|
- Animation Age Ghetto: You need only look at the contemptible cover art for the N.I.M.H. DVD. Bluth has stated that he would have preferred that the original poster art be used for the DVD cover.
- NIMH wasn't the only movie this was done to either. It seems MGM and Universal Studios don't think anyone over the age of five watches his films.
- Big Lipped Alligator Moment: All Dogs Go to Heaven is the (indirect) Trope Namer, though there are plenty of other examples throughout his films.
- Creator Backlash: Yes, he dislikes his 90's films as much as his fans do. Perhaps The Pebble and the Penguin most of all since he opted for an Alan Smithee, even though fans don't generally see that as his absolute worst film.
- Fan Dumb: Some people tend to exaggerate Mr. Bluth's talent, while not noticing his flaws (his 90's films prior to Anastasia).
- Gannon Banned: Woe to the poor fan who mistakes any of his works for the works of Disney.
- Mis Blamed: See Sequelitis, below. A lot of people blame Bluth for the bad quality of the sequels to his movies when (it cannot be emphasized enough) he had no involvement with any but one of them. This works the other way around for An American Tail: Fievel Goes West, probably the only sequel to a Bluth movie that people generally like, with some people praising the "good job" Bluth did on it.
- He often suffers from Type 5 misblaming, the "Single Person Fallacy". And, as has been mentioned, many of the things that were wrong with his 90's films were more a result of Executive Meddling. And as was also mentioned on the main page, in many of his films he wasn't the actual creator per se, only the director of animation (leading to both misblaming and miscrediting).
- Nightmare Fuel: He has his own damn category.
- Sequelitis: Universal (and, to a lesser degree, MGM) was cranking out mediocre Direct to Video sequels. It should be noted that Bluth had nothing to do with any of these sequels (save Bartok the Magnificent). Life sucks when you do not own the rights to your own films.
- It should be noted however that MGM actually asked his studios to work on at least two of these sequels, though due to heavy development on his own movies it was turned down. The end results formed the All Dogs Go to Heaven sequels and The Secret of NIMH: Timmy To The Rescue.
- Occasionally, in some interviews, Bluth even had opinions on these sequels, saying it's very strange that they exist in the first place.
- Tear Jerker: There's a good reason why he has his own category.
- True Art Is Angsty: His darker films of the eighties are much better received than his sillier works of the early nineties. However, this is justified in that the latter suffered from Executive Meddling, and thus couldn't reach the same level of potential as the former. Part of this meddling involved forcing Bluth to tone down his trademark darkness (and weirdness) in favor of a Lighter and Softer tone.
- Ugly Cute: Nearly all of his character designs that aren't Ridiculously Cute Critters.
- The Woobie: Several (if not all) of his characters. Also, you could argue that Bluth himself qualifies, considering how quickly his movies starting flopping after The Eighties, and how, to add insult to injury, many people mistake his films for Disney's work, anyway. Then again, he did leave Disney to begin with, so missing out on its re-invigoration could be seen as some sort of twisted karma; a kind of Hoist by His Own Petard where you actually pity the one being hoisted.
- He also partly spurred Disney's renaissance by giving them a run for their money in The Eighties, sadly awakening a sleeping giant that he couldn't compete with financially (due to it coinciding with his parting ways with Steven Spielberg and intense Executive Meddling on all his films thereafter).
- Even some Disney fans still can't help but feel sorry for Bluth, though it may help that many of them also enjoy some of Bluth's films. To them, Bluth was brave to try to make art of his own without the giant in that field, and it's therefore sad that Bluth didn't succeed.
- He also partly spurred Disney's renaissance by giving them a run for their money in The Eighties, sadly awakening a sleeping giant that he couldn't compete with financially (due to it coinciding with his parting ways with Steven Spielberg and intense Executive Meddling on all his films thereafter).
