A total of 38 books of 160 pages each will be released weekly from March through November. They sell for €9.99 (approximately US$ 13) each and are available online from this website (it looks like international orders are possible).

(via: Sekvenskonst)

Casty

I had a chance to ask Casty some questions about his career as a writer/artist and his work for Disney. Casty shared with me his early start in writing comics, where he finds his inspiration, and details about an upcoming story that may be of interest to duck fans!

Disney Comics Worldwide: How long have you been a comic book artist and how did you get started working for Disney Italia?

Casty: Well, I was born in 1967 and started making comics in 1977. No, I’m not kidding, listen … I wrote (and drew) my first Disney stories when I was ten years old, on my school books. Then I handed them out to my fellow students. My friends were enthusiastic; every week they were waiting for a brand new story, just like it was a real weekly Mickey Mouse magazine (“Topolino” in Italy). They didn’t know (and neither did I) that the stories in the “real” Topolino were made by many different authors (and not all written by Walt Disney himself).

Professionally, I started writing comics in 1993 for “Cattivik”, a monthly comic book for kids, which is very popular in Italy. My first story was published in 1994 and, so far, I have written (and sometimes drawn) about 200 stories for Cattivik. In 1999, I started writing for another famous Italian character, “Lupo Alberto”, and in September 2002 I finally started working for Disney Italia.

Cattivik by Casty

When I came to Disney, I found my new colleagues were not very enthusiastic about writing Mickey Mouse stories and almost all of them preferred writing Duck stories. Well, I thought that was a pity; for me, Mickey was so lovable! I had in my mind those wonderful stories by Romano Scarpa and Floyd Gottfredson. To me, that was the “real” Mickey; always ready to get into adventures, with that sort of naive sense of wonder that was actually lost, in recent years, when he was turned in that sort of know-it-all detective.
So, I started writing stories for Mickey Mouse. The editors really liked my stories and my colleagues liked them too. Everybody used to say: “Hey, you’re a Disney newbie, but you write as if you were a Disney expert!” So, I answered “Well, it’s because, actually, I started in 1977, when I was ten!”

With Giorgio Cavazzano, Massimo De Vita and many other Italian artists, we inspired a new interest in Mickey Mouse stories; working with Mickey became stimulating again. And, most importantly, readers showed their appreciation for these new stories with Mickey!

Nowadays, many other writers take care of Mickey, so I finally have the chance to rest as a writer and dedicate myself to drawing.

Cover of Topolino 2779 (idea and art by Casty)	Cover of Topolino 2656 (idea and art by Casty)

DCW: Your long adventure stories with Mickey Mouse have a classic feel to them, reminiscent of the work done by great artists like Romano Scarpa and Floyd Gottfredson. Did they influence you and what other artists do you admire?

Casty: I’m really honored (and embarrassed) when people compare my work to Scarpa’s and Gottfredson’s. I think Scarpa, Gottfredson and – of course – Carl Barks are a trio of incomparable Grandmasters; they are on the Mount Olympus of the Disney comics world.

When you decide to use a character that’s not yours, you absolutely have to respect the character’s history. When Scarpa started in the 1950s, he scrupulously followed the style of Gottfredson’s Mickey, because he loved him and respected him. So, it’s natural, for me, to follow Scarpa’s style, because his was the REAL Mickey. By “style” I mean both drawing and writing. Okay, you can add something of your own or you can explore new sides of his personality, but the character must remain the same. It’s up to you to find and write good new stories for him!

Here in Italy, the stories I wrote trying to restore Mickey’s old spirit have been very much appreciated by readers and critics alike. I even won a national prize as best writer in 2006 (Fumo di China) and I often receive fan mail from readers and fans from around the world.

