Geir:
Thanks for your brilliant analysis of the Norwegian Donald Duck.
Since the Norwegian and the Swedish weeklies are practically
identical, I can just say that this captures my personal views
almost to the point. You managed to say all those things I've
known for several years, but never managed to express in writing.
There is, however, one point where I don't quite agree with you;
William Van Horn. After all, Harry once dubbed me "William Van
Horn's greatest fan". ;-)
You write that "William van Horn is shallow and one-dimensional".
In a way, this is true. WVH is one-dimensional. But you must
also realize that this must not necessarily be a bad thing.
Later you write, about modern stories in general: "when the
writers become ambitious, then they fail much more." The way I
read this, it means the same thing that I have previously
tried to express as being the reason why Egmont's scripters
sometimes succeed with their short stories, while the long ones
_always_ fail: In the short stoires they don't have to be deep
or ambitious.
And this is exactly where Van Horn, in my opinion, succeeds. He
doesn't attempt to be deep, nor to carry any kind of important
message to the readers. His goal seems to be merely to entertain
the reader. And I find that he does that very well.
I would dare to suggest that if Barks is the Dostoyevsky of
Disney comics (a comparison that holds only within the very
limited context of this discussion), then Van Horn is the Edgar
Rice Burroughs of Disney comics. In other words; while Barks
will tell a complicated story with large depths and intricate
personalities, Van Horn will only try to tell a story, period.
I might add that I enjoy both styles, but for different
reasons. The former certainly has a greater staying power.
I have previously stated that I even prefer Van Horn to Don
Rosa, and while this is only true to some degree, I will try to
explain why. I will agree with anyone who claims that Don is a
superior writer to Van Horn. He is. By far. Both have a wonder-
ful sense of humour. Both also have the decided advantage of
having their very own, very distinct although compeltely
mutually incomparable drawing style. But where I think Don (Hi,
Don!) fails lies in the very reason that he draws duck comics;
he is far too closely tied to Barks. Not in the sense that he
copies the Barks concepts (like other Egmont writers) but rather
that his drive to stay as close to the original as possible
impairs his writing. I, at least, feel that Don's best work is
with the stories that have the least Barks references. Of
course, those references are often brilliant, and brings the
story even higher, but there is a certain balance that Don,
in my view, sometimes disturbs.
I realize that Don wouldn't want to have it any other way
and I respect that. But Don, you are such a brillian writer
and _especially_ so when you follow your own path and don't
depend so much on Barks.
/F
Author
Topic: 199403
(153 messages)
Fredrik Ekman
In response to Geir; about Van Horn and Rosa
Message 46 -
1994-03-08 at 19:33:17
David A Gerstein
Harry Gladstone's Birthday Bugaboo
Message 47 -
1994-03-09 at 03:10:12
Harry Fluks described some info from a German fanzine:
"In Whitman's Donald Duck 169 (I think), there was the story
"Birthday Bugaboo" which seemed to be inspired by Barks and sold much
better than other Whitman comics. I remember having seen 1/2 page of
Barks sketches for this story, published in the Carl Barks Library.
The story was done by Harry Gladstone [head of Disney merchandise art
in New York, Mark Mayerson said].
"Has anyone seen this story? Is it good? If so, is it worth
reprinting? Whatever happend to Harry?"
HHHHUUUUUZZZZZAAAAAHHHH!!!
At last I know that this story is not a figment of my
imagination!!! I saw it some years ago at a friend's home. It was in
her son's collection, tattered and coverless. At the time I borrowed
it to suggest the story to Disney (this was about 1990), but I was
unable to get through to Bob Foster for a time and it somehow slipped
through the cracks. Later on when he had a chance to listen to me,
I'd returned the comic to my friend's home, and never have seen it
again!
I assumed, at the time, that this was a Vicar story which
someone had gone to the trouble of lettering in a good imitation of
Barks' lettering. The lettering was JUST like Barks' 1940s lettering,
with the sole exception of the exclamation points, which were
italicized here. My only confusion was that the story had a W code at
the left corner of the splash. Well, well...
The story is about the kids adopting a stray dog, who they
nickname "Alley" because they found him in one. Dog is a dead ringer
for the dog wallowing in the garden on the first page of "Too Many
Pets" if I recall. Anyway, after some fairly standard mishaps (dog
following the ducks on a picnic, I think) Donald refuses to let the
kids keep the dog. After some kind of catastrophe Donald ends up in
the rapids of a river (I can't remember how this happened!) The kids
decide that they'll refuse to save Donald until he's told them they
can keep Alley. Donald is rescued. And as the ducks walk into the
distance, Donald asks the boys, "You'd have saved me if I hadn't told
you you could keep him, right? .... Well, answer me! ... ANSWER ME!
ANSWER ME! ANSWER ME!"
It's a very mid-'40s style story in the personalities --
the ducks are very much at odds with each other, and furthermore the
ending has a very "gothic" look as dark shading sets in over the last
panel... This is an unsettling story.
The Ducks are drawn as they were about 1956, presumably
because Western hated printing stories where Donald had a longer bill.
That's why they seldom reprinted stories from before the late 1950s
until a change of heart around 1982 (too late!); that's ALSO why they
TURNED DOWN FRED MILTON'S "BIG SNEEZE!!!"
The Ducks lack pie-eyes in "Birthday Bugaboo" and have a rigid
look now and then if I recall. However, the story is much better
than, say, Tony Strobl's stuff. Some panels are really good.
SO WHAT DID BARKS HAVE TO DO WITH IT??? WHAT DOES THE
MAGAZINE SAY? WAK! WAK! WAK! I'm completely staggered by this...
looks like Barks began a new Duck story at some point, and never
finished it so that this Harry Gladstone had to do that.
I never thought I would hear anything about this story again.
Some of me would like to see it reprinted because it's a very rare
attempt by Whitman to correct what they did wrong for years. But then
again, it's not one of the all-time greats... But if Barks did
anything for it, it should definitely be in the CBLDDAIC, and it's
good enough that it doesn't need to be redrawn...
I got DD 284 and D&M 23 today at last. DD 284 is superb,
although I wish the ten-pagers could be Dutch ones now and then. D&M
23 had a superb cover (Hey! First Mau Heymans work to see print
here!), but I don't like "Don't Call Me Tut!" as much as "Goofy Midas"
and feel that this is not the type of story that serialization works
with. I wouldn't mind seeing, say, one of these stories per year, but
it should be put in a 64-page issue like #20.
