Let's not do it - the original animation is in a slightly rough place these days. Between Canceling the intestines of the Emmy's "The Tiny Chef Show" award, ",", Pixar's "Elio" is scattered at the opening of the boxing weekend (I still hope "Elemental" comeback narrative), the endless parade of live streams with action, which emits the animated classics to which we have grown up and Max removing the original episodes of "Luni Melodies" For some reasonable reason, things look, good ... Dark! But among the internet on the Internet and the hashtags "Rip Original Animation", Sky-Is Falling hysteria is wildly premature. Case in point: "KPOP demons hunters" is absolutely progressing here, and does not play any old rules.

The latest team squad between Netflix and Sony's animation, glittering glitter, demon-smoking spectacle "KPOP Demon Hunters" is a continuation of the last company Nominated for the Spider-Man Academy Award Award: Spider-Verse. Instead of bringing to a lifetime piece of IP, the film is centered on the K-Pop girl, called Huntr/X, made up of pop Idoli Rumi (Arden Jo/Eja), Mira (May Hong/Audrey Nuna), and ZOI (Gi-Yungo/Rei Ami). The trio is not only one of the most popular music acts in the world, but they are also the latest in the long hunting hunters of demons tasked with using their musical gifts to maintain the barrier of the home that seals demons-and their leader, Gui-Ma ("Game of Leader".

Under the confident direction of Maggie Kang (in her debut) and co-director/writer Chris Apelhans, "KPOP Demons hunters" explodes on the screen as a genre-animated musical with a legitimate Oscar-bait, stunning, inventive, and emotionally. There is everything a person can want in an animated film, and based on his ellevelia performance of Netflix, the audience appears massively.

"KPOP Demon Hunters" brings its influences as a bedding, with the flavors of "Buffy the Vampire Slayer", "Total Spies", "PowerPuff Girls", and anime turned to a good measure. However, what could have been derivative mashup instead, like a smart, thematic resonant remix. In particular, Rumi's elbow is a exploration of a generational commitment and accepts even the darkest truths about its existence, as well as struggling with the daily challenges of only existing ones in the world. Involving it in the fun landscape of the K-Pop-who has become more influential for the American audience (you can thank Starvala "White Lotos" and Blackpink Lisa member For Labbu's current madness) - gives the film global relevance and definitely Now sensibility. So many films these days are desperately trying to cause feelings of annual or repetition of formulas during time, but "KPOP demons hunters" develop the famous in something exciting fresh.

Much of the success of the film comes with the courtesy of Sony Pictures Animation, which continues its rule as a stylish plant. Following the visual boundaries of the Spider-Stich films and "Mitchells against the machines", This film once again highlights the mastery of the studio in mixing styles of animation, textures and tones. Each piece of stunning, dipped in a hyper-saturated color and kinetic details-but it is quieter, or more absurd moments of character that really shine.

The animation of CG flirts with the expressive elasticity of the classic 2D anime styles, delivering the contexts of the person appearing on the eye without sacrificing the futuristic glow. Zei, in particular, is a comical discovery: whether it sprouts anime in the style of medium-ranking sharks or has Morph's eyes in a six-pack (which then becomes the corner of the cobweb and eventually full popcorn) as the Saya-K-Pop-Pop boys are in a demon. The animation coincides with the frenetic, electrical and exciting worlds of K-Pop and demons hunting, and cementing "KPOP demons hunters" as one of the most glittering Chinese rides of the year.

When "Elio" underestimated in terms of opening the weekend projections, said Doug Kracz, a media analyst at TD Cowen, said. The deadline"We expect a film study to respond to this clear trend with green lighting of less original IP animated films (don't blame film executions, blame the audience)." This claim - that the audience is to blame for the reduced performance of the box office of the original animated features - not only is it wrong, it is intellectually lazy. The audience does not reject the original animation; They respond to the market that made such content is more unavailable and inaccessible.

Only last month, Lilo and Stitch drew big crowds in rethinking live actions just because it is a "recognizable IP" in an era where cultural complacency is ruled, but because of families, for families, represents an investment with lower risk. If I would buy single tickets for adults and two children to see "Elio" at my local theater in the earliest screening for non-matstic (to accommodate parents who have to work), it would have cost me $ 59.04. In our current economic climate, families are understandably risked when it comes to what they see in theaters. When marketing is minimal and the film lacks the brand's closeness, people are much less likely to spend up to $ 70 for what feels like a gambling.

Meanwhile, KPOP Demon Hunters is moving to Netflix - immediately available to millions, with no extra costs over subscription and the ability to enjoy the comfort of the couch. As far as I would give to see this in all its great, beautiful glory on the big screen where it belongs, its success is undoubtedly credited with the accessibility of the streaming platform. This is not a problem for audience apathy. It is a structural problem within the consolidated industry that has made theater experiences increasingly protected by costs. Until they change, the original animated films will continue to advance where accessibility prevails - and it probably won't be in cinemas, but on streaming platforms.