Keskustelujen arkisto

>Ludwig's one of my favorites. In a way I would love to see him used more
>in
>the comics, but I'm just not sure if he can be half as amusing without that
>brilliant Paul Frees voice. I forget who mentioned it, but I thoroughly
>enjoyed the Ludwig shorts that Disney printed during their brief run of
>comics too!

That would be me. One of the things I like about Ludwig - and this is a give
or take thing - is that SOMETIMES he is one of the ONLY characters in the
Duck AND Mouse universe combined who breaks the fourth wall so to speak. In
his own stories and cartoons, he does this constantly by talking to and
educating the audience. Its whats always made him work IMO and was pivotal
for the Disney produced stories where he was featured. He even did so in the
Donald Duck newspaper strips where he appeared - usually with Donald. (He is
Donald's OTHER Great Uncle on the "Duck" side of the family, correct?)

Anyways, Ludwig stories lead to gags that you cant see in the typical
Barks/Rosa story - Especially since you already have Gyro Gearloose.

I can see Ludwig existing in the Duck universe as, at best a professional
and well respected scientist in the city of Duckburg always holed up in his
lab which is why he is never at Duck family functions much, who occasionally
crosses paths with his relatives when he has a new scientific discovery to
WOW the world with. I could also see people thinking of him as a well
respected kook. After all - he's always been billed as the only person who
can "believeably" talk to "us". Eh? ;)

But in a story such as a Rosa or Barks or even Van Horn - one where its
pivotal the characters exist in thier own universe, he doesn't work well
except in the occasional cameo, which is why as popular as Ludwig is, he is
largely ignored by those that dont do SOLO stories with him where he works
best to teach us all new things in a hilarious way.

Personally - I'd love to see his solos return or reprinted, or even an
occasional once-in-a-blue-moon cameo by one of the BIG TWO (Rosa and Van
Horn) to let us know that he still exists. But thats it really. I cant see
him working any other way outside of the solos which would have to be
crafted wonderfully to capture his unique character style.

Jon Gray

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In a message dated 10/7/2003 3:47:10 AM Eastern Daylight Time,
jongraywb at hotmail.com writes:
<<This question has bothered me for SO LONG because back when I collected
Disney comics AVIDLY and I never knew about the message lists and such, I
came across Gold Key back issues of these books and had NO EARTHLY CLUE who
or what Moby Duck and his "crew" was. :P>>

as they say: everybody is a newbie at some time
most of us saw Donald and Mickey first on tv (in my case it was the
mickey mouse club and the disneyland tv show). but most of the others we got from
comic books (yes, i am old enough that I was an adult when they did ducktales -
so back in the old days we would have had no earthly clue who or what Uncle
Scrooge was...untill we read the comic book)

<<Needless to say I didnt buy the books (cause I was kinda revolted by the
shoddy artwork and haphazard stories -__-)>>

same guys who were doing the Donald and Junior Woodchucks comics (well minus
one of the Woodchuck writers <g>) art by tony strobl and kay wright ((i guess
i must be the only guy who thinks Wright is ok on this list))
<< but who in the world were they
supposed to be, where and when did they debut, and who thought that they
were popular enough to carry thier own book? I guess they were maybe
semi-popular characters during the late Gold Key Era? Were they ever used
overseas?>>
who were they susposed to be? two sailors and a porpoise! going out on
adventures in the days when whailing was considered adventuresome rather than
enviromental damaging.,...
introduced in an issue of Donald Duck 112, i seem to recall a couple
of other guest appearances in Donald Duck, before Moby got his own book in
1967. lasted a few years, ended, then revivied in the middle 70s

<<Anybody have any info on these 3 characters? Its obvious that at
least Donald and the kids know of him somehow in the story I saw, and
perhaps - only Moby is an old relation creted by who knows what? (I didnt
know what to make of that Dimwitty Duck creature cause it sure as heck was
no Duck i'd ever seen...) ^^;;>>
Dimwittty is even less PC than Moby -- but somebody has to swab the deck

for some reason i feel Moby was created by Del Connell, anybody know for
sure?
steven rowe

Jonathan H. Gray writes:

"Anyways, Ludwig stories lead to gags that you cant see in the typical
Barks/Rosa story - Especially since you already have Gyro Gearloose."

If you'd ever care to see a perfect example of how Ludwig and Gyro can work
together in a Donald story, check out "The Planet X Mystery" in DONALD DUCK #
102 (July, 1965) from the best period of the Gold Key era (1964-1966). It is
the DIFFERENCES in their respective characters that make the story work so very
well!

Alas, I don't believe this story was ever reprinted in the USA -- and, from
what I gather, if Gladstone didn't reprint it in their days, Gemstone may have
no access to it either. BTW, DONALD DUCK # 102 also marked the first
appearance of Super Goof, by Paul Murry.

Joe Torcivia.

This may be an unpopular thing to say, but I remember kind of liking the
Moby Duck stories. Of course, I only have two or three of the actual Moby
Duck comic books, but I kind of like the stories in them. The art was okay
(leagues above what I could ever dream of doing, of course!). I recall one
story where Moby goes to a kingdom that changes rulers every night at
midnight and he is elected king (what an oxymoron!). I thought the idea
was kind of neat. Actually, I've re-read some of the old seventies Gold Key
and Whitman comics lately, and I've found it sort of frustrating. So many
of the stories have good or funny ideas, but there just isn't much payoff.
I think Moby could be a really neat character if he was in the hands of the
right artist or writer. Somehow I doubt that Rosa or Van Horn are waiting
for their moment to bring on a full-scale Moby revival, though.

