Quote from user: WB**SIDENOTE** I just realized you said "was." He doesn't do Disney work anymore?
Maybe he does - but not in this world. Bottaro passed away in 2006.
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Topic: Best Murry Serial/Non-Gottfredson Mickey Story You've Read
(28 messages)
Ole Damgaard
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 16 -
2007-12-17 at 20:48:36
WB
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 17 -
2007-12-17 at 20:53:09
Did not know that. Shame. :(
Ole Damgaard
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 18 -
2007-12-17 at 21:14:32
Quote from user: WBQuote:I think it is somehow a pity that Tello at Egmont (Gutenberghus) used Murry instead of Gottfredson as a model.
Gotta admit that I am no fan of Tello's artwork. Never have liked it and never will. I'd almost say his Mickey model is worse than late Murry. It probably sounds awfully mean and I don't mean it as such, but the stories and art by those who imitate that specific Murry period represent to a tee the stiff, zombie-ish, bland and brain-dead personality traits that are both utterly devoid of life and movement. Many if not all of the Tello stories and art are exactly what people who do not know better come to hate, expect, and unfortunately associate Mickey comics and animation with. I can't honestly sit here and say that I have ever found any enjoyment from a Tello story or cover that has been printed in the states because 95% of them are just so incredibly dull. :(
Toni Bancells did something quite similar in those days - a kind of imitated Murry-style.
Like it or not, this is the Mickey that I grew up with in the danish weekly Donald Duck magazine, along with "real" Murry stories. So I don't really hate Tello and Bancells' Mickey runs. They're like old friends from back then. But not exactly pretty to look at, I'll give you that..
Gotta admit that I am no fan of Tello's artwork. Never have liked it and never will. I'd almost say his Mickey model is worse than late Murry. It probably sounds awfully mean and I don't mean it as such, but the stories and art by those who imitate that specific Murry period represent to a tee the stiff, zombie-ish, bland and brain-dead personality traits that are both utterly devoid of life and movement. Many if not all of the Tello stories and art are exactly what people who do not know better come to hate, expect, and unfortunately associate Mickey comics and animation with. I can't honestly sit here and say that I have ever found any enjoyment from a Tello story or cover that has been printed in the states because 95% of them are just so incredibly dull. :(
Toni Bancells did something quite similar in those days - a kind of imitated Murry-style.
Like it or not, this is the Mickey that I grew up with in the danish weekly Donald Duck magazine, along with "real" Murry stories. So I don't really hate Tello and Bancells' Mickey runs. They're like old friends from back then. But not exactly pretty to look at, I'll give you that..
Robb_K
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 19 -
2007-12-17 at 21:47:00
Quote from user: WBWe know Mickey grew up on a farm. We know he met Minnie as she wandered by the farm they lived on. If you want to put the Rosa/Barks/Gottfredson worlds together: we know Mouseton is probably a mid-sized suburb/city outside of Duckburg - probably connected to Duckburg via a bridge over the Tulebug since it's the main river in the Disney comics world. Since Gottfredson always depicted Mickey's hometown as being small even as time went on, we can figure Mouseton is quiet and access to a lot of rural areas and is not a larger metropolis type area like Duckburg. It fits with the barnyard motif established in the early shorts and comics. In fact - all early Mickey characters are animals or concepts you'd find in a rural barnyard:
I agree that "Mouseton" (although, I'd rather use Gottfredson's "Mouseville"-despite legal claims by Mighty Mouse) could be in Calisota. but i wouldn't place it so near to Duckburg. I would put it in the middle of Calisota, but also on The pacific Ocean, as it, too, had a harbour on the sea.
From my extensive study of Barks panels, I'd say that The Duckburg River was bigger than The Tulebug River (as it was on maps, and also in panel views. The Tulebug River was fairly narrow, and had rapids, fairly near to Duckburg city limits, or even inside. The Duckburg River was very wide as it emptied into the sea in Duckburg Bay. On the map, it is shown still very wide moving upsteam through the city. Farther up and northeast of Duckburg, it narrows some, but still must be a lot wider than the Tulebug River, which was always fairly narrow in its depictions.
