Was It Really Our Fault For The Death of 2D Animation?


(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this editorial!)

Around the mid-2000s, 2D animated films were struggling, with a majority of the flops coming from Disney and DreamWorks. This was when their 2D animated films were not bringing in waves of delicious greenback bills, and were instead being critically panned, and flopping/underperforming. This list of films include Home on the Range, Brother Bear, Sinbad: Legend of the Seven Seas, Treasure Planet, Atlantis: The Lost Empire, and you get the idea. The only 2D animated films that were doing really well during this time period were the films made by Studio Ghibli, like Spirited Away and Howl’s Moving Castle. When Home on the Range and Sinbad came out, both Disney and DreamWorks told the world that 2D animation was not a profitable way of filmmaking anymore, no one was seeing 2D animated films, and the new profitable form of animation was CGI-animation. This was essentially throwing 2D animation under the bus. So, was it really the public’s fault that 2D animation was dead? Is there a reason Europe and the rest of the world is keeping it alive and not getting wide releases? Well, let’s talk about what was going on around this time period.


On one side of the spectrum during the early to mid-2000s, the only financially/critically successful animated films that were being made were of CGI, and Pixar and DreamWorks were leading the charge. This was when we were getting films like Shrek 2, Finding Nemo, and The Incredibles. All of these films were critical darlings, and are pretty fantastic films. On the other spectrum, you were unfortunately getting Disney and DreamWorks 2D animated films that were not doing well with audiences and the bank. Like I said above, the 2D animated films were not making enough of a profit, and were getting critically panned at the same time. Sure, you would get a film like Lilo & Stich, Emperor’s New Groove, and Spirits: Stallion of the Cimarron, but those films were few and far between in terms of being successful 2D animated films. The point is Disney and DreamWorks were losing money, and the only thing that was bringing in the cash besides their live-action films were their CGI animated films. Not to say that each CGI animated film during this period was a success, since this was when DreamWorks was trying to compete with Disney/Pixar, but the numbers and money talked.


So, does this mean that 2D animation was 100% dead? Of course not! Even if Disney, Pixar, and DreamWorks were moving toward full-on CGI animation, due to the masses leaning more to CGI animation by overall audience appeal, there were a few studios and directors that were passionate or really stubborn about Hollywood’s sudden lack of 2D animation. This was when we were getting a lot of the Studio Ghibli films brought over by Disney, like Spirited Away, Howl’s Moving Castle, and Porco Rosso to name a few. Other directors like Sylvain Chomet gave the public The Triplets of Belleville, one of the best pieces of 2D animation around, and was a critical and Oscar winner. Japan has a multitude of amazing animated films during this time period, and even today we have incredible 2D animated films, like the late Satoshi Kon’s Paprika, Mamoru Hosoda’s Wolf Children, The Boy and the Beast, and Summer Wars, Makoto Shinkai’s The Garden of Words, and of course, Katsuhiro Otomo’s slew of films like Steamboy, and anthology project, Short Peace.  Europe has been rocking the 2D animation, with films from France, Spain, Scotland, and other areas including Song of the Sea, The Secret of Kells, A Cat in Paris, Phantom Boy, Ernest & Celestine, The Illusionist, Nocturna, Wrinkles, and Chico and Rita. Even Disney came back with two 2D animated films, with The Princess and the Frog and Winnie the Pooh. Sure, they didn’t break a gigantic amount of bank, but I love that Disney at first was going to do one 2D film, then a CGI film, and go on like that until they went full-on CGI animated. Even Brazil gave us Boy and the World, one of the most visually amazing films, not just animated films, I have ever seen.



So, if 2D isn’t technically dead, since the rest of the world and the indie scene are treating it with the respect it deserves, then what really killed it? Well, it’s actually pretty obvious and simple. There is no reason to go into a college-based philosophical journey for the answer. Really, it’s the Hollywood machine, and the studios’ fault for killing off 2D animation.


Yeah, I know it sounds like a hipster thing to do, and blame the bigwigs for killing off a style of animation, but it’s quite frankly the truth. So, during the mid-2000s of 2000-2005 or so, what were the companies releasing during this time that was 2D? This was when Disney was releasing films like Atlantis: The Lost Empire, Brother Bear, Treasure Planet, Lilo & Stich, Emperor’s new Groove, and Home on the Range. On top of that, this was also the tail end of their Straight-to-DVD fling, where they released a bunch of mediocre sequels to their popular Disney films. I’m sure you can find merit and something positive to say about certain elements of these films, but they were really scraping the bottom of the barrel in terms of quality with these straight-to-DVD flicks. DreamWorks on the other hand only released about two 2D animated films, with one being a hit, and the other causing the infamous “2D animation is dead” quote with Spirit: Stallion of the Cimarron and Sinbad. Now then, we’ve got our suspects from the 2D side of things from both companies, what went wrong with the studios making these films? After watching them recently, with the few exceptions that I have mentioned above, the rest feel like movies that were ruined by the higher-ups putting their focus-grouped hands into the mix. Films like Brother Bear, Sinbad, Treasure Planet, and Atlantis: The Los Empire could have been incredible movies, but what you get are films with bits and pieces of greatness and things to like, but then have to get past the elements that are distracting or not very interesting. Most of the time, the biggest blunder these films made was within its dialogue. When the characters talked like they were part of that time or setting, it was great and engaging. You felt like you were there with them. However, when the modern dialogue, Disney whimsy, and hip lingo pops into time periods where it isn’t remotely appropriate, and is only put there because some idiot higher-up thinks everyone would like it, it’s frustrating. It’s like they couldn’t fully stay invested in their own tones. If you want to be dark in Atlantis, then you need to keep the mature tone, and not throw in so many side characters, humor, and a weak bad guy. How much better could Brother Bear be if he didn’t turn into a bear and he was kept just as a human? I could say all of this with the other films like Treasure Planet and Sinbad. These studios, for the most part, would rather throw someone or something under the bus to avoid the honest truth that they made a bad movie that no one wanted to see, or have to admit that they were trying to cater to the lowest common denominator, and it wasn’t working. Oh, and was anyone really asking for Home on the Range? I mean, really?


