MATTIAS:
How much do I pay to read your words? And to read my own words
when they come back at me in these Digests? My COMPUSERVE membership
costs me $9 per month which entitles me to a certain amount of free
E-Mail (which is how I receive the Digests, of course). After that
point, I pay a certain amount per number of characters sent and
received. Now my memory is fading -- perhaps I'm paying not for E-Mail,
but because it's being sent from another system (Internet)? My monthly
bills are around $25+, so that would mean I'm paying $15-$20 per month
to read these Digests -- since I think there are about 5 of these per
week (there aren't usually Digests on weekends, are there?), I guess I
pay about $1 each as it averages out. Not so much, I guess. But I'm
always striving to make sure I don't pay anymore than I must -- that's
why I try to discourage receiving long indexes that I'm not even
interested in, if I can avoid it. I hope this doesn't make me sound
cheap -- I hope people here realize that I might be the world's widest
read, most popular and famous (in a limited way), and yet most poorly
paid writer/artist. If there are any other writers or artists in the
world who do ALL their own work single-handedly, and yet have no share
in the profits made from their efforts (including the sale of their own
art), other than freelance writers/artists of Disney comic books -- I'd
love to know what that job might be.
Author
Topic: 199402
(215 messages)
Don Rosa
Disney-comics digest #230.
Message 16 -
1994-02-03 at 08:51:43
Trygve J Helseth
Disney-comics digest #230.
Message 17 -
1994-02-03 at 15:24:04
On 3 Feb 1994, Don Rosa wrote:
> MATTIAS:
> How much do I pay to read your words? And to read my own words
> when they come back at me in these Digests? My COMPUSERVE membership
> costs me $9 per month which entitles me to a certain amount of free
> E-Mail (which is how I receive the Digests, of course).
DON:
Have you considered other services besides CompuServe? I understand that
America On Line (AOL) has much more favorable rates and connect charges.
And, the real biggie, they don't hit you with a "postage due" for Internet
mail! Maybe there are other services you use that make Compuserve a
better choice for you, but if it is just E-Mail, I'd look into switching.
Internet access is getting more available as days go by. I got this
account at the University of Minnesota through a special offer for Alumni.
It costs a flat $70 per year for full access. A co-worker who graduated
from a college in a neighboring town called and asked about an account.
They gave him one for free!
Even the local BBS I frequent has just picked up internet; when they get
it stabilized (still a few wrinkles to iron out), I'll probably switch
this mail list to there.
So maybe a little shopping around would pay off for you. Just watch out
for the Cyber Fuzz... :)
Tryg trygve at maroon.tc.umn.edu
> MATTIAS:
> How much do I pay to read your words? And to read my own words
> when they come back at me in these Digests? My COMPUSERVE membership
> costs me $9 per month which entitles me to a certain amount of free
> E-Mail (which is how I receive the Digests, of course).
DON:
Have you considered other services besides CompuServe? I understand that
America On Line (AOL) has much more favorable rates and connect charges.
And, the real biggie, they don't hit you with a "postage due" for Internet
mail! Maybe there are other services you use that make Compuserve a
better choice for you, but if it is just E-Mail, I'd look into switching.
Internet access is getting more available as days go by. I got this
account at the University of Minnesota through a special offer for Alumni.
It costs a flat $70 per year for full access. A co-worker who graduated
from a college in a neighboring town called and asked about an account.
They gave him one for free!
Even the local BBS I frequent has just picked up internet; when they get
it stabilized (still a few wrinkles to iron out), I'll probably switch
this mail list to there.
So maybe a little shopping around would pay off for you. Just watch out
for the Cyber Fuzz... :)
Tryg trygve at maroon.tc.umn.edu
Charles D. Ellis
Payoff
Message 18 -
1994-02-03 at 16:02:48
Don Rosa sez:
>My monthly bills are around $25+, so that would mean I'm
>paying $15-$20 per month to read these Digests --
Free Internet access will probably come to Louisville
someday. Until then, It's admirable you haven't run up
much higher bills as do many CompuServe customers and
at least it's deductible ... :)
>If there are any other writers or artists in the
>world who do ALL their own work single-handedly, and yet have no share
>in the profits made from their efforts (including the sale of their own
>art), other than freelance writers/artists of Disney comic books -- I'd
>love to know what that job might be.
Why? You would leave Disney for that new job?
Seriously, after CB kicks you'll be the one they are playing up
and hopefully paying for album reprints, etc. of what may one
day be a large body of work. I suppose you'll get it all back in
original prints, signed mudflaps, pin-back buttons that say Unca Don,
Art of Don Rosa trade paperbacks that can reprint copies of
your CompuServe bills, Disneyana convention appearances, oil
paintings with lots of coins on them, statuettes of Bombie
the Vitally Challenged, colorful dishes that show the nephews
feeding DDs dinner hash to Pluto, and a host of other collectible
gallery and "mass-collectible" doodads that will need your
cooperation and financial participation (in a receiving sense).
So cheer up! You'll be around after Eisner is long gone! (Michael
that is ...) (well Will too, unfortunately :( )
Charlie Ellis
cde at aplexus.jhuapl.edu
>My monthly bills are around $25+, so that would mean I'm
>paying $15-$20 per month to read these Digests --
Free Internet access will probably come to Louisville
someday. Until then, It's admirable you haven't run up
much higher bills as do many CompuServe customers and
at least it's deductible ... :)
>If there are any other writers or artists in the
>world who do ALL their own work single-handedly, and yet have no share
>in the profits made from their efforts (including the sale of their own
>art), other than freelance writers/artists of Disney comic books -- I'd
>love to know what that job might be.
Why? You would leave Disney for that new job?
Seriously, after CB kicks you'll be the one they are playing up
and hopefully paying for album reprints, etc. of what may one
day be a large body of work. I suppose you'll get it all back in
original prints, signed mudflaps, pin-back buttons that say Unca Don,
Art of Don Rosa trade paperbacks that can reprint copies of
your CompuServe bills, Disneyana convention appearances, oil
paintings with lots of coins on them, statuettes of Bombie
the Vitally Challenged, colorful dishes that show the nephews
feeding DDs dinner hash to Pluto, and a host of other collectible
gallery and "mass-collectible" doodads that will need your
cooperation and financial participation (in a receiving sense).
