CHP 13: The Women Power

CHAPTER 13

THE WOMEN POWER

AND WHY DO WE STRUGGLE?

“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)

December 8, 2021December 8, 2021

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)

November 28, 2021November 28, 2021

CHP 09: The Storytelling And Why We Struggle?

CHAPTER 09

THE STORYTELLING

AND WHY DO WE STRUGGLE?

“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.

Golmaaal Jr. — 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)

November 21, 2021November 21, 2021

CHP 08 THE INDIAN AUDIENCE AND WHY WE STRUGGLE?

CHAPTER 08

THE INDIAN AUDIENCE

AND WHY DO WE STRUGGLE?

“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.

The faults in our art — People vector created by pch.vector – www.freepik.com

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.

The indian audience — 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.

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)

November 14, 2021June 13, 2024

CHP 07 ROADSIDE ROMEO MOVIE AND WHAT WENT WRONG?

CHAPTER 07

ROADSIDE ROMEO MOVIE

AND WHAT WENT WRONG?

“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.

November 5, 2021November 6, 2021

CHP SIX HANUMAN MOVIE (2005) AND THE ART OF APPEAL PART TWO

HANUMAN MOVIE

AND THE ART OF APPEAL PART TWO

“Hanuman is like a super superhero. We have tried to go beyond Superman,”

― V.G SAWANT, DIRECTOR OF HANUMAN

So in the previous article, Hanuman Part One, we learned about the first six principles of animation that made Hanuman a movie to remember, right from the squash and stretch to ease and ease out.

Now, let us continue to peek behind the curtain of the animation process and proceed with the seventh and one of the most vital principles that make the animation look so realistic, and that is “THE ARC.”

7-Yes, one thing we will see around us is that most natural moments tend to follow an arched trajectory, and that is also true for animation as it adheres to the laws of physics.

This can be seen in our day to days lives by just observing our limb movements, or by merely following the visual path of a bouncing ball.

An object in motion that moves out of its natural arc for no apparent reason will come across as mechanical, stiff, and erratic rather than smooth, which can work for robotic characters.

But, for the rest, it is essential to respect the principle of arc added with ease in and ease out with a little bit of squash and stretch to make the action look authentic and fluid.

And to add more life in your characters, our eight principle plays a crucial role in it, and that is a secondary action.

8-The job of secondary action is to support the main action, and it helps to add more dimension and personality to your character.

Hanuman’s tail is an excellent example of characterization through this principle as we can see that it can move freely from the rest of his body, and it gives a little insight into his feelings and emotions, which can also be examined through our next principle, and that is “Timing.”

9-Alright, like the art of magic, Timing plays the most crucial part in creating the best illusion that can awe the audiences.

In general, Timing refers to the number of drawings or frames for a given action, which translates to the speed of the action within the scene that gives meaning to the movement.

It is divided into two parts; the first is the physical timing, which is determined by the weight and the mass of an object and gives you the idea of the material of the object.

For example, if you throw a paper ball and a rubber ball, both things will travel at a different speed and reach their destination at a very different time frame.

The next is the theatrical timing, which is behavioral and determined by the performance of a character or object. This can be observed through the way a character moves, which brings out its unique personality that can be pushed further with the help of our tenth principle, that is, Exaggeration.

10-When we hear the word “Exaggeration,” we think of something that has been pushed or amplified to a greater extent. And the principle of exaggeration is exactly what the word stands for, and it is used to increase the amount of impact on the viewer.

Because in animation, the closer you are to a realistic movement or expression, the duller it looks, so in animation, we take a different approach and raise the intensity of broader actions, enhancing the emotions and making the expression look as large as possible for better clarity and entertainment.

You can see the difference between an exaggerated one as compared to a realistic one in the image below to understand what a huge difference this principle can make in the entertainment quotient of animation.

While you can take the creative freedom to push the boundaries of an action or expression, but you still have to respect the limits of our anatomy and stay accurate that can be achieved by our eleventh principle, Solid drawing.

11-The principle of solid drawing means taking into account forms in three-dimensional space or giving them volume and weight as it will give your character a sense of tangibility.

In other words, it is about making sure that your character has a clearly defined body structure consistently without losing its sense of weight, balance, anatomy, shadow, light, etc.

The structure need not have to be completely realistic, but it has to be believable. And it is this believability that is absolutely important to achieve our last principle, the Appeal, the culmination of everything we learned so far.

