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Part of the reason for this is the fact that much of the financial value of cartoons for a network lies in the possibility -assuming that children are more open to repetition than adult viewers- of re-airing episodes over and over again. “A miniseries?” You might ask, and I wouldn’t blame you, I think there is very little precedent for such a thing as an animated miniseries in television history. Even more excitingly, though, is the recent premiere of Over the Garden Wall, an animated miniseries that might (and I hope it does) start a new era of animated storytelling on television. The best example of the richness of our current cartoon landscape is the hugely popular Adventure Time,which is as funny and entertaining as it is a hugely detailed and inventive exercise in world-building. I mean, if you think about it, there are fewer clearer authorial visions than the manic nastiness of Ren and Stimpy, or the noir aesthetic of Batman: The Animated Series. This nourishment of television authors interested in animation has continued ever since.
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Not only were we spending more money on these series, but we were starting to see what could be described as “auteur cartoons”. That was until the rise of cable and the early nineties boom of television.
Over the garden wall meaning series#
From the “limited animation” of the cheaper than cheap Hanna Barbera productions of the fifties and sixties, to the eighties boom of series designed explicitly to sell toys (think of He-Man, or Transformers), the genre has been traditionally cheap, and creatively uninspired. What is a good animated series? The history of television animation is plagued with stigma and critical dismissiveness.