I'm actually not sure what the percentages are now, though. The Italian stories tend to be longer, so the page count may still be overwhelmingly Italian, but IDW Disney has certainly printed Egmont stories and Dutch stories as well. And my favorite-ever S-code story (Fallberg's Treasure above the Clouds) is on its way! I personally lean more towards Egmont and Dutch stories, myself, but I'm not unhappy with the mix we're getting.
What about Brazilian stuff, though? There's very little of it, but there is some, so it's not a rights issue…
Again I exaggerate, but you've seen ten Donald Egmont ten-pagers, you've kinda seen them all.
Totally do not agree. Rota, Midthun, Ferioli, Van Horn... Definitely there should be more Egmont stories in IDW. I have bought subscription for Finnish Aku Ankka and in almost every number there is good Egmont story worth to be released by IDW.
Are you Finnish? I wouldn't have guessed that any non-Finnish Disney Comics fans could read that difficult language.
Totally do not agree. Rota, Midthun, Ferioli, Van Horn... Definitely there should be more Egmont stories in IDW. I have bought subscription for Finnish Aku Ankka and in almost every number there is good Egmont story worth to be released by IDW.
Are you Finnish? I wouldn't have guessed that any non-Finnish Disney Comics fans could read that difficult language.
He he, nope I'm a Polish, but I was living for almost year in Finland and I was learning then Finnish. Now is more like looking at pictures, getting some key words and using google translate a little
Are you Finnish? I wouldn't have guessed that any non-Finnish Disney Comics fans could read that difficult language.
He he, nope I'm a Polish, but I was living for almost year in Finland and I was learning then Finnish. Now is more like looking at pictures, getting some key words and using google translate a little
My brother lived in Finland for a year, attending The University of Oulu in the far North (southern Lappland). But, he could speak much Suomen. I have lots of pen friends there. I plan to visit Finland either this coming July, or July of 2019.
He he, nope I'm a Polish, but I was living for almost year in Finland and I was learning then Finnish. Now is more like looking at pictures, getting some key words and using google translate a little
My brother lived in Finland for a year, attending The University of Oulu in the far North (southern Lappland). But, he could speak much Suomen. I have lots of pen friends there. I plan to visit Finland either this coming July, or July of 2019.
Wow, I was in Finland for Erasmus student exchange at University of Oulu And I was living on Yliopistokatu street
Post by Monkey_Feyerabend on Apr 20, 2018 8:22:09 GMT
I suppose that they publish more and more Italian stories to balance the fact that before the IDW run the American audience had no idea of 70 (*s*e*v*e*n*t*y) years of weekly Italian Disney comics production. (Except for a bit of Scarpa and Casty, if I understand correctly.)
A proof that there was the need for a balance? The US will see one of the most "cult" Italian story from the 90's Renaissance only next June!
The Egmont production is also rather little (and more and more "periferical") compared to the Italian one. Considering that Italy produces the 75% of Disney comic stories now, it seems to me that IDW is still reserving a disproportional size of space for Egmont production.
Of course, there must be also (and mainly) reasons concerning the quality of the stories, or what the IDW editors judge to be more appealing for their target audience.
(Non of the above implies any personal judgments on the Northern European or Southern European production. Also I don't really care what the little US audience sees published. I just wanted to point out that the yankee readers cannot really complain in this period...well except if they are hardcore fans of the Dutch production...and even that still finds its way in the IDW comic books!)
I suppose that they publish more and more Italian stories to balance the fact that before the IDW run the American audience had no idea of 70 (*s*e*v*e*n*t*y) years of weekly Italian Disney comics production. (Except for a bit of Scarpa and Casty, if I understand correctly.)
A proof that there was the need for a balance? The US will see one of the most "cult" Italian story from the 90's Renaissance only next June!
The Egmont production is also rather little (and more and more "periferical") compared to the Italian one. Considering that Italy produces the 75% of Disney comic stories now, it seems to me that IDW is still reserving a disproportional size of space for Egmont production.
Of course, there must be also (and mainly) reasons concerning the quality of the stories, or what the IDW editors judge to be more appealing for their target audience.
(Non of the above implies any personal judgments on the Northern European or Southern European production. Also I don't really care what the little US audience see published. I just wanted to point out that the yankee readers cannot really complain in this period...well except if they are hardcore fans of the Dutch production...and even that still finds its way in the IDW comic books!)
Yup, I agree, it's probably mostly righting the balance. "Periferical"? Do you mean "peripheral"? Anyway, as I said above, I'm not complaining about the current mix, even though I myself have adopted relatively few Italian stories into my headcanon of "stories that really happened to the Ducks in my Duckworld." BUT! One of those few is now Stabile's "The Wonderful Wishing Crown," which I like a LOT! Enjoyed Stabile's story, Torcivia's dialogue, and Perina's art.
Post by Monkey_Feyerabend on Apr 24, 2018 20:26:42 GMT
If you are talking about La luna notte del commissario Manetta, well, to be clear, it is not one of those great stories by Faraci which mix mystery, action and (mainly verbal) fun. It is just a completely humor brief story, with a site-com flavor to it. Faraci explicitly intended all those stories with Casey and Rock Sassi has some kind of "sit-com about Mouseton's police department". Just to underline that it is not exactly one of those stories that everyone can find massively interesting.
Post by Monkey_Feyerabend on Apr 26, 2018 8:56:32 GMT
Stabile seems to be an interesting writer from what I hear. He is pretty young, by the way, I think 29 or 30 yo. Unfortunately he debuted when I was already in France, where not much of his material has been printed so far. (And me, I am pretty selective when buying Disney monthly or weekly material: it is cheap, I know, but if an issue contains only one story of possible interest I most often avoid to buy it.) I only own a DoubleDuck story by him, but I do not even read that kind of "Italian serial" stuff using Donald as a puppet/actor. Based on what Stabile used to write on the Italian forum (where he was a frequent user before becoming a Disney author) his influences come from all sides, Barks&Rosa, the Italian school, Ducktales. I am dreaming of a more 'internationalized' generation of Disney comics writers, with undefined mixed influences. Writers able to mix narrative styles - hence create new ones - overcoming the direct and often unconscious influence of the Disney comics they read as kids (the one of their countries in most cases). Of course, this could develop only under the lightened direction of great editor-in-chief with the same tendencies, which I suppose we kinda lack now.
Does Stabile's story that you guys read so far have a bit of that 'transnational' taste, or are they just good Italian stories?
The impression I got from Stabile's stories so far was that he read a lot of Scarpa But he also seems to channel some of Barks' storytelling abilities at times, and doesn't seem to be afraid of showing some new or unexplored sides to well-established characters. He really is a very promising talent.
I'm a Polish, but I was living for almost year in Finland and I was learning then Finnish. Now is more like looking at pictures, getting some key words and using google translate a little 
