So when it comes to artists for animation and webcomics, why

>>88989037
Because the "lowest common denominator" is an actual thing and not just a term elitist pricks use.

>>88989285
Explain what lowest common denominator audiences are defined as from your perspective.

>>88989439
Ticking off all the checkmark boxes of what the masses "want" to see, rather than focusing on any kind of quality. Shit like Owlturd and Assigned Male are infinitely rebloggable right now. Of course it's all gonna go sour once their kinds of fads are over, but for now it makes them bank.

>>88989483
That makes sense for owlturd, but I'm having a bit of trouble applying that mentally to assigned male.

Considering any trans person I've ever met dislikes the comic and the audience seems comprised of entirely slacktivists, are there really so many slacktivists that it keeps the comic current and keeps the bank flowing in?


Owlturd I can completely understand though, since most of the comics are "lol rel8able depreshun." But at least when Owlturd tries to make an ACTUAL joke it's mildly entertaining.

>>88989538
Yes. There really ARE that many slacktivists. Teenagers who learned about gender politics from tumblr dot com eat that shit up.

>>88989560
It's pretty saddening to see that this is the current reality in independent webcomic and animation artists.

Sophie makes enough to live off of drawing a shitty webcomic she admits takes 30 minutes to draw total for each strip, but then people invest months into making animations by themselves and get jack shit because it doesn't endlessly parrot their political opinions to an audience that already agrees.

>>88989652
High-quality output usually means slow releases, especially with animation.

It's difficult to remain invested in a product or story that you only see once every couple of months and only takes a minute to consume.

High volume output will always, ALWAYS trump high quality output so long as the high volume output hits a minimum bench mark, because people view their entertainment pass/fail not a spectrum of quality.

Secondly, people don't watch animations or read webcomics for the art. The art is just a vehicle for the writing.

Here's the list of viewer priorities:
>the characters
>the premise
>the actual writing quality
>the art style/aesthetic
>the actual quality of said art
>the quality of the animation itself (if it's an animation)

Good writing can save shit art but good art can't save shit writing because people don't read/watch for the art.

>>88990219
>High volume output will always, ALWAYS trump high quality output so long as the high volume output hits a minimum bench mark, because people view their entertainment pass/fail not a spectrum of quality.

This. Why else do you think Hanna-Barbera was so prevalent and popular in the 60's and 70's even though it looked cheap and repetitive compared to the 40's cartoons? Cause you can't do the same kind of production on the 40's cartoons (made for movie theaters) on a TV show and have enough done on time.

>>88990219
But I'm comparing 2 cases, one which is genuinely humorous and has decent art and the other that has shit art and writing.