act the way that they do. Stereotype
is societal judgment, which is also
collective consciousness. Don’t try to
create an identifiable character arche-
type. It’s never been done with that
intention. Be true to your observa-
tions and don’t try to tap into the
collective consciousness. If you are
true, you already have created a
memorable character.”
—Dave Zaboski
JAY WARD PRODUCTIONS OPENS:Jay Ward Productions, an animated cartoon studio, was best known for producing Rocky and His Friendsand many other films and series.The company also designed trademark characters and made numerous commercials for such products as Cap’n Crunch, Quisp, and Quake breakfast cereals.
1958
HUCKLEBERRY HOUND INTRODUCED:Huckleberry Hound, created by Hanna-Barbera, was the star of the ani- matedHuckleberry Hound Show.The show made Hanna- Barbera a household name, thanks to Huckleberry and the two supporting segments of the show:Yogi Bear and his sidekick, Boo Boo; and Pixie and Dixie, two mice who found myriad ways to outwit Mr. Jinks the cat.
1958
immigrant who runs the 7-11 down the street, or the street hood on the corner? Stereotypes tend to be insulting to the audience. A stereotype is not grounded in reality, but by a social label.
Stereotypes are not honest caricatures and are not noteworthy or unique.
64
Go beyond the stereotype to get three-dimensional characters. Sketch by Floyd Norman.
OSCAR FOR MOONBIRD(HUBLEY STUDIO): Moonbirdwon the 1959 Academy Award for Best Short Subject: Cartoons. It was a production of John Hubley and his wife, Faith, whose shorts were nominated for seven Academy Awards, of which they won four.
1959
UPA CLOSES ITS DOORS:The HUAC commission hearings on Communism in Hollywood took a heavy toll on UPA; the Mr. Magooseries sunk to an embarrassing level. Henry G. Saperstein kept UPA afloat in the 1960s and beyond by abandoning animation production com- pletely and selling off UPA’s library of cartoons, but no new productions were made after 1959.
1959
The intention is to be true to a personal observation. Be true to your observations, and don’t try to tap into the collective consciousness. If you are true, you will portray good characters that are three-dimensional, as David Smith points out:
Three-dimensional beings have thoughts, actions, and emotions. If you put one above the other, the character is shortchanged and becomes stereotypical.
Superhero = one-dimensional.
Superhero + perhaps past his prime and in midlife crisis + now with family/deep emotional paternal love (that which many can relate to) = three-dimensional or Mr. Incredible.
65
Character design for Major Damage by Chris Bailey.
THE ROCKY AND BULLWINKLE SHOWAIRS:
This is the collective name of an animated series that originally aired from 1959 to 1964. Much of the success of the series was because it appealed to children and, using its clever puns and topical refer- ences, also to adults.
1959
FIRST ANALOG COMPUTER GRAPHICS BY JOHN WHITNEY:John Whitney Sr. created analog computer graph- ics. By 1959, John began his pioneering work in the development of mechanical analog systems, which founded the principles and techniques of “incremental drift” and “slit-scan.” Whitney’s first analog computer was made from an M-5 Antiaircraft Gun Director and later with modifications from an M-7.
1959
Stereotypes can work sometimes, as in the case of clichés, because they quickly get to a personality that the audience is aware of. Archetypal characters are based on stereotype but add some bit of reality that makes them more approachable. Stereotype is one-dimensional; however, if you put a twist on the idea of the stereotype to make the character have enough depth to be interesting, it can work. Examples of this could be a “big man on campus” who has an eating disorder or a neighborhood bully who is only three feet tall. These are twists that break through the stereotype and make your character more appealing. Chris Bailey talks about using stereotype effectively:
I think you have to rely on archetypes because they communicate immediately. You can play against type and get some comedy from that too, like the geeky hero coming to the rescue as if he’s Arnold Schwarzenegger. The key is to avoid negative stereotypes that demean people.
You can take the archetype and develop it over the course of the story. It’s a great hook to give the audience something to latch onto in the beginning of the movie. This gets them involved in the character’s deeper emotional stories as the movie progresses.
66
“Never treat a character as filler or mere mechanism to advance your plot. No ‘Hmm, I think I need an old lady on roller skates to get my hero Gerald the Flea from Pasadena to the Kansas City dog show in time to save his trapeze-artist girlfriend, FiFi the Poodle, from the Bayone Barbequed Dog Cartel.’ Somebody in the audience is gonna wonder why an old woman suddenly shows up, out of the blue, on a pair of roller skates.”
—Bill Wright
You must make the character relatable. Create a character that you really know—someone who is not exactly you, yet you can visualize clearly. This will enable you to really get inside the character so you can write about him. Give the audience a reason to get behind the character. Characters who are shallow and dumb are boring. Archetypes are something that you can start with and develop. If your character has depth and honesty, he will avoid the pitfalls of a stereotype. Don’t build a character who lacks motivation and sim- ply serves as a protagonist to move your plot forward. You will lose believability, and your audience will lose interest.
OSCAR FOR MUNRO
(REMBRANDT FILMS): Munrowon the Academy Award for Best Short Subject: Cartoons.
1960
THE FLINTSTONES, 2ND PRIME TIME TV SERIES:
Hanna-Barbera’s The Flintstonesis one of the most successful ani- mated television series of all time, originally running in prime time for six seasons.
1960
COMPUTER GRAPHICS COINED:The term "computer graphics" was coined by William Fetter of Boeing.
1960