Papersera.net

Vito:
>>>>>Who’s Barks’ fan? Alan Zaslove? Tad Stones? If you have some other curiosity about DuckTales, I would be very grateful to you.

The creator of "DuckTales" was Jymn Magon. And sorry, that's the only detail he mentioned to me about the birth of "DuckTales", that being that his head writers, whoever they were, didn't think Barks' stories gave them much to work with. He knew I'd find that as incredible as he had.

>>>>>in Italy Uncle Scrooge has a regular butler, his name is Battista.

Yes, I knew that the Italian digests I see in Northern Europe seemed to have a butler character. I think an interesting butler might be a good and a useful character in $crooge stories.

traduzione in italiano:

Vito:
>>>>>Chi era la persona fan di Barks? Alan Zaslove? Tad Stones? Se hai qualche altra curiosità da dirci al riguardo su DuckTales, te ne sarei molto grato.
Il creatore di DuckTales era Jymn Magon.Mi spiace, questo è l'unico dettaglio che mi rivelarono sulla nascita dei DuckTales, visto che i suoi capo-sceneggiatori,chiunque essi fossero, non pensavano che le storie di Barks potessero fornirgli molti elementi su cui lavorare. Lui sapeva che ciò l'avrei trovato incredibile.

>>>>>in Italia Zio Paperone ha un maggiordomo fisso chiamato Battista.
Sì, lo sapevo, nelle ristampe italiane che vedo in Nord Europa sembrava ci fosse un maggiordomo.Penso che un maggiordomo interessante potrebbe essere un buono e utile personaggio nelle storie di zio Paperone.

Spero di aver interpretato bene.

leges:
>>>>>Is there a butler in american comics nowdays ?

"Nowdays"? There are certain things I seem to be repeating that perhaps some of you find too fantastic to believe.

>>>>>C'è un maggiordomo nei fumetti americani oggigiorno?

"Oggigiorno"? Ci sono di certo delle cose che sembra debbano essere ripetute perchè forse alcuni di voi trovano troppo fantastico crederci.

Don, I think you'll have to repeat these certain things more and more, every time a new friend will join the thread

Don, penso che dovrai ripetere queste stesse cose più volte, ogni volta che un nuovo amico entrerà in questo thread

his head writers, whoever they were, didn't think Barks' stories gave them much to work with.

i suoi capo-sceneggiatori, chiunque fossero, non pensavano che le storie di Barks potessero fornire molti elementi su cui lavorare

How stupid people can be :(

C'è bisogno di tradurre?


Scusate tutti se in questi giorni latito per le traduzioni, ma sono stata bloccata a letto per il colpo della strega e tuttora posso star seduta al computer solo pochi minuti al giorno :(

vado a ricoricarmi

Don, i think you jump my post one page earlier (or maybe i've jump your answer)

Don, credo che tu abbia saltato il mio post una pagina fa (o forse ho saltato io la tua risposta)

Don, have you ever thought about a sequel of The Seven Cities of Cibola? How could be the plot?
(That ship in the desert still makes me dream).

Don, hai mai pensato a un seguito di Zio Paperone e il tesoro delle sette città? Come potrebbe essere la trama?
(Quella nave nel deserto mi fa ancora sognare).

sed:
>>>>>I think you jump my post one page earlier

Yes, I missed one over the weekend. Thanks.

>>>>>1) imagine that you have the permission to write a story with Disney carachter, but without any sort of limitation, censorship or similar think, and you can also modify the "disney canons"... there is some plot (except the nepew's parents), maybe more "adult" plot, that you want to tell?

Well, y'know, interviewers have often asked me how I can work in a system where I have such limitations and censorship. But I have NEVER felt like it was like that. Egmont has virtually always allowed me to do what I wanted. Maybe that's because I know how these stories should be written, how *I'd* like the stories to be written, and when I do it "my" way, they seem to like it. There are some exceptions, such as when Egmont would not accept my story "The Coin" because it did not have a central character. Or when they wouldn't accept "The Sharpie of the Culebra Cut" because they said readers did not like my "Life of $crooge" stories (HUH???). But when I did those stories for the French publisher, Egmont published them immediately, so there was no "censorship" there after all. As to the problem with using Hortense in "A Letter from Home"... I'm torn between wishing I could have used her, and thinking Egmont is correct in their not allowing it.
And in "Prisoner of White Agony Creek", when I finally wanted to simply imply some things for older readers to fill in for themselves, Egmont allowed it instantly. Maybe I'm just their "experimental model".
So... I don't recall ever wanting to tell a story, or to tell a story MY way, when I was stopped from doing so. I guess I'm lucky.

