The Death of Animation at Artform -- One year later

A recap of the post that date of one year today. 

When in 2022, Zodiak Kids having announced that a newer season of Totally Spies will be made, the fans' reactions were mixed at best. Unlike the older seasons, the characters designs are been portrayed at "younger", which it wasn't a bad thing at all, but the problem is much frightening than we would give it credits for that hackwork.

It's simply a corporation who wanna banking onto a property that has worn-out its welcome since over a decade. The animation artform by years like 2012 are there where this is been more divided than it ever were before. They only operate to the same mentality than in the 1980s that kids would watch anything, except the kind of cynicism that hung lots of modern-day animated materials only let me the conclusion that there is no longer newer love or respect for the industry at all. Fewer animated shows of the pasts years were tributed by fanarts or fanfics for the simple reason that fans like me have changed. The female spies become hackneyed from a past that they never quit in this newer season, even if such past outings like The Flintstones having took decades before to be repeated ad nauseam (Thanks to the interviews from the people who worked there) in Syndication and the likes of Cartoon Network, Me-TV Toons and Boomerang.

But for Totally Spies!, this is just the clear representation of an art in agony, troubled to taking old ideas and bringing it at anew instead to drawn something from scratch. Who cares if the newer Asterix from Netflix is perfect?

It's hard to establishing if it's purely a reboot or a newer season, if everything has changed since Digital animated tools become more sophisticated and better than it ever was in 2002! Hey, for many childrens out there, 2003 is the Middle Ages!

And when the most top properties at that time were obviously not them, but Tom & Jerry and of course, Scooby-Doo! I shall know it by been enough older, even at a newer adult when these DTV movies and newer TV shows became the 00s way to appreciate these classic animated gems.

But when the trio of spies are going to be adapted on a live-action movie from M-G-M for Holidays, this can justify alone why we are fewer to going in theaters nowadays. The movie industry clearly lacks of long-term vision and maturity, by be more busy with pointless AI and Digital SFX than own an admirable teamwork. One may fear to seen the way Amazon is going to exploited the James Bond movie franchise like the way Disney has killed Star Wars with its rehashs of spin-offs, prequels and a fanfiction-esque trilogy that went a dead horse like it has all started.

M-G-M always been a movie studio with such politics and behaviors that went innapropriate, even in the late-1930s animation department by the likes of Dan Gordon, Joseph Barbera and others went to do self-mockery by the time Friz Freleng worked with them, by returning to Schlesinger back... with a vengeance. Seriously, the Broadway musical bits movie studio needed a guy like Tex Avery to assert the big problem from their animated shorts catalog.

What animated fans of 2025 want now are the same thing that I asked myself in 2018: Explanations of why such things are made this way, and why the fans themselves love so much to be lurked to bad fanservice. The trio of heroines spies has suffered hard to became like real people with their self-interests and issues like the original Sailor Moon TV Anime has striving at a magnet for 90s nostalgia. Here, it's never happening by be a product that looks solely made for the Internet. Like that haphazard Hazbin Hotel/Helluva Boss literally (Why is Amazon would pick a season out of THIS?). Because in the real life, no one wanna be associated with a cartoon product when the one person who owned this having made lure to underage people or to be a sadistic dominator/creeper. 

Only a shame that the legacy of The Ren & Stimpy Show only took confusion that the brilliant artist and the child predator could be in the same person, by even registered it in the actual body of this production.