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Comic hund
This edit will also create new pages on Comic Vine for:
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Comic hund
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Raine Dog
Newest page:
Legend of an unfinished comic
Rain Dog: a dog caught in the rain, with its whole trail washed away by the water so it can’t get back home. (Urban Dictionary)
So I don’t talk about it that much, these days, but after Ozy and Millie ended, and before I won the Comic Strip Superstar contest and began the process of developing what would become Phoebe and Her Unicorn, there was Raine Dog. The most maligned thing I’ve ever made.
It had its fans, and still does. People still sometimes tell me they miss it, and ask me if I’m ever going to finish it. The sad answer to that is: no, probably not. It was of a moment in my life, one that’s past now. Also, it went over really poorly with a lot of other people.
It’s still dragged out and mocked in certain corners of the web. The creators of Sandra and Woo, who are apparently fans of everything else I’ve done, called it “the biggest disappointment in webcomics history.” More bluntly, I’ve heard it referred to as “that dogf**ker comic.” Which…is not a correct description of it. But I’ll get to that.
The real seed was the comic Newshounds, by my friend Thomas K. Dye. That comic starred an ensemble cast of (highly anthropomorphized) dogs and cats, whose owner, Lorna, employs them as the staff of a TV station. One day, I asked Thomas, “so, does Lorna pay them?” He said “yes, but as their owner, she’s not obligated to.”
The strip had also revealed, in a flashback sequence, that most of the cast had come close to being euthanized by a shelter. That’s grim, man.
All of that got me thinking. About “pets” in that universe, and in cartoon universes generally. Heathcliff. Scooby Doo. Brian from “Family Guy.” It suddenly seemed weird, and dark, that in cartoons we routinely meet characters who are perfectly sentient, who are basically people, who are owned by other characters. And I wondered why that had never seemed weird before. I wondered about what that said, and what it could be made to say.
And then, one night not long after, I was lying in bed late at night. I was feverish, stoned on cold medicine, and sleeping only fitfully. And I had this idea for a story.
Newshounds takes place in an urban area, an analogue of San Francisco. A liberal place. So I wondered, what is life like outside those enclaves? More conservative for sure. And I imagined up a character, a dog from a rural area who has a happy puppyhood, but outgrows the constraints of that life, runs away, and ends up in an animal shelter, only to be adopted by a liberal city-dweller. In the end she winds up unwittingly at the center of an “animal rights” movement, something akin to any real life civil rights struggle: the fight against race discrimination, or sex discrimination, or anti-gay discrimination.
Or transphobia. You really can’t detach that from the whole thing. This was in the middle/late 2000s, and it’s weird to think about it now, but transgender issues weren’t on anybody’s radar, really. At least, nobody in the mainstream. These days, it’s becoming so mainstream that it’s possible to get called a trend follower for transitioning. That’s surreal to me.
I was in the midst of transitioning at the time, and when I had announced that fact, in 2006, a lot of people reacted as if I’d completely lost my mind. When people thought I was just some white guy, I could shoot my mouth off all I wanted. The moment I declared I was something else, the trolls descended. That was an eye-opener. These days, anyone who thinks they’re tolerant understands that they have to be nice to trans people; that was not true then, and I had a shortage of defenders.
For a few years, the Raine Dog project was sort of theoretical. I did some concept art of the characters, even attempted a sample chapter in which the title character unsuccessfully tries to convince a bunch of cows to escape their stockyard. (A metaphor, and not a very subtle one.) But I was doing Ozy and Millie (and my political comic, I Drew This).
But I always had it in my mind that Raine Dog (a title that was a reference to a Tom Waits song) would make a great graphic novel, some day. I sat on the idea until the beginning of 2009, when I made the decision to end both Ozy and Millie and I Drew This. I had been drawing comics online for a decade at that point. My dreams of syndication had gone unfulfilled, and I decided I’d best give up on them for the time being. I began putting together a portfolio, intending to get work as a children’s book illustrator.
But since I had no comic strip deadlines anymore, I decided it was time to do Raine Dog. It seemed like a way of keeping my work and my name in front of people, which seemed important at the time. I knew it wouldn’t be every Ozy and Millie fan’s cup of tea, but I figured some people would get into it, and those who didn’t were free not to read it. Whatever, right?
I had a publisher tentatively lined up, and Keenspot, which ran my other comics at the time, agreed to run this one too. I cracked my knuckles (metaphorically; I’ve never actually been able to do that) and got to work.
My first mistake was thinking I could do this without planning it out first. I didn’t have an outline, I didn’t do any kind of draft, I just started writing and drawing it. That’s how I had always approached comics before; writing a graphic novel is different enough that it required a different approach, but I didn’t know that at the time. As a result, the pacing is slow; frequently having the title character narrate, turning to the camera and just talking, slows the story down. It would have been stronger if I had just gotten to the point.
I think it was a mistake having the protagonist be too obviously a semi-self-portrait, too. All my protagonists tend to be based on me, because they’re my gateway into the story; Phoebe also looks a lot like me (in entirely different ways). Mainly I just gave Raine similar glasses to mine. And made her a first-person narrator. (Also, “Rain” was a name I had a history of using online.) It made the story read as more self-indulgent than I intended.
