There’s something happening in animation right now that’s worth paying attention to—not because it’s simply nostalgic, but because it’s deeply human. As someone who works in the mental health and creative storytelling space, I can’t help but see these conversations about art, AI, and hand-drawn storytelling as part of a bigger theme: our collective hunger for authenticity.
We live in a time where AI-generated content is everywhere—convenient, efficient, and often soulless. It’s not surprising that artists and audiences alike are looking back toward something that feels more tactile, more imperfect, more human. That brings us to 2D animation, an art form that has shaped generations and now, it seems, might just be making a comeback.
Here’s what Language of the Soul podcast host, Dominick Domingo, had to say on this trend:
There’s been a lot of industry talk lately speculating about 2D/traditional ANIMATION making a comeback. Recent articles confirm that although Disney has not greenlit any 2D features as yet, they are, in fact, rehiring traditional animators to produce experimental hand-drawn sequences. We all know that for good or bad, what Disney does has a ripple effect on industry trends at large.
The resurgence of 2D is not surprising; pendulums always swing, as do appetites. Every few years, there is a culture-wide backlash against consumerism and artificiality. At this moment, the mainstream have grown tired of Insta filters that remove pores, and worse—vacuous AI-generated content that removes souls. In cinema, though STORIES matter infinitely more than the techniques and formats in which they’re told, folks are starved for authenticity. Audiences want the imperfect tactility—the tangible, sensual, even gritty feel of 2D animation. It’s not nostalgia alone fueling the backswing; it’s a desire for realness. The doomspeaking and catastrophizing around AI and the threat it poses to our very humanity, renders the animation conversation more relevant than ever. In a disposable society, the archival assets of 2D animation—the original artworks—are poised to recover value and currency.
We at Language of the Soul podcast invite you to be part of the conversation! Take a listen to these nuanced discussions about everything from ink and paint ‘crawl’ to the dust, spiderwebs and reflections that became ambience in Bambi, thanks to the multiplane camera. Roger Viloria, producer of Andreas Deja’s 2D short, ‘Mushka,’ has plenty to say about not just perfecting a pipeline but building a studio from the ground up. Don Hahn, producer of iconic Disney classics like Lion Kong, Beauty and the Beast and Aladdin, shares what he’s passionate about imparting through the age-old craft of storytelling. And Andreas himself, legendary animator of such villains as Scar, Jafaar, Gaston and others, shares his passion for telling poetic stories that transform.
We caught up with these Disney greats at CTN Expo, an international animation convention that is the brainchild of Disney Feature Animation veteran, Tina Price. You will be inspired, no doubt. And together, we can get our hands in the clay of the future of STORYTELLING!
Interview One: Vicho Friedli – Finding Inspiration Across Borders
Vicho Friedli, a layout artist from Chile, traveled halfway around the world to attend both Lightbox and CTN—two major animation conventions that happen back-to-back every year. Why? For the same reason many working professionals make the trek: to connect, to learn, and to be inspired.
“Mostly for networking and to meet people that work in movies and projects I really liked,” he told me, mentioning films like Hunchback of Notre Dame. “It’s about learning and being inspired, but also meeting people you admire.”
Vicho’s journey into animation began with Disney’s Aladdin—or more specifically, a behind-the-scenes documentary showing how Eric Goldberg brought the Genie to life. Watching the process lit a fire for him. He pursued that dream through Animation Mentor, an online animation school that led to professional work, first in Chile and then for international studios.
“Before the pandemic, I don’t think remote work would have happened for me. But now? I work remotely full time. It gives me so much more control of my time and my life.”
We talked about the evolving industry in Chile, where television and commercial work are growing even if feature animation remains rare. Remote collaboration and global partnerships have opened doors, including for the studio where Vicho works—originally Chilean, now owned by Canada’s Pipeline Studios and producing content for Nickelodeon.
Like many of us, Vicho is inspired by animation not just as a job but as a form of visual storytelling. From making flip-book animations as a child to attending industry events, he has pursued a path shaped by curiosity and connection. His story is proof that passion—combined with access to education and networking—can turn even distant dreams into tangible careers.
Interview Two: Ed Gertner – A Veteran’s Perspective on Art, Commerce, and Technology
If Vicho represents the fresh, global face of animation, Ed Gertner represents its history and its wisdom.
Ed spent 35 years at Disney, working in layout, art direction, and even directing, on titles like The Fox and the Hound, The Great Mouse Detective, Beauty and the Beast, The Lion King, Mulan, and more. He shared his story of jumping almost immediately from art school into Disney’s feature division, where he was mentored by some of the industry’s original greats.
What stood out was how much has changed—and how much has stayed the same.
On Storytelling and Film Language
Ed talked about the craft of staging and cinematography in animation:
-
The importance of letting character movement motivate camera movement.
-
The visual “language” of film: wide establishing shots, cutting closer as emotion intensifies, then returning to wide shots to transition.
-
Why early animation succeeded not because of technology, but because of careful attention to story, timing, and audience experience.
“You’re the puppet master. You’re the magician. You want to show them, this is what I want to say.”
On Technology and AI
We couldn’t resist diving into AI and the evolution of digital tools. Ed has embraced technology when it enhances craft, but he’s clear about one thing: tools alone don’t create meaning.
“AI has been around—it just wasn’t called that. Photoshop libraries, reusable assets… it’s the same principle. You still need an artist to control it, to give it intention.”
He warned that too much emphasis on hyper-real rendering or high-frame-rate formats can actually undermine storytelling by distracting from the emotional core of a scene.
On Industry Change and Corporate Culture
Perhaps the most poignant moment came when Ed reflected on the shift from artist-driven studios to corporate-driven structures.
“It’s story, not glory. Humans tell stories to connect. If you don’t tell the story right—or if it’s not interesting—nobody cares.”
He noted how early career security and mentorship at Disney allowed for creativity and risk-taking, something harder to find in today’s industry where quarterly profits and shareholder demands often overshadow artistic vision.
Listen HERE to Part 1 of our time at CTN: https://www.buzzsprout.com/2267353/episodes/14015540
Why This Matters for More Than Animation
What ties Vicho’s story to Ed’s perspective is that both come back to story as the heartbeat of animation. Whether you’re a new artist sketching in your first portfolio or a veteran art director reflecting on decades of industry experience, the purpose is the same: to communicate something human, something real, through the language of visual storytelling.
These interviews remind us that art and commerce have always danced an uneasy tango—but when story remains at the center, the dance works. Technology evolves, business models shift, and studios rise and fall, but storytelling endures. This conversation isn’t just about whether a pencil or a tablet makes better art—it’s about the value of humanity in storytelling. Whether you’re an animator, a therapist, a teacher, or simply someone who loves a good story, this moment reminds us why we create in the first place: to connect, to feel, to remember what it means to be alive.
In a culture rushing toward automation, hand-drawn art reminds us of the beauty of the imperfect—of art made with intention and soul. And that’s something AI can’t replicate, no matter how impressive the algorithms get. That’s why events like CTN matter. They are spaces where inspiration crosses borders, generations share wisdom, and we remind ourselves why we fell in love with animation in the first place.
So we invite you to join us in this conversation. Listen to the episodes, reflect on your own hunger for authenticity, and maybe even pick up that sketchbook (or whatever creative medium calls you). Because art—like life—isn’t about perfection. It’s about meaning.
🎧 Listen to CTN Part 2 here: Language of the Soul Podcast