I'd say that Duckburg has about 350,000-400,000 people at its greatest (a middle-sized city). And it may have had 150,000 or so when Donald was growing up. I would say that "Mouseton" has about 75,000 people (which is about the size of a bedroom suburb of a large US city. But it is the seat of a county of Calisota ("Mouse County"?), and, thus, has a larger Downtown area (commercial centre) -harbour and transportation centre, to service surrounding towns. It still has a small town feel.
I agree that "Mouseton" (although, I'd rather use Gottfredson's "Mouseville"-despite legal claims by Mighty Mouse) could be in Calisota. but i wouldn't place it so near to Duckburg. I would put it in the middle of Calisota, but also on The pacific Ocean, as it, too, had a harbour on the sea.
From my extensive study of Barks panels, I'd say that The Duckburg River was bigger than The Tulebug River (as it was on maps, and also in panel views. The Tulebug River was fairly narrow, and had rapids, fairly near to Duckburg city limits, or even inside. The Duckburg River was very wide as it emptied into the sea in Duckburg Bay. On the map, it is shown still very wide moving upsteam through the city. Farther up and northeast of Duckburg, it narrows some, but still must be a lot wider than the Tulebug River, which was always fairly narrow in its depictions.
I'd say that Duckburg has about 350,000-400,000 people at its greatest (a middle-sized city). And it may have had 150,000 or so when Donald was growing up. I would say that "Mouseton" has about 75,000 people (which is about the size of a bedroom suburb of a large US city. But it is the seat of a county of Calisota ("Mouse County"?), and, thus, has a larger Downtown area (commercial centre) -harbour and transportation centre, to service surrounding towns. It still has a small town feel.
Olivier
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 20 -
2007-12-17 at 21:58:08
Quote from user: WBI was always under the impression that Gottfredson had approval over everything and pretty much oversaw all story, plot, and direction himself up until Bill Walsh came on-board. I remembered reading somewhere that this was because he never felt comfortable leaving Osborne and DeMaris to their own devices.
The Mickey Mouse in Color book features an excellent interview by David R. Smith. Quoting from memory, Gottfredson did explain that the was plotted the stories, handed them to Osborne or De Maris to script, then went throught the script to adjust te pacing or dialogue or gag, and that he kept switching between both because they had different strengths and lacks-- I need to refer to the text to be more specific about it, but he cited the way the gags were written or used.
He then said that, after a period of adaptation for Walsh to get the hang of it, he could rely totally on him.
Quote from user: WBWalsh's Pete by far remains my favorite version of him: dumb, cunning, brutal, menacing, and slightly evil - starving Professor Glockenspiel to skin and bones ("The World of Tomorrow"), implying and joking about having his comrades assasinated ("The Moook Treasure")
"The Moook Treasure" is one of my favorite stories of all. It's so wonderfully odd, mysterious, creepy at times.
The only thing I don't quite like is the revelation regarding Pete; I like the story and the character in it, but this revelation does not quite fit in the already firmly established characterization of Pete.
Quote from user: WBCan you imagine how utterly insane he could have made The Phantom Blot had Gottfredson decided to use him more than just once or how much more deadlier an already deadly Sylvester Shyster (who was the primary and meanest of the Mickey villians at one point) would be had he stayed in the strip? It's a rather scary thought.
I had never thought of it, but it is surprising he did never used The Phantom Blot. He obviously loved to create his own villains and had imagination enough to come up with plenty of original ones, but the Blot seems like someone that ought to have appealed to him-- unless he was disappointed with his unmasking at the end; might he have used him if he had remained masked, and a faceless menace?
The Mickey Mouse in Color book features an excellent interview by David R. Smith. Quoting from memory, Gottfredson did explain that the was plotted the stories, handed them to Osborne or De Maris to script, then went throught the script to adjust te pacing or dialogue or gag, and that he kept switching between both because they had different strengths and lacks-- I need to refer to the text to be more specific about it, but he cited the way the gags were written or used.
He then said that, after a period of adaptation for Walsh to get the hang of it, he could rely totally on him.
Quote from user: WBWalsh's Pete by far remains my favorite version of him: dumb, cunning, brutal, menacing, and slightly evil - starving Professor Glockenspiel to skin and bones ("The World of Tomorrow"), implying and joking about having his comrades assasinated ("The Moook Treasure")
"The Moook Treasure" is one of my favorite stories of all. It's so wonderfully odd, mysterious, creepy at times.
