Andrea/Duck Dodgers here. I friendly welcome every fan of animation at my blog. The goal is to support the love and rediscovery of Classic Theatrical Cartoons from the Golden Age of Animation, keeping meanwhile an eye on Golden Age "Funny Animals" Comics as well as on modern animated productions! Every SUPPRESSED ethnic caricature to be sometimes presented here is just for HISTORICAL and EDUCATIONAL purpose and NOT to offend anyone. Stay Tooned and Enjoy the place !

Tuesday, February 19, 2008

Duck man meets Pig

No, it's not about the animated TV series....

Enjoy the only story drawn by Barks (several if not all the heads of Bugs and Porky were redrawn by Carl Buettner though) starring our favorite ham actor (hope I've not offended any fans of Piggy).

Duck Dodgers


Anonymous Anonymous said...

Hmph! I'm a Piggy fan, and, and... um... you don't know what you're doin'!
(BTW Andrea, I'll be getting busy with those scans. Not sure what I'll do first...)

2:14 am

Anonymous Anonymous said...

Great blog first time here.
Thanks :)

5:25 am

Blogger Duck Dodgers said...

Cool, David, but please answer that email I sent you with them details I need to know (as said I got lot of stuff pretty cool in Region 1 and I want to know if you can read it).

11:35 am

Blogger hansgrotz said...

It seams that all Bugs heads were ,really ,redrawn by Buettner.

11:19 pm

Blogger ramapith said...

Not all, Hans. Look at

• Page 2, pic 7 (silhouette)
• Page 6, pic 1
• Page 7, pics 5 and 8
• Page 8, pics 1 and 6
• Page 9, pics 1-3
• Page 10, pic 6
• Page 11, pics 1, 2, 4, 5
• Page 12, pics 4 and 6
• Page 13, pics 1, 3, 5
• Page 15, pic 1
• Page 17, pics 5 and 6
• Page 18, pic 2

I'm dead certain the Bugs heads in those drawings are all by Barks. The main tipoffs are the larger, farther-apart (almost Donald-like) eyes and the black nose.

Barks quite plainly draws the standard pre-1944 comics model, which Buettner himself drew as late as 1943. It's based on the 1941 "Rabbit Model" sheet; dark shading pencilled in on the nose was routinely misinterpreted by Western artists to indicate a black nose. Starting in late 1943, Western realized (or was told) that the nose should really be light red.

3:42 pm

Blogger ramapith said...

By the way Andrea... I'm at my office now so I can't access your e-mail to reply directly, but do you really mean to refer to most of your stuff as being in Region 1 format? Region 1 is the standard North American region, so of course I can read it! (-:
Maybe you mean to refer to Region 2 (European standard)?

3:55 pm

Blogger Thad said...

Well Dave, most of those panels you cite aren't exactly close-ups. So they wouldn't need much clean-up to look presentable. (Not that Western cared much about presentable artwork... Just crack open a random issue of New Funnies...)

7:42 pm

Blogger ramapith said...

Fie, Thad! (Does anyone say "fie" anymore? Nah, didn't think so.)

Western had two offices with, as far as I can gauge, significant levels of autonomy: one on the West Coast, and one in New York.
By the mid-1940s, most of the stories featuring animation characters were produced out of the West Coast office, with significant numbers of Hollywood animators involved.
NEW FUNNIES was an exception. It continued to be produced almost entirely out of New York through 1952, with primarily East Coast freelancers like Dan Gormley, Dan Noonan, Suzanne Seaborne, and Lloyd White contributing.
In the fall of that year, though, WOODY WOODPECKER'S BACK TO SCHOOL 1 appeared. This giant comic seems to have used entirely West Coast talent and seems to have represented some kind of trial balloon. It must have rocked someone's world, because for the first time in years the Lantz characters actually looked like themselves!
Less than a year later, West Coast talent began infiltrating NEW FUNNIES and the Woody and Andy solo books at a rapid speed. By 1955, with a rare exception, it was an entirely West Coast book, sharing a talent pool with WDC&S, LOONEY TUNES, and TOM AND JERRY.
TOM AND JERRY appears to me to have been an originally East Coast book (as OUR GANG) that much more gradually and naturally began to be produced on the West Coast (with the editors bringing in Barks, then Risto, then Turner, then Eisenberg).
Another anomaly is the fact that from 1946 to 1948, LOONEY TUNES featured West Coast interior contents and East Coast *covers*.
Right up into the 1980s the West and East had some kind of autonomy. In the 1970s, Western's TWEETY AND SYLVESTER was produced on the East Coast, unlike most other WB material of the time. The difference was still palpable in terms of style, if not any longer in quality.
From my not-really-educated-beyond-Disney view on things, everything seems to point to a kind of power struggle, where the West Coast had much better quality control on its cartoon adaptations and essentially fought to win territory in the eyes of licensees and upper management. But I don't know if that's how it really happened. Mark Evanier might.

12:48 am

Blogger Duck Dodgers said...

do forgive me. I was meaning the European region and got looney tooney writing the number of the region.
Yeah, I meant that I've some cool stuff in European region and I wonder if you can read it.

8:14 am

Blogger Duck Dodgers said...

thanks for sharing them infos!!

8:15 am

Blogger hansgrotz said...

Thanks ramapith ,very informative stuff.
Just to to record: Barks Porky always looked like one of the 3 little pigs to me.

12:46 pm


Post a Comment

<< Home

Newer Posts | Older Posts | Home
Free Web Counter
hit Counter