>>>>>2) if you first story with "captain Kentucky" and "pertwillaby paper" were famous, you tried equally to do disney comics or not?

Well, now wait -- "The Pertwillaby Papers" was done for free, just as a spare time hobby, for my college newspaper and then for comic fanzines. The fanzine had a circulation of only about 1800 readers. And Capt. Kentucky was also done strictly as a hobby for the local newspaper -- they paid me $25 per strip, which I figured was about $2/hour or less. I could make more money picking up recyclable bottles along the highway like a homeless person. And I never planned to do anything but run my grandfather's tile business. Making comic stories was strictly a hobby.
In other words, neither of those comics were ever intended to be more successful than they were, and they never had any chance to be more successful. They were just "for fun" because I enjoyed telling comic stories.
Even doing the Duck comics was done for fun. I never dreamed I'd do more than one, then I never dreamed my work would become popular, and when it did I could see that it would never make me much money since the publishers never share the profits with the creators of Disney comics.
So, every comic I've ever done was done just for the fun of it. Just to live a dream. (But when I had the chance to do $crooge comics, it became the chance to live my ultimate dream.)

>>>>>3) if you can change any panels/sequences in one of your story in a strong way, what do you change? Obiviously i'm not referring to the bad translation or the censorship of the editors...

Hm. That might take a lot of consideration. But I can think of lots of scenes in lots of stories I wish I could have DRAWN better.
Maybe I'll think about this one......

>>>>>sorry if sometime i made big mistakes with verbs

Well, since you ask, the only verb you misused was when you told me I "jump" your post. At first I couldn't figure out what you meant. Then I realized that you meant "skipped". But that's the only time I couldn't understand your excellent English.

feidhelm:
>>>>>Don, have you ever thought about a sequel of The Seven Cities of Cibola?

No. Er... how could there be a sequel? All seven Cities were utterly destroyed. Any sequel would simply involve digging the lost gold out of the ground like an ordinary gold mine. Doesn't seem very interesting.

But I agree -- Barks' "Seven Cities of Cibola" is one of the greats! Yes, that galleon in the desert is such a CLASSIC image!!!
But may I be honest? I never liked Barks' ending to that story. After such an excellent first 20-30 pages, the conclusion is that everybody gets hit on the head and forgets the last few hours. Everybody. I guess it was supposed to be some Apache magic? I still don't like it. (And I'm not suggesting I know a better ending.) But if there had been some other sort of ending, I would have been happy to think up a sequel.

What are other Barks classics to which you think a sequel would have been interesting? (Note: Not NEEDED. Only "interesting".)

What are other Barks classics to which you think a sequel would have been interesting? (Note: Not NEEDED. Only "interesting".)

Well, I'm interested about a sequel of the "Gilded Man" that you have only mentioned in Lo$ (and "The Phantom of Notre Duck" but you had talked about it few days ago)

andrea87:
>>>>>Well, I'm interested about a sequel of the "Gilded Man"

Are you kidding? I did it in 1997. It was titled "The Last Lord of Eldorado".

What are other Barks classics to which you think a sequel would have been interesting? (Note: Not NEEDED. Only "interesting".)

even if you did the "prequel" i still dream about a sequel of "Voodoo Hoodoo"... scrooge vs Foola Zoola, a dream match

other interesting sequels are, for me, "sheriff of bullet valley" (even if a sort of italian "sequel" already exist...but for more information ask to other people in this forum), "Dangerous Disguise", the "prize of pizarro" (Ducks never find the indios in the first story ) and the "24 karat moon" (what scrooge do with all that gold?)... but i belived those other stories are also perfect how they are.


italiano:

anche se tu hai fatto il prequel, vorrei vedere un sequel di "paperino e il fetticcio"...paperone vs Matumbo, il match da favola...

