Yeah, and I doubt anyone would even want to work with John after all the shit he's revealed to have done over the past few years.
Man's Best Friend: An Alternate 1990s and Beyond
- Thread starter THE KINGFISH
- Start date
Yeah
Also in the years after he was exposed as a sick little monkey, not only does John K. have a Patreon page that hopefully no-one contributes to, but he also sold NFTs.
They have definitely declined, but they're not dead....................
Yet. Kinda like Yu-Gi-Oh!. HUGE HIT EVERY KID IN THE PLAYGROUND(unless your parents didn't like that stuff or believed it was bad for the youth) WANTED AND LIKED, then after say, the original and/or GX, declined........Now, yeah.........I want my childhood back.............
I heard about the Patreon too. Hope no one is stupid enough to give John attention over there. And about the NFT thing? Yeah, I wouldn't be surprised either, especially considering that John is a asshole and just a horrible person in general.
I'm not kidding, John K. really made NFTs of animated cats and dogs and other animals, and they're probably some of the most ugliest things I have ever seen.
I know John K.'s art and animation is supposed to look ugly but his NFTs are somehow uglier than anything else he's made!
I think we should all agree on a new nickname for John Kricfalusi here.
John Prickfalusi
Anyone agree? After all, it does rhyme. And John is just a prick overall.
Thanks! And how about we take the K out of Prickfalusi and call him John Pricfalusi? Personally, I think it rhymes better.
I literally came up with that nickname while talking with @OldNavy1988 about replacing Ren & Stimpy with a fictional show for his next remake of American Magic in a PM!
Lol what a coincidence! But I do hope the next remake of American Magic takes itself more seriously and is more different than both the original American Magic and As Dreamers Do combined in terms of butterflies.
Chapter II: Smells Like Teen Spirit
From Music to Making Animation
Excerpt from the Stefanimania interlog, 11 May 2010
“You’re leaving?!?!”
This was Gwen’s reaction to me quitting the band. “I mean, look around you Gwen,” I bluntly pointed out, “Our band is a fucking revolving door with too many cooks in the kitchen.” “You really think we have what it takes after Eric [Spence] hung himself?”
“But this was our band,” Gwen exclaimed, tears welling up in her eyes. “We started it together, we’ve been through so much. We can’t just give up now.”
I sighed, knowing that Gwen was right about our shared history. No Doubt was our brainchild, and we had worked tirelessly to build it from the ground up. But the truth was, I was simply disillusioned. And as I got into animation, I was shouted down by Mr. Kricfalusi. But something told me that I was not going to back down. Not after we lost Eric Spence. After he died, everything changed for me. The band was never the same, and I didn't feel like I belonged there anymore. I wasn’t going to make the same mistake with my animation career.
"I understand that this is hard for you, Gwen," I said, trying to console her. "But I have to do what's best for me. It's not about giving up, it's about moving on and finding my own path."
Gwen facepalmed sorrowfully. Sighing, she looked at me and said, “Eric…. all my life, I wanted to make music. I remember listening to bands like Madonna and The Go-Go's[1], and dreaming of being up on stage. When we started No Doubt, it was like a dream come true. But now...now I'm not so sure."
A shiver of guilt tingled my body. I could see the pain in her eyes, and it broke my heart. "Gwen, you're an amazing musician," I said, taking her hand. "You have so much talent and passion, and I know that you can do whatever you set your mind to. Don't give up on your dreams just because I'm leaving the band."
Gwen wiped away her tears and looked at me with a newfound determination. "You're right," she said. "No Doubt might not be the same without you, but that doesn't mean we can't keep going. We've faced challenges before, and we can face this one too."
I smiled at her, relieved that she was starting to see things in a more positive light. “And look on the bright side, there’s more to music than just making it,” I explained, “Besides, even if we broke the mold, we’d still have to deal with asshats in the label boardrooms.” “Trust me, I got people in the animation industry that have to deal with this bullshit all the time.”[2]
Gwen thought for a moment, processing my words. Then, her face brightened. “Maybe… instead of making music…. I could help produce and manage music.” She continued, “I can use my artistic view to help liberate female artists and bring new voices to the forefront!”[3]
“That’s the spirit,” I said encouragingly, feeling a sense of relief and hope. Maybe this was the best decision for both of us, and we could each pursue our own passions while still supporting each other.