Anyone have the Danish reprint series, so that we can know
what the topic was of the Donald strip for 3-3-38, which was banned
from reprint? We'll see what happens...
The most offensive AT strip I have ever seen dated from 1941,
and I saw it in WDC&S 30 (part of my own collection). Donald gets a
job at a circus sideshow imagining himself as a ringmaster, but ends
up painted black with a red beak, billed as the son of the circus
"Ubangi". Don't bet on seeing it reprinted -- outside of a "complete
AT library," I wouldn't want to.
David Gerstein
"I'm the Fuller Brush Man! I'm givin' g'way a free semple!"
<David.A.Gerstein at williams.edu>
"In Whitman's Donald Duck 169 (I think), there was the story
"Birthday Bugaboo" which seemed to be inspired by Barks and sold much
better than other Whitman comics. I remember having seen 1/2 page of
Barks sketches for this story, published in the Carl Barks Library.
The story was done by Harry Gladstone [head of Disney merchandise art
in New York, Mark Mayerson said].
"Has anyone seen this story? Is it good? If so, is it worth
reprinting? Whatever happend to Harry?"
HHHHUUUUUZZZZZAAAAAHHHH!!!
At last I know that this story is not a figment of my
imagination!!! I saw it some years ago at a friend's home. It was in
her son's collection, tattered and coverless. At the time I borrowed
it to suggest the story to Disney (this was about 1990), but I was
unable to get through to Bob Foster for a time and it somehow slipped
through the cracks. Later on when he had a chance to listen to me,
I'd returned the comic to my friend's home, and never have seen it
again!
I assumed, at the time, that this was a Vicar story which
someone had gone to the trouble of lettering in a good imitation of
Barks' lettering. The lettering was JUST like Barks' 1940s lettering,
with the sole exception of the exclamation points, which were
italicized here. My only confusion was that the story had a W code at
the left corner of the splash. Well, well...
The story is about the kids adopting a stray dog, who they
nickname "Alley" because they found him in one. Dog is a dead ringer
for the dog wallowing in the garden on the first page of "Too Many
Pets" if I recall. Anyway, after some fairly standard mishaps (dog
following the ducks on a picnic, I think) Donald refuses to let the
kids keep the dog. After some kind of catastrophe Donald ends up in
the rapids of a river (I can't remember how this happened!) The kids
decide that they'll refuse to save Donald until he's told them they
can keep Alley. Donald is rescued. And as the ducks walk into the
distance, Donald asks the boys, "You'd have saved me if I hadn't told
you you could keep him, right? .... Well, answer me! ... ANSWER ME!
ANSWER ME! ANSWER ME!"
It's a very mid-'40s style story in the personalities --
the ducks are very much at odds with each other, and furthermore the
ending has a very "gothic" look as dark shading sets in over the last
panel... This is an unsettling story.
The Ducks are drawn as they were about 1956, presumably
because Western hated printing stories where Donald had a longer bill.
That's why they seldom reprinted stories from before the late 1950s
until a change of heart around 1982 (too late!); that's ALSO why they
TURNED DOWN FRED MILTON'S "BIG SNEEZE!!!"
The Ducks lack pie-eyes in "Birthday Bugaboo" and have a rigid
look now and then if I recall. However, the story is much better
than, say, Tony Strobl's stuff. Some panels are really good.
SO WHAT DID BARKS HAVE TO DO WITH IT??? WHAT DOES THE
MAGAZINE SAY? WAK! WAK! WAK! I'm completely staggered by this...
looks like Barks began a new Duck story at some point, and never
finished it so that this Harry Gladstone had to do that.
I never thought I would hear anything about this story again.
Some of me would like to see it reprinted because it's a very rare
attempt by Whitman to correct what they did wrong for years. But then
again, it's not one of the all-time greats... But if Barks did
anything for it, it should definitely be in the CBLDDAIC, and it's
good enough that it doesn't need to be redrawn...
I got DD 284 and D&M 23 today at last. DD 284 is superb,
although I wish the ten-pagers could be Dutch ones now and then. D&M
23 had a superb cover (Hey! First Mau Heymans work to see print
here!), but I don't like "Don't Call Me Tut!" as much as "Goofy Midas"
and feel that this is not the type of story that serialization works
with. I wouldn't mind seeing, say, one of these stories per year, but
it should be put in a 64-page issue like #20.
Anyone have the Danish reprint series, so that we can know
what the topic was of the Donald strip for 3-3-38, which was banned
from reprint? We'll see what happens...
The most offensive AT strip I have ever seen dated from 1941,
and I saw it in WDC&S 30 (part of my own collection). Donald gets a
job at a circus sideshow imagining himself as a ringmaster, but ends
up painted black with a red beak, billed as the son of the circus
"Ubangi". Don't bet on seeing it reprinted -- outside of a "complete
AT library," I wouldn't want to.
David Gerstein
"I'm the Fuller Brush Man! I'm givin' g'way a free semple!"
<David.A.Gerstein at williams.edu>
David A Gerstein
PREVIEWS OF DDA 27, WDC&S 592 AND US 283 NEEDED
Message 48 -
1994-03-09 at 03:11:48
Dear Folks,
Just like the subject says. If anyone has one of the comic
"preview" magazines for March (shoulda come out last week) I bet I'm
not the only person who'd like to know what's in the Gladstone comics
listed above, and anything else they list of note...
Yours,
David Gerstein
<David.A.Gerstein at Williams.edu>
Just like the subject says. If anyone has one of the comic
"preview" magazines for March (shoulda come out last week) I bet I'm
not the only person who'd like to know what's in the Gladstone comics
listed above, and anything else they list of note...
Yours,
David Gerstein
<David.A.Gerstein at Williams.edu>
David A Gerstein
Don Rosa on Disney Comics circulation
Message 49 -
1994-03-09 at 03:53:36
"You know you can't rely on those circulation figures
Disney published in their "statement of ownership"s. After one year
of publication, their titles all featured those statements, with
such figures as MICKEY selling (I'm pulling these figures from
memory) about 120,000 and ROGER RABBIT selling about 140,000. Then,
2 months later, these annual legal statements appeared AGAIN for
unknown reasons, and the sales were now more like MM at 40,000 and
RR at 35,000."
I hate to tell you, but the large figures you're quoting are
how many they PRINTED, and the small figures are how many copies they
SOLD out of the larger number!