12- THE ART OF APPEAL

So when you saw the movie Hanuman what was the first thing that instantly pleased you. And I am sure most of the people will say that the Character design of the baby Hanunam was cute beyond measures.

Yes, and that is where the principle of Appeal comes into the picture. It is a technique animators use to make their design stand out.

Although it is very subjective in nature, but one thing is sure that animated characters should be pleasing to look at, and just like live-action actors, they need to have some charisma into them.

And oh boy, the baby Hanuma’s character is a perfect example of it as the audiences we quickly captivated by its attractive design and animation backed by good storytelling and direction.

Hanuman’s entertaining movements and unique style were perfectly complementary to its physical traits like chubby cheeks, big innocent eyes, anatomically accurate body structure. And if you can pull that off all together, then you have a design that is appealing in every sense.

And it’s because of Hanuman’s watchability and attractiveness this movie left a significant impact not only on the animation industry but if you notice, since its release, even live-action series and films depict Hanuman’s character inspired by VG Samant’s version.

You will see the traces of it everywhere, in children’s fancy dress parties, other animated shows, festivals, comic strips, etc.

Such was the influence of Hanuman that left a massive legacy behind it that we are still struggling to replicate in terms of the blockbuster success, quality, and, most importantly, its Appeal.

March 13, 2021March 14, 2021

CHP FOUR: CHHOTA BHEEM: AND WHAT MAKES IT SO BIG?

“ Pogo was exploring to shut down the channel, and I too had had a long journey with failures by then. A lot was riding on Chhota Bheem.”

― RAJIV CHILAKA, CREATOR OF CHHOTA BHEEM

For the USA, it all started with a dream and a mouse back in 1928. Since then, the animation industry’s journey over there has been no lesser than a fairy tale story.

Whereas in India, it all started with a dream and a couple of deer in 1957 when “The Banyan Deer” captured the attention of our audiences. But soon, the dreams of the illusion of life faded away like an illusion itself, and the Indian animation industry never came into the picture despite the massive success of international shows in the coming years.

Until Chhota-Bheem debuted almost a decade ago in the midst of an era where international heroes like Spiderman, Batman, Supermen once again started to regain their powers and control over the audiences.

Both DC and Marvel are filled with thousands of heroes, each with their own story, characteristics, and decades of evolutionary enhancement. And despite the vast popularity and better technicality of international superheroes, our local boy managed to pave its way and become a fan favorite amongst kids. So what it’s about Chhota-Bheem specifically that resonated with kids so well and makes it so big?

Created by Rajiv Chilaka, Chhota Bheem debuted on Pogo in 2008, a channel struggling to survive at that time. Despite facing constant rejection for years, the network decided to take a chance with it, and they gave it a green signal, or should I say, “Green Gold” signal. And it’s Chhota Bheem’s practicality, simplicity, and psychological connectivity that helped him to resonate with our children so well. And it became the brand that it is today.

It’s a show that redefined the conventional superhero genre by understanding the kid’s state of mind and impatience for origin stories. As it can be boring to watch sometimes, even as an adult. Kids want to see things and people in action, and that’s what Chhota Bheem provided right from the go.

Every kid secretly dreams of being a superhero, and Chhota Bheem was a character that provided that hope without being preachy. It’s a character who likes to hang-out with friends, eat sweets, and fight bullies, things that most of the kids long to do. And yes, he doesn’t have to bear the burden of education either, which can be controversial to term as a positive trait, but it’s a dream come true for many kids.

The idea that you don’t need technology, money, fancy clothes, genetically gifted parents, or be a victim of some scientific experiment to have the superpower empowers the kids to utilize what they already possess and stay grounded to their roots.

And the most crucial factor is that Chhota Bheem deals with his own problems despite being small. And unlike other superheroes who are dealing with the complexity of their dual identity, Chhota Bheem takes a straightforward approach to be himself all the time. Which makes it easier for kids to empathize with him without keeping track of multiple issues that other heroes go through.

Another vital element Chhota Bheem has is that he is a guy with good intentions. He does not have any selfish motto behind his undertakings. He is a guy who will help and fight any evil for society without expecting anything in return. He is an epitome of a friend we all need and wish for. Someone who is always there for us, someone on whom we can depend, someone who can help us to sail through the obstacles life throws at us.

But as they say, “With great powers comes great responsibilities.” Even though Chhota Bheem managed to stay in our hearts and transformed into Super Bheem. Somewhere down the line, the good-spirited boy needs to grow up as a character if he wants to continue to endure amongst the lights of other great Superheroes.