The only thing I don't quite like is the revelation regarding Pete; I like the story and the character in it, but this revelation does not quite fit in the already firmly established characterization of Pete.
Quote from user: WBCan you imagine how utterly insane he could have made The Phantom Blot had Gottfredson decided to use him more than just once or how much more deadlier an already deadly Sylvester Shyster (who was the primary and meanest of the Mickey villians at one point) would be had he stayed in the strip? It's a rather scary thought.
I had never thought of it, but it is surprising he did never used The Phantom Blot. He obviously loved to create his own villains and had imagination enough to come up with plenty of original ones, but the Blot seems like someone that ought to have appealed to him-- unless he was disappointed with his unmasking at the end; might he have used him if he had remained masked, and a faceless menace?
Ole Damgaard
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 21 -
2007-12-17 at 22:19:48
Quote from user: WBWhat makes him and this GB Carpi fellow stick out from Scarpa and Cavazzano?
Uhm..everything. It sounds a little like you maybe believe that all italian artists use the same style, except from these two, which is of course not true. But one could assume that a lot of the newer ones does, if one only reads newer stories, as Cavazzano, and here I mean his late artwork, has become sort of a role model for a lot of younger artists in Italy, though not all, of course. Carpi has inspired some "new" artists too, like Maria luisa Ugetti, for instance, but as for Cavazzano, there seems to be a more excessive "overtaking" of his style going on, for some reason. People like Paolo Ongaro, Silvio Camboni, Alessandro Gottardo, Marco Gervasio and lots of other creators are drawing in a style so similar to Cavazzanos later stuff, that some of them even seems to have perfectionized it to a higher level than Cavazzano himself.
Bottaro, on the other hand, was always himself, as for a lot of these old school creators. I mean, you never mistake a Bottaro or Capitanio story for something else, whereas some of these "younger" artists, skilled as they are, unfortunately produces artwork that is hard to distinguish from other peoples work. (unfortunately from my point of view, but I guess that Disney likes when it looks somewhat similar..gives the stories more comtinuity, I think)
You should check out some of Bottaros non-Disney stuff too.. he did quite a lot of different comics and childrens stories. The Disney work was only a small part of his work.
Uhm..everything. It sounds a little like you maybe believe that all italian artists use the same style, except from these two, which is of course not true. But one could assume that a lot of the newer ones does, if one only reads newer stories, as Cavazzano, and here I mean his late artwork, has become sort of a role model for a lot of younger artists in Italy, though not all, of course. Carpi has inspired some "new" artists too, like Maria luisa Ugetti, for instance, but as for Cavazzano, there seems to be a more excessive "overtaking" of his style going on, for some reason. People like Paolo Ongaro, Silvio Camboni, Alessandro Gottardo, Marco Gervasio and lots of other creators are drawing in a style so similar to Cavazzanos later stuff, that some of them even seems to have perfectionized it to a higher level than Cavazzano himself.
Bottaro, on the other hand, was always himself, as for a lot of these old school creators. I mean, you never mistake a Bottaro or Capitanio story for something else, whereas some of these "younger" artists, skilled as they are, unfortunately produces artwork that is hard to distinguish from other peoples work. (unfortunately from my point of view, but I guess that Disney likes when it looks somewhat similar..gives the stories more comtinuity, I think)
You should check out some of Bottaros non-Disney stuff too.. he did quite a lot of different comics and childrens stories. The Disney work was only a small part of his work.
Cacou
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 22 -
2007-12-18 at 08:39:37
Bottaro's stories are among the classic Italian comics. He has drawn a lot of excellent DD and US stories. He was particularly good with long adventures (like the Ducks in medieval times, or some parodies of classic litterature or mytholgie) and with Gladstone and Daisy. He is also very well-known for a series of stories featuring Goofy and Witch Hazel (the latter trying to persuade Goofy that she exists, but with Goofy's logic, this is something really hard). Bottaro also created a villain in the 70s, Dottor Zantaf (a kind of evil doctor reminiscent of Zorglub in Spirou) and in the 90s/2000s an intergalactic king. I'm sure other people can say more accurate things on him.