Roger Rabbit originally sold extremely well at comic shops, so
those shops began ordering very large amounts. This caused Disney to
make a much larger print run for newsstands, too. Then around issue
#4 the quality declined noticeably. Suddenly comic shops couldn't
sell their back issues (they'd ordered extra just so they'd have a big
back issue stock), or all the new ones they had been ordering. The
comic shops had to keep 'em, but the newsstands could send them back,
which they did. So Disney was stuck with MILLIONS of unsold RR
comics.
See the situation? RR really did sell very well for the first
few months for some reason. So did most of the other titles. Then
around month 6 came a BIG slump. Disney suffered from miscommunication
in its ranks.... by the time the sales department let the heads of
Publications know about the sales figures for the first issues, the
first year of Disney Comics' publication was almost over. It was
another half-year before the management knew about the slump. And
then came the cutdown...
The only title which sold poorly from the very first was GOOFY
ADVENTURES. At first it did just well enough to stay in print, but
later sank in popularity to the point where even the ORDERS for the
issues looked bad, this being before the sales records came in.
That's how it happened to be cancelled before the cutdown.
I believe this is the story. There are sales figures around
DDAD 7, I believe, reflecting the first few months, and then again
around DDAD 19, and the difference is obvious. I believe that CHIP
'N" DALE RESCUE RANGERS #19 has sales figures in it as well. That's
the only one of the cancelled titles to make it to #19, because they
needed to finish a continued story. It would be interesting to
compare the sales figures to those that presumably appeared around #7.
David Gerstein
<David.A.Gerstein at williams.edu>
Disney published in their "statement of ownership"s. After one year
of publication, their titles all featured those statements, with
such figures as MICKEY selling (I'm pulling these figures from
memory) about 120,000 and ROGER RABBIT selling about 140,000. Then,
2 months later, these annual legal statements appeared AGAIN for
unknown reasons, and the sales were now more like MM at 40,000 and
RR at 35,000."
I hate to tell you, but the large figures you're quoting are
how many they PRINTED, and the small figures are how many copies they
SOLD out of the larger number!
Roger Rabbit originally sold extremely well at comic shops, so
those shops began ordering very large amounts. This caused Disney to
make a much larger print run for newsstands, too. Then around issue
#4 the quality declined noticeably. Suddenly comic shops couldn't
sell their back issues (they'd ordered extra just so they'd have a big
back issue stock), or all the new ones they had been ordering. The
comic shops had to keep 'em, but the newsstands could send them back,
which they did. So Disney was stuck with MILLIONS of unsold RR
comics.
See the situation? RR really did sell very well for the first
few months for some reason. So did most of the other titles. Then
around month 6 came a BIG slump. Disney suffered from miscommunication
in its ranks.... by the time the sales department let the heads of
Publications know about the sales figures for the first issues, the
first year of Disney Comics' publication was almost over. It was
another half-year before the management knew about the slump. And
then came the cutdown...
The only title which sold poorly from the very first was GOOFY
ADVENTURES. At first it did just well enough to stay in print, but
later sank in popularity to the point where even the ORDERS for the
issues looked bad, this being before the sales records came in.
That's how it happened to be cancelled before the cutdown.
I believe this is the story. There are sales figures around
DDAD 7, I believe, reflecting the first few months, and then again
around DDAD 19, and the difference is obvious. I believe that CHIP
'N" DALE RESCUE RANGERS #19 has sales figures in it as well. That's
the only one of the cancelled titles to make it to #19, because they
needed to finish a continued story. It would be interesting to
compare the sales figures to those that presumably appeared around #7.
David Gerstein
<David.A.Gerstein at williams.edu>
Gary Leach
Disney-comics digest #263.
Message 50 -
1994-03-09 at 05:14:11
When Disney was first publishing their own comics, it was a matter of no small
interest to us at Gladstone as to what sales figures they would post in the
statements of ownership as required by the US Postal Service for Second Class
Mail privileges (this is solely for subscription purposes; if you don't offer
subscriptions, you don't have to mess with such stuff, as advertisers are
handled on a wholly separate level). When we saw those first statements, we
had to figure that...well, someone at Disney was misinformed. Don's
recollected sales figures are close enough for government jazz, and correspond
to a typical PRINT RUN of the books, not how many copies were actually sold.
As I said, someone at Disney didn't quite understand how to fill those first
statements out properly...
Although Carl Barks was clearly the outstanding creative talent, I become more
convinced by the day that it was his late wife, Gare, who had a handle on the
true facts of life. If we don't hear that this European tour he's going on has
killed or permanently incapacitated him, I'll be very much surprised.
With that, I bid y'all a final adieu. It's been fun, believe me, but I think
I've vastly exceeded my useful contribution to this roundtable. Don Rosa does
it much better than I do, anyway.
In the words of Gladstone's founder, Helmut Werb..."Keep head cool!"
interest to us at Gladstone as to what sales figures they would post in the
statements of ownership as required by the US Postal Service for Second Class
Mail privileges (this is solely for subscription purposes; if you don't offer
subscriptions, you don't have to mess with such stuff, as advertisers are
handled on a wholly separate level). When we saw those first statements, we
had to figure that...well, someone at Disney was misinformed. Don's
recollected sales figures are close enough for government jazz, and correspond
to a typical PRINT RUN of the books, not how many copies were actually sold.
As I said, someone at Disney didn't quite understand how to fill those first
statements out properly...
Although Carl Barks was clearly the outstanding creative talent, I become more
convinced by the day that it was his late wife, Gare, who had a handle on the
true facts of life. If we don't hear that this European tour he's going on has
killed or permanently incapacitated him, I'll be very much surprised.
With that, I bid y'all a final adieu. It's been fun, believe me, but I think
I've vastly exceeded my useful contribution to this roundtable. Don Rosa does
it much better than I do, anyway.
In the words of Gladstone's founder, Helmut Werb..."Keep head cool!"
Don Rosa
Disney-comics digest #263.
Message 51 -
1994-03-09 at 06:57:24
Due to a recent visit I made over to GEnie to check out a
"Disney Comic Section" over there, I just want to thank ALL of you for
making THIS such an EXCELLENT Digest!!! The last few Digests in
particular have contained such varied and in-depth and knowledgeable
examinations of every sort of Disney Duck stories. And over on GEnie
when I found their section, there were less than 10 people -- one asked
me who I was and which stories were mine ... and when I made a reference
to Bruce Hamilton, I found that I needed to explain WHO he was to all
but one or two of the nice folks there. And then, here you people are
with such expertise and knowledge that it's astounding. Since I've never
paid a great deal of attention to any but the Barks stories, I can learn
a great deal over here if I pay attention; it was plain depressing over
on GEnie.