So cheer up! You'll be around after Eisner is long gone! (Michael
that is ...) (well Will too, unfortunately :( )
Charlie Ellis
cde at aplexus.jhuapl.edu
Ron Bauerle
American breakfasts
Message 19 -
1994-02-03 at 16:29:21
"Tryg Helseth", 2/1/94:
>Don Rosa's All American Breakfast.
>Don is right in his description of the standard breakfast fare we United
>Statians have to endure, but he failed to mention that they do generally
>include all of the four basic food groups: Sugar, Salt, Grease, and Ketchup.
Heh! But lest our non-US readers think that's what _all_ Americans eat for
breakfast (ham, eggs, hash browns, etc.), I'd like to point out that I for
one have the "well-balanced breakfast" as seen in the cereal ads:
pre-sweetened cereal (generically called "Chocolate Frosted Sugar Bombs" for
you Calvin & Hobbes fans :^)), toast, and juice. I put milk on the cereal,
but don't have a separate glass as shown in the commericals - I may risk
osteoporosis, but at least I don't have to worry about kidney stones...
>Female funny-book fans.
>Once a woman sitting next to me made such a comment; and she was reading
>some brain-damaged romance novel... She got rather indignant when I
>suggested that her novel wasn't any higher class than my comic book. (In
>a sense, I think those romance novels are to women what comics are to me.)
Heh, again! I'll have to remember that one :^) Not that I'll ever be in a
position to use it...
And I see that Mattias Hallin beat me to the punch about asking how
CompuServe (derogatorily abbreviated CI$ :^)) charges - if it _is_ by the
byte, then why can't this non-comic stuff go to e-mail? Not that I mind
reading it, but others might. (And yes, I probably have no right to comment
since my breakfast post above is non-comic too... :^))
Here's a comic comment: I don't have the reference handy (I think it was
in a recent Comics and Stories), but I'm not sure what I think of the Goofy
King Midas story - the art was good, and some of the background gags were
funny, but the story itself (such as it was - who _cares_ about some old
cow?) didn't do much for me - I think I liked the old "Goofy looks at
history" versions better... I believe I saw something either in the mailing
list, or in the comic itself that more of these were in the works - it'll be
interesting to see what they look like.
RDB
>Don Rosa's All American Breakfast.
>Don is right in his description of the standard breakfast fare we United
>Statians have to endure, but he failed to mention that they do generally
>include all of the four basic food groups: Sugar, Salt, Grease, and Ketchup.
Heh! But lest our non-US readers think that's what _all_ Americans eat for
breakfast (ham, eggs, hash browns, etc.), I'd like to point out that I for
one have the "well-balanced breakfast" as seen in the cereal ads:
pre-sweetened cereal (generically called "Chocolate Frosted Sugar Bombs" for
you Calvin & Hobbes fans :^)), toast, and juice. I put milk on the cereal,
but don't have a separate glass as shown in the commericals - I may risk
osteoporosis, but at least I don't have to worry about kidney stones...
>Female funny-book fans.
>Once a woman sitting next to me made such a comment; and she was reading
>some brain-damaged romance novel... She got rather indignant when I
>suggested that her novel wasn't any higher class than my comic book. (In
>a sense, I think those romance novels are to women what comics are to me.)
Heh, again! I'll have to remember that one :^) Not that I'll ever be in a
position to use it...
And I see that Mattias Hallin beat me to the punch about asking how
CompuServe (derogatorily abbreviated CI$ :^)) charges - if it _is_ by the
byte, then why can't this non-comic stuff go to e-mail? Not that I mind
reading it, but others might. (And yes, I probably have no right to comment
since my breakfast post above is non-comic too... :^))
Here's a comic comment: I don't have the reference handy (I think it was
in a recent Comics and Stories), but I'm not sure what I think of the Goofy
King Midas story - the art was good, and some of the background gags were
funny, but the story itself (such as it was - who _cares_ about some old
cow?) didn't do much for me - I think I liked the old "Goofy looks at
history" versions better... I believe I saw something either in the mailing
list, or in the comic itself that more of these were in the works - it'll be
interesting to see what they look like.
RDB
David A Gerstein
MM story for WDCIC
Message 20 -
1994-02-03 at 21:36:08
Dear Folks,
I've just read about the new WDC IN COLOR series and the
possibility of a MM issue soon. What Gottfredson story to use? Well,
since "Hoppy the Kangaroo" and the other Walsh story, "The
Pirate Ghostship" are already scheduled for WDC&S, this leaves only
two album stories to be reconstituted -- BOTH of 'em too long to be in
a mere 64-pager. So it follows that the story choice will HAVE to be
something that hasn't been used before.
My own recommendation is to use the 1931 story "MM Boxing
Champion." The story is from the period when the strips break
perfectly in half. Fine negatives exist... when that aborted book of
Gottfredson reprints was in the works at Disney Publishing, I saw
proofs to that story, made from their negatives, which were crystal
clear... just PERFECT.
Another fine choice would be 1941's "Love Trouble" -- the
strips, in six-panel pages ENTIRELY cleaned up, can be ordered from
Western, as the story appeared, uncut I believe, in MM BIRTHDAY PARTY
Giant #1, in 1953. 46 pages I think.
In any event, that's all for now, folks.
Your friend,
David Gerstein
I've just read about the new WDC IN COLOR series and the
possibility of a MM issue soon. What Gottfredson story to use? Well,
since "Hoppy the Kangaroo" and the other Walsh story, "The
Pirate Ghostship" are already scheduled for WDC&S, this leaves only
two album stories to be reconstituted -- BOTH of 'em too long to be in
a mere 64-pager. So it follows that the story choice will HAVE to be
something that hasn't been used before.
My own recommendation is to use the 1931 story "MM Boxing
Champion." The story is from the period when the strips break
perfectly in half. Fine negatives exist... when that aborted book of
Gottfredson reprints was in the works at Disney Publishing, I saw
proofs to that story, made from their negatives, which were crystal
clear... just PERFECT.
