Duck on job/Barks

[Rob Klein]

I'm sure the question regarding how many of us use "Duck stories" in our 
professional careers was intended for those who use it IN ADDITION TO THE 
OBVIOUS comic book reating/producing jobs (which include David Gerstein, Stefan 
Dios, Olaf, Shaun Craill, Lars Jensen, Gary Leach, Don Rosa, myself, Joachim 
Stahl, the "Spanish Studio" artist who drew Pat McGreal's dinosaur clone 
stories (with Italian last name?)(See what happens when you get over 50 years 
old?), etc).  I think there are also a few other Egmont and Ehapa editors on 
DCMl too. I'm sure I'm also leaving off some other writers. I apologize for 
that, please don't be angry.

It seems to me, that the interesting  (and logical "real idea" behind the 
question, is their use in professions OTHER THAN producing comic books or 
related animation (Ducktales, Quackpack, etc).  I'm sure Olaf was only 
mentioning his storywriting to give us a liitle chuckle.  But, now to answer 
the question:

Gerry Tank (who is an infrequent lurker, and poster when he has something to 
inform us about, used old Barks story quotes to cheer up patients in his 
bedside manner (at least one patient -Carl Barks). Don Ault has used Barks 
story plotting to teach English at University level (I'm not sure if the 
courses involved just Literature, or writing as well). Geoff Blum used them to 
teach literature at University level. I, myself have used Barks story panels to 
teach storyboarding as an aid in essay and story writing, as a substitute 
teacher in elementary school. I think there are a few more members who have 
used Barks and Gottfredson's work to teach literature and story-writing at 
university and high-school levels.  Perhaps we'll hear from them.

Regarding Geoff Blum's so called "new Barks stories".  As I understand it from 
Geoff, they are a series of underdeveloped story ideas, story notes, and story 
treatments or shooting scripts that in various forms and conditions,originated 
from Carl Barks, or quotes from him to someone else. They will be used 
toinspire new stories by Geoff.  As I understand it from him, none of those 
sources of inspiration were comepletely developed in detail.  So, they would 
range from story "nut ideas" (meaning ALMOST ALL of the creativity is Geoff's), 
to the whole plot line from beginning to end laid out by Barks, but in little 
detail. The second type would be debatable as to how much Barks vs. Blum mix. 
But lets say even those stories should be considered a lot more Blum's than 
Barks'. Would that be a reasonably accurate guess, David?

I hope David G. will provide us with some of the story ideas, and who the 
artists will be (for those that have been assigned). I DO know what one of 
those stories will be, as I also submitted a version of that same original 
story idea to Egmont.  It is a "guesswork version" of what Barks' "Queen of the 
Apple Festival" might have contained. The original was his 1952 WDC & S 10-
pager, rejected because "Daisy was acting very violent and unladylike". 

I talked with Mr. Barks about that story in 1966, 1969, and again in 1972. He 
had told me MORE about what he remembered he had included in that story than 
was quoted in Mike Barrier's book and in CBL. I used all that information, plus 
research on the Greek Myth of Atalanta, as well knowledge of Barks' oft-used 
storylines and plot components, to put together a complete story. It contained 
ALL he told me he had used, woven together with Barks classic plotting 
techniques, woven together with the details of the Atalanta myth, in a logical 
manner.  I submitted it to Egmont.  Daan Jippes agreed to draw it as close as 
he could to Barks' 1952 style, if Egmont were to accept the story, and they 
would agree to assign it to him. Unfortunately for me, they held up reviewing 
my story until Geoff finished his. Then, they chose his over mine. Both Daan 
and I, and several people that I showed mine to, thought mine was good.  So, 
I'm guessing that Geoff's was significantly better, and should be a real treat 
to read. I only hope they've assigned Daan to draw it, and that he will use 
Barks' 1952 style. I was told that Geoff's story has a lot of clever humour and 
great gags in it. I can't wait to read it.

In addition, he must have by now finished a few other scripts in the "Barks 
inspired series". I heard that the first one was assigned to one of 
The "Spanish artists". I also got the idea that at least one more of his opther 
scripts also may go to that artist (but I'm not sure). As those scripts were 
already approved,and drawing assignments may have been made, I hope my 
providing this information to dcml won't be looked at by Egmont,as a problem.

Perhaps David G. can gives us more information on the status of Geoff's series 
of scripts?  Also, David, please tell me if you can, whether or not it would be 
legal (according to copyright laws)and no problem in Egmont's or Disney 
Company's policy, for me to have one of our dcml members upload my rejected 
story (storyboard drawings) onto a website for people to read. There is NO 
POSSIBILITY that the story could now or ever be bought by any Disney affiliate, 
because the subject matter is too close to Geoff's official version. And, we 
would not be attempting to make money on it. It would only be available for 
reading for education/analysis process, for the fans to understand the 
difference between a story structured well enough to be accepted, and one of 
poorer quality, that is rejected. I will, of course not have it uploaded, if I 
find out I shouldn't do that. I don't want to do something that will get me 
blacklisted from having my work accepted from all Disney affiliations. 

Rob Klein




 


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