I was interested in all the comments about various artists and
writers, as I said, but I MUST mention one attitude that irks me not a
little. I don't mind if someone says that they don't care for my art or
my writing, or that they prefer some others to me (I'll sooner agree
than disagree with that sort of stuff); but I really dislike hearing
that people think I do sequels to Barks stories as some sort of
short-cut... or that in such instances I "depend" on Barks. It's as if
they think that when I do a story making a reference to one of Barks'
classics, well, 75% of the job is already done for me and I can just
coast from there. In truth, it's just the opposite -- doing those
sequels is far more DIFFICULT than just making up an entirely new tale.
Rather than most of my work being done for me and me depending on Barks,
those stories being sequels causes me at least 25-50% MORE work to
accomplish. The tales that take me the longest are things like "Return
to Xanadu" when I sat for 2 days straight at one point trying to figure
some way to get a plot to work within Barks' limits that would still be
new and entertaining without completely screwing and insulting the
original concept. Simply making use of the Trala La setting didn't
provide me with anything but a springboard - and one that may have even
sent me further away from the pool rather than into it. And believe me,
in the time it took me to do the 211 pages of the "Lo$", I could
easilly have done, maybe, 300 pages of stories that were not so limited
by what I was compeled to get accomplished in each of those very
compact chapters. And as you must know, when I do these adventures with
complex and intricate plots and "needless and irritating detail" in the
art, it pays not a farthing extra than if I just decided to do tale
after tale of Donald the Master Lintpicker or something. In fact, I
still don't even get paid as MUCH as those third-world artists get
(since they have been with Egmont for so many years and their studios
provide Egmont's backbone of material). Doing sequels or extensive
references to Barks is actually quite a impedance to my output and my
tired mind and hand.
So, say you think my work sux eggs... and tell me that my job
depends on how popular Barks made the Ducks all over the world... but
please don't say that I depend on anybody but ME for the effort I put
into these stories!
"Disney Comic Section" over there, I just want to thank ALL of you for
making THIS such an EXCELLENT Digest!!! The last few Digests in
particular have contained such varied and in-depth and knowledgeable
examinations of every sort of Disney Duck stories. And over on GEnie
when I found their section, there were less than 10 people -- one asked
me who I was and which stories were mine ... and when I made a reference
to Bruce Hamilton, I found that I needed to explain WHO he was to all
but one or two of the nice folks there. And then, here you people are
with such expertise and knowledge that it's astounding. Since I've never
paid a great deal of attention to any but the Barks stories, I can learn
a great deal over here if I pay attention; it was plain depressing over
on GEnie.
I was interested in all the comments about various artists and
writers, as I said, but I MUST mention one attitude that irks me not a
little. I don't mind if someone says that they don't care for my art or
my writing, or that they prefer some others to me (I'll sooner agree
than disagree with that sort of stuff); but I really dislike hearing
that people think I do sequels to Barks stories as some sort of
short-cut... or that in such instances I "depend" on Barks. It's as if
they think that when I do a story making a reference to one of Barks'
classics, well, 75% of the job is already done for me and I can just
coast from there. In truth, it's just the opposite -- doing those
sequels is far more DIFFICULT than just making up an entirely new tale.
Rather than most of my work being done for me and me depending on Barks,
those stories being sequels causes me at least 25-50% MORE work to
accomplish. The tales that take me the longest are things like "Return
to Xanadu" when I sat for 2 days straight at one point trying to figure
some way to get a plot to work within Barks' limits that would still be
new and entertaining without completely screwing and insulting the
original concept. Simply making use of the Trala La setting didn't
provide me with anything but a springboard - and one that may have even
sent me further away from the pool rather than into it. And believe me,
in the time it took me to do the 211 pages of the "Lo$", I could
easilly have done, maybe, 300 pages of stories that were not so limited
by what I was compeled to get accomplished in each of those very
compact chapters. And as you must know, when I do these adventures with
complex and intricate plots and "needless and irritating detail" in the
art, it pays not a farthing extra than if I just decided to do tale
after tale of Donald the Master Lintpicker or something. In fact, I
still don't even get paid as MUCH as those third-world artists get
(since they have been with Egmont for so many years and their studios
provide Egmont's backbone of material). Doing sequels or extensive
references to Barks is actually quite a impedance to my output and my
tired mind and hand.
So, say you think my work sux eggs... and tell me that my job
depends on how popular Barks made the Ducks all over the world... but
please don't say that I depend on anybody but ME for the effort I put
into these stories!
Bjorn-are.Davidsen
LoS 10
Message 52 -
1994-03-09 at 10:50:21
DON!
(SPOILER ALERT - STORY DETAILS ARE HINTED AT)
LoS 10 which was published in Norway yesterday was
marvellous! I may have been in a particular good
mood when reading it, but it really hit me as one of
your most successfull stories. In a way it made me
think of Asterix both in atmosphere and plot (the
beleagured village, the presence of Julius C{sar, a
bit of internal quarrelling among the beleagured
a.s.o.), which is no small compliment.
The dramatic half page was also, well, dramatic! I
really long to hear how American readers will respond
to the story (which will be in 95?)!
The references to Barks was also done very well (e.g.
the car)! And I think you managed to untangle (or get
together if that is a better expression) some "loose
ends" from previous LoS-stories, which on hindsight
made those even better.
Keep on with such stories, even if it means more work
for you to build on "Barksian facts"!
And (a bit late - and I may be a bit of a heretic here) I
have to say I did ENJOY your Olympic Story (even if it
is not to be compared with your very best). The
mathematical references and the viking helmet gag
are among the best gags I have seen in a comic story.
Bjorn Are
(SPOILER ALERT - STORY DETAILS ARE HINTED AT)
LoS 10 which was published in Norway yesterday was
marvellous! I may have been in a particular good
mood when reading it, but it really hit me as one of
your most successfull stories. In a way it made me
think of Asterix both in atmosphere and plot (the
beleagured village, the presence of Julius C{sar, a
bit of internal quarrelling among the beleagured
a.s.o.), which is no small compliment.
The dramatic half page was also, well, dramatic! I
really long to hear how American readers will respond
to the story (which will be in 95?)!
