How come the crew keeps making Muscle Man episode especially some really gross episodes of him?
The last episode centered around Muscle Man that aired was in July, which means it’s been about 3.5 months. There have been 12 episodes since then, none of which centered on him. I believe Toby even said at Comic Con that there is only one episode starring muscle man this season.
I’m going to talk about something quick which I hope will help with people railing against muscle man stories. People seem to think that the writers sit down and say “Okay, now I’m going to write a story about muscle man!” therefore they should sit down and say “okay, now I’m going to sit down and write a story about rigby!”
That’s simply not how it works. The outline writers tend to think of concepts and ideas for an episode, then the characters that would work best for that episode sort of fall into place in the story. How would this character react to it? What about this one? Which would make for a better story? etc. When people demand more stories about a certain character, what they’re demanding is that the character get shoehorned into a story where the character doesn’t fit.
Now you tell me, which would you rather have, 6 stories out of 37 about a character you’re not that into but it naturally progressed the best way it can, or a whole bunch of stories about a character that you like but it doesn’t make any sense for this character to be in? Would you even like that character anymore after that?
I frankly don’t know how people are saying there are tons of muscle man episodes unless they’re counting whether muscle man just happens to be in an episode, which doesn’t mean it’s a muscle man story. It seems this narrative sprung up around the time Firework Run and Longest Weekend aired. The first strongly features MM, the second is about him. I think what happened is that people suddenly became hyper sensitive to his presence, noted it, then there became some sort of fandom echo chamber which made people become even more hyper aware of it.
Unless of course you’ve been watching a bunch of reruns on TV all the time and they keep showing muscle man episodes, I don’t know because I don’t actually watch CN on TV, so I can’t speak to that.
Again, all of this doesn’t really matter, because out of the past 12 episodes there has been one muscle man-starring episode and it’s the only one of the whole 40-episode season.
As for the grossness: He’s kinda gross, but probably not much more gross than me if I stopped caring about my life. :(
Hi! I'm Sean Williams and I'm a freshman at Southern Illinois University majoring in Animation (with a planned double major in Illustration) Lately, I've been contacting artists, (animators and storyboarders) that work at Cartoon Network, and I wanted to know if you could give me some tips and feedback that would help me to be able to work there one day.
Most advice from working professional artists seems to be pretty straightforward, and you’ll hear a version of it from most people you ask: work hard, draw like your hand’s on fire, study anatomy and draw from real life as well as from your imagination, etc. But as far as helping you tailor your studies to aim for a job at Cartoon Network or another animation studio, well, there’s a lot of factors involved. Skill is one piece of the puzzle; another HUGE piece is luck, and so is community - the people you forge connections with on your way up.
On Regular Show there seems to be two paths our boarders have taken to get the positions they have. Some of us went to art school for animation, did student films, maybe worked on other shows first as a cleanup artist or intern. Then there’s the rest of us who, by and large, taught ourselves to write and draw and keep to a schedule via the medium of comics. It’s still unusual in this industry to “come in through the back door” (so to speak) and get a boarding gig on an Emmy-winning show without previous boarding experience (as I did), but the 15-plus years I spent studying the finer points of comics-making - pacing, composition, gesture and facial expression, rich backgrounds and hidden details, and above all else SOLID WRITING and COMPLEX CHARACTER DEVELOPMENT - got me this job. And plenty of my co-workers who are a decade younger than I am didn’t even have to put in that time in another field - they were already working competently and had the skills and particular sense of humor RS needed when they got hired.
I’ve glanced over a few of the storyboard tests of people who tried out for the job and weren’t hired. There are some PHENOMENAL artists in the bunch. But RS, and Adventure Time, and Steven Universe all require boarders who can also write, to shape the dialogue and enrich the characters, creating emotionally honest moments and ridiculous pratfalls alike. If this is the career you want, don’t just stick with your animation classes - study storytelling, story structure, classic and modern literature. Study joke telling. Read books from authors from other cultures, translated from other languages (or study other languages if you can!) to expose yourself to different narrative styles. Go deep and critical with the works you love: pick them apart, try to dissect why they affect you the way they do. Try writing in a genre you’re not as familiar with. Build worlds.
Finally, be nice to the people you meet in the field. Ask a lot of questions and avoid demanding anything. Build a solid professional reputation, and your chances of having a favor passed back to you will greatly increase. ;)
Hey(Me again.)I was wondering if you can give any information about the New Year's Kiss episode? No real spoilers, just like...if it's gonna be a romantic episode, which two characters will take part?If you can't give that away i TOTALLY understand,so don't feel like you have to tell me.:) Just kinda hoping (along with many of my net friends and real life friends)that two characters will hook up..but it doesn't seem very likely.. at least not for now. Again - You don't have to tell,justhad toask
I can tell you this: it’s a great episode. It will probably air some time around New Year’s. There will be at least two characters in this episode. OTHER THAN THAT, ALL OTHER INFO IS A SPOILER AND I CAN’T GIVE AWAY ANY OF IT.
