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A NIC AS SOON AS WE GET TO SHORE, I'LL LET VOU KNOW

WHAT I PEClPE 1

I AM THINKING

OP IT, BOO BOO..

YOU AAtGHT THINK OF HELPING ME

WITH THE ROWING, YOGI

ANP SOME NEW ANIMALS HAVE COME TO VISIT.,,

NOW, PON'T YOU WORRY, MR. ITKOWITZ ...YOUR SHEEP

-in WILL BE PERFECTLY SAFE W^--. HERE IN

WELL, I SHOULP HOPE SOI

ilished by MARVEL COMICS GROUP. Lee. Publisher. OHiceo* Public

¥ Amp, like r i SAY, ‘ WMS?ESO THE SWEEP, CAN HOKEY WOLE 3E

FAR BEHINIP:

WELL, LIKE ' MY GRAZING LANP IS BEING RESEEPEP SO X GOT SPECIAL PERMISSION FROM

THE GOVERNMENT “TO WAVE MY SWEEP

.. GRAZE WERE] v?

WELL,UKb I SAY, «

YOUR SWEEP ARE SAFE

w WEREI y

X THINK I'LL GET SOME REST, 7uj m—-, {VAWA//) __- ANP OBSERVE THE SLY WOLF, 'BORROWING" SAIP GLASSES,. .TO SAY NOTHING OF THE _, «_—^ SWEEP!

I / I WHERE \ % (Z£r~9- I / ARE MY \ t' l GLASSES ?k

, OBSERVE THE ’ FARMER

INNOCENTLY ANP TRUSTINGLY

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WHO ARE \ YOU? I CAN'T SEE WITHOUT MY GLASSES' y

HEY, HEY, HEY! I'M YOGI BEAR! I'M SMARTER THAN THE AV-ER-AGErTT

EAR !j-—■—\fA4%,

YOGI BEAR?! COME SACK WITH THAT

SHEEP, YOGI BEAR!

LONG— OH, NO, SIR! I PlPN'T ?— -1 TAKE ANY SHEEP! I'M TOO SMART TO STEAL r—---f SHEEP! YOU KNOW, I'M j / SMARTER THAN THE AV-ER-A6E BEAR.1 \

f MR. RANGER, SIR— HAVE

I EVER LIEC7 . TO YOU 7 y

I'VE BEEN OUT ON THE LAKE WITH BOO BOO FOR THE LAST TWO HOURS! >

NOW, YOU LISTEN GOOP. ' BEAR—YOU'VE GOT JUST FIFTEEN MINUTES TO ) RETURN MY SHEEPOR... /

W THAT'S WHAT I I WAS \ AFRAIO OF!>

OR > WHAT?\

CONTINUED AFTER NEXT I

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SMITH IS PLENTY MAO'

YOU NOTICED THAT TOO, EH? BUT DON'T WORRY!

HE'LL COOL DOWN! HE'LL GET OVER IT!

! r X'M \ QUTTING

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PLEASE! YOU \ MUSN'T DO IT, SIR! ’ OH,PRETTY PLEASEi WITH MONEY ON J

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15

IN THE PAYS THAT FOLLOW.

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I'M CARRYING MY A OWN WEIGHT-— PLUS THE WEIGHT OF THE GREEN J BAY PACKERS... /

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LATE THE FOLLOWING PAY. WELL, TWO

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X KNOW! ISN'T IT WONPERFULTO HAVE HIM BACK ?

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18 CONTINUED AFTER NEXT PAGE

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In'live action films, using real people, a director is rather easily described. He is the person in charge of the acting and action as well as the style and mood of each scene. He rehearses the actors and actresses in the way he wants each scene to be played untH all is ready to be filmed, The assistant director calls out "Quiet on the set," and then it's lights, camera, action!

An animation director’s work starts with the story and storyboard. Since the storyboard is a working blueprint of the picture, the director's input to that board Is . important. It is up to the animation director's Judgement as to which is the proper way to stage a scene, and what positions would be best for the characters in order to tell the story most effectively.