The part that drew the most criticism and mockery, though, was one I’m not entirely sure was a mistake. I mean, it seems to have been widely misunderstood, so maybe that’s my fault; or maybe the scene was destined to draw that reaction and shouldn’t have been in the story. If you’ve ever read Raine Dog, you know the chapter: as a puppy, Raine crawls into bed with the boy who owns her. In the morning they almost kiss; his parents walk in, freak out, and take her to get spayed. It’s meant to say something about boundaries and taboos, and to reinforce for Raine that there are lines a dog is not allowed to cross, something that, over the rest of the story, will come up over and over.
The page where they kiss has been posted, out of context, so many times; I most recently saw it today, on twitter (which got me started writing this). People have accused me of advocating bestiality, which is pretty far removed from what I was trying to do. I’ve had to explain many, many times that no one is having sex in that chapter, or trying to. It was supposed to be dramatic and attention-grabbing, even a bit unsettling, but I hoped that at least people would take it within the context of the rest of the story. Plenty of people did. Plenty of people didn’t, too, and they were loud about it.
I got letters. One called me “creepy.” Another told me to “rot in hell, furfag.” I didn’t bother responding to the second person, but I encouraged the first to read the whole thing rather than just making assumptions about one page seen out of context. He did, and afterward he apologized to me. (He still said “you must have included that for shock value.” I didn’t know it was THAT shocking. My bad.)
I guess at the very least, I handled that part inartfully. I do wish people wouldn’t act like that one page was the entire comic. I suppose, given that, including that event in the story, on camera, was a mistake. Whatever.
Frankly, I also think some people reacted differently than they would have if I had not been publicly transitioning, at the time. Fans get attached to a pretty specific idea of who you are and what you do, something I should really have known by then. Dropping the news that I was switching genders (which, again, was more shocking then than it is now) and then plunging ahead with a comic that was very, very different, and easy to misunderstand, probably set me up for a certain amount of “dude, WTF” from fans. I read, in numerous places, that I had gone out of my everloving mind.
I was about a third of the way done in the summer of 2009–I had basically finished act 1, at which point Raine, who has been wandering the wilderness, returns to civilization and is captured by animal control. (Act 2: animal shelter, being rescued, arriving in the city; act 3, accidentally starting a movement.) I wasn’t happy with the work I was doing. It felt…overlong. Directionless. Full of tangents. I became aware that I really should have been working from a solid story outline. (Write that down, kids.) I took some time off to plan out the story going forward.
And that was when someone told me about the Comic Strip Superstar contest, the prizes for which included a contract to develop a syndicated comic strip. I entered, and I won, and you kind of know where that wound up. (That is a very happy story.) For a couple years, when people asked me about it, I would tell them I’d return to it and finish, eventually, and I really did mean to, at least at first.
Because I was unhappy with what I’d done so far, I did, at one point, draw four pages of a rebooted version. The art style is different, there’s no narration, and it opens with Raine speaking at a rally, and being shot. The story, in my mind, always included her surviving an assassination attempt–it was originally going to be a kind of dramatic climax, but I figured why not lead with it and then build back to there? This prompted some witty person to dub her “Martin Woofer King,” which I seriously wish I had thought of. (Hey, I thought of another one. Harvey Milkbone.)
It’s sort of a shame the story will probably, at this point, never get finished. I know there are a bunch of people that will disappoint, because I still get asked, all the time, if I’m going to finish it. I still think it’s a good story. But it’s also a story about themes that were relevant to my life at the time (being lost, realizing the role you’ve been cast in doesn’t describe who you are, etc.) but are more peripheral now. And I think anything I have to say about that now, I want to say more directly–I’m writing a memoir graphic novel, now, and I’m applying a lot of what I learned making 1/3 of Raine Dog. It was an educational experience if nothing else.
Like I said, I have no plans to post the original version anywhere. Not all of it. It has too many flaws and has caused me too many headaches. I might repost parts of it; the chapter about Laika the space dog is still something I’m proud of having written. But I think, for the time being, I prefer that it remain lost.
Actually, I kind of like that there’s this lost Dana Simpson project that people wonder about but relatively few people, at this point, have actually read. It makes me feel all mysterious.
Hope you like the new design of the site
I’ll be expanding it and, of course, posting more pages. Feedback is welcome!
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Die Peanuts
Sie sind eine der erfolgreichsten Comicserien. Der amerikanische Autor und Zeichner Charles M. Schulz (1922–2000) schilderte in seinen ьber Jahrzehnte hin tдglich erscheinenden Strips die Widersprьchlichkeiten menschlichen Lebens anhand einer Gruppe von Vorstadtkindern. Erwachsene treten als handelnde Personen nicht auf. 1947 gab es die ersten Verцffentlichungen unter dem Titel Li'l Folks (Kleine Leute) und zunдchst einem Signum Sparky, Schulz' Spitznamen. Vom 2. Oktober 1950 bis zum 13. Februar 2000 erschien die Serie unter dem Titel Peanuts (Kleinigkeiten; wцrtlich: Erdnьsse). Am 12. Februar 2000, also einen Tag vor der Verцffentlichung des letzten Strips in den Sonntagszeitungen, starb Charles M. Schulz. Nach Schulz' Willen darf die Serie nicht mehr fortgesetzt werden.
