Episode 34 – E3OMGLOL


What’s this?! A new episode in just one month’s time?! INSANE!

Thanks to the excitement of E3 and all the great comments we received after the last show, we were motivated to kick out a show sooner than we expected.

We have no guest and Rick couldn’t make it, but Ryan and Mike still covered 4 first words.

We talk about whether mocap is animation, our favorite Garth Ennis comics, if animators need an online portfolio, and how our culture is stuck in a bubble.

Oh yeah, and E3.

Download link (right-click and save as)

Show Notes:
Animation Producer on why MoCap isn’t Animation
Jan Švankmajer – Food
Preacher, The Boys, HitmanTransmetropolitan
Papo & Yo


  1. Lol first things first. You caught me off guard with this episode coming so quickly. Not that I’m complaining, I’m just pleasantly surprised :).

    I just finished listening to this and I gotta say that the whole mo-cap not being considered animation for the oscars seems a little off for me. I mean, animators do clean that stuff up. I could get people not considering Benjamin Button being animation, but even god-awful things like polar express still are animation to me.

    I have to disagree with Ryan’s comment about using filters on photoshop not being art as comparison to mo-cap considering there are artists like Chuck Close who basically traced his photographs with a projector to create his paintings.

    Either way, as you mentioned in the podcast, I’m not trying to reignite a long-ago tired debate, so those are just my two cents.

    Thanks for getting another episode up so quickly, and I’ll keep popping up here for moral support as well as random commentary.

    Here’s a couple questions for you guys, maybe they bring on some overtired debate, but it is something that interests me.

    As I believe I mentioned in my comment in the last episode, I’m currently working in what little 2D freelance work I can find. Just out of curiosity, what’s the last 2D animation work you guys have done? What do we have to do as artists to convince a publisher to fund a high budget 2D game? Is it even possible?

  2. Thanks Ivan.

    I’m starting to think of the mocap debate as gravitating towards a bigger “what is art” debate, which is even more circular. I try and avoid it when possible 🙂

    The funny thing is, Mike and I are both big fans of mocap and I think we got a little off the rails and into the bigger picture, when really the part we disagree on is if they should be considered “animated” or not. In the end, it’s semantics but for the purpose of the Oscars, it’s important.

    As for 2d work, I’ve never done any outside of school. That’s more Mike’s specialty but I think his 2D work tends to be more sequential than animated. All the 2D guys I know work in commercials, film and web stuff. Now is probably a better time for 2D games then in the last 10-15 years, thanks to the abundance of lo-fi games, from mobile to casual and social, where 2D is used a lot. So there’s a lot of options there but getting publisher funding for a small game is tricky. A lot of these projects are self-funded but there is definitely work out there on them. There are also the big guys like PopCap and Zynga who use a lot of 2D art.

    If you’re talking about full price, boxed retail, $60 games though… if you’re not in Japan (and have a track record of successful 2D games), it’s probably not going to happen.

  3. Interesting discussions, as always. Especially liked the performance capture discussion. I think I also have to pick up “The Boys”. I have somehow missed the whole thing.

    P.S. Ryan, I believe I actually was at that Rockband “themed” afterparty (singing “Black Hole Sun”) at your place in Helsinki, when you guys got the complaint from an angry neighbour. 🙂 Good afterparty, if I recall right (besides that complaint ofcourse). 😉


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