YMMV: Don Bluth

  • All Animation Is Disney: The most prominent victim of this trope. He started with Disney before going independent, so it's only natural. And of course, it didn't help that he attempted a Disney-esque flavor with later films such as Thumbelina and Anastasia. But his films became Disney clones because that's what studio heads wanted. That happens when you aren't in creative control of your own movies, unfortunately.
  • Animation Age Ghetto: You need only look at the contemptible cover art for the N.I.M.H. DVD. Bluth has stated that he would have preferred that the original poster art be used for the DVD cover.
    • NIMH wasn't the only movie this was done to either. It seems MGM and Universal Studios don't think anyone over the age of five watches his films.
  • Awesome Art
  • Big Lipped Alligator Moment: All Dogs Go to Heaven is the (indirect) Trope Namer, though there are plenty of other examples throughout his films.
  • Crowning Moment of Awesome: His very to-the-point explanation as to why the umtillion sequels to his movies suck. (Skip to 15:23)
  • Crowning Moment of Heartwarming: In spite of all the pitfalls and problems he's faced throughout his career as a filmmaker, Bluth has always made it clear that he is nevertheless eternally grateful that he and his partners were able to make twelve movies at all, let alone a few really good ones.
  • Dork Age: Beginning with Rock-A-Doodle, Bluth cracked under the pressure of heavy competition from other animation studios and Creative Differences with funders who wanted him to do more marketable films, none of which were at all successful (tellingly, these and Titan A.E. are is only films not to get direct-to-video sequels). Arguably ended with Anastasia, but his career didn't last much longer afterwards.
  • Fandom Berserk Button: Woe to the poor fan who mistakes any of his works for the works of Disney.
  • First Installment Wins: The Secret Of NIMH is almost always regarded as his best film.
  • Hilarious in Hindsight: An American Tail and The Land Before Time were not the only movies about Jewish suffering and dinosaurs that Steven Spielberg made.
  • Hype Backlash: While he's widely credited for pushing The Renaissance Age of Animation towards what it would eventually become, certain animators (namely Ralph Bakshi) don't like how much his work resembles Disney, and that his solo career was a waisted opportunity to overthrow Disney as the standard for feature animation.
  • Memetic Mutation: An uncannily Bluth-esque rendering of the characters from Five Nights at Freddy's by DeviantArt user Kosperry has led to a joke about Bluth having directed a family-friendly version of the characters in a cheesy 90s film.
  • Mis-blamed: See Sequelitis, below. A lot of people blame Bluth for the bad quality of the sequels to his movies when (it cannot be emphasized enough) he had no involvement with any but one of them. This works the other way around for An American Tail: Fievel Goes West, probably the only sequel to a Bluth movie that people generally like, with some people praising the "good job" Bluth did on it.
    • He often suffers from Type 5 misblaming, the "Single Person Fallacy". And, as has been mentioned, many of the things that were wrong with his 90's films were more a result of Executive Meddling. And as was also mentioned on the main page, in many of his films he wasn't the actual creator per se, only the director of animation (leading to both misblaming and miscrediting).
  • Nightmare Fuel: He had his one damn category for a while.
  • Seinfeld Is Unfunny: Easily the trope that ruined him. His selling point when he first started making independent features was to do the kind of movies Disney should have been making at the time. For better or worse, Disney listened to him, leaving Bluth with heavy competition and little voice of his own.
  • Sequelitis: Universal (and, to a lesser degree, MGM) was cranking out mediocre Direct-to-Video sequels. It should be noted that Bluth had nothing to do with any of these sequels (save Bartok the Magnificent). Life sucks when you do not own the rights to your own films.
  • Tear Jerker: There's a good reason why he has his own category.
  • True Art Is Angsty: His darker films of the eighties are much better received than his sillier works of the early nineties. However, this is justified in that the latter suffered from Executive Meddling, and thus couldn't reach the same level of potential as the former. Part of this meddling involved forcing Bluth to tone down his trademark darkness (and weirdness) in favor of a Lighter and Softer tone.
  • Ugly Cute: Nearly all of his character designs that aren't Ridiculously Cute Critters.
  • Unperson: The descriptions on the back of his two books list six of the ten films he's directed. Guess which four didn't make the cut?
  • The Woobie: Several (if not all) of his characters. Also, you could argue that Bluth himself qualifies, considering how quickly his movies starting flopping after The '80s, and how, to add insult to injury, many people mistake his films for Disney's work, anyway. Then again, he did leave Disney to begin with, so missing out on its re-invigoration could be seen as some sort of twisted karma; a kind of Hoist by His Own Petard where you actually pity the one being hoisted.
    • He also partly spurred Disney's renaissance by giving them a run for their money in The '80s, sadly awakening a sleeping giant that he couldn't compete with financially (due to it coinciding with his parting ways with Steven Spielberg and intense Executive Meddling on all his films thereafter).
      • Even some Disney fans still can't help but feel sorry for Bluth, though it may help that many of them also enjoy some of Bluth's films. To them, Bluth was brave to try to make art of his own without the giant in that field, and it's therefore sad that Bluth didn't succeed.