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Animation Collective

Animation Collective was an independent animation studio founded in 2003 by and based in , specializing in the production of original animated content for children across , platforms, and . The studio quickly grew into one of the largest producers in for its dynamic, humor-driven series that often blended Western storytelling with anime-inspired visuals and international influences. Known for its efficient production model, Animation Collective owned much of its , enabling global distribution in over 125 territories and translations into more than 20 languages. The studio's flagship production, (2006–2008), was an Emmy-nominated series that became Nickelodeon's first globally acquired anime-style show, airing on and achieving top ratings while influencing creators through its appeal. Other notable works included Thumb Wrestling Federation (five seasons, the highest-rated kids' show on in the U.S. and in the U.K.), Three Delivery (a top-rated hit co-produced with FatKat Studios), Ellen’s Acres (a critically acclaimed preschool series for worldwide), and work-for-hire projects like : The Next Generation. Animation Collective also nurtured emerging talent, with writers from its shows later contributing to acclaimed programs such as , , and . Its content was supplied to major broadcasters including , Canal+, ABC , and , emphasizing proprietary IP alongside collaborations. In 2009, the studio was acquired by , a British company founded by , with Schwarz continuing as head of its kids' division. This partnership expanded its reach but ended in October 2017 when Schwarz repurchased Animation Collective, its subsidiaries, intellectual property, and library of several hundred episodes at in , aiming to revive and grow its properties. In 2018, secured worldwide distribution rights to the remastered library, facilitating new opportunities for the content while highlighting its enduring appeal to children, tweens, and anime enthusiasts. As of 2025, the studio is defunct, with operations having transitioned to and His Band, though no major new productions have emerged since the 2017 repurchase.

Overview

Founding and Early Operations

Animation Collective was founded in 2003 by in as an independent animation studio specializing in children's content for internet and television platforms. The studio emerged from Schwarz's prior experience in and online projects, establishing operations in with an initial emphasis on creating accessible, digital-first content for young audiences. In its early years, the studio operated as a "tot shop," a term reflecting its focus on producing short-form for preschoolers and tweens through low-cost, high-volume methods suited to distribution. Based in three locations, it employed a growing team of over 110 staff by , including international from and to support efficient production workflows. This model allowed for rapid development of web shorts and pilots, prioritizing digital platforms like Kids before expanding to broadcast television. The centered on retaining ownership of its original productions, enabling creative flexibility and that blended influences for broad appeal. Early efforts involved independent funding to produce content, starting with webisodes in 2004 that demonstrated viability and led to subsequent TV partnerships. By mid-decade, this approach had positioned the studio as a key independent player in kids' , with significant online viewership metrics underscoring its internet-first strategy.

Key Personnel and Leadership

Larry Schwarz founded Animation Collective in 2003, serving as its CEO and primary , guiding the studio's creative vision and production efforts from its inception. With a background rooted in entertainment production, Schwarz began his career as a and stand-up before transitioning into and ventures, including founding Rumpus, a company focused on Flash-animated children's content and toys. His experience in developing early digital animation projects laid the groundwork for establishing Animation Collective as a New York-based studio specializing in innovative . The studio's team comprised a core group of animators, writers, and producers hired primarily in , with Schwarz emphasizing the recruitment of local talent to foster in-house development. This included engaging interns and emerging professionals for script feedback and design input, ensuring projects reflected contemporary . Animation Collective also collaborated with international teams, such as animators from and for cross-cultural elements, and partners like Fat Kat Animation Studios in , which expanded the studio's capabilities for global co-productions. These hires and partnerships enabled a blend of domestic oversight and overseas expertise in pipelines. Schwarz's leadership style promoted a collaborative environment, where team members contributed creatively across scripting, design, and production stages, akin to a tight-knit creative unit. Operating from multiple offices, he encouraged close interaction among staff to refine ideas and maintain efficiency, while balancing independence with strategic alliances for distribution and financing. This approach helped sustain the studio's reputation for reliable, on-budget deliveries in both original and commissioned work. In terms of specific contributions, Schwarz played a central role in pitching early projects by investing heavily in , such as developing detailed scripts and animated trailers to present polished concepts to networks. As , he oversaw the full production process, from concept origination to final output, driving the studio's initial successes through hands-on involvement without relinquishing creative ownership.

