Duckipedia:Werkstatt/Renn, Apfelkönigin!: Unterschied zwischen den Versionen

Viele Informationen zu Barks’ Comic mit den goldenen Äpfeln sind im Laufe der Zeit verloren gegangen. Den [[Zehnseiter]], den Carl Barks in seinen Notizen „Golden Apples“ („Die goldenen Äpfel“) nannte, reichte er am 3. Januar 1952 für [[Walt Disney’s Comics and Stories]]-Ausgabe 144 ein.<ref name="erfunden" /><ref name="seriesam1" /><ref name="secretlife" /> Die Bezahlung erfolgte am 10. Januar 1952.<ref name="erfunden" /><ref name="seriesam1" /><ref name="seriesam2" /> Doch statt „Golden Apples“ erschien in der Ausgabe „[[Die Kunst, Geld auszugeben]]“, der ursprünglich für die Ausgabe danach eingeplant war,<ref name="secretlife" /> und Barks notierte zum „Golden Apples“-Comic die Notiz „must have been shelved“ („muss auf Eis gelegt worden sein“) hinzu,<ref name="erfunden">Byron Erickson (10. März 2026). „Renn, Apfelkönigin! (Hinter den Kulissen)“ bzw. „Die goldenen Äpfel“ (Mandy Strecker, Übers), in: „[[Erfunden von Carl Barks – Das Erbe des Duck Man]]“, 280 S., Berlin 2026 ([[Egmont Comic Collection]]); ISBN {{ISBN|978-3-7704-1166-5}}, S. 102. [[Inducks]]: {{sc|Qus/ECB 1d}}</ref><ref name="seriesam1">„golden apples“. [https://www.seriesam.com/barks/detc_ccus_wdc0144-u.html seriesam.com]</ref><ref name="artofcomicbook" /> vermutlich von Chefredakteurin Alice Cobbs<ref name="cbc10" /> oder ihren Nachfolger, Chase Craig.<ref name="loststory1">Peter Kylling (23.08.2008). „The lost story“. [https://www.cbarks.dk/theloststory.htm cbarks.dk]</ref> Rob Klein vertritt die These, dass Cobbs die Geschichte abnahm und ihr Nachfolger Craig sie wieder ablehnte. Da Western Publishing aber bereits die Geschichte bezahlt hatte, wurden Barks die Zeichnungen nicht zurückgeschickt, sondern nie benutzt und zerstört.<ref name="feathery1" /><ref name="feathery3" /> <br>Offiziell ist unbekannt, was weiterhin mit dem eingereichten Comic geschah,<ref name="secretlife" /> er ist bis heute verloren.<ref name="ind-script" /><ref name="seriesam1" />

1966 traf sich [[Rob Klein]] mit Barks. Durch Malcolm Willits, der denk Kontakt zwischen Klein und Barks aufbaute, wusste Klein bereits von dem verlorenen Barks-Comic „Golden Apples“,<ref name="loststory1" /><ref name="cbarks.dk">Robert E. Klein (2007). „My Memories of Carl Barks“. [https://www.cbarks.dk/themeetingsklein.htm cbarks.dk], abgerufen am 28.12.2024</ref> und Klein sprach mit Barks unter anderem über die verlorene Geschichte und fragte nach Plotdetails.<ref name="loststory1" /><ref name="ind-klein" />

 

weitere Unterschiede:

WE then submitted it to Egmont.  Byron Erickson said we needed to wait for Geoff Blum's version of it, so Byron could compare the two, and Daan would draw whichever would be the better story. After Geoff's was finished, Byron chose HIS, even though my version was the same number of pages as Carl's, and was based on more information from Barks than he had told to Mike Barrier (which was all Blum used), and even though Geoff made his version 14 pages, and added Uncle Scrooge and Magica and a second plot line, which were not in Barks' original story.

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Klein berichtete 2022, dass er nach Erstellung seines Comicskripts dieses mit Daan Jippes umsetzen wollte, doch Thom Roep, sein damaliger Redakteur bei Oberon, lehnte die Geschichte ab, da sie nicht im Barks-Stil wäre. Klein und Jippes reichten das Comicskript daraufhin bei Egmont ein, wo Redakteur Byron Erickson auf die bereits beauftragte Version von Geoffrey Blum warten wollte, um beide Comicskripte zu vergleichen und das ausgewählte Skript von Jippes zeichnen zu lassen. Erickson wählte Blums Comicskript.<ref name="feathery2">„Based on Carl Barks’ 3 different discussions with me, in 1966, 1969, and 1971, in which we discussed ‚Queen of The Apple Festival‘, and he added a few details each time (and so, I had more details to go on  than were listed in Barks' published interviews), I drew up the storyboards, and wrote a story that tied them all together, and added more to the plot, so it could fit 10 pages.  Daan Jippes agreed to partner on the project with me and we'd submit it to my editor at Oberon (Thom Roep). Unfortunately, he rejected the story, saying that it wasn't enough like Barks would have written it.  WE then submitted it to Egmont. Byron Erickson said we needed to wait for Geoff Blum’s version of it, so Byron could compare the two, and Daan would draw whichever would be the better story. After Geoff’s was finished, Byron chose HIS, even though my version was the same number of pages as Carl’s, and was based on more information from Barks than he had told to Mike Barrier (which was all Blum used), and even though Geoff made his version 14 pages, and added Uncle Scrooge and Magica and a second plot line, which were not in Barks’ original story.<br>So, you would like Daan to now draw a 10-page version WITHOUT Scrooge and Magica, but adding in my additional information, as Daan and I had planned? <br>I DO agree that no complete versions of drawn, but never-before-plublished Golden Age Barks stories will show up any more.  They would have surfaced some years ago, when the collections or valuable possessions of people who ended up obtaining the original art, died.  There are younger people still alive, who could possibly have gotten copies of Barks’ 1960s inked stories, or his 1970s blueline pencil sketched stories, which still might possibly be discovered (but, even those would be a longshot).“<br>RobbK1 (Rob Klein) (01.03.2022). in: „Carl Barks Library“. [https://featherysociety.proboards.com/post/28084/thread featherysociety.proboards.com]</ref>