The references to Barks was also done very well (e.g.
the car)! And I think you managed to untangle (or get
together if that is a better expression) some "loose
ends" from previous LoS-stories, which on hindsight
made those even better.
Keep on with such stories, even if it means more work
for you to build on "Barksian facts"!
And (a bit late - and I may be a bit of a heretic here) I
have to say I did ENJOY your Olympic Story (even if it
is not to be compared with your very best). The
mathematical references and the viking helmet gag
are among the best gags I have seen in a comic story.
Bjorn Are
Mattias Hallin
Lo$ #10??!!
Message 53 -
1994-03-09 at 13:35:05
THIS MESSAGE CONTAINS NO! SPOILER(TM) WHATSOEVER!!!!!!!! (I ain't read it yet!)
DON:
So, it seems Lo$ #10 is now out in Norway -- which means it should be out
here too. I'm gonna go get mahself a copy this afternoon -- do you still want
me to get one for you, too?
I assume your answer'll be affirmative; but I should also (as per promise) get
those few backissues I said I'd get for you back in October or November or
whenever -- and thus I'd like to make sure just which issues you actually
needed. Was it something like anything with your work in it, starting about the
issue with Lo$ 7? Also, I still haven't sent you the "Aftonbladet" I got for
you (nor the copy of that'n to Harry); so maybe it's about time I got of parts
of my anatomy, and mailed you what I've promised?! Just comfirm where from you
want this unofficial subscription to start.
All my best, as always!
Mattias
DON:
So, it seems Lo$ #10 is now out in Norway -- which means it should be out
here too. I'm gonna go get mahself a copy this afternoon -- do you still want
me to get one for you, too?
I assume your answer'll be affirmative; but I should also (as per promise) get
those few backissues I said I'd get for you back in October or November or
whenever -- and thus I'd like to make sure just which issues you actually
needed. Was it something like anything with your work in it, starting about the
issue with Lo$ 7? Also, I still haven't sent you the "Aftonbladet" I got for
you (nor the copy of that'n to Harry); so maybe it's about time I got of parts
of my anatomy, and mailed you what I've promised?! Just comfirm where from you
want this unofficial subscription to start.
All my best, as always!
Mattias
Tryg Helseth
Harry Gladstone's Birthday Bugaboo
Message 54 -
1994-03-09 at 14:02:02
Mark Mayerson:
MM> "In Whitman's Donald Duck 169 (I think), there was the story
MM>"Birthday Bugaboo" which seemed to be inspired by Barks and sold much
MM>better than other Whitman comics.
David Gerstein:
DG> At last I know that this story is not a figment of my
DG>imagination!!! I saw it some years ago at a friend's home. It was in
DG>her son's collection, tattered and coverless.
This story title sounded familiar to me, so I checked my Back issues of DD
and found it! It is from 1976 and has a Gold Key logo. (In the '70s
Western distributed comics both as Gold Key and as Whitman samplers...)
It's been a long time since I read this, and I don't remember the story
at all (even after David outlined it.) I'm hoping to get a chance to re-
read it tonight...
DG> It's a very mid-'40s style story in the personalities [...]
DG>The Ducks are drawn as they were about 1956, presumably because Western
DG>hated printing stories where Donald had a longer bill.
It definitely looks like mid-50s style drawings. I remember seeing one
other DD story in the '70s that stood out this way from the other stories
of the time. I remember when I first saw it I thought it had to be a
reprint; now I can't remember what that story was.
BTW, Maybe Western avoided the "longer bill" because they wer trying to
contain costs... :)
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -The Beach Drakes
MM> "In Whitman's Donald Duck 169 (I think), there was the story
MM>"Birthday Bugaboo" which seemed to be inspired by Barks and sold much
MM>better than other Whitman comics.
David Gerstein:
DG> At last I know that this story is not a figment of my
DG>imagination!!! I saw it some years ago at a friend's home. It was in
DG>her son's collection, tattered and coverless.
This story title sounded familiar to me, so I checked my Back issues of DD
and found it! It is from 1976 and has a Gold Key logo. (In the '70s
Western distributed comics both as Gold Key and as Whitman samplers...)
It's been a long time since I read this, and I don't remember the story
at all (even after David outlined it.) I'm hoping to get a chance to re-
read it tonight...
DG> It's a very mid-'40s style story in the personalities [...]
DG>The Ducks are drawn as they were about 1956, presumably because Western
DG>hated printing stories where Donald had a longer bill.
It definitely looks like mid-50s style drawings. I remember seeing one
other DD story in the '70s that stood out this way from the other stories
of the time. I remember when I first saw it I thought it had to be a
reprint; now I can't remember what that story was.
BTW, Maybe Western avoided the "longer bill" because they wer trying to
contain costs... :)
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -The Beach Drakes
Tryg Helseth
I dream of GEnie...
Message 55 -
1994-03-09 at 14:14:33
On 08 Mar 94 23:57:24 EST, Don Rosa wrote:
> Due to a recent visit I made over to GEnie to check out a
>"Disney Comic Section" over there, [...] there were less than 10 people
>-- one asked me who I was and which stories were mine ...
Don:
At least the GEnie folks knew what comic book was... I spent some time on a
Disney conference on the RIME network; I sent out messages there over a two
year period and only found two people who would admit to ever reading a
comic! One was a fan of the (now defunct) Disney Tailspin comics. The other
was simply trying to sell me some old comics lying around the house...
Once I posted something about Carl Barks and was told that I was off-topic
and should take my comments to the "Politics" conference! (And I did say
Barks and NOT Marx!) I think if I said "Don Rosa" they would think I was
talking about a character in a Zorro movie... :)
This mail list, on the other hand, is a dream come true. But sometimes I
get so ovewhelmed by all the information presented here I feel I am trying
to take a drink from a fire hose.
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -The Beach Drakes
> Due to a recent visit I made over to GEnie to check out a
>"Disney Comic Section" over there, [...] there were less than 10 people
>-- one asked me who I was and which stories were mine ...
Don:
At least the GEnie folks knew what comic book was... I spent some time on a
Disney conference on the RIME network; I sent out messages there over a two
year period and only found two people who would admit to ever reading a
comic! One was a fan of the (now defunct) Disney Tailspin comics. The other
was simply trying to sell me some old comics lying around the house...
Once I posted something about Carl Barks and was told that I was off-topic
and should take my comments to the "Politics" conference! (And I did say
Barks and NOT Marx!) I think if I said "Don Rosa" they would think I was
talking about a character in a Zorro movie... :)
This mail list, on the other hand, is a dream come true. But sometimes I
get so ovewhelmed by all the information presented here I feel I am trying
to take a drink from a fire hose.
