why indian animation is bad? Archives | Page 2 of 2

November 2, 2021November 5, 2021

CHP FIVE: Hanuman And The Animation Principles.

Hanuman

And The Animation Principles PART ONE.

“ Live-action performers have charisma, an animated character has appeal.”

― FRANK AND OLLIE, THE ILLUSION OF LIFE

If I’ll ask you to go down memory lane and choose one Indian animated movie that you absolutely loved watching and adored as a viewer.

Then most probably, the one film that will instantly appear in your mind is none other than “Hanuman” released in the year 2005, directed by V. G. Samant and produced by Percept Picture Company and Silvertoons.

Hanuman, by far, is said to be the best full-length animated feature film in India, and no other movie managed to attain the popularity and success as it did.

As soon as the movie hit the silver screen, we were immediately swept away by the flawless direction, exquisite animation, and iconic characters.

And on top of that, the end credit song Mahabali Maharudra sung by Sonu Nigam and Kailash Kher adds a sense of inspirational touch to the film that helped it to establish its sound identity, making it a complete family entertainment.

We have all the reasons to love this movie as it possesses all the elements of a blockbuster. But what makes it so unique, and why no other film is still able to re-create the same supernatural experience and power we felt with Hanuman despite the age-old storyline we grew up hearing or watching.

And the answer to that question is “THE PRINCIPLE OF APPEAL.”

Animation works on some essential tools and mechanisms known as “The Twelve principles of animation” that were first led down and published in the animation Bible “The illusion of Life.” Written by Frank Thomas and Ollie Johnston, two of the key animators out of nine old men at Disney during the Golden Age of animation.

The animation principles they presented in the book have a universal framework that can fit in the mold of any design and process and has been used since then in the art of animation.

Before we try to comprehend how the principle of appeal contributed so immensely to the success of Hanuman, let us first have a brief look at all other animation principles to have a better understanding of the working process of this craft for everyone interested in exploring the groundwork needed in this discipline.

1-Lets us start with the most versatile and fundamental techniques called Squash and stretch.

The purpose of squash and stretch is to provide a sense of weight and flexibility to drawn objects like something as simple as a bouncing ball or more complex constructions, like the musculature of a human face.

In simple words, this effect gives animation an elastic life-like quality to imitate the real-life quality of a distorted object when it is acted upon by an outside force, but with a hint of an exaggeration to give it a comical effect.

2-Next comes to the animation principle of “Anticipation” which helps audiences to prepare for what’s about to happen.

For example, imagine you’re about to swing a cricket bat. What’s the first thing you do? Do you pull your hands back to wind up? Twist your shoulders in the opposite direction? That’s anticipation!.

As the action in animation can be very fast that can be missed and can get unnoticed. Anticipation draws the viewer’s attention and enables them to clearly see the character’s action and understand what the character is planning to do so that each movement does not come as a sudden surprise.

3-And every action the character undertakes should be carefully matched within the scene with the support of the next principle, that is, “Staging.”

Now, staging isn’t just limited to animation; it’s a core part of any artwork and filmmaking. Its purpose is to direct the audience’s attention and make it clear what is the most important thing in a scene that effectively advances the story.

In simple terms, it’s the combination of the position of the camera angles, colors, contrast, characters, and the props we need to show within the scene and blurring out what’s not important.

4-Once the stage is set, we move forward to the next animation principle, called “Straight Ahead Action and Pose-to-Pose.”

Now, this principle is related to actual work that goes into animation and deals with the technical aspect of it, but it’s relatively simple to explain. There are two ways to animate anything; the first is the Straight ahead method.

In this approach, animators draw each frame of an action one after another from start to finish. Whereas in the pose to pose way, animators draw the extreme poses, that is, the beginning and end drawings of action, then they go on to the middle frame and start to fill in the frames in-between.

5-And once the key actions are choreographed, follow-up movements are added with the help of the fifth principle, called “Follow through and overlapping action.”

This is the part where the laws of physics are obeyed, which help to render movement more realistically. The basic idea behind this is that when an object or a character stops after being in motion.

The loosely attached part of the body, like long hair, clothes, and hanging accessories, will continue to move beyond the stopping point of the main object or character and take a longer time to settle down and come into a state of rest.

6-The follow-through and overlapping action really help to make the motion look organic, which is assisted by the sixth animation principle called “Ease in and ease out.”

Ease in is a slow acceleration into motion, and ease out is a slow deceleration of that motion. The simple way to understand this principle is by imagining how a car works. It will start moving slowly, before gaining momentum and speeding up.

