For a long time, the landscape of mainstream animation has adhered to a predictable framework dominated by large studios, substantial budgets, and extensive corporate oversight, often leading to a stifling of innovative ideas and creative risks. However, this traditional model is facing a significant challenge, not from rival networks, but from nimble, passionate teams of independent creators who possess vision, determination, and an engaged audience. This transformative shift is one that <em>Helluva Boss</em> star and writer Brandon Rogers embraces wholeheartedly. In a recent interview with Collider, Rogers not only championed the cause of independent animation; he boldly asserted that it represents the future of the medium. “I feel like [Vivienne Medrano] is paving the way for a lot of people,” he remarked, highlighting the influence of the Hellaverse creator. “And I’m hoping that Hollywood starts to take more and more independent artists seriously, because that’s where the magic is.”
Understanding the Drawbacks of Corporate Animation
Rogers articulates a stark distinction between the animation produced under corporate umbrellas and the heartfelt creations of independent artists such as Medrano, emphasizing not only differences in tone and style but also an essential difference in the creative spirit. The message is unambiguous: too many voices in the decision-making process dilute the artistic vision. “When you get all that corporate nonsense out of there, you have people creating because they genuinely love it,” Rogers explained. “That’s something Hollywood can never replicate. They can pour endless funds into a project, but the passion of an independent artist translates into a truly remarkable project.”
This perspective is not merely sentimental; it highlights a tangible divergence in the methodologies employed to produce and promote these shows. Rogers cites successful series like The Amazing Digital Circus and Lackadaisy as prime examples that illustrate how creator-owned animation can not only rival but frequently surpass the quality, originality, and emotional depth of studio-funded productions. “We have shows like Amazing Digital Circus and Lackadaisy. You have all these that, I believe, have that extra layer of quality because they were crafted by their own fan base.”
In essence, the creative pipeline has shifted from a traditional top-down model to a more democratic, grassroots approach, fueled by online communities rather than corporate giants.
What Is the Impact When Fans Become Creators of the Show?
Rogers emphasizes that both Helluva Boss and Hazbin Hotel are not merely popular among fans; they are products of fan creativity. Many individuals involved in these productions began their journeys as enthusiastic fans. “Certainly Helluva Boss and Hazbin, I know for a fact, are made by their own fan base,” Rogers asserted. “If you attend any of the company meetings and observe the animators or sound designers, they are all just people who watch and adore the show. It’s not just corporate executives or individuals doing this merely to earn a paycheck.”
This marks a subtle yet profound transformation in production culture, where talent is selected not through studio directives but based on a profound understanding and affection for the source material. The outcome is often a more cohesive, audacious, and emotionally resonant product than what is typically produced by larger, conventional pipelines. “These are individuals who, while it is indeed their job, are managing a property they are deeply passionate about.”
Why the Animation Industry Needs to Take Notice of This Shift
That intimate connection with the material extends to Rogers himself. Despite having voiced Blitzø for several years, he maintains an approach to new episodes akin to that of any long-time fan: filled with excitement, surprises, and devoid of any corporate detachment. “Certainly, I’m a fan of the show, and when a new episode is released, I feel like a fan just like anyone else, especially since it’s often been years since we recorded it, and I can’t recall the details.”
This fan-centered, creator-driven model demonstrates that successful animation need not emerge from conventional gatekeepers. It can arise from platforms like DeviantArt, YouTube, or Tumblr, driven by genuine passion rather than formal pitches. While major studios are still scrambling to adapt, independent animation boldly ventures where corporate animation hesitates: trusting its creators to understand their audiences because they are indeed part of that audience. From Rogers’ perspective, this isn’t merely a creative edge; it’s the crux of the matter.
Season 3 of Helluva Boss is currently in production, while Hazbin Hotel Season 3 is set to premiere on Prime Video on October 29.