 

 

 

 

 

 

 

In [[The Complete Carl Barks Disney Library]]-Band 13 beschreibt Thad Komorowski das Jahr 1952 generell als kein gutes für Barks. Nach jahrelanger kreativer Freiheit bekam er binnen weniger Monate die größten redaktionellen Eingriffe in seine Arbeit. Neben dem Streichen von „Golden Apples“ wurden fünf Seiten von „[[Wiedersehn mit Klondike]]“ (''Back to the Klondike'') zensiert und neun Seiten von „[[Spendieren oder Schikanieren]]“ (''Trick or Treat'') geschnitten, um den Comic dem Cartoon „[[Donald, Geister und Gespenster]]“ (ebenfalls ''Trick or Treat'') anzupassen, auf dem der Comic basiert.<ref>„Maybe there was a goblin at Western's California office in 1952, for it was not a good year for Barks. He had long enjoyed creative freedom with the Ducks, but now, in the span of just a few months, he faced the heaviest editorial scrutiny of his career. The infamous ‚golden apples‘ 10-pager was shelved, five pages were censored from ‚Back to the Klondike‘ for violence and innuendo [...], and a whopping nine pages were cut from ‚Trick or Treat‘ to make it a strict adaption of the animated cartoon.“<br>Thad Komorowski (26.10.2015). „Story Notes“ in: [[The Complete Carl Barks Disney Library]] 13. [[Fantagraphics Books]], Seattle. S. 207. [https://inducks.org/story.php?c=Qus%2FCBDL+13A inducks.org] {{sc|Qus/CBDL 13A}}</ref>