COA votes for Bottaro are here: http://coa.inducks.org/recommend.php?top100=1&filterbyauthor=LBo&credit=a
(Really any story I see here is a very good one)
And the #1 is one of the medieval stories:
http://outducks.org/webusers/webusers/2007/11/it_gcd_004ja_001.jpg
COA votes for Bottaro are here: http://coa.inducks.org/recommend.php?top100=1&filterbyauthor=LBo&credit=a
(Really any story I see here is a very good one)
And the #1 is one of the medieval stories:
http://outducks.org/webusers/webusers/2007/11/it_gcd_004ja_001.jpg
Olivier
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 23 -
2007-12-18 at 17:59:28
I'd love to see those medieval stories reprinted in particular, because I have a fond, though very very small and hazy memory of one of those (barely two images).
Lars Jensen
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 24 -
2007-12-18 at 18:03:19
Quote from user: WBThe only time Gottfredson ever let Osborne and DeMaris do their own solo work without plot accompaniments was on Sunday strips which in general are not bad (they feel more like your standard 10 to 8 page gag vignette we'd see by Barks or something) but they do not pack anywhere near a punch, polish, or distinctness as the dailies when story comes into play. I.E. - "Rumplewatt the Giant"/"The Robin Hood Adventure" (all very "eh" Osborne Sunday stories) and "Service With a Smile (a Mickey style gag story with a 10 pager style to it by DeMaris): all interesting, mindless stories in their own right, but nowhere near the level of power and quality shown in "Sky Island"/"The Mail Pilot" or "The Land of Long Ago"/"Outwits the Phantom Blot".
Agreed. The Mickey Sunday stories I've read are OK -- but only OK.
Quote from user: WBI think that may be part of why Gottfredson let him take the reign in plotting: namely because given Walsh's background (having just come off Mary Poppins) - here was someone who could actually plot.
A slight correction: Bill Walsh began work on the Mickey Mouse strip in 1943. And as far as I know he (co-)wrote "Mary Poppins" in the early 1960s. But Gottfredson *was* indeed impressed with Walsh's writing when he was introduced to it.
Quote from user: WBQuote from user: Lars JensenRomano Scarpa still loved Mickey right up until he passed away, yes.
You were probably one of the last few of the pros to write stories that he wound up drawing, Lars. What was it like working with him? I'm incredibly curious! :)
I never worked closely (or extensively) with him, so I'm no expert on Scarpa's thoughts. I do know that when his illness became worse, he asked Egmont to send him only Mickey scripts. He *loved* that character. (And wrote about it in the articles he made for http://coa.inducks.org/issue.php?c=dk%2fHOF+++2 .)
I only wrote one script for him, which I tried to make as Scarpa-ish as I could. I noticed, though, that in the scenes where I didn't manage to do that (and instead had, say, characters standing still while talking), Scarpa added some dynamics to the panel. Punched things up a bit. Not so much that it overshadowed the story itself, but just enough to keep things moving. That's what I like about working with people like Marco Rota and Vicar, too: they don't just illustrate, they take ownership of the story and make it better in spots where it can be improved. Daniel Branca did the same in the one story he did with me.
And everybody at ECN loved Romano Scarpa.
Quote from user: WBQuote from user: Lars JensenThis is Goofy's nephew Gilbert, right? Where did you see that last name?
Yes. the brainiac one. And as far as the name...
Eh, force of habit I'm afraid. You see, Goofy's real name - Goofus Dippy Dawg - was really only JUST cemented here in the states with that Goofy anniversary issue of WDC&S and through one of the McGreal's stories that was printed here. I have to get it out of my head that "Goof", the rather stupid surname that was used in Goof Troop for both he and Max and in the early animated shorts, is not canon. I figured by reason of deduction, that would make Gilbert's real name either Gilbert Goof (if you want to go the Duck/McDuck angle) or Gilbert Dawg (if you want to be literal about it). I think "Gilbert Goof" sounds better myself, but what do I know.
I worry about you, WB. Next you'll be making a Goofy family tree. :)
Quote from user: WBQuote from user: Lars JensenYeah, Dan, Idgit and Emil all have potential. I've only used Emil Eagle once, but it was lots of fun.
I wish more writers and editors had your attitude Lars. Just because a character was used in a series of bad and/or awful stories doesn't mean said character can't be made fun, relevant or used in new stories that DON'T follow the trail of the old ones.
