Kid's Porn

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In light of Chris Savino and John Kricfalusi, it’s time to take another look at the culture surrounding children’s TV cartoons.
[Content note: this article contains references and links to disturbing material, including sexual abuse and extreme violence.]
When I was young, I loved to use the internet to track the creators of my favorite art. I wanted to know who they were and what else they made. I spent long hours looking up illustrators, character designers, background artists. I would guess which voice actors voiced which characters in TV cartoons, and try to confirm it online without looking at the actors’ real faces. (After all, didn’t it ruin the fun to see the real person behind the cartoon person?)
Rule 34 of the internet: “if it exists, there’s porn of it.” It’s unclear exactly when or where this idea originated — sometime in the ’00s — but in the end it was less of an observation than it was an edict. The internet took it as a challenge, an idea that must be made reality. Many it treated as something of a college-frat-boy joke, something with which to shock and entertain their friends.
Other members of the internet had a more specific interest in it. And so they went to work.
Rule 34 meant Strawberry Shortcake porn. It meant Arthur porn. Thomas the Tank Engine porn. Caillou porn. Dora the Explorer porn. Avatar: The Last Airbender, Clifford the Big Red Dog, Phineas and Ferb, Foster’s Home for Imaginary Friends, Teenage Mutant Ninja Turtles and Animal Crossing porn. Ben 10 porn. SpongeBob SquarePants porn. Doug porn. Kim Possible porn. Ducktales porn. Powerpuff Girls porn. Even Bob the Builder porn. And so on and so forth.
At times it took on an almost automatic, mechanical quality — simply going down the checklist. A certain sector of the internet felt a pressing need to “corrupt” as many things as they could, however they could, as much as they could. As the Twitter user gravislizard wrote in a viral tweet thread last year:
Still others participated because it was an excuse to finally indulge the worst inclinations they possessed. But among both groups, a favorite target was children’s media. For as much as they loved the idea of corrupting things, there was no greater thrill than the thought that they were “corrupting childhoods”; that their world would collide with the world of children.
During this early era, the one upside was that these underground online groups were comfortably separate from the mainstream. The subculture of kids’ cartoon “corrupters” was a world away from the community of legitimate children’s animators on the internet. Rule 34 existed, and kids could find it if they tried, but it wasn’t the fundamental force underlying the spirit of the online cartoon community.
Eventually the Rule 34 project slowed, partly because the novelty wore out and partly because the mantle was passed onto people who didn’t require any such label. People who had spent long enough on the internet to naturally embody the darkest version of the ideal set forth in the Rule — and like it, too.
When My Little Pony: Friendship is Magic first started airing in 2010, it quickly gained a following of adult male fans who called themselves “bronies.” There’s nothing inherently wrong with that. But as Gianna DeCarlo described in her Baltimore City Paper post “The problem with bronies: a look at the corruption of ‘My Little Pony: Friendship is Magic’ ”:
…the problem with bronies has nothing to [do with] grown men liking a children’s cartoon and everything to do with their usurping of a safe space for young girls and distorting it into a hypersexual and toxic environment for these younger fans.
The adult fanbase of My Little Pony: Friendship is Magic has become legendary for the vast ocean of pornography they’ve created of the TV show’s cast of small cartoon animals. For years, it’s been easy for kids to find disturbing sexual imagery of these characters just by looking up their names on Google Images, even with SafeSearch enabled. Search anything My Little Pony related and you’ll quickly come across extreme fetish art. According to Ule Lopez of Geek Reply: “there is a dedicated section to child pornography in sites like Derpibooru and FiMFiction. This category is known as ‘Foalcon.’ ”
Another famous example of brony excesses is, as Nicky Vaught of Technician described, “Molestia … [the] parody character of the show’s character, Celestia. The site, Ask Princess Molestia, operated in blog format, [and] often dealt in pornographic fan art — of cartoon ponies — and even more often in rape and molestation jokes.” He went on to quote a member of the My Little Pony fan community who petitioned for the deletion of Ask Princess Molestia as saying, “I recently babysat a child who … upon seeing my massive My Little Pony collection, ran to my Friendship is Magic shelf and started naming them … Once she got to Celestia, she told me she rapes people.”
