Tiny Toon Adventures

Premise

Main article: List of Tiny Toon Adventures characters

The series featured a new cast of teenage characters with traits modeled after the Looney Tunes characters. The characters are residents of Acme Acres and attend Acme Looniversity. Buster Bunny is a 14-year-old student who is aware he is hosting a cartoon show. His 14-year-old co-host, Babs Bunny, specializes in voice impressions and hails from a large family that lives in a hole in Acme Forest. Plucky Duck dreams about wealth, fame, and power. Hamton J. Pig is a nerdy, shy student with an obsession with food and low self-esteem. Fifi La Fume is a French skunk and feminist with an obsession with boys. Montana Max is a wealthy 14-year-old boy who lives in the largest mansion in Acme Acres.

Elmyra Duff is a little girl with a passion for animals. Dizzy Devil is a party animal looking for events to crash. Shirley the Loon has the ability to mind read and project her aura. Furrball is a homeless kitten. Calamity Coyote is a nerd and inventor. Little Beeper is a roadrunner whose goal is to run "the world's first five-second decathlon." Acme Looniversity's professors include Bugs Bunny, Daffy Duck, and Porky Pig.

Episodes

Main article: List of Tiny Toon Adventures episodes

Production

Development

Originally titled Tiny Tunes, the series was conceived by Warner Bros. president Terry Semel, who wanted to revitalize Warner Bros. Animation by creating a show based on the Looney Tunes series. He envisioned a story where the characters were either young versions or offspring of the original Looney Tunes and Merrie Melodies characters. In 1987, Warner Bros. approached Amblin Entertainment chairman Steven Spielberg to develop a film based on Semel's concept. During discussions with Tom Ruegger, Spielberg wanted the new characters to resemble the older characters and reflect the sensibilities of the 1990s. Ruegger and Spielberg decided that the new characters would be similar to the Looney Tunes characters but with no relation, with Spielberg involved with the creation of several of them.

Warner Bros. Animation initially planned Tiny Toon Adventures as an animated film, developing the project for two years. By December 1988, the studio had turned the project into a television series. In January 1989, Spielberg announced the series, and a 100-member production team was organized. After three days of discussions between Ruegger, Warner Bros. Animation president Jean MacCurdy, and animator Mitch Schauer, new characters were created; their names were finalized by Eddie Fitzgerald, Tom Minton, and Jim Reardon. Animator Ken Boyer developed the series bible and designed 14 characters with a few modifications by other artists. Spielberg approved the concept and its new characters, which were finished in one week.

Production of Tiny Toon Adventures began in April 1989. Warner Bros. Animation established several production units modeled on the studio's theatrical shorts system. Working at a pace three to four times faster than the previous Warner Bros. shorts, each unit had a director supervising the production of selected episodes. To follow the tradition of Warner Bros. shorts, many artists who had produced television animation in other studios had to be reeducated to achieve a "free-form" style for the series. The production process for each episode took 34 weeks, including four to six weeks of preparation, 14 weeks of pre-production, and four to six weeks of post-production, at an estimated cost of $400,000 per episode. Steven Spielberg was involved with the development, personalities, and designs of the characters as well as the overview of the series. Each production aspect required Spielberg's approval, and he wrote notes to the production team whenever he declined any.

Warner Bros.' animation department produced the series with a budget of $25 million for the first season. Production of the first season spanned a year and a half, with the animation department growing from 15 to 120 artists in many weeks. Each production unit created approximately 15 episodes during the first season. By late October 1990, the first season was nearly completed, and production concluded in 1991.

Writing

In March 1989, Paul Dini was hired as story editor and tasked with developing the show's characters. Later that year, Sherri Stoner joined Dini as story editor, with the two writing stories together in sessions. The series was originally intended to consist of three six-minute shorts per episode, but ended up varying, ranging from a set of shorts to half-hour episodes. The episode "Buster and Babs Go Hawaiian" was co-written by Renee Carter, Amy Crosby, and Sarah Creek, who were fans of the series and in eighth grade at the time.

Because the series did not focus on Bugs Bunny, Daffy Duck, and other Looney Tunes characters, the writing process during development was difficult. Characters such as the Tasmanian Devil and Foghorn Leghorn were developed to represent adults who "talk too much or are stick-in-the-mud types" as foils for the Tiny Toons. Because the series was syndicated, the writers could use physical humor that would be restricted by networks running Saturday-morning cartoons. Despite this creative freedom, Spielberg declined to let Montana Max and other characters use handguns and rifles. War toys, tanks, and bombs were also not allowed, with violence kept strictly to anvils and dynamite. To emphasize the show's humor, the writers entertained themselves by adding their own jokes, relying heavily on dialogue to propel the characters. Adult humor was also applied to continue the legacy of Looney Tunes.