Another fine choice would be 1941's "Love Trouble" -- the
strips, in six-panel pages ENTIRELY cleaned up, can be ordered from
Western, as the story appeared, uncut I believe, in MM BIRTHDAY PARTY
Giant #1, in 1953. 46 pages I think.
In any event, that's all for now, folks.
Your friend,
David Gerstein
Don Rosa
Disney-comics digest #231.
Message 21 -
1994-02-04 at 06:37:47
CHARLES ELLIS:
I almost thought your post was serious until I kept reading
through the list of loutish collectibles that I could someday be
involved in. No, I was just curious if there WERE any endeavors which a
freelance writer or artist could be involved in, in which he's paid
like a want-ads handyman rather than the creator of the work, other
than when involved with Disney; I feel like such an idiot so often that
I continue to do this work while seeing other comic people all around
me getting wealthy off sales that are a fraction of ours with Disney
comics. And as I said, I'd like to know if there are more unfairly
treated "creators" anywhere so I won't feel so alone. But I always keep
in mind that if I did the same stories I do now with the same art, the
same gags, the same plots, the same everything, but NOT Uncle $crooge
and Donald Duck, no one would buy the stuff. That still doesn't make
Disney's policies fair, but I continue to try to explain my predicament
to myself.
Anyway, I suspect you know this, but I would not leave the work
I do, regardless. Why else would I put up with this $#@%& if I didn't
love these characters. But I don't love Disney, and therefore I could
never "leave Disney" (as you said) since I don't work for Disney.
And you know that I already am the "star" of a series of albums
in Germany, and so far a mini-series of comics and two albums in
America; but there are no royalties paid for reprints of my work in any
of these collections -- that's how it is with Disney. Anyone who obtains
a Disney license could produce any amount of plates and figurines and
T-shirts and comics and lithographs and posters and gum cards and
anything else based on my work, and they'd never be required to pay me
a penny. They wouldn't even need to inform me of the product. That's
the way it would be for any writer/artist of Disney material.
I'm sure I've spelled this out too often on here, but I gather
there are new lurkers here all the time, and I constantly hear from
people who assume that Disney pays royalties and returns artwork like
every other publisher in the world. It's uncomfortable having many
people thinking I'm some sort of wealthy superstar when that's far from
the case.
I almost thought your post was serious until I kept reading
through the list of loutish collectibles that I could someday be
involved in. No, I was just curious if there WERE any endeavors which a
freelance writer or artist could be involved in, in which he's paid
like a want-ads handyman rather than the creator of the work, other
than when involved with Disney; I feel like such an idiot so often that
I continue to do this work while seeing other comic people all around
me getting wealthy off sales that are a fraction of ours with Disney
comics. And as I said, I'd like to know if there are more unfairly
treated "creators" anywhere so I won't feel so alone. But I always keep
in mind that if I did the same stories I do now with the same art, the
same gags, the same plots, the same everything, but NOT Uncle $crooge
and Donald Duck, no one would buy the stuff. That still doesn't make
Disney's policies fair, but I continue to try to explain my predicament
to myself.
Anyway, I suspect you know this, but I would not leave the work
I do, regardless. Why else would I put up with this $#@%& if I didn't
love these characters. But I don't love Disney, and therefore I could
never "leave Disney" (as you said) since I don't work for Disney.
And you know that I already am the "star" of a series of albums
in Germany, and so far a mini-series of comics and two albums in
America; but there are no royalties paid for reprints of my work in any
of these collections -- that's how it is with Disney. Anyone who obtains
a Disney license could produce any amount of plates and figurines and
T-shirts and comics and lithographs and posters and gum cards and
anything else based on my work, and they'd never be required to pay me
a penny. They wouldn't even need to inform me of the product. That's
the way it would be for any writer/artist of Disney material.
I'm sure I've spelled this out too often on here, but I gather
there are new lurkers here all the time, and I constantly hear from
people who assume that Disney pays royalties and returns artwork like
every other publisher in the world. It's uncomfortable having many
people thinking I'm some sort of wealthy superstar when that's far from
the case.
Lasse Reichstein Nielsen
From RoC
Message 22 -
1994-02-04 at 16:46:36
Date: Sun, 13 Feb 94 49:35:32 MET
From: Lasse Reichstein Nielsen <lrn at daimi.aau.dk>
Subject: from RoC (Next weeks' mail)
Right, I've had it! I'm tired of everybody beating me to the answers
before I ever had a chance to mail'em! Now, this letter has been sent
9 times around the world in an easterly direction so you will recieve
it *last* week! Here are comments to letters you'll write next week:
From: Gary
----------
>I'm glad to tell you that War of the Wendigo has finally passed through
>the eye of the needle at Disney. Of course we had to color the indians
>green and call it is a sequel to Island in the Sky.
But why did you have to replace Donald with Launchpad?
From: Harry
-----------
>American artist Don Chips and Dutch writer Fred de Milton are rumored
>to be the creative staff on 'Rebel Babies' from LucasComics.
Who got 'Dinos vs. Stormtroopers' and the 'Indy on Mars' graphic novel?
...but seriously:
From: Henri
-----------
>'I got ran over by truth one day, I did not see the red light
> Since the accident I've walked this way, I only did what felt right'
My brother recognized the quote from a song by the Danish band D.A.D.
Their name used to be "Disneyland After Dark", but...
>>>>>[ Right! says Spot... I believe it's on the album "Riskin' it all"
- Spot ]<<<<<
From: Fredrik
-------------
>[...] some issue of a weekly Mickey Mouse that featured not only "The
>Bees Have It" by William Van Horn, but also one of Jippes' re-drawn
>JW stories. However, the only copy at that store was quite battered,
>so I decided to find a better one.
>[...] And when I finally did find another
>English Mickey, it was a new issue. No Van Horn. No Jippes.
Both have been published in Sweden, and if you want English text why
not try DDAD#4 and the CBL? I admit I don't know which JWW story you
are talking about, so far three have been published in Denmark.