“Maybe there is a future for me in the industry after all,” pondered Gwen.
“Well then, we may have lost the game before, but we each still have a shot in making it,” I asserted.
“Yes, Eric,” Gwen added, “and who knows? Maybe one day we’ll even collaborate on something new and amazing.” I smiled at her, feeling a sense of closure and possibility. “I guess this is where we part ways for now,” she added.
“I guess so,” I added smiling, relieved that she was starting to see things in a more positive light. "I know you can," I replied. "And I'll always be here to support you, no matter what."
We hugged each other tightly, and I felt a weight lift off my shoulders. Leaving No Doubt was one of the hardest decisions I had ever made, but I knew it was the right one. And with Gwen's support, I was ready to take on whatever challenges lay ahead in my animation career. By March of ’89, No Doubt was No More, the others left for other bands, Gwen went into studying music production, and I was heading straight for Toronto. Where? Sheridan College of course! After all, if I wanted to show Kricfalusi my worth, why not attend the same college he claimed to attend. I left Los Angeles by the summer, and moved to Toronto - where I would live for the next two years.
When I started my term in September ’89, I was acquainted with Reg Hartt - a film archivist who just so happened to deal with cartoons. I told him that I was encouraged to come here by John Kricfalusi. Upon hearing that name, Hartt was aghast. He told me that Kricfalusi had developed a toxic reputation while at Sheridan and was eventually expelled in 1978 for poor attendance and poor workmanship.[4] He was determined to not make the same mistake with me.
One of the first things Harrt taught me was the importance of hard work and dedication in any creative field. He emphasized that talent alone is not enough, and that it takes a strong work ethic and a willingness to learn and improve to succeed. Usually, Harrt taught examples of exaggerated old school animation - such as Max Fleischer's Betty Boop and Popeye cartoons, as well as Tex Avery's Looney Tunes and MGM cartoons - and how they utilized timing, squash and stretch, and other animation principles to create memorable and entertaining characters.[5] But since Harrt remembered how Kricfalusi’s storytelling abilities were lacking, he made sure to also emphasize the importance of storytelling and character development.
Another thing Harrt did was that he used his connections with the local animation studios in the Toronto area[6] to land me internships to get insight on the animation industry. One of the notable projects I worked on included The Nutcracker Prince for Lacewood Productions, and Babar and Beetlejuice for Nelvana - particularly the latter’s opening sequence.[6]
Mr. Harrt did his best to ensure that I was fully prepared to enter the animation industry. And to be perfectly honest…. It kinda worked. Maybe it was the chaos in No Doubt, maybe it was personally working in the 8th circle of hell that was Spümcø, fuck - I don’t know - maybe it was just Hartt talking sense into me. But I was NOT going to make the same mistakes that Krickfalusi did. While I still wanted to draw the wildest drawings I could, you need a sense of getting shit done in order to make a dream reality. It’s just the way the world works.
Anyways, long story short, I graduated from Sheridan in April of ’91 with an associate’s degree in Film and Animation. Now, while most animation studios also require at least one year of experience in the industry, I’d been there and done that back in the late 80’s with my work on Mighty Mouse and Beany and Cecil. So, after moving back to Los Angeles, my first stop was to go back to Spümcø. If I can remember from my old planners I took up while at Sheridan, I had an interview with John Krickfalusi himself on July 20, 1991. By that time, his new series - now called The Ren & Stimpy Show - was garnering quite the word of mouth in and outside the industry.
Kricfalusi’s colleague Bob Camp had led me into his office, where I was met with a disappointing scowl. “Oh… it’s you,” Kricfalusi groaned with a total lack of enthusiasm. “I’m back,” I stated confidently, “And I’ve got a sleuth of experience straight from Sheridan to boot.”
