is going through a revolution. A revolution where women are carving their way in the male-dominated society and striving for the position they truly deserve. A revolution where women have realized their significant role in our culture and are willing to give it all for their honor. A revolution where women have already proven their worth and continue to fly high in all aspects of their lives, whether politics, business, or art.
But their journey has never been easy. Even in a progressive society like the USA, they have to earn their way up despite the obvious. And the struggle in developing society has been a lot more critical.
Women have been obtaining unimaginable since the dawn of humanity, no matter how difficult the circumstances are. They have scaled the highest mountain, traversed the boundless ocean, and endured in the severest condition.
But these herculean tasks turned out to be way more manageable than breaking the conventional barriers and changing the ideology of their male counterparts towards women. This is an effective campaign all women, in general, have been battling with, especially in a country like India.
In India, women are constantly looking for a way to switch the sexist mentality of our conservative society and have been marginally successful in their quest for equality. Numerous feminist movements and ideologies have developed over the years and represent different viewpoints and aims.
But the only dilemma is, despite the best of their effort, a large section of our society remains abusive towards women’s role in our community. And suppose women want to establish a new mindset towards them. In that case, they should start concentrating on one of the most blatant and primary factors that generate such discriminative views about womanhood. And that medium is “ANIMATION.”
Cartoons are the first thing most of the kids are exposed to that assist them in shaping their personality and views towards their surroundings.
In recent times, various restrictions and censorship have been imposed on this genre due to its effect on the child’s brain. Psychologists have highlighted the adverse impacts of cartoons on children.
According to their outcomes, kids who watch cartoons 3-4 hours a day are predisposed to violence and other aggressive acts. Moreover, marginalization of cognitive functions, deviation from realities, and expansion of pessimistic behavior might emerge over time. They gain the capability to mimic behavior and events that they come across every day.
So, we can surely say that innocent characters from cartoons may turn into role models that impact a child’s psychological state about our lives, society, and elements associated with it.
And this is a significant concern because we are unable to recognize how most of the cartoons lack a strong female protagonist, and the existing ones are commonly portrayed as backup characters with a cliched storyline of a princess in distress.
Sure, in many shows, they are the brain behind the group who always comes up with the ideas that support the lead hero in its battle against evil. But it’s still holding the conventional ideology on gender roles and stating that kicking and punching are only restricted to men and boys.
I understand that these characters are created with a general doctrine that the primary audiences for animated shows are little boys and won’t like to see a character they can’t relate to and have fun watching.
Although we don’t have the actual data for this common conception, and even for a moment, if we consider it accurate, the idea that boys won’t like to watch female leads taking over the evil and saving the day is utterly absurd.
Because I clearly remember as a kid, we boys used to be equally excited to watch a show of three little girls made of sugar, spice, and everything nice, spending their day kicking and punching villains. And that show was none other than “THE POWERPUFF GIRLS.”
It’s a show that carved its way in between the male-dominated characters like Dextre’s lab, Johny Bravo, Swat Kats, and many more and managed to break the repressive moral code of that time.
And to be honest, from the boy’s point of view, we were absolutely fine with that. I don’t remember anyone making fun of each other for watching a show with girls in the lead and used to discuss its action-packed episodes while proudly owning their T-shirts and punching societal expectations in their face.
The show’s high ratings, popularity, and high demand for merchandise show that if done right, kids do not discriminate against their role models based on gender, religion, or race. They just want to have fun watching their heroes saving the day.
But again, over here, it’s going to be a long time since we will be able to witness an all-female-oriented animated show as I don’t see any steps being taken towards it.
And I am not sure if anyone will be remotely interested in taking that chance. I remember pitching a concept about a fairy to a big animation brand, and I was asked to change the main female character to a male figure.
However, I refused to do so, not only because the storyline demanded the lead hero to be a female as it is a fairy tale. But also because that was the primary concern for me as there is no feminine hero for half the population of this country.
Yes, with so many superheroes and male leads, there is an apparent absence of female figures who can serve the children to understand the essence of equality right from an early age.
If such trends persist, boys and men will continue to view womanhood as a secondary lead who continually needs to be rescued, when the fact is, just like men, women possess the ultimate capability to protect our civilization and take it farther.
And Indian animation desperately needs a symbol of feminism, which has the power to break the norms and generate an advanced, more forward opinion towards all genders, whether it’s female or LGBT groups.
