Dr. Toon: War and Pieces

Dr. Toon draws parallels between Road Runner and Wile E. Coyote cartoons and the Cold War, the Vietnam War and the current Iraqi War.
Posted In | Magazines: AnimationWorld | Columns: Dr. Toon

The metaphor is, in many instances, remarkable. One of the earliest and ultimately fatal mistakes of the Vietnam War was a failure to understand the enemy, their culture, political structure, or even their language and geography. Russia made the same mistakes in Afghanistan, despite being able to call upon a multiplicity of ethnic conscripts. Many at the highest levels of American military command underestimated the North Vietnamese and their tactics, leading to disastrous consequences. General William Westmoreland proposed to fight under the untenable strategy of big-unit warfare, and seemed to discount the enemy’s guerilla methods.

Technicians and counterinsurgency “experts”, rather than soldiers, ran the war using, as Cold War historian Derek Leebaert put it, “games,” “models,” “probabilities,” and “options.” As with the Coyote’s meticulously drawn blueprints, most of the time they guessed wrong. Many of these mistakes resonated in Iraq and the Soviet war with Afghanistan, with the addition of miscalculating the importance of the opponent’s religious beliefs (despite a wrenching example earlier in Iran).

The Coyote is equally ignorant of his enemy. The Road Runner is more than a physical being; he is supernatural, a trait sometimes attributed to “Charlie” by Vietnam veterans. The Soviet forces called Afghan fighters duhkti or “ghosts.” Nature and physics are the Road Runner’s unfailing allies, and the bird seemingly has the power to turn even the cliffs, rocks, and mesas of the desert against his avid, well-armed foe. The Coyote simply ramps up several levels in determination, puts in another order for intimidating weaponry, and attempts to defeat the Road Runner without a change in strategy. Fanatic escalation marked his efforts but in the end they were all for naught.

The Acme Company, an eponymous arms supplier that delivers high-tech weapons on demand, arms the Coyote. Acme is much like the military-industrial complex that powered America’s post-nuclear wars. From jet-propelled roller skates and Iron Bird Seed” to explosives and biological weapons such as “Triple-strength fortified Leg Muscle Vitamins” or “Earthquake Pills”, the Coyote is the recipient of a prodigious arsenal that is supposed to help him subdue and destroy his foe. Thus it was in Vietnam and Iraq, from use of defoliants and the first helicopter gunships widely used in combat to the lethal computer-operated hardware and laser-guided weapons of the Iraq campaign.

The Road Runner, on the other hand, has no such recourse, as he is a lightly armed, low-tech opponent. The bird has neither teeth nor visible claws. The Roadrunner does have his wits, stealth, and the capacity for an occasional surprise attack that sets a catastrophe into action. The Road Runner also has the speed to disappear into the territory within seconds, a trait shared with the Viet Cong and Iraqi insurgents. Even when the avian does show up where the Coyote plans him to be, sustained combat does not take place. Like the American forces in Iraq and Vietnam and like Soviet troops in Afghanistan, the Coyote must continually chase down an elusive foe and fight on the enemy’s terms.

In both Vietnam and Iraq, the President and his Pentagon strategists faced public criticism over the lack of an “exit strategy.” After hearing stirring affirmations of “lights at the end of the tunnel” and “missions accomplished”, America continued to see thousands of lives and trillions of dollars cast to the winds of war with no certainty as to when it all might end. In both cases, the governments America propped up did not seem to have the viability to survive should American troops withdraw, and so the struggle took on an indefinite length. In Vietnam withdrawal led to the collapse of South Vietnam. In Iraq, the result could well be sectarian civil war. Exactly how to extricate one’s forces when one is “nation” rather than “empire” building seems to be a considerable conundrum for American foreign and military policy.







