The image seen right would be in any way, my last and biggest
masterpiece to date, by make fun of the series finale of TV programs that ended even before they've begin to air. Disney in recent times, has multiply tons of TV shows for its platform and Disney Channel for that matter, and several of them were cancelled already. Anyway, who ever will remembered of StuGo, Hailey's On It! or Marvel's Moon Girl and Dinosaur among them in the end of the decade? The less says about Primos, the better. Streaming has definitely changed the cards of how a content has to be created and made, by been limited to 6 or 10 episodes the season, when older fans like me, were used to accepted a 26-half-hour season for generations. That would be a fun joke, right?
Except that it was the real series' last! And when by the end of 2022, I showed less interest to created these gags pages if kiddie things like Dargaud who keep to release 44 brand-new Boule & Bill gags for fit to a book every year were made by association. And when gags series like these has worn its welcome since internet has opened us that there is more to learn than read these bland Europpean comic things.
These past days tell me that I own my forties crisis or something, by even argue about random people who made the world like if they came from an hotel or that I rambled that immigration has drastically deteriorated our social net by the costs of rents and business that closed down forever. To went me ended with these "minimalistic" comics pages only will own a sigh of relief to all the internet world as I have getting some detractors who hate me with a passion for my wonky artstyle or my autistic spectrum (Seriously!).
Thinking that the world of storytelling is in fine form appear to me at illusion. It went by a series of factors, though. We still release stories on quantity-over-quality, done all by wokes on their basement with one-note characters and lousy dialogues that never leave the drawer board. Even the geniuses of Tex Avery from all animation fans and historians were seen by his peers like a sad and broken man. That may me explain why I am one of the fewer who is not that impressed by his MGM work.
BUT ATTENTION!
This is not meant me to denigrate Avery or the cartoons he ever created and made. They're pretty genuine, well-animated and are top-quality from the greatest animators who ever came out in his own unit. He ever bring Bugs Bunny, Daffy Duck and Droopy to life and have developped the trademark Warner-humor factory in all the universe. Jones, Freleng, McKimson, and even Clampett has greeted his slapstick and sense of pacing in their own films, even when they've came on autopilot.
Avery was constantly been very reserved with recurring characters. This is why Red (Seen above) didn't lasted than a fewer cartoons. Screwy Squirrel, by be his most "screwy" creation, was one that Tex himself hated it. He was also an innovative filmmaker, able to testing the audience with the same joke over and over (See Northwest Hounded Police) or deux ex-machina that proven him at a brilliant artist like in King-Size Canary.
Due to high-pressure and stress from his work, he went to a sabbatic year in 1948 until getting back one year later, but, with a vengeance: By get his blackout-type of cartoons he had developped at Warners a decade earlier with his "...Of Tommorow" shorts, embraced the UPA's flat artstyle with an aesthetic that proven his unique steps of pacing in the likes of Symphony in Slang or Magical Maestro (Unless what that came at MGM through the Cinemascope rage when he went already away.) or even, more Droopys to the loot.
Avery quit MGM in 1953 for joined Lantz back, where he beginning his animator career there in the mid-1930s. Four shorts would be finished, all are well-paced but pretty familiar in gags, by also introducing Chilly Willy to the audience. But the sharp humor of Chilly would be repeated ad nauseam after Avery leave the studio and animated shorts business forever for launch himself his own TV commercials studio, where it came less stressful.
Sadly, he finished his life by created Kwicky Koala for his past MGM colleagues, William Hanna and Joseph Barbera from the pair's own TV studio, in the end-70s. He was broken, sad and depressed enough by his divorce and the passing of his son, and to ended an impressive career on a sausage factory studio of TV cartoons was likely a true nervous breakdown. He passed away at his turn in August 26th 1980, letting us a legacy of unique characters and cartoons films that have revolutionnized the artform we all know, something that Avery never get any recognition in his own life.
And that's what I felt right now. Not that depressed or nerve-wrecking, but just done with drawings if the internet is more on a conniving streak when it concerned the issues of feminism and childrens rights in a image or fictional story.
Every steps move from a rather frantic pace, when oversexualization, lots of NSFW (Not Safe For Work) outings that deemed unnecessary like Futanari, Blowjob, slavery or a simple peeing is more uncomfortable than funny. And we suppose to let children consumming these?
This is typical internet art: An unnattractive lack of nuances, life-observation and consistencies done by people who have just known the world by watching cartoons than own real life-exeperiences. I am glad to not been that kind of person there, even not at teenager. (Though some girls characters I owned a crush before I'll know it!)
This is where I leave the drawings world forever. It was pretty great enough when it all lasted, if I ever follow more drawing class first.

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