I stand firmly by the example I have given (and which you do not address).
Largely that's because I have absolutely zero knowledge of Franquin and his books.
If Marsu Productions can do it, then Moulinsart - with a larger team and budget - can do it too. No excuses!
I have no idea how to compare the relative ease and speed with which these books have been made (I don't see how one can guess unless one was involved in it), for example, the circumstances in which Franquin's art is kept, and how many people are involved - if there are fewer
people working on these than there are for Moulinsart, then that is a small number, because Moulinsart has about twelve to fifteen people in total, and the Studio is just three people.
I also don't know if Franquin's people have been undertaking anything like the Chronologies
and building a museum in the same period. Without these other chores, and perhaps with all of his original art in good condition (the Studios HergÃ© vaults contain about 80% of the originals), then perhaps they could have done as you suggest.
I want the art, in as many stages as possible, in as many varieties as comes to hand, but I want the thinking behind it too - the references where available, the correspondence which, as mentioned contains information about the choices made, the changes needed, and notations of what state the art is in, and how else it may have appeared (if you've seen any of the page originals, you'll know that over the years some of the art which has not been lost, given away, or otherwise mislaid, has been chopped up, re-positioned, changed around and otherwise repurposed over the years to revise the format, change page sizes and for re-use in the magazine).
Looking at the artwork with light notes would be nice - knowing about the art with in depth material will be fascinating
The "rediscovered" pages were a something of a myth concocted by the Studios Herge and/or Casterman (to offer a little proof : the very first of these supposedly "new" sheets had already been published in the introduction to the Rombaldi edition of Alph-Art almost twenty years earlier !)
Well, again, I think we are slightly at cross purposes here: what I am talking about is that Bernard Tordeur said (at the same time as he talked about the fact that the J,Z&J
version of ThermoZÃ©ro
was de facto
complete) that further
material - additional to the extra material they had just released - had been uncovered as they were going through HergÃ©'s papers, and which, had he been able to, he would have included, and that they amounted to enough significant material to be able to produce a further, third, version.