Productions

Original Series

Animation Collective developed several original series, emphasizing in-house creative control from scripting to , often leveraging technology for efficient production of both web shorts and content targeted at children and preteens. These projects showcased the studio's focus on cultural mash-ups, adventurous humor, and preschool-friendly narratives, with many initially released directly to platforms before expanding to broadcast. The studio's approach involved collaborative scripting teams in and partnerships for overseas animation support, enabling quick turnaround for short-form content while maintaining original ownership. Thumb Wrestling Federation (2006–2008), a 65-episode parody of featuring rival thumb teams, aired on , , and , achieving top ratings as the highest-rated kids' show in the and on in the UK. Produced in-house with for its fast-paced, humorous matches, the series targeted children aged 6-11 and spanned five seasons. Transitioning to television, (2006-2008) stood as the studio's flagship original, an -style sitcom parodying Japanese television tropes through the story of an , Mikey , who becomes the star of a fictional anime show called LilyMu after winning a contest. Produced in-house with scripting by and a team of writers, the 52-episode series (two seasons of 26 episodes each) premiered on Network on February 25, 2006, and targeted tweens aged 9-14 with its cultural mash-up theme, incorporating international co-production elements like music from Japanese band and animation assistance from overseas studios. facilitated the hybrid Western-anime aesthetic, allowing for exaggerated expressions and rapid episode production. Following this, Three Delivery (2008-2009), another 26-episode original for , centered on three orphaned siblings in San Francisco's Chinatown who deliver food by day and battle mythical creatures using magical recipes by night, drawing from kung-fu film inspirations. Aimed at children aged 7-12, it featured in-house development with voice talent from anime dubs, emphasizing action-comedy and cultural themes through Flash-animated sequences that highlighted fluid choreography. For younger audiences, (2006-2007) was a series of 52 11-minute episodes, premiering on Cartoon Network's Tickle-U block in the on January 8, 2007 (following a debut on September 4, 2006 on ), following the imaginative adventures of five-year-old and her quirky companions at a remote hotel. Although 52 episodes were produced, only 24 aired in the before cancellation on February 5, 2007. Produced entirely in-house with for its colorful, simple style, the show targeted children aged 2-5, focusing on themes of creativity and friendship through everyday explorations turned fantastical, and aired internationally on in the . These originals exemplified Animation Collective's strategy of starting with web pilots to test concepts before scaling to TV, ensuring full creative oversight on IPs like these.

Commissioned Series

Animation Collective's commissioned series encompassed a range of short-form , interstitials, and full-length adaptations produced under contracts with broadcasters, , and online platforms, primarily between 2004 and 2010. These projects often involved adapting existing intellectual properties or creating tailored content to meet client specifications, such as integrating messaging or aligning with programming blocks. The studio's Flash-based techniques allowed for efficient of episodic formats, typically ranging from 2- to 11-minute segments, with heavy emphasis on client loops to ensure with goals or broadcast schedules. One early commission was the interstitial series , developed in collaboration with for Fox's Fox Box programming block in 2004. This adaptation of the 1990s toy line featured crash-test dummy characters in action-packed shorts designed to promote safety awareness while entertaining young audiences during Saturday morning slots; the series consisted of multiple 2- to 5-minute episodes that aired as bumpers, highlighting the studio's ability to deliver quick-turnaround content under tight broadcaster deadlines. In the web space, Animation Collective produced branded content for major clients like AOL's KOL kids' service, including Kung Fu Academy, a 2004 web series comprising 30 short episodes featuring young martial arts students training at an ancient academy in a comedic, action-packed setting inspired by Chinese folklore. Targeted at children aged 6-12, the series utilized Flash animation for dynamic fight sequences and was scripted in-house to blend educational elements of discipline with slapstick humor, marking Animation Collective's initial foray into direct-to-internet distribution strategies. Similarly, Princess Natasha (2003-2006) delivered 44 episodes for the same platform, with an initial 20 animated shorts released in 2005, following a princess who is a secret agent on adventurous escapades as an exchange student. Aimed at girls aged 4-8, its production highlighted the studio's Flash-based techniques for vibrant, hand-drawn-style visuals created efficiently for web viewing, garnering over 1 million views and later expanding to traditional media like Cartoon Network. These demonstrated the studio's multi-platform adaptation strategy for digital-first clients. Similarly, the 2006-2007 series SKWOD—a 13-episode run of extreme sports-themed shorts—blended live-action and animation for KOL, airing on CBS as part of the KOL Secret Slumber Party block to drive user engagement on the platform. Brand partnerships included the 2007-2008 webisode series Touching Bond for , which focused on maternal-child bonding themes through animated vignettes promoting baby care products. Produced as a series of short, emotionally resonant episodes for online distribution, the project incorporated client-directed narratives to emphasize product integration, reflecting Animation Collective's expertise in commercial animation under budget and timeline constraints typical of corporate commissions. For broadcasters, the studio handled adaptations like Wulin Warriors (2006), an English-dubbed and edited version of Taiwan's Pili puppet series for Cartoon Network's block. This 13-episode commission involved retooling the martial arts epic with new voice acting and to appeal to U.S. audiences, airing in slots and showcasing the studio's role in localizing international IPs for network partners. A notable television adaptation was Speed Racer: The Next Generation (2008-2013), a 52-episode revival of the classic Japanese franchise commissioned for Nicktoons Network. Blending Flash animation with CGI elements in later seasons (outsourced to Toonz Media Group), the series followed the son of the original Speed Racer in high-stakes races, adhering to network formats of 22-minute episodes while incorporating licensed character designs and plot arcs approved by licensors. This project exemplified the studio's peak collaborative period, balancing creative input with client-mandated fidelity to the source material.

