Filmation was the bargain basement of animation. Always was. They did have great character design for TAS, and the music was good -- until you heard the same cues for the 10th time. But they used many, many animation shortcuts.
Interesting, because everything you posted applies to Hanna-Barbera. How many times did we hear the Hoyt Curtin action cues composed for
Jonny Quest re-used--to death--on
Space Ghost, The Herculoids, The Fantastic Four, Dino Boy, Shazzan, The Galaxy Trio, Birdman, Mightor, Moby Dick, and other action cartoons? Similarly, the next wave of cues composed for
Young Samson and Goliath and
Scooby Doo would end up reused to no end on most H-B series produced between 1970-77, notably on
Josie and the Pussycats, Butch Cassidy and the Sundance Kids, Devlin, The Super Friends (most versions),
Sealab:2020, Goober and the Ghost Chasers, Jeannie,
Blue Falcon and Dynomutt, etc.
Then, there's H-B's animation--easily the worst from any studio in the decade, as the care and attention once paid to
Jonny Quest and
The Flintstones quickly gave way to severely watered down versions in the late 60s, then the deliberately cheap move of using an australian animation studio--perhaps the biggest offender being the orignal
The Super Friends (1973). where arms regularly shifted from bodies, symbols would change colors, or not appear at all, or voices were mismatched to their characters.
Cheap is too kind a word for the Hanna-Barbera process, and its leading position as the example of TV animation judged as inferior.