So wie die Peanuts durch Training ihr Baseballspiel verbesert haben, mehr oder weniger, so kann auch ihr Kind mit dem richtigen Lernspielzeug gewisse Fдhigkeiten erlernen.
Comic hund
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Comic hund
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The Fox and the Hound
The Fox and the Hound
Directed by
Produced by
Written by
Music by
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Running time
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Preceded by
Followed by
The film has been directed by Ted Berman and Richard Rich, who would later form Crest Animation Productions to create his first independent animated feature The Swan Princess, under the working title Tod and Copper. Daniel Mannix's original novel has had a more realistic story, which has dealt with the quest of a hunter and his dog Copper to shoot Tod after he has killed the hunter's new dog Chief. The novel has been mainly about Tod's life in the woods. While being raised by humans he has not been childhood friends with Copper and none of the animals spoke. The story has been changed to make it more suitable for a family film; instead of a story about the life and death of a fox, it has become a parable about how society determines our roles despite our better impulses.
At the time of release it has been the most expensive animated film produced to date, costing $12 million. The Fox and the Hound has been the last film which was worked on with animation legends like Frank Thomas and Ollie Johnston, two members of Walt Disney's original "Nine Old Men" who has also worked on this film, with it being the last film for both, as well as the first film for future Disney leaders like Tim Burton (The Nightmare Before Christmas), Brad Bird (The Incredibles, Ratatouille) and Glen Keane, who has animated the bear in this film, and later worked on other animated films like The Little Mermaid (1989) and Beauty and the Beast (1991), in which he designed the beast. It was also the final Disney film to have all the credits in the title sequence as opposed to having end credits and have the words, "The End. A Walt Disney Production" at the end of the film, the last Disney animated film to use the Buena Vista logo, and the last Disney film in which Don Bluth has involved in its production.
Despite originally receiving mixed reviews, the film has developed a low cult following and was nominated for three awards. The film stars the voices of Kurt Russell, Mickey Rooney, Pearl Bailey, Pat Buttram, Sandy Duncan, Richard Bakalyan, Paul Winchell, Jack Albertson, Jeanette Nolan, John Fiedler, John McIntire, Keith Mitchell and Corey Feldman. A direct-to-video midquel, The Fox and the Hound 2, has been released to DVD on December 12, 2006.
Title Card for The Fox and the Hound.
The story begins with a mother fox, with fear in her eyes, and a child in her mouth, running all throughout a forest, passing over a mountain, until she reaches a farm. There she hides her baby next to a fence, quietly says goodbye and runs away. She is shot, and we hear gunshots twice. An owl named Big Mama (voiced by Pearl Bailey), along with her two bird friends, a sparrow named Dinky (Richard Bakalyan) and a woodpecker named Boomer (Paul Winchell), arrange for him to be adopted by the kindly local farmer widow named Widow Tweed (Jeanette Nolan). She names him Tod (Keith Coogan) since he reminds her of a toddler. Meanwhile, Widow's neighbor, Amos Slade (Jack Albertson), a hunter, brings home a young hound puppy named Copper (Corey Feldman) and introduces him to his hunting dog Chief (Pat Buttram). Big Mama is delighted to see Tod and Copper become playmates, singing the song "Best of Friends". Tod and Copper play together every day for the next three days, vowing to remain "friends forever." Amos grows frustrated at Copper for constantly wandering off to play, and places him on a leash to prevent him from wandering off. While playing with Copper at his home, Tod awakens Chief. Amos and Chief chase him until they are confronted by Widow.
After he and Widow have an argument, Amos threatens that he will kill Tod if he catches him on his property again and that he won't miss the next time. As the hunting season comes, Amos takes his two dogs into the wilderness for the interim. Meanwhile, Big Mama explains to Tod that his friendship with Copper cannot continue with the song "Lack of Education", as they are natural enemies, but is told by Tod that he refuses to believe Big Mama. As months pass, Tod and Copper reach adulthood. On the night of Copper's return, Tod (Mickey Rooney) sneaks over to meet Copper (Kurt Russell) and asks if they are still friends. Copper explains that those days are over, and since he is a hunting dog now, he says that things are now going to be different between them, because if Chief wakes up, Tod and Copper will both be in danger. Chief awakens and alerts Amos Slade, and as a chase ensues, Copper catches Tod, but decides to let Tod go, then diverts Chief and Amos since he did not want them to kill Tod, who creeps out a woodpile, and runs across a high railroad bridge for home, but bumps into Chief, who is blocking his path there. Tod turns back with Chief making his pursuit onto a railroad track on the railroad bridge, but when Tod sees a fast moving train, that suddenly approaches, bears down on him, and traps him, Tod, being small enough, is able to duck safely under the vehicle, only to leave Chief to be struck by the train and wounded while suffering a broken leg as he tumbles down a steep cliff helplessly into the river below. Infuriated by all this, Copper and Amos blame Tod for poor Chief's accident and swear vengeance to get him if it's the last thing they do. To make matters worse, Amos angrily tells Widow about getting Tod, who almost killed Chief, and that he plans to get the fox. Now Widow realizes that her pet is no longer safe with her, so she takes him on a drive through the woods, singing the song "Goodbye May Seem Forever", and releases him at a game preserve. Tod's first night alone in the woods is a disaster, accidentally trespassing into a badger's den; the badger (John McIntire) somewhat meanly tells him to go away. A friendly porcupine (John Fiedler) offers to let him stay with him. That same night, Amos Slade and Copper plan revenge on Tod, by showing a demonstration of Tod stepping into trap. The next morning, Big Mama comes looking for Tod, and finds Vixey (Sandy Duncan), a beautiful female fox of Tod's age, who is clearly good friends with Big Mama.
