tag:blogger.com,1999:blog-25254614.post8172534172836011716..comments2024-03-23T23:46:29.024-07:00Comments on The Fabuleous Fifties: Fun BergGer Apeldoornhttp://www.blogger.com/profile/03633862833036214748noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-25254614.post-84723412923977836072015-07-07T07:59:59.457-07:002015-07-07T07:59:59.457-07:00I have actually delved quite deep into this, Diego...I have actually delved quite deep into this, Diego. Goscinny was there in the late forties and he did some children's book work with Kurtzman for Kunen as well as a book of his own (which I have). He left for France in the ealry fifties and there is a farwell caroon in Greg Sandowsky's book on Kurtzman from Fantagraphics, I think. This is what originally made me believe that Morros could not have possibly stayed all the time until his published book for Owl in 1954. Buy in this older interview I did find him saying that he was there all the time. Even though, after having met Goscinny at Kurtzman (at the urging of Jijé, who knew Kurtzman and thought the two should meet), Goscinny was now writing Lucky Luke. So apparently, Goscinny wrote Lucky Luke in France, sent the scripts to the US and Morris sent the pages back (apart maybe from the couple of times that Goscinny went back to the US, for instance to do two French Cartoon collections). Other finds along the way: Jijé did a short story for DC, which was discovered a couple of years ago. And I have postulated elswhere that I think that either Goscinny influenced Kurtzman in doing his 'satement and sample' pieces for Varsity in 1948/49 or he was so impressed that they influenced them in doing Les Dingodossiers (he said he was influenced by Kurtzman's Mad, although Kurtzman never did that sort of articles for Mad, only Feldstein did). If you look at Morris' children's book for Owl, you'll immediately recognize his style. likewise, the Jijé story was in an issue of Romance Trail I do not have, but if I had it I certainly would have recognized it, so easy to spot is Jijé's style. Morris' realistic style is harder to spot, but very singular as well. I believe that I would recognize his pencilwork (although not his inking) if I saw it.<br />Ger Apeldoornhttps://www.blogger.com/profile/03633862833036214748noreply@blogger.comtag:blogger.com,1999:blog-25254614.post-37452054118553959502015-07-07T06:53:53.303-07:002015-07-07T06:53:53.303-07:00I think it's impossible to find any 50s Americ...I think it's impossible to find any 50s American work by Morris. Goscinny was also there at the same time. Have you found anything by him? I know Kurtzman prepared the American version of Goscinny and Uderzo's Oumpa-pah, which was meant for the American market, and was even lettered, if I remember correctly, by Frank Engli. But as to find any of their American work, remains a mystery…Diego Cordobahttps://www.blogger.com/profile/03217884448976689435noreply@blogger.com