The opposite will happen when the vehicle comes to a stop. In animation, this moment is achieved through the proper spacing of the frames that is the distance between each frame.

For example, if you look at the picture below, you will see that more lines that represent the keyframes are drawn near the beginning and end of action, and very few in between them.

This effect helps to achieve more real-life-like motion, which, if blended with our next principle, works very well that we will have a look at in our next chapter.

Yes, the animation principles laid down here are just halfway road leading to the destination we need to arrive at. But there are a lot more subtleties and world-building we need to explore to achieve the experience the creators of Hanuman undertook to make it so memorable.

So I will encourage you to read this chapter once again until you grasp it to the fullest before turning the page to the next chapter that will reveal the following six animation principles without which animated movies wouldn’t be what we see today.

March 29, 2021March 29, 2021

The Snyder Cut: And The Vision Of An Artist!

So finally, after years of constant demand and protest on social media by DC fans around the globe, “The Snyder Cut Justice League” is out. And fortunately, this version has managed to undo the damage caused by the theatrical release in 2017. A film that caused more grief to our heroes than all the villains combined in the history of the DC universe. But now, the Synder Cut has lifted the burden from the shoulders of our esteemed protagonists and cleared the stain caused on their characters.

But in this article, we are not going to compare the two films as the reviews are out, and everyone can clearly see the impact it has been creating since it went online. Audiences and critics alike are showering praises on this new 2021 release, and everyone seems to feel a sense of relief as all the hard work has been finally paid off. So instead, we will emphasize an essential aspect of any art form that needs to be cherished by those around the creator, and that is “The Vision of An Artist.”

So much has been written and said about Zack Synder’s fallout with Warner Bros and how he was constantly interrupted by the management to alter things according to their terms and conditions. And I am not even stating on Joss Whedon’s arrival but things that were happening way before Zack decided to walk away. Initially, everyone was on the impression that Snyder left the project due to the unfortunate demise of his lovely daughter. But recently, he admitted in interviews that he was at loggerhead with producers almost from day one. But my question is, WHY?

Yes! Why do people who are supposed to oversee the finance, amenities,
standards, practices, etc., exhibit the need to interfere between the artist and his vision? Sure I agree that they have the best intention to make the product marketable and keep it out of any trouble. But why would someone who has no creative background feel the need to pierce their creative perspective into a vision of someone who has already proved their abilities to heighten the audiences’ experience through their take on things?

But this isn’t the first time such a thing has happened and probably won’t be last as most artists deal with it all the time since the dawn of professional artistry. We have been programmed to believe that customer is king or client is always right, because of which most artists have no choice but to compromise on their artistic values and alter their approach towards the work. I understand that many won’t have any issues with it as in the end, our motto is to make the clients delighted.

But my question is, shall the same principles need to be applied to an artwork meant to be made by larger audiences than a specific client?. Because in this case, the end client is the audience and not executives sitting across the board. Sure, an artist isn’t going to deliver a masterpiece every time they paint the canvas. But at least they have the in-depth knowledge of shades of their work and knows how to get the best out of it, especially if they have a proven track record.

Executive and Producer’s inputs are vital and need to consider respectfully as a lot is at stake with such a big-budget project. But at the same time, they need to respect the artist’s vision as well and give them the creative freedom required to make a better commodity. Imagine if the artist starts taking a call on the finances and what if it justifies the need to show blood in a kids movie. I am sure he will be immediately shown the way out cause of obvious reasons.

Just like that, non-creatives shall not be liable to decide which scenes are suitable in the context of the story and which ones shall be axed as long as it follows the norms of standards and practices. Like it happened with Batman and Joker’s Knightmare scene as the studio wasn’t pleased with its inclusion. On the other hand, Snyder precisely knew why he needs that iconic moment in the narrative of this epic mythology. And guess what, it turned out to be the most talked-about aspect of the whole Justice League Saga.

And this is just one instance; there are many such incidents where the artists were not given the creative liberty to pursue their vision, which eventually blinded the whole project. A couple of such examples are Edger Wright’s departure from Ant-Man and Patty Jenkins, quitting the much-maligned Marvel sequel Thor: The Dark World, all due to the classic “Creative differences” melodrama. Sure, some decisions work in favor of the studio, but in-case an artist goes away in the middle of the project, it gets way complicated for the other person to fill the shoe as it happened with Justice League.