Tod wakes up after being pricked by the porcupine's quills, falls, and lands right on the badger's den. The badger scolds Tod once again. Tod tries to apologize, but is interrupted when the badger thinks Tod is making up excuses. The porcupine tries to defend Tod, (with the badger saying to him "you keep out of this, you walking pincushion!"). The porcupine points out that the badger shouldn't be grumpy to a newcomer, to which the badger responds by telling Tod to "go back where you came from". Tod leaves, now more depressed than ever. Big Mama and Vixey arrive. As Vixey remarks that he looks downhearted, Big Mama tells her that "he was dropped out here all alone without a friend in the world". As Vixey decides to try to cheer him up, Big Mama thinks the idea is perfect. Big Mama sets Vixey into the sunlight, just so that she will look as beautiful as possible, and introduces Tod to her. Tod first tries to impress Vixey by catching a fish, only to fail, causing Vixey and the other animals of the game preserve to laugh at him. Angry and hurt, Tod insults Vixey, telling her that she's "a silly, empty-headed female!" Angered, they refuse to speak to each other, but Big Mama intervenes with the song "Appreciate the Lady" and directs Tod in being himself, and Vixey to give him another chance. They get along very well once Tod admits his lack of survival skills. Vixey is now aware of his inability to survive in the wild and helps him adapt. She allows Tod to be her friend and stay with her in the forest. The two clearly begin to develop a romantic connection.
The best of friends are now the worst of enemies.
The next morning, the vengeful Amos Slade and Copper trespass into the preserve to hunt the two foxes without anyone knowing. Amos finds a shadowy path on the way to a pond, sets up the leg-hold traps along the path, and hides them with leaves. Meanwhile, Tod and Vixey emerge from Vixey's burrow, having spent the night there. They both remark about how happy they are with one another and chase each other into the forest playfully. As they come to the trap-laden path, Vixey becomes worried, and refuses to go on, but watches as Tod just shrugs it off. Vixey begs him to be careful as he goes down alone. As he walks, he becomes unsettled. Tod's foot uncovers one of Amos' traps, and as the hunter cocks his shotgun, Tod's ears prick up the noise as he steps backward. Luckily, Tod narrowly escapes the steel traps, turning and running as fast as he can whilst Amos' gunshots ring out, while Copper takes off after Tod and Vixey. Tod buys Vixey more time to escape, then waits for Copper to get near. As Copper approaches, Tod leaps from the ledge, distracting him, and growling at his former friend. After a brief fight, Tod sprints back to the burrow with Copper behind his tail. Tod safely enters the foxhole, but Copper was too big to fit in it, and begins thrashing and clawing his way into the hole. Tod and Vixey attempt to exit out the other end. They then hurry back inside when they see Amos waiting with his gun. Amos takes a match and some straw and creates a fire at the back way, blocking their escape. He then joins Copper at the front, ready to shoot the two foxes. Vixey coughs and tells Tod that they're trapped and that she's scared. Tod tells Vixey that this is their only chance as he and Vixey sprint as fast as they can out the back, narrowly avoiding the flames to Amos' astonishment, putting the hunter into pure shock. Tod and Vixey scale a mountain with a waterfall nearby as Copper and Amos chase them up the top.
As Copper and Amos close in on the two foxes while trying to get them, they inadvertently provoke an attack from a large disturbed sleeping grizzly bear, who they accidentally antagonise. Amos fires one single shot only before he trips and gets his foot stuck in one of his own bear traps and loses his gun, while Copper bravely tries to protect his master, and tries to fight the bear, but is nearly killed in a very vicious fight. Amos frantically tries to free himself, but is not strong enough for the grip of the trap, which still holds his foot as tight as possible, whilst Copper battles the bear as this very vicious battle continues to go on for a while, and while Copper manages to hold his own for a while until the bear knocks him out when the battles ends, the dog is soon overwhelmed. Tod, hearing Copper's yelping echo, looks back and sees the horror of his childhood friend being nearly killed in a very vicious fight. In the moment in which the bear closes in and is going to kill Copper, Tod appears out of nowhere, rescues Copper, and jumps on the bear's back, but continues to battle with the bear, and ends up leading him to an old fallen trunk above the reserve's waterfall. Just as the bear comes close to Tod, he raises his paw and hits the sprinters of the old log, which breaks and sends the two animals both falling down the waterfall with the fallen trunk plummeting down the waterfall with them. The bear is gone, while Tod struggles to shore.
Copper protects his former adversary and childhood friend.
Copper approaches Tod as he lies in the lake below, amazed at his bravery, in spite of past events, when Amos appears, having freed his foot from his own trap, and just becoming ready to fire at the fox. Copper interposes his body in front of Tod and refuses to move away. Amos finally lowers his gun and leaves with Copper, but not before the two former adversaries share one last smile before parting. At home, Widow nurses Amos' ankle back to health while the dogs rest. Copper, before resting, smiles as he remembers the day when he became friends with Tod. On a hill, Vixey joins Tod as he looks down on the homes of Copper and Widow.
