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Donald and his nephews face high-tech Wild West villainy and much more in this new collection, which includes “extras” such as “In Darkest Africa,” unreleased for decades.
With this volume, “The Complete Carl Barks Disney Library” loops back to Barks’s earlier days, collecting the entirety of Barks’s (astounding) 1948 output. The title story, “The Old Castle’s Secret,” is notable not just for being the first full-length 32-page adventure instigated by Scrooge McDuck (in his second-ever appearance), but for featuring some of Barks’s spookiest, lushest settings in old Clan McDuck ca
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Book ID Asin: 1606996533
Book Title: Walt Disney’s Donald Duck: The Old Castle’s Secret
Book Author: Carl Barks,Gary Groth
Book Format and Price:
Book Format Name: KindleComixology
Book Format Price: $17.98
Book Format Name: Hardcover
Book Format Price: unknown
Book Price: unknown
Book Category: Books, Comics & Graphic Novels, Publishers and unknown
Book Rating: 149 ratings
Walt Disney’s Donald Duck: The Old Castle’s Secret by Carl Barks,Gary Groth Book Review
Name: J.K.Weston
Rating: 5.0 out of 5 stars
Title: Another Treasure by Carl Barks
Date: Reviewed in the United States on May 28, 2013
Review: Another Treasure by Carl Barks
The Old Castle’s Secret is the fourth in Fantagraphics’ series of books reprinting Carl Barks’ comic book stories with Disney characters and includes stories Barks wrote and drew between Dec. 3, 1947 and May 28, 1948. For the most part, the art looks stunningly beautiful and detailed, thanks to the extraordinary quality of Barks original drawings and also the excellent quality negatives that were made from the original art at the time of their original printings, negatives used again in the printing of this book. The one exception is the story, Darkest Africa, which also looks very, very good, and arguably better than it has looked since its original printing, but not quite as good as the others, more about which later in this review. The coloring is generally quite faithful to the very good coloring in the original comics, but both the general printing quality and the registration is much better in this book than in the original cheap 10¢ comic books. Not everyone is in favor of this fidelity of color design to the original, and some would prefer the broader color palate available in modern comic books. I disagree. Barks knew the color palate available in the comics at the time and undoubtedly had that in mind when he drew these pages. There are occasional minor color errors. For example there should be a single red flower in the bush below the butterfly in page 75, panel 5. But one can make a good arguement that these comics have never looked better in color. My major complaint, and a minor one it is indeed, is that yellow plate color is sometimes too intense. For an example compare page 54 to the first 5 panels of page 55. But even this has generally improved as this series has progressed.
About Barks writing, this is excellent Barks material, near the beginning of his peak period of 5–8 years. Some of his later work is a little deeper, more profound, more sharply edged satire, and maybe even funnier. Some, but not all. This is prime Barks. If you haven’t enjoyed the other Fantagraphics Barks books, you probably shouldn’t buy this one. But then you probably aren’t reading this review either. If you have enjoyed the others, this is certainly a must have. It has one very good and two terrific long adventure stories, eleven 10-pagers from Walt Disney’s Comics and Stories, and a few covers and one page gags; and there is some commentary, most of which I have not yet read, but which in the past has been interesting and sometimes informative even to a long time Barks fan and scholar like myself. You really can’t miss.
According to notes in the back of the book by Ken Parille, the version of Darkest Africa printed in The Old Castle’s Secret was restored from copies of the original 1948 comic book printing in March of Comics #20 and a 1950s Italian reprint, which may have been in Black and White, but the text does not say. Previous printings since the 1980s have been done using a redrawn version by Daan Jippes and Dick Vlottes commissioned in 1982 by the Dutch publisher of Disney comics. Black and White xeroxes of the original comic book were probably blown up to approximately 28 x 36 cm (the size of Jippes’ redrawn version of Donald Duck’s Atom Bomb, approximately 11 x 14 inches).* The xeroxes were presumably then put on a light box and re-inked, and there was probably a good bit of actual redrawing necessary, too. For publication in the USA, further changes were made before the stories were printed in the Carl Barks Library series of Barks reprints in the 1980s and early 1990s and those changes have persisted in all American printings since. Until the Fantagraphics reprint now available in this book, The Old Castle’s Secret.
I have not seen the 1950s Italian printing, but I have the original March of Comics edition of the story and I have seen old Italian printings of other Barks stories, and those stories were often reformatted for Italian comic books. It is quite likely that many stories were reformatted by the Italian publishers for printing in three tier pages instead of the standard four tier pages that Barks drew for most of his career. If Darkest Africa was originally printed in Black and White in its Italian version and with three tier pages, that would explain why the art for the story in the Fantagraphics Book is mostly pretty sharp and clear (but noticeably less sharp and clear than the other stories in the volume which were printed from archival stats) and also why there are small changes, especially at the edges, in so many of the panels. The art was probably trimmed slightly at the edges for the original Italian printing so it remains missing. Fantagraphics probably reformatted the black and white art from Italian pages back to match as closely as possible the original American comic book formatting and then took the (mostly black and white) word balloons and captions from the American comic book printing and placed them appropriately back into the re-reformatted pages. And they did a really nice job. And short of spending $500 or more on an original copy of March of Comics #20, this is the best we are likely to see of this story and it will probably become the standard on which future printings are based worldwide. However I suspect that future printings in standard comic books in the USA, if any, will continue to be reprinted from the sanitized 1980s version.
