Mighty Mouse: The New Adventures-Show Review

Mighty Mouse: The New Adventures is the best cartoon series of the 1980’s (it also happens to be the only, because it is actually cartoony and brought that back to tv animation). You could argue that as far as importance goes, it stands abreast Teenage Mutant Ninja Turtles (for proving animation can start as multi-media franchise) and Ducktales (an entertaining action animated show that lead to bigger budgets via syndication). But in terms of flat out entertainment it beats them all.

Actually, it is probably the best-animated show of the last quarter of a decade. Even better than Ren and Stimpy, it’s kindred spirit and the reason most of you know about this show (myself included)? Well, in terms of preferences, I would say yes. I like the sheer outlandishness, the caricature/parody of superheroes that Mighty Mouse operates under much more so than the sitcom character studies of Ren and Stimpy (though Mighty has some of that as well, along with comic book madness, vintage animation homage, and more). Also, Ren and Stimpy ran for five seasons, only two of which are worth watching really, while Mighty Mouse was on fire for the entire two seasons it was on.

There are some episodes here that are worthy of being in league with Loony Tunes and the Flesichers in terms of ideas, execution, designs and overall enjoyment. Don’t touch that dial [which really nails down how much better the show was than the 80’s glut], Mighty's benefit plan, the littlest tramp, still oily after all these year and others are phenomenal and I was laughing and grinning at every moment.

This show is so good that every episode of original material is fun, if not funny (the former is not quite as good as the latter, but more than acceptable). At the absolute worse of non -recycled material the episode is an extremely good execution of what tiny toons tried. Little wonder since the members of team ultimately responsible for this show went on to that show as well (and animaniacs, Batman the animated series, Wall-E, etc).

You may have noticed I was very careful to note the terms non-recycled and original. Yes, there are some episodes that not only reused footage from the show itself, but the old terrytoons. One particularly good use is Ice Goose Cometh (another great episode) to show the relationship between Gandy and Sourpuss, and how abusive it was. The others are not quite that clever, although some of new adventures segments have totally different dialogue and voices that made laugh out loud in spots once I accepted it was a clip show.

It’s hard to describe the general mood and presentation of this show. John k, involved in only the first season, once said the Hanna-Barbera characters were harder to draw than the loony tunes, because it was the same principles but more specific. A similar evolution treads through this show, there is a strong base line of animation traditions but through trial and error and long wanted freedom there is anarchy, a healthy vulgarity that runs through this show. It’s the outlandishness—sort of—of independent comics but the professionalism assocaited with 1960's marvel comics. It’s like Jim Tyer madness, but he is the rule not the exception.

Sometimes this show is so inventive and crazy it barely slows down for us to take it in. Multiple repeats are rewarded with this show. Even freeze framing, which is insane considering nobody had any idea to tape Saturday shows, and there was no syndication to re-catch it. There were so many talented artists in this show—maybe the most per production levels—all trying to get in their jokes and idea they have suppressed for so long, that it is impossible to get them all in one viewing.

I don’t want to delve into too much detail because half the fun was the sheer surprises I saw every few episodes; people I didn’t expect, a particular drawing, an off hand verbal joke. All amazing. While I saw a few episodes before on the Internet I was not expecting the level of creativity to last through the entire run of the show. Simply put, this show is great. Even its flaws are illuminating. This is the kind of grandiose madness that I have been waiting for in my childhood for Saturday morning cartoons but never really got. This is one of the best things I have ever seen in any medium.

Mighty Mouse: The New Adventures-DVD stuff

Presentation and whatnot is pretty good, some double imaging, but nothing as bad as on the loony tunes DVD.

The extras, as stated, are three Terrytoons, two commentaries, and one half hour behind the scenes documentary. The Terrytoons are pretty good (better single episodes exist, but these are quite satisfactory) the commentaries are pretty fun and fairly informative, and the documentary is just flat out great.

A lot of the time I’m not really for extras, as long as the show is good, but this behind the scenes is no fluff. Everyone involved has interesting stuff to say, is pleasant to listen to (sad truth; some animators are boring technicians or have annoying voices) and because of the mass creativity involved everyone has some valid reflection of the show. And if nothing else you get some hilarious Ralph Bakshi impressions that conspire to make you believe Ralph really was like that.