So the time has come to fix the basics and build a solid foundation by teaching the importance of equality to our children, right from inception. The time has come to raise our voices against such behavior and demand equal exposure by all means. And the time has come to make your presence felt by eliminating the perception that only boys-oriented shows can generate revenue in this art form.
If our children grow with a notion that women can save the world as well, this will transcend into a more robust belief system taking our society towards enlightenment.
But any intentions should not be forced on our kids but needs to be developed through a friendly mechanism. And what can be a better medium than animation? THINK ABOUT IT!
(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 out the form below)
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.
Pic Courtesy: Amazon
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.
Pic Courtesy: Google
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.
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.
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)
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.
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.
(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)
“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.
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.
Pic Courtesy: Toonz Media Group
And as soon as the tiny butterfly reaches near the Chameleon…
Pic Courtesy: Toonz Media Group
“SNAP,” the butterfly sticks its tongue out and swallows the Chameleon, a hundred times larger than its size.
Pic Courtesy: Toonz Media Group
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.
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)
“The stories we tell literally make the world. If you want to change the world, you need to change your story. This truth applies both to individuals and institutions.”
― MICHAEL MARGOLIS
Despite the optimistic and vivid portrait painted by fancy media reports, Indian Animation is still striving at its core. On the surface, it’s the happiest place to be in, but the truth is far stranger than the fiction it depicts on the screen.
And the most critical part is, hardly anyone is willing to make an effort to enhance its condition to reach a point that will help the industry and animation shows rise above their current state.
Sure, animation as a business has shown steady growth in the past few years due to the availability of a wide range of platforms to reach the intended target audiences. But we need to look beyond the technical and commerce to emerge as original creators at the global stage.
In the previous chapter, I wrote about how the lack of attention by our viewers in this medium has affected the growth and condition of better homegrown shows. But this is just one of the factors that need to be addressed out of many.
So let’s go deeper into this illusionary world of life and explore another but most vital component that must be discussed for the betterment of Indian Animation as a whole, and that component is STORY.
So much has been written about the ingredients of good storytelling, but few organizations can match the standards of soulful storytelling, especially in animated films like Pixar and Ghibli Studio.
On the one hand, Pixar has nearly twenty-two principles or rules for impactful visual storytelling that we see in all of their work. Whereas when it comes to striking a balance between fantasy and reality, Ghibli has been successfully able to cast its spell over audiences for more than four decades.
So what is it about Pixar and Ghibli’s storytelling techniques that stand them apart?
Well, it might sound overly complicated process, but it’s actually something simple, and that is their stories are relatable and focus on socio-emotional development.
They are the masters in creating captivating characters resonating with human emotions and sociological elements. Even in a superficial world, the central idea always revolves around basic human sentiments such as humility, compassion, and honor with a definitive motive.
And the character’s internal journey is given equal importance as its outer goals. And this vital element makes all the difference in the storytelling process.
Whereas most of the characters we see in Indian animated series lack defining internal motivation. They are good or bad just for the sake of it, with no strong driving force behind their undertakings.
And it’s a bit surprising to see our storytellers failing to depict such essential elements in the land where epics like Ramayana and Mahabharata have already set standards years ago.
A typical episode in most Indian shows involves the hero along with his sidekicks saving the day for everyone. Sure there is nothing wrong with that, as that’s where the soul of the superhero genre lies.
But Indian channels are flooded with these action-packed dramas between the hero and the villain with almost no emotional conflict between them.
And because of the protagonist’s invincible characteristics, there is nothing much at stake for them because we know in the end he will rise victorious with just one punch on the face.
We need to understand that conflicts are much more complicated than an asteroid approaching the earth or two people battling for a magic potion. The more unique and muti layered these conflicts are, the more they will be able to capture the viewers.
Let’s consider Batman’s conflict with the Joker in the Dark Knight. Batman represents the most ideal version of us, with utmost morals, values, and respect for order. In comparison, Joker stands for anarchy and disorder and has no moral values whatsoever. In simple terms, they have different goals that conflict with each other.
These internal differences lead to an external battle between them as both the characters try to get across their point of view, ultimately provoking an emotional reaction from the audience.
I understand kids’ content doesn’t have to be this complicated. Still, some level of psychological motivation for the characters will surely help our kids to grow mentally and emotionally, along with their beloved characters.
But that’s just one aspect of storytelling as another major flaw with our industry is that, at times, Indian animation tends to underestimate the intelligence of our children.