By the way, every now and then someone pops up saying “Bah, your stories are too vintage for the 2000s …” Well, what does that mean? A good story is a good story, period. Every year we see Hollywood remaking old movies, which means that the original story was good. My purpose is to capture the Disney character’s “spirit” (and not only from Scarpa, but from Gottfredson, Walsh, Barks and even (Rodolfo) Cimino and (Giorgio) Pezzin, two great Italian authors), and try to make new GOOD stories.

DCW: You’re popular in Europe and have proven to be a great writer and artist. What do you think are the ingredients for a good story?

Casty: First, a good plot. Then, other stuff: mystery, humor, and levity. I have liked the mystery genre since I was a child. And I like the fact that so many things, which for us grownups are obvious, are a mystery for children. I’m thinking of times when we see Peg-Leg Pete with a big moustache and big black eyeglasses, and we grownups know it’s him … but Mickey and the little readers wonder “Who is that?! Uhm …”

DCW: How do you come up with your stories? Where do you get your inspiration?

Casty: When I was young I read hundreds of books. Verne, Salgari, H.G. Wells and Asimov were my favorites. And, I liked a lot of those science fiction movies like “Invasion of the Body Snatchers” and “Forbidden Planet.” I always liked mystery and adventure, and that’s why I try to put these elements in every story I write. By the way, I’m charmed by modernity, as well: computers, virtual reality, technological discoveries are a source of inspiration for many of my stories.

Nowadays, I usually find inspiration by surfing the web. When you see news like “Mysterious castle found on the dark side of the moon” or “Pyramids discovered in Bosnia” you can’t help your imagination starting to fly …

Script and storyboard	Rough pencils
(images from lustiges-taschenbuecher.de – © Casty & Disney)

DCW: Which do you prefer, to write or draw stories? And which do you find more difficult?

Casty: Writing is like giving away a part of yourself. Things you had inside are given away, forever. This makes you happy but, at the same time, you’re conscious that you’ll never again make a story like that. It’s a piece of you going away.

Drawing is exactly the opposite for me. I’m still learning to draw, and so I know that, next time, “this Mickey will surely come out better to me.”

So for me, drawing is “rechargeable;” writing is not.

That’s why I like writing and drawing contemporaneously. They are both difficult … and easy at the same time. Perhaps drawing is a little easier, once you’ve learned it. Besides that, your stories need to be approved by editors, and often you risk working for nothing. So, that’s why I can say that drawing as opposed to writing is a little bit easier.

Final pencils	Final inked artwork (in this case by Alessandro Zemolin)
(images from lustiges-taschenbuecher.de – © Casty & Disney)

DCW: Since you started working for Disney you’ve written and/or drawn about 45 Mickey Mouse stories. Are you interested in exploring the world of ducks or other Disney characters in the future?

Casty: I’ve just finished my first story featuring … Uncle Scrooge! It’s a story à la Carl Barks, with Scrooge hunting for a mysterious treasure. I’ve really enjoyed myself, and I hope to write more stories with ducks in the future. But Mickey remains my favorite, of course!

DCW: Boom! Studios here in the United States has selected your story “Mickey Mouse and the World to Come” for publication in the next Walt Disney’s Comics & Stories. If they decide to print another of your stories, which one should they pick? Which of your own stories is your favorite?

Casty: I love all the stories I did with Giorgio Cavazzano and Massimo De Vita. These Masters really gave life to what I wrote. But if I could choose one story to be representative of my work, I’d pick “Topolino e l’isola di Quandomai” (“Mickey Mouse on When-Ever Island”). I love this story because it has mystery, twists, humor and an ecological theme. It was not easy to use all of these these elements in a single story. It will soon be published in Italy and I hope U.S. readers will have the chance to read it too, sooner or later.

DCW: What are you working on now and what can we expect from you in the future? Any non-Disney projects you are working on?

I’m currently writing and drawing another long story with Mickey and Eega Beeva, titled “Mickey Mouse and the World of Tutor.” It’s a sort of apocalyptic sci-fi thriller, and it should be published next spring. Next, I’d like to keep on writing (and drawing) a few stories with Eega. And I still have a dream: to produce a short series of stories, a trilogy, with the one Scarpa character I love the most: Atomino Bip Bip!