Comments


I found the article interesting. I think many talented artists and creative people will extrapolate from the climate they reside in. It's the nature of creativity.
Christina Lane (not verified) | Thu, 10/20/2005 - 00:00 | Permalink
Thanks to "Animation World Newsletter" for allowing my nervous, first attempt at this! Two points: First--while detractors of Dr. Toon are certainly entitled to their opinions--PLEASE detract with a sense of good-natured humor! Happily, that first detractor...Andy Sim?...what IS his name?...was much more light-hearted than I suspected at f-i-r-s-t. (Whew!) I have read comments (not yet in "AWN," I'm relieved to say), which insinuate or infer that the writer, filmmaker, song-lyricist, &c., "ain' got NO rah-t t' say whut he/she done said!" Over the 1990s, I read the following two examples: "I don't think you have any right to criticize New Kids on the block, 'cause then, you make a lot of people mad." (Teenager's response to 21-yr.-old columnist's article... inside teen-column, "Fresh Voices"...itself within s-o-m-e 1990s' issue of "Parade," Sun. newspaper-insert magazine. Gee...where were the "likes," "okays," and "f'r sh'rre, dudes"?) Another beaut: "Don't say anything bad about the church. She is a sacred & perfect institution." (Clergyman, at statewide, denominational convention, in 1973...reacting to Rev. Harold Lauder [sic]. Said pastor evidently heard of Lauder's plans to publish "Feed Whose Sheep?" [Revell Press, 1974], his thought-provoking critique---both of his past church's laity's words & conduct, a-n-d of his denomination's bishops...a-n-d of what HE himself had become, after years under the pressure.) ALL of these I call "layperson's responses." These are neither critiques nor advice, from animation's r-e-a-l pros. You've heard "layperson's advice" from others before...within your extended family, and/or within your neighborhood, suburb, or small-town (written here, in our Appalachian dialect back-home): "Ah admit, you draws 'n' paints guh-h-d. But juss' whar d'yew thank you'se gawnna make a livvin' ac-sh'lly d-o-i-n' that fer a job?" To sum-up: If (like thousands of people in creative arts-media, crafts, journalism, & advertising) you grew up ACHING to get-out-from-under a belly-full of "layperson's advice"--then p-l-e-e-e-z-z-e, by the same token, grant that same courtesy to writers! Where he or she is wrong: (1.)Point that out...be specific, now. (2.) Then, give e-v-i-d-e-n-c-e to the contrary. Do a l-i-t-t-l-e homework...! (2.) Dr. Toon certainly did HIS! Yes, he might h-a-v-e read a l-i-t-t-l-e too much into Chuck Jones' storyboards. However, he cited evidence from at least three wars. (Four, if you count Operation Desert Storm, in 1990-'91. Its aftermath [where we promised to "help" the Kurdish troops...but then, provided NEITHER weapons NOR technical-training]...a-n-d our LACK of N.A.T.O. and Allied peacekeepers in Afghanistan--t-h-e-s-e were the REAL stinkers of bad-judgement, on the afults of both the elder Pres. Bush and ol' "Slick Willie," in my opinion! Neither must we forget the support that ol' "Teflon Ron's" cabinet gave to Sadaam, during the Iran/Iraq War of 1980s.) And Dr. Toon continued his research into (possibly) Chuck Jones' past writings, to say nothing of his past film-work, watercolors, & canvasses. (Mr. Jones' participation in the screen-cartoonists' strike of 1940-'41, and excerpts about same event in his 1989 "Chuck Amuck!", easily come to mind. And I had forgotten!...that Mr. Jones had directed "H**l-bent for Election," since that was UPA's maiden-voyage.) Seems to me...that such writings or PBS-type documentaries (where media-historians read inferences [into "junk-culture"] that the creators may-or-may-not have had in-mind) can only get us readers to t-h-i-n-k. Can only stimulate o-u-r creativity. Can only awaken any social consciousness (and consciences) that you & I might have. Could John Halas & Joy Batchelor have read these...in addition to Orwell's "Animal Farm"...b-e-f-o-r-e committing it to animation (1954, UA)?...could the writers of the Beatles' and Peter Max's "Yellow Submarine" (UA, 1968)?...could the late Dr. Seuss...Chuck Jones' personal friend...before he wrote "The Butter Battle Book"? (Too bad that Ralph Bakshi seemed to have a m-u-c-h dirtier mind, in my opinion, in his o-w-n scripts....) How many of you out there remember "The Point"---the ONLY animated-special on the "ABC Movie of the Week," back in 1972? (Murakami/Wolf/Swenson Prods.?) Too bad that I don't know whether or not it's available on DVD & video, for my nieces & nephews...for it taught US, both about Dr. Hegel's thesis/antithesis/synthesis theory...a-n-d about human prejudice vs. open-minded acceptance for "disabled, handicapped" people--but in the sugared form of a charming script, for us elem.