That kind of ripping off has a long and storied tradition in commedia dell'arte. We recognize that they're supposed to be different riffs on the same theme. Comedy protects it.
Disney aims to make movies that are noticeably different, and is therefore not protected
now I'm thinking about how Hanna-Barbera cartoons have a lot of one-off characters with similar voices meant to identify them as a certain type of character
some of these, like the Phil Silvers impression, were applied later to full-blown characters like Hokey Wolf
Man is a most complex simple creature: see what he weaves, and how base his reasons for doing so.
A, it was a different time.
B, because it was a different time, there was less demand for unique character designs.
C, I believe philosophy was to treat the characters not as characters, but as "actors", to be cast in different movies and retaining their distinguishing features. Something Tezuka also did in his Star System.
D, we expect more from entertainment now. Having the same face is a sign of laziness, even if everything else is meticulously produced.
this was kind of a joke thread, but to be serious, with regards to the "different time" thing, I'm not sure how many people today are really familiar with the notion of a house style
Disney (the feature animation side) is one of the few animation entities to cling to a house style, and classic animation has been pushed out of the limelight in recent years anyway - compare this and this (I'll always stand up for H-B's immediately identifiable early look, but the character side of it at least isn't that far removed from tradition)
I didn't realize at the time that Ralph Wolf and Wile E. Coyote were supposed to be different characters. I just thought, "Oh, the coyote is going after sheep in this cartoon. Okay."
I didn't realize at the time that Ralph Wolf and Wile E. Coyote were supposed to be different characters. I just thought, "Oh, the coyote is going after sheep in this cartoon. Okay."
The "Super Genius" one was supposed to be a separate character, too?
MIND: BLOWN
(I'm only slightly exaggerating.)
(Although I do recall there being this home video anthology of the best Looney Tunes, more or less, with a framing device of Bugs Bunny looking back on his long, storied career. And in this video Bugs himself said that "Wile E. Coyote, Super Genius" and the one who chased the Road Runner were one and the same.)
The one who chased the roadrunner DID speak at least once. It was a meta episode, and some kids were watching him on TV, wondering why he always chased that roadrunner, and he broke the fourth wall to answer them.
(Also, no, WB didn't ACQUIRE DC Comics. DC was purchased by the Kinney National Company in 1967, and Warner Bros.-Seven Arts by Kinney in 1969. Kinney would later become Warner Communications, a forerunner to Time Warner)
Comments
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
some of these, like the Phil Silvers impression, were applied later to full-blown characters like Hokey Wolf
Disney (the feature animation side) is one of the few animation entities to cling to a house style, and classic animation has been pushed out of the limelight in recent years anyway - compare this and this (I'll always stand up for H-B's immediately identifiable early look, but the character side of it at least isn't that far removed from tradition)
also house styles are easy for top-down-managed studios (like Disney and Hanna-Barbera and in a way DreamWorks) to train artists in
WHAT
The "Super Genius" one was supposed to be a separate character, too?
MIND: BLOWN
(I'm only slightly exaggerating.)
(Although I do recall there being this home video anthology of the best Looney Tunes, more or less, with a framing device of Bugs Bunny looking back on his long, storied career. And in this video Bugs himself said that "Wile E. Coyote, Super Genius" and the one who chased the Road Runner were one and the same.)
(Also, no, WB didn't ACQUIRE DC Comics. DC was purchased by the Kinney National Company in 1967, and Warner Bros.-Seven Arts by Kinney in 1969. Kinney would later become Warner Communications, a forerunner to Time Warner)
I hope it didn't change much when his collaborator Michael Maltese (brilliant in his own right) jumped for Hanna-Barbera