The authorities need to understand that art can’t be commerce-driven but needs to be molded with feelings and emotions. That’s what separates it from the business. That’s what makes these fictional characters so relatable despite their superhuman persona. That’s what the superhero genre has become so vast and integral part of our pop culture because few artists created them with all the love and affection, away from the greed and need to make it market-friendly.

And it is always going to stay that way when it comes to art and the artist’s passion for their craft. No money, no strategy, no market can replicate that, and it’s high time to realize this essential truth of creative endeavors, which is once again proven by Zack Snyder.

“The Synder Cut is just not a directorial take on a film, but it’s a huge statement made by an artist struggling to get things done by his vision. It’s a revolutionary moment in the history of any art form that demands to break the shackles tied around artists’ wrists. It’s vivid evidence of what could happen if the original creator has been given the freedom to follow his or her heart, all for the sake of making an inspiring art. Think About It!”

Do you agree with this article, do share your perspective in the comment section below. Also, do read my take on similar struggles faced by Indian artists in the section “THE FAULTS IN OUR ARTS!

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!

February 24, 2021November 24, 2021

Jobs In The Indian Animation Industry!

The Funny Side of Indian Animation Industry: Advice for budding artists for getting into Indian animation.

Finding jobs in the Indian animation industry can be challenging. And if you are an aspiring, young Indian animator, life isn’t fun for you at all. Just a few years ago, you had a dream of a glamorous, fascinating, playful career in your heart. You nurtured it, you believed it, and most of you had also achieved it by getting a job in a studio or company.

Bingo! You had your dream come true, experiencing the best day of your life. Finally, you have proved to the world, especially your parents, that you can face the world on your own without knowing that flames of delight will diminish quickly. And if you haven’t experienced it yet in your life, then ask your dream to wait for some time.

How much? Well, it could be a day, a month or years, who knows? It’s a funny business, after all. Anybody who works in the indian animation industry like I do or will tell you to reconsider your career prospects if you still have time in your life.

But I know it isn’t that easy when you have so much passion for this field. You have always envisioned yourself as an animator or an artist. And more than anything else, you have to recover those green bucks invested in self-proclaimed 100% job guarantee institutes and animation programs.

So what to do now? Well, in my opinion, and many experience talented animators that I work with, we have quite a few options with us to deal with it:-

•1) Change the field: –

If you are not passionate enough about animation, this isn’t a thing for you in the first place anyhow. So the wisest thing to do for you probably will be to pack your bags and move on.

Find your true passion and work on it. You have nothing to lose here except those green bucks, but once you find your true love, money won’t matter at all, and you will earn it back in no time without much effort.

•2) Keep patients: –

If there isn’t anything much you can do about it, then the best thing is to hang on and wait for the tide to turn. Especially when you don’t have added responsibilities on your shoulders.

Spend your time learning more about this art and try to improve each and every day. If possible, spend few more bucks on those reputed animation programs available online.

Many of them can give you valuable insight into this market. It also helps you increase your network on the international circuit. So keep patience and play the waiting game and remember, “Patience is bitter, but its fruit is sweet.

•3) Be the change: –

As the famous quote from Mahatma Gandhi goes and I quote,

“You have to be the change you want to see in the world.”

The world is unfair, and we have to accept it no matter what. There will be obstacles in our way, and some of them will be intemperate to deal with.

The more we will try to fight, the more there will be an equal and opposite reaction.

So the best advice for us comes from the movie Rocky Balboa,

“Just get hit and keep moving forward.”

We can’t just hinge upon our company to pay us for our daily requisites. We have to keep doing what we love and find an alternate source of income along with it.

By changing the field, I mean changing it for a particular period of hours in a day. This will help us to fulfill our necessities to some extent; a part-time job, an online business, or freelance work is the best option. Because it’s not just about our passion, it’s also about our responsibilities towards our near and dear ones as well.

The things I have elaborated on in point number 2 also apply to all of us, whether you are a newbie or an experienced artist. As they say, we should never stop learning. Well, I won’t stretch it as you are intelligent enough to understand it. And as we accept the first two points in our lives, we automatically become the change we want to see.

Hope it will help you to cope with the situation and make a wise choice for your life. And as far as our industry is concerned, things seem to be improving for good compared to a few years ago. With sound management and government support, things can turn positive. People like us can continue doing what we love to do with rightful returns.

Till then,

“STAY ANIMATED STAY MOTIVATED “!

And If you want to know more about the challenges in our industry, do read the segment “The Faults in Our Art!”