Casting and recording

Voice director Andrea Romano auditioned between 600 to 1,200 voice actors in less than three months, choosing several actors after a long casting process. Recording sessions began in 1989 at B&B Sound in Burbank, California. Ruegger and Romano sat in the studio and directed the actors, with an animation director joining them when scheduling permitted. Some episodes were re-recorded with a different readings to revise the dialogue and the tone of the performances.

Charlie Adler was cast as Buster Bunny due to the energy he brought to the character. During the third season's production, John Kassir replaced Adler for the remainder of the series. Tress MacNeille voiced Babs Bunny and numerous other characters, including Babs' mother and sisters. MacNeille was selected to voice Babs because of her extensive vocal range, which supported the character's voice impressions.Plucky Duck was voiced by Joe Alaskey. Voice acting veteran Don Messick was cast as Hamton J. Pig along with Porky Pig. Danny Cooksey voiced Montana Max, using a "tremendous mean voice" by screaming frequently. Cree Summer provided the roles of Elmyra Duff and Mary Melody.

Maurice LaMarche voiced Dizzy Devil and numerous other characters, including the Tazmanian Devil and Yosemite Sam. Before being cast as Dizzy, LaMarche had wanted to work on a project produced by Spielberg, but was less optimistic about his chances because he felt he resembled a "shloob". Voice acting veteran Frank Welker played Furrball and Gogo Dodo, along with several other minor characters. Rob Paulsen provided the voices of Arnold the Pit Bull and Fowlmouth. Mel Blanc was initially considered to reprise his Looney Tunes roles; several of them were recast with Jeff Bergman following Blanc's death in 1989. Stan Freberg reprised his roles as Junior Bear, Pete Puma, and other characters. Candi Milo provided the voice of Sweetie Pie. Gail Matthius voiced Shirley the Loon and other miscellaneous characters. In addition to Bergman and Alaskey, Blanc's son Noel and Greg Burson alternated voicing other Looney Tunes characters. Guest vocal cameo performances were provided by actors including Vincent Price and Carol Kane.

Designs and storyboards

During development, Boyer created the original designs, model sheets, poses, and turnarounds of 14 characters by emphasizing their heads and feet, with Gimeno assisting with character design and Ruegger suggesting the "demented" design of Sweetie Pie. Two character designs for Hamton J. Pig were created by Boyer and Jeff Pidgeon. Pidgeon's design was ultimately selected to differentiate the character from Porky Pig. To allow Hamton J. Pig to scratch his head, approved model sheets were discarded to alter his proportions.

Approximately 50 people worked on storyboards, color keys, and character models, including storyboard artists Reardon, Minton, and Fitzgerald. Storyboard artists were assigned by an episode's director to illustrate one-act panels for two weeks. After the storyboards were finished, they were reviewed by Boyer and sent to Amblin for approval. Spielberg declined the storyboards of some episodes, demanding that the episodes be rewritten.

Layout work was carried out over a two-week period, during which drawings were synchronized with the vocal performances, while key poses that included up to 40 drawings for some scenes were rendered. During this stage, Boyer revised the storyboards by drawing thumbnail poses to fix missing beats. In some episodes, the episode's director also served as the layout supervisor, overseeing the registration, field size, and backgrounds. Background designer Ted Blackman recreated the visual style of backgrounds from late 1940s Looney Tunes shorts.

Animation

With the use of 25,000 cels per episode instead of the standard 10,000 cels, Tiny Toon Adventures was made with a higher production value than standard television animation, allowing for more fluid movements. The animation also included a broader palette of colors than typical television cartoons, as well as fluid camera techniques and more detailed character textures. However, time and speed constraints meant that the budget was insufficient for Warner Bros. Animation to in-between, paint, and clean up the animation in-house. The animation was completed at other animation studios contracted by Warner Bros., including Tokyo Movie Shinsha in Japan, AKOM in South Korea, Kennedy Cartoons in Canada, Wang Film Productions in Taiwan, and StarToons in Chicago (with ink and paint services provided by an animation studio in Seoul).

To overcome language barriers with overseas studios, director Art Leonardi helped animators understand his intentions by acting out every scene and explaining back lighting and shadow effects on videotape. For two days, a director collected backgrounds, layouts, models, and keys for shipment, checked exposure sheets against layouts, and delivered them to the overseas studios. The animation—including in-between drawings, cleanup animation, painted cels, and camera shots—took between 14 weeks to four months to finish. In some episodes, scenes were retaken due to issues such as errors in character designs, mistimed actions, wrong colors, or a character speaking another character's dialogue. After examination by Ruegger and an episode director, an animation checker sent notes to the studio to fix any mistakes.