The selecting of voices and recording is actually the one area Of directing in cartooning that is very close to live action direction, but In many ways it is more closely allied with directing a radio show. The director rehearses the casts and instructs them as to how he wants the scenes to be read. Only the director knows whether a character should sound happy, angry, frightened or whatever, and the actors mark their scripts according to the director's instructions. The pace of the actor's reading is also controlled by the director. If the scene is supposed to be tense and mysterious it is important that the director gets that kind Of feeling into the reading. In a fast chase sequence it is necessary that the tempo of the actor's reading matches that of the action.

The direction of recording in cartoons is one of the most satisfying aspects of cartoon construction. It is the firet time that the story has real life breathed into it.

actors and they in turn become the director's actors The director writes down his directions for each scene on time pages known as exposure sheets. These sheets are lined with spaces representing each individual frame of film. Since 24 frames will' be flashing by every second, the director has an exact timing scale to guide him. He will Instruct an animator just when to start a character to walk, sit. get up. turn head, smile, reach, trip, fall or whatever action is needed to produce the kind of scene called for on the storyboard.

After the animation is photographed and a workprint is assembled with the voice track and viewed on the editor's Movieola, the director may call for animation changes, some new scenes, additional cutting and many other judgements that are the decision of the animation director.

So the director of an animated cartoon is a director in many different ways and an overall artist in a long- range production. As one actor who has had lots of their direction, I notice that I am being directed to wrap this up. So. as I cutout, this is Snagglepuas saying. Exit, stage rightl"

PJ2AUV

Enter stage left! Welcome, cartoon fans, Snagglepuss, and I'm here to give yOu a backstage tour of one of the most important departments in Hanna-Barbera's funtastic world of animation. I refer to "direction." You may wonder how an animated cartoon is actually directed, since it of drawn characters. Well, it is a bit tricky, but let me elucidate, reveal the secret, even.

It is a molding and sculpturing time for the director. During these recording sessions lines are often improved, and jokes with new ideas are frequently inspired.

The recorded voices now act as a yardstick for the final timing of the show. The director decides on how much action is needed between the dialogue scenes and directs the track editors accordingly by marking that information on the storyboard. The director decides on the overall timing as well as the breaking down of each scene into individual action timing.

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Dear Marvel Comics Group: All I can say is. . .thank you. I have to be one of the biggest

Hanna-Barbera fans alive I It was H-B who started me into the study of cartooning. I ant currently working on a collection of all of their comics, so you can imagine how happy I was to see them return to publication under the aegis of mighty Marvell

I have absolutely no doubt that Marvel Comics can do a fantastic job on the new H-B titles. The art and stories will most likely be better thao ever, as I have already seen in the first issues of THE FLINTSTONES and YOGI BEAR. But don't just limit yourself -to a few titles. Hanna-Barbera made so many for you to choose from, and I'd certainly like to see you publish Space Ghost and Frankenstein, Jr.

I wish you all luck! Ralph Gardella 22535 Corteville

St Clair Shore, Ml 48081 Dear Marvel—

I, for one, am thrilled at the opportunity of seeing a grand illustrated comics mag developed from the renowned animated cartoon greats of William Hanna and Joseph Barbers. I'm hoping for the best and looking forward to seeing the creative gsnius of Marvel and H-B combined on many future comics publications.

Is there any chance of another Marvel super-hero show being animated for a future season of Saturday morning cartoons? And do you have any plans of bring back other earlier works of Hanna-Barbera, such as Jonny Quest, The Herculoids, Young Samson and Goliath, etc.?

Don't let anyone kid you, folks—you're the greatest comics group in the world for bringing pleasure to a truly wide variety of readers! Make Mine Marvell Aaron Arocho

253 Lexington NW Grand Rapids, Ml 49504

Aw shucks, Aaron—you've brought a bkoh to the collective face of the ol' Bullpan with your kind oompliment*. Thanks! Really. As for another swmatsd Marvel supar-hero show.. .well, we wouldn't rule out the possibility. After all, the ever-lovin' Marvel menagerie is always on the move in the media (witness the forthcoming Fall TV live-action episodes of Spider-Man and the Hulk, for instance). And we've explored the pande- monious possibility of setting up our very own astounding animation studio. . so don’t be surprised if you see our sensational super-heroes in cavortin' cartoon form sometime in the unfathomed future. The seme goes for comic book adapta- tions of other H-B tried-and-true TV tides—time will tell!

