Ole:
> No-no, Per, the Donald Duck Sonderheft I was referring to is not a
> D.O.N.A.L.D. publication. It used to be called Die Tollsten
> Geschichten von DD (Sonderheft.) It's a damn good magazine, packed
> with Barks reprints... and a cover that's so close to Barks 1954
> vintage, that it has to be one of Jippes'.
Oops, evidently I didn't read that carefully. I thought you said "Der
Donaldist Sonderheft", which I thought was a more probable publication
for such things than a comic book. Back when I knew anything about
Germany the magazine you talked about was still called TGDD.
Anyway, what *is* the current address of D.O.N.A.L.D.?
me> So this is Martin Olsen's "Det Store Index", right? Are there any
me> problems with spreading it?
[This is a total index of the Danish ducks, serialized in the Danish
fanzine Carl Barks & Co. by the way, for those who don't know.]
> The problem with spreading this is a trifle matter of typing it all
> in.
Aha, I thought you had it typed in already. What I meant was if there
was any legal problems with spreading it. If Martin Olsen doesn't
mind it would probably be a lot easier to get it from him instead of
typing it all in once again. I asked CB&Co. editor Paw Mathiasen if
Det Store Index is available in electronic form when ordered some back
issues from him, and he said no, but I haven't asked Martin Olsen
himself.
-- "
Per Starback, Uppsala, Sweden. email: starback at student.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
Author
Topic: 199310
(214 messages)
Per Starback
Reply to Ole's mail
Message 76 -
1993-10-07 at 20:58:52
Per Starback
Original titles
Message 77 -
1993-10-07 at 22:30:58
Mark wrote:
> BTW, David, how do you know what Don Rosa's stories are titled before
> we see them here in the states? Do you find out from over-seas? Are
> they listed in the ftp-able don rosa index?
Yes, they are there. The source for most of those titles is Don
himself right on this list. Some of them come from an index by
Stefan Dios who translates the Swedish ducks, and thus knows the
original titles.
-- "
Per Starback, Uppsala, Sweden. email: starback at student.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
> BTW, David, how do you know what Don Rosa's stories are titled before
> we see them here in the states? Do you find out from over-seas? Are
> they listed in the ftp-able don rosa index?
Yes, they are there. The source for most of those titles is Don
himself right on this list. Some of them come from an index by
Stefan Dios who translates the Swedish ducks, and thus knows the
original titles.
-- "
Per Starback, Uppsala, Sweden. email: starback at student.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
Mark Semich
Rosa
Message 78 -
1993-10-07 at 22:33:54
Harry writes:
>You once offered your Captain Kentucky comics (you still have a garage full
>of them?):
Don, you once stated that you would send these collections to anyone
who sent you a 3-magazine sized SASE. How much postage should we put
on the envelope?
>And if it's OK with you, I would like to have xerox copies of:
>- the English script of "War of the Wendigo"
If anyone has a copy of "War of the Wendigo" (the actual comic book
story, not the script) in *any* language, I would be forever grateful
for the opportunity to work out some way of my getting a copy of it.
>You once offered your Captain Kentucky comics (you still have a garage full
>of them?):
Don, you once stated that you would send these collections to anyone
who sent you a 3-magazine sized SASE. How much postage should we put
on the envelope?
>And if it's OK with you, I would like to have xerox copies of:
>- the English script of "War of the Wendigo"
If anyone has a copy of "War of the Wendigo" (the actual comic book
story, not the script) in *any* language, I would be forever grateful
for the opportunity to work out some way of my getting a copy of it.
Topi Ylinen
Cavazzano
Message 79 -
1993-10-08 at 10:52:43
Luigi (belival at ghost.dsi.unimi.it) wrote:
>Topi Ylinen about Worst Disney Stories:
>> Anything by Cavazzano.
>In Italy we say:"Tastes are tastes". For example: I don't like Scarpa.
>In my opinion Giorgio Cavazzano is an Artist (with capital A).
>Do you know: most of latest stories in Italy are drawn
>in a Cavazzano's style (like what is happening in USA about superheroes
>with McFarlane/Jim Lee style).
Actually I have no problem with his drawing... my problem is his plots
- or should I say the lack thereof.
Long stories without any original ideas, very little humour (even lessened
by the translation, of course), and pretty often the setting/story idea is
extremely *dull*. Lots of pointless scenes too almost too boring to read.
There are two elements to a good comic story: good art AND good plot, the
latter being IMHO at least as important as the former. Take Barks' classical
duck stories - not *only* he can draw - his plots are brilliant too! (Granted,
he has a habit of repeating himself, but considering the mere quantity of
his artistic output, that needs no excusing).
Now that you mentioned Jim Lee, I have to say that he is an ideal example
of the above. As long as he co-operated with Chris Claremont (a very original
writer for the superhero genre), the stories were sheer pleasure to read.
Though at later stages, when Jim started creating plots, they became consider-
ably worse. Then came Jim's own stories. The art was great all right, but
the plots *SUCKED* (and even that is an understatement). The majority of comic
readers realized that and don't buy Jim's comics.
Ah - and McFarlane's stories *SUCK* too! (You should know that)
The importance of plot/art can of course be different for different persons,
but when the stories are as bad as Cavazzo's non-plots, *everyybody* should
note there is something wrong. (For me, btw, I think I appreciate 2/3(!) plot
and only 1/3 art. Or even 80% plot, 20% art! That may be because I also
read a lot of books. So, estimation of Cavazzano's comic books would be some-
thing like "17%" - his drawing is still far from ideal. His non-plots earn
him no points on my scale. Maybe I should have given him an even poorer rate
because I think "stories" that bad should be given a negative value...)
I know there are other Italian artists drawing pretty much the same way as
Cavazzano. Fortunately, their stories are not nearly as bad! They even seem
to have *plots* pretty often.
(All this is of course just my personal opinion - not a flame)
<Topi Ylinen = f1toyl at kielo.uta.fi>
**************************************************************
* One Ring to rule them all, One Ring to find them, *
* One Ring to bring them all and in the darkness bind them. *
**************************************************************
>Topi Ylinen about Worst Disney Stories:
>> Anything by Cavazzano.
>In Italy we say:"Tastes are tastes". For example: I don't like Scarpa.
>In my opinion Giorgio Cavazzano is an Artist (with capital A).
>Do you know: most of latest stories in Italy are drawn
>in a Cavazzano's style (like what is happening in USA about superheroes
>with McFarlane/Jim Lee style).
Actually I have no problem with his drawing... my problem is his plots
- or should I say the lack thereof.
Long stories without any original ideas, very little humour (even lessened
by the translation, of course), and pretty often the setting/story idea is
extremely *dull*. Lots of pointless scenes too almost too boring to read.
There are two elements to a good comic story: good art AND good plot, the
latter being IMHO at least as important as the former. Take Barks' classical
duck stories - not *only* he can draw - his plots are brilliant too! (Granted,
he has a habit of repeating himself, but considering the mere quantity of
his artistic output, that needs no excusing).
Now that you mentioned Jim Lee, I have to say that he is an ideal example
of the above. As long as he co-operated with Chris Claremont (a very original
writer for the superhero genre), the stories were sheer pleasure to read.
Though at later stages, when Jim started creating plots, they became consider-
ably worse. Then came Jim's own stories. The art was great all right, but
the plots *SUCKED* (and even that is an understatement). The majority of comic
readers realized that and don't buy Jim's comics.