Well, Emil Eagle has been declared dead by ECN, so it doesn't really matter whether writers *or* editors want to use him -- they *can't*! And I suspect Idgit the Midget and Dangerous Dan McBoo are dead too. Unfortunately.
Quote from user: WBTo this day, I want to know what became of Huey, Dewey, and Louie's parents - and I've got a strong feeling that if it ever gets told, that too would be a very sad but poignant and powerful story.
In the Rosa universe: probably, yeah. Which is why I really, really hope it won't be told. Why? Because in the Rosa universe we have Goldie (will never be united with Scrooge, the man she loves), Scrooge (will never be united with Goldie, the woman he loves), Fergus, Downy... and presumably others, but I don't have time to check... All characters that already have "very sad but poignant and powerful" fates. If Huey, Dewey and Louie's parents also have these kinds of fates, then -- in my opinion -- we've reached the point where such fates are no longer sad, poignant and powerful. They're merely the norm. And that would weaken the impact of the aforementioned fates tremendously.
Quote from user: WB(If you wanna continue the Rosa discussion please do it in another thread so we don't get this one too far off topic. I have a feeling I'll probably have to expand my views on that if the wrong person takes something I said out of context. And the last thing I wanna do is open a can of worms that can never be closed... =\)
Nah, I'm not really in the mood to discuss Don Rosa or his stories. Some of his fans always seem to take it as me insulting him or his fans, and there's no reason to anger those people.
Quote from user: WBPersonally, rather than his origins I would like to see more expansion on Mickey's BACKGROUND - who he is, why he does what he does, why his friends react and love him, and why he is the linchpin for all of them. Plus better adventure stories that take more of an extended, detailed Gottfredsonian focus to storyline in charactrer development and adventure than a phoned-in Murry one or a mouse story disguised as a Donald Duck story - my biggest pet peeve. Just because Rosa did his way of telling Scrooge one way does not mean the same should be done for Mickey. An idea on the early days could be nice, but....everything in moderation.
But where would it be done? ECN no longer produces Mickey stories for the pocketbooks, so it can't be done there. And the Mickey stories in the weekly are mostly 10-pagers so it will be hard to do any extended, detailed Gottfredsonian focus. Perhaps you could do it for the Italians?
Oops, I missed this one earlier:
Quote from user: cacouI think it is somehow a pity that Tello at Egmont (Gutenberghus) used Murry instead of Gottfredson as a model.
Tello was told to copy Murry.
Agreed. The Mickey Sunday stories I've read are OK -- but only OK.
Quote from user: WBI think that may be part of why Gottfredson let him take the reign in plotting: namely because given Walsh's background (having just come off Mary Poppins) - here was someone who could actually plot.
A slight correction: Bill Walsh began work on the Mickey Mouse strip in 1943. And as far as I know he (co-)wrote "Mary Poppins" in the early 1960s. But Gottfredson *was* indeed impressed with Walsh's writing when he was introduced to it.
Quote from user: WBQuote from user: Lars JensenRomano Scarpa still loved Mickey right up until he passed away, yes.
You were probably one of the last few of the pros to write stories that he wound up drawing, Lars. What was it like working with him? I'm incredibly curious! :)
I never worked closely (or extensively) with him, so I'm no expert on Scarpa's thoughts. I do know that when his illness became worse, he asked Egmont to send him only Mickey scripts. He *loved* that character. (And wrote about it in the articles he made for http://coa.inducks.org/issue.php?c=dk%2fHOF+++2 .)
I only wrote one script for him, which I tried to make as Scarpa-ish as I could. I noticed, though, that in the scenes where I didn't manage to do that (and instead had, say, characters standing still while talking), Scarpa added some dynamics to the panel. Punched things up a bit. Not so much that it overshadowed the story itself, but just enough to keep things moving. That's what I like about working with people like Marco Rota and Vicar, too: they don't just illustrate, they take ownership of the story and make it better in spots where it can be improved. Daniel Branca did the same in the one story he did with me.
And everybody at ECN loved Romano Scarpa.
Quote from user: WBQuote from user: Lars JensenThis is Goofy's nephew Gilbert, right? Where did you see that last name?
Yes. the brainiac one. And as far as the name...
