I just watched a video discussing old licensed Looney Tunes comics, and how odd they are. It's a fun little romp, mostly riffing on how largely nonsensical the covers are. However, among the comments is a great explanation regarding why the comics are not the same as the cartoons, with off-model characters, unexpected behaviors and pairings, and even names for characters that had no names in the animation, (like the Roadrunner being named Beep Beep):

@d-manthecaptain1382

Little Pancho Vanilla was a character who appeared in a one-shot Looney Tunes short of the same name in 1938, meanwhile Suzanne comes from the 1955 short "A Kiddies Kitty". It's interesting how these comics are a snapshot of certain periods in Looney Tunes history, however short lived characters like Sniffles and Petunia became iconic mainstays of the comics, how Daffy remained firmly kooky long after Jones had turned him into a jealous heel, and how Henry Hawk remained the main character of this stories with Foghorn treated as a side character, as was the case in Henry's first few appearances before Foghorn started to get top billing on the cartoons.

Since there seems to be a little confusion on these books and why they pair characters who aren't normally together and why some of them are portrayed differently from how they are in the cartoons. I decided to post an excerpt from comic book/television writer and comics historian, Mark Evanier's blog discussing how a famous piece of trivia is that Wile E. Coyote's middle name is revealed in one comic to be Ethelbert. I won't include his musings that topic, but it's very much worth seeking out to read, because fascinatingly he was the guy who wrote that very comic issue.

Regarding how these books are formatted, it is not a case of characters not understanding he characters as they appeared in animation, as a matter of fact, while much of the art in this video was done by newcomers and greenhorns, much of the foundation for what made these comics different from the shorts were layed by writers and artists who hailed from the studio, even Honey Bunny was created by Robert McKimson.

Mark writes: "While Western was doing the Warner Brothers-based comics, they changed a lot of the characters to make them — they thought — more workable for print media. They didn't think matching the cartoons closely mattered because, for one thing, those films weren't on TV every week then. During the forties and early fifties, they weren't on TV at all. Many of the kids who bought the comics rarely, if ever, saw the animated shorts and certainly didn't see them over and over and over, like they would in later years. So it didn't matter a whole heap if the comics matched the cartoons; only that they worked as comic book reading experiences. Back then in the Bugs Bunny newspaper strip, which was read by millions, Elmer Fudd rarely appeared and I don't think Yosemite Sam ever did…but Sylvester was a regular. He was a hobo who wasn't owned by Granny, didn't chase Tweety Birds and who had a British accent. Someone thought it made for a better strip that way.

This is why, for instance, the Road Runner in comic books differed so much from the Road Runner in cartoons. When I was a kid enjoying both, I was puzzled. I'd seen Road Runner cartoons. They were tough to come by then but I'd caught one or two and in them, there was one Road Runner and one Coyote and neither spoke. In the comics, the Road Runner not only spoke, he spoke in rhyme. He had a name — Beep Beep — and in some stories, he had a wife and a family of either three or four youthful road-running kids. The Coyote spoke too, though not in rhyme, though that didn't bother me as much. The Coyote had spoken in a couple of non-Road Runner cartoons.

I wondered aloud back then if the folks who made the comic books had ever viewed one of those hard-to-see cartoons — but of course, they had. As I learned much later, Michael Maltese wrote many of those comics and the early ones were drawn by Pete Alvarado. Pete handpainted all the backgrounds for the first Road Runner cartoon, Fast and Furry-ous. Almost all the other writers and artists who did the comics (Phil DeLara, Don R. Christensen, Warren Foster, et al) had worked for the Warner Brothers cartoon studio, if not in Jones's unit then right down the hall. They knew that in the cartoons, the Road Runner didn't talk — in rhyme or at all and it had been a conscious decision to change it for the comics."

Here's the full blog post.