The Unavailable Carl Barks (in Color)


Book Description

Ten stories in this book, mostly unavailable since their original printings in comic books, are collected here together for the first time, along with a few other gems. Also included are several virtually unknown works by Barks which have not previously been collected anywhere. Four of the stories in this book appear in restored versions which are intended to showcase them as Barks originally intended for them to be seen. All of the stories are sourced from high quality masters except for three for which there are no known surviving masters. As collected in this book, newly colored and sourced from original masters, the stories look much better in this book than in previous printings. The 26 Barney Bear and Benny Burro stories, the bulk of Barks' non-Disney work, are in print in the USA in another book, The Carl Barks Big Book of Barney Bear; however, unfortunately, original masters were not used for their reproduction. The Unavailable Carl Barks also includes a comprehensive index to all of Carl Barks' non-Disney comics, and other introductory, historical, and background articles, totaling about 40 pages. Every story that Carl Barks wrote or drew featuring Disney characters during his career as a comic book creator has been reprinted, often many times, in comic books and albums and books. The Disney work is the most important of Barks' work, but Barks also wrote and/or drew 36 other comic book stories featuring non-Disney characters between 1943 and 1953; these have been less-well served in reprinting and are much less well-known. They are generally comparable in quality to the average of the Donald Duck work he was doing at the same time. A few of them are quite creative and delightful, and stand well with the best short story work he was doing at the time. Most of them have been out-of-print since their publication decades ago in comic books. This book is intended to remedy that situation.




Carl Barks' Big Book of Barney Bear


Book Description

Carl Barks tops the list of greatest comic book artists of many devoted fans around the world. He has often been called "The Good Duck Artist" by avid readers of all ages of his Disney Donald Duck and Uncle Scrooge comics. Those Duck stories have been reprinted and loved again and again by millions. But, while the Duck oeuvre is easily obtainable, only a few elite fans have gotten rare glimpses of yet another fabulous, alternate universe that Barks created around the classic animation characters Barney Bear and Benny Burro. Hidden in rare, Golden Age comics only Scrooge McDuck could afford are wonderful, full-color fantasy and fun stories as only Barks can write and draw 'em! Collected for the first time in a deluxe, hardcover, full-color tome, are all of these masterpieces, meticulously restored. The Barks' Bear Book is edited and designed by Eisner-Award-winning comics historian Craig Yoe, with a fascinating introduction and special cover is by Barks-devotee Jeff Smith, the best-selling graphic novelist of the Bone comics series. As with the entire line of Yoe Books, the reproduction techniques employed strive to preserve the look and feel of expensive vintage comics. Painstakingly remastered, enjoy the closest possible recreation of reading these comics when first released.




The Unavailable Carl Barks (in Color) Direct Sales Edition


Book Description

Ten stories by Carl Barks in this book, mostly unavailable since their original printings in comic books, are collected here together for the first time. The stories include 3 early Benny Burro stories, 2 early Droopy stories (actually titled Happy Hound), and an Andy Panda story from 1943, a 24 page Porky Pig story from 1944, and 3 more Droopy stories from 1952 and 1953. Also included are 2 Barney Bear and Benny Burro stories from 1945. All of the stories are sourced from high quality masters except for three for which there are no known surviving masters: Andy Panda, Porky Pig, and one of the 1953 Droopy stories. As collected in this book, newly colored and sourced from original masters, the stories look much better in this book than in previous printings. In this edition, the Porky Pig story has been newly restored with new black line plates and completely recolored. It looks much better than the original printing or any subsequent reprints. The Andy Panda and 1953 Droopy story also have been restored with new black line plates and their color has been cleaned up and partially recolored; this also represents a significant improvement over an earlier edition of this book. The 2 Happy Hound stories were altered from the way Barks drew them before their original publication and appear in restored versions which are intended to showcase them as Barks originally intended for them to be seen. The same is true for the 2 Barney Bear and Benny Burro stories; indeed, that is the reason for their inclusion here, despite being reprinted in another book recently. All 26 Barney Bear and Benny Burro stories, the bulk of Barks' non-Disney work, are in print in the USA in another book, The Carl Barks Big Book of Barney Bear; unfortunately original masters were not used for their reproduction.*******Every story that Carl Barks wrote or drew featuring Disney characters during his career as a comic book creator has been reprinted, often many times, in comic books and albums, and books. The Disney work is the most important of Barks' work, but Barks also wrote and/or drew 36 other comic book stories featuring non-Disney characters between 1943 and 1953; these have been less-well served in reprinting and are much less well-known. They are generally comparable in quality to the average of the Donald Duck work he was doing at the same time. A few of them are quite creative and delightful, and stand well with the best short story work he was doing at the time. Most of them have been out-of-print since their publication decades ago in comic books. This book is intended to remedy that situation.*******When combined with Craig Yoe and IDW's The Carl Barks Big Book of Barney Bear, The Unavailable Carl Barks (in color) brings back into print all of the non-Disney comic book stories written and/or drawn by Carl Barks. Owners of the earlier edition of The Unavailable Carl Barks (in color) may also be interested in Restoring Carl Barks, a short book which collects only the same newly restored versions of the Porky Pig, Andy Panda, and 1953 Droopy story that appear in this revised edition.