Speaking of Ralph Bakshi, and he does get his two cents in, this documentary goes a long way to show that although he and John K. are most often credited, this show was really an amazing cauldron of talent. Tom Minton gets quite a bit of attention, and slightly less so for Jim Reardon (and they are important, being the long term writers) but it wisely doesn’t dismiss Jeff Pigeon (character animation), Vicki Jenson (colors) Tim Bruce (animation) and many more. You almost feel that it’s a document of a bunch of friends at a party that incidentally created a great show.

This doc is also essential viewing, but only after you see all the episodes. You watch them, and get a good percentage of the intent and love it, and then you see through the stories here some of the bizarre in jokes and you realize why there were so many Bakshi caricatures (probably averaging one an episode, at least) and odd surreal passages become clear. It makes you wan to watch the show again, which is perhaps the highest compliment you can pat a made for DVD TV documentary. Don’t miss it.

Overall this is easily one of my highest recommended purchases, and great crowd pleaser. Get it.

Mighty Mouse: The New Adventures-Afterthoughts and constructive criticism

No complaint on the show, awesome.

So awesome in fact that I wish that every episodes had commentary, more than just the two. All except one of my favorite episodes get no commentary love, and don’t touch that dial deserves one.

Now the documentary is two-fold: if you are new to this show this is probably more than enough. If, however, you are a raging consumer of animation history and a big Ralph Bakshi fan (like myself) this documentary is still great but kind of a big tease. Nevermind the fact that I wish it was at least an hour long. In it there are interspersed footage of a PBS special (extract seen here) an amateur recording of behind the scenes from one of the cartoonists, and other sources, none of that is included on the DVD. I know people hate overlapping info or footage, but damn it, I don’t like being told what I think is interesting or not. Include it.

Also, there is mention on the commentary of cut footage and different mighty mouse theme songs and it isn’t here either. I don’t begrudge the people who did the DVD, they probably had little money. I’m more annoyed as the people who gave little money to spruce up the DVD.

However, this is all trivial with the fact that this show is on DVD, and I can enjoy it and show it to my friends and they enjoy it. So with that in mind, slight frustrations aside, thanks guys for putting this awesome show on disc.

Early Hanna-Barbera Explosion

I love me some HB cartoons, especially the early ones(and isn't that above picture great?). A really informative blog discusses these classic years at length, and even puts up incredibly rare (and incredibly catchy ) music from each episode. Enjoy!

Yowp: Stuff about Early Hanna-Barbera Cartoons

Cartoon Caricature

Betty Boop: from Head to Toe (Popeye too)

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I've seen this in numerous books, but I don't think I have ever seen it scanned before. Boop has always been one of my favorite cartoon characters and hopefully all you aficionados will join me in attempting to do her some justice(as opposed to all the cheap novelty merchandise you see everywhere).

For comparison here's Popeye

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Superheroes on the square

This is a cartoon I do not believe is on other video sites, and I happen to like the chapter access and higher image quality this site offers. This hopefully goes a way to pacifying the lack of cartoons in the recent posts.

This show (The Mighty Heroes) is by Ralph Bakshi and seems both a regular superhero show and parody of it at the same time. Yet somehow it seems lovely made, rather than out of spite or maliciousness. Loving the ideas of superheroes , but recognizing the warts, so to speak.

Monster-Vision

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A bit of a stroy behind this wonderfully bizarre picture, recalled by none other than the great Will Finn.

High school dementia

Art for an unsold show Ralph Bakshi and John K. worked on(and strangely not at all mentioned in the Unfiltered book). Perhaps part of Bobby's Girl?

Benedict by John K. (in the style of Hitchock-Truffaut)

You saw the art of John K. , now see his philosophy (thought the help of arglebargle!) , as he questions his idol and one of the greatest cartoon's of all time. Ed Benedict.

Pals [aka Christmas Night] (by Jim Tyer)

(07:26)

There are many "what if" versions of cartoon history; what if the Flesichers had made feature length films during their prime(1930-1934)? What if Bob Clampett's unit came under Scribner's control, rather than Mckimson's? Perhaps something of an answer to the latter question can come with the above short. Scribner was a brilliant and crazy animator, as was Jim Tyer (although, admittedly both were also drastically different in many ways).