Eh, force of habit I'm afraid. You see, Goofy's real name - Goofus Dippy Dawg - was really only JUST cemented here in the states with that Goofy anniversary issue of WDC&S and through one of the McGreal's stories that was printed here. I have to get it out of my head that "Goof", the rather stupid surname that was used in Goof Troop for both he and Max and in the early animated shorts, is not canon. I figured by reason of deduction, that would make Gilbert's real name either Gilbert Goof (if you want to go the Duck/McDuck angle) or Gilbert Dawg (if you want to be literal about it). I think "Gilbert Goof" sounds better myself, but what do I know.
I worry about you, WB. Next you'll be making a Goofy family tree. :)
Quote from user: WBQuote from user: Lars JensenYeah, Dan, Idgit and Emil all have potential. I've only used Emil Eagle once, but it was lots of fun.
I wish more writers and editors had your attitude Lars. Just because a character was used in a series of bad and/or awful stories doesn't mean said character can't be made fun, relevant or used in new stories that DON'T follow the trail of the old ones.
Well, Emil Eagle has been declared dead by ECN, so it doesn't really matter whether writers *or* editors want to use him -- they *can't*! And I suspect Idgit the Midget and Dangerous Dan McBoo are dead too. Unfortunately.
Quote from user: WBTo this day, I want to know what became of Huey, Dewey, and Louie's parents - and I've got a strong feeling that if it ever gets told, that too would be a very sad but poignant and powerful story.
In the Rosa universe: probably, yeah. Which is why I really, really hope it won't be told. Why? Because in the Rosa universe we have Goldie (will never be united with Scrooge, the man she loves), Scrooge (will never be united with Goldie, the woman he loves), Fergus, Downy... and presumably others, but I don't have time to check... All characters that already have "very sad but poignant and powerful" fates. If Huey, Dewey and Louie's parents also have these kinds of fates, then -- in my opinion -- we've reached the point where such fates are no longer sad, poignant and powerful. They're merely the norm. And that would weaken the impact of the aforementioned fates tremendously.
Quote from user: WB(If you wanna continue the Rosa discussion please do it in another thread so we don't get this one too far off topic. I have a feeling I'll probably have to expand my views on that if the wrong person takes something I said out of context. And the last thing I wanna do is open a can of worms that can never be closed... =\)
Nah, I'm not really in the mood to discuss Don Rosa or his stories. Some of his fans always seem to take it as me insulting him or his fans, and there's no reason to anger those people.
Quote from user: WBPersonally, rather than his origins I would like to see more expansion on Mickey's BACKGROUND - who he is, why he does what he does, why his friends react and love him, and why he is the linchpin for all of them. Plus better adventure stories that take more of an extended, detailed Gottfredsonian focus to storyline in charactrer development and adventure than a phoned-in Murry one or a mouse story disguised as a Donald Duck story - my biggest pet peeve. Just because Rosa did his way of telling Scrooge one way does not mean the same should be done for Mickey. An idea on the early days could be nice, but....everything in moderation.
But where would it be done? ECN no longer produces Mickey stories for the pocketbooks, so it can't be done there. And the Mickey stories in the weekly are mostly 10-pagers so it will be hard to do any extended, detailed Gottfredsonian focus. Perhaps you could do it for the Italians?
Oops, I missed this one earlier:
Quote from user: cacouI think it is somehow a pity that Tello at Egmont (Gutenberghus) used Murry instead of Gottfredson as a model.
Tello was told to copy Murry.
Ramapith
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 25 -
2007-12-18 at 19:06:57
Quote from user: WBGoofy's real name - Goofus Dippy Dawg - was really only JUST cemented here in the states with that Goofy anniversary issue of WDC&S and through one of the McGreal's stories that was printed here
Two McGreal stories, actually. But while I like "Goofus D. Dawg," there's no telling for sure whether it'll forever be the norm. Goofy is unique insofar as his full name has never been consistent, and I can't say I entirely mind.Quote:I like Rumpus McFowl as Scrooge's half brother. I like the fact that after Downy died, Fergus chose to move on and rebuild his life and family.
I don't want to try to sort out continuity too completely (or strictly), but I get the impression from Van Horn's "Travails" that Rumpus comes from a Fergus marriage preceding Downy, not postdating her. It's made clear that the marriage ended badly, which if nothing else would be a truly depressing final chapter to Fergus' life.Quote:I also find Gideon McDuck - Scrooge's other half brother - created and used by Romano Scarpa to be interesting.
