Review of An Animated Death in Burbank by Michael Joens
A word to animation artists who like mystery novels if you have ever wanted to kill someone at your studio, you can read this well-written police procedural instead and save your rep. Written from the perspective of Detectives Rigby and Cameron, who know nothing about the industry, it quickly gets into the lives of animation people from ceos to writers. The people in this book are right out of half the studios youve worked for, and you can almost guess who the characters are modeled on but not quite. The fun is in the guessing.
The animation details are correct throughout, from the description of a drawings pegs holes and slugging, to the animators bookcase filled with toys. There is a secretary (pardon me, assistant) in a studio that takes up 10 stories, who shrugs off animators with On the second floor The work is done overseas mostly so we dont need many artists. From the producer in that same building: There are no bad ideas or good ideas there are ideas that make money and ideas that dont. Joens describes the brightly colored 50s furniture of another studio in an old run down building that sounds a great deal like one that used to be in Hollywood. The woman exec there urges her storyboard artists on with Edgier, guys! Edgier!
The Author is in Animation The author knows his venue well. Joens heads up his own studio, Stillwater Production Co., where he has done commercials for Hasbro, Milton Bradley, Kenner and Playskool and award-winning videos. He directed My Little Pony for Sunbow. An ex-Marine, he lives with his wife Cathy and family on a horse ranch in Agua Dulce, California. If youve got Flash, you can view his Website at michaeljoens.com. Joens, who started out at Hanna-Barbera, has been an animator, storyboard artist, character designer, director and producer. He writes scripts, both animated and live action, and this is his fifth novel. His novel, Triumph of the Soul, was a 2000 Christie Award finalist.
Joens skewers the current attitude of corporate animation bosses while still keeping his obvious admiration for the talent of the artists themselves. Even the ones that are jerks. And, in chapter eight he gives you a pretty good synopsis of what has happened to the industry since the days when artists were in charge. He, or perhaps just his characters, doesnt like the changes.
























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