It ends up oversimplifying the message by neglecting the importance of friendship, honor, bonding, empathy, patience, and other such values our kids should be learning while growing up. This doesn’t in any way mean poor storytelling, they are still entertaining, but these characters have so much more potential.
All we need to do is focus on all aspects of the character’s journey and give our kids a chance to sneak into human emotions. All we need to do is show our kids that animation is more than just action; we need to show the space where we see these characters reflect their circumstances without any explanation or dialogue.
We need to show them that it isn’t always about happily ever after. Things do not always go the way we want them to. And that’s okay!
Sure comparing Indian animation with Pixar’s, Nolan’s, and Ghibli’s standard of work will be harsh on us considering the lack of budget, audiences, technology, etc.
But creating better stories does not require any of the given factors but merely an intention to do so.
The time has come for the Indian Animation industry to push its limitation in innovation and every aspect of the art that will help it build a stronger foundation to inspire a new generation of artists.
And fortunately, in recent times, I have seen the change in this pattern of our shows, and the stories revolve around the day-to-day issues of life, which is far better than what we have been served so far.
Pic courtesy: Reliance Animation Pvt Ltd.
Shows like Bhoot Bandhus, Sub Jholmaal hai, and Golmaal Jr., in which I had the unofficial opportunity to write the pilot episode to set its tone and structure for upcoming episodes brought a refreshing take on the usual pattern of our animated shows by focusing more on the internal conflicts and desires of these characters.
I am not really sure that if we are too late to acknowledge such content. But by looking at the mild success of these franchises, I am a little optimistic about the future of Animation in India and appreciate the creators, storytellers, and broadcasters for taking a chance with it.
After all, Animation is a costly business with millions of rupees at stake. So it’s courageous of our people to start accepting the change we want to see, and I am sure we are on the right track for now.
(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)
This is another question I’m often asked by many students looking to pursue animation courses after 12th in India.
The first popular question is, “How to become an animator in India?” that we have already covered in the previous article. So I request you to check out the same to get more clarity on this subject.
Coming back to your question about animation courses after 12th. Well, for that, firstly, we need to understand that when we use the term animation, it’s a generic word used by laymen for this artistic medium.
What I mean is that, for the common person, everything they see on screen during an animated show or movie is animation.
But when it comes to animation courses or animation as a career, it has different aspects attached to it.
Meaning, there is a huge production pipeline that needs specialized knowledge and expertise to bring a show or movie from an idea to screen.
Basically, everyone has a particular task to undertake, from a scriptwriter who writes the script to a character and background designer who designs stuff to an animator who moves things to the editors who edit and so on.
So when someone says that they want to be an animator, someone from the animation industry will assume that they want to pursue a course in animation that puts life in an inanimate object or puppet.
Hence, we will keep other branches of the production pipeline aside and focus only on the art of moving objects alone, that is, animation.
But there is a catch to it as well. Yes, and that is even when it comes to animation alone, there is more than one style, method, or technique to animate an object, five to be more precise. These different styles are best suited for various purposes.
So for someone, who wants to pursue animation as a career, it’s vital to have a basic understanding of these styles to make a better professional choice and have a broader knowledge about the potential of this art form.
So, through this article, we will explore different types of animation courses after 12th and styles available for someone who wants to be an animator by the industry’s definition.
So let us now break down the five different types of animation styles available to you.
TYPES OF ANIMATION STYLE:
1) Traditional Animation:
Pic Courtesy: Wikipedia
Traditional or classical animation, cel animation, or hand-drawn animation is an animation technique where each frame is drawn by hand.
It is the oldest form of animation made famous by the Disney Company (not invented, though).
In this form, Sequential drawings are screened quickly, one after another, creating the illusion of movement.
One needs to have excellent drawing skills and a good understanding of human anatomy to execute this style of animation.
This is by far the most challenging and most time-consuming method to animate but also the best form.
In general, when we hear the term 2D animation, we think of it as something referring to traditional hand-drawn animation.
But after the arrival of computers, it is also used to define computer-based animations that adopt traditional animation techniques.
In other words, Vector-based animations, meaning computer-generated 2D animations, use the same techniques as traditional animation. But with the help of digital tools like software instead of physical tools like pencils, lightbox, etc., needed to make traditional 2D animations.
This is the most popular animation style in India right now.
All your favorite and not-so-favorite shows like Chhota Bheem, Little Singham, Roll no.21 are created using these techniques with the help of software like Adobe Flash (now Animate), Toon Boom, Harmony, etc.
