Keskustelujen arkisto

Hi!

PIETER and JOS:
I had a question for you both. I noticed that you haven't written
anything to the list yet, but I'd really like an answer to this question,
so please write me in private email, then!
I've been working on my own Duck-story for a while. I've come past
the point that my script is finished, and that I started drawing everything.
I think it's a very funny story. Lots of gags and I also have a leading
gag, that goes on and on. It's a tenpager, by the way. Anyway, I've been
trying to pencil and INK the story on my own, and I've tried some on the
first page. It all went very well. The first page is finished now, but I
don't know if I did it the right size. This all is experimental, to just
see if I was capable in inking a story.
I've always been pretty good in drawing. When I was young, I always
drew Disney characters, which I was very good in. I hadn't done it in
years, but it seems that I still got it. I've now finished the first page (it
took me two weeks!) and in my opinion, it looks very well. Some characters,
I've redrawn a dozen times, and I changed the beaks ans eyes a million times,
it seems, but the first page is now satisfying. I don't want to brag or
anything, but I think this page could easily be printed in a comic!
I'd like to go on with the rest of the story, but I don't know if
I'm drawing on the right size of paper. I've read a text Don Rosa once
wrote, about the material he uses, and when I recalculate that from inches
to centimeters, I think I'm using his size of paper now. I still think
it's rather small. It's approximately an A4-sheet of paper for a half-page!
So that comes together to one A3-sheet op paper for a full page! Is that
okay? I still think it's small, compared to the original page I saw Mau
Heymans giving Harry once.
So, question numero uno: could you tell me what size I should draw
on. And question two: do you think it's possible that you guys, at the
Dutch Donald Duck Weekly, could ever use a story of mine, if the artwork is
alright? Or will you only accept scripts from other people and only use
stories inked by your own artists, like Sander, Mau or Bas?

Bye!

Arthur de Wolf -- Roosendaal, the Netherlands
email: (Email removed)
homepage: www.pi.net/~wolfman/disney

Soeren Schridde quotes Dr. Fuchs as having the Beagle Boys saying:
Heut gehoert uns die Kohldampfinsel **und morgen die ganze welt!**

Kind of sends chills up your spine, doesn't it?
(Remember, the Beagles do wear brown shirts...)

Wilmer Rivers

DWIGHT:
I now realize that the burning-village thing was part of "Voodoo Hoodoo".
The other day I dug out that reprint issue of Anders And & Co and read the
story - for the first time. Imagine that, I've been reading Duck comics since
.. well before I could even read, actually, and I never ever came across the
story before. I suppose that's one of the reasons I love Barks' stories that
much: not only did he create the best stories, but he also created a *lot* of
them. As a result to this date I'm still discovering 'new' old stories that I
have never seen before. I really must get around to reading the rest of my "in
colour" albums. But I digress.
For me, the stealing-from-innocent bit worked better in "Voodoo Hoodoo" than
in the Lo$ episode. The main reason being that it wasn't visually depicted
anywhere. In the Lo$ episode we see the angry mob and the look on Scrooge's
face as the village is destroyed and the natives driven away. I think one of
the reasons it made such a profound impression on me has to do with the quality
of the artwork. I could really feel Scrooges anger in those pages. Even if I,
story-wise, didn't like what I saw my hat is off to Don for accomplishing it.
As for resenting the story/Barks because for violating the "fair and square"
statement I agree with you rather than the fan in question. Storytelling may be
an art, but it is also a craft. As in any other craft you need the right tools
for the job. Scrooge was just that back then - a tool, nothing more. I agree
with you that Don should just have left the Voodoo Hoodoo incident untouched.
The original Barks story is reprinted from time to time, but in my view that
doesn't make it canon. However, it is still an interesting read as it is a good
example of character-developement.

--- Jan

-----------------------------------------------------------------------------
Jan Lund Thomsen (aka Qed/Triangle 3532) Lystrup, Denmark
C64/RPG/INWO/Warner Bros/Disney/Anthro/Comics-addict and all-around nice guy.
----------- Email: (Email removed) ---------- Fido: 2:238/128.11 ----------

JOACHIM:
I spoke to Ole on the phone a few hours ago. He told me that he will be back
online on the 26th of August.

--- Jan

-----------------------------------------------------------------------------
Jan Lund Thomsen (aka Qed/Triangle 3532) Lystrup, Denmark
C64/RPG/INWO/Warner Bros/Disney/Anthro/Comics-addict and all-around nice guy.
----------- Email: (Email removed) ---------- Fido: 2:238/128.11 ----------

MARCO:
I don't think "The Guardians of the Lost Library" is the best example of the
"feeling" of one of my typical adventure stories, but I'm sure glad you
liked it just the same. When I sent it in, I was very afraid I had a funny
surprise ending (which was only used in America since it involved the Junior
Woodchuck emblem), and a very historically accurate plot that would have
delighted a history buff... but I suspected the story itself was boring and
repetitive, just hopping from one locale to the next, finding the same basic
thing each time. But I have people either tell me that it's "boring" or it's
"the best Duck adventure they've ever read", and never anything in between,
so I don't know what to think. I treated Donald in an unusual way in that
story, also, and the whole thing was unusual in that it was done on request
for Norway's "Year of the Book". Anyway, I really don't think it's my
typical Duck story, good or bad. But I sure wish *I* could get ahold of
copies of ZIO PAPERONE! The last one I have is around #77!