I handed my new sketchbook filled with at least a hundred or two of wacky cartoon drawings. If that’s not perfectionism - I don’t know what the fuck is. As I handed him the book, Kricfalusi sarcastically remarked, “maybe you learned how to steal from Chuck Jones instead of Friz Freleng this time.” But while flipping through the books, he became stunned. It was like he needed to clear his eyes in order to understand what he was seeing. Every. Single. Expression. Was perfect to him. “Holy shit,” Krickfalusi muttered, “you actually drew this shit?!” I emphatically nodded. “This… these are some of the wackiest drawings I’ve ever seen,” Kricfalusi remarked, “and I’ve seen the fucking Fleischer Brothers.” “Umm… thanks, I guess,” I squeaked. “You really did study from the classics this time,” Kricfalusi added, “I’m thoroughly impressed.” He caught a glimpse of the next drawing - a cartoonishly busty, young-ish woman and let out a hearty chuckle. “Ha! Look at that! That bitches’ tits are HUGE!”[7]
“Yeah,” I commented, laughing off his casual misogyny. “So, can I expect a job here in the coming weeks? “Oh, yes, yes, absolutely,” Kricfalusi remarked, “definitely worthy of a job here at Spümcø.” I felt proud. Seeing the same guy scorn me for my art talent just two years ago now congratulate me for it gave me a rush of pride that I haven’t felt since No Doubt. “That’s great,” I chimed, “One more question I have is can I expect to eventually work my way up to a show runner position?” Kricfalusi’s face suddenly shifted to a more solemn expression. “Ehhh…. I prefer having creative control over my show,” Kricfalusi asserted, emphasizing “my”. “I mean, let’s be real - any artist with a set of balls between his legs would. Why shouldn’t I?” “You will play a crucial role in the writing and storyboarding process, however.” “Right,” I said with unease.
But show runner or not, I had the job. Ren & Stimpy would premier on Nickelodeon in August 1991 - and would arguably be the biggest hit of the three original Nicktoons. My first credit on the show was as a storyboard revisionist for the episode “Marooned” - an episode I personally enjoyed working on. It was really fun bringing all the surreal imagery in that episode to life.
However, I couldn’t help but feel that the world of music was still calling me. It had been almost three years since I’d strangle my musical career in the cradle, yet 1991 felt like a whole new world. Ska, punk, and new wave were out. Grunge, hard rock, and raw indie sounds were in. These new artists spoke to a generation of disillusioned youths, singing about social isolation, disempowerment, and trauma. I personally found it refreshing to hear this raw and honest expression in music, and it reignited my passion for the art form. Despite my success at Spümcø, I couldn't shake off the feeling that I was meant to be doing something else. I was simply torn. But then, I got the crazy idea to somehow put the two together. In many ways, the edginess of grunge and the edginess of Ren & Stimpy almost rhymed with each other. If I was going to get someone to get on the show, I might as well get the most edgy and unconventional musician out in the mainstream. So, I did the only sensible thing: I personally called the face of grunge. When the person on the other end picked up the phone, I responded:
“Hello, is this Kurt Cobain I’m speaking to?”[8]
[1] This is OTL. Madonna and The Go-Go's were both popular pop groups in the 1980s. Additionally, Madness, The Specials, Blondie and The Clash also made up most of the influence of No Doubt - and to an extent Gwen Stefani’s solo career. Rest assure, we are still setting the stage for our timeline - so we won’t dwell too long on the decade prior.
[2] “People” …..like John Kricfalusi.
[3] Considering that IOTL Gwen did other musical roles such as being a producer/songwriter for other artists - and later on served as a coach on the singing competition show The Voice - I don’t think this is too unreasonable for her. Plus, much of the songs she’s written - from “Just a Girl” for No Doubt to “Hollaback Girl” for her later solo career.
[4] Most of this is true. Kricfalusi was actually expelled from college back in 1978. However, not much is known for the reason why - but knowing how he acted on the production of…. well really any thing he’s ever made - we can infer that it’s probably no good.
