18 November 2009

Big Ramapith From the North

Another big blog entry coming soon, I promise; but I'd be remiss not to draw your attention to this update of my earlier Halloween post. Following on the challenge I gave you there, I've now got some in-depth analysis of 1920s production methods with—I hope—some interesting observations.
To the right we're seeing some of Vitaphone's original press material on Big Man From the North (1931), one of the relevant shorts. "Bosco" (sic) is spelled as such in most early Looney Tunes publicity materials I've seen, though the proper version of the character's name had in fact been formally registered as early as 1928.

10 November 2009

Ninety Years—Nine Lives

As late as the 1930s, J. R. Bray's Colonel Heeza Liar was remembered as "the Mickey Mouse of his day," but the first true cartoon superstar was Felix the Cat. I've covered this character's great appeal before, but there's never enough Felix for me—so I'm taking the occasion of his big 90th anniversary to offer some specials for your reading and viewing pleasure.

Let's start with animation. While a picture isn't always worth a thousand words, classic Felix creator/director Otto Messmer crafted beautiful, artistic acting that really does defy description now and then. Here's a special Ramapith birthday tribute just for our hero—oops! Looks like Felix's pals Kitty, Inky and Winky (and Dinky), Laura, and Skiddoo got into it too...

(Music: Scott Joplin's "Pineapple Rag"; Itzhak Perlman, violin, and Andre Previn, piano)

Longtime Otto assistant and Magic Bag inventor Joe Oriolo came aboard in the 1940s (at right: probable cover collaboration with Jim Tyer, 1949). While we can never forget Oriolo's most famous creations, odd-couple bad guys The Professor and Rock Bottom, I'm sharing a different side of Oriolo today. His circus story "The Big Finale," below (from Harvey's Felix the Cat 106, 1959) is one of my favorite Oriolo works—with its 1920s-style mayhem, inimitable punning, and a great one-off female lead. Joe cut his artistic teeth at the Fleischer Studio, and the Betty Boopish "Katrina" is a sweet tip of the hat to his old mentors.
By the time of "The Big Finale"'s publication, Oriolo had taken over creative control of Felix and launched his famous TV series. But I'm not sure everyone at this particular circus considers our hero a "wonderful cat"...

Today Felix keeps on walking, as Joe's son Don plans new projects at Felix the Cat Productions—including a few that I think fans of the classics will appreciate! Don is also personally taking oil to canvas to paint Felix modern art, visible now on the studio's Facebook page.
Special thanks to Don for encouragement in the course of prepping today's little tribute. And props to the unsinkable Tom Stathes and Mark Kausler for providing select source materials. On his own blog, Mark is also celebrating Felix with classic 1930s daily strips right now... don't miss them!

(Magazine spread courtesy Cole Johnson; art attributed to Dana Parker)

Ninety Years—Nine Lives (Preview)

November 9, 1919-November 9, 2009.
Incredible, ain't it?
Just a placeholder so I don't miss the actual anniversary (though I'm already a few minutes late by Eastern time). More soon.

31 October 2009

An Oswald Trick (Or Treat)

Little time to blog today; big Halloween doings. But I couldn't let the holiday pass without a special Ramapith commemoration.

When Walt Disney's Oswald the Lucky Rabbit staff moved on in 1928, that wasn't the end of Disney's 26 Oswald cartoons. Some were reissued with sound by Universal in the 1930s. Others survived in a less direct way, as former Oswald staffers remade them—or remade elements of them—with other star characters. Oswald's Harem Scarem (1927) became Disney's later Mickey in Arabia (1932). Oswald's Rival Romeos (1928) became Ub Iwerks' Flip the Frog short Ragtime Romeo (1931).

But no one did remakes quite like Hugh Harman and Rudy Ising did remakes. Their early Looney Tunes boasted so much Oswald mimickry that Bosko himself might as well have been a lucky rabbit minus the ears. And Disney's Ozzie of the Mounted (1928), in particular, was a source of gags and story like none other.
Here's the silent Ozzie now with a rather suspicious... soundtrack (!). Can you use the plot elements to tell us where it comes from?

I'll update this blogpost later with the answer(s). Happy Halloween!

