Toonzai-4Kids – ToonBarn http://www.toonbarn.com Cartoon news from Nickelodeon, Cartoon Network, The Hub, Disney, Pixar, DreamWorks, CG animation, anime, movies, or any kind of cartoons! Fri, 15 Dec 2017 20:00:54 +0000 en-US hourly 1 https://wordpress.org/?v=4.7.8 4530339 Thoughts About 4Kids 5 Years After its End: A Challenge to Readers http://www.toonbarn.com/4kids/things-about-4kids-and-the-industrymarket-place-5-years-after-its-end-and-a-challenge-for-those-reading-this/ http://www.toonbarn.com/4kids/things-about-4kids-and-the-industrymarket-place-5-years-after-its-end-and-a-challenge-for-those-reading-this/#respond Sun, 26 Feb 2017 06:00:35 +0000 http://www.toonbarn.com/?p=78961 In an email conversation with fellow Toonbarn staff Neil, I was told that a lot of people still come to this site looking for info on 4Kids. To me, it’s not a surprise. A lot of companies die out, leaving the products behind to other owners. 4Kids’s bankruptcy in reality left a gaping hole that […]

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In an email conversation with fellow Toonbarn staff Neil, I was told that a lot of people still come to this site looking for info on 4Kids.

To me, it’s not a surprise. A lot of companies die out, leaving the products behind to other owners. 4Kids’s bankruptcy in reality left a gaping hole that exposed a lot of things in the process.

The biggest thing it exposed? That the way animation is distributed in the country for the last several decades has been disrupted forever, and if such entries as Netflix and others go by the way side, most of the animation industry in the US would be flushed down the drain.

All 4Kids bankruptcy did was to showcase how much collusion was in not only the return of Saban back to Saturday morning, but in a weird way, showcased the bigger wage scandal Hollywood’s animated studios were doing (to be fair, 4Kids and Saban were doing the same things in different ways and this was because one side didnt get is bailout money and the other had just restarted the company after being away for a while.)

But I think what was lost in the whole thing is that 4Kids did do some amazing things with the limited funds they did have and also gave some of the ideas of having their own Ad Agency (they were once Leisure Creations back in the 1970s and still had that appperatiaus) which now Illumination studios does with its movies and its advertising. One of the reasons why these companies are starting to use this concept is because it may be more advantageous (especially with all the issues with the Youtube influencers and so on) to control the ads the product is based on in order to sell other people products on. 4Kids did this with Yugi-Oh and Nintendo many times and so on. It going to increase as the ad men lose more and more control of their influence – and as this election has proved, the ad men and their companies have bitten more than they can chew.

But I could talk more about these things about 4Kids. I rather let you who have been coming here to Toon Barn looking for more information about 4Kids, to tell me what we need to discuss and to explain in better detail. I have other projects that I do need to finish, but since I have pretty much found a home here, i want you folks to help me. Keep sending suggestions to Neil, and on the comments below or Toon Barns Growing Message Board. I will do my best to help explain what I know and to give better context to these questions.

Thanks, and watch for more articles on 4Kids and other topics soon…

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Yu-Gi-Oh! Arc-V International Debut Scheduled for Spring/Summer 2015 http://www.toonbarn.com/yu-gi-oh/yu-gi-oh-arc-v-international-debut-scheduled-springsummer-2015/ http://www.toonbarn.com/yu-gi-oh/yu-gi-oh-arc-v-international-debut-scheduled-springsummer-2015/#respond Mon, 23 Jun 2014 10:00:25 +0000 http://www.toonbarn.com/?p=48844 It’s been a long time since we’ve had a taste of the main Yu-Gi-Oh! anime franchise, so it is definitely good news that Konami’s media distributor 4K Media has already confirmed that Yu-Gi-Oh! Arc-V will be debuting internationally next year, with the release window pegged at either spring or summer. The series has already premiered […]

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It’s been a long time since we’ve had a taste of the main Yu-Gi-Oh! anime franchise, so it is definitely good news that Konami’s media distributor 4K Media has already confirmed that Yu-Gi-Oh! Arc-V will be debuting internationally next year, with the release window pegged at either spring or summer. The series has already premiered in Japan last April, featuring a new protagonist named Yuya Sakaki.