3) 3D computer animation:
Pic Courtesy: Tavrohi Animation Studio
This is the most popular form of animation around the globe right now, as almost every movie is made using this technique nowadays.
So what is 3D animation?
In this technique, the modeling artist usually creates a 3D polygon mesh or model to manipulate.
Then this mesh which is like a skin of a character, is given an inner digital skeletal structure called a rig that can be used to control the puppet. This process is called rigging and can be used in connection with keyframes to create movement, i.e., animation.
It’s more like playing with puppets but requires the same understanding of the movements and principles as in 2d or cell animation.
The best part about this method is that one doesn’t need to have excellent drawing skills to use this method.
A person with very little or no drawing skills can also become 3d animator with ease if they are willing to put the required amount of hard work into it.
The shows like Motu Patlu, Bhoot Bandhus, and all Pixar movies are excellent examples of this technique.
4) Motion Graphics Animation:
Motion graphics are way different from the other basic styles of animation. Because unlike the other forms in our list, it is not character or story-driven.
It’s the art of creatively moving graphic elements or texts, usually for commercial or promotional purposes—the kind of thing you see during the opening and end credits of a movie.
I know it doesn’t sound that impressive, but trust me, motion graphics has created multiple jobs in the market in recent years.
Now many non-animation companies understand the importance of visually-driven sales pitches and use this method to sell their products and services.
5)Stop Motion Animation:
Pic Courtesy: Google
In stop motion animation, the object is physically moved in small increments or poses between individually photographed frames. And when these photos are played in fast sequence, it creates an illusion of motion.
Puppets made of clay or dolls with movable joints are generally used in this method for their ease of repositioning. Stop motion animation using plasticine or clay is called clay animation or “claymation.”
But not all stop motion techniques require clay puppets or movable action figures. Many stop motion films can involve using people, household devices, and other things for comedic effect.
Stop motion can also use sequential drawing in a similar manner to traditional animation, such as a flipbook.
An excellent example of this technique will be Shawn the Ship and Pingu the penguin.
So here we go!
These are five different animation courses and styles available to you after the 12th standard in the market. Now it’s up to you to decide which one of these methods suits your requirements. And of course, you can be the jack of all trades too.
But remember, the styles mentioned above are merely tools to execute an animated motion.
What is more important is that you need to know the basic principles of animation to be a good animator. Once you master those key ingredients, then no matter what style, software, or tool you use, you can animate anything.
For more information on Indian animation and the art of animation, please subscribe to my blog. 🙂
“I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.”
― FRANK CAPRA
Walt Disney and Pixar set the measure for 2D and 3D animation. Japan has crossed all the conventional barriers with its anime and is constantly stretching its limits in this form of entertainment.
But when it comes to India, we are still struggling to get the basics right, we are still struggling to understand the true potential of this medium, and most importantly, we are still struggling to embrace the art of animation.
Animation is undoubtedly the most flexible form of film-making with the ability to go beyond the expected and truly justify your imagination without any limitation, boundaries, or complications of physical and technical resources. In short, a perfect medium to explore stories, subject matter, and character development.
But despite its liberty to look beyond conventional film-making, India can still not impress the globe with the quality of our home-grown productions.
Sure it’s easier to jump to the conclusion and blame the budget, creators, and the lack of latest technologies for the condition of our content.
But let’s not point out the obvious today as we really need to look deeper to find one of the most vital faults in our creations. We really need to stop turning our heads and quit pretending as if we don’t see because the real issue is embedded within us.
Yes, the animation is often overlooked by Indian audiences as it generally comes with a connotation of childishness.
Unlike in Japan, where anime is such an integral part of their culture, we are still unable to delve deeper into this vast world of cartoons. We are unwilling to explore outside usual Bollywood films and TV shows.
Americans, at one point, had the same thick attitude towards animation. But constant attention and open-mindedness towards the art by a large number of audiences forced the makers to come up with better concepts that can appeal to everyone with a soul and hunger for great stories.
Some time ago, the number one You tuber PewDiePie reacted sarcastically on one of the most popular Indian animated shows and pointed out some technical, creative, and conceptual absurdities that anyone with a basic understanding of this medium can identify.
But what bothered me the most is that he was shocked that we are exposing our kids to such content, which we, as viewers and specifically as parents, should not ignore. But guess what? WE DID IGNORE IT!.
Generally, when someone passes a ridiculous opinion towards our nation and things related to it, we quickly respond and defend ourselves. But this time, nobody came to the rescue. Why? Because he was right to a great extent.