Update, November 18: As some of you guessed, Hugh and Rudy's Looney Tune Big Man From the North (1931) provided most of my score because it's the most direct Ozzie of the Mounted remake—in part, anyway. Let's have a look at it now; while the opening is virtually identical, the plots diverge some of the way through. Pete's sled dogs in Mounted become Bosko's dogs in Big Man. And lots of Big Man's action takes place inside the saloon, whereas Oswald and Pete stay outside. (My pet theory is that Honey already worked there, and Oswald didn't want Bosko to catch him with her. Stop looking at me like that.)

One Mounted element that didn't make it into Big Man was the robot horse, because Hugh and Rudy decided to give him a Looney Tune of his own. (Or rather "its" own? This four-legged Dalek is the least sentient cartoon robot I've ever seen...) Here's Ups 'n' Downs (1931), from which more of my soundtrack came:

Finally, I'd be remiss not to cite our friend Mark Newgarden, who noted that my Mounted revamp "syncs up too well." Doesn't it? But I won't take the credit. When researching these cartoons for this blogpost, I found that Mounted reflected a then-new trend at Disney: to animate repeating action in regulation 6-, 8-, 12-, or 24-drawing cycles, as evidenced also in Bright Lights and Rival Romeos (if not, oddly, the contemporary Sky Scrappers). These actions could thus conveniently be timed out by the second—and Harman-Ising continued the practice at Warner once the sound era began, extending it to house musician Frank Marsales in the form of a one-second beat. Adding Marsales' scoring to Ozzie of the Mounted meant the fast-action sequences had to match.

Additional pieces of my Mounted score came from H-I's Box Car Blues and Congo Jazz (both 1930); in the latter, even a triple-meter motif is built on that one-second beat.

Was Disney the first studio to effectively animate silents to a rhythm, however basic? Who initiated the practice there? (It's not in Harman-Ising's earlier Aladdin's Vamp [1926] or Disney's earlier Great Guns [1927], for instance.)

17 October 2009

October Original Titles

Wak! It's been forever since I've updated around here. Sadly, I'm still under the gun with one project or another. But the least I can do is return briefly to a topic everyone's been asking for: the hunt for original titles. Like Ozzie of the Mounted (1928), my fellow scholars and I will get our men—even if we lose our heads!

It's not a new discovery, of course, that many theatrical cartoons had their original title cards replaced for later reissue. The actual revelations are the original titles themselves—often because the cartoons' corporate owners dumped their originals, but sometimes because originals perished in spite of the studios' best efforts. Luckily (see my lengthier discussion here), in-depth research has brought back stragglers of all stripes.

The Moose Hunt (1931) is a Mickey Mouse short for which Disney's original titles elements went missing at some point in the past. Here we see a faux-original title card recreated for a recent DVD set...

...and here is an actual original I more recently got the chance to see. In this case, the recreation attempt was about as close as could be imagined; the positioning of the words is different, but the proper card style was chosen and even the title font is similar.

Alas, sometimes the re-creator can't be quite as prescient. In the case of Fiddlin' Around (1930), it's new knowledge that the cartoon was called that from the start. Studio records suggested that Mickey's violin-recital short was titled "Just Mickey" in its first release, and the faux title for DVD reflected this conventional wisdom:

But the CW isn't always right. The late Denis Gifford was the first to show me theatrical materials that suggested Fiddlin' Around as the 1930 release title, and now we get a look at the original title card as well:

Interestingly, this shows that the first and second seasons of Columbia Mickeys had slightly different card styles. The background is darker on this 1930 episode (as with a few more that I'll share later on); much of the white lettering lacks a black outline; and most critically there's an effort to make the text on the chalkboard look like it's Mickey's own work. Better take some handwriting courses there, Mick.

Hm, and maybe you ought to get some plastic surgery while you're at it:

Thanks to research buddy Cole Johnson and collector Ralph Celentano, above we have an item I'd never seen before—the 1930 Columbia reissue card for a Celebrity-era (1928-29) Mickey cartoon. While I'm not aware of an original Celebrity card surviving for When the Cat's Away (1929), others hold out from the period:

With no extended knowledge on the matter just yet, I'll make an educated guess that Columbia staffers—rather than anyone at Disney—drew up that new title card for Cat's Away (and, presumably, other Celebrity Mickey shorts). It's hard to imagine anyone on Uncle Walt's per diem transforming the studio stars into possums.

Of course, sometimes you didn't change species when your title card was remade. You just went from professionally drawn to fourth-grade level. Here's Dick Huemer's Toby the Pup as seen on reissues...