Is "Gold of the '49ers" one of them? BTW: How come I can't mail you?
From: Mark
----------
>What is Dan Jippes doing at Amblin'?
In November '92 he went to London and joined six animators leftover from
other projects on the storyboards for Simon Wells' "Balto" for a year.
Amblin wanted a semi-animated storyboard with about 3 frames per second.
After the Jurassic hit Universal Pictures are paying the studio bills
for Spielberg, so he is planning to move 35 of the most creative people
in London to Universal's studios in Hollywood, all charged to UP.
It should start in April '94, but Jippes already went this October.
Spielberg was so impressed with a sequence in the story-reel, that he
offered Jippes the job of starting and developing an all-new story &
animation department at Amblin.
(This info is from a September '93 interview in CB&Co.#20)
From: Per
---------
>A Russian MM was sold not only in the USA. My own copy is bought
>in Germany and I've seen it here too. Is it not the same as the one
>sold in the USA? On the cover of this one Mickey and Goofy fly an
>airplane on the cover, and Goofy has a kite. There is no number on
>the cover, but in the introductory page on the inside of the front
>cover it says that this is the first issue, and there is a "1" high up
>on page 1, right at the margin.
The cover is re-drawn from the cover of the first German Micky Maus from
1951(?). Rumors say it sold 150.000 copies in the first 45 minutes!
It was for sale here too for 4$, though I didn't buy it. What's in it?
From: Harry
-----------
I'm unable to quote this, but you said that only two Ferioli stories had
been published in Holland. I just ran through my 1990-92 volumes of AA,
which I had only read through for Don's stories, and found many more by
Ferioli (and some I had wrongly attributed to him). The reason for this
search is a project to identify all the artists in my Danish index.
If someone could give me a few names and codes for Italian Topolino
stories it would be a big help.
Fabio, could I somehow obtain your and Alberto Beccatini's (sp?) index?
From: Gary
----------
>One form of revisionism we have on occasion practiced has a recent example in
>the Murry-drawn Phantom Blot story that featured Blot, Mickey, Donald and
>Scrooge, and appeared in a recent Donald & Mickey (I don't remember which one
>at the moment, they all blur together for me most of the time). In this case,
>we decided this very rare crossover in its original form would not play as
>well to today's audience as it might if we tweaked the dialogue a little. So
>we tweaked. Reception has been mixed, as expected. The question that remains
>is: is trying to improve the past, for whatever reason, any more justifiable
>than suppressing it?
And a week later (to David):
>I appreciate what you (and Don) had to say concerning revisionism. While we're
>quite gleeful about it when it comes to the Egmont material we use (we HAVE to
>revise the dialogue!), it is something we're much less certain of when it
>comes to the "classics." Continued feedback from anyone on this will be
>welcome.
I for one would prefer a story totally skipped instead of 're-worked'.
The reason is the meagre outlet you have in the US. You can only print
about 1,000 pages a year. Unfortunately you choose to spend them on 3rd
reprints or/and censored, and therefore less valuable, stories. So they
take space from other stories that could be published unblemished during
these dark ages. Why not save the classics until the world is ready for
them, and use new material from Holland, Italy, Denmark or even France?
Is the American market so sensitive to the contents of the individual
magazine? In Denmark they can sell anything with Walt's name on it...
So I don't mind at all when you improve modern stories, though the Rota
story with the-banquet-that-wasn't won't fit that bill. So I'm a bigot.
BTW: The cover for WDC #589, the snowman in the phone booth, credited to
Michael Nadorp, appeared in another version on Norwegian DD #2/94, i.e.
almost simultaneously. There has been a bunch of those snowman covers
here recently, so obviously you reworked it. Why? (*Real* nice colors!)
"Uniikki unikorni onkin korni koni." ("It's just a horse.")
<oLe 'RoC' Reichstein Nielsen, c/o Lasse 'Spot' R.N. (lrn at daimi.aau.dk)>
...and that's pronounced 'Rykestine' (definitely *not* Reeksteen)...
From: Lasse Reichstein Nielsen <lrn at daimi.aau.dk>
Subject: from RoC (Next weeks' mail)
Right, I've had it! I'm tired of everybody beating me to the answers
before I ever had a chance to mail'em! Now, this letter has been sent
9 times around the world in an easterly direction so you will recieve
it *last* week! Here are comments to letters you'll write next week:
From: Gary
----------
>I'm glad to tell you that War of the Wendigo has finally passed through
>the eye of the needle at Disney. Of course we had to color the indians
>green and call it is a sequel to Island in the Sky.
But why did you have to replace Donald with Launchpad?
From: Harry
-----------
>American artist Don Chips and Dutch writer Fred de Milton are rumored
>to be the creative staff on 'Rebel Babies' from LucasComics.
Who got 'Dinos vs. Stormtroopers' and the 'Indy on Mars' graphic novel?
...but seriously:
From: Henri
-----------
>'I got ran over by truth one day, I did not see the red light
> Since the accident I've walked this way, I only did what felt right'
My brother recognized the quote from a song by the Danish band D.A.D.
Their name used to be "Disneyland After Dark", but...
>>>>>[ Right! says Spot... I believe it's on the album "Riskin' it all"
- Spot ]<<<<<
From: Fredrik
-------------
>[...] some issue of a weekly Mickey Mouse that featured not only "The
>Bees Have It" by William Van Horn, but also one of Jippes' re-drawn
>JW stories. However, the only copy at that store was quite battered,
>so I decided to find a better one.
>[...] And when I finally did find another
>English Mickey, it was a new issue. No Van Horn. No Jippes.
Both have been published in Sweden, and if you want English text why
not try DDAD#4 and the CBL? I admit I don't know which JWW story you
are talking about, so far three have been published in Denmark.
Is "Gold of the '49ers" one of them? BTW: How come I can't mail you?
From: Mark
----------
>What is Dan Jippes doing at Amblin'?
In November '92 he went to London and joined six animators leftover from
other projects on the storyboards for Simon Wells' "Balto" for a year.
Amblin wanted a semi-animated storyboard with about 3 frames per second.