The above cartoon is one of Tyer's few directing credits, oddly enough for the Van Buren Studio, one of the "Little King" series. It's notably crude in design, even for the time. It's very proto-UPA, proving that that particular style isn't new (among other evidence) as well as how Tyer had this particular idea of form far before the 1950's.

It's also an interesting note in the question of "do great animators make great directors?". Tyer's entry is interesting in that because he is the director there is a notable lack of his insane animation --although to be fair he was still in his infancy as this stage--. It's also carried on Tyer's famous apprentice Ralph Bakshi. He was also a great animator, but as his film progressed he often like to let other carry out his ideas, rather than use his doodles as key frames(the complete opposite of Chuck Jones). Was this part of his live and let live attitude, famously leaned from Tyer himself(check the links at the bottom)? Who knows. In any case an interesting cartoon from the golden age of animation.

Also, this and every Little King short in in a wonderful Thunderbean DVD,with far better quality than the youtube coding. SO if you like this short be sure to support a great company who cares about classic animation.The Complete Animated Adventures of the Little King

Bimbo's Initiation (by Grim and Dave)

Earlier today I was asked who my favorite animator was. I can never decide permanently, but I think Grim Natwick would be a good choice. When he worked with the great Dave Fleischer it made the cartoons that cement The Fleischers' as my favorite cartoon studio (until they started imitating Disney). The above cartoon is one of those defining cartoons, and also unfortunately the last of Natiwck's first era of the Fleischers'. This is probably the finest print you will find of this cartoon unless it's released on DVD or shown in a theater. Wanna be a member like me?

The merits of Hanna-Babera

From

Something Old, Nothing New

(Back-Up copy,with all respect to author)

H-B's Pencils

"The publication of Jerry Beck's The Hanna-Barbera Treasury has touched off some debates over whether Hanna and Barbera helped or hurt TV animation. (Artistically, I mean; everybody agrees that they helped TV animation in the sense that they made it commercially viable and kept a lot of artists employed.) Mark Mayerson makes a pretty good case that they were all too willing to settle for the lowest possible quality. He points out that whereas the pioneers in theatrical animation, like Disney, kept working to improve the quality of animation and the amount of money available to animated films, H-B did the opposite: whereas production companies would traditionally increase their budgets after they had a success, H-B seemed to use each success as an excuse to make the cartoons cheaper or at least cheaper-looking. Most prime-time shows start to spend more money and look better after they have a successful season (at least until their ratings start to tank and the budget gets cut); The Flintstones looked a little worse every year. Or as Mark puts it:

Rather than attempt to reform or beat a system that was clearly stacked against the production of good work, Hanna-Barbera embraced that system and milked it for their own personal gain. They expanded the number of shows they produced and with each expansion, the quality of the product suffered. They opened studios overseas in order to take advantage of cheaper labour. The savings went into their pockets, not onto the screen. After their initial decade, when they had the opportunity to work in prime time or in features where budgets were better, the projects were only marginally better than the low-budget work they turned out for Saturday mornings. The thinking and procedures behind their Saturday morning shows infected the entire company. In their hands, the art of animation (and here I'm talking about the entire process from writing to post-production), was degraded and debased without apology.

Hanna himself gave an interview in the '70s -- reprinted in Danny Peary's American Animated Cartoons -- where he admitted openly that Hanna-Barbera's product had gotten steadily worse since they set up their studio: "Our new shows," he said simply, "are not as good." He explained that this was because of rising costs and shrinking budgets, and that's true as far as it goes. But, again, he and Barbera didn't really try to fight that. Maybe they were right, from a financial point of view: as a commenter on Mark's blog points out, Disney brought his studio to the point of near-bankruptcy every time he increased budgets or took chances, and with that kind of precedent, it's not surprising that H-B would not want to take financial or artistic risks.

The other thing I think we need to remember about Hanna-Barbera is that, as people who came late to television (the medium was long-established by the time they were kicked out of theatrical films and emigrated to TV), they always saw it as important to do whatever was popular in television at the time. They were in a much riskier position than they'd ever been in when they did theatrical shorts; not just because they owned the product, but because their shows actually had to carry a half-hour and sell commercial time on their own, whereas for twenty years they'd been used to making cartoons that played second fiddle to the feature film. (That creates less recognition but also creates a sort of cushion: a theatrical cartoon doesn't need to succeed on its own.) Nobody had ever been able to make cartoons for their own sake, as the main attraction, consistently successful, on TV or in theatres; Disney had had some monster hits, but an equal or greater number of movies that didn't make back their cost.