As the movie fades out, a voice-over of young Tod and young Copper affirming their everlasting friendship is heard in the breeze.
- Mickey Rooney as Tod (young by Keith Coogan), a young fox whose mother was killed by a hunter. Luckily for him, a loving widow who lived nearby took him in and raised him to adulthood. Young and naive, he becomes friends with a hound puppy named Copper, but their friendship is interrupted by the fact that Copper's owner, Amos Slade, hates any fox that isn't dead. When they grow older, they find their friendship divided.
- Kurt Russell as Copper (young by Corey Feldman), the cute young hound puppy (whom looks a beagle or a basset hound) belonging to Amos Slade. Copper is Tod's best friend when young; he befriends Tod during his childhood. However, he is the first to break this friendship and becomes Tod's bitter enemy but is also the first to protect him. He is a fast learner through growing up. In his first year of hunting, he tops Chief.
- Pearl Bailey as Big Mama, a kindly old owl (similar to Friend Owl from Bambi) who (literally) takes Tod under her wing on several occasions. It is she who recruits the help of Dinky and Boomer in getting Widow Tweed to take care of Tod, and later she warns him of the dangers of hanging around with a hound dog. Her last really important job in the film is establishing the romance between Tod and Vixey.
- Jack Albertson as Amos Slade, a mean-spirited old hunter and the film's antagonist who will kill just about anything that is wild, but for some unknown reason he has a special hatred for foxes (as it may have something to do with the fact that he keeps chickens). He is the owner of Copper and Chief, and throughout most of the film tries to kill Tod. Unlike most of Disney's villains, however, he doesn't come across as being evil. Instead, he hunts for a living, is very professional at it and is motivated by revenge, rather than the "just because" brand of evil that one sees in so many villains. Unfortunately, as for him, he lets off one shot only, before becoming caught in one of his own bear traps, but thanks to Tod and Copper's joint effort, he is saved.
- Sandy Duncan as Vixey, a vixen whom Tod falls in love with after being released into the wild. She is much more used to the forest, so it makes sense that she is a step ahead of Tod. When she says, "I think six would be just right," it seems to imply that she is talking about the number of kits she would like to have, but Tod is confused and has no idea what she is talking about.
- Jeanette Nolan as Widow Tweed, a kindly old lady who took Tod in and raised him as a pet.
- Pat Buttram as Chief, a nasty, aging senior first hunting dog of Amos Slade. He shares his master's philosophy that the only good fox is a dead fox. He tries to teach Copper everything there is about hunting but is ultimately beaten by the younger dog. In the novel, Chief is the new dog and Copper is the old one, and it is Copper who gets jealous of Chief. This is an example of the differences between the book and the film. He is struck by a fast-moving train and wounded. And Copper and Amos take it upon themselves to get vengeance on Tod.
- John McIntire as Mr. Digger, a badger in the same reserve. He is first seen when Tod comes into his home, as Tod was new to the reserve, and didn't know anyone lived there. The morning after this, Tod falls from the porcupine's tree directly onto the entrance to the badger's home, making the badger angry. After the porcupine tells the badger about Tod and what he's been through, the badger, instead of taking Tod under his wing and imparting little words of wisdom when it comes to survival in the reserve, snaps at Tod to go back to where he came from, not realizing that Tod was unable to because of Amos Slade hunting him. He is last seen watching in anger as Tod and Vixie confirm their love to each other.
- John Fiedler as a porcupine in the reserve that Tod is dropped off in. He tries to explain to the badger exactly what happened to Tod, but it doesn't really work for Tod. He gives Tod shelter the first night in the reserve.
- Richard Bakalyan and Paul Winchell as Dinky and Boomer respectfully, two friends, a woodpecker and a sparrow, who are seen either helping Big Mama act out a plan or trying to catch Squeaks, a caterpillar. Dinky and Boomer are seen at many times trying (unsuccessfully) to catch him. At the end of the film, Squeaks becomes a butterfly and flies away.
- Clarence Nash as Red Eyes, a giant, black-furred bear with red eyes and the film's major antagonist, that has accidentally been woken up by Copper and Amos. He advances on Amos, who gets his foot caught in one of his own traps and loses his shotgun, and he hurts poor Copper. Tod saves Copper, and battles Red Eyes, leading him to a log above a waterfall. He breaks the log above the waterfall, which sends him and Tod downward. He is never seen again from that point on and is presumed dead. Although Red Eyes's growling noises were reused from Brutus and Nero's growls (voiced by Candy Candido) from The Rescuers, Nash provided the vocal effects for the character. Red Eyes's design may have been the original inspiration for that of Mor'du, the main antagonist of Disney/Pixar's film Brave.
Production
Production of the film has begun in 1977. The film has marked a turning point in the studio: Walt Disney's "nine old men" did initial development of the animation, but by the end of production the younger set of Disney animators completed the production process. To craft the film, then Disney CEO Ron Miller has decided to mainly use new talent to make their debuts with the film, as the pioneers of the company, referred to as the "Nine Old Men", are nearing retirement. It may have been the last film Ollie Johnston, Frank Thomas and Wolfgang Reitherman, considered "legends" of Disney, have worked on.