[5] Reg Hartt has taught animation and film history to many aspiring animators and filmmakers, but - at least when Kricfalusi worked with him in the mid-1970s - was known for his unconventional teaching style and for his advocacy of self-education. It’s possible that given Stefani’s determination, and the things Harrt heard about Kricfalusi from graduates in the industry, that he changes his teaching method to what is depicted here.
[6] Specifically, the second intro to the Beetlejuice. From what I’ve heard, the cartoon is OK, but the (second) intro is totally off the walls crazy and I love it! It has no right being that good for a cartoon based on a movie.
[7] *sarcasm* Don’t you just love the 1990s? Totally weren’t a lot more racist, sexist, or homophobic than today! *sarcasm*
[8] And so, it begins. What started as a seemingly minor divergence regarding one band member choosing a different career path - has now led to two of the most iconic pieces of 90s media on a collision course against each other. In case you didn’t know, this is a timeline that takes the butterfly effect fairly seriously - unlike certain other pop culture timelines. You can expect the results of such a collaboration to have interesting results.
Excerpt from the Stefanimania interlog, 11 May 2010
“You’re leaving?!?!”
This was Gwen’s reaction to me quitting the band. “I mean, look around you Gwen,” I bluntly pointed out, “Our band is a fucking revolving door with too many cooks in the kitchen.” “You really think we have what it takes after Eric [Spence] hung himself?”
“But this was our band,” Gwen exclaimed, tears welling up in her eyes. “We started it together, we’ve been through so much. We can’t just give up now.”
I sighed, knowing that Gwen was right about our shared history. No Doubt was our brainchild, and we had worked tirelessly to build it from the ground up. But the truth was, I was simply disillusioned. And as I got into animation, I was shouted down by Mr. Kricfalusi. But something told me that I was not going to back down. Not after we lost Eric Spence. After he died, everything changed for me. The band was never the same, and I didn't feel like I belonged there anymore. I wasn’t going to make the same mistake with my animation career.
"I understand that this is hard for you, Gwen," I said, trying to console her. "But I have to do what's best for me. It's not about giving up, it's about moving on and finding my own path."
Gwen facepalmed sorrowfully. Sighing, she looked at me and said, “Eric…. all my life, I wanted to make music. I remember listening to bands like Madonna and The Go-Go's[1], and dreaming of being up on stage. When we started No Doubt, it was like a dream come true. But now...now I'm not so sure."
A shiver of guilt tingled my body. I could see the pain in her eyes, and it broke my heart. "Gwen, you're an amazing musician," I said, taking her hand. "You have so much talent and passion, and I know that you can do whatever you set your mind to. Don't give up on your dreams just because I'm leaving the band."
Gwen wiped away her tears and looked at me with a newfound determination. "You're right," she said. "No Doubt might not be the same without you, but that doesn't mean we can't keep going. We've faced challenges before, and we can face this one too."
I smiled at her, relieved that she was starting to see things in a more positive light. “And look on the bright side, there’s more to music than just making it,” I explained, “Besides, even if we broke the mold, we’d still have to deal with asshats in the label boardrooms.” “Trust me, I got people in the animation industry that have to deal with this bullshit all the time.”[2]
Gwen thought for a moment, processing my words. Then, her face brightened. “Maybe… instead of making music…. I could help produce and manage music.” She continued, “I can use my artistic view to help liberate female artists and bring new voices to the forefront!”[3]
“That’s the spirit,” I said encouragingly, feeling a sense of relief and hope. Maybe this was the best decision for both of us, and we could each pursue our own passions while still supporting each other.
“Maybe there is a future for me in the industry after all,” pondered Gwen.
“Well then, we may have lost the game before, but we each still have a shot in making it,” I asserted.
“Yes, Eric,” Gwen added, “and who knows? Maybe one day we’ll even collaborate on something new and amazing.” I smiled at her, feeling a sense of closure and possibility. “I guess this is where we part ways for now,” she added.
“I guess so,” I added smiling, relieved that she was starting to see things in a more positive light. "I know you can," I replied. "And I'll always be here to support you, no matter what."