But not wholly correct, sure most of our TV shows look below par and are quantity driven than quality. Still, it does not mean that we don’t have the potential for being amongst the best as we had proven it in the past when one of our films was running the race for being in the academy awards.
Yes, for many, it might come as a surprise that in 2011, a 3d animated film, Alpha and Omega,produced in Mumbai by Crest Animation Studio (a studio I had the privilege to work in), was included in the list of movies eligible for Oscar nominations.
Pic Courtesy: Crest Animation Studios
It’s a film about two young wolves falling in love despite all the odds, but unfortunately didn’t manage to go ahead in the nomination race, and much deserving Toy Story three got the honors that year.
Still, competing and finding a spot between the likes of Disney, Pixar, and Dreamworks is an outstanding achievement on its own. And the academy was kind enough to acknowledge the measure of the efforts that went into making this film.
But unfortunately, over here, it was brutally slammed by critics for its dull, predictable plot, unimpressive visuals and was entirely neglected by the audiences as it didn’t manage to bring out the required emotions.
In a nation where even sending a Bollywood masala film as an official entry for Oscars draws so much publicity and reaction from the media and general public, Alpha and Omega failed even to find any space in the page three section of the entertainment industry.
But worse, instead of receiving any praises and attention over here, it managed to do the exact opposite. I remember when one of my colleagues went to see the movie with her family, the man sitting at the ticket- counter advised her not to see it and said it was rubbish and a complete waste of time.
I know it cuts like a knife to hear such words. However, I would still welcome his critical views and, in fact, would encourage everyone to openly share their constructive feedback on this subject because, ultimately, the audiences are the actual alpha and the omega of this art form.
Like any artistic work, the animation is a medium to tell stories to reach people, touch you emotionally, make you forget your life’s dilemmas, and submerge you into this fictional world where everything seems possible.
And without audience support, it won’t be able to re-invent, renovate, and even reject the conventional ideas for the better good.
I know it’s not all dependent on the viewers, but the creators also have specific responsibilities. The creators need to understand the possibilities and potential of their secondary audiences.
In India, we have difficulty understanding the basic fact that the animation is just not limited to kids, but adults are the secondary audiences. When a kid is watching a show or a movie on Tv or theater, parents and guardians are forced to sit through it.
So we need to cater to them and put something in for them as well if we need to fall in that category of family entertainment.
I am often asked to remove a gag or dialogue because kids won’t get it, although I completely agree with that and I have no choice but to follow it, but in my mind, I am always like, that’s not for kids, that’s for the adults forced to watch along with him.
Unless it’s breaking any S&P rules, the producers should not worry about one or two jokes skipping a child’s brain or understanding capacity.
So we really need to find a way to bring a balance to our content. And if not, then we have no choice but to take an extreme step. The surest way to find some audience for animation is by creating mature content like Adult Swim did back in the nineties.
Pic Courtesy: Screen Rant
This channel revolutionized the entire cartoon watching experience and even helped to launch the careers of many artists through its interactive formats, spontaneity, and unique experience.
But, this will take some tremendous risk-taking ability, out of box thinking, and open-mindedness towards the potential of animation.
In the end, we can say that if we want to bring a revolution in Indian Animation, we as audiences need to alter our approach towards this art form. And demand a better quality product by raising our voices against the current supply.
And, more importantly, show our support and faith in our highly talented artists and creators. Because we have the potential, we have the talent; we have the passion. All we need is “YOU,” all we need is your attention, and all we need is your love.
Because once you get involved, step by step, little by little, we will be there at the grandest stage of all, AT THE OSCARS!
(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)
How to become an animator in India? That’s a question I often get asked by many aspiring artists who want to pursue animation as a career.
Let’s be honest, in a country where left-brainer jobs like engineering, medicine, law, etc., are given more priority. Most right-brainers used to find it hard to make a career choice that could satisfy their inner urge of self-expression through an artistic medium. And at the same time, have financial satisfaction too.
But in the late nineties, making that choice became a bit easier with the introduction of computer animation. And slowly, this field gained popularity amongst the masses.
And today, being a professional animator is a rewarding career for those who dare to think differently.
But unfortunately, despite the volume of information and resources available today, it is still hard to know the exact procedure we need to pursue animation as a career due to lack of personal guidance and paradox of choices.
But no worries, your search ends here. Through this article,How To Become An Animator in India?I’ll give you a step-by-step guide to help you choose a better route for your animated journey and become a professional animator.
