Keskustelujen arkisto

So I guess then we're thinking it might be Strobl.
Admittedly the Donald looks somewhat like Barks's
handiwork (although it still bears more of a
resemblance to Strobl to me), but Gyro and the nephews
do not look like Barks at all. Perhaps as you say,
David, Barks, if he did the cover, intentionally drew
like Strobl because the latter did the inside art. I
don't know, though. Looks like Strobl to me. Kind of
funny how there are these we things we just don't
know. Didn't Western keep records of this stuff? At
least invoices or something?

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Greetings, friends,

browsing INDUCKS, I notice that some stories have the comment "plot paid
by Burbank". Examples are

http://coa.inducks.org/story.php/x/D+92205//_
http://coa.inducks.org/story.php/x/D+92207//_
http://coa.inducks.org/story.php/x/D+92211//_

I'm not really sure what this means, is anyone in the mood to enlighten me?

--
Olaf Moriarty Solstrand

Bror Helmann wrote:

>In Sweden the Squabbit have had two names: "Griskanorre" (1957) and
>"Grisenin" (1974), now I wonder what squabbits are called in other
>countries. (INUCKS couldnat help me with this).

It is called a "grisenin" in danish. For those of you who don't speak
danish/swedish: I think it is a word put together by "gris" (pig) and
"Kanin" (rabbit).

-Oh, and someone asked about when Flemming Andersen started drawing Disney
comics. According to inducks, he has been writing and drawing since 1990.
Take a look at this page: http://coa.inducks.org/creator.php/x/FAn

/ole

---

More pictures from komiks.dk, the Copenhagen comic convention:
http://snipurl.com/komiksdk , http://rackham.dk/dokument/dokument023.php ,
http://www.sekventiellt.se/1spalt.php?sid=87&mid=4

Olivier:

> And one day, a few weeks (two months) ago, as I checked it to enter
> it in my Word document, I saw that the painted cover of "Tales of
> Terror" # 10 (January, 1987), was credited to... Gary Leach !
> To date, it's the only art of his that I have. I have seen a few
> ads in other comics for titles drawn by Gary, though.
> Naturally, I Googled for Gary, and found out what a great artist he
> is / you are.

Oh, how I wish I could accept these kudos! But this Gary Leach, a
definitely fine artist, is not me. He's from Great Britain, and when
he first "arrived" in the US, his name was sometimes spelled Garry
Leach, but that didn't stop a certain confusion from arising, once
both he and I established ourselves in our respective areas.

Also, in spite of this "connection", we've never met.

Gary

Kriton Kyrimis wrote:

> Scarpa's "Topolino e Bip" (*)

> (*) Is this really the original title of I TL 222-A / I TL 223-B ?

It's Topolino e Bip-Bip alle sorgenti mongole (there a bug on COA
truncating titles with a "-", sometimes).

Francesco

Hey, I'm just really curious here what the deal was
with the Disney-published comics circa 1990. As this
forum and others have demonstrated, there is a lot of
resentment, anger, and generally unhappy feelings
about Disney publishing. A short while ago I believe
it was Bob Foster who wrote a rather scathing piece on
Disney's desire for marketability at the expense of
quality. Don Rosa also once wrote that he only did
"The Money Pit" (the story in the first Disney issue
of "Donald Duck Adventures") as a goodwill gesture.
It's funny, because I was introduced to Disney
character comics in 1990 with the beginning of this
run, and I thought they were fantastic. Good paper,
good coloring, great stories (so I thought, anyway).
They were almost completely responsible for the
appreciation I currently hold for the comics of Donald
Duck, Uncle Scrooge, and so on. So, my question is:
what was the deal? Why does everybody older than 25,
especially people like Bob Foster and Don Rosa, hold
Disney and their comics in such contempt?

Robert Hutchings

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Re: "Plot paid by Burbank" D-stories...

Disney Comics, Inc. bought the original scripts for these stories before its
1991
"implosion"; but after the "implosion," Disney Comics' budget had been
reduced, so they could no longer afford to have the stories drawn.

Yeah, that jogged my memory. I remember suggesting to the sales and
marketing wizards that long stories would be a good thing to do. Maybe run them
initially in several issues of one of the titles, then reprint the compilation in
hardback book form. I think some of them ran about 96 - 100 pages, but these
were fully fleshed out stories with great plots, sub-plots and tangential
character exposition. I'd forgotten about Huck Akin's "Oak Island Treasure." I
remember he did a ton of research and came in with an exciting plot outline
that just had to be done. Pat McGreal did one involving Hawaiian mythology that
I did see in print. I recall another story notion based on a Swing Music
orchestra contest involving a symphony-sized gathering of Beagle Boys entitled
"Boogie Woogie Beagle Boys," but I don't know what happened with that.

I don't have easy access to whatever records I might have, so unless I see a
script synopsis or some artwork, a title and code number don't do me much
good.

I think the Disney "implosion" was more of a 1992 event and was one of the
things that motivated my departure. The budget was reduced because the numbers
crunchers wanted to show more profit. (The best way to increase profit is to
do better stuff that more people want and more people will buy, not by
decreasing the budget and cheapening the production values.) I believed long
stories that could be reprinted later as hardback books that could go on
bookshelves in bookstores, not just comic shops, would be a great item that fans and
non-fans alike would want. I wanted to do a line of comic BOOKS, hard covered
editions of about 120 pages, that would appear monthly but were not
cover-dated so they could stay on bookshelves year round.

As for "...so they could no longer afford to have the stories drawn..." good
grief! If the money controllers had just stood behind us and supported us,
we might have done some memorable, groundbreaking stuff. But, no... they had
to squeeze us into monetary oblivion. Gladstone operated for years on a
handful of dedicated and talented people in modest offices in an affordable area
(Arizona). Disney had about 35 people in some of the most expensive real estate
in Burbank, with computers (I didn't get one), secretaries (not me), and
supervisors (I had four). No wonder they couldn't afford to publish comics. My
favorite quote by one of the semi-suits - "Here at WD Publications, we're not
building a publishing empire, we're building resumes." They saw Disney
Comics as a way to prove they could reduce budgets and still get the work done,
then used that skill to get jobs elsewhere.

David, you also said, "But because Disney Comics, Inc. in Burbank had
already paid for the scripts, Egmont didn't have to pay for them again."

I'm not so sure that's entirely true. I think Gutenberghus (Egmont) did buy
the scripts, perhaps at a reduced price, but maybe also as a diplomatic favor
to Disney. It doesn't make sense to me that the budget conscious folks in
Burbank would ever simply give anything away without breaking even on the
expense.

Finally - Hello to Flemming Andersen! Still playing the drums?

- Bob

Dear friends.

According to the Canadian phone book, William Van Horn's middle initial is
R. (or, at least I *assume* this person is our Van Horn, an assumption I
think is fair when the only William Van Horn listed in the entire Canada
lives in Vancouver.)

Does anyone here know what this R is short for?

--
Olaf Moriarty Solstrand