Non-Disney projects? Well, I’m also running a graphic art studio, so at this moment I have no time to work on any other comic projects. But, I have some original characters in my drawer and I’m sure one day I’ll pick them up….

DCW: Any final words?

Casty: I’d love to say hello to all U.S. readers and I hope they’ll like the story as much as European readers did. “Mickey Mouse and the World to Come” is made for those who love the traditional, adventurous Mickey. I hope it will be appreciated by young readers, too!

That’s all, thanks to you for giving me the chance to introduce myself.

For more information about Casty see this fan-made website about him. Casty’s “Mickey Mouse and the World to Come” will start in issue 703 of Walt Disney’s Comics & Stories which will be released on February 10th. The series is published by Boom! Studios and the issue can be pre-ordered for $2.39 here.

The story, originally titled Topolino e il mondo che verrà, first appeared in the Italian weekly Topolino magazine issues 2721 through 2724 in January 2008.

One of the writers of Ultraheroes is Giorgio Salati. I had a chance to ask Giorgio some questions about his work for Disney and writing Ultraheroes.

Disney Comics Worldwide: How did you get started writing Disney comic stories for Disney Italia?

(above portrait of Giorgio
by Marco Ghiglione)Giorgio Salati: After some novel and film script writing courses that I attended after high school, I realized that comics were the kind of media I really wanted to write for, having been a passionate comic book reader throughout my youth. That’s why I followed comic book writing courses at Scuola del Fumetto in Milan.

Teacher Riccardo Secchi — now a colleague and a friend — taught me this beautiful profession with a mix of passion and discipline. One day he told me: “You’re good at writing funny dialogues; you’ll sure fit Disney’s style”.

That was good news to me. I’ve been a Disney fan since I was born (my father is a Barks fan!). I got the e-mail address of a Disney Italia editor and sent him about ten plots and a pair of scripts. He called me and said something like: “Ok, you can write Disney comics. Now send me something that fits.” Gulp! Ten plots rejected! I pulled myself together and wrote new stories which fit (the main characters were Donald & Daisy Duck and Goofy), so… I signed a contract! It was the summer of 2003 and it was like a dream come true.

DCW: Who are your favorite Disney artists? Do you have a favorite story?

GS: Well, that’s quite a hard question. Maybe my favorite Disney authors are Carl Barks and Floyd Gottfredson. And Romano Scarpa, who learned the “lesson” from Barks and Gottfredson, and created beautiful stories for both the “duck” and “mouse” universes.

That’s what I always try to be: a good writer for all Disney characters. One of my favorite “contemporary” writers is Tito Faraci, but you’d be surprised by how many good Italian authors you’d find in the Disney universe. My favorite artist is Giorgio Cavazzano, for whom I’ve had the luck to write stories. I’d like to give special mention to Carl Barks’ “A Christmas for Shacktown”. That’s the first title that comes to my mind, just like a Rorschach test!

DCW: What do you think of the fact that Utraheroes, a series you’ve worked on, is now being published in one of America’s most famous and longest-running comic books, Walt Disney’s Comics & Stories?

GS: Well, maybe you can guess it… I’m really excited! The U.S. is where all the Disney magic started, so that’s another dream come true. I hope American readers will enjoy my stories.

DCW: You wrote Ultraheroes with several other writers, including Alessandro Ferrari and Riccardo Secchi. Can you tell a little about the process of how Ultraheroes got started and how you worked with other authors together to write the script?

GS: Disney Managing Editor Gianfranco Cordara and Disney Academy Creative Manager Marco Ghiglione asked Riccardo Secchi, Alessandro Ferrari and me to write a saga about a Disney superheroes team-up. That sounded really fun, so we started working at full throttle!

