Keskustelujen arkisto

I'm sure the question regarding how many of us use "Duck stories" in our
professional careers was intended for those who use it IN ADDITION TO THE
OBVIOUS comic book reating/producing jobs (which include David Gerstein, Stefan
Dios, Olaf, Shaun Craill, Lars Jensen, Gary Leach, Don Rosa, myself, Joachim
Stahl, the "Spanish Studio" artist who drew Pat McGreal's dinosaur clone
stories (with Italian last name?)(See what happens when you get over 50 years
old?), etc). I think there are also a few other Egmont and Ehapa editors on
DCMl too. I'm sure I'm also leaving off some other writers. I apologize for
that, please don't be angry.

It seems to me, that the interesting (and logical "real idea" behind the
question, is their use in professions OTHER THAN producing comic books or
related animation (Ducktales, Quackpack, etc). I'm sure Olaf was only
mentioning his storywriting to give us a liitle chuckle. But, now to answer
the question:

Gerry Tank (who is an infrequent lurker, and poster when he has something to
inform us about, used old Barks story quotes to cheer up patients in his
bedside manner (at least one patient -Carl Barks). Don Ault has used Barks
story plotting to teach English at University level (I'm not sure if the
courses involved just Literature, or writing as well). Geoff Blum used them to
teach literature at University level. I, myself have used Barks story panels to
teach storyboarding as an aid in essay and story writing, as a substitute
teacher in elementary school. I think there are a few more members who have
used Barks and Gottfredson's work to teach literature and story-writing at
university and high-school levels. Perhaps we'll hear from them.

Regarding Geoff Blum's so called "new Barks stories". As I understand it from
Geoff, they are a series of underdeveloped story ideas, story notes, and story
treatments or shooting scripts that in various forms and conditions,originated
from Carl Barks, or quotes from him to someone else. They will be used
toinspire new stories by Geoff. As I understand it from him, none of those
sources of inspiration were comepletely developed in detail. So, they would
range from story "nut ideas" (meaning ALMOST ALL of the creativity is Geoff's),
to the whole plot line from beginning to end laid out by Barks, but in little
detail. The second type would be debatable as to how much Barks vs. Blum mix.
But lets say even those stories should be considered a lot more Blum's than
Barks'. Would that be a reasonably accurate guess, David?

I hope David G. will provide us with some of the story ideas, and who the
artists will be (for those that have been assigned). I DO know what one of
those stories will be, as I also submitted a version of that same original
story idea to Egmont. It is a "guesswork version" of what Barks' "Queen of the
Apple Festival" might have contained. The original was his 1952 WDC & S 10-
pager, rejected because "Daisy was acting very violent and unladylike".

I talked with Mr. Barks about that story in 1966, 1969, and again in 1972. He
had told me MORE about what he remembered he had included in that story than
was quoted in Mike Barrier's book and in CBL. I used all that information, plus
research on the Greek Myth of Atalanta, as well knowledge of Barks' oft-used
storylines and plot components, to put together a complete story. It contained
ALL he told me he had used, woven together with Barks classic plotting
techniques, woven together with the details of the Atalanta myth, in a logical
manner. I submitted it to Egmont. Daan Jippes agreed to draw it as close as
he could to Barks' 1952 style, if Egmont were to accept the story, and they
would agree to assign it to him. Unfortunately for me, they held up reviewing
my story until Geoff finished his. Then, they chose his over mine. Both Daan
and I, and several people that I showed mine to, thought mine was good. So,
I'm guessing that Geoff's was significantly better, and should be a real treat
to read. I only hope they've assigned Daan to draw it, and that he will use
Barks' 1952 style. I was told that Geoff's story has a lot of clever humour and
great gags in it. I can't wait to read it.

In addition, he must have by now finished a few other scripts in the "Barks
inspired series". I heard that the first one was assigned to one of
The "Spanish artists". I also got the idea that at least one more of his opther
scripts also may go to that artist (but I'm not sure). As those scripts were
already approved,and drawing assignments may have been made, I hope my
providing this information to dcml won't be looked at by Egmont,as a problem.

