The Recognition of 3-Row and 4-Row Stories on Inducks
Nov 9, 2023 19:27:23 GMT
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That Duckfan, phalanx091, and 2 more like this
Post by Rrr on Nov 9, 2023 19:27:23 GMT
Mainly repeating what has already been said; i tend to mainly lurk around in this forum but i just wanted to say my two cents in here:
As someone who has followed both Egmonts 4-tiered stories and Italian pocket stories as a child, i think the main reason why the Egmont stories tend to be “overshadowed” is because they often seem quite limited compared to Italian stories in terms of plot and tropes. Dont misunderstand me here, i dont hate Egmont stories at all (infact ive been rereading a lot of late 80es early 90es weeklies and a lot of the stories are indeed pretty well written, those were times…) but i can understand that, looking at contemporary Italian stories, theres a more sense of freedom that you dont see in Egmonts stories, the plots can change from realistic everyday stories to fantascifi adventures (or whatever, you get what i mean).
This is also the case for Egmont, i know, but a lot of Italian stories manage to seem intriguing in their take of the plot, and i think this is due to the longer length (Egmont weekly stories are getting shorter and shorter, now there arent even 2 parters anymore so every issue is autoconclusive) which can lead to original twists which make a story stand out and be remembered. Things are more limited at Egmont, the norms so to say are quite more strict, fx the duck stories have long been mainly influenced by Barks (in the 70es Barks was pretty much the only model for Duck stories at the time for Egmont while Italy were already experimenting with different structures with fx Pezzin/Cavazzano duo). This gives Italian stories more a sense of fluidness since stories are rarely based on a single style (of course there are cases such as Gervasios current PK stories which are strongly based on Martinas original tropes) but are more based on whatever the plot has without mischaracterizing the characters too much, which often leads to more original plots. As already mentioned by others this has lead to many ambitious and original stories through the years, and i think these stories make Italian production interesting and remembered in general, due to the creators often wanting to experiment with plots and create something that both has a familiarness and originality at the same time.
Im not saying that Egmont stories havent lived up that at all, i can remember many of those stories that have struck me as fascinating and good, but often people seem to think of some of them as either not being too original or not being well executed in script.
Lastly something that has dissapointed me is that they dont seem to equal the mouseverse a lot in modern egmont production. Egmont seem to have gotten Mickey wrong from the start in my humble opinion with strictly following the Murry model, and only somewhere in the 90es decided to change this with some experimental and much more interesting stories. Unfortunately somewhere around 2010 Egmont seem to have strongly shrunken their Mouse production and now there arent new Mickey stories quite often (a lot of times in the weekly not at all or just a riddle comic) which makes me a bit sad that they dont try to promote Mickey to the readers at least a little bit through their publications or through stories.
Italy has mainly succesfully created a balance through Mouse and Duck stories, and although this probably wont affect someone who solely is interested in Duck (or another universe) stories, i still think this is an interesting point.
I want to point out that i dont really have that much against Egmont at all, many of their stories are good and have a positive charm on me, and there are also many modern talentful authors and artists from there which stick out for me (Åstrup, Ferioli, Paco Rodrigues, Midthun, etc). I personally dont judge stories by production that much and like a story if its just wellwritten in general, i just wanted to point out how Italian stories sometimes can be recognized higher by people.
As someone who has followed both Egmonts 4-tiered stories and Italian pocket stories as a child, i think the main reason why the Egmont stories tend to be “overshadowed” is because they often seem quite limited compared to Italian stories in terms of plot and tropes. Dont misunderstand me here, i dont hate Egmont stories at all (infact ive been rereading a lot of late 80es early 90es weeklies and a lot of the stories are indeed pretty well written, those were times…) but i can understand that, looking at contemporary Italian stories, theres a more sense of freedom that you dont see in Egmonts stories, the plots can change from realistic everyday stories to fantascifi adventures (or whatever, you get what i mean).
This is also the case for Egmont, i know, but a lot of Italian stories manage to seem intriguing in their take of the plot, and i think this is due to the longer length (Egmont weekly stories are getting shorter and shorter, now there arent even 2 parters anymore so every issue is autoconclusive) which can lead to original twists which make a story stand out and be remembered. Things are more limited at Egmont, the norms so to say are quite more strict, fx the duck stories have long been mainly influenced by Barks (in the 70es Barks was pretty much the only model for Duck stories at the time for Egmont while Italy were already experimenting with different structures with fx Pezzin/Cavazzano duo). This gives Italian stories more a sense of fluidness since stories are rarely based on a single style (of course there are cases such as Gervasios current PK stories which are strongly based on Martinas original tropes) but are more based on whatever the plot has without mischaracterizing the characters too much, which often leads to more original plots. As already mentioned by others this has lead to many ambitious and original stories through the years, and i think these stories make Italian production interesting and remembered in general, due to the creators often wanting to experiment with plots and create something that both has a familiarness and originality at the same time.
Im not saying that Egmont stories havent lived up that at all, i can remember many of those stories that have struck me as fascinating and good, but often people seem to think of some of them as either not being too original or not being well executed in script.
Lastly something that has dissapointed me is that they dont seem to equal the mouseverse a lot in modern egmont production. Egmont seem to have gotten Mickey wrong from the start in my humble opinion with strictly following the Murry model, and only somewhere in the 90es decided to change this with some experimental and much more interesting stories. Unfortunately somewhere around 2010 Egmont seem to have strongly shrunken their Mouse production and now there arent new Mickey stories quite often (a lot of times in the weekly not at all or just a riddle comic) which makes me a bit sad that they dont try to promote Mickey to the readers at least a little bit through their publications or through stories.
Italy has mainly succesfully created a balance through Mouse and Duck stories, and although this probably wont affect someone who solely is interested in Duck (or another universe) stories, i still think this is an interesting point.
I want to point out that i dont really have that much against Egmont at all, many of their stories are good and have a positive charm on me, and there are also many modern talentful authors and artists from there which stick out for me (Åstrup, Ferioli, Paco Rodrigues, Midthun, etc). I personally dont judge stories by production that much and like a story if its just wellwritten in general, i just wanted to point out how Italian stories sometimes can be recognized higher by people.