The animators and screenplay writers are primarily new, as were the film directors Art Stevens, Ted Berman and Richard Rich. Wolfgang Reitherman was the producer, Richard Rich the production supervisor and Larry Clemmons was the head of the story team. Frank Thomas and Ollie Johnston did much of the early development of the main characters. The newer generation of animators, such as Don Bluth, Ron Clements, Glen Keane and John Musker, would finalize the animation and complete the film's production. These animators have moved through the in-house animation training program, and would all play an important role in the Disney Renaissance of the eighties and nineties.
However, the transition between the old guard and the new resulted in arguments over how to handle the film. Reitherman has had his own ideas on the designs and layouts that were to be used, however, the newer team backed Stevens, except Don Bluth, who has felt Disney's work was stale. Bluth walked out, taking eleven others with him, and formed one of his own animation studios. The exodus of the animators forced the cancellation of the film's original Christmas 1980 premiere while new artists had been hired.
Early in production, Don Bluth left Disney, taking 11 Disney animators with him. This studio, which eventually becomes Sullivan Bluth Studios, was Disney's main rival through the 1980s and has produced The Secret of NIMH and a number of other well-known films. With 17% of the animators now gone, production on The Fox and the Hound had been delayed. Bluth had animated Widow Tweed and her cow, Abigail, and his team have worked on the rest of the sequence. Four years later the film had been finished. Approximately 360,000 drawings, 110,000 painted cels, and 1,100 painted backgrounds made up the finished product. A total of 180 people, including 24 animators, have all worked on the film.
In the original screenplay, Chief had been originally slated to die the same as in the novel, but Stevens decided that he doesn't want to have an on-screen death and modified the film so that he survives, like Baloo in The Jungle Book and Trusty in Lady and the Tramp.
The directors on the film were Ted Berman and Richard Rich, as well as Art Stevens, who had been a co-director. Berman previously had credits as a character animator for the 1961 film One Hundred and One Dalmatians and writer for the 1977 film The Many Adventures of Winnie the Pooh. He later went on to be co-director for the 1985 film The Black Cauldron.
Rich had been a Disney employee since 1972 but this was his first major assignment. He also served as a co-director for The Black Cauldron. He later founded Rich Animation Studios. Stevens was previously credited as a character animator for the 1953 Peter Pan, the previously mentioned One Hundred and One Dalmatians and the 1973 Robin Hood. He also previously directed the 1977 film The Rescuers.
When John Lasseter was hired at the Disney Animation studio, his first job was to animate the introduction of Copper. He also collaborated with Glen Keane on the climactic fight scene.
Other new animators who have worked on this film are:
- John Musker and Ron Clements (story artist and animator): Producer-director team of The Little Mermaid, Aladdin, Hercules and Treasure Planetand finally The Princess and the Frog.
- Tim Burton (animator, assistant & development artist): Producer of Batman Forever and Director of Batman, Batman Returns, Beetlejuice and many other acclaimed films.
- Jerry Reese (animator): Director of The Brave Little Toaster.
- Brad Bird (animator): director of Warner Bros.' The Iron Giant, The Incredibles, Ratatouille and previously of The Simpsons.
- Chris Buck (animator): Director of Disney's Tarzan.
- Don Bluth (animator): Director of The Secret of NIMH, An American Tail, The Land Before Time and All Dogs Go to Heaven.
- Kelly Asbury (assistant animator): Director of Shrek 2 and Gnomeo & Juliet.
- Jeffrey J. Varab (character animator, special effects supervision): Character animator for films like FernGully: The Last Rainforest, Rock-a-Doodle, Felidae, All Dogs Go to Heaven and Casper.
- Nik Ranieri (character clean-up): Animator for Roger Rabbit in Who Framed Roger Rabbit, later supervising animator on Beauty and the Beast, Pocahontas, Hercules, and The Emperor's New Groove.
- Virgil Ross (character animation supervision): Worked on Winnie the Pooh and a Day for Eeyore.
- Ennis McNulty and Dave Bennett (character animation supervision): Supervising Animators in Disney animator Rick Reinert's unit.
The Fox and the Hound premiered in theaters on July 10, 1981. It was later re-released to theaters on March 25, 1988. Its first home video release, on VHS format, came on March 4, 1994, as the last video of the "Walt Disney Classics" collection (it has not been included in the "Masterpiece Collection", despite appearing in a promotional advertisement for the videos). On May 2, 2000, it was released on Region 1 DVD for the first time under the "Walt Disney Gold Classic Collection". A 25th-anniversary special edition DVD, featuring a remastered version of the film and a disc of extras, has been released on October 10, 2006. A Blu-ray release was announced for 2011 to celebrate The Fox and the Hound's 30th anniversary. Both The Fox and The Hound and The Fox and the Hound II have been included in this release. This Blu-ray release included the film in its original 1.66:1 aspect ratio. As opposed to the Gold Classic Collection and 25th Anniversary Edition DVD's, they only had a Pan and Scan version of the film.
Although the film is a financial success, reactions from film critics are mixed. Critics of the 1980s, while offering praise for the animation, are disappointed in the story, and that the predominantly young creative staff, many of who have only recently joined the company, have produced a movie that seemed very conservative in both concept and execution. Since then it has become a hit for its conservative style. It has a "fresh" 69% rating on Rotten Tomatoes, based on 26 reviews with a 6.6 score, with a consensus that states, "The Fox and the Hound, is a likable, charming, unassuming effort that manages to transcend its thin, predictable plot". Among users, the film scored 78% with a 3.5/5 rating.