...and here's the hound as viewed by cinemagoers in 1931:

Should I be disturbed that Toby's feet look as much like hands on the original card as on the fake? I'm just not sure why he had to wear shoes with toes. Maybe Pervis the Goat ate all the normal shoes in the area—in Circus Time (1931), he eats one of Toby's gloves.

Gotta dash back to meeting deadlines, but I'd be a boob if I didn't go without delivering another item I'd promised for awhile—one more early Tom and Jerry title card. Most of us know The Zoot Cat (1944) as looking like this reissue print:

But here's what audiences saw in 1944. Dig that color, squares. Go man, go go go:

For completeness' sake, here also is Fraidy Cat (1942), with a rare intro card that we've already seen on the earlier Midnight Snack (1941).

That's it for now—but there are more discoveries being made all the time. Sometimes, as my friend Tom Stathes is always showing me, certain reissues are interesting, too:

Yes, that's a Columbia-era short with the United Artists title design. But some things are worth the wait...

Update, October 18: I'd formerly pictured an MGM lion card for The Zoot Cat that understandably misled some of you—the lion was a circa 1940 card, while the cartoon is from 1944. Thad K, who has looked at this print as well, remembered that its lion opening had in fact been spliced on from a different source.
Zoot Cat almost certainly had a standard 1944-era opening as seen on this print of Screwball Squirrel (1944).

18 August 2009

D23's Love Bug Will Bite You

And now a quick word from our "sponsor"—well, Disney's D23 website isn't actually responsible for anything on this blog. But I love the way they explore Disney lore, and have had the fun of writing a couple of articles for them (one published thus far). So I'm proud to spread the word about their upcoming Expo via some candid vault raider footage...

But hey, this wouldn't be a Ramapith posting without a little homegrown history. We've just had a close Herbie encounter—but did you know the "Love Bug's" nickname came from a classic song that already had a Disney connection? Courtesy of the nearly all-encompassing British Pathe and WPA stock footage libraries, here's Aussie comic Albert Whelan in 1940, mimicking Ned Sparks and Gordon Harker on "You Can't Fool an Old Hoss Fly," Will Fyffe on "I Belong to Glasgow"—and our old pal Donald Duck, among others, on the original "Love Bug Will Bite You (If You Don't Watch Out!)"

Haven't had enough yet? Oh, awright. I'm feeling generous, so here's "Hoss Fly" as rendered by the stellar 1920s team of Billy Jones and Ernest Hare...

...and a 1929 recording of Will Fyffe's original "I Belong to Glasgow."

I belong to Santa Barbara, but I left my heart in Copenhagen. And now I'm recommending you go to Anaheim...

17 August 2009

Yes, Virginia—we'll miss you, Alice

I'm back today from more than a month's travels—some of which involved exciting research and animation-related discoveries. I'll be busy for a few days now wrapping up one project or another, but that doesn't mean I don't have a lot to share, and soon.

Sad to say, I got home just in time to receive some bad news: the passing of Virginia Davis, first to perform the role of Alice in Disney's classic silent Alice Comedies. Decades after her fanciful adventures with Julius the Cat, I was lucky enough to meet Virginia at a late 1990s film festival, where we initiated a VHS swap of Alice shorts from our personal collections. Each of us had access to a couple of transfers that the other lacked. Trading Alice Comedies with Alice—talk about an honor I never thought I'd have!

Virginia was a gentlewoman to the end and a wonderful source of anecdotes and inspiration. To say she'll be missed is an understatement. To look even at a poorly reproduced 1924 publicity photo (above right) is to see an indomitable creative spark that still stood out, decades later, in Miss Davis' modern-day outlook on life. The Winkler Pictures ads at left and below—based on, but not identical to, the posters for Alice Hunting in Africa and Alice's Spooky Adventure (both 1924)—emphasize that indomitable spirit, too.
Following beneath is the 1926 Pathé copyright sheet for Virginia's 1923 debut, Alice's Wonderland (here retitled "Alice in Slumberland"), in which Alice's entry into Cartoonland does look a little like her reception into some benevolent hereafter. Chase, a poster at the Termite Terrace Trading Post, said it better than I could: "RIP, Virginia. Hope you have many adventures with that cat up there..."