So H-B not only had to invent TV animation, they had to invent a way to make cartoons that could succeed on a regular basis; they couldn't just make shorts and put them out there like they'd done for years, and they couldn't afford to do things the Disney way (be satisfied with one hit followed by one expensive flop). The solution they arrived at was to leech off non-animated television and pop culture, making a cartoon series based on whatever trend was popular in TV that year. I found an interview with Hanna and Barbera from United Press International (November 15, 1959), where they explained to reporter Ron Burton that they were looking to make animated shows that would parody the live-action shows people were watching:

Barbera said using parody and imposing human-like situations on animal groups are two of the main devices used in their TV cartoons. Viewers can see without too much trouble who or what is being kidded gently in H-B cartoons -- and this season it's TV westerns [Quick Draw McGraw] and private eyes [Snooper and Blabber].

And so they made the decision to base every show on prime-time TV trends (something they would continue for decades thereafter, finally culminating in those '80s cartoons that were actually based on prime-time shows) and give every character a voice/personality based on a famous movie or TV person. Maybe that wasn't a great decision, but they were making that decision in a vacuum: Disney may have shown how a cartoon feature could be a big hit, but nobody, not even Disney, had figured out how to make cartoons that would consistently make more than they cost.

And I'll say one thing for H-B: at least they did actually care, at least initially, about making TV cartoons that would appeal to more than just children. In that same interview, Barbera was very proud that the pop-culture references had given their shows an adult following:

"This makes it possible for our stuff to be enjoyed by adults as well as children," Barbera said. "And we know adults are in our audience, because a friend told us there's a bar in Seattle with a sign over the TV set. It's brought out during our shows. The sign reads: 'No loud talking. No tinkling of glasses. We are watching Huckleberry Hound.'"

It was by no means universally believed at the time that television cartoons should aspire to an adult audience; some cartoonists believed that TV cartoons should ignore the adults, tone down the references to live-action prime-time shows, and be more like live-action kiddie shows. One of the people who believed that was the sainted Bob Clampett. In an interview to promote the Beany and Cecil cartoon (I found this in the Mansfield, OH News-Journal, March 4, 1962), he proclaimed that the show would be successful because he was aiming it exclusively at kids, and criticized other cartoon-makers -- including H-B -- for trying too hard to appeal to adults:

In other words, the chit-chat for grownups has disappeared. This cartoon series is strictly for kids. And that's why Clampett, a man who looks like he'd just gotten out of bed, isn't worried about the series' success. "Top Cat, Calvin and the Colonel" (Bob has other names for them) "were aimed too high," he says.

Bob is going to ignore the adult class and concentrate on the population explosion of unending youngsters. "We'll have a whole new audience every year," he says, meaning an audience range of from six to 11. It can go lower. Clampett's year-and-a-half-old daughter, Baby Ruthie, can sit through five cartoons without wandering, and his five year-old boy Bobbie can say all the names of the Clampett characters.

At least H-B established the idea that cartoons could and should be plugged into the larger world of television as a whole, which would pay off in the better prime-time cartoons (mostly not H-B's own) and some of the better '80s and '90s Saturday morning cartoons.


-----

Incidentally, that 1962 interview with Clampett only mentions his Warner Brothers experience in one paragraph. In view of how much time he later spent taking credit for everything that happened at the studio, it's interesting that in 1962 -- when the studio was still open, and when having worked there was a much less prestigious credit for him -- he's more modest (the article only gives him credit for sole creation of Tweety, which is a character he actually did create) and more dismissive:

During this time Clampett dreamed up "Tweetie" and thought about Bugs Bunny, Daffy Duck and Elmer Fudd during working hours. "I tried every gag that came into my head," said Bob. "Most of them were terrible, but it was the only way to learn."

Update: Thanks to Michael Barrier for the link and, yes, I should have remembered to mention that the newspaper quotes above were found via Newspaper Archive (whose slogan is: "Our search engine will drive you insane")."