Canceled Projects

Animation Collective developed several projects that were ultimately canceled or left unreleased, reflecting challenges in the animation industry during the late 2000s and early 2010s. These included both commissioned features and in-house pilots, often halted at various stages due to network decisions, budget constraints, and studio shifts. One prominent canceled project was the direct-to-DVD animated feature Eloise in , commissioned by . Announced in February 2009, the film was to follow the mischievous six-year-old Eloise on an adventure across , with production slated entirely at Animation Collective's studios as the first in a planned annual series of Eloise adaptations. Despite initial momentum, the project never progressed beyond early development and was not released. The proposed animated series Jolly Rabbit also reached advanced planning but was shelved. Developed as a 52-episode for preschoolers, it centered on a spunky, one-legged teenage rabbit captaining a punk-rock pirate crew in search of his missing leg, blending adventure with musical elements. In October 2008, Animation Collective secured broadcast deals with the BBC's in the UK and TV in , indicating strong pre-sale interest. However, the series did not enter full production, remaining unreleased amid industry-wide production halts in late 2008. Another unreleased effort was the HTDT, an experimental short developed around 2010 as a potential web or TV series. The pilot, featuring innovative techniques for kids' content, was pitched internally and externally but failed to secure a from networks, leading to its cancellation. A version of the pilot surfaced online via in 2014, attracting niche fan appreciation in circles for its creative concepts, though it received limited broader exposure. Between and 2012, Animation Collective explored additional unreleased pilots, including experimental kids' shorts aimed at digital platforms. These reached early development stages, such as storyboarding and animatics, but were abandoned due to budget shortfalls and shifting priorities following the economic downturn, which prompted widespread production pauses across New York-based studios. Network hesitancy toward unproven web formats further contributed to their demise, with no leaked materials beyond scattered in industry portfolios. Overall, these cancellations highlighted the studio's pivot toward more viable commissioned work during a period of financial strain.

Rebranding and Legacy

Transition to Larry Schwarz and His Band

In 2012, Animation Collective underwent a to and His Band, establishing a more flexible production collective led by founder while retaining its base. This change responded to shifting industry conditions, particularly the rise of digital platforms that enabled rapid content distribution and reduced reliance on lengthy traditional TV production timelines, fostering greater creative autonomy and project versatility. Operationally, the entity adopted a leaner structure with reduced permanent staff, emphasizing freelance talent and strategic partnerships like those with FremantleMedia for co-productions, while sustaining a focus on children's programming through smaller-scale endeavors rather than expansive series. Notable projects under the new banner included the live-action series Alien Dawn (2013–2014) for Nicktoons Network and the live-action/ hybrid Team Toon (2015) for , both targeting young audiences with innovative storytelling formats.

Library Acquisition and Distribution

In September 2018, CAKE, a London-based children's entertainment distributor, acquired worldwide distribution rights to Animation Collective's remastered content library, encompassing several hundred episodes from series such as Kappa Mikey, Thumb Wrestling Federation, and Three Delivery. This deal did not transfer full ownership of the intellectual property, which remained with Animation Collective following its 2017 buyback by founder Larry Schwarz from HandMade Films; instead, it granted CAKE exclusive authority to license and monetize the catalog globally across television, digital platforms, and ancillary markets. The acquisition facilitated a comprehensive remastering effort, converting the original episodes into high-definition digital formats to enhance visual quality and compatibility with modern broadcasting standards, thereby preserving the archival integrity of the early 2000s animation while enabling broader commercial viability. The remastered library consists of several hundred episodes that have been digitally upgraded to enhance visual quality and compatibility with modern standards, allowing for renewed licensing opportunities that generated revenue through international sales and syndication, though specific financial figures have not been publicly disclosed. As a result, the library saw limited revivals in niche markets, including episodic airings on children's channels and digital platforms, contributing to sustained but modest income streams for both parties. As of 2025, the remastered library remains accessible primarily through purchase options on platforms like , where full seasons of are available for digital download, and free viewings via playlists hosting complete episodes. No major streaming service offers free ad-supported access to the full catalog, though archival copies appear on sites like the for non-commercial preservation. Merchandise tied to the library is limited to fan-created items on sites such as and , with no official revivals or new product lines announced recently; continues to handle distribution, focusing on opportunistic deals for international broadcasters and educational outlets to ensure long-term archival accessibility.

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