Having received much attention online already it feels silly to repost it again. There is however an important piece of information to extract with regard to the narrative. For a moment it would be good to read into the politics the piece. It is following a particular trail of thought among animators about the gripe with corporates who assume animation should be quick, easy and cheap, with no real understanding of how much skill is required.
A reminder of how Crafton describes the tooniverse
'The Tooniverse is a meeting place where the performances of the toons (the characters "there," on-screen, but also off-screen as my imagined beings), the animators (also "there," but off-screen and in the past), and my embodying performance (physically "here," off-screen, and cinesthetically"there," on-screen, in the present)...'I've tried to find flaw in the definition of the tooniverse and the roles of the agents within the piece but i cannot find any. The only question i could raise was about the audience embodying the voiceover character, especially as we assume the setting could be his point of view. Meaning the audience could be embodying the character twice simultaneously, as they embody the voiceover character and he distributes agency to another (so it is distributed off-screen with the audience through character and then themselves). I'm not convinced this is an issue. The piece clearly has been influenced by outrospective ideals but im not sure it has much strength in making a point outside of the animation circle as it is presented as an in-joke for animators. I do not think the language of the location would make much sense to a 90 year old with no experience of maya or animation (an extreme example, but valid). It is entertainment. The audience is a passive co-creator. The audience, the intended audience, the animation community, will feel warmed by the ideals presented (People think it is this easy) and humoured by their lack of respect (As if people think its that easy) and the mocking of it. And in this instance, is the narrative embodying the audience?