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -The Beach Drakes
Harry Fluks
Harry Gladstone's Birthday Bugaboo
Message 56 -
1994-03-09 at 18:42:55
David quoted ME (and not Mark Mayerson, Tryg!):
> Harry Fluks described some info from a German fanzine:
>
> "In Whitman's Donald Duck 169 (I think), there was the story (...)
> The story was done by Harry Gladstone [head of Disney merchandise art
> in New York, Mark Mayerson said].
And David asked:
> SO WHAT DID BARKS HAVE TO DO WITH IT??? WHAT DOES THE MAGAZINE SAY?
The (German) magazine didn't say anything about that, but I remember reading
something about it in The Carl Barks Library. I don't have the CBL myself
(could you believe that?) but I have a friend who does. If I remember well,
Barks penciled a half-page gag for Harry to use in his story. The half-page
pencils were reproduced in the CBL. I don't know further details, that's
why I brought up the subject.
David again:
> D&M 23 had a superb cover (Hey! First Mau Heymans work to see print
> here!)
Our gladstone-disney index tells me there was ONE earlier Heymans (or
Heijmans 8-) story reprinted in the USA: in WDC 538, a 10-pager titled
"No Business like Snow Business". I haven't seen that issue though.
> Anyone have the Danish reprint series, so that we can know
> what the topic was of the Donald strip for 3-3-38, which was banned
> from reprint? We'll see what happens...
It was also reprinted in a Dutch book, so I can look it up.
--Harry.
Harry PTT Research ()_() Dutch Disney comics freak
Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl
"Yeah... I've _heard_ of coral barques!"
> Harry Fluks described some info from a German fanzine:
>
> "In Whitman's Donald Duck 169 (I think), there was the story (...)
> The story was done by Harry Gladstone [head of Disney merchandise art
> in New York, Mark Mayerson said].
And David asked:
> SO WHAT DID BARKS HAVE TO DO WITH IT??? WHAT DOES THE MAGAZINE SAY?
The (German) magazine didn't say anything about that, but I remember reading
something about it in The Carl Barks Library. I don't have the CBL myself
(could you believe that?) but I have a friend who does. If I remember well,
Barks penciled a half-page gag for Harry to use in his story. The half-page
pencils were reproduced in the CBL. I don't know further details, that's
why I brought up the subject.
David again:
> D&M 23 had a superb cover (Hey! First Mau Heymans work to see print
> here!)
Our gladstone-disney index tells me there was ONE earlier Heymans (or
Heijmans 8-) story reprinted in the USA: in WDC 538, a 10-pager titled
"No Business like Snow Business". I haven't seen that issue though.
> Anyone have the Danish reprint series, so that we can know
> what the topic was of the Donald strip for 3-3-38, which was banned
> from reprint? We'll see what happens...
It was also reprinted in a Dutch book, so I can look it up.
--Harry.
Harry PTT Research ()_() Dutch Disney comics freak
Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl
"Yeah... I've _heard_ of coral barques!"
Harry Fluks
Gary's adieu (?)
Message 57 -
1994-03-09 at 18:49:53
> From: Gary Leach <73633.152 at CompuServe.COM>
>
> With that, I bid y'all a final adieu. It's been fun, believe me, but I think
> I've vastly exceeded my useful contribution to this roundtable. Don Rosa does
> it much better than I do, anyway.
Does this mean you are leaving the mailing list? Why? There is absolutely
no obligation to mail anything yourself. In fact, there are dozens of list
members that never send an own contribution (the "lurkers") and that's
perfectly fine.
So if you're leaving and that's the only reason, please stay!
--Harry.
Harry PTT Research ()_() Dutch Disney comics freak
Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl
"Yeah... I've _heard_ of coral barques!"
>
> With that, I bid y'all a final adieu. It's been fun, believe me, but I think
> I've vastly exceeded my useful contribution to this roundtable. Don Rosa does
> it much better than I do, anyway.
Does this mean you are leaving the mailing list? Why? There is absolutely
no obligation to mail anything yourself. In fact, there are dozens of list
members that never send an own contribution (the "lurkers") and that's
perfectly fine.
So if you're leaving and that's the only reason, please stay!
--Harry.
Harry PTT Research ()_() Dutch Disney comics freak
Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl
"Yeah... I've _heard_ of coral barques!"
Ronald A. Evry (Ronald)
Back on
Message 58 -
1994-03-09 at 18:52:23
To the folks at disney-comics:
Well! It's been a weird week or so!
My system had munged my mailbox files & I couldn't get in for
almost a
week...As it is, they had cut down my access time & will
continue to have a
2400 bps speed limit for the next couple of weeks. This means
that I can only
get so much mail at a time even when my mailbox is available to
me (which it is
now). ANYWAY....if disney-comics has been getting back digests
sent to me & has
taken me off the list, PLEASE put me back on. This is one of my
favorite
"lurking" spots.
NOTE TO FABIO: I have your Barks Collectors in an envelope but
lost your
address...please repost it to me & I'll send it out TOOT SWEET.
In the last few weeks I have been picking up CHEAP back issues
of various duck
books & have had a jolly old time re-reading Barks treasures &
have been
discovering some great new stuff. Don, I like your stuff a lot
& have actually
put in a sub at a local comic shop for Scrooge (the owner says
he's going to
try to get me part 1 of LO$ -- I hope so ---otherwise, I'll
trade old Barks
Collectors for a copy if anyone is interested). I also have
enjoyed reading Van
Horn's stuff...I went nuts over the chicken soup story.
[aside: isn't it interesting how ducks in duckburg will eat
chicken & turkey in
one story, & will chat with chickens in another? Then again,
it's not that
different from the famous Mickey Mouse cartoon where Mickey
performs a
scientific experiment on a "mouse," depicted much smaller than
him and drawn
more like a Warner Mouse than Mickey...]
One book I dug up has a favorite story of mine reprinted -- the
one where U$
takes Donald & the boys into outer space & they bypass the
space station so
Scrooge won't have to buy them $10,000 hotdogs. I love it!
Apparently, in more
than one story (as I recall), CB would take note of the fact
that Duckburg
technology was on a different level with the rest of the world
-- spaceships,
etc. were commonplace, but only in Duckburg.
Anyway, I'm back & am looking forward to more digests.
Ron
Well! It's been a weird week or so!
