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Quote from user: Steamboat WillieQuote from user: Robb_KSo, Freddy Milton (a Danish National institution) is NOT a REAL Disney artist!!! I guess he is rather, CHOPPED LIVER???

I rate his stories, coproduced, together with Daan Jippes, as the second best Duck stories after Carl Barks.
Well, since Mr Milton is a person I presume he isn't at least chopped liver even though I am certain he has a functioning one.

I have read some stories by Freddy Milton. Didn't he do a lof of really good Woody Woodpecker stories? And I really loved his Gnuff-stories.

Although I must say that he is a good author, I can't rate him as the best artist. And for the title of second best author after Carl Barks... that is a matter of opinion.

In my opinion there are several really good authors including Bill Walsh, Bob Karp, Floyd Gottfredson, Don Rosa, William van Horn and several italians that are really, really good and that, at least in occasional stories, supersedes even Barks.

8-)
Willie:

I meant to say his best work was in his co-productions with Daan Jippes. And, I was referring to those 28 stories Dutch Disney productions from 1976-1981 as being second to Barks in the "Barks Genre". I didn't mean to imply that Freddy is the second best Disney comics writer of all time. I meant that the Milton/Jippes combination was the "second best" writer/artist combination for Duck stories in "The Barks genre". I also LOVE the stories of Bill Walsh, Bob Karp, Floyd Gottfredson, Romano Scarpa and his long-story writers, Gorm Transgaard, some writers of early long Tony Strobl stories, Evert Geradts, Jan Kruse.

Comparing one who fails to be recognised for his merit to "chopped liver" is an old Yiddish saying, which has now become an old American Vaudvillian and now common show business saying. But, I'm sure, of course, that you already knew that, and are simply making a witticism there.

And, yes - Freddy's Gnuff and Woody Woodpecker are great stories that are well-drawn, too. Both series remind me of Donald Duck stories. In Gnuff, Gnuff plays Donald, while Gnicky and some of the others play his nephews. In Freddy's Woody Woodpecker, Splinter and Dikkop (Thickhead in Dutch) (I don't know his English name) play The Nephews, and he has invented a Daisylike girlfriend for Woody, to take Daisy's role. He has also used a cat-villain to play Uncle Scrooge's (adversary to Donald roles(i.e. his boss)), and to play other villains' roles. There is no Gladstone-like rival for Woody, however.

Quote from user: ACOf course Freddy is one of the danish artists - the fact that he´s delivered most of his duckstories for the dutch editors doesn't mean anything, and I hope to sometime see his stories (especially the ones done with Daan) in one of the scandinavian HOF-volumes. Freddy is a member of honnor of donaldist, society.
Flemming, Mårdøn and Nils Rydahl are of course also danish artists, of which I presume the last one to have left us. In my world Rydahl is known for having shown Scrooge smoke cigars - and having made a scottish friend for him named Andy (Not the same charecter as our danish Andy Anderbilt=Rockerduck)
Hej, A.C.! Yes, I hope too, that a Daan Jippes/Freddy Milton Hall of Fame book is printed in Danmark. Also - They should print an HOF book for Jan Gulbransson, too (so I can get an HOF book with several of my stories, in all the Scandinavian countries too, not just in Germany)! I think it would certainly be a travesty if Freddy and daan don't get Danish HOF books!

Quote from user: KBIQuote from user: SigvaldQuote from user: Robb_KNorway has one...
Actually Norway has several authors like Olaf Solstrand, Tommy Kvarsvik and Nils Petter Smeby. The only problem is that so far we have only seen a very few stories by these good authors.
Because Iclandic issues are made in Danmark. It is parter ship with Iceland rights holder Vaka and Skemont (spelling?) the danish publisher.
The fact that Egmont in Danmark is the "parent company" of The Icelandic publisher is no reason to think that the Icelandic publisher (based on recommendation of its own editor) couldn't pay a local Icelander to draw or write stories. Danish Egmont is also a "partner" in Norwegian Egmont, and they have hired 4 Norwegians to write or draw Norwegian stories. The Finnish publisher, Sanoma, is the parent company of The Dutch Disney Comics publisher, Sanoma Uitgevers. They allow Dutch artists and writers to write and draw stories (Thanks to heaven!).