Yeah, I don’t buy that 2D animation died because people stopped caring about it. I think it died because studios here in the states kept giving us films that either couldn’t stay in the tone they set out for, higher-ups got their meddling hands into the pie, or were just terrible movies. Luckily, with the huge success of films like Zootopia, The Secret Life of Pets, Finding Dory, and the animated films distributed by GKIDS, animation has become a huge success during 2016, where with a few exceptions; a mass majority of the 2016 big Hollywood flicks are not panning out. Sure, you could argue it’s just the summer movies, but I feel like the animated films and indie films have been getting more of the spotlight and praise. Hopefully, this means that the bigger companies can try and come back to 2D someday, but due to how current Hollywood is run, it will probably take some time. Just remember, it’s not always your fault Hollywood made a stupid mistake. Thanks for reading, I hope you liked the article, and see you all next time.

The Other Side of Animation 35: Nocturna Review

(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

Last time we looked at a GOYA Award-winning animated film, it was the less than stellar Tad: The Lost Explorer. I know I was admittedly harsh on the award system for not having enough high quality films, but I was being harsh for a reason. When you have such great movies like Nocturna, Wrinkles, and Chico & Rita, they set a standard of how good these films should be, but they seem to either not make a lot of animated films over in Spain, or the barrier of entry is low. When your list of winners includes Planet 51, The Missing Lynx, Pinocchio 3000, and the previously reviewed Tad: The Lost Explorer, then you need to start making the barrier of entry higher and more controlled in terms of quality. That is why I wanted to talk about today’s film, Nocturna, because it is simply one of the best animated films to come out of Spain. Nocturna was originally released back in 2007, and was brought over by GKIDS in 2014. It was created by Filmax Animation, and was directed by Adria Garcia and Victor Maldonado. So, was this film worthy of winning its GOYA Award? Well, let’s find out!

The story revolves around a young boy named Tim, who lives in an orphanage. Every night, he sleeps by the window in the moonlight since it protects him from his fear of the dark. One night, after some kids decide to become jerks, Tim runs out to the top of the building, where he usually likes to be during the day. That night, though, changes when he realizes that a star that he has called his own, vanishes. After almost falling to his death, he is saved by an unknown being called the Cat Shepard, a humanoid balloon-like being that herds cats around the night. Tim then finds out that there is a whole other world at night known as Nocturna, where these unusual characters and creatures do different things during the night. Accidentally, Cat Shepard tells Tim that Moka, the ruler/boss of Nocturna, can help him with his problem. Will Tim be able to solve what is going on before the entire world of Nocturna is destroyed by a big shadowy monster? Well, you have to watch to find out!

Let’s get started with the animation and creativity, the film’s strongest elements. The 2D animation is amazingly smooth. It’s gorgeous to look at, and the character designs are whimsical. The entire world of Nocturna is creative. Think of it like M.I.B, but for nighttime situations. How do you get messy hair? They’ve got individuals for that! What about fresh dew? They’ve got people for that. Those cricket sounds? Well, they are beings that ride bikes that sound like crickets. Heck, dreams are basically TV/movie scripts that are read to you by specialists. It’s such a creative world, and they take advantage of any trope that goes on at night. The film does take its time to invest you into the world in which the story takes place. The entire art direction is just gorgeous. It looks stylized, and it reminds me of if Tim Burton did something more lighthearted. I also like the idea of the overall twist in the film being that Tim’s fear of the dark is what is causing all the problems. It’s not just a villain who wants to take over the world or anything of that caliber. Something that I have liked about foreign animated films is that they want to be more about the characters, the world, and the stories. Even the little clichéd elements like the “the lie that breaks the two apart” is done better with no huge amounts of moping around. Both Tim and Cat Shepard go do their own thing, but still end up together. It’s not drawn out or boring.

One of my few problems with Nocturna is the sound design. I don’t know if it was a transfer thing for the Blu-ray version I have, but at some points in the movie, the English dub is hard to hear. It’s like watching a UK-based crime drama. Sometimes they can speak clearly, but other times, the accents get in the way. It’s actually like that joke in Hot Fuzz! Anyway, another nitpicky problem I have with this movie is the way the big twist is handled. So, the main villain is Tim’s physical manifestation of his fear of the dark. It’s interesting in terms of design, and is beautifully animated. But Moka, the big boss of all Nocturna, is really unwilling to help or tell the boy about the situation. I guess the story wanted to be like “you need to face your fears by yourself” and all, but it doesn’t feel fully fleshed out due to Moka being so curmudgeonly about the whole situation. At first, I thought it was Moka who was making the stars disappear, but in the end, it wasn’t. I think this is one element of the story that could have been developed more.

I really love Nocturna. It’s pretty to look at, has a fleshed-out world, and any time we can get traditional 2D animation is a good thing to me. You can either get a Blu-ray version or a DVD version. I think pick your personal choice, since most video game consoles and DVD players can play both. I wish GKIDS did a Blu-ray/DVD combo pack, but you deal with the cards given to you. Well, that was a lot of fun looking at another GKIDS film. Let’s take a look at a DC animated film next time with Justice League vs. Teen Titans. Thanks for reading, I hope you like what you read, and see you all next time!

Rating: Go See It!