My system had munged my mailbox files & I couldn't get in for
almost a
week...As it is, they had cut down my access time & will
continue to have a
2400 bps speed limit for the next couple of weeks. This means
that I can only
get so much mail at a time even when my mailbox is available to
me (which it is
now). ANYWAY....if disney-comics has been getting back digests
sent to me & has
taken me off the list, PLEASE put me back on. This is one of my
favorite
"lurking" spots.
NOTE TO FABIO: I have your Barks Collectors in an envelope but
lost your
address...please repost it to me & I'll send it out TOOT SWEET.
In the last few weeks I have been picking up CHEAP back issues
of various duck
books & have had a jolly old time re-reading Barks treasures &
have been
discovering some great new stuff. Don, I like your stuff a lot
& have actually
put in a sub at a local comic shop for Scrooge (the owner says
he's going to
try to get me part 1 of LO$ -- I hope so ---otherwise, I'll
trade old Barks
Collectors for a copy if anyone is interested). I also have
enjoyed reading Van
Horn's stuff...I went nuts over the chicken soup story.
[aside: isn't it interesting how ducks in duckburg will eat
chicken & turkey in
one story, & will chat with chickens in another? Then again,
it's not that
different from the famous Mickey Mouse cartoon where Mickey
performs a
scientific experiment on a "mouse," depicted much smaller than
him and drawn
more like a Warner Mouse than Mickey...]
One book I dug up has a favorite story of mine reprinted -- the
one where U$
takes Donald & the boys into outer space & they bypass the
space station so
Scrooge won't have to buy them $10,000 hotdogs. I love it!
Apparently, in more
than one story (as I recall), CB would take note of the fact
that Duckburg
technology was on a different level with the rest of the world
-- spaceships,
etc. were commonplace, but only in Duckburg.
Anyway, I'm back & am looking forward to more digests.
Ron
David A Gerstein
"Don't Call Me Tut!" review
Message 59 -
1994-03-10 at 05:53:18
Dear Folks,
The following is a tentative version of a letter I plan to
send to DOUBLETALK letter column about "Don't Call Me Tut." I thought
you folks would like to see what I have to say. I'm hoping this
doesn't sound too critical.
* * * * *
Dear Gary [Gabner],
I find "Don't Call Me Tut" to be inferior to "A Very Goofy
Midas." Set beside the former story, it seems to duplicate
many aspects: Goofy has a very abnormal temper in both of the
stories, cruelly ordering his various underlings around, and in both
tales we have Pete threatening Goofy (last time, Pete wanted to
actually make hamburger out of him, and this time it's feeding him to
the crocodiles). Here both of these aspects are more obvious, because
Goofy spends more time angry and Pete has less justification for his
rage.
I was shocked to hear a character, after receiving a blow with
a heavy chunk of rock, comment that because he was a "cartoon person,"
it was impossible for him to be hurt. This is perhaps the most
revealing indication of what it is in this writer's attitude that
bothers me. He treats the characters as toons, not as living, breathing
characters. I lost much of my respect for the writer when that comment
appeared. It shows that the silliness in the story is due to the
writer's view that the characters didn't deserve serious treatment.
It was another reason why the story, appearing in conjunction with the
superb Barks story this issue, will give "green" readers the idea that
compared with the Ducks, Mickey is very childish and inadequate.
"Don't Call Me Tut" is also not really the kind of story that
works well as a serial. Very little had happened by the time Chapter
One ended. If Gladstone really plans to run (at least) two more of
these stories in future, I suggest that they switch their schedule a
bit and put the stories complete in 64-page issues, as in D&M 20 --
not broken over three regular issues. Either that or cut the stories
to 2 parts -- like when Disney Comics printed "Goofy Frankenstein" in
GOOFY ADVENTURES. Disney scissored twenty pages, making what would
have been meandering and strung-out in three parts much funnier in two.
I'm sorry to give such harsh criticism. Please note that in
general, I love Gladstone's comics. But D&M needs to improve, and can
do so by usually using its Mickey section for foreign Mouse tales and
Gottfredson Sunday strips.
Sincerely,
David Gerstein
* * * * *
[End of the proposed letter to DOUBLETALK]
BTW, "Goofy Frankenstein" shows some resemblance to "Midas"
and "Tut." G. F. has an ugly Igor following him around who he can
make uncharacteristic smart remarks to. He is frequently threatened
by his monster and by the townsfolk for his deeds, and each time he
tries to blame the deeds on Mickey and Igor...
David Gerstein
<David.A.Gerstein at Williams.edu>
The following is a tentative version of a letter I plan to
send to DOUBLETALK letter column about "Don't Call Me Tut." I thought
you folks would like to see what I have to say. I'm hoping this
doesn't sound too critical.
* * * * *
Dear Gary [Gabner],
I find "Don't Call Me Tut" to be inferior to "A Very Goofy
Midas." Set beside the former story, it seems to duplicate
many aspects: Goofy has a very abnormal temper in both of the
stories, cruelly ordering his various underlings around, and in both
tales we have Pete threatening Goofy (last time, Pete wanted to
actually make hamburger out of him, and this time it's feeding him to
the crocodiles). Here both of these aspects are more obvious, because
Goofy spends more time angry and Pete has less justification for his
rage.
I was shocked to hear a character, after receiving a blow with
a heavy chunk of rock, comment that because he was a "cartoon person,"
it was impossible for him to be hurt. This is perhaps the most
revealing indication of what it is in this writer's attitude that
bothers me. He treats the characters as toons, not as living, breathing
characters. I lost much of my respect for the writer when that comment
appeared. It shows that the silliness in the story is due to the
writer's view that the characters didn't deserve serious treatment.
It was another reason why the story, appearing in conjunction with the
superb Barks story this issue, will give "green" readers the idea that
compared with the Ducks, Mickey is very childish and inadequate.
"Don't Call Me Tut" is also not really the kind of story that
works well as a serial. Very little had happened by the time Chapter
One ended. If Gladstone really plans to run (at least) two more of
these stories in future, I suggest that they switch their schedule a
bit and put the stories complete in 64-page issues, as in D&M 20 --
not broken over three regular issues. Either that or cut the stories
to 2 parts -- like when Disney Comics printed "Goofy Frankenstein" in
GOOFY ADVENTURES. Disney scissored twenty pages, making what would
have been meandering and strung-out in three parts much funnier in two.