A year ago, I got the opportunity to work on the new season of Chhota Bheem. And on the honest note, because of Bheem’s iconic image, he is trapped under so many moral codes of conduct that, as a writer, it takes the fun element out of it.

Just like Superman, Chhota Bheem is the epitome of perfection and is truly invincible. But Superman at least has a Kryptonite to fear. With Chhota Bheem, he has no such weaknesses to explore; no internal flaws or external forces could defeat him. And that is one reason adults have difficulty relating to it. Because for many, character’s shortcomings make them human and exciting to watch.

And these qualities of perfectionism aren’t just limited to the main protagonist of the show. If you observe carefully, even his friends are incorruptible, loyal, well-behaved. And one thing I really found strange to deal with is that they don’t have their own opinions, never oppose Bheem’s views and blindly follow his orders. All these things really make them come across as flat in terms of personality traits, and it is hard to distinguish their unique qualities.

But as a writer, I love to take challenges and, so in many episodes, we managed to find a way to make Bheem and his team look helpless and made them go through situations that we as humans can resonate with.

For example, in one of the episodes, I took away Bheem’s luck factor that made him a victim of series of unfortunate events. Right from something as trivial as tripping on a banana peel to something as bizarre as getting swallowed by a giant anaconda to something as painful as getting struck by lightning (twice).

All these scenarios give the episode a refreshing touch. And it will be surprising for loyal fans to see Bheem struggling with daily activities. It was an excellent opportunity for me to execute what I always felt the show needs to incorporate to take it further. And despite my initial doubts, fortunately, the Green Gold and Turner team gave their approval to it, and I am very thankful for it.

Another major challenge with Bheem and the team is that they are ten-year-old adults. Yes, I hardly see them making the mistakes that children of their age will commit. They rarely ever make fun of each other and deals with any obstacles like a fully grown adult. I understand that all these factors are actually the USP of Chhota Bheem and made it a success today.

But the same reasons make it hard for the writers and animators to work a gag around the main characters and are restricted to show them in a good light all the time. I understand that Chhota Bheem is a huge brand, and the creators are playing it safe with it. But they need to stop taking it so seriously, and they need to have fun with it.

Let the Characters sometimes act according to the situation rather than what the guidelines expect them to act. Let them alter their approach towards the problems, let each one of them have their own opinions, let them work around their differences. And, most importantly, let them be kids, which will make them unpredictable and exciting to watch, even for adults.

It’s been more than a decade since Chhota Bheem aired on TV, and we didn’t see any development in his or his friend’s core values, conducts, and psychology. What we really need to understand is that the reason why heroes like Batman, Superman, Spiderman continue to entertain, educate, and inspire us is that they evolved with time.

Just like us, these characters learned from their mistakes, worked on their flaws, and dealt with issues that we, as growing adults, can relate to. They continue to make us aware of the fact that life isn’t as easy as we think. And sometimes, we need to make a decision that might not satisfy everyone. Sometimes we need to make selfish choices. Sometimes we need to hide behind a mask for the wellness of our loved ones, and sometimes even superheroes need help.

I understand that Chhota-Bheem is for specific target audiences, and it’s perfect in its own sense. But it will be great to see our little one growing up, just like we all do in life.

What are your thoughts on the show, do share your valuable opinions in the comment section below?

This was the fourth chapter of the series “The Faults In Our Art!” do check out others by clicking on the given link.

And I request you to please subscribe to my blog by filling the form below? 🙂

March 7, 2021October 5, 2022

CHAPTER 03 RAMAYANA: THE LEGEND OF PRINCE RAMA AND THE BATTLE TO RELEASE IT

“Anyone can tell a story because Ramayana is a plot-oriented tale, but the key to Sako is that he finds humanity in his characters.” ― Krishna Shah, Co-Director, Ramayana

Anybody who grew up in the ’90s will recognize the animated film Ramayana: The Legend of Prince Rama, which was made as a part of the 40th anniversary of the India-Japan diplomatic relationship. This mythological tale was recreated and Directed by Yugo Sako along with legendary Indian Animator Ram Mohan.

The Hindi version featured dubbing voices of many big stars, including Arun Govil as the voice of Rama, Legendary Amris Puri as the voice Ravana and powerfully narrated by Shatrughan Sinha, added the interest in the audiences.