Ah - and McFarlane's stories *SUCK* too! (You should know that)
The importance of plot/art can of course be different for different persons,
but when the stories are as bad as Cavazzo's non-plots, *everyybody* should
note there is something wrong. (For me, btw, I think I appreciate 2/3(!) plot
and only 1/3 art. Or even 80% plot, 20% art! That may be because I also
read a lot of books. So, estimation of Cavazzano's comic books would be some-
thing like "17%" - his drawing is still far from ideal. His non-plots earn
him no points on my scale. Maybe I should have given him an even poorer rate
because I think "stories" that bad should be given a negative value...)
I know there are other Italian artists drawing pretty much the same way as
Cavazzano. Fortunately, their stories are not nearly as bad! They even seem
to have *plots* pretty often.
(All this is of course just my personal opinion - not a flame)
<Topi Ylinen = f1toyl at kielo.uta.fi>
**************************************************************
* One Ring to rule them all, One Ring to find them, *
* One Ring to bring them all and in the darkness bind them. *
**************************************************************
Even Flood
Disney Comics Digest
Message 80 -
1993-10-08 at 13:45:37
Jeg vil gjerne ha Disney-Comics Digest
Eller p} Engelsk:
I wish to subscribe to Disney Comics Digest.
AdvanThanksce
Even Flood at due.unit.no
Eller p} Engelsk:
I wish to subscribe to Disney Comics Digest.
AdvanThanksce
Even Flood at due.unit.no
Don Rosa
+Postage Due+Disney-comics digest #121.
Message 81 -
1993-10-08 at 15:17:14
Somebody again asked what I think of the Italian Disney comics.
We discussed this recently at length. In short, I'd said that I DON'T
like the art-style that I see in the Italian Disney comics that Egmont
uses in its digests -- it has the look of what we see in American Harvey
comics like Casper the Ghost and Wendy the Good Witch. But I admit I've
never been able to READ any of the Italian stories... and I was told
that I seem to be referring to only a few of the Italian artists. So,
all I can say is I can't really judge the Italian Disneys until I
someday see a mess of them in English (but I still don't THINK I
like'em!).
Harry: Oh, for the love a'... It looks like the package from
the comics you sent is already gone (with your address). Maybe it's
downstairs inna trash. I'll check, but maybe you can post it here just
to be sure. If I get it all together, I'll mail you all the things you
request tomorrow.
As for everyone else who wants the script to "War of the
Wendigo"... why don't we try waiting a little longer. Gladstone tells me
they might try slipping it past Disney pretty soon. Besides, all this
YEARNING to see this story is a bit misplaced, I fear -- it's not that
GREAT a story! When people go to such trouble to see it then finally
read it, I'm afraid they'll be disappointed!
We discussed this recently at length. In short, I'd said that I DON'T
like the art-style that I see in the Italian Disney comics that Egmont
uses in its digests -- it has the look of what we see in American Harvey
comics like Casper the Ghost and Wendy the Good Witch. But I admit I've
never been able to READ any of the Italian stories... and I was told
that I seem to be referring to only a few of the Italian artists. So,
all I can say is I can't really judge the Italian Disneys until I
someday see a mess of them in English (but I still don't THINK I
like'em!).
Harry: Oh, for the love a'... It looks like the package from
the comics you sent is already gone (with your address). Maybe it's
downstairs inna trash. I'll check, but maybe you can post it here just
to be sure. If I get it all together, I'll mail you all the things you
request tomorrow.
As for everyone else who wants the script to "War of the
Wendigo"... why don't we try waiting a little longer. Gladstone tells me
they might try slipping it past Disney pretty soon. Besides, all this
YEARNING to see this story is a bit misplaced, I fear -- it's not that
GREAT a story! When people go to such trouble to see it then finally
read it, I'm afraid they'll be disappointed!
Torsten Wesley Adair
Cavazzano
Message 82 -
1993-10-08 at 16:06:41
On Fri, 8 Oct 1993, Topi Ylinen wrote:
> Luigi (belival at ghost.dsi.unimi.it) wrote:
> >Topi Ylinen about Worst Disney Stories:
> >> Anything by Cavazzano.
> >In Italy we say:"Tastes are tastes". For example: I don't like Scarpa.
> >In my opinion Giorgio Cavazzano is an Artist (with capital A).
> >Do you know: most of latest stories in Italy are drawn
> >in a Cavazzano's style (like what is happening in USA about superheroes
> >with McFarlane/Jim Lee style).
> Now that you mentioned Jim Lee, I have to say that he is an ideal example
> of the above. As long as he co-operated with Chris Claremont (a very original
> writer for the superhero genre), the stories were sheer pleasure to read.
> Though at later stages, when Jim started creating plots, they became consider-
> ably worse. Then came Jim's own stories. The art was great all right, but
> the plots *SUCKED* (and even that is an understatement). The majority of comic
> readers realized that and don't buy Jim's comics.
> Ah - and McFarlane's stories *SUCK* too! (You should know that)
Uh, guys, could we stick to Disney comics here? If I want to read about Image
Bashing on rec.arts.comics.misc and Comics-L.
Torsten Adair torsten at cwis.unomaha.edu Omaha, NE, USA
(Read the recent issue of CBG for more Liefeld "tributes".)
> Luigi (belival at ghost.dsi.unimi.it) wrote:
> >Topi Ylinen about Worst Disney Stories:
> >> Anything by Cavazzano.
> >In Italy we say:"Tastes are tastes". For example: I don't like Scarpa.
> >In my opinion Giorgio Cavazzano is an Artist (with capital A).
> >Do you know: most of latest stories in Italy are drawn
> >in a Cavazzano's style (like what is happening in USA about superheroes
> >with McFarlane/Jim Lee style).
> Now that you mentioned Jim Lee, I have to say that he is an ideal example
> of the above. As long as he co-operated with Chris Claremont (a very original
> writer for the superhero genre), the stories were sheer pleasure to read.
> Though at later stages, when Jim started creating plots, they became consider-
> ably worse. Then came Jim's own stories. The art was great all right, but
> the plots *SUCKED* (and even that is an understatement). The majority of comic
> readers realized that and don't buy Jim's comics.
> Ah - and McFarlane's stories *SUCK* too! (You should know that)
Uh, guys, could we stick to Disney comics here? If I want to read about Image
Bashing on rec.arts.comics.misc and Comics-L.
Torsten Adair torsten at cwis.unomaha.edu Omaha, NE, USA
(Read the recent issue of CBG for more Liefeld "tributes".)
Torsten Wesley Adair
Sorry. (Cavazzano)
Message 83 -
1993-10-08 at 16:22:29
On Fri, 8 Oct 1993, Torsten Wesley Adair wrote:
> On Fri, 8 Oct 1993, Topi Ylinen wrote:
> > Luigi (belival at ghost.dsi.unimi.it) wrote:
> > >Topi Ylinen about Worst Disney Stories:
> > >> Anything by Cavazzano.
> > >In Italy we say:"Tastes are tastes". For example: I don't like Scarpa.
> > >In my opinion Giorgio Cavazzano is an Artist (with capital A).
> > >Do you know: most of latest stories in Italy are drawn
> > >in a Cavazzano's style (like what is happening in USA about superheroes
> > >with McFarlane/Jim Lee style).
> > Now that you mentioned Jim Lee, I have to say that he is an ideal example
> > of the above. As long as he co-operated with Chris Claremont (a very original
> > writer for the superhero genre), the stories were sheer pleasure to read.
> > Though at later stages, when Jim started creating plots, they became consider-
> > ably worse. Then came Jim's own stories. The art was great all right, but
> > the plots *SUCKED* (and even that is an understatement). The majority of comic
> > readers realized that and don't buy Jim's comics.
> > Ah - and McFarlane's stories *SUCK* too! (You should know that)
>
Uh, guys, could we stick to Disney comics here? If I want to read about Image
Bashing, I'll read it on rec.arts.comics.misc and Comics-L.