About Kay Wright.I think Wright would seem like a much better artist if he
(or she?) had been drawing better scripts. I think Wright has suffered a
lot of unjust criticism because he dared to draw the Woodchuck scripts that
Barks scripted. That's not really fair, of course. Reading the set of the
Carl Barks Library that reprints Barks' Woodchuck stories, I feel like they
present Strobl and Wright as saboteurs bent on destroying Barks's scripts.
Being painfully frank, though, Barks's Woodchuck scripts hardly seem a cut
above Western's other seventies scripts. Even a master artist like Jippes
can only do so much with the stories. I thought the recent "New Zoo Brews
Ado" was pretty mediocre. The art was wonderful, but the story. Gosh, the
poacher just got away and that was that! The three millionaire golfers
funded an entire zoo long-term. Ugh! I'm probably on thin ice here, so I'
ll stop! My point is that Wright really wasn't a bad artist. He just had
poor material to work with and wasn't as brilliant as Barks was at the prime
of his career (how many artists are?).

By the way, despite my criticisms of Barks's Woodchuck scripts, I've got to
confess that I still enjoy seeing the new Jippes versions. I just like to
sigh sadly over them later! :/

Matthew A. Williams

Hello, Mr. Ault, and hallo all!

I'm happy to be here to talk with you. Maybe it's not necessary to introduce
myself, indeed, for mr. Ault (whose interview with Calr Barks I appreciated
very much in an old issue of "The Comics Journal") I can say that I
currently work for The Walt Disney Company-Italia, in the "Zio Paperone"
monthly magazine, devoted to Bark's' art and to his "heirs"' one. I also got
the honor to organize Barks' oil paint exhibition in Milano, in 1994, and to
introduce him officially to the Italian Press in an interview-conference
during his European tour,in that July.
In the pas ten years or so, I also translated some stories by Barks into
Italian and wrote tens of articles about him...

My appreciation for Barks' "corpus" of stories grew even more, after reading
the 1974 Italian book you are discussing about. "Introduzione a Paperino" is
a very good and detailed survey on the barksian Ducks comics, but is
affected by some problems.

The first one is that the three authors were properly fond about the Italian
translations of the Barks' stories, but (with some exceptions) they ignored
the original version of them. Exceptionally, they compared the Italian and
the American versions to point how bad (or "interpolated") the Italian
version generally was.
You know that the Guido Martina's Italian Ducks stories were affected by
more violence than the Barks' ones. More, characters' personalities were
changed (Martina's stingy Scrooge is closer to the Italian mask of Pantalone
than to Barks' sympathetic Scrooge). To match with the Italian "fumettis",
Martina and his colleagues translated some Barks original dialogues in an
altered way, to obey to this trend. I hope this concept is clear enough...

In the book, there are also some mistakes that must be correct. One of the
bigger is that for the authors J. Rockerduck and Flinthearth Glomgold are
the same character. In 1974, an Italian reader had to be very smart and full
of comics books knowledge to distinguish them, because the same Disney
editors didn't pay attention so much. You must think that the same
Flinthearth Glomgold's name was translated into four different ways in
"Topolino", and when his first story made in Italy with him was produced, he
got a fifth one!

So, to translate "Introduzione a Paperino" giving the book all the merit it
deserves, I think it'd be necessary "to translate and correct or rewrite
some sentences", elighted by knowledges impossible to be reached by an
Italian 1974 reader and scholar. And, for an international audience, maybe
is better to skip some paragraphs, adding some notes, too.

That's all, for now, from myself.
Let's go on discussing...

Ciao!

Luca Boschi

I live about 90 miles from this convention. Is it worth going to? Obviously, I'd love to see Don, but I don't even know what he'll be doing there (drawing? chatting? sitting on panels?) and I'm not sure what else there is to do at a comic convention. I don't have much money for rare, old comics these days, but I'd like to pick up some more common back issues from the 80's-90's that I'm missing. Will I find them there?

rodney.

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> By the way, you are apparently using some sort of computer program that
> types out your spoken words, aren't you? Is that why your messages are
> presented as being a phonetically spelled version of English spoken with
an
> accent? It's fun to read!

Well I usse my *Lexibook* (Im routh a world in Polish, press a buton and
[Magic?] it is in English.

Yours
Maciek

Steven Rowe writes:

"...for some reason i feel Moby was created by Del Connell, anybody know for
sure?"

I doubt we'll ever know for sure, but the lead story (...probably all three
stories) in DONALD DUCK #112 was surely written by Vic Lockman. After a while,
you can just SENSE a Vic Lockman story by its plot, pacing, and dialogue.

Now, whether Lockman was given Moby (...and Porpy - and later Dimwitty) to
work with by Del Connell or the Disney Studios is a different matter entirely.
It might be fair to say, though, that WHATEVER personality or basic "schtick"
Moby had was developed by Lockman in the various stories he did with Moby in
both DONALD DUCK and Moby's own title. So, Vic Lockman could be considered, to
some extent, to be one of Moby's "creators".

Oh, and before everyone jumps on me... I know "Super Goof" appeared in
PHANTOM BLOT # 2 -- but in DONALD DUCK #102 is where he first functioned as an
actual superhero (...rather than under self-delusion), albeit with an assist from
Gyro instead of the (...soon to come) Super Goobers. -- Joe Torcivia.