Yu-Gi-Oh! Arc-V is the fifth entry in the main Yu-Gi-Oh! series, focusing on the Maiami City on the coast of Japan. The protagonist, Yuya Sakaki, is a 2nd year middle school student who has a knack for entertaining people. Despite his small stature, his body is toughened by years of training with weapons. Dreaming of becoming an “Entertainment Duelist,” Yuya ends up fighting an exhibitio match with the current champion of Pro Duel world…

Currently, Konami is airing Yu-Gi-Oh! Zexal II on TheCW’s Vortexx programming block in the US.

Source: 4K Media (via AnimeNewsNetwork.com)

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Breaking: Vortexx To End September 2014 with Litton Entertainment to Take Over the CW Saturday Morning Block with “One Magnificent Morning” http://www.toonbarn.com/other-cartoons/breaking-vortexx-end-september-2014-litton-entertainment-take-cw-saturday-morning-block-one-magnficant-morning/ http://www.toonbarn.com/other-cartoons/breaking-vortexx-end-september-2014-litton-entertainment-take-cw-saturday-morning-block-one-magnficant-morning/#respond Sat, 31 May 2014 21:32:35 +0000 http://www.toonbarn.com/?p=48495 With the recent announcement from MOMOcon in Atlanta – that Dragon Ball Z (in the form of Kai) would return to Toonami, one has to wonder if Saban’s second run of DBZ was to end? Turns out, it is. Along with the rest of the Vortexx block, confirming the end of the long – sometimes great, many times sour – but almost never boring Saturday Morning […]

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With the recent announcement from MOMOcon in Atlanta – that Dragon Ball Z (in the form of Kai) would return to Toonami, one has to wonder if Saban’s second run of DBZ was to end?

Turns out, it is.

Along with the rest of the Vortexx block, confirming the end of the long – sometimes great, many times sour – but almost never boring Saturday Morning Franchise on Broadcast TV.

Litton Entertainment, the Government’s go-to folks for Governmental manure in the disguise of Education, Information and something else dealing with bad things, will take over the CW Block, formally in the hands of Saban, who will now pay a discharge fee because he couldn’t fulfill his contract.

I don’t want to say it was coming, but it was coming.

Let this be a reminder to those that try and beat Toonami? You cant. Disney Failed. Saban Failed. 4Kids Failed.

But this is more of a sad and final nail to the coffin that was American Childhood.

There is no peace from the ranting of adults, the overhand of the edutainment business, the food folks and the get fit gurus. There is only the pushing and prodding.

And that is what we have accepted for America’s Children, to become little robots like others.

The entities that run entertainment now control animation – in certain ways.

They can tell us what is animation and what isn’t.

They can also tell us what is good for us and what isn’t concerning the same franchises.

They can tell which international product is good and bad for us and have created criminal organizations (such as crunchyroll) in hopes they can curtail its influence.

And now, even when education in the major cities is mostly failing – the FCC is too busy lining their pockets with Comcast Money, AT&T Money – doubles down on a failed idea because it has no control over TV otherwise.

They never really did.

There is a legacy in Saturday Morning:

That legacy will always be remembered as a time and a place where rest was needed. For new ideas and pure truths that flowed.

For in that short time, you were important.

Only a few men and a few puppets did better.

So on August, as more TV traditions end, for newer and bigger insanities…

Remember the good times.

Of CBS in the 1960’s

Of ABC in the 1970’s

Of NBC of the 1980’s

On Fox Kids…

Of Kids WB

The Fox Box…

One Saturday Morning

CBS Action Zone (the precursor to Toonami)

4Kids TV

Toonzai

Vortexx.

This the grand Legacy of days gone by.

Of Broadcast TV’s Heart and Soul.