My only advice is to theorize with your friends, cultivate some patience, and wait!
Working on Regular Show is the most fun, most rewarding, and absolute hardest job I have ever had. On the best days it’s like writing hilarious fan fiction that cracks up everyone in the office - jokes flow, drawings come out smoothly, and we have to stop mid-pitch for a moment to allow folks time to laugh. On the worst days I’m staring at a blank paper thinking “OH GOD THERE’S NOTHING LEFT THEY’RE GONNA FIRE ME AND THE WHOLE WORLD WILL HATE ME AND I’LL DIE IN A HOLE.”
Being a writer/boarder takes everything we have. We don’t come up with the story ideas, but we have to flesh out rough outlines, which sometimes means coming up with new plot points or creative ways to get the characters from A to B. The boarders also do rough character designs for new characters, background designs, and I’ve even had to write raps (in Silver Dude) and a song complete with guitar (“Starla,” in KILIT Radio). And that’s on top of choosing every shot, facial expression and gesture for every second of the show. It’s a lot more than writing dialogue. I try not to think about the “big picture,” meaning where it’s gonna end up and the millions of people watching it - it’s too much. Instead I try to stay true to the innate “feeling” of the show’s specific types of comedy and the nature of the characters, and try to entertain and amuse JG, Mike, John, Sean, our writers Michelle and Matt, and the other 9 boarders, because if they’re laughing, the viewers hopefully will too.
Sometimes great jokes get cut (usually my favorites). Sometimes a scene I worked for days on needs to be completely retooled and redrawn. Sometimes I have to make a change that I don’t think is for the best, even though I understand why. But even with all that, so much of my sense of humor and choices in shots or expressions makes it through to the final show. I’ve never worked on “someone else’s” project and felt like so much of “me” remained in it. It’s exciting, and sometimes terrifying, and occasionally exhausting, and always awesome.
How old were you during the Cartoon Cartoon days of the old beloved Cartoon Network? Just seeing if you are from my magical generation
I’m most likely much older than you. I never saw any of the old Cartoon Cartoon shows, including Power Puff Girls or Dexter’s Lab. I was raised on Disney Afternoon - specifically DuckTales and Rescue Rangers. In high school I was all about Ren and Stimpy and Animaniacs. Gawd those shows were great! Now that I work for CN I feel like I should probably go back and watch at least a few episodes of those shows, just to familiarize myself, but time is limited. Eh, I’ll probably get around to it some day.
You and Owen did a really amazing job on last night's episode!! I was wondering what was going through your mind while you guys were writing this episode? :D
Thanks! To be honest, this was a difficult episode for me. Owen and I got the outline and immediately I was skeptical about how to make an episode so full of songs work. Generally they’re really fun in small doses, sprinkled among other jokes in a story to add goofy moments for Mordecai and Rigby to perform. I wasn’t sure that they could carry a whole 11 minutes, and I felt a lot of pressure to make them both cool and interesting.
The first draft of the raps were kinda wordy and perhaps overly narrative. If you know me personally, you might know I’m no stranger to goofy freestyling, especially when alcohol is involved. But during our first pitch, our writer Michelle pointed out that maybe the songs were “too good?” (the first and only time I’ve ever heard that about a rap I wrote!) - meaning that they were a little too intellectual and overthought for Mordo and Rigs, who are way more off-the-cuff and silly. Owen and I took them back and redid them, and then after we handed them in, they were partially re-written again by probably Sean (I’m not sure who did it but they sure sound like Sean to me). So we all had a little hand in the making of them.
This whole season I’d considered this episode my least favorite, but I watched it the other night and it’s not nearly as bad as I remembered. ;) Sometimes when the writing is tough and doesn’t flow easily, I’ll come to dislike it, even though there are plenty of great moments and jokes to enjoy. I needed the time away from it to be able to see it not for what I wanted it to be, but for what it is. And it’s actually pretty funny! Though I think Owen nailed the zombie raps and video-game parodies. His take on the matter is here.
All that said, the God of Street Performing was one of my favorite character designs ever. Just went nuts with it. I drew out a bunch of weirdly-proportioned sketches and when I showed that one to Owen, he bust out laughing and I knew it was the one. I’m happy viewers seemed to like this episode, and I’m REALLY looking forward to the next one of the season that we worked on, because it’s probably my favorite ep I’ve worked on yet.