Tell us a little about yourself and your career.
I’ve always liked to draw. I especially liked to draw dragons and animals and my favorite monster/animal-characters from TV and games. I think my parents were a bit worried about what I would do when I grew up because other than drawing, I didn’t have much interest in things outside of video games and cartoons. But then one day my high school art teacher, Mrs. Hentschke, took our class on a field trip to visit the Animation/Illustration Program at San Jose State University. It kind of hit me all at once, and I realized, “Wait a minute … cartoons and video games … are made by PEOPLE!” Being self-aware enough to realize that I, too, am “people,” I very suddenly felt like I had a long-term goal. I was going to work in animation! (Specifically doing what, I wasn’t sure, but this thing called “storyboarding” stuck with me …)
Seven years of school and one semi-reckless move to Glendale later, my first animation job kind of fell into my lap via a cold email from a studio I’d never heard of before: Wild Canary. Apparently, I had been on a list of recent grads that was passed around between studios, and they thought my work would be a good fit for a new show they were working on—Disney Junior’s Puppy Dog Pals. It can’t be overstated how insanely lucky I felt. Fresh out of school, zero professional experience, scouted to work on a DISNEY show about PUPPIES!! I was brought on as a storyboard revisionist apprentice and was automatically enrolled into The Animation Guild. So I basically got to learn on the job AND be part of a Union! With benefits! So long Covered California!
I worked on Puppy Dog Pals for five years. Which is also inanely lucky since, as I understand it, most animation gigs usually last six months to a year. I went from an apprentice storyboard revisionist to a journey storyboard artist all on the same show. Now, a few months after finishing up on PDP, I’m back on a new show at Wild Canary!
What challenges have you faced in navigating a career in animation?
Going through most of my life with undiagnosed ADHD, depression, and anxiety, I only started my mental health journey when I was 24 (I’m 31 now), and every day I feel like I play a game of Whac-A-Mole with the quirks of my brain just to function. Working in animation is hard, and storyboarding in animation is especially hard. Boarding takes a huge amount of mental energy, and when your brain is already working overtime, burn-out is always around the corner. I’m glad there is more open conversation about mental health in the industry and beyond, but I hope to see more meaningful change when it comes to the schedules studios impose on their artists.
How has the animation industry helped give you representation, and how can it improve?
At the moment, there really isn’t any Native representation in animation. The only recent example that comes to mind is “Tovaangar,” the last episode of City of Ghosts. The monologue toward the end of the episode about how things have changed, but despite everything we (Natives) are still here … I ugly-cry every time I listen to it. I wish there were more episodes of City of Ghosts, and I wish there were more shows that respect and celebrate Native Americans. I’m excited for Spirit Rangers, and I hope it does super well. Native representation has been doing much better in live action with shows like Rutherford Falls and Reservation Dogs, and I hope animation will follow their example.
Also, Indigenous People’s Day needs to be a Union holiday. I think it was at one point when it was still named after that one guy … But he’s gone now, so give us the holiday back!
What words of wisdom would you give to people in your community who would like to get into animation?
Don’t give up. Learn when to ask for help and then ASK for HELP. Especially if you’re Native American and you think you want to get into animation— reach out, we want you here as much as you want to be here!!
As for kids growing up in the Bay Area and dreaming of working in the animation industry, good news! The rent is marginally cheaper here than it is up there. Also, we’re unionized. Don’t let Bay Area studios lowball you. Do your research!
What do you hope to accomplish as an artist in the animation industry?
It would be cool to direct or create my own show someday, but honestly, I just want to be happy. And if I can contribute to a show that furthers Native representation, then I’ll be extra happy.
What does being in the Union mean to you?
It’s a privilege that I don’t take for granted. I haven’t always been aware of our Union and the logistics of it, but since the last round of negotiations, I’ve become more invested and do what I can to help out as much as my brain allows. Also, VFX and video games should have been unionized, like, yesterday.
Follow Ray on Twitter at @unbadger.