This is the end of the chapter, and of its existence

But never the end of its memories.

http://www.snta.com/php/display.php?p=program&p_id=353

 

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Postscript for the “Thunderian Series” http://www.toonbarn.com/other-cartoons/postscript-thunderian-series/ http://www.toonbarn.com/other-cartoons/postscript-thunderian-series/#respond Thu, 30 Jan 2014 05:00:28 +0000 http://www.toonbarn.com/?p=45594 Note: If you Missed any of the other works in the series including the recent one dealing with Toonami: here they are: http://www.toonbarn.com/other-cartoons/thundercats-2011-retrospective/ http://www.toonbarn.com/other-cartoons/long-road-mediocrity-vortexx-approved-kids-dont-it/ http://www.toonbarn.com/other-cartoons/child-lead-them-axe-cop-exposes-big-lie-kids-business/ http://www.toonbarn.com/other-cartoons/absolution-sins-fandom-toonamis-epic-journey/ Back when I wanted to go to LA and be the next big star in Hollywood – as a super producer/writer for the next big Genre work, I did […]

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Note: If you Missed any of the other works in the series including the recent one dealing with Toonami: here they are:

http://www.toonbarn.com/other-cartoons/thundercats-2011-retrospective/

http://www.toonbarn.com/other-cartoons/long-road-mediocrity-vortexx-approved-kids-dont-it/

http://www.toonbarn.com/other-cartoons/child-lead-them-axe-cop-exposes-big-lie-kids-business/

http://www.toonbarn.com/other-cartoons/absolution-sins-fandom-toonamis-epic-journey/

Back when I wanted to go to LA and be the next big star in Hollywood – as a super producer/writer for the next big Genre work, I did research on low fantasy, high fantasy – all the rest of it.

I wanted to know what type of magic that Tokien had. That Lewis had. How can that translate into the animation world (like the way Bashski did it?)

I had the Ideas, the Heart. But it was the wrong time, and it was the wrong way to go about things.

I did these articles not just as a love letter to animation, not just a what happened to Thundercats (2011), not just a critique of what is going wrong in the business, who set it up and why:

I wrote it because things cant stay the way they are. Not only in animation, but its cousin, Video Games.

What we have today, is a mishmash of things that don’t truly belong. Maybe – the things I wrote – the reasons why these events with Saban, and Axe Cop and all the rest have happened? The reason in my opinion is that the American audience is in shell shock. It isn’t their fault in the real sense.

I want people to remember – Saturday Morning’s animation series didn’t produce 26 episodes a season. They produced 13 episodes A YEAR. ONE YEAR. The only way they got paid back was the second run of the episode. That is how the business still works in live action. There was no DVD/Video Tape Market in the mid 1970′s to 1993 and if their was one it was very weak. There was no season sets. There isn’t even aspects of a world beyond the three main networks and the UHF stations back then.

So for the Thundercats (’85) to become one of the most important franchises in the history of all animation, both in the east and the west, knowing how the business was set up then, is a miracle.

And for all that, the 2011 series came out like a dud after episode 4, speaks to the many problems we have today.

The audience is splintered.  There is no going back, nor getting a new audience because of the split.

The way forward, is to support people who came from nothing and are now working in the spheres of the marketplace, like Danny Choo and Bahi JD, Jason Demarco, Amid Amidi (even though I have problems with him), Karl Olson (same with him as well) and others.

And no longer trust the armchair quarterbacks.

Because of these Armchair Quarterbacks, the former kings of the “Kids Business” were able to reconfigure their business to better suit themselves and not the fans that wanted shows to match the needs of the changing world. The biggest of these became the pirates we now know as Crunchyroll, who have escaped prison because they are more favored by Government than say Kim Dotcom.

Because of the Armchair Quarterbacks, we are given the wrong impression of the Industry. Take the Case of the Fatman Interview (Kevin Smith) with Mr. Dini. Of course, Mr Dini is a legend in the industry. But Kevin Smith tried to overplay his hand, whereas the truth is somewhere in the middle. This is the same issue concerning the 2011 series of the Thundercats and its issues with Lego’s Chima (we know that Warners and Lego are doing a movie as well) These impressions do not take in account the actual changes in the businesses these products are connected in. However, to be fair, they (in the executive realm)  also don’t consider the changes in the marketplaces these products deal in. Both the executives, and the fanbases do not see the bigger picture – they all crash into the same morasses that caused  the same problems for DECADES on end, with no end in sight.