We hugged each other tightly, and I felt a weight lift off my shoulders. Leaving No Doubt was one of the hardest decisions I had ever made, but I knew it was the right one. And with Gwen's support, I was ready to take on whatever challenges lay ahead in my animation career. By March of ’89, No Doubt was No More, the others left for other bands, Gwen went into studying music production, and I was heading straight for Toronto. Where? Sheridan College of course! After all, if I wanted to show Kricfalusi my worth, why not attend the same college he claimed to attend. I left Los Angeles by the summer, and moved to Toronto - where I would live for the next two years.
When I started my term in September ’89, I was acquainted with Reg Hartt - a film archivist who just so happened to deal with cartoons. I told him that I was encouraged to come here by John Kricfalusi. Upon hearing that name, Hartt was aghast. He told me that Kricfalusi had developed a toxic reputation while at Sheridan and was eventually expelled in 1978 for poor attendance and poor workmanship.[4] He was determined to not make the same mistake with me.
One of the first things Harrt taught me was the importance of hard work and dedication in any creative field. He emphasized that talent alone is not enough, and that it takes a strong work ethic and a willingness to learn and improve to succeed. Usually, Harrt taught examples of exaggerated old school animation - such as Max Fleischer's Betty Boop and Popeye cartoons, as well as Tex Avery's Looney Tunes and MGM cartoons - and how they utilized timing, squash and stretch, and other animation principles to create memorable and entertaining characters.[5] But since Harrt remembered how Kricfalusi’s storytelling abilities were lacking, he made sure to also emphasize the importance of storytelling and character development.
Another thing Harrt did was that he used his connections with the local animation studios in the Toronto area[6] to land me internships to get insight on the animation industry. One of the notable projects I worked on included The Nutcracker Prince for Lacewood Productions, and Babar and Beetlejuice for Nelvana - particularly the latter’s opening sequence.[6]
Mr. Harrt did his best to ensure that I was fully prepared to enter the animation industry. And to be perfectly honest…. It kinda worked. Maybe it was the chaos in No Doubt, maybe it was personally working in the 8th circle of hell that was Spümcø, fuck - I don’t know - maybe it was just Hartt talking sense into me. But I was NOT going to make the same mistakes that Krickfalusi did. While I still wanted to draw the wildest drawings I could, you need a sense of getting shit done in order to make a dream reality. It’s just the way the world works.
Anyways, long story short, I graduated from Sheridan in April of ’91 with an associate’s degree in Film and Animation. Now, while most animation studios also require at least one year of experience in the industry, I’d been there and done that back in the late 80’s with my work on Mighty Mouse and Beany and Cecil. So, after moving back to Los Angeles, my first stop was to go back to Spümcø. If I can remember from my old planners I took up while at Sheridan, I had an interview with John Krickfalusi himself on July 20, 1991. By that time, his new series - now called The Ren & Stimpy Show - was garnering quite the word of mouth in and outside the industry.
Kricfalusi’s colleague Bob Camp had led me into his office, where I was met with a disappointing scowl. “Oh… it’s you,” Kricfalusi groaned with a total lack of enthusiasm. “I’m back,” I stated confidently, “And I’ve got a sleuth of experience straight from Sheridan to boot.”
I handed my new sketchbook filled with at least a hundred or two of wacky cartoon drawings. If that’s not perfectionism - I don’t know what the fuck is. As I handed him the book, Kricfalusi sarcastically remarked, “maybe you learned how to steal from Chuck Jones instead of Friz Freleng this time.” But while flipping through the books, he became stunned. It was like he needed to clear his eyes in order to understand what he was seeing. Every. Single. Expression. Was perfect to him. “Holy shit,” Krickfalusi muttered, “you actually drew this shit?!” I emphatically nodded. “This… these are some of the wackiest drawings I’ve ever seen,” Kricfalusi remarked, “and I’ve seen the fucking Fleischer Brothers.” “Umm… thanks, I guess,” I squeaked. “You really did study from the classics this time,” Kricfalusi added, “I’m thoroughly impressed.” He caught a glimpse of the next drawing - a cartoonishly busty, young-ish woman and let out a hearty chuckle. “Ha! Look at that! That bitches’ tits are HUGE!”[7]
“Yeah,” I commented, laughing off his casual misogyny. “So, can I expect a job here in the coming weeks? “Oh, yes, yes, absolutely,” Kricfalusi remarked, “definitely worthy of a job here at Spümcø.” I felt proud. Seeing the same guy scorn me for my art talent just two years ago now congratulate me for it gave me a rush of pride that I haven’t felt since No Doubt. “That’s great,” I chimed, “One more question I have is can I expect to eventually work my way up to a show runner position?” Kricfalusi’s face suddenly shifted to a more solemn expression. “Ehhh…. I prefer having creative control over my show,” Kricfalusi asserted, emphasizing “my”. “I mean, let’s be real - any artist with a set of balls between his legs would. Why shouldn’t I?” “You will play a crucial role in the writing and storyboarding process, however.” “Right,” I said with unease.
