|An early design sketch of mine for the pitch.|
"DuckTales" had been a wildly successful series for Walt Disney Television. It was inevitable that among the 100 episodes produced for the "DuckTales" series that somewhere among those stories would lurk a possible spinoff. "What do you mean spinoff?" you say? "Disney would consider spinoffs?" Well, like pretty much all the Hollywood studios, in one word- YES! Sometimes they turn out well, and other times you wonder why they even made a sequel (moolah). However this project was to turn into the kind of spinoff to be very proud of. "Double-O_Duck " and "The Masked Mallard" were a couple of "DuckTales episodes that were able to stay around in the minds of a few folks back at the studio. They originally aired on November 17th and 18th, 1989 respectively during the DuckTales run. The original concept had Launchpad McQuack not Drake Mallard, as the star of the show. "Double-O-Duck" was written by outstanding DuckTales regulars Ken Koonce and David Wiemers, and along with "The Masked Mallard", became very popular in the "DuckTales" universe. So popular that they would be at the top of a very short list of sequels to be placed into active development and ultimately become a new show a year after "DuckTales uttered its last quack.
|My secret lair bridge suggestion and its cable "road"|
|Kids don't try this at home|
|Storysketch I based on Tad's script|
|Very quickie setup, no time for reference or studies.|
On Monday, I brought my artwork for the pitch in and luckily for me Gary was thrilled with it. My only guess was that he must have had a heckofa great weekend but who am I to argue. I had come up with a location atop a cable suspension bridge where Double-O could have a secret base of operations to look out over the city and bay of Saint Canard. I also had a "car lift" to use one of the few vehicle designs we salvaged from the earlier artwork. Someone had mentioned having him ride on a motorcycle so I thought it would be a dynamic shot if I had him ride it directly up the cable to his secret hide-a-way. It got a good reaction and so those setups were included in the pitch. Thank goodness my simple chunky motorcyle design along with the rather pedestrian old model car was later put on some artistic steroids for the series resulting in those very cool Darkwing vehicles he uses to track down the villains with. We composed a very entertaining script for the verbal part of the presentation that would have made a great radio show all be itself without any artwork to back it up. The pitch went very well, especially when you realize we had originally planned to be presenting the new updated "Bullwinkle" show instead of a last minute replacement named "Double-O-Duck".
One interesting side note was the when Jeffery Katzenberg saw the secret lair on and in the tower, he remarked that it reminded him of the "Great Mouse Detective" (Basil ) clock tower which he said might be a "good thing." Since I had developed both of these locations, I took it as a compliment. The truth was that I had zero time to develop the idea beyond my basic proposal and so relied on my own memories sans any reference and motivated by sheer desperation. The pitch included my color setups along with the character suggestions by Bob Kline who would go on to do spectacular Art development for "Talespin". In fact in my opinion it was his stunning designs along with some great pieces done by Carol Police that made the "Talespin" series such a visual treat, but that as they say, is another story. To say I wasn't very happy with my pitch artwork shown here is an understatement but you have to keep in mind that it was done in a couple days from beginning to end, or at least that's my only excuse. The bottom line is though, the series sold!
|tomboy baking her first cake|
|A dingy dank dark desolate artwork encrusted alley in St. Canard|
Two major changes were to come next. The first was renaming the show. As it turned out, "Double-O" was copyrighted by "007" creator Ian Fleming and owned outright by "007" movie producer Albert R. Broccoli. We had skated by unseen with one "DuckTales" episode but they were not going to allow a new series to do the same with a knock-off of their registered name. So we went from the overtly sounding James Bond spin "Double-O-Duck" to the overtly sounding "Batman" take, "Darkwing Duck". Still, it was an improvement. The main character got redesigned, thank goodness, through the talent of Toby Sheldon, who was the most responsible for the dynamic final look you saw on the series. The cheeks were an obvious adaptation of Roger Rabbit's head shape but it worked well in that it separated Darkwing from his famous cousins, Donald and Daffy. Also included in the mix were catch phrases (all the best super heroes had em') like, "I am the screeching fingernail on the chalkboard of justice!" and "I am the terror that flaps in the night, I am the batteries that are not included. I am Darkwing Duck!". Obviously some lines worked a little better than others.
Like most of the work I did for WDTVA, I moved onto the next set of concepts for new shows, commercials and specials and didn't work on the actual series. My "DuckTales"buddy Alan Zaslove supervised production of the show expertly along with a very solid talented crew. This series would become yet another notch in the Disney TV belt running from 1991 to 1995. "Darkwing Duck" was the first Disney Afternoon offering that was created as a parody of a specific genre. It was a marvelous send-up of superhero , pulp fiction presented within a canvas of film noir imagery. You would think that after cancellation, that would be it for our mighty mallard but only recently Disney revised the franchise by licensing an ongoing monthly comic book series entitled, "The Duck Knight Returns." I mean really, can a new series be far behind? Do I hear...
"LETS GET DANGEROUS!"
|A doodle I did of St Canard's waterfront based on Naw'lins|
"LETS GET DANGEROUS!"