So what has taken place in the comic world, the animation marketplace and the video game industry is a mishmash of product aimed in the wrong places for the reasons above. And sometimes the criticism is warranted, and other times is hype from political agencies on the left and right of the spectrum that signifies nothing. All it does is make a mockery of artistic license. This is some of the reasons why when something like a “50 Shades of Gray” arrives, its a pseudo-revelation in the positive, but when the same idea of concepts is aimed toward audiences (of legal age mind you) 30 years younger (GQ Magazine with Glee)- its called the “degradation of societal norms” in the negative. When a comic book with art protecting parts that brought the majority of people life in this world is covered in a way that makes a mockery of the form, it gets passed as sexy, where as clothed grownup versions of a Cartoon Network classic with no panties shown, no sexual connation implied gets rail roaded off the plank.

We don’t have anything close to a “stable” fanbase or a “stable” marketplace. We have folks putting things to get an audience, and being done for “everybody” when “everybody” just want a show that works for a change. We have those that state that we knew better, we had the sites to see better, and we have the ideas long before they did, but never executed them for fear of losing everything.

We now see through their lies and deceit.

Its now time, before the art is lost, before the skill fades – before the cartoonists and the animators become propaganda for Venture Capital –  which has brought the likes of these faux-Pixars and the like, is to develop places for the creativity to go.

I would like to see a place where “erotic” things go and be successful in their own right. I feel as though that the problems of objectification would be mitigated if it cannot be gotten rid of, if we had a successful businesses who did such work, and would allow (like they have done several times before with Video Game Models such as Lara Croft, etc) the mainstream businesses to do such. I think that way, it wouldn’t hurt the characters much. but we don’t have them so we have the half way thing which doesn’t make sense and insults everybody that looks at such “censorship” as idiotic.

I would also like to see, the worlds flavor in animation as well. Say what you will about Savita Bahabi, but India is starting to get it, albeit slow at first. Dubai has commissioned animators in Japan to do the first Middle Eastern “Anime” in Tolkaizer. And as much as Brazil has copied, they also are doing original work. Can you imagine Tolkaizer on Toonami both in the US and Asia divisions?

I would also like to see a concept that Amid Amidi stated back in 2010 or so, when it came to the mass production of animation. The idea has come. Lets see how it going to work out.

As well, I would love to see the kids be more involved in the arts, in cartooning and animation. When in the recent Grammy Awards when Macklemore stated he almost thought he was Queer because he could draw, I wonder what or where he got that statement from.

He got that statement not from the Hip-Hop culture persay, but from the Call of Duty movement as well.

Would we say such things to Tex Avery, Chuck Jones (who, his Grandson Follows me on Twitter), Alex Toth, Jack Kirby, Walt Disney?

This is the grave darkside of the movement that refused to be censored. Not everyone playing the game means ill harm, but the concepts around the movement could be a detriment and not helpful. CoD fans should know as well, the Video Game industry cannot survive on FPS and AAA games forever. Everything that is seen as “cute” or “feminine” like “drawing” (unless its parts we cannot mention here) is dismissed as weak.

It is the concept of bro culture – that place where men can be free from the influences of the “Nanny” censorship state – in where the beer flows, the women are background noise, and the guns – real or faked are blazing.

That the only way you can get respect – is that you impress these men (your friends etc) in the way they see society should be. That is, get the Girl. All the girls. Talk about the exploits. Repeat the process. Gain more cred. Don’t worry about the kids, the BROS are more important. And hey, if we have extra females – lets  go have one of those parties. Never ending high school, never ending party, never ending winning.

The problem with this, everything that doesn’t fit this model is considered weak. But its not just impressing your male friends you see, but leaders who wish to promote “dudebro” as the future mainstream culture. They also must be impressed.

Their not gonna be impressed if you can draw  Drawing is that “graven image thing”, that America doesn’t really deal with and still in some ways doesn’t. It has to be real, the blood, the women all of it.

And that my friends, is why we have the problems that we do today. Why nothing moves forward. It cant move forward because the cultural mindset isn’t healthy enough. It may have never even existed because we still stuck on the same cliché’s that have permeated for eighty-five years.

The Thundercats, being successful in this country, is a miracle. So is the Transformers, and all of the rest.

But what we see now, via government malfeasance with education, to the executives in the smaller companies like Saban, DHM Media (nee Cookie Jar, nee DiC), 4Kids etc, have done in promoting shows that could have been done differently and promoted sanely, to the major corporations caught between larger profit margins for “brand name” projects and “fan favorite” series with major history.

