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YMMV / Hanna-Barbera

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  • Acceptable Ethnic Targets:
    • A surprising number of their shows have mocked or vilified Asians, with the most notorious offenders being Jonny Quest (especially Dr. Zin), "The Prowler" episode of The Flintstones, Space Ghost with their villain Cyclo, Karate Ant from The Atom Ant Show, and Hong Kong Phooey (although it is better received than the rest of the examples here). However, Hanna-Barbera did hire a Japanese artist as a character designer, Iwao Takamoto, and created a show about an Asian family with no stereotypes whatsoever — The Amazing Chan and the Chan Clan.
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    • H-B shows also tended to stereotype Native Americans, with the first example that comes to mind being Paw Paw Bears.
  • All Animation Is Disney: Or in this case, "All TV Animation Is Hanna-Barbera." As mentioned on the main page, the studio was so prolific and had such little competition (the only really notable ones being Ruby-Spears, Filmation and, on the lower end, DePatie-Freleng Enterprises) that for the entire second half of the 20th centurynote , it was easy to mistake literally any other TV animation for an HB production. Even imports like Speed Racer were victim to this. It didn't help that the studios' 100+ shows all aired 24/7 alongside all of these other shows in the early days of Cartoon Network.
  • Animation Age Ghetto: They are often blamed for fostering this, though however much they deserve the blame is debatable. Word of God is that their intended audience was "the family" and that they invested in Saturday morning cartoons under the assumption that children wouldn't mind Limited Animation as long as it was funny, while parents would appreciate the witty dialogue.note  While it clearly worked in their favor, as those kids eventually grew up and continued to love those funny cartoons, it had the unfortunate side effect of locking them into a preconceived notion that all of their work was child-appropriate, even when they tried to break into primetime. This wasn't too much of a problem with lighthearted shows like The Flintstones and Where's Huddles?, which were eventually reran on Saturday mornings, but more ambitious adult shows like Wait Till Your Father Gets Home clashed with this family-friendly reputation and didn't last long as a result. And that's not even getting into their straightforward dramas like Devlin and These Are the Days that aired on Saturday Morning but were written just like a live action drama, which have since been all but forgotten in favor of their more popular comedies. Ironically near the end of their run, Cartoon Network and Adult Swim would use Hanna Barbera's back catalog as the basis for their early adult animated comedies (also as a way to save money; as Turner Broadcasting was aware that older audiences at the time were willing to watch cartoons they grew up on and might be willing to see them in new contexts.
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  • Archive Panic: Over 100 TV shows! Warner Bros. released its first Hanna-Barbera DVD in 2002. As of 2018, we are a little bit over halfway done. (And that's not including the ones not retained by Hanna-Barbera.)
  • Better on DVD: While a few can be said to include more footage than when shown on cable, there is an interesting split here. As while for some binge watching a single show can make the Strictly Formula weigh thinner, but for most fans they like and buy a good percentage of the library. As a result of pairing up certain shows or episodes you now can make your own Saturday Morning or Cartoon Network line up without actually needing either.
  • Cliché Storm: Yes and no. They created and codified most of the tropes that would forever be associated with low-budget TV animation before they were cliches, but their sheer volume of output, most of which was Strictly Formula, meant they were also the first to make them cliche.
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  • Critical Dissonance: The times critics (and their fans) said something good about Hanna-Barbera can probably be counted on one hand. But then browse social media reaction to random posts from the Hanna Barbera pages or when new DVDs are announced. It's a Yabba-Dabba-Doozy of a difference. It is also important to note many of the critics take the opinion of the animation purist that never appreciated the studio's Limited Animation tropes. The dissonance here transcends beyond the studio itself, where many who are fans of the studio simply never have shared that value, neither as kids nor as adults.
  • Development Heaven: They were still able to make beautifully drawn cartoons despite a low budget, thanks to Ed Benedict and Iwao Takamoto's brilliant character designs and colorful backgrounds.
  • First Installment Wins: Among the detractors, if they have anything positive to say, it's usually for Tom and Jerry. For those a bit more charitable for their TV work, they would cite the first incarnation of Jonny Quest for its day.
  • Germans Love David Hasselhoff:
  • Hilarious in Hindsight:
    • The 1994 TV movie Scooby-Doo in Arabian Nights feels more like a Warner Bros. cartoon, despite Hanna-Barbera being under Turner Entertainment's ownership at the time. Turner would merge with Time Warner (now WarnerMedia) two years after the special's broadcast and placed Hanna-Barbera into Warner Bros's hands, who later folded them into Warner Bros. Animation in 2001.
    • Several Disney animators migrated to Hanna-Barbera after the former wanted to focus more on live action during the 60s. Not only would Hanna-Barbera venture into live action a decade later, but when their successor also tried this approach in the mid 2000s, many HB alumni still working for the network jumped ship over to Disney.