But show runner or not, I had the job. Ren & Stimpy would premier on Nickelodeon in August 1991 - and would arguably be the biggest hit of the three original Nicktoons. My first credit on the show was as a storyboard revisionist for the episode “Marooned” - an episode I personally enjoyed working on. It was really fun bringing all the surreal imagery in that episode to life.
However, I couldn’t help but feel that the world of music was still calling me. It had been almost three years since I’d strangle my musical career in the cradle, yet 1991 felt like a whole new world. Ska, punk, and new wave were out. Grunge, hard rock, and raw indie sounds were in. These new artists spoke to a generation of disillusioned youths, singing about social isolation, disempowerment, and trauma. I personally found it refreshing to hear this raw and honest expression in music, and it reignited my passion for the art form. Despite my success at Spümcø, I couldn't shake off the feeling that I was meant to be doing something else. I was simply torn. But then, I got the crazy idea to somehow put the two together. In many ways, the edginess of grunge and the edginess of Ren & Stimpy almost rhymed with each other. If I was going to get someone to get on the show, I might as well get the most edgy and unconventional musician out in the mainstream. So, I did the only sensible thing: I personally called the face of grunge. When the person on the other end picked up the phone, I responded:
“Hello, is this Kurt Cobain I’m speaking to?”[8]
[1] This is OTL. Madonna and The Go-Go's were both popular pop groups in the 1980s. Additionally, Madness, The Specials, Blondie and The Clash also made up most of the influence of No Doubt - and to an extent Gwen Stefani’s solo career. Rest assure, we are still setting the stage for our timeline - so we won’t dwell too long on the decade prior.
[2] “People” …..like John Kricfalusi.
[3] Considering that IOTL Gwen did other musical roles such as being a producer/songwriter for other artists - and later on served as a coach on the singing competition show The Voice - I don’t think this is too unreasonable for her. Plus, much of the songs she’s written - from “Just a Girl” for No Doubt to “Hollaback Girl” for her later solo career.
[4] Most of this is true. Kricfalusi was actually expelled from college back in 1978. However, not much is known for the reason why - but knowing how he acted on the production of…. well really any thing he’s ever made - we can infer that it’s probably no good.
[5] Reg Hartt has taught animation and film history to many aspiring animators and filmmakers, but - at least when Kricfalusi worked with him in the mid-1970s - was known for his unconventional teaching style and for his advocacy of self-education. It’s possible that given Stefani’s determination, and the things Harrt heard about Kricfalusi from graduates in the industry, that he changes his teaching method to what is depicted here.
[6] Specifically, the second intro to the Beetlejuice. From what I’ve heard, the cartoon is OK, but the (second) intro is totally off the walls crazy and I love it! It has no right being that good for a cartoon based on a movie.
[7] *sarcasm* Don’t you just love the 1990s? Totally weren’t a lot more racist, sexist, or homophobic than today! *sarcasm*
[8] And so, it begins. What started as a seemingly minor divergence regarding one band member choosing a different career path - has now led to two of the most iconic pieces of 90s media on a collision course against each other. In case you didn’t know, this is a timeline that takes the butterfly effect fairly seriously - unlike certain other pop culture timelines. You can expect the results of such a collaboration to have interesting results.
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