Well Done.

Gross Cartoons

Milt Gross' comics work is no stranger to anyone who frequents the Internet over the last year or so,but how many know or have seen his cartoons for MGM? Taking his character,Count Screwloose and reworking it for all the medium can handle, here are the two(just not enough) cartoons Milt was involved with.

Wanted No Master (1939)
Uploaded by klangley

Jitterbug Follies (1939)
Uploaded by klangley

Marvin Digs

In honor of the impending book on the man, Ralph Bakshi( I've got my copy pre-ordered) I present a rather humble beginning for someone that revolutionized the art form. But even in this short, which far from pleased him(he is said to throw up over reseeing it once) it still shows an inventiveness and collage of techniques that work. Groovy indeed!

Let the year begin

I'll be having this show soon enough, and just wanted to share in the joy(these designs really are beautiful). If you can't get the season I recommend following the link to a zip of the album associated with the picture above. It includes the original voice talent, so this will the perfect chance to make your own cartoons. Might as well work with the best.

HANNA BARBERA :: HUCKLEBERRY HOUND - THE GREAT KELLOGG'S TV SHOW

(Full Credit to and do browse) Check The Cool Wax

Asifa Archive in Review

Father time has prepared to leave and join yet again. It is time well spent, if you enjoyed the fine points of the Asifa Archive. If you haven't here would be a good place to start. Enjoy your fresh beginnings.

Good Times

The Flintstone Flyer

In the last few years my view of the The Flintstones has changed dramatically, almost to the point of a Paradigm Shift. Maybe it's because I was use to the reruns of the latter episodes, when much of the initial joy of the show(and indeed, much of Hanna Barbera) evaporated, leaving little fun in its place. Like many, my view was changed by the words of John K. who,with concise words and actual pictures, made me recognize the finer qualities of the show--the backgrounds, the relationships between Fred and Barney, and the funny movements--I had long overlooked. With that in mind, I can fully understand the point of view of snooty film historians who condemn Hanna Barbera for their later gutted shows, so much so that it overshadows their great first few years. Not that it's right, but I can understand. Then again, perhaps if they were real professionals, such a mistake wouldn't happen.

With the exception of the Huckleberry Hound Show, nowhere is the funny first years epitomized than with the first Flintstones episode, The Flintstone Flyer. Keeping the singularity, the animation itself was done by one man*, Carlo Vinci, who I have also discovered(in name, not necessarily work) fairly recently. His work is thrilling ,and makes me want to practice all the more intensely. For it is is possible to create good animation and good times for your audience by yourself if you are smart and talented about it. But enough words, let the images of this fruitful few words speak for themselves.

*=Not to mention the brilliant designs of the one and only Ed Benedict.

The Flintstones: The Flintstone Flyer

(Note: while handy, this file isn't perfect. The logo is the right corner is annoying, the pause button is somewhat slow, and I think the image could be a bit sharper. I''m also curious about the colors, they seem a but duller than they should be . Nonetheless, the fact that it is free and the full screen makes it easy to pause and analyze the images more than compensates. Who knows, this may evidence enough to buy the wonderful first season DVD.)

Bonus:
Some good points from John K. about this particular episode:

Here and Here

Cartoons (vintage even)

Now this is more like it. The Fleischers, Bob Clampett, and an awesome World war II Donald Duck cartoon. Sure, they're available on the internet archive and youtube, but it's more convenient here and the video quality doesn't suck(respectively).

Vintage Tooncast

Great quotes left in the 1976 version of “The Fleischer Story”

There was also a Bimbo flipbook, a bigger look at Wiffle Piffle (an peripheral character in the Betty Boop Universe) including his humorous walk, and a Betty Boop “interview”. But the real lost treasures are the quotes below (truer words never spoken):

Page 26
“Another of Max’s mottos was “If it can be done in real life, it’s not animation”’.

Page 32 {Author’s opinion-broken up for clarity]
“ It’s interesting that Betty’s appearance went through many changes before returning to its original form and becoming standard.

As in many art movements, the vision of each animator was not to be tampered with, regardless of the audience confusion it may have caused.

[Here’s they key]
An art movement usually becomes more popular when it serves the people rather than the artists.”