So just relax and scroll through this post, and by the end of it, I hope you will gain something meaningful that could help you get a clearer picture of this medium and your future.
But I’m not going to sugarcoat anything and sell you big dreams as this path is not for everyone and anyone. Yes, behind those bright colors and funny gags go immense groundwork, sweat, and tears that not everyone can endure.
No! I’m not trying to demotivate you even before starting, but just being honest about the level of persistency it takes to survive in this field, which brings us to our first step.
Before you even take on any course and pay your parent’s hard-earned money to the institute, be brutally honest with yourself. Ask yourself if animation is truly for you or not.
Because your success and failure will depend on the level of passion you have for it.
Yes, if you have the passion for it and are willing to put in the tremendous amount of sweat and hard work required to master the art of life’s illusion. Then comparatively, it will be smooth sailing for you.
But, if you want to take animation as a career path thinking of it as a 9 to 5 job with a handsome package and don’t have enough passion for the art. Then it will be pretty hard for you to make it big in this industry.
I have met many individuals who feel stuck in the field, despite being skilled artists. As they don’t possess the love for what they do and treat it like any other regular job.
I even know many individuals who gave up when things went a little rough in the industry a few years back. I don’t blame them as everyone acts according to their own circumstances.
In fact, I think it was the best decision of their life. It’s better to move on from things you don’t feel passionate about instead of dragging yourself into it. I don’t say that you won’t be earning decent without passion, well you will, but you won’t find meaning in your work.
So, think it through before following this medium, especially when the fee is so high. And if you are absolutely sure that this is the career you want to pursue at any cost. Then, let’s move on to our next step.
This one is a bit tricky as there is no reliable data available to determine which institute is better than the other.
And in why career, I have worked with people from all walks of life from various regions, schools, and institutes, right from small local classes to big brands.
Generally, NID is considered the best in the business, along with other big names like Whistling Woods, IIT, or MIT, but most of them do not provide a full curriculum course in 3d Animation.
Plus, getting admission into these elite organizations isn’t easy as the admission process is very competitive, with limited seats that can cause a giant hole in your pocket due to their hefty fee structure.
So, depending upon your budget and circumstances, I’ll suggest you opt for a fairly reputed institute like Arena, Big Aims, Toonz academy with a moderate fee range.
I’m not endorsing anyone, but they have courses that you can pursue along with your full-time graduation in any other stream like science, arts, and commerce.
But if you aren’t interested in traditional academics anymore, then you should join an institute like Toonskool, Amity that provides full-time degree courses.
I know having a graduation degree isn’t that vital in animation, but I’ll suggest everyone kindly try to get a degree too, as it helps to attain a management position later on.
But the vital question is, how do you know which institute is good for you amongst all the clutter of options?
Well, honestly speaking, it’s pretty hard to answer this question for a couple of reasons:
First, with so many institutes claiming to be the best in the business, it can be challenging to say which one is actually stating the fact. Because as I said, there isn’t any core data available to back up these claims.
But my general advice would be to ask for their past records, how many students got placements, and where? If they have alumni working for top studios, then it is a safer bet.
Also, you must speak with the former or existing students and try to know their experience over there.
The second major factor is that animation in India is still struggling at the base level. And we are way behind as compared to US and Japan when it comes to providing training facilities, technology, and most importantly, understanding the aptitude required for learning animation.
But still, things have improved in recent years, and various institutes have made efforts to provide better quality training to students as the demand for animation has increased tremendously in recent times.
So I will suggest you, please do your research correctly before joining any institute.
Another crucial factor you should indeed consider before joining is, try to know the faculties there. Try to understand how passionate they are about animation. How much experience do they have? Ask for a demo lecture. Are they cooperative? Are they understanding, and so on?
Because in the end, apart from your own efforts, the kind of faculty you get is gonna play a huge role in your understanding of animation. A passionate teacher can easily pass their positive vibe to the students and make things exciting no matter how complicated they are. So do your research and make a choice.
And once you know that the institute you wanna join. Then comes the next big hurdle of selecting the right course. This brings us to our next step.
If you think choosing an institute is difficult, when until you go for inquiry and look at the list of courses available with them.
For someone naive about this industry, the counselors sitting at the other corner of the table will try their best to sell the costliest course available on the menu.
They will sell you big dreams like earning six figures and working on international films or studios like Pixar and Disney. But, I’ll advise you to not get carried away and fall into such traps.