Dear citizens of Jellystone— I'm a devoted Marvelite and a follower of Spidey, Howard

the Duck and all the rest. When I picked up this mag, it was purely because it was put out by Marvel. I wasn't really expecting much, except maybe a good laugh, like I gat watch¬ ing cartoons. But I was really surprised when the magazine had real quality.

But I would like to put in my bid for longer stories. And I would also like to see Jabberjaw in his mag—or making a guest appearance somewhere. Keep up the good work.

Sean Gregory 2206 "L" Street

Sacramento, CA 95816 Dear Yogi,

I have been a fan of yours for years, I even keep my hard- earned money to buy your comic in a special Yogi Bank. I also have a little stuffed Yogi. I enjoyed your better-than-average stories, more so than THE FLINTSTONES. I hope to see you team up with Huckleberry Hound and Quick-Draw McGraw in future issues. By the way. Yogi, you made a boo-boo (pun intended) when you stated in "Bear Facts" that Bingo of the Banana Splits was a beer and plays the guitar, when in fact he’s a dnii.-pl.ying gorilla. Al.a E. Wall

3T Elbow An. Levittown, NY 11756

Yeah, Al—we know all about that oversight. You see, we've got this guy right here in the Marvel Bullpen who's a Saturday morning fanatic, and you should have heard the yelp he let out as soon as he saw that issue! In fact, he even wrote us a letter... Dear Mar-Bera(?) Bunch,

I hate to be a stickler for accuracy, but since when did Bingo (of The Banana Splits) bfecome a bear? Sorry, folks, but Bingo happens to be an orange ape; just as Drooper is a lion; Fleagle is a dog; and Snorkey is an elephanr.

How 'bout keeping these things straight in the future, guys? (I'm around everyday — ask me if you're not sure.)

From Another Part of, the Office Duffy Vohland

Oops! We admit to a modest mistake. Duff—don't ask us how it could have happened, but we're certain that you'll keep us in line if we should ever make such a blooper again) (We were gonna say something about it taking a funny animal to know one, but we'll let it pats, this time!)

ENTER THE fUN-TASTtC WORLD oe

A O V£KT/S£M£UT

MIGHTY THOR.CANST THOU NOT STEM THIS MYSTERIOUS FLOW OFASOARC*Sj GOLD"? /■ ■ -■■■ ■-*

K, y NAY, RATHER THIS EYlLPlOT 1 f ( OALLS FOR BRAINS INSTEAD/* I V OF BRAWH..----f

TRULY AM I NAMED GUDRUN THS GOLDEN' I WILL GATHER ONTO MYSELF ALL THAT IS GOLD SO IT MAY REFLECT BACK MINE GLORY.

GATHERED HERE ARE TRULY NO LOYER OF

TRULY TIS BETTER TO ENJOY THE

STORE UP GOLD THAT DOES -- BUT GATHER I

FILLING. TOO, IS WORTHY OF THE . 0006. .

.../A |S (7 I'/H TELLING 'YOU, WILMA we've got to qbt rip of him

MBS

PtfVO! WHAT ARE YOU COINS WITH MY OLP SUITCASES TAKE THOSE &ONES OUT OF IT/__,

W,/ WE'RE SETTING RlP f OE H l/ti ANP THAT'S

■) THAT.' I'M GOING TO / GO THROW IT IN THE TRASH-' NO&PPY likes THIS PICTURE OF YOUR UNCLE 1 RA/y—'

WILL YOU STOP CLOWNING? T PON'T HAVE < TIME TO FOOL )

AROUNP' J

Go long,Uncle Ira / anp ©OOP

v RIPPANCE-' I WILMA'S UNCLE IRA / I CAN'T WAIT

TO BE- RIP __, OP HI/IA ' )

I PON'T KNOW... SoMETHING ABOUT ME THROWING THAT PAINTING / —. AWAY ' J

I TOLP YOU WILMA ....

YOBOPY LIKE5 YOUR UNCLE IRA/

FREP/ WHY IS PINO SO HAPPY » /

PAnce wh/le you CAN, P/NO .../// THE C.OM/N& l&EUB OF TWB- 1 fLiNTSTONGS F-R.EP POE* SELL you anp its .

FOR. REAL

©oca®

31

thriBng views

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Good hitting starts with the basics...

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