Chosen character: Bugs Bunny
Evolution of BUGS BUNNY (1940-1990). Retrieved from
Early era Bugs Bunny was delineated by the cartoon styles of the 30’s and 40’s age, reminiscent of the walk cycles of the then-defining Snow White and the Seven Dwarfs, released in the late 30’s (1937). Barrier writes, “His Disney pedigree was evident in his contour, an awkward merger of the lean and streamlined Max Hare of The Tortoise and the Hare and the round, soft bunnies that Thorson had drawn for Little Hiawatha,” (2003, pg. 361).
With the release of A Wild Hare in the July of 1940, the iconic style and movement of Bugs Bunny finally solidified as the precursor for the modern version seen in revamped versions of the Looney Toons franchise.
Porky’s Hare Hunt (1938) is noted as one of the first iterations of Bugs Bunny, then-nameless. Whilst the rabbit in this film is “a rural buffoon: very loud and oppressively zany…He is somewhat magical, as if he were a magician’s white rabbit: he pulls himself out of a hat…” (Barrier, M., 2003, pg. 359), he evolves into a much cooler, graceful and controlled character, other “far more insinuating,” (pg. 360), “stand[ing] more nearly straight and is sleeker and trimmer,” (pg. 361).
His upright saunter, run and walk is a stark contrast from the swagger present in his older iterations. His running cycle mimics the following walk cycle demo; although with variants to his arm position depending on the cinematic and situation Bugs is presented in.
In most examples, his arms remain upright and outstretched when being pursued by an adversary. It could be possible to incorporate this into the project; to give Bugs a “reason” to be running / escaping through the obstacle course.
Wells (2013) writes of several iconic Bugs Bunny gestures:
“Bugs Bunny’s laconic sense of superiority is established by his carrot-munching proposition, ‘What’s up, doc?’, or his call-to-arms when his current adversary temporarily gains the upper hand and he confirms: ‘You realise, this means war!’ (pg. 39)
It could also be possible to incorporate Bugs’ tendency to “break the fourth wall,” as many of his sequences play “directly to the audience, wink[ing] at them, and call[ing] them to witness his embarrassment, but does not shrink from asides,” (Bazin, A. as cited in Furniss, M., 2009, pg. 67).
Other potential movements aside from typical running and walk cycles can include:
- Jumping into a rabbit hole
- Saunter / slow dance cycle
- Sliding (particularly down the “ramp” area of the obstacle course
- Idle motions (e.g. classic chewing of the carrot).
Obstacle Course A:
Obstacle Course B:
Barrier, M. (2003) Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. Retrieved from
Wells, P. (2013) Understanding Animation (Second Ed.). Routledge. Retrieved from https://books.google.com.au/books?id=tkEYAgAAQBAJ&dq=bugs+bunny+animation+technique&source=gbs_navlinks_s
Furniss, M. (2009) Animation: Art and Industry. Indiana University Press. Retrieved from https://ebookcentral.proquest.com/lib/saemulti/detail.action?docID=1977963
Other resources / videos:
Model Sheets / Stylistic guide:
- Improved idle animations (e.g. thinking, tapping feet, chewing on carrot)
- Delay more before acting
- Exaggerate animation (particularly jumping sequence at the end)
Will most likely be using obstacle course A for the final animation.