-schoolers of the "Brady/Partridge Era." (A little boy, born with a "conehead"...is shamed & ostracized by his village's "respectables." Elsewhere, he searches for the acceptance which his village's mayor, teachers, & even c-l-e-r-g-y, had never given him. On his travels, he receives such acceptance from his dog, Arrow--and then, from other tribes of people. Years later, he returns to his own village--only to find that t-h-e-i-r children had grown "coneheads," too!) Could a-l-l such scriptwriters have read opinion-columns such as Dr. Toon's? IF they had...think how many "hidden meanings," how many adult-sub-plots, we "AWN" readers can ingest into OUR future scripts, comic-books, & childrens' books! Critique Dr. Toon's article as being "too deep," if you must. But--you need only look back at h-a-l-f of 2004-2005's animated releases (i.e., "The Spongebob Squarepants Movie," "Robots," "Madagascar," and "Valiant"---h**l, back to Warners' "Incredible Mr. Limpet," in 1963--to see WHY fresh, inventive plots (WITH such hidden messages, adult sub-plots, and/or emotional d-e-p-t-h, or SOMETHING that "The Incredibles, "Polar Express," "Wallace & Grommit," and "Corpse Bride" happily possess)--you need only see those o-t-h-e-r features, bound s-t-r-a-i-g-h-t for "Cartoon Network Theatre," to see w-h-y plots as d-e-e-p as Dr. Toon's column are b-a-d-l-y needed these days...! (4.) Enough of my rambling, on-and-on! If the (praiseworthy) Dr. Toon wants to discuss anything p-o-l-i-t-i-c-a-l, I'd recommend TWO topics that burn ME up, believe you me! (A.) Racist-stereotypes of past cartoon-shorts, w-e-l-l into early-1950s; late-1960s, for s-o-m-e TV "kidvid" prior to 1968. (The year of three beginnings: Action for Children's Television, Corp. for Public Broadcasting, & "Sesame Street.") (B.) Animation studios that produce strictly over-16, R-rated material...even live-action (i.e., Nelvana's Cinema Masterpiece, "Burglar" [WB, 1987]--to say nothing of R-rated, Touchstone/Hollywood/Dimension/Miramax titles, most-or-all from Disney's backlot)...as well as animated! Again, the animated episodes of "Clerks"--which went almost straight-to-video (after ABC quickly "yanked" them off, in 2001)--confirmed my concerns (as a college junior, in early 1986) that "Down & Out in Beverly Hills" m-i-g-h-t lead to R-rated c-a-r-t-o-o-n-s from Disney...only with one of its four "divisions'" logos. ALL such titles---like all other, R-rated fare---elem. schoolers & kindergarteners can e-a-s-i-l-y rent or purchase...after-school, weekends, & holidays alike. Or they can easily watch such High Art, if Mommy & Daddy have purchased premium-pay-cable. THANK YOU ALL for putting up with a communitarian (Christian, but fiscally-liberal & human-rights-liberal) hillbilly's opinions! P-l-e-a-s-e, somebody give me Lexi Bunny's address--somebody pleeeze give me Jenny XJ-9's address, too--'cause I gotta date 'em BOTH!
Michael Shepherd Studio (not verified) | Tue, 10/18/2005 - 00:00 | Permalink
It is interesting to see that some of the responses indicate that there was a political bent to this piece. Everyone is certainly entitled to decide whether too much was read into the correlation between Jones' cartoons and Cold War conflicts; I like to throw "think pieces" out there for discussion. However, there is nothing political to be checked at the door. The piece is historical and none of my own political views are expressed. Also, there is no indication in the column that I considered Iraq to be either a success or a failure; that is for ongoing events and history to decide. What I did say was that the style and strategy of warfare seemed to be similar to that contained in Jones' Road-Runner cartoons. I'm sure that someone who is politically inclined could take that interpretation even further, but it won't be me.
Martin Goodman (not verified) | Tue, 10/18/2005 - 00:00 | Permalink
This is reading WAY too much into work that was created for fun entertainment. Leave politics at the door just enjoy the animation!
Ryan Oz (not verified) | Tue, 10/18/2005 - 00:00 | Permalink
I agree that what is going on in a society has an effect on an artist and is further influenced by the artist's own personal belief system. He may have seen it as a general expression of fanaticism, something he may have felt strongly about on a personal level. Censorship certainly has a fanatical element; influences such as McCarthyism and now the Religious Right come to mind. Censorship is certainly a palpable issue to anyone creating cartoons.
Pam Gill (not verified) | Mon, 10/17/2005 - 00:00 | Permalink

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