Children who grew up in the 2010s are natives to the internet. Even by 2011, studies showed that one-fourth of children under age 6 used the internet and 59% of those aged 6-to-9 logged on daily. It’s second nature for this generation of kids to keep up with their favorite children’s programs online, or even to follow the social media accounts of those shows’ creators. But the safe space that a show like My Little Pony offers children on television is missing on the internet, where official art rubs shoulders with “Molestia,” and an official YouTube video is likely to lead straight to the site’s darkest reaches.
According to some experts, the potential dangers of children being exposed to porn include depression, social anxiety and self-harm. Discovering porn at a young age — when children often have poor impulse control and difficulty parsing their emotions — can also lead to porn addictions. On top of that, in a 2013 study by Middlesex University, 276 submitted papers showed that “children and young people who view pornography tend to hold less progressive gender role attitudes.” Many of the more positive studies are, at most, merely inconclusive. The whole situation has led feminist writer Judith Shulevitz to state in The New York Times: “It’s O.K., Liberal Parents, You Can Freak Out About Porn.”
Eventually, brony antics expanded beyond just internet porn and overflowed into the physical world. My Little Pony conventions attended by its young fans were also frequented by inhabitants of the internet’s sewer, buying and selling things like erotic bodypillows of the show’s cast. There was a notable child stalking scare at one such convention. Elsewhere, the brony ToonKriticY2K made news for allegedly grooming a fourteen-year-old girl over the internet and soliciting explicit photos from her. These are the inherent dangers of making a children’s space “hypersexual and toxic,” as DeCarlo put it.
Kids’ TV animators have had many reactions to the proliferation of porn of their work over the years. Bemusement, amusement, winks and nudges. However, one reaction that’s been difficult to find has been condemnation. Whatever their opinion of it, they often shy away from such public pronouncements. Some may feel powerless to change the situation. Others could be taking a more pragmatic view. Why appear prudish or anger part of the fanbase when, most likely, it will have little-to-no effect on the speed of the porn creation?
In fact, if anything has changed since the early years of Rule 34, it’s been in the opposite direction. While groups like the bronies were making the connection between porn and kids’ TV animation almost mainstream, the link was growing inside the industry as well. Today, online porn, whether created by fans or by the staff themselves, hasn’t just become a normal part of the children’s TV community. It’s become acceptable.
More than at any time in history, creators are available to interact with fans online. And fans are more aware of them than ever. On sites like Fandom, they create lists of storyboarders and which episodes they’ve worked on. They maintain vast databases of the ins and outs of their favorite properties. And they keep up with creators’ social media accounts. Alex Hirsch of Gravity Falls has joked about the huge number of young children who contact him on Twitter — kids who see animators as “halfway between artists or Santa Claus.”
So what might a young cartoon fan of today discover when they venture online to engage with their favorite show?
Suppose a child liked the way that Batman looked in DC’s Justice League Action and wanted to find out who designed him. A quick name search on Google of the show’s lead character designer, a man who got his start at John Kricfalusi’s studio Spümcø, brings up a wall of his porn artwork. Meanwhile, the creator of Cartoon Network’s Mighty Magiswords currently follows porn artists and erotic models on his professional Twitter account that he uses to interact with fans. Because Twitter has spent years training its algorithm to close the gap between people you follow and the accounts they follow — whether through “Like” histories or random recommendations—this is enough to send such content into a kid’s feed.
Inside fan communities, it’s not just bronies who pump sexualized fan art into the mainstream anymore. Children’s cartoons like The Loud House — Nickelodeon’s hit show by Chris Savino — already have thriving groups of adult artists creating fetish art ranging from inflation to lolicon of the 6-year-old Lana Loud, all of which is accessible with an innocent Google search of her name. (Inflation, as cartoonist Ryan North explained for the adult website Oh Joy Sex Toy, is a sexual fetish involving people who swell like balloons.) On YouTube, viral videos like “Lynn X Lincoln💕” and “The Loud House Characters as Anime,” each weighing in at 2.2 million views, reimagine the show’s cast of children in disturbing ways. The former shows a post-coital scene between 11- and 13-year-old siblings as the sister wonders whether she could become pregnant.
