Remember the great upset of 201X when Crunchy Roll announced their own magical school girl anime? I was there, on the front lines, seeing Fans With Concerns get infinitely mad about a kinda underwhelming trailer for a children's cartoon. (I have the gnawing suspicion that the trailer was actually directed towards actual parents and kids inorder to market CR as a wholesome place for families and not just otaku perverts. It was a silly trailer none-the-less.)
The reasons for upset may have been different than what was openly claimed and once the outrage machine went brrr, it was infinite bad takes on CalArts style that clearly hadn't ever read the original John Kricfalusi essay, smh. That essay was mad petty tho and should be rightly ignored as an old man (old before his time indeed) yelling at clouds.
But one bad cartoon aside, while caring about bad faith art and media criticism has its value on its own terms, this kind of upset is especially worrisome for the possibilities and livelihoods of artists from marginalized groups. The scrutiny and standards applied to them is unfairly high and Sarah Z along with co-writer Emily take on these topics and more on this autopsy of the High Guardian Spice controversy.
Sacrificial Trash (Or Why We Hated High Guardian Spice) | Sarah Z
Moonside OP wrote
Remember the great upset of 201X when Crunchy Roll announced their own magical school girl anime? I was there, on the front lines, seeing Fans With Concerns get infinitely mad about a kinda underwhelming trailer for a children's cartoon. (I have the gnawing suspicion that the trailer was actually directed towards actual parents and kids inorder to market CR as a wholesome place for families and not just otaku perverts. It was a silly trailer none-the-less.)
The reasons for upset may have been different than what was openly claimed and once the outrage machine went brrr, it was infinite bad takes on CalArts style that clearly hadn't ever read the original John Kricfalusi essay, smh. That essay was mad petty tho and should be rightly ignored as an old man (old before his time indeed) yelling at clouds.
But one bad cartoon aside, while caring about bad faith art and media criticism has its value on its own terms, this kind of upset is especially worrisome for the possibilities and livelihoods of artists from marginalized groups. The scrutiny and standards applied to them is unfairly high and Sarah Z along with co-writer Emily take on these topics and more on this autopsy of the High Guardian Spice controversy.