After the Jurassic hit Universal Pictures are paying the studio bills
for Spielberg, so he is planning to move 35 of the most creative people
in London to Universal's studios in Hollywood, all charged to UP.
It should start in April '94, but Jippes already went this October.
Spielberg was so impressed with a sequence in the story-reel, that he
offered Jippes the job of starting and developing an all-new story &
animation department at Amblin.
(This info is from a September '93 interview in CB&Co.#20)
From: Per
---------
>A Russian MM was sold not only in the USA. My own copy is bought
>in Germany and I've seen it here too. Is it not the same as the one
>sold in the USA? On the cover of this one Mickey and Goofy fly an
>airplane on the cover, and Goofy has a kite. There is no number on
>the cover, but in the introductory page on the inside of the front
>cover it says that this is the first issue, and there is a "1" high up
>on page 1, right at the margin.
The cover is re-drawn from the cover of the first German Micky Maus from
1951(?). Rumors say it sold 150.000 copies in the first 45 minutes!
It was for sale here too for 4$, though I didn't buy it. What's in it?
From: Harry
-----------
I'm unable to quote this, but you said that only two Ferioli stories had
been published in Holland. I just ran through my 1990-92 volumes of AA,
which I had only read through for Don's stories, and found many more by
Ferioli (and some I had wrongly attributed to him). The reason for this
search is a project to identify all the artists in my Danish index.
If someone could give me a few names and codes for Italian Topolino
stories it would be a big help.
Fabio, could I somehow obtain your and Alberto Beccatini's (sp?) index?
From: Gary
----------
>One form of revisionism we have on occasion practiced has a recent example in
>the Murry-drawn Phantom Blot story that featured Blot, Mickey, Donald and
>Scrooge, and appeared in a recent Donald & Mickey (I don't remember which one
>at the moment, they all blur together for me most of the time). In this case,
>we decided this very rare crossover in its original form would not play as
>well to today's audience as it might if we tweaked the dialogue a little. So
>we tweaked. Reception has been mixed, as expected. The question that remains
>is: is trying to improve the past, for whatever reason, any more justifiable
>than suppressing it?
And a week later (to David):
>I appreciate what you (and Don) had to say concerning revisionism. While we're
>quite gleeful about it when it comes to the Egmont material we use (we HAVE to
>revise the dialogue!), it is something we're much less certain of when it
>comes to the "classics." Continued feedback from anyone on this will be
>welcome.
I for one would prefer a story totally skipped instead of 're-worked'.
The reason is the meagre outlet you have in the US. You can only print
about 1,000 pages a year. Unfortunately you choose to spend them on 3rd
reprints or/and censored, and therefore less valuable, stories. So they
take space from other stories that could be published unblemished during
these dark ages. Why not save the classics until the world is ready for
them, and use new material from Holland, Italy, Denmark or even France?
Is the American market so sensitive to the contents of the individual
magazine? In Denmark they can sell anything with Walt's name on it...
So I don't mind at all when you improve modern stories, though the Rota
story with the-banquet-that-wasn't won't fit that bill. So I'm a bigot.
BTW: The cover for WDC #589, the snowman in the phone booth, credited to
Michael Nadorp, appeared in another version on Norwegian DD #2/94, i.e.
almost simultaneously. There has been a bunch of those snowman covers
here recently, so obviously you reworked it. Why? (*Real* nice colors!)
"Uniikki unikorni onkin korni koni." ("It's just a horse.")
<oLe 'RoC' Reichstein Nielsen, c/o Lasse 'Spot' R.N. (lrn at daimi.aau.dk)>
...and that's pronounced 'Rykestine' (definitely *not* Reeksteen)...
Jon Cato Lorentzen
Don Rosa Story on Prime Time News
Message 23 -
1994-02-04 at 17:16:29
Yesterday, Dagsrevyen (Norways most watched TV-News-program) had a short
report on Donald Duck.
Donald Duck on his way to Lillehammer, was the title. The reporter said:
(this is freely translated from memory)
"Of all the celebrities on their way to the Olympics, Donald Duck is
one of them. In the latest issue of american Donald Duck, Donald
travels to Lillehammer and participates in the opening ceremony".
This was accompanied by many pictures from from the Rosa story in DD 283.
Then the reporter said that this was not the only time in history that
Donald had visited Norway. In the 60s he visited Arendal and bought cheese
at Larsens Ost (This of course, is the Barks story with the lemen). This
part was also accompanied by some pictures from the Barks story. Then there
was an inteview with an old guy in a cheese store that said he remembered
that day when Donald bought a cheese there... (?)
After that, there was a short interview with a Norwegian Donaldist
(Rasmussen) who said he was very pleased that Donald was coming to
Lillehammer, and talked a little about the end of the Rosa story where
Donald messes upthe opening ceremony.
And that was it, actually.
Jon C. Lorentzen
University of Oslo
report on Donald Duck.
Donald Duck on his way to Lillehammer, was the title. The reporter said:
(this is freely translated from memory)
"Of all the celebrities on their way to the Olympics, Donald Duck is
one of them. In the latest issue of american Donald Duck, Donald
travels to Lillehammer and participates in the opening ceremony".
This was accompanied by many pictures from from the Rosa story in DD 283.
Then the reporter said that this was not the only time in history that
Donald had visited Norway. In the 60s he visited Arendal and bought cheese
at Larsens Ost (This of course, is the Barks story with the lemen). This
part was also accompanied by some pictures from the Barks story. Then there
was an inteview with an old guy in a cheese store that said he remembered
that day when Donald bought a cheese there... (?)
After that, there was a short interview with a Norwegian Donaldist
(Rasmussen) who said he was very pleased that Donald was coming to
Lillehammer, and talked a little about the end of the Rosa story where
Donald messes upthe opening ceremony.
And that was it, actually.
Jon C. Lorentzen
University of Oslo
Harry Fluks
From RoC (Next weeks' mail)
Message 24 -
1994-02-04 at 17:28:34
about a Russian MM:
> It was for sale here too for 4$, though I didn't buy it. What's in it?
