Second Scenario - GAGged
"The formation of the Global Animators Guild (GAG) ensures that content creation finally has some regulations and guidelines. Our motto, "For the Preservation of Creativity", is held as the highest standard any animator can have as a watermark for their work. Indeed, before the institution took form, the rise of animators with questionable ideas and loose artistic taste was a scare for most of the long-time members of the animating world. This new breed of animator did not seem to care for much of the time hardened principles and long standing design techniques that had shaped the current modes and fashions. The increase in cultural styles, moral traditions, and social representations that these artists were bringing into the animation world was a concern for many. The PEOPLE demanded that animation remain a form of communication for children and education. Religious and Political groups were concerned with the popularity of programs which spoke against their most sacred trusts. Luckily, the Guild ensures that these fears are a thing of the past, that ALL animation in print or production is approved in accordance with their strict code of conduct, and that animators can now be held to the highest of standards as the art form demands..." -- Hobart Theiressen, Director/CEO for GAG Inc. Drawn and Quartered Magazine, pp 76
The Global Animators Guild began operations to ensure the quality of animators being hired by media conglomerates during the huge Content Surge of latter 2013. The demand for all types of content was so high, that many people were passing themselves off as animators by hijacking online content, claiming it as their own, and proceeding to skirt around various studios and animation centers of the world. This became such a trend that among other industry changes, GAG was formed to create a skilled pool of animators whose work deserved the large sums of money being offered by the studios. The reputation of quality that came with Guild certification and membership was quickly recognized as the highest grade of professionalism amongst the artists and employers of the time.
During the first shrinking of the content demand, the Guild remained strong and its members were found work either through outsourced projects or in some of the new productions funded by Guild money. These GAG productions quickly became a high priced commodity, which kept the members afloat and established the GAG stylistic choices as the industry's new standard. When demand for Animators returned, as it always has during the course of the art's history, GAG artists were quickly in short demand and began opening a number of animating educational facilities to instruct a new wave of animators. The crux of the situation came during a quiet lunch meeting during the 2nd golden era.
The story goes, Mr. Hobart Theiressen, then a color and texture understudy at GAG, made a proclamation that a rival studio was considering the production of a series of political shorts that were sure to turn some heads. Turn some heads it did, but more quickly than he imagined, as one of the gentlemen sitting at a table not far from Mr. Theiressen was none other than our current national leader. At this time, our president was running for governor in his home state, and he thought that if another studio was going to make political shorts, his team had better hire some animators to make some shorts too. Mr. Theiressen's now infamous political cartoon titled "Who's got the keys to this box?" was a national success, after voting booths across the entire nation were suspect of tampering and rigging. Mr. Theiressen's new found "trendsetter" status for his artwork, and his increasing political clout (due to his employers subsequent rise to power) pushed him to take over the reigns of all GAG activities.
With GAG firmly in the pocket of the powerful: artistic choices, intercultural exchange programs, and new hire practices began to tighten and new language began to appear around the studios. Catch phrases like : " Drawing for Justice," and "Animating Truth" began to appear stamped across the gates to the animation schools, and GAG studios soon became the "voice of the nation." The appeal of these ideas far outweighed the subtle shifts in direction that were taking place within the productions themselves. Dialogues were altered, and character designs were chosen by outside sources. Then whole scripts were altered, and all stylistic choices for production arrived in Mr. Theiressen's mailbox from anonymous powers. GAG had clearly become the puppet of the political machine, but its incredible reputation amongst audiences, and the daft skill (and desperation) of its artists to work with the materials they were given kept them ranked as the top animation house.
When Mr. Theiressen spearheaded GAG's numerous hostile takeovers of competing animation houses, a cry went up from the animation staff that was quickly denounced by a brutish and untraceable squad of shadow callers, phantom knockers and unaccounted for dog barks at the homes of those making thee noise. nearly all of GAG's employees stayed on for fear of their job, and their life. As rival houses folded or conceded to the whims of the GAG mogul, Mr. Thieressen gathered up the useful animators, and threatened or defamed any artist who threatened the GAG mission. Theiressen began the institution of the new GAG-policies that clearly defined production angle for all GAG releases, and left him in charge of all major decision making capacities. His quest soon became global, and his success is evident in the pervasiveness of the GAG logo; current social recognition tests demonstrate that nearly 72% of the global urban population knows the logo and is informed of what the company produces. And that brings us to our present situation.
GAG industries are now responsible for nearly 94 percent of all animated features, and almost 85 percent of animated shorts. Their complete monopoly over the creation of video game stories, and their character "typing" practices are not public knowledge, but none-the-less must be acknowledged. Though small animation schools still exist, they are certainly no match for GAG and its industry dominance. by controlling the shape, and feel of each title, Mr. Theiressen and GAG have molded a mindset of two generations. Thank goodness they molded them correctly, and we all now know what proper animation looks like, and what really is appropriate for the public.
© 2047 ACME publications house (GAG certified for nearly 30 years).
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