Experts assess the current state of modern Russian animation against earlier years, noting steady growth and ongoing development. They expect that licensed projects tied to popular but paused cartoons will become harder to sustain in the near term, yet anticipate a stabilizing trend and a notable rise in overall Russian animation as the year progresses.
When asked whether domestic content production has grown after major studios left Russia, the response highlights a vibrant period for children’s animation. Numerous projects are in production and in development. While monetization and returns may be challenging soon, a cohort of Russian studios that earned audience trust and built relationships with manufacturers of children’s goods stand to gain from reduced competition with foreign brands. The overall outlook remains positive, with continued creation of new projects anticipated as the market settles.
Regarding measures to attract fresh ideas and talent, the organization plans a major animation initiative. It will invite not only professionals but also creative parents and storytellers who dream of contributing to a large project. Through a program called MULT Pitching, launching on June 1, the goal is to identify strong ideas or scripts suitable for a TV series or feature film. Winners will be announced in November.
On conditions for competitive projects, the emphasis is on family viewing that can engage both children and adults. The projects should be suitable for the editorial direction of the Digital Television channel and the media group, with the potential for a full-scale release in cinemas. Each nomination winner will receive a prize of up to one million rubles.
Concerning the creation process for feature-length and multi-part animated films, there are clear differences. Series tend to reach completion more quickly, progressing step by step. In contrast, feature films can take up to five years to finalize, as production often runs multiple workflows in parallel without seeing the final picture until later stages.
Common production errors revolve around spatial consistency, where elements do not align properly, creating a sense of gaps. An example is when fabric pieces misalign, producing an unintended visual void. These are pitfalls that designers actively watch for and correct during production checks.
Audience interest is monitored through data, ratings, and additional analytics, but direct feedback from young viewers holds substantial value. Children show curiosity about relationships, cognition, and music, and efforts are made to weave these aspects into every project so each child can find a cartoon that resonates with their interests.
Engaging children begins with a broad lineup of series and a continuous push for new visual styles, higher quality, and well-timed narratives. The aim is to keep shows both entertaining and informative. New characters are introduced to maintain energy in ongoing stories. For instance, in the second season of a popular dog-and-cat series, fresh families and characters were added to address missing themes and extend adventures. A spin-off was created to deepen connections with favorite characters in an encyclopedic format, offering a more detailed look that can appeal to different viewers, including those who value secondary characters for their own reasons.
Involving a child psychologist helps tailor content to younger audiences by understanding their thoughts and questions. This insight supports the creation of cartoons that speak in a child’s language and carry educational value that translates into real-life understanding.
As for generational shifts, core values persist even as the context changes. The world evolves with new tools, forms of communication, games, and hobbies, but the underlying themes remain consistent.
Some adults claim that modern animation makes children less capable, but supporters disagree. They argue that children actually develop new knowledge through contemporary content, and skepticism from parents towards new media is a long-standing pattern. Russian animation, they say, strives to produce engaging, kind, and informative works that align with the enduring standards of classic Soviet animation while evolving with society’s changes in color, pace, visuals, and storytelling. No decline is seen in the quality or intent of modern cartoons.
When discussing the project MOOLT in Cinema, the distinction lies in the cinematic experience. The cinema format delivers sharper visuals and more immersive sound, with premieres appearing on the big screen before television or app releases. This structure makes it easier for families to experience new adventures in one place, and the compilation of MOOLT entries is designed to complement each other, creating a cohesive viewing experience that has resonated well with young audiences.
Looking ahead, the MULT TV channel plans to keep holidays lively with new premieres and adjusted schedules that respond to extended home time for children. The channel will launch the first installments from Soyuzmultfilm’s new series Well, you wait!, Chuch-Meow, and Prostokvashino this fall, presenting a fresh story to encourage play and imagination. The aim is to revive traditional play with toys, sparking children to explore and engage in imaginative activities again.