And after its release, it left a tremendous impact on a generation who already had a set perception about this sacred text through one of the most popular television shows in the history of the Indian entertainment industry that aired on Doordarshan.

And miraculously, the anime managed to create its own identity with its fusion of U.S., Indian, and Japanese style animation, brilliant screenplay, impeccable characterization, design, camera angles, and, more importantly, by staying respectful towards its cultural significance in the Indian civilization that managed to capture the attention of both kids and the adults.

But just like the actual tale of Ramayana, the movie also fought an epic battle for its existence and survival to reach its viewers. Yes, the creator of the film has to overcome various forces, to turn this religious work of stunning antiquity into an animated movie. So let’s have a brief look at Yugo Sako’s journey into the sacred world of Indian mythicism and his sincere efforts to make this animated retelling of an iconic story.

It all began when Yugo Sako was working on “The Ramayana Relics,” a documentary in 1983; he was so highly enticed into its spiritual theme that he researched more in-depth into the subject and went on to study 10 versions of Ramayana in Japanese. After extensively researching the epic mythology, he aspired to adapt it into animation. Because he didn’t think a live-action movie could depict the true essence of Ramayana, “Because Ram is God, I felt it was best to depict him in animation, rather than by an actor.” Said Yugo in an interview.

And that’s when the struggle began.

A leading newspaper misunderstood Yugo Sako’s documentary and wrote that he was altering the Ramayana. Soon after that, a protest letter based on the misinterpretation from the Vishva Hindu Parishad was received by the Japanese Embassy in India’s capital. Which said that no foreigners could arbitrarily cinematize Ramayana because it was the great national heritage of India.

After the misconceptions were clarified, Yugo Sako suggested the idea of an animated Ramayana to the VHP and the Government. He told them that animation was an earnest art form in Japan, and it would help bring the Ramayana to a broader global audience.

The Government agreed initially but later declined his proposal for a bi-nation collaboration, saying the Ramayana is a very sensitive subject and cannot be portrayed as a cartoon. Also, the fact that the movie was being made at the height of the Ram Janmabhoomi movement added to the controversy and axed the prospects of producing it in India.

With no choice and support left, The movie was ultimately produced in Japan, with nearly 450 artists from both the nation contributing to its creation. Indian animators guided their Japanese teammates with Indian customs and traditions depicted in the film, like how dhotis are worn and how the children receive blessings from their elders.

Now when the production process was sorted, the quest was to take it to a global audience. After eight months of negotiation, Yugo finally convinced a big Hollywood studio to release it to U.S. audiences.

But next came the tricky part: The studio wanted to alter the storyline, sending Ram and Sita into the forest for their honeymoon and substituting the entire myth of fourteen-year exile or Sita’s abduction. They wanted to turn it into a straight adventure concept despite it being a perfect plot in all sense. The producers and Yugo disagreed with it and parted away with the studio as it was clearly against their sensitivity, which eventually prevented it from gaining a wider release.

This whole saga is such a great example of choosing art over commerce. Sako precisely understood the sentiments attached to it and devoted a decade of his life to bringing this eternal mythology on the big screen. Sako believes his exposure to India has taught him to see the larger picture rather than worry about short-term goals. In an interview, he said, “If I pass away, then this work can be done by others, and if I die, I can be reborn and continue the work.”

So the current generation of artists needs to learn from Yugo Sako’s work ethics and should not easily bow down to the demands of commercialism. The passion portrayed by him is something that needs to be embraced by each one of us that will eventually reflect into our movies and shows and will assist us in doing better artistic work.

The biggest lesson for Indian animators here is to learn the importance of patience to do justice with our art, especially when dealing with such divine subjects. In India, we often see that we really underestimate the importance of detailed research and are more focused on delivering the half-hearted output that eventually gets the half-hearted response from the audiences. This approach of quantity over quality has been a big hurdle on the path of our animation that needs to address as soon as possible.

Sako taught us that in our pursuit of purpose and goals, just like Prince Rama and Mighty Hanuman, we will face the demons, but it’s essential not to compromise with our morals and ethics and continue to walk towards the bigger vision we have. Indeed, it is such a kind of dedication from an artist that influences a generation to come. It is such a kind of commitment that helps to overcome obstacles and hurdles in the creation process, and it is such kind of devotion that makes the art and the artist immortal, just like the real “Ramayana.”

Do make sure to read other articles in this series by clicking on the link: The Faults in our Arts!