Sure, these are not impossible dreams and can be achieved. But it’s not as easy as the counselor will make you feel.
So, before you hear their sales tactics, you need to know a few things about this industry.
You see, in this industry, everyone has a specific role to play. When I say animators, these are the people who move things.
Yes, in most cases, an animator will only animate the characters while the other tasks are handled by other people who are specialized in one or two things like background or character designing in 2d animation.
Just like different doctors handle different parts of the body. Similarly, different artists operate different sections of the production departments.
And when it comes to 3d, the list can range from modeling, texturing, rigging, lighting, etc. To be honest, these are the things you’ll get introduced to only when you learn the process along the way.
But my point is, if possible, narrow down your choices to either 2D or 3D animation software if you want to become an animator and do not opt for courses that include complex Graphics, VFX, Editing, Sound Engineering, etc.
Sure, it’s good to know a little about everything, and it surely helps, but please remember, our field has specialized people working on just one thing.
So if possible, know what you want and choose a specific course like animation, modeling, designing, etc., instead of going for everything.
But there is a catch to this method too.
Sometimes we only come to know about something when we are introduced to it. So having a course with a plethora of options can work in favor at times if we try something and start to enjoy it.
So unless you are sure about opting for a specific thing, choosing a course with various software can be helpful.
And when it comes to demand, currently, the need for 2d animators and designers is pretty high in the market. So do your research, know your interest and make a choice.
But to help you narrow down your choices, there are two things you can do.
If you want to be a 2D animator, then learn the art of character design, rigging, and animation in a software like Adobe Animate, Harmony, Toon Boom, etc.
And if you want to be a 3D animator or anything related to it, then learn software like Maya, Max, Blender that are commonly used in the Indian animation industry.
And once you are sorted with these major hurdles like choosing an institute and course, your entire focus should come down to the next step.
Yes, making a kick-ass showreel or portfolio should be your entire life’s goal and focus throughout your time in the institute.
It’s not your degree, not your institute’s name, or your faculty’s reputation going to help you get an entry in the studio, but your portfolio.
As an animator, you need to demonstrate scenes, ranging from the basic principles of animation to advance acting skills if you want to work on advanced projects.
Following this method indeed helped me get my dream job and work on an international movie in the first project itself.
So make sure to start your demo-reel with a bouncing ball to a character lifting weight and slowly progress to a couple of shorts of advanced acting.
And once you are done with the all-around demo reel, it’s time to move on to the most crucial step.
Well, once you have overcome all the needed hurdles of completing the course and making a showreel.
Then comes the final boss stage that lies between you and your dreams.That is, getting a job that will transform you from a student to a professional animator.
Well, I’ll be honest with you, with limited studios in the market, landing the right job in India is pretty tough in today’s time.
So it’s better if you already know someone working in an animation studio who can refer you to HR and ask them to arrange an interview.
But hey, even if you don’t know someone, there is still hope. In the end, hard work beats everything, and that’s where your kick-ass showreel will come into the picture.
All you need to do is, go to these studio’s websites or job portals, see if there are any vacancy and apply for the same.
And once you do that, try to give a call to HR and gently request them to examine your profile. If they find you and your portfolio suitable then, they will surely arrange a test for you.
Then it’s up to your skills, talent, and capacity to perform at the practical test and interview. Don’t worry; the personal rounds don’t matter that much in our industry. The test is your primary gateway into the studios.
But it doesn’t mean you’ll act overconfident or rude in personal interviews. Always be humble, polite, and grounded. This will give you extra brownie points that could make getting a job easier even if you fail to impress in the practical test.
Conclusion:
So here we go! These are five essential factors you need to become a professional animator in India.
1-Choose Your Passion.
2-Choose The Right Institute.
3-Choose The Right Course.
4-Make A Kick-Ass Demo-Reel.
5-Apply For The Job.
But the vital question is, what if you did everything right but still struggling to land your dream job.
In that case, I totally understand your situation, as even I failed around 21 interviews before getting my first break.
So don’t lose hope and be patient, it’s a competitive field, and you are battling against many talented artists.
I hope thought this article, How To Become An Animator in India? I was somewhat able to help you with this article. And, I’ll request you to please subscribe to the website to show support and learn about this wonderful art.
“I think it’s important to have a good hard failure when you’re young. I learned a lot out of that.”
― WALT DISNEY
When Yash Raj Films collaborated with Walt Disney for Roadside Romeo movie, it was hailed as the first film of its kind and was seen as a project that would pave the way for animation films in India and raise the bar for artistry and innovation.