StarToons provided the main animation for the episode "Henny Youngman Day" and contributed five to six minutes of animation for 18 other episodes. Warner Bros. executives were impressed with Startoons's work, with Ruegger comparing StarToons's character animation to work done by Chuck Jones. In particular, StarToons's animation for the episode "Henny Youngman Day" was seen as a parallel to uncommon poses and expressions from Jones's cartoons in the late 1940s and early 1950s. The completed animation was shot at Kinetics Camera Service in Chicago.

Music, sound effects, and post-production

Tiny Toon Adventures was among the few animated television series at the time that used an original score for each episode. The series's main composer was Bruce Broughton. After an episode's animation was produced, a videotape copy was prepared for Broughton. The episode's director or one of their assistants then reviewed the episode with Broughton and discussed the desired musical mood, instrumentation, and sound effects. Under Broughton's supervision, the music was recorded using a 27-player orchestra, with no synthesizers used and no musical cues recycled from other cartoons.

During post-production, the musical score and sound effects were mixed into each episode, and retakes were substituted for original shots in the print. Technicians then completed an episode by cleaning up dirt, removing scratches, and balancing the color of an episode's print on the telecine.

Promotion and release

Marketing

Tiny Toon Adventures spawned several tie-ins and merchandise items. In September 1990, JCPenney released children's clothing and other merchandise based on the series. In the same month, parties featuring costumed performers portraying Buster Bunny, Babs Bunny, and Dizzy Devil were held at the Pompano Fashion Square, Palm Beach Mall, and Boynton Beach Mall. Also in the same month, Landmark Books released the Tiny Toon Adventures book series, aimed at children aged 2 to 9. In 1991, Quaker Oats Company had a tie-in with the series that featured cut-outs and activities.

Broadcast

The series premiered with the episode "The Looney Beginning", which aired as a prime-time television special on CBS on September 14, 1990. Most of the first season was broadcast in first-run syndication across 135 television stations, starting on September 17, 1990. The third and final season of Tiny Toon Adventures was broadcast on Fox starting on September 14, 1992. Two television specials also aired on Fox after the series finale. The first special, "Tiny Toon Spring Break", aired on March 27, 1994; the second special, "Tiny Toons' Night Ghoulery", aired on May 28, 1995. Reruns of the series continued to air on Fox until September 11, 1995. The series later moved to Nickelodeon and aired reruns from September 24, 1995, to September 1997. In September 1997, it was moved to the Kids' WB programming block.

Home video

In 1994, Warner Home Video released three volumes of the series on VHS, with each containing two episodes. The first DVD release, Tiny Toon Adventures: Season 1, Volume 1, was released on July 29, 2008. A second DVD set, Tiny Toon Adventures: Season 1, Volume 2, was released on May 5, 2009.

Reception

Ratings

The first episode, "The Looney Beginning", received a 6.9 Nielsen rating (totaling 11.9 million viewers and a 13% share), ranking 72nd on the prime-time television ratings chart for the week of September 10–16, 1990. Throughout its first season, Tiny Toon Adventures ranked as the third highest-rated television show during the first four weeks of the 1990*–*91 television season, became the highest-rated afternoon program in November 1990 and February 1991, replaced TaleSpin as the highest-rated syndicated children's program, and surpassed the ratings of Teenage Mutant Ninja Turtles, DuckTales, and TaleSpin to become the highest-rated children's afternoon program. By November 1990, the series averaged a 37% audience share among children and a 24% share among teenagers.

During its third season, the show increased its ratings on Fox's programming block Fox Kids, tying at number five with The Addams Family on the chart of the most successful Saturday morning television series during the 1992*–*93 television season. In its first three weeks, the series ranked as the highest-rated television program among children aged six to eleven, earning a 7.1 Nielsen rating, and the second highest-rated program among teens (behind Batman: The Animated Series), earning a 4.4 Nielsen rating. The series finale, "It's a Wonderful Tiny Toons Christmas Special", received a 6.2 Nielsen rating, ranking 90th on the Nielsen Ratings chart for the week of November 30 to December 6, 1992.

After the series ended, it continued to receive high ratings in reruns. In 1993, Tiny Toon Adventures was viewed by 1.4 million children on Fox and consistently ranked near the top of the Nielsen charts for children aged two to eleven. By December, it ranked among the top five highest-rated weekday afternoon programs. In 1994, the series was placed within the top five highest-rated television shows for children aged two to eleven. On the Nielsen Ratings chart for the week ending on March 27, 1994, the special "Tiny Toon Spring Break" received a 4.3 Nielsen rating (totaling 7.7 million viewers), tying at 84th place with Sinbad Special 1 on the chart.