Torsten Adair torsten at cwis.unomaha.edu Omaha, NE, USA
(Read the recent issue of CBG for more Liefeld "tributes".)
> On Fri, 8 Oct 1993, Topi Ylinen wrote:
> > Luigi (belival at ghost.dsi.unimi.it) wrote:
> > >Topi Ylinen about Worst Disney Stories:
> > >> Anything by Cavazzano.
> > >In Italy we say:"Tastes are tastes". For example: I don't like Scarpa.
> > >In my opinion Giorgio Cavazzano is an Artist (with capital A).
> > >Do you know: most of latest stories in Italy are drawn
> > >in a Cavazzano's style (like what is happening in USA about superheroes
> > >with McFarlane/Jim Lee style).
> > Now that you mentioned Jim Lee, I have to say that he is an ideal example
> > of the above. As long as he co-operated with Chris Claremont (a very original
> > writer for the superhero genre), the stories were sheer pleasure to read.
> > Though at later stages, when Jim started creating plots, they became consider-
> > ably worse. Then came Jim's own stories. The art was great all right, but
> > the plots *SUCKED* (and even that is an understatement). The majority of comic
> > readers realized that and don't buy Jim's comics.
> > Ah - and McFarlane's stories *SUCK* too! (You should know that)
>
Uh, guys, could we stick to Disney comics here? If I want to read about Image
Bashing, I'll read it on rec.arts.comics.misc and Comics-L.
Torsten Adair torsten at cwis.unomaha.edu Omaha, NE, USA
(Read the recent issue of CBG for more Liefeld "tributes".)
David A Gerstein
Disney-comics digest #122.
Message 84 -
1993-10-09 at 03:17:46
Hi, Folks!
Don on his "War of the Wendigo":
"[Gladstone might slip it by] Disney pretty soon. Besides, all this
YEARNING to see this story is a bit misplaced, I fear -- it's not that
GREAT a story! When people go to such trouble to see it then finally
read it, I'm afraid they'll be disappointed!"
Well, Don, I'm not ashamed to say that I think "War of the
Wendigo" as I read it in German is debatably my favorite of your
stories, with only the possible exception of "His Majesty McDuck".
Funny how Akers MacCovet in that latter story looks so much like a
combination of Gottfredson villains Sylvester Shyster and Eli
Squinch...
Since, Don, you've told me you don't want praise without
criticism, I'll mention that when the villain (what's his name in
English? He certainly isn't Argus McSwine!) takes the blowtorch to
the trees, some of the long shots of him are a little stiff. But by
contrast, I think that you have a better Scrooge in this story than
ever before, particularly that scene where he shoves the Peeweegah out
of the way (German: "I'll do it *myself!*").
BTW... Don, I have no way of getting another copy of "Wendigo"
in German, but if you really want one, I can at least Xerox mine when
I'm home for Winter break.
And I can also Xerox you part one of the German Life of Scrooge,
which came in at the Santa Barbara import shop over the summer while I
was at home.
A few other Rosa comments of my own:
(A) Favorite short story: "On a Silver Platter"
(B) Reason for (A): The scheme involving the platter is
completely unique. I enjoyed the use of the detectives. And the dime
isn't shown as the source of genuine "luck" (i. e. "For Old Dime's
Sake")... but I know Rosa loathes that motif, so I have no fear of it
turning up in his work.
(C) Least favorite story: "Super Snooper Strikes Again"
(D) Reason for (C): Story is drawn too realistically for me
to laugh comfortably at what happens to Donald. Also, the story
isn't different enough from the story it was a sequel to.
There, I've thrown in some criticism so you'll know I'm not
fault-blind when it comes to Rosa stories! But pretty close to
it... ;-)
Just scripted another Danish story with Gladstone in mind, that
being D90283, as I call it "The Duck Who Cried Wolf." A Vicar
story... Scrooge trying to test the loyalty and bravery of his staff
with a series of false alarms and slowly driving Donald crazy. Donald
decides to get even, at *exactly* the wrong time!
Here's why I'm bringing that up. In German the story appeared
in issue 7/1992. Presumably in Denmark, etc., too. I want foreign
readers to look at it. I found that the story's major flaw was that it
appeared spread too thin, moving a little on the slow side. What do
you think of my removing the the eighth page of the story to make it
run a little quicker?
I've also added a new angle to the narration of the story
which was not in the original, which I think improves it a lot. Just
wait, folks...
Can someone make a list of the stories Marco Rota has done for
Egmont? Since they're being done for Denmark, not Italy, this means
that they'll finally be short enough for Gladstone to use a lot of.
Does someone have some code numbers?
By the way, John Clark promises a Daan Jippes Duck story in
WDC&S 590. I have no idea what it will be... but he has my list of
the Dutch stories that Gladstone already printed (Disney printed *no*
Dutch stories), so I think it's something new to the U. S.
That's all for now, folks.
Yours,
David Gerstein
"I admire your country so much I've decided to *seize power!*
<David.A.Gerstein at Williams.edu>
Don on his "War of the Wendigo":
"[Gladstone might slip it by] Disney pretty soon. Besides, all this
YEARNING to see this story is a bit misplaced, I fear -- it's not that
GREAT a story! When people go to such trouble to see it then finally
read it, I'm afraid they'll be disappointed!"
Well, Don, I'm not ashamed to say that I think "War of the
Wendigo" as I read it in German is debatably my favorite of your
stories, with only the possible exception of "His Majesty McDuck".
Funny how Akers MacCovet in that latter story looks so much like a
combination of Gottfredson villains Sylvester Shyster and Eli
Squinch...
Since, Don, you've told me you don't want praise without
criticism, I'll mention that when the villain (what's his name in
English? He certainly isn't Argus McSwine!) takes the blowtorch to
the trees, some of the long shots of him are a little stiff. But by
contrast, I think that you have a better Scrooge in this story than
ever before, particularly that scene where he shoves the Peeweegah out
of the way (German: "I'll do it *myself!*").
BTW... Don, I have no way of getting another copy of "Wendigo"
in German, but if you really want one, I can at least Xerox mine when
I'm home for Winter break.
And I can also Xerox you part one of the German Life of Scrooge,
which came in at the Santa Barbara import shop over the summer while I
was at home.
A few other Rosa comments of my own:
(A) Favorite short story: "On a Silver Platter"
(B) Reason for (A): The scheme involving the platter is
completely unique. I enjoyed the use of the detectives. And the dime
isn't shown as the source of genuine "luck" (i. e. "For Old Dime's
Sake")... but I know Rosa loathes that motif, so I have no fear of it
turning up in his work.
(C) Least favorite story: "Super Snooper Strikes Again"
(D) Reason for (C): Story is drawn too realistically for me
to laugh comfortably at what happens to Donald. Also, the story
isn't different enough from the story it was a sequel to.
There, I've thrown in some criticism so you'll know I'm not
fault-blind when it comes to Rosa stories! But pretty close to
it... ;-)
Just scripted another Danish story with Gladstone in mind, that
being D90283, as I call it "The Duck Who Cried Wolf." A Vicar
story... Scrooge trying to test the loyalty and bravery of his staff
with a series of false alarms and slowly driving Donald crazy. Donald
decides to get even, at *exactly* the wrong time!
Here's why I'm bringing that up. In German the story appeared
in issue 7/1992. Presumably in Denmark, etc., too. I want foreign
readers to look at it. I found that the story's major flaw was that it
appeared spread too thin, moving a little on the slow side. What do
you think of my removing the the eighth page of the story to make it
run a little quicker?
I've also added a new angle to the narration of the story
which was not in the original, which I think improves it a lot. Just
wait, folks...
Can someone make a list of the stories Marco Rota has done for
Egmont? Since they're being done for Denmark, not Italy, this means
that they'll finally be short enough for Gladstone to use a lot of.
Does someone have some code numbers?
By the way, John Clark promises a Daan Jippes Duck story in
WDC&S 590. I have no idea what it will be... but he has my list of
the Dutch stories that Gladstone already printed (Disney printed *no*
Dutch stories), so I think it's something new to the U. S.
That's all for now, folks.
Yours,
David Gerstein
"I admire your country so much I've decided to *seize power!*
<David.A.Gerstein at Williams.edu>
Fredrik Ekman
More various replies
Message 85 -
1993-10-09 at 04:42:14
October 3rd, David Gerstein wrote:
>I went through the list of Character Names and simply wrote
>down one by one all the ones you needed in German, then made a list of
>them.
Danke schoen! I'm sorry I've been so slow in responding, but I've just
had an exam and I just didn't have time to do anything about it until
now. The updated version will soon be in the FTP archive, but first I
would like to clarify a few things.
> *Donald Duck = Schnatterich (1934-51)
> = Donald Duck (1951-)
Grateful as I am about all this information about years, there is
currently no support in the list format for incorporating them. I could
just put it in comments after each entry, but most entries wouldn't
carry this kind of info anyway (simply because I don't have it) and I
don't think it would be a great idea to have it for just a few names
even though I admit it's a nice touch. Do you (or anyone) have any
ideas for changing the list format?
> *Gyro Gearloose = Daniel Duesentrieb
> *Captain Nathaniel Churchmouse = Kapt'n Kluese | Kapt'n Kirchmaus
> Sylvester Shyster = Baldwin Beutelschneider
> Jiminy Cricket = Jiminy Grashuepfer (1948)
I suppose that all these names should really be spelled with a
<u-diaraesis> instead of ue?
And Henri wrote, on October 4th:
>There. Is anyone interested in a character-list of the Finnish Disney
>characters? I could draw one up...
Please do! And check what we already have in the file interlingual in
the FTP archive first!
Ole, October 5th:
>Fredrik:
>>Yesterday, I found a rather interesting List of Lists on r.a.d.
>What's r.a.d.? Research and Development? Radical Anarchist Devices??
Erm... not quite... r.a.d is the USENET news-group rec.arts.disney. It
is one of the most heavily trafficed groups I subscribe to, and it's
usually full of *crap*. Typical subjects are "Why I love Aladdin",
"Top ten reasons for not marrying Ariel" and "My trip to Disneyland".
Sometimes the entire group seems to be an evidence of Don's views on
Disney fans. Once in a while, however, you may run across something
interesting...
/Fredrik
>I went through the list of Character Names and simply wrote
>down one by one all the ones you needed in German, then made a list of
>them.
Danke schoen! I'm sorry I've been so slow in responding, but I've just
had an exam and I just didn't have time to do anything about it until
now. The updated version will soon be in the FTP archive, but first I
would like to clarify a few things.
> *Donald Duck = Schnatterich (1934-51)
> = Donald Duck (1951-)
Grateful as I am about all this information about years, there is
currently no support in the list format for incorporating them. I could
just put it in comments after each entry, but most entries wouldn't
carry this kind of info anyway (simply because I don't have it) and I
don't think it would be a great idea to have it for just a few names
even though I admit it's a nice touch. Do you (or anyone) have any
ideas for changing the list format?
> *Gyro Gearloose = Daniel Duesentrieb
> *Captain Nathaniel Churchmouse = Kapt'n Kluese | Kapt'n Kirchmaus
> Sylvester Shyster = Baldwin Beutelschneider
> Jiminy Cricket = Jiminy Grashuepfer (1948)
I suppose that all these names should really be spelled with a
<u-diaraesis> instead of ue?
And Henri wrote, on October 4th:
>There. Is anyone interested in a character-list of the Finnish Disney
>characters? I could draw one up...
Please do! And check what we already have in the file interlingual in
the FTP archive first!
Ole, October 5th:
>Fredrik:
>>Yesterday, I found a rather interesting List of Lists on r.a.d.
>What's r.a.d.? Research and Development? Radical Anarchist Devices??
Erm... not quite... r.a.d is the USENET news-group rec.arts.disney. It
is one of the most heavily trafficed groups I subscribe to, and it's
usually full of *crap*. Typical subjects are "Why I love Aladdin",
"Top ten reasons for not marrying Ariel" and "My trip to Disneyland".
Sometimes the entire group seems to be an evidence of Don's views on
Disney fans. Once in a while, however, you may run across something
interesting...
/Fredrik
Fredrik Ekman
More various replies
Message 86 -
1993-10-09 at 04:42:14
October 3rd, David Gerstein wrote:
>I went through the list of Character Names and simply wrote
>down one by one all the ones you needed in German, then made a list of
>them.
Danke schoen! I'm sorry I've been so slow in responding, but I've just
had an exam and I just didn't have time to do anything about it until
now. The updated version will soon be in the FTP archive, but first I
would like to clarify a few things.
> *Donald Duck = Schnatterich (1934-51)
> = Donald Duck (1951-)
Grateful as I am about all this information about years, there is
currently no support in the list format for incorporating them. I could
just put it in comments after each entry, but most entries wouldn't
carry this kind of info anyway (simply because I don't have it) and I
don't think it would be a great idea to have it for just a few names
even though I admit it's a nice touch. Do you (or anyone) have any
ideas for changing the list format?
> *Gyro Gearloose = Daniel Duesentrieb
> *Captain Nathaniel Churchmouse = Kapt'n Kluese | Kapt'n Kirchmaus
> Sylvester Shyster = Baldwin Beutelschneider
> Jiminy Cricket = Jiminy Grashuepfer (1948)
I suppose that all these names should really be spelled with a
<u-diaraesis> instead of ue?
And Henri wrote, on October 4th:
>There. Is anyone interested in a character-list of the Finnish Disney
>characters? I could draw one up...
Please do! And check what we already have in the file interlingual in
the FTP archive first!
Ole, October 5th:
>Fredrik:
>>Yesterday, I found a rather interesting List of Lists on r.a.d.
>What's r.a.d.? Research and Development? Radical Anarchist Devices??
Erm... not quite... r.a.d is the USENET news-group rec.arts.disney. It
is one of the most heavily trafficed groups I subscribe to, and it's
usually full of *crap*. Typical subjects are "Why I love Aladdin",
"Top ten reasons for not marrying Ariel" and "My trip to Disneyland".
Sometimes the entire group seems to be an evidence of Don's views on
Disney fans. Once in a while, however, you may run across something
interesting...
/Fredrik
>I went through the list of Character Names and simply wrote
>down one by one all the ones you needed in German, then made a list of
>them.
Danke schoen! I'm sorry I've been so slow in responding, but I've just
had an exam and I just didn't have time to do anything about it until
now. The updated version will soon be in the FTP archive, but first I
would like to clarify a few things.
> *Donald Duck = Schnatterich (1934-51)
> = Donald Duck (1951-)
Grateful as I am about all this information about years, there is
currently no support in the list format for incorporating them. I could
just put it in comments after each entry, but most entries wouldn't
carry this kind of info anyway (simply because I don't have it) and I
don't think it would be a great idea to have it for just a few names
even though I admit it's a nice touch. Do you (or anyone) have any
ideas for changing the list format?
> *Gyro Gearloose = Daniel Duesentrieb
> *Captain Nathaniel Churchmouse = Kapt'n Kluese | Kapt'n Kirchmaus
> Sylvester Shyster = Baldwin Beutelschneider
> Jiminy Cricket = Jiminy Grashuepfer (1948)
I suppose that all these names should really be spelled with a
<u-diaraesis> instead of ue?
And Henri wrote, on October 4th:
>There. Is anyone interested in a character-list of the Finnish Disney
>characters? I could draw one up...
Please do! And check what we already have in the file interlingual in
the FTP archive first!
Ole, October 5th:
>Fredrik:
>>Yesterday, I found a rather interesting List of Lists on r.a.d.
>What's r.a.d.? Research and Development? Radical Anarchist Devices??
Erm... not quite... r.a.d is the USENET news-group rec.arts.disney. It
is one of the most heavily trafficed groups I subscribe to, and it's
usually full of *crap*. Typical subjects are "Why I love Aladdin",
"Top ten reasons for not marrying Ariel" and "My trip to Disneyland".
Sometimes the entire group seems to be an evidence of Don's views on
Disney fans. Once in a while, however, you may run across something
interesting...
/Fredrik
Mark Semich
Ramblings
Message 87 -
1993-10-09 at 19:32:58
Errata:
-------
I recently got the impression that many of the people on this list who
buy Gladstones get them a little later than the comic-shops. So
this may be old news to some (for which I apologize), but I thought
this might be interesting - The letter column in Uncle Scrooge 283
contains an errata blurb:
"Last year Disney Comics published Uncle Scrooge #267 which contained
the story 'Scepter of Doom.' This was credited to Carl Barks, and
still generates letters from confused readers. In fact, the story is
a foreign tale written by Lars Enocksen and Unn Print-Pahlson, and
drawn by Vicar. More recently, in our debut issue of Uncle Scrooge
(#281), we credited the art of 'A Matter of Security' to Branca. The
art was actually by Vicar, as several readers wrote to point out."
The more things change...
-------------------------
Recently, I purchased my first non Gladstone/Disney-Comics Disney,
Walt Disney's Comics and Stories #57 (from 1945), published by "K. K.
Publications." Aside from the rampant racism and jingoism, I found it
to be much like a contemporary WDC&S. It had a Barks Donald
ten-pager, a Mickey feature, a Bucky Bug story, a Lil Bad Wolf,
and what looked remarkably like a couple of Al Taliaferro Donald
strips. (Plus a few other one-pagers featuring Mickey & Goofy)
I enjoyed it immensely, but I'd have to agree with Don Rosa that there
are some stories that just shouldn't be reprinted for today's kids.
This was published during the war, and there's a lot of pro-war racist
sentiment. (Which I won't bother to give examples of unless someone
really wants me to.)
I also noticed that Donald's car was yellow rather than red in all of
its appearances, and Daisy's clothing was purple instead of pink.
Again, I apologize if this is an old topic, but when did these colors
change to their more familiar states?
Donald vs. Mickey
-----------------
I'm in the midst of reading Marc Eliot's "Walt Disney: Hollywood's
Dark Prince" which provides an interesting point of view on Mickey's
popularity as opposed to Donald's.
Walt himself is credited as stating in 1935:
"Donald Duck came into being in 1934 to fit a voice which had
interested me a couple of years before.... He was a character we
simply couldn't keep down.... His towering rages, his impotence in
the face of obstacles, his protests in the face of injustice, as he
sees it....
"Mickey is limited today because public idealization has turned him
into a boy scout. Every time we put him into a trick, a temper, a
joke, thousands of people would belabour us with nasty letters.
That's what made Donald Duck so easy. He was our outlet. We could
use all the ideas for him we couldn't use on our Mickey."
Eliot then goes on to theorize (p. 182-3):
'Mickey and Donald were his (Disney's) most important progeny: Mickey
as superego - humble, chaste, cerebral, always in control, universally
adored; Donald as id - darker, volatile, emotional, sexual, always out
of control, not quite as popular and angry because of it.'
Of course, I feel that if this applies at all (which I think it does),
it would apply more to the pre-HD&L Donald, or at least to the
pre-Uncle Scrooge Donald. And I think that it makes Donald more
interesting to read (at least for me) than Mickey.
===========================================================================
"I am Scrooge McDuck of the clan McDuck. There can be only one!"
-- - - - - - - - - - - - - - - - - - --
mark a. semich mas at csa.bu.edu
===========================================================================
-------
I recently got the impression that many of the people on this list who
buy Gladstones get them a little later than the comic-shops. So
this may be old news to some (for which I apologize), but I thought
this might be interesting - The letter column in Uncle Scrooge 283
contains an errata blurb:
"Last year Disney Comics published Uncle Scrooge #267 which contained
the story 'Scepter of Doom.' This was credited to Carl Barks, and
still generates letters from confused readers. In fact, the story is
a foreign tale written by Lars Enocksen and Unn Print-Pahlson, and
drawn by Vicar. More recently, in our debut issue of Uncle Scrooge
(#281), we credited the art of 'A Matter of Security' to Branca. The
art was actually by Vicar, as several readers wrote to point out."
The more things change...
-------------------------
Recently, I purchased my first non Gladstone/Disney-Comics Disney,
Walt Disney's Comics and Stories #57 (from 1945), published by "K. K.
Publications." Aside from the rampant racism and jingoism, I found it
to be much like a contemporary WDC&S. It had a Barks Donald
ten-pager, a Mickey feature, a Bucky Bug story, a Lil Bad Wolf,
and what looked remarkably like a couple of Al Taliaferro Donald
strips. (Plus a few other one-pagers featuring Mickey & Goofy)
I enjoyed it immensely, but I'd have to agree with Don Rosa that there
are some stories that just shouldn't be reprinted for today's kids.
This was published during the war, and there's a lot of pro-war racist
sentiment. (Which I won't bother to give examples of unless someone
really wants me to.)
I also noticed that Donald's car was yellow rather than red in all of
its appearances, and Daisy's clothing was purple instead of pink.
Again, I apologize if this is an old topic, but when did these colors
change to their more familiar states?
Donald vs. Mickey
-----------------
I'm in the midst of reading Marc Eliot's "Walt Disney: Hollywood's
Dark Prince" which provides an interesting point of view on Mickey's
popularity as opposed to Donald's.
Walt himself is credited as stating in 1935:
"Donald Duck came into being in 1934 to fit a voice which had
interested me a couple of years before.... He was a character we
simply couldn't keep down.... His towering rages, his impotence in
the face of obstacles, his protests in the face of injustice, as he
sees it....
"Mickey is limited today because public idealization has turned him
into a boy scout. Every time we put him into a trick, a temper, a
joke, thousands of people would belabour us with nasty letters.
That's what made Donald Duck so easy. He was our outlet. We could
use all the ideas for him we couldn't use on our Mickey."
Eliot then goes on to theorize (p. 182-3):
'Mickey and Donald were his (Disney's) most important progeny: Mickey
as superego - humble, chaste, cerebral, always in control, universally
adored; Donald as id - darker, volatile, emotional, sexual, always out
of control, not quite as popular and angry because of it.'
Of course, I feel that if this applies at all (which I think it does),
it would apply more to the pre-HD&L Donald, or at least to the
pre-Uncle Scrooge Donald. And I think that it makes Donald more
interesting to read (at least for me) than Mickey.
===========================================================================
"I am Scrooge McDuck of the clan McDuck. There can be only one!"
-- - - - - - - - - - - - - - - - - - --
mark a. semich mas at csa.bu.edu
===========================================================================
David A Gerstein
Disney-comics digest #123.
Message 88 -
1993-10-10 at 02:54:50
Mark Semich quotes a Gladstone lettercol:
["Scepter of Doom" in US 267] "...was credited to... Barks, and
still generates letters from confused readers. In fact, the story is
a foreign tale written by Lars Enocksen and Unn Print-Pahlson, and
drawn by Vicar..."
Looks like that lettercol had its own miscredit in it. That
should be Unn Prinz-Pahlson... a "z" at the end of the first name, not
a "t".
On Eliot's Dark Prince book:
[Note: I am not trying to insult Mark Semich by the following
very harsh criticism for Eliot... it's about that book, not he who
posted comments about it to the list.]
The comments W. D. made about Mickey and Donald... remember
that this is about the *cartoon* versions of the characters. I find
that with the single exception of the 1941 "Little Whirlwind" I have
no memorable feelings about Mickey in any post-1936 cartoons
(including the celebrated "Brave Little Tailor"). In the former
cartoon Mickey looks and acts exactly as Gottfredson interpreted him
at the time and holds the screen for all eight minutes of the film...
for the only time in the 1940s. Mickey essentially behaves as he
hadn't since about 1932 on-screen. And it would never happen again,
either. A real shame, for "The Little Whirlwind" is what Disney's
studio should have been doing with Mickey all along. Instead, the
bland later film Mickey is exactly as Walt described him.
And as for Donald, the screen version that Disney refers to
doesn't have the depth he's given here. He's just a rather stupid
bully who has raging fits that make him look like an idiot. The only
real exceptions are the later cartoons that Barks worked on, but these
aren't "dark" either: Donald merely acts more like he was to act in
the Barks ten-pagers to come. (And when Barks left the studio, Donald
regressed again.) Please give Mickey more of a chance than this...
As for Eliot in general (I've read the book):
He is loaded with misinformation. I know very well that
a lot of his comments about Walt Disney are true, but this portion of
the facts was made much clearer in the earlier book by Leonard Mosley
"Disney's World". Unfortunately, that book *also* had many errors in
it -- albeit not as much as this recent travesty. Eliot has the fault
of assuming that anything bad said about W. D. must be true...
including the concept that he was actually mothered by a South American
prostitute, or something like that (I forget).
Eliot is also misinformed about the comics. He presents a
panel from Gottfredson's 1940 "Bar-None Ranch" story and, because it
has two crossed musical notes that look vaguely like a swastika, Eliot
assumes that no one but active fascist Walt Disney could have done it,
and that hence Walt must have made the strip in question. Eliot
doesn't mention any comic strips other than this one, or mention Barks or
Gottfredson in the book... well, maybe he mentions Gottfredson *once*
somewhere, but if he does I haven't seen the reference.
I am reminded of a review I read when the book was published:
"Every year someone writes a biography of either Walt Disney or Adolf
Hitler. And as the years roll by, more and more begin to roll the two
men into one."
Can someone describe the contents of WDC&S 588 and US 283 to
me in the next digest? And particularly the nature of the Mickey
story in WDC&S... are the strips sideways, and if so, how many to a
page? I wonder how much this printing of "The World of Tomorrow"
differs from Gladstone's old printing five years ago.
If someone has the guts to dig through the letter columns and
describe one or two of the more interesting letters, I'd like to know
about them. Here in Williamstown, Massachusetts we don't have a comic
shop and the drug store hasn't even gotten DDA 23 in (and I'm
wondering if the distributor *missed* it).
Thanks!
David Gerstein
"Little Boy Blue, come blow your horn... The sheep's in the
meadow, the cow's in the corn... And where's the boy who looks after
the sheep... HUH? THAT'S THE LAST STRAW! *WAAAAK* WAAK WAK WAK WAK
WAK! COME ON AND FIGHT! COME ON AND FIGHT! *WAAAAK* WAAK WAAK
WAK WAK WAK WAK WAK [CRASH!] OOOOG! WAK! WAK WAK WAK! WAK!
[SOCK!] AWK! WAK WAK WAK WAK WAK WAK! [SPLATTER SPLATTER CRUNCH!]
*OW!* WAAAAAK! WAK! WAK! ... AW, PHOOEY!"
The above: Donald as id - darker, volatile, emotional, and yes,
*sexual*... From "Orphans' Benefit," 1941 version.
<David.A.Gerstein at Williams.edu>
["Scepter of Doom" in US 267] "...was credited to... Barks, and
still generates letters from confused readers. In fact, the story is
a foreign tale written by Lars Enocksen and Unn Print-Pahlson, and
drawn by Vicar..."
Looks like that lettercol had its own miscredit in it. That
should be Unn Prinz-Pahlson... a "z" at the end of the first name, not
a "t".
On Eliot's Dark Prince book:
[Note: I am not trying to insult Mark Semich by the following
very harsh criticism for Eliot... it's about that book, not he who
posted comments about it to the list.]
The comments W. D. made about Mickey and Donald... remember
that this is about the *cartoon* versions of the characters. I find
that with the single exception of the 1941 "Little Whirlwind" I have
no memorable feelings about Mickey in any post-1936 cartoons
(including the celebrated "Brave Little Tailor"). In the former
cartoon Mickey looks and acts exactly as Gottfredson interpreted him
at the time and holds the screen for all eight minutes of the film...
for the only time in the 1940s. Mickey essentially behaves as he
hadn't since about 1932 on-screen. And it would never happen again,
either. A real shame, for "The Little Whirlwind" is what Disney's
studio should have been doing with Mickey all along. Instead, the
bland later film Mickey is exactly as Walt described him.
And as for Donald, the screen version that Disney refers to
doesn't have the depth he's given here. He's just a rather stupid
bully who has raging fits that make him look like an idiot. The only
real exceptions are the later cartoons that Barks worked on, but these
aren't "dark" either: Donald merely acts more like he was to act in
the Barks ten-pagers to come. (And when Barks left the studio, Donald
regressed again.) Please give Mickey more of a chance than this...
As for Eliot in general (I've read the book):
He is loaded with misinformation. I know very well that
a lot of his comments about Walt Disney are true, but this portion of
the facts was made much clearer in the earlier book by Leonard Mosley
"Disney's World". Unfortunately, that book *also* had many errors in
it -- albeit not as much as this recent travesty. Eliot has the fault
of assuming that anything bad said about W. D. must be true...
including the concept that he was actually mothered by a South American
prostitute, or something like that (I forget).
Eliot is also misinformed about the comics. He presents a
panel from Gottfredson's 1940 "Bar-None Ranch" story and, because it
has two crossed musical notes that look vaguely like a swastika, Eliot
assumes that no one but active fascist Walt Disney could have done it,
and that hence Walt must have made the strip in question. Eliot
doesn't mention any comic strips other than this one, or mention Barks or
Gottfredson in the book... well, maybe he mentions Gottfredson *once*
somewhere, but if he does I haven't seen the reference.
I am reminded of a review I read when the book was published:
"Every year someone writes a biography of either Walt Disney or Adolf
Hitler. And as the years roll by, more and more begin to roll the two
men into one."
Can someone describe the contents of WDC&S 588 and US 283 to
me in the next digest? And particularly the nature of the Mickey
story in WDC&S... are the strips sideways, and if so, how many to a
page? I wonder how much this printing of "The World of Tomorrow"
differs from Gladstone's old printing five years ago.
If someone has the guts to dig through the letter columns and
describe one or two of the more interesting letters, I'd like to know
about them. Here in Williamstown, Massachusetts we don't have a comic
shop and the drug store hasn't even gotten DDA 23 in (and I'm
wondering if the distributor *missed* it).
Thanks!
David Gerstein
"Little Boy Blue, come blow your horn... The sheep's in the
meadow, the cow's in the corn... And where's the boy who looks after
the sheep... HUH? THAT'S THE LAST STRAW! *WAAAAK* WAAK WAK WAK WAK
WAK! COME ON AND FIGHT! COME ON AND FIGHT! *WAAAAK* WAAK WAAK
WAK WAK WAK WAK WAK [CRASH!] OOOOG! WAK! WAK WAK WAK! WAK!
[SOCK!] AWK! WAK WAK WAK WAK WAK WAK! [SPLATTER SPLATTER CRUNCH!]
*OW!* WAAAAAK! WAK! WAK! ... AW, PHOOEY!"
The above: Donald as id - darker, volatile, emotional, and yes,
*sexual*... From "Orphans' Benefit," 1941 version.
<David.A.Gerstein at Williams.edu>
David A Gerstein
Disney-comics digest #123.
Message 89 -
1993-10-10 at 03:22:18
Dear Folks,
A few more comments on Marc Eliot's Mickey Mouse:
"humble," -- In the first year of the MM strip, especially in
the strips written by Walt, Mickey brags constantly. "Wait 'til Lindy
sees this airship... he'll be so jealous he'll *resign* from the
army!" "The only way to get ahead of Mickey Mouse is to *run* in
*front* of him!" "[Clarabelle] musta been vaccinated with a
phonograph needle!" "All in one... I never miss a ring!"
"chaste," -- Almost got me here, but in "Clarabelle's Boarding
House" (1932), MM hides under the bed of an old maid whom he hears
looks there every night for "a man" -- and gets kicked out of her
room... for obvious reasons.
"cerebral" -- 1933: "I'll keep Minnie's silk parachute in my
pocket, but I won't let anybody *see* I've got a second one! They'd
think I was a *baby*!" [Or something like that, I don't have the story
here]
"always in control" -- Gottfredson often described Mickey as a
"mouse against the world," just because Mickey in the strip was
*never* in control until the very end of a given story. Many of the
stories are about the very unsettling feeling of *losing* control --
particularly "Monarch of Medioka". Only in a few stories -- "Wolf
Barker" perhaps most notably -- from the golden period is Mickey
always in control. By the end of his own long adventures, Donald has
at least achieved neutral ground, if not victory, with his problems,
too. (For "neutral" -- see "Darkest Africa" and "Lost in the Andes"
most notably)
Racism in WDC&S 57
====== == ===== ==
Dear Mark: I'm interested to hear the examples of racism and
jingoism in WDC&S 57 -- I don't have that one. Is it one of the ones
with the MM "Black Crow" mystery? That does have a few lapses in
it... for example, Mickey briefly suspecting the Chinese-American
hired man of being a crook (presumably mistaking him for being
Japanese, although that isn't stated outright).
If that issue is the one with the DD icebox robber story...
that story is the only example I know of where anti-Japanese sentiment
appears in Barks. Or is that story WDC&S 56?
Character colors
========= ======
Interesting that Donald's car is yellow throughout WDC&S 57...
it seems to be an unchanging color throughout each issue that I have
from that era, but the color will change from issue to issue.
Gladstone didn't color it consistently either from 1986-1990. Disney
began coloring it consistently red after the Barks painting "A 1934
Belchfire Runabout!" was made. Actually, I think that all the stories
Gladstone did *new* color for made the car red, too.
Here's one. When and where did Uncle Scrooge ever appear
consistently with a red-and-gray coat? The color changes wildly in
old Dell issues, and is most often purple or green! When it's red, I
never see gray cuffs (and it continues that way to today in Egmont's
comics). Did Gladstone originate this trend? They did it in all the
stories that they colored newly from 1986-1990, and when the new color
system came in for good in 1990, this became the norm. When did it
start?
I actually note that it was done in the 1983 film "Mickey's
Christmas Carol." Don't tell me *this* was where it started!
(I don't mean to sound ignorant about this affair. But to be
honest, I have very few Dell US issues... why bother, at their cost?
*Everything* in them has been reprinted *constantly* since then!
Aside from the Marco Polo story, we've slogged through reprints of the
Barks Scrooge canon until even the best stories have become wearying
-- well, okay, not the *best* but nearly everything else! For example
"The Midas Touch" has been printed seven times in the U. S.: US 36,
two other Western US issues, a WD Showcase issue, some Whitman digest
I believe, Gladstone's US Digest 1 and US Giant Album 6!
What foreign stories are in US 283, and who's responsible for
them? I'm dying to get this issue!
A few more comments on Marc Eliot's Mickey Mouse:
"humble," -- In the first year of the MM strip, especially in
the strips written by Walt, Mickey brags constantly. "Wait 'til Lindy
sees this airship... he'll be so jealous he'll *resign* from the
army!" "The only way to get ahead of Mickey Mouse is to *run* in
*front* of him!" "[Clarabelle] musta been vaccinated with a
phonograph needle!" "All in one... I never miss a ring!"
"chaste," -- Almost got me here, but in "Clarabelle's Boarding
House" (1932), MM hides under the bed of an old maid whom he hears
looks there every night for "a man" -- and gets kicked out of her
room... for obvious reasons.
"cerebral" -- 1933: "I'll keep Minnie's silk parachute in my
pocket, but I won't let anybody *see* I've got a second one! They'd
think I was a *baby*!" [Or something like that, I don't have the story
here]
"always in control" -- Gottfredson often described Mickey as a
"mouse against the world," just because Mickey in the strip was
*never* in control until the very end of a given story. Many of the
stories are about the very unsettling feeling of *losing* control --
particularly "Monarch of Medioka". Only in a few stories -- "Wolf
Barker" perhaps most notably -- from the golden period is Mickey
always in control. By the end of his own long adventures, Donald has
at least achieved neutral ground, if not victory, with his problems,
too. (For "neutral" -- see "Darkest Africa" and "Lost in the Andes"
most notably)
Racism in WDC&S 57
====== == ===== ==
Dear Mark: I'm interested to hear the examples of racism and
jingoism in WDC&S 57 -- I don't have that one. Is it one of the ones
with the MM "Black Crow" mystery? That does have a few lapses in
it... for example, Mickey briefly suspecting the Chinese-American
hired man of being a crook (presumably mistaking him for being
Japanese, although that isn't stated outright).
If that issue is the one with the DD icebox robber story...
that story is the only example I know of where anti-Japanese sentiment
appears in Barks. Or is that story WDC&S 56?
Character colors
========= ======
Interesting that Donald's car is yellow throughout WDC&S 57...
it seems to be an unchanging color throughout each issue that I have
from that era, but the color will change from issue to issue.
Gladstone didn't color it consistently either from 1986-1990. Disney
began coloring it consistently red after the Barks painting "A 1934
Belchfire Runabout!" was made. Actually, I think that all the stories
Gladstone did *new* color for made the car red, too.
Here's one. When and where did Uncle Scrooge ever appear
consistently with a red-and-gray coat? The color changes wildly in
old Dell issues, and is most often purple or green! When it's red, I
never see gray cuffs (and it continues that way to today in Egmont's
comics). Did Gladstone originate this trend? They did it in all the
stories that they colored newly from 1986-1990, and when the new color
system came in for good in 1990, this became the norm. When did it
start?
I actually note that it was done in the 1983 film "Mickey's
Christmas Carol." Don't tell me *this* was where it started!
(I don't mean to sound ignorant about this affair. But to be
honest, I have very few Dell US issues... why bother, at their cost?
*Everything* in them has been reprinted *constantly* since then!
Aside from the Marco Polo story, we've slogged through reprints of the
Barks Scrooge canon until even the best stories have become wearying
-- well, okay, not the *best* but nearly everything else! For example
"The Midas Touch" has been printed seven times in the U. S.: US 36,
two other Western US issues, a WD Showcase issue, some Whitman digest
I believe, Gladstone's US Digest 1 and US Giant Album 6!
What foreign stories are in US 283, and who's responsible for
them? I'm dying to get this issue!
Mark Semich
Disney-comics digest #123.
Message 90 -
1993-10-10 at 07:53:05
>From: David A Gerstein <David.A.Gerstein at williams.edu>
> Mark Semich quotes a Gladstone lettercol:
> ["Scepter of Doom" in US 267] "...was credited to... Barks, and
>still generates letters from confused readers. In fact, the story is
>a foreign tale written by Lars Enocksen and Unn Print-Pahlson, and
>drawn by Vicar..."
>
> Looks like that lettercol had its own miscredit in it. That
>should be Unn Prinz-Pahlson... a "z" at the end of the first name, not
>a "t".
Sorry, the typo was mine. The name quoted is indeed "Unn Printz-
Pahlson." (Yes, PrinTZ, both a t *and* a z) So far, this is three
different spellings... :-)
> On Eliot's Dark Prince book:
I have reservations about continuing this thread, as I don't think
that Eliot's book has much to do with Disney Comics, but here goes:
> [Note: I am not trying to insult Mark Semich by the following
>very harsh criticism for Eliot... it's about that book, not he who
>posted comments about it to the list.]
Likewise :-)
> Eliot is also misinformed about the comics. He presents a
>panel from Gottfredson's 1940 "Bar-None Ranch" story and, because it
>has two crossed musical notes that look vaguely like a swastika, Eliot
>assumes that no one but active fascist Walt Disney could have done it,
>and that hence Walt must have made the strip in question.
Actually, Eliot explicitly states that Walt had absolutely *nothing* to
do with the comic strips, and at this point, very little to do with
the animation. The only person who ever assumes that the notes were a
swastika (and that Disney himself had anything to do with it) was the
bozo who wrote the letter of complaint about it to the FBI. It was at
this point (according to Eliot) that Hoover himself closed Walt's file.
I believe that the only reason that Eliot mentions this incident is
because the letter and panel are actually *in* Walt Disney's FBI file,
and because its receipt by the Feds (and the preposterousness of its
complaint) prompted the closing of said file.
> Can someone describe the contents of WDC&S 588 and US 283 to
>me in the next digest? And particularly the nature of the Mickey
>story in WDC&S... are the strips sideways, and if so, how many to a
>page? I wonder how much this printing of "The World of Tomorrow"
>differs from Gladstone's old printing five years ago.
Spoilers...
I haven't seen Gladstone's previous printing of "The World of
Tomorrow" but all in all, WDC&S 588 is fantabulous. It contains
"Spotless Don" by William Van Horn and part one of "The World of
Tomorrow." The strips are sideways, two rows to a page.
US 283 contains - Uncle Scrooge in "Foxy Relations" by Carl Barks,
- Gyro Gearloose in "Skate Lake" (D7524) by Phillippe
Le Bars/Jack Sutter, Bardon and Santanach, scripted
by Gabner.
- The Beagle Boys in "A Hard Day's Thieving" (D8964) by
Paul Halas/Les Lilley and Millet, scripted by Gabner.
- Uncle Scrooge in "Old Friend" (D4674) by Jack Sutter
and Bolster, again scripted by Gabner.
> If someone has the guts to dig through the letter columns and
>describe one or two of the more interesting letters, I'd like to know
>about them.
Well, I don't want to give *everything* away to those who haven't had
a chance to read the issues yet, but there was one letter from someone
who asked about the family relations between HDL, Donald, Gladstone
and Scrooge. Gladstone's reply:
"According to a rough family tree Barks drew up in the early 1950s
.... Scrooge has two sisters, Matilda and Hortense. Hortense married
Quackmore Duck, son of Grandma Duck, and they begat Donald and his
sister, Thelma, the mother of Huey, Dewey and Louie. Gladstone, by
the way, is the orphan son of Grandma's daughter Daphne; he was
adopted by Matilda and her husband, Goostave Gander."
===========================================================================
"I am Scrooge McDuck of the clan McDuck. There can be only one!"
-- - - - - - - - - - - - - - - - - - --
mark a. semich mas at csa.bu.edu
===========================================================================
> Mark Semich quotes a Gladstone lettercol:
> ["Scepter of Doom" in US 267] "...was credited to... Barks, and
>still generates letters from confused readers. In fact, the story is
>a foreign tale written by Lars Enocksen and Unn Print-Pahlson, and
>drawn by Vicar..."
>
> Looks like that lettercol had its own miscredit in it. That
>should be Unn Prinz-Pahlson... a "z" at the end of the first name, not
>a "t".
Sorry, the typo was mine. The name quoted is indeed "Unn Printz-
Pahlson." (Yes, PrinTZ, both a t *and* a z) So far, this is three
different spellings... :-)
> On Eliot's Dark Prince book:
I have reservations about continuing this thread, as I don't think
that Eliot's book has much to do with Disney Comics, but here goes:
> [Note: I am not trying to insult Mark Semich by the following
>very harsh criticism for Eliot... it's about that book, not he who
>posted comments about it to the list.]
Likewise :-)
> Eliot is also misinformed about the comics. He presents a
>panel from Gottfredson's 1940 "Bar-None Ranch" story and, because it
>has two crossed musical notes that look vaguely like a swastika, Eliot
>assumes that no one but active fascist Walt Disney could have done it,
>and that hence Walt must have made the strip in question.
Actually, Eliot explicitly states that Walt had absolutely *nothing* to
do with the comic strips, and at this point, very little to do with
the animation. The only person who ever assumes that the notes were a
swastika (and that Disney himself had anything to do with it) was the
bozo who wrote the letter of complaint about it to the FBI. It was at
this point (according to Eliot) that Hoover himself closed Walt's file.
I believe that the only reason that Eliot mentions this incident is
because the letter and panel are actually *in* Walt Disney's FBI file,
and because its receipt by the Feds (and the preposterousness of its
complaint) prompted the closing of said file.
> Can someone describe the contents of WDC&S 588 and US 283 to
>me in the next digest? And particularly the nature of the Mickey
>story in WDC&S... are the strips sideways, and if so, how many to a
>page? I wonder how much this printing of "The World of Tomorrow"
>differs from Gladstone's old printing five years ago.
Spoilers...
I haven't seen Gladstone's previous printing of "The World of
Tomorrow" but all in all, WDC&S 588 is fantabulous. It contains
"Spotless Don" by William Van Horn and part one of "The World of
Tomorrow." The strips are sideways, two rows to a page.
US 283 contains - Uncle Scrooge in "Foxy Relations" by Carl Barks,
- Gyro Gearloose in "Skate Lake" (D7524) by Phillippe
Le Bars/Jack Sutter, Bardon and Santanach, scripted
by Gabner.
- The Beagle Boys in "A Hard Day's Thieving" (D8964) by
Paul Halas/Les Lilley and Millet, scripted by Gabner.
- Uncle Scrooge in "Old Friend" (D4674) by Jack Sutter
and Bolster, again scripted by Gabner.
> If someone has the guts to dig through the letter columns and
>describe one or two of the more interesting letters, I'd like to know
>about them.
Well, I don't want to give *everything* away to those who haven't had
a chance to read the issues yet, but there was one letter from someone
who asked about the family relations between HDL, Donald, Gladstone
and Scrooge. Gladstone's reply:
"According to a rough family tree Barks drew up in the early 1950s
.... Scrooge has two sisters, Matilda and Hortense. Hortense married
Quackmore Duck, son of Grandma Duck, and they begat Donald and his
sister, Thelma, the mother of Huey, Dewey and Louie. Gladstone, by
the way, is the orphan son of Grandma's daughter Daphne; he was
adopted by Matilda and her husband, Goostave Gander."
===========================================================================
"I am Scrooge McDuck of the clan McDuck. There can be only one!"
-- - - - - - - - - - - - - - - - - - --
mark a. semich mas at csa.bu.edu
===========================================================================