23 June 2009

Making New Donald Duck Adventures: Tamers of Nonhuman Threats! (Part One)

I've spoken much on this blog about favorite creations of the past—but as a comics editor and writer, I've personally had the honor and privilege of working with some stellar creators in the present. One of my most exciting experiences began in the summer of 1999 at an Egmont Creative task force meeting, where I learned about a project provisionally called "Goosebusters."

What: A strange (in the good sense) branded series starring Donald and Cousin Fethry as paranormal investigators/"men in black"/secret agents.

Egmont is a Denmark-based Disney licensee. Every year they produce several thousand pages of Disney comics stories, written and drawn by talents around the world. From 1997 to 2004, I was part of the Egmont editorial team, supervising some of these writers and artists under Editor-In-Chief Anna Maria Vind and Creative Director Byron Erickson. My "unit," as I called it—I was the only editor to use animation studio terminology!—included talents such as Stefan Petrucha, Sarah Kinney, and Don Markstein, and we produced more Mickey Mouse, Goofy, and Uncle Scrooge stories than anything else. But there was room to expand. In 1998, for example, I was on hand for the revival of Fethry Duck.

Story Type: Comedy/Adventure (predominately a lot of fantasy).

Fethry, as past readers of this blog will know, is Donald's obsessively nerdy cousin. In classic 1960s comics created by Dick Kinney and Al Hubbard (example from "Weaving and Ducking" [1964], right), this geek gained fame through his highly unique mix of creativity, selflessness, and unwitting thoughtlessness. But it was a hard balance to pull off just right. By the late 1970s, many Fethry stories featured a distorted duck, often shown as dumb and egotistical. In 1992, Egmont ceased using the character, determining that this version was more unpleasant than funny. A few years later, though, the question came up: could the original, more interesting Fethry be brought back?

The Purpose of the Series: In general, to take advantage of ongoing reader interest in [science fiction] stories.

As a longtime aficionado of the Kinney-Hubbard stories, I wanted to give this a try. With my writer friend, Fethry expert Lars Jensen (left)—then working under a different editor—I created a character guide on the "classic" Fethry; scripted a few short stories myself, then handed the character over to writers in my unit. Still, the results were only three- to six-page tales at first; and working with my then-regular team, I could not involve Lars at the time. I wanted to produce more ambitious Fethry projects and see Lars get a crack at them, too.

Supporting Characters: The Head (maybe a literal alien head) of a secret non-specific-government organization, and maybe other members of this organization. The main Disney Duck characters have roles only as appropriate to individual stories.

Which brings us back to that 1999 editors' meeting. While we Egmonters decided on many of the themes for our story production from scratch, this time our publishers had given us some rough plotlines upon which they wished to see new ongoing story subseries—or "branded series"—based. One was provisionally titled "Computer Kids": tales about Donald's nephews in a computer club. One was called "Football": Mickey's nephews, Morty and Ferdie, were to join a soccer team. And then there was "Goosebusters," the series I volunteered to edit. Publishers wanted to capitalize on the popularity of science-fiction media—Ghostbusters, Men in Black, Goosebumps, The X-Files—and show Donald and Fethry as part of a huge, secret monster-, ghost-, and alien-hunting organization.

The Tone of the Series: The key word is "fun", but not camp... Donald might know what a loon Fethry is sometimes, and the Head might get ulcers from Fethry’s doings (if he had a stomach), but the point is not to do stories in which the only purpose is to point to Fethry and laugh at what a moron he is. This same point is also true of Donald...

Adventure stories featuring Fethry? Wak! I was there. Then again—wait a minute. Donald is a duck bent on self-preservation. And Fethry drives Donald crazy, however unknowingly. Now Donald was willingly going to subject himself to a dangerous monster-fighting job... with Fethry as his partner? Making this believable would be part of the assignment, just like making any comic book plotline relatively convincing. I needed to work with a writer who knew Fethry well and was up for a challenge! It was time to get Lars Jensen—and though he didn't usually work for me, I received special permission to work with him now. Then it came time to pick an artist; who better than Lars' fellow Dane Flemming Andersen (above), whose wild, bouncy linework struck me as perfect for the lunacy of Donald-Fethry teamups. With my creative team established, then, it was soon time for writer, artist and editor to spend a week away from the Egmont office and our regular lives, brainstorming each day from morning to night...

