I want to draw your attention to two interesting posts at Midokok's Korea and Animation blog. The first is an interview with an inbetweener named Skitsch, who is responsible for the title of this entry. Besides working in animation, she's attempting to build her reputation outside animation as an artist due to what she sees as the limitations of the local animation industry.
Another interview worth reading is with Park Min. He talks about the economic situation in the Korean industry and the impatience of newcomers who want to jump quickly into directing.
What I find interesting about both of the above is that these complaints are not unique to Korea. Artistic frustration with the industry's limitations are common throughout the world, as are complaints about budgets. While animation artists on different continents are isolated from each other, the truth is that they all victims of the same industrial structure that doesn't take full advantage of the creativity of employees.
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ReplyDeletehey, thanks for the links, both were a very good read. you always manage to hip us to the really good stuff relating to our industry, with insight and analysis that is always on point. Just wanted to say thanks - it's all very much apreciated.
ReplyDeleteI have felt for a long time that any artist working in an *industry* falls victim to a production-line syndrome of sorts.
By and large, the notion to produce art in a unique and creative form isn't valued in our industry much - originality is replaced with the concept of *product*. This seems true for just about any business, even the animation industry, because it is the business of animation. That probably sounds weird, so lemme elaborate:
The decision to churn out the lowest-common-denominator, *safe-bet* option makes "business sense". Obviously this decision is being made by non-artists. Businesses aim to be as risk-averse as possible, whereas the very essence of art is to continue to take risks, the bigger and bolder the risk the better for the art (or at least the pursuit of it).
As artists we strive for the new, the exciting, the uncharted and the out-there. To worry about how big a risk we're taking for our art is really the furthest thing from our minds, because the art comes first. It's just boring otherwise.
That there is the conundrum of how our industry operates that ultimately has a trickle down effect no matter what part of the world you work or what you do in it.
I think I've got to ponder the subject matter a little longer, maybe even re-read those articles and research to get my head around the situation and form a more complete solid take on things.
Thanks again for providing some food for thought.
I've actually done work in the industry for a few years (only 2 and 1/2, but soon to be 3 or more). It was enough to make me realize exactly what Skitsch has found out. Working in the business is a slap in the face, and for me, really takes away the desire to want to learn and be a part of it. There's nothing rewarding about it artistically. If you like to work, then it's good for you, but if you like to create or learn within the business, then it's a deserted of opportunity.
ReplyDeleteKoreans shouldn't worry too much, though (about work, that is). Once they buy some more computers with Flash and After Effects then they'll have more work, and North Americans will be on unemployment (again). The world of animation production is fruitless and tiny.
oh,god.yes..yes..people in this industry all around the world have the same idea--this fact makes me want to do something with them if we can.
ReplyDeletei haven't thought that my cheesy interview can be read this many people
and,really happy to know this site,too!
thank you mayerson on animation,for letting me share these ideas
i'll keep on reading