Since Riccardo also writes for TV series, he set us to work in the style of a TV storyline writing team. We had little time and worked very hard. In the first meetings we outlined the whole story and then individually we each wrote some chapters. We had some other meetings together with Gianfranco to discuss the plots, and then we individually worked out the scripts. Afterwards, we had a few other meetings to correct flaws and to put all this together … and then the writing work was finished! Phew!

It’s been hard but really fun! Our goal was to write something suitable for children and adults, full of both humor and action at once, and appreciable by both Disney and superheroes fans. That had to be new, modern… but fully Disney style! I hope this all comes through to readers.

DCW: Ultraheroes has several characters that are well known to Italians but virtually unused in American Disney comics, such as Paperinika, Rockerduck and Zafire. Do you think this will be a problem for American readers of the series?

GS: I hope not! We tried to slowly introduce the characters to the readers, showing their powers and personalities, but maybe you can tell me about it after you’ve read it! Of course, it would be great if someday American Disney comics will regularly publish Italian stories with these characters, making them well known to the American audience.

DCW: Wizards of Mickey already has a second saga and I heard that they’re working on a third. Are there any plans for a follow-up on Ultraheroes?

GS: After the first saga there have been a few other single Ultraheroes stories, but currently I don’t know if there will be any other series. That doesn’t depend on me — it’s the Disney editors who decide these issues. Maybe it even depends on the American readers’ response to Ultraheroes!

DCW: Are you working on any new Disney comic stories at the moment, or anything non-Disney?

At the moment I’m working for Italy’s most important puzzle magazine, and at the same time I’m discussing with Disney editors some ideas for new stories. I can’t say much, as everything is still to be decided. And finally, I am planning a lot of non-Disney projects like books, comics, animated stories, music and more. We’ll see what happens and I’ll let you know about it!

DCW: Any final words?

GS: About Ultraheroes: that was passionate work and I hope American readers will enjoy it. About working for Disney: it’s fun, but it’s not as easy as it would seem. Writing for such a large audience comprised of children and adults is an exciting challenge. You have to LOVE those characters and Disney must run through your veins; otherwise it’s hard to create good Disney stories. And about YOU: thank you Arthur, and all your readers, for your interest in Disney comics and in this scribbling that I do! Keep reading lots of comics!

DCW: Thank you Giorgio for taking the time for this interview and I look forward to reading the rest of Ultraheroes and more of your stories.

Ultraheroes starts in the United States this week in Walt Disney’s Comics & Stories #699 which is available from Boom! Kids at www.boom-kids.com for $2.99. To see what other countries Ultraheroes has been published in see INDUCKS.

You can follow Giorgio Salati’s blog (in Italian) at giorgiosalati.blogspot.com. For an index of his Disney comic stories see INDUCKS.

The character of Paperinik was originally created by Guido Martina and Giovan Battista Carpi in 1969, but was revamped for this series and new friends and foes were created to form the basis of a new adventure series. The first issue of PKNA introduced a new enemy in the form of an alien race called the Evronians and two new allies for Paperinik: a very advanced artificial intelligence computer called Uno, and a journalist named Lyla Lay.

The Italian press praised Disney’s capacity to renew and develop this new style while respecting the integrity of its characters. PK was first launched in an experimental phase with three test issues. Following positive results (the second test issue sold 130,000 copies), the series was officially launched in November 1996 and became very successful. PKNA was reprinted in many other countries and fans of the series called themselves PKers.

PKNA was revolutionary in its design and concept, influenced by American superhero comics and Japanese manga. The larger format comics with colorful drawings, fast-paced action and broken panel layout remind more of superhero comics than of traditional Disney comics. Each issue had a wrap-around cover, glossy pages and in-depth articles about the characters and the world of PK.