Critical response

Tiny Toon Adventures received generally positive reviews from critics. Most reviewers, such as television critic Jon Burlingame, Noel Holston of the Minnesota Star Tribune, and Bill Mann of the Oakland Tribune, praised its animation.** Janice Kennedy of The Vancouver Sun called the series a "lovingly-crafted piece of artistry", deeming it "superior to most of the material churned by today's animators." Times Colonist's Rick Forchuk lauded the characters as "beautifully drawn", while Steve McKerrow of The Evening Sun wrote that the series "looks as good or better than the old, pre-feature movie shorts." In a less complimentary review, animation historian Charles Solomon of The Los Angeles Times was critical of the animation and its originality, disliking what he described as "dull" explosions and expressions as well as Art Vitello's timing.

Several critics highlighted the techniques used in the series. Holston focused on its cinematic techniques, such as "mixing long shots, extra-tight closeups, and odd perspectives." Kennedy called attention to the show's contrast with previous Warner Bros. shorts and their techniques, such as the higher number of animated frames per minute, the use of live orchestration, and the application of the "wisdom of old masters." Television critic Chip Sudderth lauded the show's appeal to both adults and children, while Holston compared its appeal to adults to that of TaleSpin.

Some aspects received mixed reviews. Sudderth praised the voice acting as "expressive and distinctive", whereas Mann criticized Plucky Duck's voice, deeming it "a bit disconcerting" and "a bad version of Mel Blanc ['s] [Daffy Duck]." While Forchuk praised the writing as "more interesting and complex", Sudderth regarded the thirty-minute stories as inferior to episodes structured around three shorts. Ranking the series as the "best afternoon [cartoon] show", Thelma Scumm of Animato! nonetheless was critical of the show's quality, satire, and repetitive focus on morals. In contrast, Alanna Mitchell of The Globe and Mail ranked it as the worst children's television show. In January 2009, IGN ranked Tiny Toon Adventures 41st in their Top 100 Animated TV Shows list.

Awards and nominations

1991 stolen background artwork and cels incident

On October 28, 1991, a Warner Bros. employee discovered that background artwork and cels of the characters from the series had been sold at a flea market in Orange County, California, without the studio's authorization. As only 250 cels had been officially released for sale at a studio store, the employee notified his supervisors about the incident. Warner Bros. privately investigated the incident without involving the police.

Warner Bros. identified five individuals who stole the cels, including three suspects who sold the material at flea markets in Orange County, San Diego County, and Las Vegas. According to court records, privately filmed videotapes proved that suspects Travis Cowsill and Nicolette Harley had separately met private investigator Kevin Berman to sell cels from the series. Cowsill stated that he had stole materials while working as a freelance animator after finding out that some boxes were marked for disposal. Warner Bros. disputed this claim, stating that they were not meant for disposal and were to be kept indefinitely.

Warner Bros. filed five lawsuits against the defendants for copyright infringement. Three of the civil suits were settled after the defendants had their cels seized in their apartments by a court raid and agreed to cooperate with the investigation, leaving the remaining two civil suits pending. On December 26, 1991, Warner Bros. announced that it had recovered more than 3,000 pieces of background artwork and cels from the series valued at over $500,000. Three cels remained missing and were believed to have been sold by collectors.

Franchise

Film

Main article: Tiny Toon Adventures: How I Spent My Vacation

Originally planned as a theatrical release, the feature-length film Tiny Toon Adventures: How I Spent My Vacation was released direct-to-video on March 11, 1992, on VHS and Laserdisc. It was later re-edited and broadcast as part of the television series, airing on September 5, 1993, on Fox Kids. It was released on DVD on August 21, 2012.

Video games

Main article: List of Tiny Toon Adventures video games

Since the series's debut, numerous video games based on Tiny Toon Adventures have been released. Konami released Tiny Toon Adventures in 1991 for the Nintendo Entertainment System and Tiny Toon Adventures: Buster's Hidden Treasure in March 1993 in North America for the Sega Genesis. Terraglyph Interactive Studios released Tiny Toon Adventures: Buster and the Beanstalk in 1996 on CD-ROM. Tiny Toon Adventures: Defenders of the Universe was scheduled to be released in mid-2002 by Treasure for the PlayStation 2 and GameCube, but was canceled for unknown reasons.

Spin-offs

Main article: The Plucky Duck Show, Pinky, Elmyra & the Brain

The first spin-off series, The Plucky Duck Show, premiered on September 19, 1992, on the Fox Kids programming block. The second spin-off series Pinky, Elmyra & the Brain premiered on September 19, 1998, on the Kids' WB programming block.

Reboot

Main article: Tiny Toons Looniversity

A reboot series titled Tiny Toons Looniversity was announced on October 28, 2020, through the Amblin Entertainment website, with an initial order of two seasons. Steven Spielberg returned as executive producer, continuing his role from the original series. Sam Register, Darryl Frank, and Justin Falvey also served as executive producers, while Erin Gibson served as the showrunner and co-executive producer. The series premiered on HBO Max on September 8, 2023, and on Cartoon Network the next day.

Notes

References

Sources

Books

Magazine articles

References

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