altri sequel interessanti sarebbero quelli di "paperino sceriffo di val mitraglia" (anche se esiste una sorta di sequel italiano esiste...ma chiedi agli altri utenti per maggiori informazioni), paperino e le spie atomiche, il tesoro di pizarro (i paperi non hanno incontrato gli indios nella prima storia) e "la luna a 24 karati" (cosa se ne fa paperone di tutto quell'oro?)...ma credo che queste storie siano perfette anche come sono

But may I be honest? I never liked Barks' ending to that story. After such an excellent first 20-30 pages, the conclusion is that everybody gets hit on the head and forgets the last few hours. Everybody. I guess it was supposed to be some Apache magic? I still don't like it. (And I'm not suggesting I know a better ending.) But if there had been some other sort of ending, I would have been happy to think up a sequel.

When I read that story as a child, I HATED that ending. Whenever i read the big book in which it was included, I would skip it because I really could not stand the fact that everything ended that way, as if nothing had happened.
But in time, I have learned to appreciate it. It's unexpected, original. No one would expect a Scrooge story to end that way. And Scrooge saying that he's "too tired to dig in rocks for a couple of dollars" (at least, that's what he says in the Italian version) is a really ironic line.

Quando lessi quella storia da bambina, ODIAI quel finale. Tutte le volte che leggevo il librona in cua si trovava, la saltavo perché non sopportavo il fatto che tutto finisse in quel modo, come se niente fosse accaduto.
Ma col tempo, ho imparato ad apprezzarla. È inaspettato, originale, Nessuno si asdpetterebbe che una storia di Paperone finisse così, E Paperone che dice che è "troppo stanco per scavare fra le rocce in cerca di due dollari" (così dice nella versione italiana) è una battuta molto ironica.

What are other Barks classics to which you think a sequel would have been interesting? (Note: Not NEEDED. Only "interesting".)

Well, at the end of "Voodoo Hoodoo" we're told that eventually Bombie the Zombie will return to being a normal human being. I was always curiosus to know what would happen to him. But I'm afraid it would be a very sad story (a man awakening back to life after missing so many years as a zombie), so it's better leave it untold.

Alla fine di "Paperino e il feticcio" viene detto che il gongoro alla fine tornerà ad essere un umano normale. Sono sempre stata curiosa di sapere cosa gli accadrebbe. Ma temo che sarebbe una storia molto triste (un uomo che si risveglia alla vita dopo aver perso molti anni come uno zombie), così penso sia meglio non raccontarla.

>>>Are you kidding? I did it in 1997. It was titled "The Last Lord of Eldorado".

with this scene? :

andrea87:
>>>>>with this scene?

??? No. As I said, I did a full story sequel titled "The Last Lord of Eldorado". It was in your ZIO PAPERONE #134. Naturally it did not feature the Gilded Man since $crooge was after the GOLD in the Gilded Man's lake. The Gilded Man had already lost his little bit of gold (the body suit) in the original story.

Another reason that I didn't have the Gilded Man in the story is that Barks had relocated him to French (or was it British?) Guiana. I assume that in his own research Barks read that the Conquistadors had searched for Eldorado in "Guiana" so he erroneously placed the Gilded Man's home in modern Guiana. However, in the Days of the Conquistadors, *all* of northern South America was called "Guiana", and Eldorado would have been in the area that is now Colombia. Naturally, to do a story about the search for Eldorado, I had to have it take place where the City of Gold (supposedly) was.

andrea87:
>>>>>with this scene?

??? No. As I said, I did a full story sequel titled "The Last Lord of Eldorado". It was in your ZIO PAPERONE #134. Naturally it did not feature the Gilded Man since $crooge was after the GOLD in the Gilded Man's lake. The Gilded Man had already lost his little bit of gold (the body suit) in the original story.

Yep, i've got that story. I *love* when the map-seller said if $crooge wanna buy the map of 7 cities of Cibola and $crooge answers:- Tried it! Couldn't find even one suburb of any Cibola!-

I've rolled on the floor laughing!

But there is any explanation about why Donald doesn't forget anything about his first encounter with the gilded man?

But there is any explanation about why Donald doesn't forget anything about his first encounter with the gilded man?

Perchè avrebbe dovuto?