A confused, shell-shocked, animation fanbase looking for security in a ice covered prison created by a mouse (yeah, its a small dig).

We may have to come to terms that, their maybe more animated product created in the last 5 years than people or networks or even Netflix or the upcoming SonyNet (the IPTV service) can handle. And they cannot be promoted in the way they should be.

This is the reason why we need, as fans of animation, to give back to the industry – not by consuming product per-se but by supporting those that do the hard work, and leave those that wish to armchair quarterback behind in the dustbin of historical navel gazing.

I don’t want another DISASTER that befell the Thundercats series to ever happen again. Not to any franchise, anywhere.

But its going to continue to happen if we as fans of this work, continue to runaround supporting ONE genre or one “type” of work or one “proof of concept” or even the way one is more “mature” than everything else in the business.

I did that once. I trusted fanbases more than I did the art and I paid for it DEARLY. Im still recovering. Maybe I will not recover but that is not in my DNA.

Now, I don’t trust the “fandom” as a whole. I trust those that CREATE the fandoms. That Cultivate the “fandom”. I trust the process of the Artistic Endeavor more than the executive backtalk or some artists thinking they have been the best for years, and they deserved a franchise such as the Thundercats OR Transformers etc.

That’s not gonna work like that anymore. If your a fan of animation and like to give back? Give back the way that will make a difference, Not placards. Not Protests, Not Campaigns. The way IMO and yours might be different? Is to talk to these artists like human beings, follow them on twitter, have conversation with them and you may not like the answers but you have learned more than anything that E/I mandate would ever teach you or your children.

The only reason im not in LA now, looking for capital for the next great franchise is that I was reading and talking to the wrong people who knew NOTHING how the business worked. How the process worked.

Its not going to happen again.

The Thundercats that aired in 2011, MUST never happen again.

What needs to change in order to have animation to reach the points of the Wire, Breaking Bad, heck even the Walking Dead, is the things I just mentioned.

Otherwise, its just going to be background noise to a culture that had took 67 years from flight in kitty hawk, to get to the moon – but never return in the last 42.

That’s the sign of a culture going back into barbarism. Into superstition, pseudo-Protestant paganism, collectivized lies and all and all out sterility. There is no life, there is no joy and that’s were the festering begins.

Its long since time we said truly and honestly thank you to those that have lead the way in animation, and thank you to those that still do the same today.

Its the same idea, that Sony did for its video game fanbase.

Support the fans, and the fans will reach out to the rest. That’s all that was ever needed in the end.

That what Toonami does and everybody else has forgotten in the run to get everybody and conform to everyones whim.

Those franchises, those shows not named Toonami lose out. every time.

Find a base and grow it.

Find the niche and the niche will tell the rest.

That is the way to create more Pixars, More Turtles Forever, More Airbenders, more Toonami like blocks, and less Vortexx’s, Anti-Pixars, less of the post episode 4 Thundercats type series.

Its up to us.

Stop the Armchair Quarterbacks, They are false prophets. They do nothing, they say nothing, they are nothing.

Support real animators, cartoonists and artists, the real curators of culture and the real fans who cultivate their fanbase. Support those that truly care about the animation world and say THANK YOU.

I should have said that to Michael Sporn, instead of worrying what others thought about my writings.

I saying thank you to him now.

And I ask for his forgiveness, because I’m not the best animation historian in the world, but damn it I try. I’m not the best fan in the world but damn it I try. I should have been more into the splog than the “Inner Circle” – that’s my regret. And at times I kick myself into thinking I know more than I do. That’s wrong.

That’s why I will change. I grew up loving animation, and the reason why I been so critical of it is because everything else around it was “mature” and better and animation was stuck on slow because of a puritanical world view that has been taken down because of its anti-human treatises.

That world view may not change, but there are better ways so it no longer retards the art world and its higher forms of spiritual uplift.

But it must start with the individual.

What Kind of Animation World YOU want? One built on lies? Or one built on honesty?

What kind of Animation world, you as fans Truly deserve?

Because for me, concerning the Thundercats? The Sword of Omens  – the symbol for the franchise; shall stay buried under the rock of the lies it never accepted, nor inherited, until truth, honor, justice and loyalty finally returns to this animation world.