February 23, 2021February 11, 2022

Why Is Indian Animation Bad?

Why did I start this blog?

Some time ago, I felt the urge to expand my knowledge about Indian Animation and was shocked to see that there is no single book available so far on this topic. So, I decided to write one, titled “Indian Animation and The Faults In Our Art.” But unfortunately, it didn’t get any publishing deal due to the nature of the subject. So instead of going to a self-publishing route, I thought of converting the content into this blog so that it can reach the maximum number of people for free, and I can always keep on updating it with changing times.

Now the vital question? Why did I write my unpublished book in the first place? Well, that’s because, over the years, I have witnessed that Indian Animation has not made enough progress to make a mark in this world.

You see, the animation is undoubtedly the most flexible form of film-making with the ability to go beyond the expected. 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.

And the most crucial question is, “Why?”

Why countries like the USA, Japan embraced this art and have managed to turn this medium into full-fledged family entertainment. Whereas in India, it is still looked down on as purely a children’s genre and is ignored by almost all adults. But more importantly, why don’t we shy away from investing our time and money into watching International films like Kung-fu Panda, The Incredibles, but won’t even think of walking into the theater to watch domestic Animated movies?. What makes Disney, Pixar, and Ghibli so successful. And what is that we need to adopt from them to grow and prosper in terms of art, style, commerce, and entertainment.

Through this series of articles, we will explore answers to all these questions and debunk the mysteries behind the success of western and Japanese animated films and the struggle behind our industry. With each chapter or article, we will look at some fundamental and deeply rooted faults in Indian content, things that have worked for us, and things that have led to the downward slope of the art of animation.

As an animator, as a writer, and more importantly, as an audience, my intention behind writing this book or blog is to help the budding generation of artists, industry professionals, and everyone interested in the medium to learn from our past, fix our present, and take a leap into the future. And hopefully, together, we can support our beloved art to earn a respectable place in the business of family entertainment.

When you read these articles, read them as if you are reading a book. I have divided the section into three major parts:

-The Past:

Here, we will witness the journey of Indian animation and what worked and did not work for us.

-The Present:

Here, we will analyze the current state of our art and the reasons for its downward curve.

-The Future:

Here, we will discuss the destiny of our art, and I will share some vital bits of advice for budding artists that will help them to thrive in this industry.

Each section has some interesting chapters mentioned below.

THE PAST: And the Story of our Art!

-Chapter One: The Brief History: And the rise and fall of Indian Animation.

In this chapter, we will shed some light on the journey of Indian animation, right from its inception in shadow forms to the silver screen, and learn about the people who contributed towards making this industry what it is today.

-Chapter Two: The Jungle Book: And what makes it the best show ever?

The Jungle Book is undoubtedly the most popular show in the history of Indian Animation. In this chapter, we will learn about its impact on our generation and what made it so successful.

-Chapter Three: Ramayana: And the struggle to release it.

Like the hugely popular Tv show Ramayana, the animated movie brought a revolution in Indian Animation. In this chapter, we will learn about the struggle behind making this movie and the sacrifices the creators of this movie made to release it.

-Chapter Four: Chhota Bheem: And what makes it so big?

Chhota Bheem is another household name, but have you ever wondered what makes it so big? In this chapter, Let’s look into the psychology of Chhota Bheem and reveal the secrets behinds its fame.

-Chapter Five: Hanuman: And the art of the appeal. Part 1.

This movie instantly made an impact on our viewers, and in these chapters, we are going to decode some of the secrets behind its success with the help of animation principles.

-Chapter Six: Hanuman: And the art of the appeal. Part 2.

This chapter will continue to explore fundamental animation principles that will help our readers to know the groundwork it takes to create these beautiful illusions of lives.

-Chapter Seven: Roadside Romeo: And what went wrong?

The stage was set for Roadside Romeo, and it was released with huge expectations, but unfortunately, everything went downhill. So in this chapter, we will explain what the makers of this should have learned from their famous movie DDLJ.

The Present: And the Faults in our Art!

-Chapter Eight: The Audience: What is an art without its audience?

And this chapter will focus on the roles our viewers can play to bring the change we want to see.

-Chapter Nine: The Story.

In the end, it all comes down to a story that can make or break the art. So in this chapter, we will learn about the fundamental issues with our storytelling and what we can do to improve it.

-Chapter Ten: The Sense of humor:

Animation and comedy go hand in hand, but for some reason, our shows seem to be deprived of humor. So let us learn some tricks and tips that could put a smile on our kid’s faces and know the secrets behind the funny business of western animation.

