What does Lutz (1920, ch. X) say about the relation between how easy a gag is to draw and what the story needs, and does he advise choosing cheap-to-animate gags?
Chapter X does not say 'choose cheap gags'. What Lutz states is narrower: because a good draftsman can do anything with his figures, the danger is overdoing business and slowing the plot; the spin effect is 'easy to produce'; dialogue balloons are an easy way to run up footage but are forgiven only for a good jest; and words belong on separate titles (also for export). The gags he describes (one drawing turned round, a cycle of drawings repeated, blur, a figure vanishing behind a house or hill) are, as a text-based inference, ones that need few drawings. He gives their reason as laughter and pacing, not effort. The mechanics of cycles and holds are in C3-B229-G70-01 and -03 and are not repeated here.
Structured fields
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"citations": [
{
"url": "https://www.gutenberg.org/cache/epub/73455/pg73455.txt",
"note": "ch. X"
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}Evidence claims
- [sourced_fact] Chapter X does not say 'choose cheap gags'. What Lutz states is narrower: because a good draftsman can do anything with his figures, the danger is overdoing business and slowing the plot; the spin effect is 'easy to produce'; dialogue balloons are an easy way to run up footage but are forgiven only for a good jest; and words belong on separate titles (also for export). The gags he describes (one drawing turned round, a cycle of drawings repeated, blur, a figure vanishing behind a house or hill) are, as a text-based inference, ones that need few drawings. He gives their reason as laughter and pacing, not effort. The mechanics of cycles and holds are in C3-B229-G70-01 and -03 and are not repeated here. · locator: ch. X source
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