Dear Robert,
I am sorry to bother you. I know that you wrote the storyboard "Queen of The Apple Festival" based on a discussions you had with Carl Barks. I think this is a very important piece of history in the Carl Barks world and I would really like to see the panels. I am asking this as a big fan and would really like to just take a look at them.
Thanks anyway.
Andrea Cara
Quote from user: Robb_KQuote from user: Will BarksQuote from user: JeffTNot for many years. Gemstone reprints stories from European publications, only translated.
Well, translated isn't right on the whole since some European Duck comics are written by British or American authors.
For the most part, Gladstone re-scripts British, European English scripts (written by non-native English speakers), (and my scripts as well) into "American current colloquial English, so the current youn American children can identify with the the characters' and narrators' way of speaking.
Author
Topic: Comic production in the U.S.
(50 messages)
Andrea
Comic production in the U.S.
Message 16 -
2009-01-13 at 11:16:32
Hedberg
Comic production in the U.S.
Message 17 -
2009-01-13 at 11:50:11
I've had the privilege to see the panels on Rob's mac (padding myself on the shoulder) and I, too, would be glad to see them again.
Actually he had several different sketches of the story, as I recall it !?
But very different than the version we know from Geoffrey Blum.
Looking foreward to this...
Actually he had several different sketches of the story, as I recall it !?
But very different than the version we know from Geoffrey Blum.
Looking foreward to this...
Roger North
Comic production in the U.S.
Message 18 -
2009-01-13 at 14:21:05
Quote from user: AndreaDear Robert,
I am sorry to bother you. I know that you wrote the storyboard "Queen of The Apple Festival" based on a discussions you had with Carl Barks. I think this is a very important piece of history in the Carl Barks world and I would really like to see the panels. I am asking this as a big fan and would really like to just take a look at them.
Thanks anyway.
Andrea Cara
Quote from user: Robb_KQuote from user: Will BarksWell, translated isn't right on the whole since some European Duck comics are written by British or American authors.
For the most part, Gladstone re-scripts British, European English scripts (written by non-native English speakers), (and my scripts as well) into "American current colloquial English, so the current youn American children can identify with the the characters' and narrators' way of speaking.
That Story was just recently printed in Uncle Scrooge #377.
I am sorry to bother you. I know that you wrote the storyboard "Queen of The Apple Festival" based on a discussions you had with Carl Barks. I think this is a very important piece of history in the Carl Barks world and I would really like to see the panels. I am asking this as a big fan and would really like to just take a look at them.
Thanks anyway.
Andrea Cara
Quote from user: Robb_KQuote from user: Will BarksWell, translated isn't right on the whole since some European Duck comics are written by British or American authors.
For the most part, Gladstone re-scripts British, European English scripts (written by non-native English speakers), (and my scripts as well) into "American current colloquial English, so the current youn American children can identify with the the characters' and narrators' way of speaking.
That Story was just recently printed in Uncle Scrooge #377.
Andrea
Comic production in the U.S.
Message 19 -
2009-01-13 at 16:25:55
Roger,
we are not talking about the "Race of the Golden apple" story (script of Geoffrey Blum, drawing by Daan Jippes).
This is a unpublished story scripted long time ago by Robert Klein (see http://coa.inducks.org/story.php?c=CZ+WDC+144)
Andrea
we are not talking about the "Race of the Golden apple" story (script of Geoffrey Blum, drawing by Daan Jippes).
This is a unpublished story scripted long time ago by Robert Klein (see http://coa.inducks.org/story.php?c=CZ+WDC+144)
Andrea
Robb_K
Comic production in the U.S.
Message 20 -
2009-01-14 at 06:22:12
Quote from user: AndreaRoger,
we are not talking about the "Race of the Golden apple" story (script of Geoffrey Blum, drawing by Daan Jippes).
This is a unpublished story scripted long time ago by Robert Klein (see http://coa.inducks.org/story.php?c=CZ+WDC+144)
Andrea
Yes, my story is an older one. I first wrote and drew it in the late 1980s. But, I didn't attempt to submit it to a Disney Comics franchise until 2001 or so, when I showed it to Daan Jippes, to try to get him to draw it.
Just as Geoffrey Blum didn't start with enough plot for a story from what Mike Barrier's interview with Barks provided, I started with too little plot, as well (despite having more to go on, based on thing Barks told me that were NOT in his published interviews). So, I had to add many plot elements that I feel were only "implied" by what Carl told me, as well as elements of my own (completely from my own imagination-as did Blum (only more so)). When I had whipped my 'improved" story into shape (Daan had felt my original was too dull), Daan agreed that we should submit it to Egmont (where he had recently moved, upon leaving Dutch Disney (Geillustreerde Pers).