But its up to you, the fans to do that.

It has always been up to you. No collective, nor the aggregate mass will change it.

You will.

You must.

If not. Go.

But if you love animation. Change it for the better.

Change it so we do have a TRUE Kids industry.

Change it so we do have places for those other works.

Change it so our country doesn’t have to be an embarrassment anymore.

Change it so the low and the high can see man isn’t lost.

Change it…

FOR YOU.

 

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New Toy Story Holiday Special Announced http://www.toonbarn.com/toy-story/toy-story-holiday-special-announced/ http://www.toonbarn.com/toy-story/toy-story-holiday-special-announced/#respond Sun, 19 Jan 2014 10:00:22 +0000 http://www.toonbarn.com/?p=45309 Fresh off the heels of Toy Story of Terror, which debuted with very strong ratings last October, a new special was announced for Toy Story. Scheduled for the holidays on ABC, the special will be titled Toy Story that Time Forgot and will feature a Christmas theme this time around. In Toy Story That Time […]

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Toy-Story-That-Time-Forgot

Fresh off the heels of Toy Story of Terror, which debuted with very strong ratings last October, a new special was announced for Toy Story. Scheduled for the holidays on ABC, the special will be titled Toy Story that Time Forgot and will feature a Christmas theme this time around.

In Toy Story That Time Forgot, the Toy Story gang once again find themselves in unfamiliar territory, only this time they find out that the coolest set of action figures are delusional and highly dangerous. If the gang ever wants to return to Bonnie’s room in one piece (if at all), they need to pin their hopes on Trixie the triceratops.

Toy Story That Time Forgot is produced by Galyn Susman and directed by Steve Purcell. The special is from Disney•Pixar. You can check out the sneak peek below:

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Why I miss 4Kids Entertainment, and the problems with Saban’s Vortexx http://www.toonbarn.com/pokemon/4kids-entertainment-problems-sabans-vortexx/ http://www.toonbarn.com/pokemon/4kids-entertainment-problems-sabans-vortexx/#comments Mon, 10 Jun 2013 21:07:42 +0000 http://www.toonbarn.com/?p=40285 Thankfully, Toonbarn has done well to show what has happened to Toonzai/Toonzaki and so on. However, here is a point people tend to forget: 4kids was different from the other kids’ companies that existed during and after the last 10 or so years. You have to realize the type of marketplace that existed when the […]

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toonzaki

Thankfully, Toonbarn has done well to show what has happened to Toonzai/Toonzaki and so on. However, here is a point people tend to forget: 4kids was different from the other kids’ companies that existed during and after the last 10 or so years. You have to realize the type of marketplace that existed when the company was at its peak and when it passed on. The problem with people’s recollection of the history of 4Kids is that it doesn’t tell the whole story about why 4Kids did what it did and what it could have done better.

You see, the only two companies that the big three (Cartoon Network, Nickelodeon, and Disney) felt any sort of threat from was 4Kids at one end, and Toonami (when it was apart of the cartoon network) on the other.

Even given an aside, 4Kids respected Toonami for what it was (but im not truly sure if Mr Demarco, now the Senior Vice President of Marketing over in Cartoon Network and Adult Swim – felt the same way about Mr Kahn’s company)

But you have to understand, and people really don’t – 4Kids tried to do different things with animation and anime that many others didn’t really care to do – outside of you guessed it – Toonami (under CN and now under Adult Swim)

There is a form of censorship not only in the anime news media – but in the animation community as well – this affects Saban too in a way – the animator unions (such as Tag 839, which works with both the big three, and well as their owners, the big six – Adding Sony, Universal and Fox) tend to look down upon the non-union (unless you’re in Sag Aftra as they are now called in Voice Acting) because they are Union Busting. (that’s why for a lot of non union work, a lot of Voice Actors have a name change)

However, the censorship got really onerous concerning 4Kids’s bankruptcy. This was a problem, and on a future topic I will go into this in depth.

However, 4Kids did something that others now blame 4Kids for doing.

It brought Japanese “Doga” (also known by its francophone lone word, Anime) to the Masses.

