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Just have them print a nice hardbound collection of all of Don Rosa's stories in color and I'll be happy forever!! I'd like to see his work together by itself without a bunch of other poorly written comics that I have no intention of ever reading and take up space and I don't even want around or want to buy to begin with but was being forced to buy to get Don's stories.
Patrick - www.PatrickHanifin.com, www.SqueakyCleanComedy.com

Actually, I've had the Barks' Library (in both black & white and in color) and a good amount of the original comics and lots of reprints and other books with Barks' stories in them. I've definitely read every single Barks' story. I've read most of the Rosa stories, too, but fortunately I still have a few to look forward to. I love Barks' and Rosa's stories!
Now when I've gotten the Gladstones and Gemstones (not to mention glancing at the Boom comics) there's a lot of other authors I've looked at as well. With the exception of just a couple of stories I can think of, I've completely disliked the rest! Other reader's sense of humor and what they like might be different but I know what I like.
Patrick - www.PatrickHanifin.com, www.SqueakyCleanComedy.com

>Once our plans for all this are fully realized I bet the demands for reprints in the monthlies will die down.

From this I infer Boom will collect the classic stories by Barks (and others) into trade paperbacks.

LL

Quote from user: JessePostOne other thing I forgot to ask about, regarding the need for reprinted older stories in every issue. Would folks mind shedding some light on why this is?
I agree with GeoX and others that when the classic material gets properly collected the need for these stories in the monthlies will go down.

Personally, I don't have all of Barks' stories in English yet, and most of the ones I do have are in older issues with newspaper-type paper. I still prefer to see mostly new stories in BOOM's comics, but to get the occassional Barks reprint on BOOM's beautiful glossy paper would be nice too.

In other countries there ARE lots of Barks collections available, yet these publishers continue to reprint the occasional Barks or other classic story in their weekly and monthly comics. I was thinking why they did that and came up with the following reasons:

1. Re-using old stories is obviously easier and cheaper than making or translating new stories;

2. Target audiences are young kids and they have never read these first-class stories. In fact, publishers could keep reprinting them forever and there will always be new kids to read them. Some series like Picsou Magazine in France basically do this all the time, they keep reprinting Barks and Rosa stories;

3. They're the best stories available, so why not re-use them? And publishers may be Barks fans too, so they may see it as obligatory literature for their young readers;

4. Mixing new and old stories provides variety;

5. It may be a way to get new readers interested in the classic stories and get them to buy the collections;

6. It appeals to older readers (collectors as well as parents) who remember the stories from when they were kids.

There you go ... lot's of reasons for BOOM to print the occassional Barks/Rosa/etc story. ;)

I would be extremely curious--and I don't mean this in a loaded way; I genuinely would like to know--what exactly is meant here by "static" and "dynamic."

I like the "old-fashioned" stories.
That's why I try to get all old issues of Uncle Scrooge and Comics and Stories printed by Gemstone, Gladstone and Disney.

I think that The Ehapa editors, when referring to Strobl's and Murry's stories, were concentrating on the artwork, rather than the storywriting. By "static", I am sure that they mean that his figures did not do much moving, and when they do move, the movement is stiff and unconvincing. The same is true for Murry's later work. Both Strobl's and Murry's later work suffers from requiring tighter inking, due to their being required to use cheaper paper, that bled much more easily (1955, and even more slick in 1959). In addition, I believe that both artists spent significantly less time staging panels, and drawing pages than they had during the earlier portions of their careers, resulting in a more static look, and poorer artwork. I agree with the Ehapa editors on these points. I can't even look at the artwork of either after what was printed in 1958. I believe that Strobl had to earn significantly more money, due to a harsh divorce settlement, and thus, stepped up his production (for both Western Publishing, and adding The Walt Disney Studios (S-coded stories). Murry's page production seemed to increase also around that time, probably because Western needed more production from him (possibly due to having less veteran artists available?).
"Dynamic" would mean the opposite of "static". The artwork of these two artists (especially from 1959 on) seems static when compared to that of Barks. Even their early work seems static when compared to Barks, Jippes, Branca, Milton, Heymans and some others. Murry's early work, in "The Song of The South" Bre'r Rabbit in the "Silly Symphonies" strips was somewhat dynamic. But, I'm sure Ehapa is referring mainly to his later work, which has been printed a lot less than his great serialised early '50s Mickey and earlier strip work. Strobl's work, on the other hand, was relatively static even in his early days.