-Chapter Eleven: The Missing Link:

This mysterious ingredient is one major reason our animation lags in many aspects. If we can manage to implement it soon, we will have Indian animation spreading on the global stage.

-Chapter Twelve: The Copy of a Copy:

Another factor why Indian animation doesn’t hold high standards in the eyes of our adult audiences. So in the chapter, let us learn the art of stealing and implementing it wisely without getting caught.

-Chapter Thirteen: The Women Power:

When the whole world is advocating for equal opportunities. But animation still seems to catch up in this department despite the need for women’s participation has been more than ever before. So in this chapter, let us reflect on women’s working conditions in the animation industry and the need for their empowerment.

-Chapter Fourteen: The Budget:

This is one major hurdle keeping our art behind. So let’s have a look at some of the examples and see how much we really spend on animation as compared to Hollywood.

-Chapter Fifteen: The Right Education.

This is where the problems begin. So let us analyze the issue behind it.

The Future: And The Destiny of our Art

-Chapter Sixteen: STAY ANIMATED STAY MOTIVATED.

The Passion.

The Inspiration.

So here we go.

I will update this blog as and when possible, and soon, I will convert it into a free ebook. So do make sure to subscribe by filling the form below for tons of free content and, more importantly, helping our art leave a mark in the world of family entertainment.

February 19, 2021November 18, 2021

CHP ONE: THE HISTORY OF INDIAN ANIMATION

“All our dreams can come true if we have the courage to pursue them.”

― WALT DISNEY.

Before we witnessed the spectacular visual effects of Bahubali before children got hooked on tv sets to watch Chhota Bheem, and even centuries before the dawn of animated films and motion cinema came into existence. Indians have figured out to enjoy the art of storytelling through an ingenious technology of projecting animated pictures on the silver screen called Tholu bommalata.

It is the traditional art of shadow puppetry that originated in the state of Andra Pradesh that enabled people to bring a hundred or more colorful mythological characters to life in the most remote village, all accompanied by virtuoso singing, engaging rhythms, and enchanting sound effects.

Then around the 19th century, during the British era, a Mumbai-based engineer Maadanrao Madhavrao Chitale, painted some events from the life of Srikrishna on slides and showed them to audiences for fun with the help of an invention called Magic Lantern that gave the impression of moving pictures. Fascinated by this new form of illusion, the father and son duo of Mahadev Patwardhan and Vinayak Mahadev Patwardhan saw a business opportunity in it. And took their show to the live audiences with the name Shambarik Kharolika.

And as time progressed, we saw the birth of technological marvels that revolutionized the art of storytelling, the motion picture camera invented by the Lumiere Brothers. This wonder machine opened the floodgates to many storytellers, and we were submerged into the depth of its potentialities.

And soon, the world witnessed its first-ever animated film created by Émile Cohl, who shot thousands of his own drawings. The film mainly consists of a stick man moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower that becomes an elephant.

And later on this side of the world, the pioneer of Indian cinema, Dada Saheb Phalke, created a stop motion movie using matchsticks called ‘Agkadyanchi Mouj’- ‘The Game of Match Sticks’, which is hailed as the beginning of Indian animation.

And since then, we saw the rise of many skilled and enthusiastic filmmakers and animators trying their hands in this art form. Amongst them was ‘The Pea Brothers’ made by Gunamoy Banerjee in 1934, which was the first animated film in India to get a theatrical release. Using the classical hand-drawn animation style, this movie featured the story of five peas popping out and transforming into toys that motivated many aspiring artists to pursue this form of animation.

And later in the same year, Kolkatta-based director Birendranath Sircar pulled out a film called “On a moon night” in just a month. The fascinated thing about this movie was that it was the first time that soundtrack was added into an Animated film that amused the audiences like never before.

Then on the 15th of November 1934, Animator Raghunath K. Kelkar, along with Pune-based Prabhat Film company founded by V. Shantaram, released an animated shot called Jambu kaka at Majestic Cinema in Mumbai.

Jambu Kaka

This shot featured a humanized Jackal that gained immense popularity amongst its viewers and helped Indian animation-grow further. This eventually led to a decade full of innovative and imaginative movies, right from Lafanga Langoor in 1935 by Mohan Bhavani, “Superman Myth” in 1939 by G.K Gokhale, Bakam Bhatt by Kolapur Cinetoons, “Akash Pataal’ by Mandar Malik, and IFI’s “The War that never ends.” And with it ended the long-fought war against the colonial rule, and most of the works were lost somewhere in the pages of history.