* NOTE: Daan Jippes currently (2012–2013) draws approximately 36.5 x 53 cm (about 14.5 x 21 inches, significantly smaller than Barks working image size which is about 41 x 59.5 cm or 16 x 23.25 inches, panel border to panel border). Jippes’ current art is much larger than most artwork done for American comic books these days, but roughly the same size most American comic book art was done up until the 1960s.
Evidence supporting my analysis and some other details about changes is presented below:
Page 76, panel 5, the color filled exclamation mark in original becomes solid black.
Page 76, panel 2, the art is enlarged slightly and some art on left, right, and top is cut off, more than 1/4 inch on right of panel.
Professor McFiendy’s beard and hair are denser and thicker throughout the story.
Many panels have slight amounts of art removed from left and/or right sides, and typically a little over 1/4 inch per tier of art. Some fine lines and shading are slightly different
Page 89, panel 5, front of canoe and tree art is added (slight).
Page 91, panel 2, art is redrawn and added at right edge (slight).
Page 92, panel 2, the portal in top right corner is completed (the top half is obscured by shadow in original).
The spacing between panels both vertically and horizontally is slightly different comparing Darkest Africa and other stories.
If you hold the book flat and near eye level and look at the panel lines from bottom to top along the sides of the pages or from side to side across the pages, the lines are perfectly straight for all stories except for an occasional break between the top and bottom half of the page on all stories except Darkest Africa. This is not true subjecting Darkest Africa to the same examination. The occassional break between the top and bottom half of the pages on other stories is explained by the fact that Barks cut his drawing pages in half for convenience on his drawing board while drawing them and then taped the top and bottom half back together before submitting the pages to the office, and sometimes the top and bottom half didn’t align quite perfectly.
This book is another winner from Fantagraphics. Buy it!
Addendum 6–20–13: Based on comment 4 below and another communication from Fantagraphics, it appears that the analysis above was largely correct. Rather than a black and white comic book reprinting being used, Italian archival stats were used in the restoration of Darkest Africa. The art in those stats had been trimmed at the sides and occasionally at the top and bottom even though the Italian reprint was on 4 tier pages, because the dimensions of the Italian comic book pages are different from American comics. Stats of the redrawn version were used for layout, panel borders, and word balloons. Word balloons and dialog seem largely intact, but in some places there seems to be some, mostly minor, retouching. Barks art from the Italian stats was inserted over the redrawn art using the original comic book as a guide. In places where there is added art, for example the additions cited above on pages 89–92, the added art is from the redrawn version. But still, in the Fantagraphics version, as stated in the review, the art in this story is basically all Barks, with occasional minor changes around the edges due to the trimming of the art in the Italian printing 60 + years ago. BUY THIS BOOK and enjoy it.
ADDENDUM, 11/29/13: In
Name: David Swan
Rating: 5.0 out of 5 stars
Title: True Disney Magic
Date: Reviewed in the United States on May 22, 2013
Review: When Carl Barks took on the job of writing Donald Duck he basically ditched the cartoon version and created his own. Donald had been a one joke character whose defining features was his explosive temper. His tantrums played well in cartoon shorts but having Donald constantly go ballistic in comics probably would get old pretty quick. Barks’ Donald is more of a mature, domesticated everyman with a nice suburban home and three essentially indistinguishable nephews. Maybe mature isn’t the right word, let’s say he is more adult like even if he often acts in immature ways. In one story Donald throws a theme party and wants Huey, Dewey and Louie to appear as monkeys dressed in costumes. When they refuse he purchase a pair of ridiculous hypno specs to control their will. It all goes about as well as you might expect.
For whatever reason, Donald seems incapable of maintaining consistent employment and most of the stories are based around Donald’s quest to make money. Poor Donald is the lovable loser who can never get ahead and his three nephews continually prove to be smarter and more resourceful sometimes assisting Donald, sometimes just laughing at his misfortune. Donald also is shown to have a devilish streak and in one story he tries to steal $5 from his nephews. This is the Barks second story I’ve read where Donald has tried to take money from the kids. Each time Donald ends up looking foolish.
The title story, `The Old Castle Secret’, features the second appearance of Uncle Scrooge. Not only does Scrooge look slightly different from his traditional appearance but his behavior is much different from the tense, money grubbing miser he would become. Scrooge is much more relaxed and timid. We also get the first two appearances of Gladstone Gander. Originally Gander was just sort of a blowhard and a dandy. As one person wrote Gander is similar to Donald if all of Donald’s annoying qualities were turned up several notches. Gladstone had not yet acquired his preternatural good luck for which he is famous although there is a moment where a staggering coincidence briefly benefits him right before greed gets the better of him.
Disney, the company, likes to present itself as magical but a lot of it feels manufactured. Carl Barks doesn’t feel manufactured. The stories here feel real and if there really is Disney Magic © this is one of the places it exists. Carl Barks has a quality of art and writing that elevates him well above other funny animal artists and he maintains that high quality consistently. There is one story, “Darkest Africa”, that is definitely not Barks at his best which is probably the reason this is the first time the story has been reprinted but a vast majority of what Barks produces is golden. It’s wonderful that Fantagraphics has given Barks the kind of quality collection that he deserves. The pages are sized to the original comic pages except with much higher quality pages and printing. Not only is Fantagraphics producing a complete collection of Carl Barks Donald Duck stories but they’re doing it in what must be the most beautiful presentation ever. I highly recommend all the books in the collection.