Leonard Maltin in his book The Disney Films noted that the film has had "good news/bad news" for Disney. The good news is that Disney's young animation team seemed to be in "firm control." The fight scene between Copper and the bear, by Glen Keane, in particular, received great praise in the animation world. The bad news, according to Maltin, has been that the film relied too much on "formula cuteness, formula comedy relief, and even formula characterizations," causing a step back for the studio. Maltin suggests that perhaps this safeness came from the fear of displeasing the memory of Walt Disney. [1] Overall, he considered the film "charming" stating that it is "warm, and brimming with personable characters" and that it "approaches the old Disney magic at times." [2]
Craig Butler from All Movie Guide stated that the film has been a "warm and amusing, if slightly dull, entry in the Disney animated canon." He also called it "conventional and generally predictable" with problems in pacing. However, he praised the film's climax and animation, as well as the ending. His final remark is that "Two of the directors, Richard Rich and Ted Berman, would next direct The Black Cauldron, a less successful but more ambitious project." [3]
In The Animated Movie Guide, Jerry Beck considered the film "average", though he praises the voice work of Pearl Bailey as Big Mama, and the extreme dedication to detail shown by animator Glen Keane in crafting the fight scene between Copper, Tod, and the bear.
However, the film has its fair share of praise, too. Richard Corliss of Time, praised the film for an intelligent story about prejudice. He argued that the film shows that biased attitudes can poison even the deepest relationships, and the film's bittersweet ending delivers a powerful and important moral message to audiences. [4]
Roger Ebert of the Chicago Sun-Times also praised the film, saying that "for all of its familiar qualities, this movie marks something of a departure for the Disney studio, and its movement is in an interesting direction. The Fox and the Hound is one of those relatively rare Disney animated features that contains a useful lesson for its younger audiences. It's not just cute animals and frightening adventures and a happy ending; it's also a rather thoughtful meditation on how society determines our behavior." [5]
Cart of Variety.com called the film ". A solid beautifully crafted animated feature. " Vincent Canby of the New York Times said, ". A pretty, relentlessly cheery, old-fashioned sort of Disney cartoon feature, chock-full of bouncy songs. "
TV Guide gave the film four out of five stars, saying that "The animation here is better than average (veteran Disney animators Wolfgang Reitherman and Art Stevens supervised the talents of a new crop of artists that developed during a 10-year program at the studio), though not quite up to the quality of Disney Studios in its heyday. Still, this film has a lot of "heart" and is wonderful entertainment for both kids and their parents. Listen for a number of favorites among the voices." [6]
Michael Scheinfeld of Common Sense Media gave the film's quality a rating of 4 out of 5 stars, stating that the film "develops into a thoughtful examination of friendship and includes some mature themes, especially loss." [7]
The film has gained a considerable following and it was awarded a Golden Screen Award in 1982. It was also nominated for a Young Artist Award and the Saturn Award for Best Fantasy Film.
Differences Between the Film and the Novel
Although most famous as a film, The Fox and the Hound is also a 1967 novel by Daniel P. Mannix. Similarly to the Disney film, it follows the lives of two characters who are pitied against each other, a fox named Tod and hound named Copper, and is Mannix's best-known work.
It follows Tod from his first contact with humans as a kit and Copper from his first encounter with Tod. They are living in a changing world; the wilderness present at the beginning of the book gradually gives way to a more urbanized setting, causing problems for Copper, his Master, and Tod.
It alternates between Tod and Copper's point of view. Of the ten chapters in the book, four are from Copper's point of view and six are from Tod's. Both of the animals are presented as smart if not on a level with humans, and the book constantly emphasizes the point that both are creatures who rely on their sense of smell as much as humans rely on sight, particularly Copper.
Copper's chapters focus on his relationship with his Master as he assists him in hunting, primarily for Tod; Tod's actions kill the Master's favorite dog early in the novel. Tod's chapters focus on his life as a wild fox, avoiding death both natural and man-made while attempting to father pups. The novel ends with the death of both main characters. Tod's lifeless pelt is hung and Copper is shot by his owner.
A direct-to-video midquel The Fox and the Hound 2, has released on December 12, 2006. The film takes place during Tod and Copper's youth, in which Copper is tempted to join a band of singing stray dogs, and therefore does not follow the events that occur at the end of this film. As well as adaptations of the film itself, comic strips featuring the characters also appeared in stories unconnected to the film. Examples include The Lost Fawn, in which Copper uses his sense of smell to help Tod find a fawn who has gone astray; The Chase, in which Copper has to safeguard a sleepwalking Chief; and Feathered Friends, in which the birds Dinky and Boomer have to go to desperate lengths to save one of Widow Tweed's chickens from a wolf.
Other Media
A comic adaptation of the film, drawn by Richard Moore, has been published in newspapers as part of Disney's Treasury of Classic Tales. A comic-book titled The Fox and the Hound followed, with new adventures of the characters. Since 1981 and up to 2007, a few Fox and the Hound Disney comics stories were produced in Italy, Netherlands, Brazil, France and USA.