Perhaps David G. can gives us more information on the status of Geoff's series
of scripts? Also, David, please tell me if you can, whether or not it would be
legal (according to copyright laws)and no problem in Egmont's or Disney
Company's policy, for me to have one of our dcml members upload my rejected
story (storyboard drawings) onto a website for people to read. There is NO
POSSIBILITY that the story could now or ever be bought by any Disney affiliate,
because the subject matter is too close to Geoff's official version. And, we
would not be attempting to make money on it. It would only be available for
reading for education/analysis process, for the fans to understand the
difference between a story structured well enough to be accepted, and one of
poorer quality, that is rejected. I will, of course not have it uploaded, if I
find out I shouldn't do that. I don't want to do something that will get me
blacklisted from having my work accepted from all Disney affiliations.

Rob Klein

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Dear all,

Can (children's) comics be treated as (children's) literature? What do you
think?

Regards,

Jehan

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Jehan wrote:
> Can (children's) comics be treated as (children's)
> literature? What do you think?

Here in Germany a book was published last year which is called "B?cher -
alles was man lesen muss" ("Books - all you have to read"). The author
Christiane Zschirnt presents a "Best Of" of international (classic)
literature. The books are grouped by category ("love", "politics",
"modern" ...) Each book is described with 1-2 pages.

And there is even one (and only one) comic chosen. You guess it: It's
"Carl Barks' Donald Duck"!

In which category does it appear?
"Trivial Literature" (together with Gone with the Wind, Dracula, ...):
No
"Children's books" (together with Pippi Langstrumpf, Harry Potter, ...)
No
In fact you can find it under "Economics" (!) (together with Keynes and
Marx)

And accordingly the author "explains" (or praises) Barks Duck stories in
lights of economics. Which is in my opinion not doing them justice.
Barks was interested in economics and some of his most memorable stories
evolve around qestions of economics. But to say that economics was his
main motif and that everything else is only secondary seems to be too
narrow a focus in my opnion.

The author concludes the article:

"On second view the reader does not believe his eyes when he notices the
fine satire behind the overblown politically correct messages. The big
ideological wars between capitalism and communism, which moved the world
until the end of the eighties, took hillarious form in Duckburg. The
world was in the hands of a hysterical cheapskate who dives into his
money lake with an excited rump (Scrooge) und it was threatened by a
horde of badly shaved dogs (Beagle Boys)."

[The pun with the "excited rump" (rump = duck's bottom) seems to be a
mild allusion to Scrooge getting sexually excited by diving into his
money lake.]

I think it is great that Barks is included in the book's list. I would
have liked it even better to see Barks' insightful comments on family,
love, other cultures, technology, the meaning of life, pets, neighbours,
... (you name it) ... mentioned also.

Cord

>I would like to see non-Disney stories by Gil Turner, Al Hubbard, Dick
>Kinney, Bill Walsh, Marco Rota, Romano Scarpa, Daan Jippes and Freddy
>Milton indexed, too.

Me too! But I think it's hardly something that should be done within
Inducks. Carl Barks can be seen as exception, because of his importance. But
I don't know how to make it then. And anyway, are there any detailed
information left like about some stuff Gil Turner made for ACG and some
smaller companies?

Timo

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I hope people take Sigvald's messages about me with the usual grain of salt.
This is really becoming ridiculous.

From now on, I'll be lurking on this list.
At least until, let's say, next Tuesday. 8-)

--Harry.

> - - - - - - -
> "Where is your Uncle Scrooge?"
> - - - - - - -

The quote is significant to the story.
It refers to an important part of it.
The quote is not as difficult as it seems.

--- Dani?l

I have a very tough question that I hope some list members can help me with.

I am currently re-reading "Sophie's World", a very clever book about
philosophy that was an international best seller a few years ago. The
author Jostein Gaarder uses a very efficient plot device. He lets his
protagonist make the devastating discovery that she is a fictional
character. "I don't exist!" she cries. "I'm just a person in a book that
somebody is writing." Her mentor, the philosopher, replies: "And how does
the guy who writes the book know that HE's not a character in another book
that somebody else is writing?"

Now to my question:

Has there ever been a story where the ducks were aware that they were
cartoon characters?

Non-Disney creators do this a lot. In Bloom County, the great comic strip
of the 80s, the characters would sometimes muff their lines, try to rewrite
the script and even go on strike! But in a duck story?

I know one instance that does'nt really count: In the beginning of Floyd
Gottfrdssons adaption of "The Brave Little Tailor" we see Mickey coming to
the film studio to start shooting the story. But I feel that this was
simply a justification for placing the mouse in an historical setting (time
machines were not so common in those days).

Does anyone know of any other cases?

Nils from Norway