PKNA was targeted at an older audience than most of Italy’s Disney comics, and immediately was a huge success. PKNA’s refreshing style set the stage for a slate of new modern Disney comics from the Italian publisher, including Mickey Mouse Mystery Magazine (1999) and W.i.t.c.h (2001).

After 52 issues, PKNA was followed by two other series, but these never reached the success of the first one. PK² (18 issues, February 2001 to July 2002) was rejected by PKers for various reasons: the omission of important characters (including Uno), simplified plots and the stories focused more on Donald’s social life than his career as PK.

A third series titled PK Pikappa was launched in August 2002 and lasted for 32 issues until it was eventually canceled in March 2005, but this series too was poorly received. Fans critized the low quality of the stories, but they were especially upset by a fundamental change to the character. In an effort to sell the PK series abroad (where Paperinik was virtually unknown) and tie it in with the video game Disney’s PK: Out of the Shadows, the Italian publisher decided to make some fundemental changes to the origins of PK, which upset the fans.

A fourth series in Italy, titled PK Reloaded, reprinted 24 issues of the original series, but when that was stopped in 2007. It was the end of PK.

The more than 100 long adventure stories of Paperinik have been reprinted across Europe. Here are a few more stunning PK covers from different countries. From top left they are from Norway, Finland, Germany and Sweden.

Gianfranco Cordara (writer of 100+ stories) and his colleague Dario Di Zanni started their idea last year when they developed a working demo of a Disney comic on their iPhone. They showed it to their boss in Milan, then went to Disney offices in London, New York and eventually to Disney HQ in California. After convincing the Americans of their idea the two have been working hard to get Disney DigiComics off the ground. The plan is to release traditional Disney comic stories in animated format to iPhones, iPods, other mobile phones, Nintendo DSi, Playstation Portable and regular computers. Consumers will be able to purchase stories as they do music on their iPod through a digital comic store (similar to the Apple Store) and play them in a special Disney DigiComics player on their device.

Serving traditional comics through new media like mobile phones is not new. GoComics was started back in 2006 and last February Marvel Entertainment announced plans to release their Motion Comics (with enhanced animation and audio) via iTunes. The Walt Disney Company Italy has also had digital Disney comics on their website Disney.it for a while.

Want to see a demo of these Disney DigiComics in action? I’ve found two: there’s a video interview with the creators on the Adobe Flash Lite website and a more interactive demo on Wired.it.

What do you think of this new development? Would you read Disney comics on your mobile phone?

(via DCF)

The 60th anniversary is celebrated in this week’s special issue (#2784). Readers can win a trip to Disneyland Paris and there’s a special website where people can vote on their favorite stories from the last 60 years. After the initial votes a list of 12 stories has been compiled, and readers can now read and vote on these 12 stories online (to view them visit the website then click on ‘vota’). Among the finalists are Romano Scarpa’s The Flying Scot (1957) and Mickey’s Inferno (1949) by Guido Martina and Angelo Bioletto. Both of these stories were published in the United States in Uncle Scrooge 315 and Walt Disney’s Comics & Stories 666 respectively.

Romano Scarpa was a very talented artist who wrote and penciled many Italian comic masterpieces. Here’s another video from the 1980s of Scarpa on an Italian TV show, showing off a couple of nice sketches:

Ultraheroes ran for nine issues and featured all the superheroes of the Disney comics universe in an epic clash against the super villains to determine the faith of the world. Those Italians sure know how to make exciting stories. The series was written by Giorgio Salati and features beautiful artwork by Ettore Gula and Roberta Migheli.

All 9 stories can be downloaded in PDF format from the official website. I really like how Disney Italy uses the internet to promote their comics and stories and even make them available for download. I haven’t seen any other Disney publisher do this (if you know one that does then please let me know). Wizards of Mickey had an especially impressive website (www.wizardsofmickey.com).

Unfortunately I can’t read Italian but the artwork of Ultraheroes looks great. I can’t wait to read this series in a language I understand.

Here are some sample pages of Ultraheroes: