thehalloweenfilmalterations

It is not the intention here to mention all the alterations Barks was required to make in his pages as that will take things too far. Among others there were several technical changes where Barks had to switch panels around or stretch them in order to maintain an acceptable flow in the plot.
It was all done in haste, because the comic book had to be released in connection with the film (it was actually released in November, 1952, one month after the film), and in a few places it is evident that major changes were made; for instance, after cutting all the pages with Smorgasbord, the exploded ogre's derby hat is trampled on by Hazel. Quite puzzling to the readers of the original issue who, at that point, had no knowledge of Smorgasbord at all...

Two versions of the opening splash panel and the following few panels

Barks opened with a splash panel showing Duckburg as seen from a cemetery as a witch flies over the town on her broom. The panel was taken directly from the same opening scene in the film, but the editor objected as she said that in a comic book the children would have time to dwell on the cemetery scene and that would not be wholesome. Barks then drew another splash panel but in later reprints the original version was often chosen.

The story, as it was first published, has a splash panel on which the nephews are painting the story title on a window. It is followed by a 7-panel scene in which they try to steal candy out of Donald's kitchen, but they get rudely interrupted. When the nephews warn Donald about witches, he self-confidently replies that there are no such thing. This comment is followed by an introduction of Hazel the witch. Originally, the story did not begin with the sequence of Donald and the nephews.

Barks had meticulously followed the model sheets from the film when drawing the first panels, where we follow Hazel on her broom flying around a church tower while scaring a bunch of bats, but he knew very well in beforehand that the whole scene was not optimal for presentation in a comic book.
He recalled a chance meeting he had during his days in the Disney Studios: You could draw just so much violent action in a comic book before it began to get tiresome. I think Floyd Gottfredson (the Carl Barks of the mouse universe - Editor's remark) put his finger on it one time when I was talking to him, sometime in the 1940s. I'd gone to the studio for something. He said, 'In the strip, the reader can hold it up, and he looks at it for a long, long time, but when it's on the screen, he sees it for a 24th of a second, and it's gone. There's no chance for him to look at it too long'. I remembered what he had told me, and I toned down my action a little bit after having talked with him.
Barks was probably glad that Cobb agreed with the sentiment, although it did cost him 1½ pages of redrawing...