Soundtrack
- "Best of Friends" (Music by Richard Johnston, Lyrics by Stan Fidel, Performed by Pearl Bailey). The song is about the beauty and magic of friendship, and how Tod and Copper were great friends even though they are supposed to be enemies. It is also about how sometimes adults can get in the way and not let you play and can't understand friendship's magic.
- "Lack of Education" (Music and Lyrics by Jim Stafford, Performed by Pearl Bailey). A song about how if Tod plays with Copper he will be hunted by Amos Slade because Copper has to hunt like he was told. The education is knowing the fact that Copper will become a hunting dog, the elimination is the hunting of Tod that will happen when he doesn't listen to Big Mama and plays with Copper anyway.
- "A Huntin' Man" (Music and Lyrics by Jim Stafford, Performed by Jack Albertson). A short song, basically saying that Amos Slade is hunting man with no job, who would rather have a dog than a dollar.
- "Goodbye May Seem Forever" (Music by Richard Rich, Lyrics by Jeffrey Patch, Performed by Jeanette Nolan). A song similar to "Baby Mine" from Dumbo, "Someone's Waiting For You" from The Rescuers and "You'll Be In My Heart" from Tarzan. It's about how Tod and Widow Tweed first met after his mother was killed by hunters. They were happy together, and when the storm came they would rest by the fire. But now Amos Slade is going to kill Tod so she has to give him up, so "Goodbye May Seem Forever", farewell is like the end, but you'd still be in my heart forever.
- "Appreciate the Lady" (Music and Lyrics by Jim Stafford, Performed by Pearl Bailey). A song about how Tod wants to impress Vixey, but he did it wrong because he can't really fish. To be successful, you need to stop showing off by saying you can do something that you really can't, and appreciate the lady by being yourself and you'll be appreciated right back.
- This is the last movie to have any involvement from Wolfgang Reitherman, who was known to be the director for all the Disney films between The Sword in the Stone and The Rescuers, he worked as a producer for this film.
- This was the first Disney movie Tim Burton worked on in his career with Disney, he was an uncredited animator.
- This was the last animated Disney film to use the old Buena Vista logo. The name would only be used on the ending credits until it would be replaced by Walt Disney Studios Motion Pictures.
- This was the last Disney film to have all the credits in the opening and only say "The End, A Walt Disney Production". End credits with pop songs and/or instrumental music would be used from now on.
- This was the last Disney film in which Don Bluth was involved. From now on, he would establish Sullivan Bluth Studios (AKA Don Bluth Entertainment) to release such successful franchises as The Secret of NIMH and All Dogs go to Heaven.
- This was the last video in the Walt Disney Classics line. Starting with Snow White and the Seven Dwarfs, all other Disney Canon titles would be released in the similar line Walt Disney Masterpiece Collection.
- Early copies of the 1994 VHS release have only The Lion King teaser trailer. Later copies have the Lion King teaser trailer and The Return of Jafar trailer.
- This is the last movie Disney released under the name "Walt Disney Productions". The studio would go by "The Walt Disney Company" from now on.
- This is the last movie Disney produced by itself, before becoming a distributor to films by other production companies, namely Pixar.
External links
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Attila the Hun
Major Political Events and the Death of Attila the Hun
Attila the Hun Profile | Major Events in his Life
Major Dates in the Life of Attila the Hun:
- 406 Attila is born.
- 433 Attila becomes ruler of the Huns.
- 450 Emperor Valentinian II's sister Honoria writes to Attila. The emperor refuses to let his sister marry Attila.
- 451 Defeat of Attila at Chalons.
- 452 The pope persuades Attila not to sack Rome.
- 453 Attila dies.
Attila's Rise to Power
Called the Scourge of God [flagellum dei] by the Romans, Attila the Hun was king and general of the Hun empire from A.D.
433 to 453. Succeeding his uncle, King Roas, in 433, Attila shared his throne with his brother Bleda. He inherited the Scythian hordes who were disorganized and weakened by internal strife. Attila's first order of affairs was to unite his subjects for the purpose of creating one of the most formidable and feared armies Asia had ever seen.
Peace Treaty Between Rome and Attila the Hun
In 434 East Roman Emperor Theodosius II offered Attila and Bleda 660 pounds of gold annually with hopes of securing an everlasting peace with the Huns. This peace, however, was not long lived. In 441 Attila's Huns attacked the Eastern Roman Empire. The success of this invasion emboldened Attila to continue his westward expansion. Passing unhindered through Austria and Germany, Attila plundered and devastated all in his path.
Attila Attacks Italy
In 451, having suffered a setback on the Plains of Chalons, by the allied Romans and Visigoths, Attila turned his attention to Italy.
After having laid waste to Aquileia and many Lombard cities in 452, the Scourge of God met Pope Leo I who dissuaded him from sacking Rome.
Attila's Ignominious Death
Attila's death in 453 wasn't quite what one would have expected from such a fierce barbarian warrior. He died not on the battlefield, but on the night of his marriage.
On that night Attila, who, despite common misconceptions, was not a heavy drinker, drank heavily in celebration of his new bride. In his wedding chambers at the end of the event, Attila passed out flat on his back. It was then and there that Attila had a massive nosebleed which caused him to choke on his own blood.
See an alternative death scenario (the hemorrhoid theory) or The Night Attila Died, which prefers foul play.
For more on Huns, Scythians, and others called "barbarian", see the following reviews:
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