If this is the same issue I have seen in Holland: Danish crap 8-).
> Fabio, could I somehow obtain your and Alberto Beccatini's (sp?) index?
Fabio: If the answer is 'yes', think of me too...
> BTW: The cover for WDC #589, the snowman in the phone booth, credited to
> Michael Nadorp,
Michel actually (pronounced like in the Beatles song...)
> appeared in another version on Norwegian DD #2/94, i.e.
> almost simultaneously. There has been a bunch of those snowman covers
> here recently, so obviously you [Gary at Gladstone] reworked it.
The Gladstone cover is an exact copy of the original Dutch cover, which
appeared in 1991 or so. I think Egmont had the cover redrawn for their own
editions.
> "Uniikki unikorni onkin korni koni." ("It's just a horse.")
I don't think this text was in the original Dutch story...
--Harry.
> It was for sale here too for 4$, though I didn't buy it. What's in it?
If this is the same issue I have seen in Holland: Danish crap 8-).
> Fabio, could I somehow obtain your and Alberto Beccatini's (sp?) index?
Fabio: If the answer is 'yes', think of me too...
> BTW: The cover for WDC #589, the snowman in the phone booth, credited to
> Michael Nadorp,
Michel actually (pronounced like in the Beatles song...)
> appeared in another version on Norwegian DD #2/94, i.e.
> almost simultaneously. There has been a bunch of those snowman covers
> here recently, so obviously you [Gary at Gladstone] reworked it.
The Gladstone cover is an exact copy of the original Dutch cover, which
appeared in 1991 or so. I think Egmont had the cover redrawn for their own
editions.
> "Uniikki unikorni onkin korni koni." ("It's just a horse.")
I don't think this text was in the original Dutch story...
--Harry.
Frank DiCapua
Frank DiCapua
Message 25 -
1994-02-04 at 17:44:20
I just joined the mailing list, and read Don Rosa's comments about how
tightfisted Disney is with its money. I didn't know that this was the
case, and figured that your contract was probably comparable to the
other writer/artists in the industry. I have to admit that this is
pretty bad. Have you ever thought about writing some non-Disney material?
I think that your art and story telling skills are fantastic, and would
love to see you attack something different. I'm sure that you could do it,
but I'd be real disappointed if you did it at the expense of the Duck
series. I read in a previous post that someone sells your original artwork;
would it help if you sold it directly rather than through an agent?
I read Chapter 1 of the Life of Scrooge saga last night, and enjoyed it
quite a bit. I especially enjoyed the reference to the horseradish story,
because it is the first Scrooge story that I ever read back when I was 7;
it was the one that got me interested in the Duck comics to begin with.
My only disppointment (with US 285) was that it didn't run the whole 28 pages.
It seems like its been forever since the last Don Rosa story; at least now I
can be assured that there will be a story every other month for the next
two years.
Don Rosa: Do you give out your US Mail address? If you do, and if you are
willing, I'd like to send you my copy of the Life of Scroooge issue for
an autograph.
Frank DiCapua
tightfisted Disney is with its money. I didn't know that this was the
case, and figured that your contract was probably comparable to the
other writer/artists in the industry. I have to admit that this is
pretty bad. Have you ever thought about writing some non-Disney material?
I think that your art and story telling skills are fantastic, and would
love to see you attack something different. I'm sure that you could do it,
but I'd be real disappointed if you did it at the expense of the Duck
series. I read in a previous post that someone sells your original artwork;
would it help if you sold it directly rather than through an agent?
I read Chapter 1 of the Life of Scrooge saga last night, and enjoyed it
quite a bit. I especially enjoyed the reference to the horseradish story,
because it is the first Scrooge story that I ever read back when I was 7;
it was the one that got me interested in the Duck comics to begin with.
My only disppointment (with US 285) was that it didn't run the whole 28 pages.
It seems like its been forever since the last Don Rosa story; at least now I
can be assured that there will be a story every other month for the next
two years.
Don Rosa: Do you give out your US Mail address? If you do, and if you are
willing, I'd like to send you my copy of the Life of Scroooge issue for
an autograph.
Frank DiCapua
Fredrik Ekman
From RoC
Message 26 -
1994-02-04 at 17:49:43
Ole wrote:
> From: Fredrik
> -------------
> >[...] some issue of a weekly Mickey Mouse that featured not only "The
> >Bees Have It" by William Van Horn, but also one of Jippes' re-drawn
> >JW stories.
[...]
>
> Both have been published in Sweden, and if you want English text why
> not try DDAD#4 and the CBL? I admit I don't know which JWW story you
> are talking about, so far three have been published in Denmark.
Yes, both have been published in Sweden. But at that time, the JW story
hadn't. And from my quick look I thought the colours and printing looked
pretty good, so I wanted it all the same.
> BTW: How come I can't mail you?
Good question! But if you have trouble reaching me at d91fe at pt.hk-r.se,
you can try d91fe at hkr01.ide.hk-r.se instead.
/F
> From: Fredrik
> -------------
> >[...] some issue of a weekly Mickey Mouse that featured not only "The
> >Bees Have It" by William Van Horn, but also one of Jippes' re-drawn
> >JW stories.
[...]
>
> Both have been published in Sweden, and if you want English text why
> not try DDAD#4 and the CBL? I admit I don't know which JWW story you
> are talking about, so far three have been published in Denmark.
Yes, both have been published in Sweden. But at that time, the JW story
hadn't. And from my quick look I thought the colours and printing looked
pretty good, so I wanted it all the same.
> BTW: How come I can't mail you?
Good question! But if you have trouble reaching me at d91fe at pt.hk-r.se,
you can try d91fe at hkr01.ide.hk-r.se instead.
/F
Mark Mayerson
Emancipation?
Message 27 -
1994-02-04 at 17:53:34
To Don Rosa:
Don,
You know the publishing situation in the U.S. and Europe far better than I,
so what I'm about to suggest may be an impossibility. However, have you
thought about using the reputation that you've established with the Disney
comics and using it as leverage to get something of your own off the ground?
