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Show Us Your Ducks!
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8,448 posts in this topic

Thanks, and I totally agree with your points. I shared a couple of emails once with Rosa and I was shocked to find out he had no leverage with his employer. I would have thought they'd be kissing his feet and fanning him with palm leaves, but according to Don in europe the duck books sell incredibly well without or without him, and of course in the US they sell incredibly poorly with or without him. So I can see why it wouldn't be the most appealing area of comics for a young cartoonist to work in. In europe your talent is kind of irrelevant and in the US its not appreciated :( Kind of a lose lose scenario.

Well, I think Rosa tends to be a pretty cynical guy sometimes. At the CGC Dinner at the SD Con a couple of years ago, he did acknowledge that he was pretty popular in Scandinavia and even had groupies there(!), although he did say this mostly to highlight how relatively little adulation he received in the US.

 

You're probably right about that. I did get a bit of that sense even in the emails. That being said I can see how those young cartoonists aspiring to do work in this vein would probably not view ducks comics as a great career opportunity right now (were they ever?)

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The art's not bad, but not being an Italian speaker I can't judge the quality of the storytelling, and of course that was what really separated Barks from everybody else. Did Carpi's work ever get translated into English? For that matter, given how popular the Ducks are in Scandinavia, are there any great Scandinavian Duck storytellers that have emerged, who haven't been exposed to the English-speaking market?

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So I take it that no one here likes Scarpa's work? What's everyone's position?

 

I remember his work fondly.

 

Or what about Branca's art duties on the ducks?

How about posting some examples, because neither name rings any bells.

 

Tim, I just assumed everyone was familiar with them and their work ... apparently not!

 

I see Cavazzano also in Bronty's list and see to remember him as well.

 

I'll dig up stuff as I can. I should have some Branca available and also some Scarpa. Scarpa both wrote and drew the stories while Branca is just the illustrator.

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The art's not bad, but not being an Italian speaker I can't judge the quality of the storytelling, and of course that was what really separated Barks from everybody else. Did Carpi's work ever get translated into English? For that matter, given how popular the Ducks are in Scandinavia, are there any great Scandinavian Duck storytellers that have emerged, who haven't been exposed to the English-speaking market?

 

Its not been translated to english so far as I'm aware. I *think* he both wrote and drew the stories but I could be wrong. The storytelling I really enjoyed in the stories I read. He did do the first "paperinik" stories (donald duck's super-alter-ego, I guess the closest thing in US terms would be the rosa super snooper stories) and that character has been around for like 40 years now. I remember reading an italian price guide years ago and paperinik 1 was as expensive, at least at that time, as topolino 1 despite being considerably more recent (SA vs GA).

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So I take it that no one here likes Scarpa's work? What's everyone's position?

 

I remember his work fondly.

 

Or what about Branca's art duties on the ducks?

How about posting some examples, because neither name rings any bells.

 

Tim, I just assumed everyone was familiar with them and their work ... apparently not!

 

I see Cavazzano also in Bronty's list and see to remember him as well.

 

I can't stand cavazzano. I just find it hard to get past his art. He's like a hackier version of murry.

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I like most all the artists and haven't had enough exposure to the Latin American and European artists. I'd love to see more reprints and let's get some covers posted here! Who cares about the language - if you have them, I know the *I* for one want to see them!

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I liked life & times. I couldn't get into it as individual issues, but when I reaad the trade, I was engaged in it. Most of the fun is tying in all the barks bits & clues, so it's more of a mental exercise.

 

I have liked a few of the pat Block Stories I read in the Gladstone stuff.

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Here's a Scarpa cover from a 1960s Australian reprint. We got US and European stories reprinted here, with the latter presumably translated here. I have fond memories of these stories. Re-reading them, they are a fair bit better than most Euro-stories, but nowhere in Barks' league.

 

scarpa.jpg

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I liked life & times. I couldn't get into it as individual issues, but when I reaad the trade, I was engaged in it. Most of the fun is tying in all the barks bits & clues, so it's more of a mental exercise..

 

well that's just it. he kind of sucked the fun out of those stories and made them one giant barksian research orgy. which is not my idea of what comics are all about.

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You are likely right. Those signatures are almost identical - and are both slightly different from the other Barks signatures (reproduced in books) that I was able to find. What's the back story on yours?

 

I believe it came directly from Carl Barks' collection. I have a CGC'd Uncle Scrooge I bought, and this certificate came with it. I'm pretty sure my signed copy is from the same collection:

 

us33cert.jpg

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I liked life & times. I couldn't get into it as individual issues, but when I reaad the trade, I was engaged in it. Most of the fun is tying in all the barks bits & clues, so it's more of a mental exercise..

 

well that's just it. he kind of sucked the fun out of those stories and made them one giant barksian research orgy. which is not my idea of what comics are all about.

 

I think you are being harsh there. Rosa did get a bit overwrought with the Barks legacy in places, but there is some genuinely funny and poignant stuff in there too. At his best, Rosa is great fun. At his worst, he's better than everyone else, except for Barks.

 

I'd even go as far as saying that Bad Rosa is better than bad Barks. :baiting: Case study: Jet Witch

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whether or not I'm being harsh is all in how you interpret the comment I guess. I stand by it - those stories aren't as fun and aren't as charming, but you're right, they're certainly not terrible either. They are just far from his best work and yet strangely those stories have probably had the most critical acclaim. I'm guessing the critics haven't read the rest of his work!

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I like most all the artists and haven't had enough exposure to the Latin American and European artists. I'd love to see more reprints and let's get some covers posted here! Who cares about the language - if you have them, I know the *I* for one want to see them!

 

I'd love to but my copies are in storage and I don't own a scanner so I couldn't post them if I wanted to! Hopefully someone else can share some.

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