JONATHAN:
My Duck Family Tree was based partly on Barks' old notes, partly on my own
research into his stories, partly on my own creating characters to link his
characters together, partly on adding a few characters at editors' requests
(Fethry), and partly on a letter from Barks where he recreated his old Tree
apparently from memory. In his new version he had eliminated the death of
Gladstone's parents, and I was glad to see that since I thought it was a
needless and morbid feature of the old version.
Were you the one asking about the Van Horn Duck Family Tree? Disney Disney
Comics (as we call 'em) had been calling me for advice on how to construct
such a tree (I'd refused to work for Disney, but I was still helpful towards
nice folks like Bob Foster), so I was sending them my ongoing notes on my
version of the Barks Universe Tree. We exchanged numerous charts and so
forth, all involving all those obscure Barks characters that you see in my
Tree. But then they stopped asking me about that stuff and I later saw the
Van Horn illustration which wasn't really a "family tree" but simply a tree
with the various most common characters seen in Donald Duck comics sitting
in the branches, whether they were relatives or not (like Gyro, etc.). I
took it that my version was too esoteric for their needs, and I imagine it was.

HARRY:
I keep NO records of any of my work, certainly unlike Barks and his
exhaustive record-keeping of dates and invoices and payments, so it's
virtually impossible to answer questions about when I did what or why from
5-6 years ago. But "Treasure Under Glass" was one of the stories I wrote
while waiting for Disney to approve the script for "His Majesty McDuck" in
1989 (under the suddenly altered and tight policy on Gladstone), and it was
a script I realized I was stuck with when Disney told Gladstone to stop
returning my art (effectively forcing me to quit since the pay would then
have been poverty-level for me). In the following year of wandering, I may
have submitted the script to Oberon/Holland, but if so, they never accepted
it. It was Egmont (Gutenberghus) who accepted (paid) for it in early 1990,
and that's who I drew it for. If Oberon prints that story with a different
code number, I don't know why.

JOACHIM:
The idea that, as you say, the cliffhanger in "The Once and Future Duck"
where DD is about to be beheaded would give a child a nightmare sort of
rattles me. I must depend on my editors to tell me when I do something in my
stories that someone deems unsuitable for children, since I never consider
the age of my readers. I just aim at writing a Duck adventure that *I* might
enjoy reading, and since I'm not a nightmare-prone child, that possibility
never even enters my head. I should think any child that would get a
nightmare from one of my stories should certainly stay away from modern
Disney animated features which are far more horrific than anything I would
consider putting in a Duck story. But I don't argue the point -- perhaps
potential decapitation was out of line. I need Byron to warn me of such things.

MIKE SCHNIDERATH:
There is no reason that I can think of as to why anyone should buy any
copies of UNCLE $CROOGE VS. THE BEAGLE BOYS. Pick up an issue and see for
yourself. That was the lowest ebb in the deaththroes of Gold Key / Whitman
Disney.
Someone else here will give you the exact issue numbers where Paul Murry and
Dan Speigel drew those "Mickey Mouse - Secret Agent" stories back in the
60s. As usual, I don't have such info sources at my computer station.
The store owner who told you anything whatsoever about some future hardcover
collection of the "Lo$" from Gladstone was making up anything he said.
Gladstone has made no definite plans for that book yet, much less anything
about price or whether or not I'll sign any of them, much less all of them.
Or if Gladstone is sending out such info, I'd think they might have
mentioned something about it to me. But I can't give you better info since,
as I said, plans are currently nonexistant. They simply plan to do it in
about a year; that's all as of now.

HARRY:
Surely EGMONT is the world's biggest publisher! No matter how many (tiny)
French-speaking countries that French publisher distributes to, it can't
begin to compare with the hundreds (thousands) of different comics,
magazines, books, paperbacks, etc., etc., that Egmont publishes in all
languages from England to Japan, including virtually everywhere in between.
Who could match that?

Harry

>Jippes has often been the master style-copier. But he always exaggerated
>someone else's style. His Mickey was more Gottfredson than Gottfredson's.
>His Gaston more Franquin, his Asterix more Uderzo, and his Duck more
>Barks. And that's probably how you can recognise Jippes' "style".

Has Jippes drawn Gaston and Asterix? These are two of my favourites.
Where can I get a copy of these comics?

Trygve

MARCO:
Me, again -- I realized I skipped your two queries concerning "The Guardians
of the Lost Library".
It never occured to me to hide Mickey in one of the panels of rats. I was
definitely thinking of those critters as rats who would do the most damage
to the most books, and I would never have suggested that MM is a rat by
hiding him in there. (By contrast, in the story I'm inking now, my hidden MM
image is actually a major gag in the story, and not "hidden" at all.)
And I take it you think the monk in the Abbey of San Slanti looks like me?
Hm. If so, it's purely coincidental or subconcious... not intended. (Another
reader once thought the library curator in TGotLL was me, despite he was
thin as spaghetti and had a goatee, so I'm puzzled at what people are
thinking.) And that Abbey was based on no particular actual place -- in
fact, I often point out that it was the ONLY aspect of that entire story
that I made up; all the other places and historical facts are 100% authentic.

NILS:
Is there a ROCKETEER film? Of course -- from Disney, of course. And it was
absolutely superb! One of the best done films of its genre ever... and the
best role Timothy Dalton ever had -- he makes a much better villain than a 007.