Imagine: There’s a secret government agency that’s a combination of ghostbusters/alien-sitters and or -fighters/paranormal investigators. And imagine that, through a twisted string of circumstances, the Head of this agency gets the idea that Cousin Fethry is an expert in the field. And imagine that Fethry gets so enamored by the Head’s recruitment pitch that he accepts. Further imagine, that Fethry somehow manages to talk Donald into joining him as his partner. The result of all this imagining? All hell breaks loose!

This last paragraph marked the heart of the document I've been excerpting: the "Goosebusters" assignment sheet that Flemming, Lars, and I were given by Byron Erickson. It reflected a mixture of wishes and decisions from Byron, Maria, Egmont management, and the affiliate publishers. Now we three creators got to spend a week holed up in Copenhagen's Hotel Neptun, enjoying the perk of all the food we could eat at any restaurant I chose. The price of these luxuries? We were sworn to translate our assignment into a series—and come back with a complete series bible by the Monday following!

It was going to be fun, yet a little stressful—handling the writing and editing side, Lars and I almost felt like we were characters in a slightly tense comic book story, ourselves. And well, what do you know? After less than a day at Hotel Neptun, our tension became Donald's own. Who gets stuck with all the bad luck? Who feels like a loser compared to successful Uncle Scrooge? Who's always being run out of town due to crises he's caused—but can't afford to clean up? No one but Donald Duck, of course (whose team headgear I tried to envision in crude thumbnails, above left). So what if joining the "Goosebusters" became the answer to these problems? The flip side of the danger in being a secret agent, after all, is the feeling of being a winner when a mission goes right; the feeling of bravado when you get to handle cool secret agent gear. And if being a monster fighter also paid really, really well, Donald would have no choice but to lean on "Goosebuster" missions after his domestic Duckburg disasters caused expensive trouble.

Suddenly Donald had a reason to be a "Goosebuster"! Lars compared it to making a sick patient's body accept a complex medicine; sometimes medicines B and C are required to make medicine A go down. But do it right, and the result is health; or in this case, healthy logic. On a good day, Donald could actually enjoy his secret agent job. On a bad day, Donald would still be forced to stick with it—kvetching all the way.

And Fethry? Well, what if the Head was, in fact, halfway right about Fethry's being "an expert in the [paranormal] field"? A cryptid-obsessed Fethry might be too eccentric for a real scholar, but he could believably learn enough to be helpful to missions in spite of himself. Maybe Donald could use this...

Wow! While Lars and I were figuring those relationships out, Flemming was drawing! The images you're seeing show some of the first results this master came up with—an improved version of Donald's headgear and uniform, an elaborate interior view of what a secret government agency might look like, and then a slick lady "Goosebuster" agent. This was the heyday of early video game action heroines like Lara Croft, Jill Valentine, and Claire Redfield, so we all felt like sourcing that same trope... but with a twist. Imagine Lara, Jill, or Claire ten years further on in their lives, when the thrill of adventure has been replaced by grim world-weariness. What if such a jaded action heroine were Donald's trainer? We'd have a clash of titans! In that spirit, Lars called our frazzled senior agent Kolik, "a name that sounded rock-hard... like you could bruise yourself on it." It also sounded like colic—a kind of pain, just like she and Donald would give each other when they argued! The character first called Anya Kolik became Katrina, then Brandy, then finally Katrina again. Lars and I loved the great helmet Flemming created for her, too, though even today we haven't yet explained why she's the only agent who wears one—or how exactly it hides her huge mop of hair. Suction?

The gadgetry of "Goosebusters" quickly went beyond Kolik's helmet. Soon Lars and Flemming were devising futuristic flying scooters and the "weirdness radar," with which paranormal activity could be detected from afar. We decided agents could store their gadgets in special armbands that seemed to compress the gadgets down to a small size. But this goofy hi-tech came with problems—the "armband compressors," as we called them, almost never seemed to contain everything a mission called for. I may have been the first to sketch an armband compressor (above left), but Flemming (above right) outdid me for believability! I'm a writer; he's an artist.

