Animation Comedy and Gag Writing


What’s Funny?
Why does Johnny Bravo refuse to cross the road?…Because he’s no chicken!

What makes you laugh? Or more importantly what makes your audience laugh? Humor varies from culture to culture and from age to age. In comedy we set up a situation, increase the tension, and suddenly we’re stopped cold by something unexpected. Emotion gushes out, tension is relieved and exploded in laughter. Or at least that’s the way it’s supposed to work! And it will if you set up the gag right. Comedy is a contrast between two incompatible frames of reference linked in an unexpected and sudden way. You lead the audience down the garden path (the set up), and then zap! Surprise is all-important. Generally, the bigger the surprise, the bigger the belly laugh. Two classic baby jokes: peek-a-boo and the jack-in-the-box. There’s the build up, the expectation, then the pop or shock. A running gag is a little different, as it gets funnier with each repetition. Often there’s a twist as the gag repeats. Think of The Roadrunner, one long running gag. Some forms of comedy, such as satire, don’t rely on a single effect, but a series of minor explosions or a continuous state of mild amusement. Experts believe that all comedy contains an impulse of aggression or fear. It’s these emotions that are released when we laugh. Repression can contribute to a bigger laugh. Repression is the reason that gross-out and potty humor get belly laughs. In all comedy the energy of the comedy is important. Whether a situation is tragic or funny depends upon the audience’s attitude, whether that attitude is dominated by pity or malice. Who is slipping on the ice? Is it the little old lady or the school bully?

Animation Comedy
Animation comedy is above all, visual with plenty of sight gags. It uses motion and misuses the laws of physics. The comedy is exaggerated and often illogical. Dialogue may be “smart” with comebacks, put-downs, puns, rhymes or alliteration. Titles are funny.

Comedy Out of a Character’s Personality
Some of the funniest comedy develops out of a character’s personality. What makes that character naturally funny? Use a character’s attitude, mannerisms and dialogue to increase the comedy. Reactions can often be funnier than the gag that has gone before. Use characters as different from each other as possible so that these conflicting personalities can bounce off of each other in a funny way.







Comments


Storyboard people can often add a lot to a script. Also, some writers are artists and have had storyboard training or naturally think very visually. The storyboard contribution varies from studio to studio and director to director. Some directors encourage their board people to make major contributions. Some do not. If the story depends greatly upon structure and less on gags, then gags can hurt that structure. If the gags are the important thing, then additional gags can contribute to a much better finished product. Also, in a story that's already on the long side, too many additions upset the timing. Some directors request shorter scripts to allow for those extra additions from the board people. A good animation writer who thinks visually (as all animation writers should) can be just as funny as a good board person. Not all animation stories are created to be very gag oriented. There are different kinds of animation stories just as there are different kinds of live action stories. Live action films are also a visual medium.
Jean Wright (not verified) | Mon, 11/18/2002 - 00:00 | Permalink
humor is simple. suprise, synthesis and cultural supernormal stimulus. (take my wife... please) it has a relations of churlish, buffonery, imative and self-depreation. ( in surp./syn + CSNS) formula delivery and content round it out. it's an intellectual function, intagrating data. (stimulus) get it? got it? good.
(not verified) | Sat, 11/09/2002 - 00:00 | Permalink

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