The NPR radio show All Things Considered aired a segment yesterday about the importance of Flash in the birth of the internet. How Flash Brought The Internet To Life by Guy Raz mentions a number of topics related to character animation including JibJab, Tom Fulp and Newgrounds.

Here’s the transcript from the bit with Tom Fulp:

It definitely made the Internet more fun and more lively. It would have been a much more static and quiet place if not for Flash… Whether you’re good at drawing or good at programming or good at music, you can inject that talent into Flash in some form to create something.

CBSNews.com’s Shira Lazar recently visited the SuperNews! headquarters in Los Angeles, where they’re in the middle of making 8 half-hour episodes. They discuss the now famous Twitter episode, and we meet series creator Josh Faure Brac, and Steven K.L. Olson, who are both “here to fix the news.”

Here’s one of the latest segments from the show, titled TMZ: Jesus Gossip!

Formerly known as GreyKid Pictures, Stu Gamble’s Budapest-based animation studio has taken on a new name – Freakish Kid. Along with his two partners, Dan Balaam and Jez Hall (who is also the designer of Federov, the fearless CHF mascot), the team has launched a new website, showcasing what the team has accomplished in recent years. Included is a teaser for a Nicktoons project they produced called Cluckie the Vampire Chicken. The 5-episode order was produced using Anime Studio and Flash, and below is a little teaser:

Stu recently took some time to answer a few questions about the project and the new studio:
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Ari Folman’s animated documentary Vals Im Bashir (Waltz With Bashir) is a pioneer in many ways. The film was one of the first (along with $9.99) feature films emanating from Israel to be released in theaters. Beyond that, Bashir, a 2D animated film, was produced primarily with Adobe Flash, a medium that is typically reserved for television and internet projects. Of late, many Flash features have been emerging, but none (save perhaps Sita Sings the Blues) have been praised to this degree.

Four years in the making, Waltz With Bashir went on to grab more award nominations than the crew had artists, but no achievement was bigger than the film’s nomination for the Palm d’Or (Best Film) at the 61st Annual Cannes Film Festival. It set the tone for the coming awards season, which saw the film pick up the Golden Globe for Best Foreign Language Film and an Academy Award nomination in the same category. Animated films are often left out of the “Best Picture” category, relegated instead to the animation corner of the ballroom, but at the 43rd National Society of Film Critics Awards, Bashir took the top prize – Best Film.

Yoni Goodman, the film’s animation director, took some time between award shows to answer a few questions.

AARON SIMPSON: What has been the best part of the international praise the film has received?

YONI GOODMAN: I think throughout the production our only thought was to finish the film. That was our goal and we thought of nothing past that. Initially it was supposed to be a small art house movie, with very limited distribution, and of course we had our fantasies of how people would react, but we never suspected the movie would go so far and attract that much of attention. The first real shock was the premiere at Cannes. We had heard stories about the event, but nothing could have prepared us for the real thing. At the end of the screening, we had a 20 minute standing ovation from 2,300 people, which was quite a shock (until that moment, I didn’t notice that the theatre had balconies). Later on that week, we were the talk of the festival, and that just didn’t stop. In a way, it hasn’t really stopped since, so we’re still in a 12-month rollercoaster ride.

AARON: Tell us about the whole rotoscoping confusion…
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M. Wartella, an illustrator, comic artist and animator, has worked on several Flash-animated TV series, including Wonder Showzen and Superjail! His recent gig, however, found him creating storyboards for the CG Adult Swim show Xavier: Renegade Angel. For an upcoming episode, the show creators, Vernon Chatman and John Lee, invited him to bring a sequence to life in 2D.

The episode, titled Damnesia Vu, premieres Thursday, March 19th (tomorrow!) at 12:15 am ET/PT. Below we ask him a few questions about the production, and his response includes a video tutorial detailing his one-man-band process. But first, here’s a :25 second clip from the 2:00 minute sequence he animated.

AARON SIMPSON: When did you produce this segment?

M. WARTELLA: The animation was done entirely by hand over the course of one month late last year. No assistants or in-betweeners or background artists or anything like that. Just cranked it out all myself, which isn’t too bad for a two-minute cartoon. I’d just come off a gig storyboarding the second season of Xavier, and I think the show’s directors, Vernon Chatman and John Lee, were inspired to try something different based on the illustrative style of the animatics I was doing. They asked if I’d be willing to animate a special segment, and of course I said yes.

SIMPSON: What type of creative direction were you given?

WARTELLA: Well, I had worked with John and Vernon on Wonder Showzen, so I already had a bit of insight into their particular brand of humor. The premise of this episode, Damnesia Vu, is that Xavier is kind of “Quantum Leaping” into different lives, sort of a reincarnation theme, and they had the idea that it would be a cool twist for Xavier, a CGI character, to jump into a flat 2D world. They wrote the script, and we just kind of developed it back and forth from there.

SIMPSON: What transpired during that back-and-forth?
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