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writing as well.",{"name":70,"@type":61,"acceptedAnswer":71},"Which series are analyzed as examples of ecocritical integration?",{"text":72,"@type":64},"Adult Swim’s Primal (2019-present) and selected episodes of Love, Death & Robots (2019-present) are used to show how thematic content and visual style interact critically without being literal enviro-toons.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},155012,1787903044,{"code":4,"msg":82,"data":83},"success",[84,88,92,96,101,105,110,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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Services  \nMarco Bellano  \n ABstrAct  \nIn 2011, Robin Murray and Joseph Heumann proposed an ecocritical reading of US animated production, further focusing on the definition of enviro-toon. It is a category that frames the dominant narrative models in US animation, introduced in 2004 by Jaime Weinman to distinguish superficially moralistic products from those animated works where, although the ecological theme is central, easy schematisations are not used (where ‘good’would coincide with nature conservation, and ‘evil’ with pollution and the like), but a complex stratification of perspectives is created, and conclusions remain open. These are what, in 2012, Deidre Pike more precisely identified as dialogical enviro-toons.  \nIn the contemporary panorama of animation, though, the fictional serial products distributed by OTT media services seem to be implementing new discursive strategies about ecocritical issues, which are in turn also influencing TV serial animation. The ecological topic is often not the main force driving the narrative, but just one major thread within a more complex thematic texture. This is especially evident in the so-called “adult”-targeted animation, a marketing label introduced since the early 2000s in Western animation (for example by the night programming of Cartoon Network, called Adult Swim) to differentiate the serial products covering more sensible themes, like violence or sensuality, from the “regular” ones, supposedly targeted to children. While this labelling unfortunately perpetuates longstanding stereotypes about the perception of animation in the Western audience, the exploration of the so-called “adult” audience has fostered the development of series with a complex writing and a matching refined design  \nBeYond tHe enviro-toon  \nand visual research. Among the series that cleverly embed ecocritical issues in their narratives, without being literal enviro-toons, are the Adult Swim Primal (2019-present), by Genndy Tartakovsky, as well as several episodes of Love, Death & Robots (2019-present), based on a strong critical interplay between thematic content and visual style.  \nThe article analyses these series, to discuss how they challenge and expand the notion of enviro-toon.  \nkeYWords  \nAnimated series; Genndy Tartakovsky; Tim Miller; enviro-toon; dystopian narratives.  \nIntroduction  \nEnviro-toons and the ecocritical dialogue between the fragment and the whole  \nOver the past two decades, ecocritical reflection on audiovisuals has identified and brought to light the special role that animation plays in this field. As early as 2005, in his volume Ecomedia, Sean Cubitt devoted a chapter to Hayao Miyazaki’s Princess Mononoke (Mononoke Hime, 1997), noting how animation allowed for an easier transit of the point of view between human and other than human, whether animal or plant, through the spontaneous tendency of the medium towards metamorphosis (Cubitt 2005: 25) . In 2011, Robin Murray and Joseph Heumann (Murray and Heumann 2011) proposed an ecocritical reading of US animated production, further focusing on the definition of enviro-toon. It is a category that frames the dominant narrative models in US film animation, introduced in 2004 by Jaime Weinman (Weinman 2004) to distinguish superficially moralistic products from animated works where, although the ecological theme is central, easy schematisms are not used (where “good” would coincide with nature conservation, and “evil” with pollution and the like), but a complex stratification of perspectives is created and conclusions remain open. These are what Deidre Pike more precisely identified as dialogical enviro-toons (Pike 2012: 13) . Interestingly, these and other theoretical lines based on ecocritical thinking do not merely represent new offshoots of animation studies, but instead tend to be elegantly interwoven with the theoretical core of th","cbCaiiaJ3x69WTrs","https://ap.wps.com/l/cbCaiiaJ3x69WTrs","pdf",202910,"English","# Introduction\n## Enviro-toons and the ecocritical dialogue between the fragment and the whole\n## Case discussions: OTT and TV “adult”-targeted series","[{\"question\":\"What does the paper mean by “enviro-toon”?\",\"answer\":\"“Enviro-toon” is presented as a category framing dominant narrative models in US animation, where ecological themes are central but conclusions remain open and perspectives are complex rather than simplified into moral binaries.\"},{\"question\":\"How do contemporary OTT and TV serials relate to enviro-toon theory?\",\"answer\":\"The paper argues that many serial products implement new discursive strategies on ecocritical issues, often treating ecological topics as major threads within richer thematic textures that influence TV animation writing as well.\"},{\"question\":\"Which series are analyzed as examples of ecocritical integration?\",\"answer\":\"Adult Swim’s Primal (2019-present) and selected episodes of Love, Death \\u0026 Robots (2019-present) are used to show how thematic content and visual style interact critically without being literal enviro-toons.\"}]","Beyond the Enviro-toon - The Ecocritical Theme in Contemporary Animated Series for TV and OTT Media Services - Marco Bellano | PDF"]