If some local Icelander can draw well enough, and/or a local writer can write stories of good enough quality, why would the Danish editor refuse to allow the Icelandic publisher to buy stories from local free-lancers, IF they have the money in their budgets to pay for it?

Quote from user: Robb_KJAnd because [Milton] is not working for Egmont Tegneserier (currently) doesn't mean we should forget him. He has drawn some stories for the Danish publisher.
By "Egmont Tegneserier," do you mean Egmont Creative A/S (ECN)??the central Copenhagen creative house, for which I used to edit??or Egmont Serieforlaget A/S, the local Danish Egmont-affiliated publisher? You seem to be blurring ECN and Serieforlaget together as one in this discussion, when they're in fact entirely different entities: ECN being entirely a creative house and Serieforlaget entirely a publisher. They're both headquartered in Copenhagen and both owned by the larger Egmont foundation, but they do not share management.
To the best of my knowledge, Serieforlaget has never produced stories itself. Instead, it cooperates with Egmont's Norwegian, Swedish, German and other publishers to fund ECN's central production. The same goes for Egmont's Icelandic publisher.
Egmont's German and Norwegian publishers have produced small numbers of stories themselves outside of ECN's central production, but it's financially prohibitive for them to make many on their own, so it's not a common practice.Quote:Danish Egmont is also a "partner" in Norwegian Egmont, and they have hired 4 Norwegians to write or draw Norwegian stories.
By "Danish Egmont" do you mean ECN or Serieforlaget? ECN central has hired various Norwegians to write or draw stories; some at the suggestion of the Norwegian publisher, Smeby simply because he contacted ECN. But Danish Serieforlaget had no involvement in these decisions, nor would I call the resulting stories "Norwegian stories." They're just standard ECN stories??whose scripts (or art) might be Norwegian, but whose art (or scripts) can come from Spain, Denmark, Finland, Chile, or almost anywhere.
As a corrolary, I wouldn't call the stories I write for Egmont "American stories." They too are standard ECN stories.

Quote from user: ramapithQuote from user: Robb_KJAnd because [Milton] is not working for Egmont Tegneserier (currently) doesn't mean we should forget him. He has drawn some stories for the Danish publisher.
By "Egmont Tegneserier," do you mean Egmont Creative A/S (ECN)??the central Copenhagen creative house, for which I used to edit??or Egmont Serieforlaget A/S, the local Danish Egmont-affiliated publisher? You seem to be blurring ECN and Serieforlaget together as one in this discussion, when they're in fact entirely different entities: ECN being entirely a creative house and Serieforlaget entirely a publisher. They're both headquartered in Copenhagen and both owned by the larger Egmont foundation, but they do not share management.
To the best of my knowledge, Serieforlaget has never produced stories itself. Instead, it cooperates with Egmont's Norwegian, Swedish, German and other publishers to fund ECN's central production. The same goes for Egmont's Icelandic publisher.
Egmont's German and Norwegian publishers have produced small numbers of stories themselves outside of ECN's central production, but it's financially prohibitive for them to make many on their own, so it's not a common practice.Quote:Danish Egmont is also a "partner" in Norwegian Egmont, and they have hired 4 Norwegians to write or draw Norwegian stories.
By "Danish Egmont" do you mean ECN or Serieforlaget? ECN central has hired various Norwegians to write or draw stories; some at the suggestion of the Norwegian publisher, Smeby simply because he contacted ECN. But Danish Serieforlaget had no involvement in these decisions, nor would I call the resulting stories "Norwegian stories." They're just standard ECN stories??whose scripts (or art) might be Norwegian, but whose art (or scripts) can come from Spain, Denmark, Finland, Chile, or almost anywhere.
As a corrolary, I wouldn't call the stories I write for Egmont "American stories." They too are standard ECN stories.
Sorry. I just ment Egmont, in general (e.g. the Danish Disney Comics entity that would hire an artist).

Quote from user: Robb_KSorry. I just meant Egmont, in general (e.g. the Danish Disney Comics entity that would hire an artist).
I'm still not absolutely sure what you mean here??your terminology suggests publishing comics in Danish, which is Serieforlaget's business??but as you speak of hiring artists, I guess this is Egmont Creative A/S, also known as ECN.
Re: Milton, my favorite of his Woody creations is his entirely unique invention: Hans Vig!