A Bunch of Dirty Tricks: Ripoff Alert

Dirty Trick# 1 Not telling you on the cover what cartoons are on the disk, so that you get tricked into buying the same cartoons again. I can't believe they would do this. They should have just called the box :"OFFICIAL BUGS BUNNY PRODUCT"I scoured the back cover and found no clue as to what was on the disk.When I opened it, there wasn't even a booklet to tell you what was on the disks. But then I noticed that BEHIND the disks hidden under the cover was something. You have to take the cover out of the box to see what's actually on the disks. Amazing.

Dirty Trick # 2: Rereleasing all the cartoons that have already been released a million times. wonder if they at least fixed all the transfer problems and got rid of the DVNR on these cartoons.

#3 Compiling the most well known overshown episodes instead of the best ones.If you need your 5th copy of What's Opera Doc, this is for you.

#4 Filler: Loading it up with cartoons no one wants - from the 70s on. "Carrotblanca" for Christ's sake.#5 Putting out a disk with only one character on it. This is the kind of thing they do on TV. They have these marathons of just one character- a sure way to burn him out and make the audience never want to see him again.

I can't figure out if the people who put these things out are actually evil, or just idiots. Maybe some combination. They love to kill the Golden Goose, that's for sure.

Looney Health Issues

Does breaking your leg make you a cripple? I heard that we aren't allowed to say "cripple" anymore. We have to say "better off" or something.

I hope they bury me in this position.

I have never seen this condition before, but I like it. Does Daffy have the Shingles?

Scribner Bugs Bunny Kool Aid Again

I wish I could see a good copy of this.

Scribner Eye Theories

Traumatic Reactions To Sugar Deficiencies

Rod Scribner Sneaks Entertainment Value into a Koolaid Commercial

By the 1960s, most animation - even animation done by the classic animators - had gotten very conservative. Even squash and stretch eventually became "too cartoony".
Here's Rod Scribner going completely against the style of the times and I don't know how he got away with it.
I'm guessing that Tex Avery must have directed this and just let Rod have fun with it.
Rod sure wasn't inhibited by the 60s model sheets of the WB characters.
He not only makes his key drawings funny, but most of his breakdowns are too.
By making every drawing in his animation a unique creation, he ends up doing a lot more work than if he had just made a few on-model keys. That's a true animator. He can't help creating, rather than merely executing.
I can't believe this got by the ad agency. When I worked on commercials the ad execs would go though every frame of film to make sure that each drawing was uncreative, unfunny and "on-model".
The agency folks always hate anything that "looks weird". They must think that somehow the consumers will decide not to buy their products once they have freeze framed the commercials themselves and checked them against their model sheets.
This commercial would only make me drink even more Kool-Aid than if it was bland and boring.




I was laughing as I went through this scene a frame at a time, but the drawings kept getting funnier and funnier. These almost seem bland to me now - compared to what came next. There are so many crazy drawings in this one commercial that I'm going to have to spread them out over a few posts.

Next

a crazy-ass Bugs and Elmer Koolaid commercial

Good Classic Cartoon Repackaging

This is the way to present classic cartoons. Watching the Bugs Bunny Show on Saturday afternoons at 5 was the highlight of the week for me in the 1960s. These titles and wraparounds just made the whole experience more exciting.



BUGS BUNNY SHOW OPENING TITLES

Bugs Explains How To Write Cartoons With Him In Them

Barbary Coast Bunny 2

The setup is over and now the actual story starts. First Chuck establishes the mood and location. Robert Gribbroek drew these beautiful layouts and Phil De Guard painted them. Nice clear compositions and unusual color schemes.

I love this establishing shot of the interior of the casino. It shows how huge it is in comparison with Nasty way over on the right. The BG is full of design contrasts: The curved winding stairway, the tall vertical window that frames a tiny Nasty at his desk. Organic sinuous chairs, low in the frame contrasted against tall vertical designs on the walls. It's all intelligently planned to tell the story and be striking and beautiful at the same time. Very stylish, without being garish.
Nasty is funny here; we see him marking the cards with those stubby fingers Chuck loves.
Nasty is not as exaggerated as he becomes later in the cartoon. Chuck got more comfortable with the design as he worked his way through the cartoon and he kept drawing more complex variations of him. This could not happen if he was bound to some arbitrary model sheet rules created in another department by people he didn't know.
An almost ignorant shot of the swinging doors to contrast against the previous elegant layouts.
This straight on symmetrical ignorance helps to establish that Bugs is a hick coming to the big city. I like how we don't se him all at once. We just see the hick shoes coming in first. Good suspense.
Nice touches here. Chuck is teasing us by not just showing us Bugs all at once.
The wheat straw in Bugs mouth says it all.
Robert Gribbroek is my favorite of Chuck's designers. He has a perfect balance between creativity and control. He doesn't let creative license turn into outright anarchy, like you see in many of today's cartoons.