But, not all hopes were lost, as the whole country was engulfed in the celebration of newly found independence and a sense of nationality. Gemini Studios of Chennai released a wholly Indian animation film called “Cinema Kadambam,” a series of animated caricatures of famous film stars of the ’40s made by N. Thanu.

And meanwhile, in Mumbai, Animators Gupte and Ghokle were planning to revolutionize the advertising sector and created an animated series called Rangeen Chutkiya, which held its position till 1955.

And next year, in 1956, Indian animation regained its spirit with the arrival of Disney’s Animator Claire Weeks under the Indo-American technical co-operation program. His mission was to expose Indian artists to advanced technological and creative equipment and helped to set-up India’s first-ever animation studio.

And with it, began the production of the first independent animation film called “The Banyan Deer” in the year 1957, inspired by the Jataka tales. Staying true to the intention of the Indo-US relationship, the film also resembled the mixture of Indian and American art styles. The human characters were inspired by the artistic style of Ajanta caves, while the Deer had a close resemblance to Disney’s Bambi.

This film was widely appreciated and tasted great success that helped to launch the careers of some of the best-known artists in the history of Indian Animation.

And with the success of The Banyan deer and many other short-films and shows, the next decade brought the era of experiments, trials, and errors as many bold artists tried various techniques such as time-lapse, cut-out animation, stop-motion, claymation, etc.

Many of these were used as propaganda films to promote the government’s ideology and influence the citizens to adopt a better standard of living. Soon animation began to transform from merely an art to a full-fledged career.

And with it, we saw the rise of great artists like Madhava Kunte, Ramesh Potnis, Bhimsain Khurana, who is best known for his short film Ek Chidiya Anek Chidiya, V.G Sawant, and none other the legendary Ram Mohan hailed as the father of Indian Animation and only Indian animator to receive the prestigious Padma Shri Award by the Government of India.

Ram Mohan, Legendary Animator.

And as these artists were pushing the boundaries of this art form, the technology was also evolving rapidly, and soon, we witness the arrival of computers that quickly became part of the animation industry. This new-found tool helped save a lot of valuable time, sweat, and efforts that go into making a traditionally animated film.

Yes, something as simple as a walk cycle could take as much as eighteen hand-drawn images drawn in a sequence that loop to create an animation of a walking character. The number of drawings can increase or decrease depending upon the character’s personality, timing, phase, and many, along with essential animation principles without which the animation won’t look as good as it seems that we will learn in the upcoming chapters.

But the arrival of new technology like 2D animation and especially 3D animation cut short the output time to half, and our highly skilled and talented artists were quick to adopt this new form of working style.

And with it began a new era and came to the much-needed boom in the market of the Indian animation industry. Soon we saw the rise in demand for our domestic services in the international arena due to our quality work at a much lower price.

And since then, Indian animators have continued to showcase their capabilities around the globe that can be reflected by the number of awards we have won until this time. But sadly, we found ourselves stuck under the influence of Disney style for a longer period and have been on a roller-coaster ride in its history of over a hundred years.

Even though with the rise of many great artists like Ram Mohan, V.G Samant, and the extreme popularity of shows like Chhota Bheem, Little Singham, and movies like Hanuman, Bal Ganesha, Indian animation is still struggling to earn the respect of our local audiences.

But why is that why other countries like Us, Japan, embraced this art and have managed to turn this medium into full-fledged family entertainment, whereas, in India, it is still looked down on as purely children’s genre and is ignored by almost all adults?

But more importantly, why don’t we shy away from investing our time and money into watching International films like Kung-fu Panda, The Incredibles, but won’t even think of walking into the theater to watch domestic Animated movies?. What makes Disney, Pixar, and Ghibli so successful, and what is that we need to adopt from them to grow and prosper in terms of art, style, commerce, and entertainment.

In the upcoming articles, we will explore answers to all these and many more questions and debunk the mysteries behind the success of western and Japanese animated films and the struggle behind our industry. With each article, we will look at some fundamental and deeply rooted faults in it, things that have worked for us, and things that have led to the downward slope of the art of animation.

As an animator, as a writer, and more importantly, as an audience, my intention behind writing this book is to help the new and younger generation of artists and everyone interested in the medium to take learn from our past, fix our present, and take a leap into the future. And hopefully, together, we can support our beloved art to earn a place in the hugely profitable business of family entertainment.