Today, creators of sexual or outright pornographic fan works based on children’s TV often mingle with the official production staff. Consider Mike Inel: his hit video “What if ‘The Amazing World Of Gumball’ was an anime” boasts 33 million views and an endorsement from showrunner Ben Bocquelet himself. What Bocquelet may not have known is that Inel (aka manyakis) also openly has a career making hardcore porn based on Gumball, Gravity Falls — particularly 12-year-old protagonist Mabel Pines — and many other children’s TV properties.
While Inel remains firmly in the fan community, other creators of unsettling porn are making the leap directly into children’s TV animation. In fact, artists who cut their teeth participating in the darker side of the internet now make up a sizable portion of the talent pool that networks draw from. Paul Robertson is famous for his contributions to Gravity Falls: the iconic sprites for .GIFfany and Rumble McSkirmish were his work. But Robertson is also a guro artist responsible for, among other things, an image of a monstrous General Custer slaughtering and raping dozens of Native American women (NSFW). This is not a secret — he’s been photographed with it publicly.
The ascension of such artists into the mainstream animation industry is ongoing. Some of them got their start all the way back in the Rule 34 era.
A good example is ZONE-SAMA, one of the premier Rule 34 artists who has maintained popularity into the present day. ZONE rose to prominence by making extreme porn animations of children’s TV shows in the 2000s and 2010s, often with shockingly accurate recreations of each cartoon’s art style. Targets included Foster’s Home, My Life as a Teenage Robot — one of which features the gang rape of protagonist Jenny—Teen Titans and beyond. Since around 2016, one of ZONE’s recurring subjects has been Peridot, a child-like character from Cartoon Network’s Steven Universe. Around that time, ZONE was also hired to animate for Cartoon Network’s OK K.O.! Let’s Be Heroes.
A surprising amount of the new blood in the animation industry got its start on Newgrounds, a content hosting and social media website where users can post their own games, music, drawings and videos. Since 1995, its community has been notable for its freewheeling anti-censorship spirit, shock-jockery, and, once again, porn. ZONE is one of its most iconic contributors. For the site that gave the internet post-9/11 Flash games, the “Barney Bunch” and interactive Rule 34 games starring 10-year-old Gwen Tennyson, the transition into mainstream animation is quite a leap.
Studio Yotta, a rising star in the animation industry, was founded by Newgrounders earlier this decade. It frequently employs freelancers from a hiring pool of Newgrounds alumni. Yotta has overcome its humble origins and managed to find work on things like ThunderCats Roar, OK K.O.! and even the opening animation to Disney’s new Amphibia. The company embodies the clan pride common to Newgrounders, a desire to stick together against the world, to maintain the common roots that tie them all together. When Yotta was hired to work on the OK K.O.! shorts, they brought ZONE along for the ride. Similarly, animators like the popular porn artist and ex-Newgrounder Ryan Miller contributed to Amphibia’s intro.
While many of the artists in Yotta’s orbit are simply struggling animators trying to get by, the Newgrounds diaspora is messy. Its tight-knit culture makes it hard to cut off the darker sectors of the community. A number of Yotta-connected artists (including the animator Chris O’Neill) still associate with Shadman, the most infamous porn artist from Newgrounds and perhaps the internet itself. Labeled by Gizmodo as “one of the alt-right’s favorite artists,” Shadman is the Rule 34 artist’s Rule 34 artist, a man who has complained of the legal troubles he faced for creating degrading porn based on the 12-year-old actress Dafne Keen from Logan. For years his work has put young girls from cartoons like The Loud House and Ben 10 in nightmarish and often inventively violent — even fatal — sexual situations.