FYI, I don't believe Scarpa suggested anywhere that Gideon was a "half"-brother; he may well have been intended as a brother by Scrooge's own (then-unnamed) mom.Quote:Lars - you took a throwaway character - Douglas McDuck, a Scrooge cousin who was utterly forgettable
Yikes! Jon, I think you're critiquing Douglas' first 1980s appearance based on my own comments about it, as it hasn't appeared Stateside. I didn't mean to bash it??I only stated that Douglas wasn't quite as developed as under Lars, not that the story was a snoozer.Quote:Also Roger - we know how Mickey and Minnie meet - in the first serial under Walt Disney and Byron Erickson's expansion on that in "The Past Imperfect"
I'm usually reluctant to toot my own horn, but I wrote "The Past Imperfect"; it wasn't Byron's! And I guess I'm kinda proud of having shown that first meeting, though I don't want to lock anyone else into following it (you'll notice Minnie's comment in the story itself??that it's not how she remembers it!).
Later I learned that Egmont had tried to show the first meeting in a 1980s story, but Disney at the time forbade it. I may have been lucky to get away with it ten years later.
Two McGreal stories, actually. But while I like "Goofus D. Dawg," there's no telling for sure whether it'll forever be the norm. Goofy is unique insofar as his full name has never been consistent, and I can't say I entirely mind.Quote:I like Rumpus McFowl as Scrooge's half brother. I like the fact that after Downy died, Fergus chose to move on and rebuild his life and family.
I don't want to try to sort out continuity too completely (or strictly), but I get the impression from Van Horn's "Travails" that Rumpus comes from a Fergus marriage preceding Downy, not postdating her. It's made clear that the marriage ended badly, which if nothing else would be a truly depressing final chapter to Fergus' life.Quote:I also find Gideon McDuck - Scrooge's other half brother - created and used by Romano Scarpa to be interesting.
FYI, I don't believe Scarpa suggested anywhere that Gideon was a "half"-brother; he may well have been intended as a brother by Scrooge's own (then-unnamed) mom.Quote:Lars - you took a throwaway character - Douglas McDuck, a Scrooge cousin who was utterly forgettable
Yikes! Jon, I think you're critiquing Douglas' first 1980s appearance based on my own comments about it, as it hasn't appeared Stateside. I didn't mean to bash it??I only stated that Douglas wasn't quite as developed as under Lars, not that the story was a snoozer.Quote:Also Roger - we know how Mickey and Minnie meet - in the first serial under Walt Disney and Byron Erickson's expansion on that in "The Past Imperfect"
I'm usually reluctant to toot my own horn, but I wrote "The Past Imperfect"; it wasn't Byron's! And I guess I'm kinda proud of having shown that first meeting, though I don't want to lock anyone else into following it (you'll notice Minnie's comment in the story itself??that it's not how she remembers it!).
Later I learned that Egmont had tried to show the first meeting in a 1980s story, but Disney at the time forbade it. I may have been lucky to get away with it ten years later.
Ole Damgaard
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 26 -
2007-12-18 at 22:14:52
Quote from user: OlivierI'd love to see those medieval stories reprinted in particular, because I have a fond, though very very small and hazy memory of one of those (barely two images).
They are great, although sometimes very far from the "normal" Disney comic story, with their supernatural creatures, ghosts, etc. I've had to buy some of them in italian, even though my italian is almost non-existent. :)
Not many of them have been published in english, unfortunately.
They are great, although sometimes very far from the "normal" Disney comic story, with their supernatural creatures, ghosts, etc. I've had to buy some of them in italian, even though my italian is almost non-existent. :)
Not many of them have been published in english, unfortunately.
Gyro Gearloose
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 27 -
2007-12-19 at 16:18:06
Goofy gives his name as "A. Goof" in the "Gleam" story, whereas in the 1950s Disney cartoons he's "Mr. G. G. Geef." I kind of like "Goof" as his last name--he could be known as "Goofy" in the same way that someone with the last name "Smith" is called "Smitty." Of course, then were does "Dippy Dawg" fit in? I dunno.
EBi
Best Murry Serial/Non-Gottfredson Mickey Story You've Read
Message 28 -
2007-12-19 at 23:09:52
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