Speaking of believability, you'll recollect that we were asked to make the series' characters sympathetic, not parodic or silly ("...[avoid] stories in which the only purpose is to point to Fethry and laugh..."). And this led to an important question regarding our opening setup. If we were to take the characters' situations seriously, then the "Goosebusters" had to treat their missions seriously. So how seriously could the Head ever take nerdy Fethry? Could the Head believably become convinced on his own that Fethry was an expert paranormalist, or did Fethry have extra aid or circumstances on his side? An early suggestion from Lars, preserved in my notes, plumped for the latter:
Either Fethry or Donald works for Scrooge [on a project]; somehow [the nature of the project means that] they either work opposite the Goosebuster organization or against them. At the end of the story, Scrooge manages to pass them onto the organization. They’ve caused so much destruction for the Goosebusters that the Goosebusters make them work it off, hence their continued employment.
Nope... wouldn't work. Editor Dave and Writer Lars hashed it out: after being introduced to the "Goosebusters" as visibly destructive characters, the Ducks weren't realistically very likely to be employed as agents—an obviously sensitive position—to work off their debts. And how much Scrooge/"Goosebusters" contact could take place without Scrooge learning the nature of their work—and thus becoming permanently aware of his nephews' "Goosebuster" identities? We'd been asked to create a secret agency; if other Ducks learned about it, the consequences could be serious (sketch from Lars, above right; no, not that serious).

We needed a new way for the circumstances to favor Fethry's—and, eventually, Donald's—hiring as secret agents. Version two sounded significantly better:
Night at Fethry’s; he’s watching monster movies or reading books and going on about his obsession. Shadowy figures (emissaries of the [Head]) have [a] weirdness radar that has led them there. Fethry is talking out loud about how he’d like to get Donald involved. "Are you interested in the paranormal?" comes a voice. "Yes!" gushes Fethry. [The next day we find Fethry] bursting in on Donald. Donald hears his pitch, and after first rejecting it, decides to go along—cynically saying "Great, I'll bust one ghost with [you]"; ghosts don't really exist, Donald thinks, so he isn't afraid at all.
Still a problem here, though; Fethry seemed to be the focus character, sidelining the more sympathetic Donald. There had to be a way to get Donald into this setup from the start. Third time was the charm...
In a moment of weakness, Donald has reluctantly joined Fethry for a night of movies about Fethry’s latest kick: the paranormal. After one too many installments of “The Meatloaf That Ate Vegas"... a sickened Donald pushes off for home, but overenthusiastic Fethry will not be stopped. Even alone, he continues... obsessing about his latest fad. It’s now that outside Fethry’s home, we see two shadowy figures passing by... talking to Agent Kolik on the phone [though] we won't see Kolik at all... as yet; the [agents] are in the neighborhood to watch Fethry and dialogue reveals they (or their organization) has done so from a distance for a while... "I want to investigate the paranormal!” Fethry says to no one in particular. “And I wish Cousin Donald could join me, because it's so obvious he wants to!" BANG! Next day Donald is grabbed from his garden (or wherever)...
Bingo. Rather than be recruited directly by the level-headed Head, Fethry could instead intrigue two low-level agents who would help make the case to the Head for him. Should Fethry (and by extension, Donald) then fail to live up to expectations, those other agents would take the brunt of the blame—and never forget it. In later stories, they could even become resentful rivals on the force! At first, the recruiters-turned-rivals were simply called "the two agents" or "two guys" in our notes. They spent awhile as Yin and Yang before crystallizing as Jackson and Finch, a steely-eyed Puritan and his oafish cool-dude partner. While not incompetent, Jackson and Finch are average, imperfect, and insecure enough to feel threatened by their hirees; Lars once accurately stated that "Jackson and Finch would probably be the Donald and Fethry of the group if Donald and Fethry were not there." With Donald and Fethry there, the results were dynamite!

Hmm... dynamite. As noted on our assignment sheet, the name "Goosebusters" had always been just a provisional name for our secret agency. Lars noted that despite being an obvious Disney play on ghostbusters, it "would only be believable in the context of the series if our heroes were constantly fighting Gus Goose." Over racks of ribs at Copenhagen's Hard Rock Cafe on January 19, 2000, Donald's and Fethry's paranormalist employer became TNT—initially "Terror Neutralization Taskforce" and finally Tamers of Nonhuman Threats.

I'm glad we didn't go with my earlier (joking) suggestion, "Monster Butchers." We wouldn't have been allowed to kill them off, anyway.

Hey, it's the end of the post but we're not through yet. I'll return to TNT soon to tell about how more new characters were created; how the Head got a body; and how a highly reluctant Donald got sent on his first few missions.