You rightfully complain about the financial and ownership situation with
regard to Disney. If your name is enough of a draw in Europe, maybe
Egmont or somebody else would publish a comic that you own all rights to.
The artists who formed Image comics took advantage of their following at
Marvel to go off on their own. They are far better off now financially
than they were then, if only because they control all the anciliary
rights for merchandising, movies, etc.
Does Egmont or any other Disney publisher in Europe also publish non-Disney
comics where a creator-owned story would fit in? This would relieve you
of the responsibility of carrying an entire comic by yourself but could
give you an outlet to start building up a following and an inventory
for characters of your own.
Do you think this is possible?
As a side issue, even making noises about this might give you some leverage
with Egmont to improve your page rate or get some other concessions to
keep you working on ducks.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
Don,
You know the publishing situation in the U.S. and Europe far better than I,
so what I'm about to suggest may be an impossibility. However, have you
thought about using the reputation that you've established with the Disney
comics and using it as leverage to get something of your own off the ground?
You rightfully complain about the financial and ownership situation with
regard to Disney. If your name is enough of a draw in Europe, maybe
Egmont or somebody else would publish a comic that you own all rights to.
The artists who formed Image comics took advantage of their following at
Marvel to go off on their own. They are far better off now financially
than they were then, if only because they control all the anciliary
rights for merchandising, movies, etc.
Does Egmont or any other Disney publisher in Europe also publish non-Disney
comics where a creator-owned story would fit in? This would relieve you
of the responsibility of carrying an entire comic by yourself but could
give you an outlet to start building up a following and an inventory
for characters of your own.
Do you think this is possible?
As a side issue, even making noises about this might give you some leverage
with Egmont to improve your page rate or get some other concessions to
keep you working on ducks.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
Shanu
THE INTERNET & GAMES - JUNK
Message 28 -
1994-02-04 at 19:16:35
APOLOGIES IF YOU KNOW NOTHING OF WHAT I AM TALKING ABOUT
If you are a postmaster, then please circulate this to all members of your
list/ organisation,
If you are on the internet and you receive this please forward it to all members
on the internet.
If you are none of the above but know anything then please return e-mail
>>>>>>>>>>>>>
Right, I am looking for addresses for FTP sites where there are games & things which
have been cracked. If you know of such places then please email the sute address to me
if you know the global alias for all users on the internet then please tell me.
thanks
------------------------------------------------------------------------
|"If a man loves you then you must love him back, if he ignores you, |
| you must turn the other cheek, however, if a man shows you racism, |
| then he must die" - Martin Luther King |
------------------------------------------------------------------------
|Department of Computer Science, University of Manchester, Oxford Road |
|Manchester M13 9PL. tel : (+44) 61 445 5513 |
|ARPA: shantanu at cs.man.ac.uk |
|UUCP: ..!mcsun!uknet!mucs!shantanu | +----------------------------------------------------------------------+
If you are a postmaster, then please circulate this to all members of your
list/ organisation,
If you are on the internet and you receive this please forward it to all members
on the internet.
If you are none of the above but know anything then please return e-mail
>>>>>>>>>>>>>
Right, I am looking for addresses for FTP sites where there are games & things which
have been cracked. If you know of such places then please email the sute address to me
if you know the global alias for all users on the internet then please tell me.
thanks
------------------------------------------------------------------------
|"If a man loves you then you must love him back, if he ignores you, |
| you must turn the other cheek, however, if a man shows you racism, |
| then he must die" - Martin Luther King |
------------------------------------------------------------------------
|Department of Computer Science, University of Manchester, Oxford Road |
|Manchester M13 9PL. tel : (+44) 61 445 5513 |
|ARPA: shantanu at cs.man.ac.uk |
|UUCP: ..!mcsun!uknet!mucs!shantanu | +----------------------------------------------------------------------+
David A Gerstein
Current MM newspaper strip
Message 29 -
1994-02-05 at 00:00:48
Dear Folks,
I was away for a week's vacation, visiting a school friend of
mine in Framingham, MA and, while at her home, observed the MM Sunday
color strip in the local _Middlesex News_.
Fer gosh sakes, it's *awful!* Halfway decent artwork, but
nothing to shout about. Sure a heck of a lot better than the 1970s
examples that appeared in the MM Gladstone jubileum issue, though.
But basically, the plots could have been written for any cartoon
characters.
Plot #1: Goofy imagines himself a spaceship commander flying
through the cosmos, to eventually be awakened from his daydream by
Mickey -- who reveals that Goofy is imagining this because he's riding
a phony spaceship at a carnival.
Plot #2: Mickey and Goofy prepare as if they're going to go
to the Super Bowl, when in fact they're merely watching it on
television.
What a letdown. I know I could write better MM strips than
this! Plot #1 is a cheap ripoff of Calvin and Hobbes, whereas Plot #2
was just banal. I laughed at neither of them.
The strip is still stuck in the 1970s -- I swear, Mickey wears
the full suit of clothes, the whole shebang. Nearly all of Disney's
products in the last few years have switched over to a modern MM in
the 1930s costume -- but this strip is just stuck behind. As are,
strangely, many of the products aimed specifically at kids. Yet I've
never known a kid who preferred the fully-clothed MM to the
shorts-only one.
In any event, is it any *wonder* that this isn't in more
papers? The daily allegedly has adventure stories again now, but the
_Middlesex_ doesn't run that. Has anyone seen it? Is it perhaps any
better? It feels so awful to see my favorite fictional character
treated this way...
Just thought I'd pass it along. After choking over Plot #2,
I opened WDC&S #590 and got back to some *real* MM newspaper strips.
Another MM product-review in my next letter, also pertaining
to comics.
Your friend,
David Gerstein
<David.A.Gerstein at Williams.edu>
I was away for a week's vacation, visiting a school friend of
mine in Framingham, MA and, while at her home, observed the MM Sunday
color strip in the local _Middlesex News_.
Fer gosh sakes, it's *awful!* Halfway decent artwork, but
nothing to shout about. Sure a heck of a lot better than the 1970s
examples that appeared in the MM Gladstone jubileum issue, though.