  • It's the Same, Now It Sucks!: The studio's notorious habit of shameless recycling is a regular target of critics.
  • Lowest Common Denominator: In a good way. Part of the reason the studio lasted as long as it did was its reliance on simple concepts and instantly appealing characters, with little in the way of "controversial" ideology.
  • Memetic Mutation: Fan-made versions of the studio's portrait logos are fairly common on the web, given how easy they are to make in Photoshop.
  • Mis-blamed: One thing that has been muddied on in more recent times was to assume Hanna-Barbera itself was in the red in The '80s, which isn't exactly true. The studio was no longer the dominant force it was on Saturday mornings, but still got a lot of work via other avenues (syndication, direct-to-video and theatrical, not to mention international markets). Most of the financial issues were over the studio's head at Taft/Great American Broadcasting. The entire reason they felt the need to sell Hanna-Barbera, Ruby-Spears and Hanna-Barbera Australia (and sister company Worldvision) were that they were profitable assets and, as such, worth a good chunk of cash (Taft/Great American had been bought out in a hostile takeover by a corporate raider, Carl Lindner, who then proceeded to get caught up in the "junk bond" craze of the late 80s). The most ironic bit of history validating this is while the studios lived on, their former owner still filled for bankruptcy in 1993 (becoming known as "Citicasters", eventually being absorbed into the monolithic ClearChannel — now known as iHeartMedia — in 1999).
  • Most Wonderful Sound: The melody used for the star logo during the 1980s.
  • My Real Daddy:
  • Narm Charm: A good deal of their fans will admit that, on a technical level, HB cartoons aren't very sophisticated and the humor is very broad, but it's that simplicity which makes it so appealing.
  • Older than You Think: While the studio is commonly associated with the 1960s (generally considered their peak period), few are able to make the distinction between the beginning of the studio named Hanna-Barbera and the partnership of its two founders, which began with the Tom and Jerry theatrical shorts. The studio itself got its proper start in 1957 and continued to operate all the way until Bill Hanna's death in 2001, after its assets were absorbed into Warner Bros. Animation. note 
  • Retroactive Recognition: Considering that Hanna-Barbera at one point staffed well over 2,000 artists, it's no surprise that many of them would go on to make names for themselves.
  • "Seinfeld" Is Unfunny
    • When Hanna-Barbera first appeared on the scene in the late 1950s, the idea of a painstaking, laborious form of entertainment such as animation being produced on a television schedule and budget was unknown, and their cost-effective, instantly appealing shows were considered revolutionary. However, in an age of more sophisticated production and creator-driven content, has lead some to wonder what the appeal of such cartoons ever was in the first place, let alone how they still have fans to this day.
    • It can be surprising for many to learn that the studio's slapstick-heavy comedy, which are now known considered almost agonizingly inoffensive, was considered by media watchdogs in the late 60s and early 70s to be the epitome of violence on television, enough to get the studio to stop producing action cartoons for several years after Space Ghost. Ignoring the opinion that most of these shows were significantly less violent than the cartoons Hanna and Barbara had made in the Golden Age of Animation, just about every live-action crime drama and animated show for adults that's come out since this era makes the alleged violence in HB shows look downright quaint.
  • Shipping: The most common H-B ships come from the "meddling kids" shows, which are rife with subtext to those with Shipping Goggles. As for the Funny Animals, fans will usually pair them with their Girl of the Week love interests, or do Crossover Ships (for example: Snagglepuss/Huckleberry).
  • Silent Majority: In the 2000s, it became apparent some of HB's non-fans helped to spread an "uncool" reputation for the company, especially online. However, since then, Warner Bros.' treatment of the brand has been steadily increasing. Even at first, it appeared that DVD releases of classic material and new productions based on the studio's most popular characters were produced at such large rates, it seems improbable there would be this much time and effort spent without a sufficient fanbase supporting them. note  As time goes on, with even more attempts to jump-start the company's assets, this seems to be the proof positive this trope exists alongside the company's internet hatedom.
  • Values Dissonance: Their 50s-70s work will inevitably contain ethnic stereotyping, corporal punishment, sexism, and even drug abuse (in the Punkin' Puss and Mushmouse short "Pep Hep"), none of which is considered suitable for children today.
  • Values Resonance: Although H-B stereotyped Asians and Native Americans a lot, they were actually quite respectful towards African-Americans and helped create some of the first (respectful) Black cartoon characters on TV. For example, Dee-Dee, Valerie, and Freight Train all hold up well in modern times. The Harlem Globetrotters was also the first cartoon with a mostly-black cast. Joe Barbera even successfully fought to have Scatman Crothers voice Hong Kong Phooey.
  • Viewer Name Confusion: Many character names get misspelled a lot. For example, Jinks is "Jinx," Yakky is "Yacky," Augie Doggie is "Auggie Doggy," and Baba Looey is "Baba Louie."