The Complete Carl Barks Index LARGE PRINT INDEX EDITION


Book Description

The Complete Carl Barks Index LARGE PRINT INDEX EDITION is identical to the regular edition EXCEPT that the Index portion of the Book is printed in larger type. The regular edition index portion of the book is mostly 2 columns of 7-point type. The LARGE PRINT index is mostly single column 9-point type and is consequently almost 250 pages longer. The non-index text is mostly 10-point in all editions. The price of the 548 page LARGE PRINT edition is $39.95. The regular 304 page edition price is $34.95. A SPECIAL EDITION identical to the regular edition except for a few pages of color, instead of black and white, illustrations is by $59.95; In any of the editions, the book a comprehensive index and concordance of Carl Barks' comic book work. From 1942 until his retirement in 1966, Carl Barks was the most important writer and artist of Donald Duck and related comic books, including Uncle Scrooge, as well as the creator of Uncle Scrooge and many of the best-loved characters in the Duck comic books. So beloved and important was Carl Barks' work that from 1983 to 1990, Another Rainbow Publishing, founded by Bruce Hamilton, published The Carl Barks Library in 30 deluxe hardcover volumes reprinting all of Barks' Disney comic book work and as much other Disney related drawings and art Barks was involved with as possible. In addition to comic book work, it includes paintings, storyboard and animation drawings, model sheets, and drawings for fans, among other things. The Complete Carl Barks Index has over 29,000 lines of data in the Index. The index, which was always intended to cover all of Barks' Disney comics as published in the original comic books and as reprinted, or in some cases first printed, in The Carl Barks Library, was also expanded to include Barks' non-Disney comics and also, later, Disney comics not included in The Carl Barks Library, and not even published until after The Carl Barks Library had been completed. There is even Barks comic book work first published after Barks' death, including work that has not yet been published in the USA or even in English. This has led to some additional material being added to the index as late as 2016. All of that is included in the Index. Information has also been included to make the Index useful even with other reprints in addition to the original comic books and the The Carl Barks Library. Each data entry includes reference to the original USA comic book publications with comic book title, issue, and story page numbers. It also includes reference to The Carl Barks Library publication including set, volume, and page reference, as well as submission dates, based on Carl Barks' personal work records. Just about any question you might ask about Carl Barks' work, if you can think of it, and it is included in Barks' opus, you can probably find it and all references to it. Want to find every depiction of a cigarette in Barks' comics or a listing of every half page display panel and other large sized panels? It's there. What really was the first appearance of the money bin or its precursors, or the worry room, or Gladstone's luck, every appearance of the Beagle Boys, all incarnations of Barks' pig villain characters, what stories have a camel in them, what Barney Bear and Benny Burro story was rewritten as an Uncle Scrooge story, what other Barks stories were rewritten years or decades later? Where does that huge panel of a money dam bursting with gazillions of dollars flowing forth appear? It's all there in the Index. There are also a dozen chapters of introduction, historical, and background material, topics of special interest, and a Foreword by Michael Barrier.