Bei der Geschichte handelt es sich um Barks’ zweite unveröffentlichte Geschichte, nach „[[Eine stille Nacht]]“ (''Silent Night'') und vor einer Geschichte mit dem internen Titel „Bobsled Race“ sowie dem Comic „[[Der Milchmann]]“ (''The Milkman'').<ref name="secretlife">„The second unpublished story by Barks is one he lists as ‚Golden Apples,‘ a ten-pager submitted January 3, 1952, and planned for ''Walt Disney's'' No. 144. However, No. 144 carried the story originally scheduled for No. 145 (about spending Scrooge's money) and Barks’ records note that the ‚Golden Apples‘ story must have been shelved. What has happened to this story is a mystery. As Barks remembers it, the story was a modern version of the myth of [Atalante] and the golden apples, and was shelved because Daisy did not behave in a ‚ladylike manner‘ in the story.“<br>Kim Weston (1975). „My Secret Life By Scrooge McDuck – Or, The Unpublished Carl Barks“ in: „Funnyworld“ 16. S. 4–11. [https://archive.org/details/magazine-funnyworld-16 archive.org]</ref> <br>„Bobsled Race“ („Schlittenrennen“) entstand 1955 und war für [[Walt Disney’s Comics and Stories]]-Ausgabe 196 eingeplant, bevor Chefredakteurin Alice Cobbs die Geschichte ablehnte.<ref name="cbc10" /><ref name="worst" /><ref> Die Bezahlung der „Bobsled Race“-Geschichte erfolgte am 15. Dezember 1955.</ref><ref>„Bobsled Race“. [https://inducks.org/story.php?c=CZ+WDC+196 inducks.org] / {{sc|CZ WDC 196}} {{Ind}}</ref> Anders als die vorherige „Golden Apples“-Geschichte reichte Barks diese Geschichte nur als Blaustift-Vorzeichnungen ein, die er nach der Ablehnung der Geschichte für den Comic „[[Der Schneemann-Preis]]“ (''Statues of Limitations'') wiederverwendete. Beide Geschichten behandeln deswegen einen Wettkampf zwischen Donald und den Drillingen.<ref name="feathery3">„In the case of Bobsled race, that story was returned to Barks in blue pencil sketches form, for changing. He was told that the rivalry between Donald and his Nephews was too strong and intense. Rather than throw away all his work, he changed the story from being a rivalry over bobsled racing, to a story about the snow statues(printed in Walt Disney’s Comics & Stories 196). He used many of the same backgrounds, and erased the bobsleds, and the Donald and his nephews’ figures when in action with the sleds, and drew The Ducks again, in poses related to the snow statues atop the original storyboards. he kept the theme of the rivals trying to win the race to help Widow Umble’s two children, and their poses remained mostly the same, but with the bobsleds removed. So, there is no surviving Barks art of the original story.<br>Jan Gulbransson and I produced a related bobsled rivalry story to help Widow Umble’s kids, for Egmont (D2015-004), but with changing Donald’s rivalry with his nephews to a rivalry with Neighbor Jones.  It has never been published in English, but is available in issues printed from 2015-2017 in Dutch, German, French, All 3 Scandinavian languages, Finnish, Indonesian (I have a few Donal Bebek copies), and Chinese.<br>Unfortunately, as far as The Golden Apples story is concerned, both Carl Barks and Malcolm Willits told me that the original art and photos of that story were destroyed by Western Publishing along with their regular originals destruction operations near the end of the 1950s, or beginning of the 1960s, several years before my 1966 discussion with Carl, and inquiry about them.  I think that the only possibility of seeing any Barks drawings from that story might be a photo of a single or few panels, or, at the very most, one stray page, IF such were made for a friend of Carl’s, or a San Jacinto neighbour fan.  Very unlikely.  Such should have surfaced by now.  It is only possible if the possessor had been a child at the time, and his parents made the photo, and he lived till from now to 10 years from now to the age of 80 to 90.  There is NO original art to find, as Barks reused his ‚Bobsled Race‘ original pages, and was never returned ‚The Golden Apples‘ originals.“<br>RobbK1 (Rob Klein) (01.03.2022). in: „Carl Barks Library“. [https://featherysociety.proboards.com/post/28090/thread featherysociety.proboards.com]</ref> Da Barks seine Bleistiftzeichnungen in der Regel mit der Tusche-Version übermalte, existieren keine Zeichnungen mehr von der „Bobsled Race“-Geschichte.<ref name="feathery1">„Carl Barks never drew final pencil drawings.  He simply inked over his blueline pencil storyboard sketches.  Both Carl, himself, and Malcolm Willits told me that the original untitled story submitted for Walt Disney's Comics and Stories 144 (September 1952)(‚The Queen of The Apple Festival‘), was fully inked and submitted to Western Publishing’s story editor (the one that was in place just before Chase Craig took over that function (I can't remember if it was Carl (von) Buettner or there was a female story editor between Buettner and Craig). The editor accepted the story, and I believe Barks was paid for it.  But, long before it would be printed, new editor, Chase Craig took over, and decided that that story involved ‚unladylike actions from Daisy, which probably would be considered objectionable by too many parents‘, so that story was shelved (never used– and the original art likely destroyed).  Craig had already received letters from parents complaining about objectionable actions of some characters that might be harmful to their children’s psyches. I was told that the original art was not sent back to Carl because, originally, he had been paid for the work.“<br>RobbK1 (Rob Klein) (25.02.2022). in: „Carl Barks Library“. [https://featherysociety.proboards.com/post/28066/thread featherysociety.proboards.com]</ref> <br>In späteren Interviews war Barks außerstande, sich an Details des Comics zu erinnern,<ref name="cbc10" /> der zehnseitige Comic behandelte laut ihm aber heftige Auseinandersetzungen zwischen Donald und seinen Neffen. Bereits ein Jahr vor „Bobsled Race“ beschwerte sich eine Mutter beim Verlag, dass Donald im Comic „[[Der Sofaexpress]]“ (''The Ice Taxis'') seinen Neffen im letzten Panel den Mund verbietet (im Original „Shut up“, im Deutschen „Lasst mich zufrieden!“),<ref name="worst" /> weswegen Barks von Chefredakteurin Alice Cobb gerügt wurde.<ref name="cbc10" /><ref>Brief vom 4. Juni 1956 von Alice Cobb an Carl Barks</ref> Wie „Golden Apples“ ist „Bobsled Race“ ein verlorener Comic.<ref name="worst">Peter Kylling (22.01.2009). „The worst stories“. [https://www.cbarks.dk/theworststories.htm cbarks.dk]</ref><ref>„Comics: Comics and Stories 196 - 219 (1957 - 1958)“. [https://www.seriesam.com/barks/comicswdc196.html#ccus_wdc0196-u seriesam.com]</ref> Aber ebenfalls wie bei „Golden Apples“ schrieb Rob Klein eine Rekonstruktion der „Bobsled Race“-Geschichte: „Schlitten für Kummersdorf“ (''The Great Toboggan Race'') wurde von [[Jan Gulbransson]] und [[Ferran Rodriguez]] zeichnerisch umgesetzt und erschien in Deutschland im [[Micky Maus Magazin]] 9/2016.<ref name="feathery3" /><ref>„Schlitten für Kummersdorf“ / „The Great Toboggan Race“. [https://inducks.org/story.php?c=D+2015-004 inducks.org] / {{sc|D 2015-004}} {{Ind}}</ref>

*[[Micky Maus Magazin]] 42/2007