The founders of Studio Yotta continue to follow Shadman on Twitter. Another Newgrounds alumnus with ties to Cartoon Network, Arin Hanson of Mighty Magiswords, has openly collaborated with him in the past. This is simply normal communal behavior for Newgrounds ex-pats, regularly done without a second thought. But it’s concerning when fringe online figures like Shadman and ZONE — also a Hanson collaborator — get so near to the mainstream children’s cartoons they pornographize for a living. It represents a sea change in what kids can expect to find in children’s animation communities, and, in some cases, maybe even in the shows themselves.
The most high-profile figure to hop from the online Rule 34 scene into children’s TV, though, isn’t ZONE or anyone else from Newgrounds. Surprisingly, it’s the creator of one of Cartoon Network’s largest hits this decade: Rebecca Sugar, showrunner for Steven Universe.
Sugar got her start in cartoon fan communities during the 2000s, posting fan art to social networks like LiveJournal. Way back in 2007, her technical skill caught the eye of Cartoon Brew’s Amid Amidi — who also reported on the “disturbing” nature of much of Sugar’s work at the time. Specifically, Sugar created Rule 34 art. Among other things, she drew comics that portray the awkward, vulnerable sexual encounters of preteen characters from the Cartoon Network show Ed, Edd n Eddy. The work, which is still floating around the internet, fixates on the inexperience and uncertainty of its subjects, on the uncomfortable blurred lines of sex at a young age.
But Amidi’s prediction that Sugar had “a bright future” came true. Just two years later, in 2009, she was hired to Adventure Time as a storyboarder, and she quickly made the jump to showrunner status with Steven Universe. For an artist from the online underground scene, it was a rare honor.
Critics have hailed Steven Universe as a new standard in storytelling, emotional complexity and representation in kids’ TV. It made history as the first children’s cartoon to portray a same-sex wedding. Sugar was able to do this by very smartly creating characters who would allow her to bypass the old-fashioned censors of LGBTQ+ content at Cartoon Network. While the alien race in the show — the Gems — identify as female, they are technically genderless holograms projected by living rocks. This distinction allows the show to explore many different aspects of gender and sexual orientation usually rendered off-limits by the old guard of children’s TV.
However, at the same time, the appearance of many Gems as very young — though they are technically hundreds or thousands of years old — is used to explore sexual situations involving child-like characters.
Gems in Steven Universe can fuse, a dance-like activity that allows two or more of them to form a single, larger being. The show uses fusion as a metaphor for many things — friendship, romance, companionship. But it’s also used at times as a rather blatant metaphor for sex. Take fusion scenes like the one in “Sexy Fuse,” a YouTube upload with 4.3 million views. It’s thinly-veiled enough that many of the kids in the comments openly (via abundant emoji and confused typing) express discomfort with it. This makes fusion somewhat alarming when it’s mixed with Steven Universe’s younger-looking and -acting characters.
One scene from the episode “Log Date 7 15 2” is a good example. The character Garnet invites the younger and less worldly Peridot, a Gem who has never fused before and is uneasy about the idea, to fuse with her and learn what all the fuss is about. The child-like Gem tumbles backwards, blushing and flustered at the come-on. Uncertain at first, Peridot works up her courage and decides to go through with it. Garnet puts on music and Peridot straps paint cans to her feet to keep up with her taller partner. But Peridot’s inexperience and awkwardness quickly leave her overwhelmed, and she calls off the fusion before it’s finished.
In another episode, the half-Gem protagonist Steven goes to the beach with his romantic interest — a 12-year-old human girl named Connie who’s two years his junior. While flirting, they accidentally fuse into the more mature-looking Stevonnie. Steven’s Gem mentor Pearl declares this “inappropriate,” but Stevonnie states that it “feels amazing.” Later, though, the two halves of Stevonnie have a moment of uncertainty. “Are you okay? We can stop, if you…” says one side.
One of the most disquieting plotlines related to fusion comes when Pearl, under false pretenses, tricks Garnet into fusing with her multiple times. Pearl says that she “couldn’t help” herself, and continues, “When we fuse, I can feel what it’s like to be you… confi
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