But basically, the plots could have been written for any cartoon
characters.
Plot #1: Goofy imagines himself a spaceship commander flying
through the cosmos, to eventually be awakened from his daydream by
Mickey -- who reveals that Goofy is imagining this because he's riding
a phony spaceship at a carnival.
Plot #2: Mickey and Goofy prepare as if they're going to go
to the Super Bowl, when in fact they're merely watching it on
television.
What a letdown. I know I could write better MM strips than
this! Plot #1 is a cheap ripoff of Calvin and Hobbes, whereas Plot #2
was just banal. I laughed at neither of them.
The strip is still stuck in the 1970s -- I swear, Mickey wears
the full suit of clothes, the whole shebang. Nearly all of Disney's
products in the last few years have switched over to a modern MM in
the 1930s costume -- but this strip is just stuck behind. As are,
strangely, many of the products aimed specifically at kids. Yet I've
never known a kid who preferred the fully-clothed MM to the
shorts-only one.
In any event, is it any *wonder* that this isn't in more
papers? The daily allegedly has adventure stories again now, but the
_Middlesex_ doesn't run that. Has anyone seen it? Is it perhaps any
better? It feels so awful to see my favorite fictional character
treated this way...
Just thought I'd pass it along. After choking over Plot #2,
I opened WDC&S #590 and got back to some *real* MM newspaper strips.
Another MM product-review in my next letter, also pertaining
to comics.
Your friend,
David Gerstein
<David.A.Gerstein at Williams.edu>
David A Gerstein
"Perils of Mickey" Gottfredson storybooks
Message 30 -
1994-02-05 at 00:17:34
Dear Folks,
Another MM item I have seen lately are two picture books for
children in the 'Perils of Mickey' line. The reason I thought to note
them here is that they're taken directly from two Gottfredson stories:
"The Mail Pilot" and "The Seven Ghosts".
These books, paperbacks measuring about 9" by 9" with maybe 24
or 32 pages, do a remarkably good job of telling these rather complex
stories in a style younger kids will find suitable. They are
illustrated by beautiful blown-up Gottfredson drawings, colored
magnificently.
To make the stories "safe" for young children, Disney has made
a few changes: it describes Mickey attempting to punch a ghost, not
shoot him, and it doesn't get into Mickey's target practice lessons
either (making it odd when Mickey suddenly knows how to shoot the
dirigible's engines off). Also, when Mickey is dropped from the
dirigible, he has no bomb attached, and the panel was retouched to
eliminate that.
I don't mind these changes when we're dealing with a storybook
to present Gottfredson to young (pre-comic?) readers, a book which
doesn't have the length to include all the details. What I *do*
mind is that someone felt young readers would not understand Sylvester
Shyster's name, so although it was kept in other "Perils of Mickey"
merchandise (including some giveaway comics in cereal boxes), the
villain is renamed -- RATTY RASCAL, fer th' luvva Mike -- in this "Mail
Pilot" book. This is an example of "talking down" to kids, and it's
just what I don't like... and what Gottfredson, Barks, and others
never did. It's irritating, to say the least.
On the whole, though, these books are an interesting idea
which is largely carried out perfectly. The overall effect is very
like the Barks "Go Slowly Sands of Time" picture-book story in the
Celestial Arts book.
But a final note: sixty years ago, kids this age were exposed
to "storybookized" Gottfredson in the Big Little Books, which were put
together with the feeling that kids could understand more detailed
stories with their original, complete plots. I'd like to see books
now that recreate the stories with similar depth -- but bigger books,
with graphic design like the two discussed here. But apparently Disney
feels that today's children lack the intelligence for such more
involved stories.
I read a lot of Big Little Books during their last hurrah
around 1980. From those I graduated directly to regular Disney
comics. Maybe for 90s kids, these books will be a similar stepping
stone. I can only hope so.
David Gerstein
<David.A.Gerstein at Williams.edu>
Another MM item I have seen lately are two picture books for
children in the 'Perils of Mickey' line. The reason I thought to note
them here is that they're taken directly from two Gottfredson stories:
"The Mail Pilot" and "The Seven Ghosts".
These books, paperbacks measuring about 9" by 9" with maybe 24
or 32 pages, do a remarkably good job of telling these rather complex
stories in a style younger kids will find suitable. They are
illustrated by beautiful blown-up Gottfredson drawings, colored
magnificently.
To make the stories "safe" for young children, Disney has made
a few changes: it describes Mickey attempting to punch a ghost, not
shoot him, and it doesn't get into Mickey's target practice lessons
either (making it odd when Mickey suddenly knows how to shoot the
dirigible's engines off). Also, when Mickey is dropped from the
dirigible, he has no bomb attached, and the panel was retouched to
eliminate that.
I don't mind these changes when we're dealing with a storybook
to present Gottfredson to young (pre-comic?) readers, a book which
doesn't have the length to include all the details. What I *do*
mind is that someone felt young readers would not understand Sylvester
Shyster's name, so although it was kept in other "Perils of Mickey"
merchandise (including some giveaway comics in cereal boxes), the
villain is renamed -- RATTY RASCAL, fer th' luvva Mike -- in this "Mail
Pilot" book. This is an example of "talking down" to kids, and it's
just what I don't like... and what Gottfredson, Barks, and others
never did. It's irritating, to say the least.
On the whole, though, these books are an interesting idea
which is largely carried out perfectly. The overall effect is very
like the Barks "Go Slowly Sands of Time" picture-book story in the
Celestial Arts book.
But a final note: sixty years ago, kids this age were exposed
to "storybookized" Gottfredson in the Big Little Books, which were put
together with the feeling that kids could understand more detailed
stories with their original, complete plots. I'd like to see books
now that recreate the stories with similar depth -- but bigger books,
with graphic design like the two discussed here. But apparently Disney
feels that today's children lack the intelligence for such more
involved stories.
I read a lot of Big Little Books during their last hurrah
around 1980. From those I graduated directly to regular Disney
comics. Maybe for 90s kids, these books will be a similar stepping
stone. I can only hope so.
David Gerstein
<David.A.Gerstein at Williams.edu>