Walt Disney's Uncle Scrooge


Book Description

Carl Barks's greatest creation: The miserly, excessively wealthy Scrooge McDuck, whose giant money bin, lucky dime, and constant wrangles with his nemeses the Beagle Boys are well-known to and beloved by young and old. This volume starts off with "Only a Poor Old Man," the defining Scrooge yarn (in fact his first big starring story) in which Scrooge's plan to hide his money in a lake goes terribly wrong. Two other long-form classics in this volume include "Tralla La La" (also known as "The Bottlecap Story," in which Scrooge's intrusion has terrible consequences for a money-less Eden) and "Back to the Klondike" (Barks disciple Don Rosa's favorite story, a crucial addition to Scrooge's early history, and famous for a censored bar brawl that was restored in later editions). Also in this volume are the full-length "The Secret of Atlantis," and over two dozen more shorter stories and one-page gags.




Walt Disney's Donald Duck


Book Description

Donald Duck, Huey, Dewey and Louie go to catch a unicorn for Uncle Scrooge in one of the stories in this collection of world-famous comics.







Drawing the Past, Volume 1


Book Description

Contributions by Lawrence Abrams, Dorian L. Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fueling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.




Creation, Translation, and Adaptation in Donald Duck Comics


Book Description

This book examines the scope and nature of Donald Duck and his family's popularity in Germany, in contrast to the diminished role they play in America. This is achieved through examination of the respective fan communities, business practices, and universality of the characters. This work locates and understands the aspects of translation and adaptation that inform the spread of culture that have as yet been underexplored in the context of comic books. It represents a large-scale attempt to incorporate adaptation and translation studies into comics studies, through a lens of fan studies (used to examine both the American and German fan communities, as well as the work of Don Rosa). This work builds on the efforts of other scholars, including Janet Wasko and Illaria Meloni, while expanding the historical understanding of what might be the world’s best-selling comics. Peter Cullen Bryan is Lecturer at Pennsylvania State University, USA. His areas of study include American Studies, Intercultural Communications, and 21st Century American culture, emphasizing comic art and fan communities. His research has appeared in the Journal of Fandom Studies, The Journal of American Culture, and Popular Culture Studies Journal. He serves on the boards of the Mid-Atlantic Popular Culture Association and the Popular Culture Association, as well as Secretary for the Intercultural Communication section of the International Communication Association.




Walt's People -


Book Description

The Walt's People series, edited by Didier Ghez, is a collection of the best interviews ever conducted with Disney artists. Contributors to the series include noted Disney experts Robin Allan, Paul F. Anderson, Mike Barrier, Albert Becattini, John Canemaker, John Culhane, Pete Docter, Christopher Finch, J.B. Kaufman, Jim Korkis, Christian Renaut, Linda Rosenkrantz, Dave Smith, and Charles Solomon. Walt's People - Volume 9 features in-depth interviews with Ken Anderson, Art Babbitt, Jack Bradbury and Mary Jim Carp, Paul Carlson, Les Clark, Jack Cutting, Jack Ferges, Bob Foster, Joe and Jennie Grant, Victor Haboush, Thurston Harper, Fred Joerger, Ollie Johnston, Bob Jones, Margaret Kerry, Burny Mattinson, Frank McSavage, Bill Melendez, Ken O’Connor, Walt Peregoy, Thor Putman, Fanny Rabin about Art Babbitt, Art Scott, Tom Sito, Julie Svendsen, and Berny Wolf. It contains hundreds of new stories about the Studio and its artists and should delight even the most serious historians and enthusiasts. Walt's People is a notable new source of historical treasures and should give new energy to the world of Disney research! This book is neither authorized, sponsored nor endorsed by the Walt Disney Company and its subsidiaries. It is an unofficial and unauthorized book. The mention of names and places associated with the Walt Disney Company and its businesses are not intended to infringe on any existing copyrights or trademarks of the Walt Disney Company, but are used in context for educational purposes. The opinions and statements expressed in these interviews are solely the opinions and perspectives of the authors and the interviewees and do not necessarily reflect the opinions and policy of the Walt Disney Company and its businesses.