Byron Erickson informed us that Geoffrey Blum, as part of a Barks tribute project of Egmont, had planned to write his own version of a Donald story based on Barks' recollections of his original story from Barrier's interview. He said he would wait until Blum's was ready, and then compare the two, and choose the best one. He chose Geoff's. Daan was commissioned to draw that story. Blum's version included Magica De Spell and Uncle Scrooge, both of whom, as well as the second plot line of the stolen Number One Dime, clearly would not have been part of Barks' 10-page Walt Disney's Comics and Stories Donald Duck lead story.
It must be noted here that Geoff never intended his story to be a "resurrection" of Barks' lost 1952 WDC story. He thinks of his story as a "Geoff Blum story, written with a tip of the hat thanks to Barks for the germ of the idea." Clearly his view is an accurate description of both his AND MY stories. The only differences are (1) that my story incorporated a few more elements that Barks told me about, that Geoff chose not to incorporate into his (probably because they came only from my memory and, thus, were hearsay), or because they added little that he thought worthwhile to help his story; AND, (2) more importantly, that I stuck to the format that Barks used in his WDC stories (10 pages), and tried to give it the spirit of his "domestic" 10-page stories from 1952.
Upon the rejection by Egmont, I submitted the story to Thom Roep, editor of Dutch Disney Comics. He decided to not buy that story, as he would later print the Egmont Daan Jippes-drawn story (without having to pay the writer for writing it), and didn't want to print two stories "based on the theme of Barks' lost story" within a relatively short time period. In addition, he told Daan and me that my story "was nothing like a Barks story".
I cannot ( and will not) post my entire story on this -or ANY website, as these websites have permission from The Walt Disney Company only to print covers, or single pages out of a story, for academic "analysis or discussion". We would be infringing on their copyrights to print more. I don't want this wonderful forum to be shut down, nor do I wish to lose my opportunity to work for The Walt Disney Company or Disney Comic Book Publishing franchises.
we are not talking about the "Race of the Golden apple" story (script of Geoffrey Blum, drawing by Daan Jippes).
This is a unpublished story scripted long time ago by Robert Klein (see http://coa.inducks.org/story.php?c=CZ+WDC+144)
Andrea
Yes, my story is an older one. I first wrote and drew it in the late 1980s. But, I didn't attempt to submit it to a Disney Comics franchise until 2001 or so, when I showed it to Daan Jippes, to try to get him to draw it.
Just as Geoffrey Blum didn't start with enough plot for a story from what Mike Barrier's interview with Barks provided, I started with too little plot, as well (despite having more to go on, based on thing Barks told me that were NOT in his published interviews). So, I had to add many plot elements that I feel were only "implied" by what Carl told me, as well as elements of my own (completely from my own imagination-as did Blum (only more so)). When I had whipped my 'improved" story into shape (Daan had felt my original was too dull), Daan agreed that we should submit it to Egmont (where he had recently moved, upon leaving Dutch Disney (Geillustreerde Pers).
Byron Erickson informed us that Geoffrey Blum, as part of a Barks tribute project of Egmont, had planned to write his own version of a Donald story based on Barks' recollections of his original story from Barrier's interview. He said he would wait until Blum's was ready, and then compare the two, and choose the best one. He chose Geoff's. Daan was commissioned to draw that story. Blum's version included Magica De Spell and Uncle Scrooge, both of whom, as well as the second plot line of the stolen Number One Dime, clearly would not have been part of Barks' 10-page Walt Disney's Comics and Stories Donald Duck lead story.
It must be noted here that Geoff never intended his story to be a "resurrection" of Barks' lost 1952 WDC story. He thinks of his story as a "Geoff Blum story, written with a tip of the hat thanks to Barks for the germ of the idea." Clearly his view is an accurate description of both his AND MY stories. The only differences are (1) that my story incorporated a few more elements that Barks told me about, that Geoff chose not to incorporate into his (probably because they came only from my memory and, thus, were hearsay), or because they added little that he thought worthwhile to help his story; AND, (2) more importantly, that I stuck to the format that Barks used in his WDC stories (10 pages), and tried to give it the spirit of his "domestic" 10-page stories from 1952.
Upon the rejection by Egmont, I submitted the story to Thom Roep, editor of Dutch Disney Comics. He decided to not buy that story, as he would later print the Egmont Daan Jippes-drawn story (without having to pay the writer for writing it), and didn't want to print two stories "based on the theme of Barks' lost story" within a relatively short time period. In addition, he told Daan and me that my story "was nothing like a Barks story".