Till this very day, the highest grossing anime movie is still Pokémon The First Movie – 82 Million in the US alone. There is also Yugi-Oh, even though it was no where near the success of Pokémon, was a mega success in its own right.

But if I told you 4kids aired more International works than a lot of the other networks, would you believe me?

Lets look at Funky Cops which first aired in France back in the mid 2000’s.  It was a interesting mix of cgi and cel-shaded animation. And at times it showcased the 1970’s in a interesting light.

How about the Cramp Twins, which aired in Cartoon Network Europe?

The great surprise from the international shows, was the Winx Club. Now here’s something interesting for you. There was another show that Disney had (because – this happened around the same time Sailor Moon aired Super in the states on Toonami) that there was a rush to get more girl power series. While 4Kids was airing the Winx Club franchise (made in Italy by RAI), Disney – after the shock of a stockholders meeting in Philadelphia back in 2004, where Michael Eisner was given pretty much a vote of No Confidence – the next year aired a series called WITCH. This was based on hit books that European girls loved and they felt if 4Kids could do it, Disney could do it.

WITCH only lasted a few episodes.

It was one of the biggest victories for 4Kids.

And not to be out done – The TMNT – which aired in 2003, was regarded as a great show.

The industry was changing and 4Kids was part of the change.

In the later years, they also brought Huntik to the states.

They also created Chaotic (or bought the rights to aspects of a card series that later became that franchise). The later seasons were interesting but expensive.

But what I miss most from 4Kids Entertainment is that they had something different about them. Everybody complains about the editing. True. But the question is why? The Saturday morning blocks were never meant to do the same things content-wise  as a show that aired in late night. And before people go like “but how come some shows in the 60’s were more extreme than today?” Let me remind you that those shows were syndicated and never meant to air on the networks. The Networks were under their own BSnP and the FCC’s. It continues to be that way.

The issue stems from a change in culture, which 4Kids and other companies got caught up in. This change didn’t start because of their editing – it started in spite of their editing. The US Animation dubbing industry felt that they could make more money because 4Kids showed them the way. What ended up was that the networks were not getting money (see the issue of the Cardcaptor series) from DVD sales, and stopped production of said series. The same industry, in other places were producing 2 episodes a DVD. Most of 4Kids and other DVD’s were 5 to 6 episodes a dvd disc.

This, along with issues concerning One Piece and the way it was perceived, broke the back of everybody involved. Plus, with the expansion of the Children’s TV Act of 1990 to include the DTV transition (small aside here, the only reason we had a DTV transition, was that particular law.) even 4Kids had to get E/I compliant shows.

But 4Kids did more than that. It did contests where others didn’t really care – it got stars from different walks of life when other companies didn’t. It did songs and covers that tried to show case something that it could be something joyful for the fans of some series to agree that it wasn’t going to be bad, it was going to bring everybody to the franchise (One Piece). And at its final days, it tried to reboot a whole industry caught up in such hubris that if it wasn’t for the return of Toonami back late last year,  would have been called the way its been called by certain fanbases in both the video game industry and other aspects of geekdom, a worse form of porn, to be made fun of – to be called trash and childlike.

4Kids gave – while others continue to take.

This leads into what is wrong with Saban’s Vortexx.

There is nothing new.

There is the use of stars, but there no where as big as their past versions (in Nascar, Pro Wrestling and Music to name a few)

They air shows that have already seen success in other networks and seen by larger audiences.

The thing that makes it worse, is the concept of the Vortexx approved bumper.

This is the worst thing, anyone has done. Its shows the lack of tact. The respect between what we know whats right and what is told whats right.

But this is Saban and his company for you. They go back to what used to work and failing because we are a completely different society than what we were in 1996.

Nick, CN and Disney (the latter slowly understanding) are starting to adjust to new models. They also have problems too.

But Saban didn’t understand then, when he lost Fox Kids Worldwide to the lucky plucky, 4Kids and Pokémon.

He will never understand now, as the whole TV world is changing forever.

That’s why I miss 4Kids. It was meant for the tykes and those at the cusp of the teen years.

And now its lost to the winds, of what it has done and what could have been.

The post Why I miss 4Kids Entertainment, and the problems with Saban’s Vortexx appeared first on ToonBarn.

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