It’s a movie about Romeo, a rich dog who is abandoned by his owners. He then finds himself embroiled in various situations and even ends up falling in love. It’s a romantic comedy, a genre in which both YRF and WD are undisputed champions.
But despite massive brands, big star-cast, a generous budget, and decent animation, Roadside Romeo failed to woo audiences.
So what went wrong with Roadside Romeo movie despite all the technical amenities?
Well, the important factor behind its downfall is that the creators lacked the insight to look beyond the technical and concentrate on one of the most vital components of movie-making i.e., THE CHARACTER ARC AND RELATABILITY.
So what is a character arc?
“It is a transformation or inner journey of a character over the course of time. In other words, the character begins as one sort of person and gradually transforms into a different sort of person in response to changing development in the environment.”
This is where Pixar is great at because every movie they make, they tend to give the protagonist’s emotional journey equal importance as the outer. The character we see at the beginning of a film will be a radically different person by the end of it.
All great artist is aware of this metamorphosis a living being undergoes during an existence, so they always try to incorporate this in their creative work some or the way, whether it’s movies, novels or even in music.
Take, for example, the album “THE WALL” by Pink Floyd.
The songs in the album constitute a rough storyline of incidents in the life of the protagonist, Pink, whose father was killed during the Second World War. Pink is abused and tormented by the people around him. All of these traumas become metaphorical “bricks in the wall.”
The protagonist eventually becomes a rock star, but his relationships shatter due to his controversial lifestyle. As his marriage decays, he finishes building his wall, forming his detachment from human contact.
Hidden behind his wall, Pink sinks into a deep depression. In order to get him to perform, a doctor medicates him. Upon recognizing the horror of what he has done, Pink becomes overwhelmed and wishes for everything around him to cease. Showing human emotion, he is tormented with guilt and places himself on trial, his inner judge ordering him to “tear down the wall,” opening Pink to the outside world.
As the listener, we can clearly see the dramatic shift in Pink’s perception and nature, even through songs and music.
And Roadside Romeo simply failed to understand this basic principle, as from the beginning to end, the protagonist didn’t show any changes in his personality despite changing circumstances.
Even when he is abandoned by his owner and thrown into the world of isolation, or yet when he faces his nemesis to wipe the slate clean.
Also, the makers didn’t give the audience enough reasons to care for the protagonist, even though there was enough time to build it.
For instance, instead of showing his lavish lifestyle as the opening sequence, it would have been great if they would have displayed his struggle to come to terms with his new unfortunate ordeal and give the audience a chance to empathize with him.
But what surprises me about this movie is that it’s created by YRF, a studio responsible for producing one of the greatest romantic Bollywood movies of all time “Dilwale Dulhaniya Le Jayenge.”
Even though the plot is a typical boy meets girl clichéd one, we can plainly see the development in Raj’s character both emotionally and externally. As he transforms from reckless spoilt brat to a mature and responsible person and travels across the oceans all the way from London to India for his love.
And due to this inner and outer transformation, we got involved with him and, in a way, became a part of his journey. His life became our life, his problems became our problems, and his success became our success so as his failures.
Now, that’s good storytelling due to good character arc.
And with Roadside Romeo apart from him being left alone, there was nothing much going with him. As throughout the movie he was shown as an epitome of perfection, who is a great hairstylist, singer, dancer and is good with “bitches” (literally).
In the end, when he does show some emotions to save the bad guy, it comes across forced as his actions clearly lacks the motivation to do so and it was too late for the audience to root for him. But even after that, he goes back to who he was in the beginning of a film, a careless playboy.
The audience doesn’t want to see this, they want to view these characters cope with the human experience through these films, an experience with which audience members can identify.
Observers see a part of their own reality on the big screen through these figures, as we know that nobody is perfect.
This is what makes the characters so relatable and inspirational to the viewer, and that’s one reason why superhero movies are so big amongst us because we see the inner struggle they go through despite gifted with powers beyond human abilities.
Because we see their vulnerability to deal with the change surrounding them, and because we see their lack of control over certain circumstances, “JUST LIKE US.”
So, what are your thoughts on Roadside Romeo movie? Please share your comments below.
Also, through “The Faults In Our Art!” blog series, we will explore the various factors responsible for poor quality of Indian Animation as an art. So I request you to please have a look the section (by licking here) to learn more about this wonderful subject.