I cannot ( and will not) post my entire story on this -or ANY website, as these websites have permission from The Walt Disney Company only to print covers, or single pages out of a story, for academic "analysis or discussion". We would be infringing on their copyrights to print more. I don't want this wonderful forum to be shut down, nor do I wish to lose my opportunity to work for The Walt Disney Company or Disney Comic Book Publishing franchises.
Cacou
Comic production in the U.S.
Message 21 -
2009-01-14 at 09:14:10
Thank you for the very informative post, Robb. I hope that your story, which is closer to Barks' lost version eventually gets published.
Robb_K
Comic production in the U.S.
Message 22 -
2009-01-14 at 09:38:36
Quote from user: cacouThank you for the very informative post, Robb. I hope that your story, which is closer to Barks' lost version eventually gets published.
I hope to re-submit it to Dutch Disney in a couple of years (long enough after Geoff's was printed in Holland). If Thom rejects it again (on its own merits), I will try to sell it to Disney Italia, asking Jan Gulbransson, Freddy Milton or Daan Jippes, (or another artist friend of mine) to draw it (rather than having Disney Italia choose one of their own artists). Perhaps by then, my own final pencil drawing will be good enough for The Italians to accept it, and I'll only have to team with an inker.
I hope to re-submit it to Dutch Disney in a couple of years (long enough after Geoff's was printed in Holland). If Thom rejects it again (on its own merits), I will try to sell it to Disney Italia, asking Jan Gulbransson, Freddy Milton or Daan Jippes, (or another artist friend of mine) to draw it (rather than having Disney Italia choose one of their own artists). Perhaps by then, my own final pencil drawing will be good enough for The Italians to accept it, and I'll only have to team with an inker.
Roger North
Comic production in the U.S.
Message 23 -
2009-01-14 at 19:17:04
I'm sorry Andrea. I misunderstood.
VoBo
Comic production in the U.S.
Message 24 -
2009-01-15 at 08:07:31
Quote from user: Robb_KI hope to re-submit it to Dutch Disney in a couple of years (long enough after Geoff's was printed in Holland). If Thom rejects it again (on its own merits), I will try to sell it to Disney Italia, asking Jan Gulbransson, Freddy Milton or Daan Jippes, (or another artist friend of mine) to draw it (rather than having Disney Italia choose one of their own artists). Perhaps by then, my own final pencil drawing will be good enough for The Italians to accept it, and I'll only have to team with an inker.
Hi Robb,
How many Disney "offices" in Europe buys their own stories? And if you sold one to Dutch Disney, could you then sell the same story to Disney Italia? I thought Egmont in Denmark and Disney Italia were the only ones buying stories and then distributed them to say France, Germany etc.
Hi Robb,
How many Disney "offices" in Europe buys their own stories? And if you sold one to Dutch Disney, could you then sell the same story to Disney Italia? I thought Egmont in Denmark and Disney Italia were the only ones buying stories and then distributed them to say France, Germany etc.
Robb_K
Comic production in the U.S.
Message 25 -
2009-01-15 at 16:05:21
Egmont(Danish), SanomaUitgevers (Dutch), Hachette(France), Disney Italia, EHAPA (German) has a few projects of their own that they can pay for directly, plus a lot of their own magazine covers, but their production is handled through Denmark's Egmont, Sanoma(Finland). All those franchises have their own production (although most German production is done by Danish Egmont).
Hedberg
Comic production in the U.S.
Message 26 -
2009-01-15 at 16:35:54
How about Gemstone, then ?
Robb_K
Comic production in the U.S.
Message 27 -
2009-01-15 at 17:34:41
Gemstone has paid for 2 stories by Pat Block. So, they have a very limited production, as Ehapa does.
Brazil also has their own production, but your question only asked for European producers.
Brazil also has their own production, but your question only asked for European producers.
Cacou
Comic production in the U.S.
Message 28 -
2009-01-15 at 18:55:11
Brazil *had*, I think they stopped to produce new stories a few years ago unfortunately.
There are only a handful of publishers producing Disney stories with classical characters on a regular basis: Egmont, Disney Italia, and the smaller ones: Hachette, Sanoma-Holland.
There are only a handful of publishers producing Disney stories with classical characters on a regular basis: Egmont, Disney Italia, and the smaller ones: Hachette, Sanoma-Holland.
Robb_K
Comic production in the U.S.
Message 29 -
2009-01-15 at 23:48:28
Sanoma still pays for some of their covers, don't they? But, I guess they are drawn by Egmont's Spanish studios, and are produced through Danish editors.
VoBo
Comic production in the U.S.
Message 30 -
2009-01-16 at 07:35:19
Thank you Robb. Can you decide which office you sell your stories to? And can you sell the same story to more publishers, or do they "trade" stories from one office to another?