I'm sorry to give such harsh criticism. Please note that in
general, I love Gladstone's comics. But D&M needs to improve, and can
do so by usually using its Mickey section for foreign Mouse tales and
Gottfredson Sunday strips.
Sincerely,
David Gerstein
* * * * *
[End of the proposed letter to DOUBLETALK]
BTW, "Goofy Frankenstein" shows some resemblance to "Midas"
and "Tut." G. F. has an ugly Igor following him around who he can
make uncharacteristic smart remarks to. He is frequently threatened
by his monster and by the townsfolk for his deeds, and each time he
tries to blame the deeds on Mickey and Igor...
David Gerstein
<David.A.Gerstein at Williams.edu>
Don Rosa
Disney-comics digest #264.
Message 60 -
1994-03-10 at 07:27:03
Well, I have a list of things to comment on.
DAVID:
David, believe me, I have been reading those
statement-of-ownerships long enough to know the difference between the
"issues-sold" and the "issues-printed". Everything I said in my last
message was true -- go back and check your Disney-Disneys and see. They
DID print their "annual" statement-of-ownership twice in 2 months, and
the figures for "average number of copies sold per issue" for the same
period of time DID drop as drastically as I said.
BJORN:
I'm very glad you liked that Lo$ #10. In many ways, it's my
favorite chapter of the series! It is jam-packed with Barks references,
it has such a great cast of interesting characters, it ties up so many
aspects of the series past and future, and it really moves at a
lightning speed with several things going on at all times. I wish I
could get all my stuff to work out like this.
I, myself, am VERY displeased with that half-page panel. I don't
know why I can't see this sort of thing until after I send in the art,
but those battleships are drawn with the wrong perspective and look like
2D cut-outs in a shooting gallery. (People who have yet to read the
story are going "Battleships? What the hell...?" Gosh, it'll be late
summer 1995 before Americans will know about those battleships.
Anyway, yes, I was real happy with Lo$ #10. In fact, I just
received my copies from the Norwegian editor (the ONLY editor in the
world who is nice enough to send me copies). I can't check now - are you
in Norway? Is someone else here in Norway? Geir, are you out there
tonight? The reason I ask is that I'd really like to know what is going
on in this DONALD DUCK & CO. #10, 1994, (this Lo$#10 issue) on pages 24
& 25! It seems to be some sort of contest with the prize being a signed
& numbered limited edition lithograph of my DD Family Tree. (I may have
never mentioned that they printed a small number of these in Norway for
such prize offers and to give to Egmont VIPs. I signed and numbered them
last time I was in Norway.) Does this contest have something to do with
the approach of DD&CO #2000 in about 5 weeks? And what is that puzzle
story that precedes the prize pages?
MATTIAS:
Yes, getcherseff a Lo$ #10. I want to know what you think of it!
And, YES, I'm still trusting that you'll be my Swedish supplier
of funnybooks! I don't think there are any back-issue Don Rosa - KALLE
ANKAs that I need, unless you already have some set aside. Whatever I
might have told you I needed before still applies, I guess.
ABOUT HARRY GLADSTONE:
NOW I know the story you folks are discussing! I have an
interesting tale to tell about that, involving the only brush I had with
Disney stuff prior to going to work for Gladstone (the company) in '86.
I had known Russell Schroeder through fanzines since about
1974, and on my first visit to DisneyWorld, he took me on a tour of his
office in the Disney Merchandise Art Department below Main Street.
While down there he introduced me to someone (apparently Gladstone, the
guy) and told me he had done a story that Gold Key had just used. And I
was very interested since I had spotted that story while flipping
through those hideous Gold Key comics that I was still buying for
collection's sake. I can't recall any details of the story's history
that he told me -- I can't recall when or why he submitted it to Gold
Key, or why they used a story so completely different from the drek
they'd been publishing. I don't think he ever had any interest in doing
comic books but did that one tale for fun. And if Barks had any
connection with it, I dunno... I would think I'd recall that detail.
Anyway, the OTHER weird thing that happened was that Russell
then took me to meet...uh...whatzisname, the old guy who is down there
in DisneyWorld and who they trot out to park guests since he's one of
the few living souls who worked in the studio animation department in
the 30s. You still see this guy down set up in the Disney "collectibles"
(UGH) store there in the Magic Kingdom where "The Walt Disney Story"
used to be. Anyhow, I spoke to the old fellow briefly, and he said he
used to know Barks at the studio, and our short discussion lead somehow
to my commenting on how Barks was then currently painting scenes of
Donald and $crooge and selling them at auctions or to collectors for
thousands of dollars and wasn't that great. And the old guy's eyes lit
up with fire and he said "He's doing WHAT!!!???"... and he became rather
disturbed. Naturally ALL those guys would like to have a deal like that,
but it's not allowed. I asked Russell later if he thought I had
inadvertantly gotten Barks in trouble and he said he was sure not. And
yet, shortly thereafter, Disney ordered Barks to STOP doing those
paintings. I'll never know the story of what happened here.
RON:
I'm compelled to mention that there were a few stories in the
mid 60s... ONE in particular... where Barks claimed that Duckburg was
far advanced of all other Earth cities, it looked like a city out of
Buck Rogers with people hopping about in space-cars, its own space
station, and everybody and his brother rocketing about the solar system
on weekend trips. I regard these as "fictitious" tales, done at a time
when Barks must obviously have been running dry of ideas! Duckburg is
nothing more than a medium-sized, absolutely normal west-coast city. The
only space travel I can tolerate in a Duck comic is when Gyro invents
some one-of-a-kind ship for $crooge for some special occaission, and
where the idea of space travel is treated in a very Jules Verne style. I
will not tolerate the idea of these Ducks being able to hop around the
solar system at will in rockets, anymore than I would tolerate them all
becoming a super-hero team or some such.
DAVID:
David, believe me, I have been reading those
statement-of-ownerships long enough to know the difference between the
"issues-sold" and the "issues-printed". Everything I said in my last
message was true -- go back and check your Disney-Disneys and see. They
DID print their "annual" statement-of-ownership twice in 2 months, and
the figures for "average number of copies sold per issue" for the same
period of time DID drop as drastically as I said.
BJORN:
I'm very glad you liked that Lo$ #10. In many ways, it's my
favorite chapter of the series! It is jam-packed with Barks references,
it has such a great cast of interesting characters, it ties up so many
aspects of the series past and future, and it really moves at a
lightning speed with several things going on at all times. I wish I
could get all my stuff to work out like this.
I, myself, am VERY displeased with that half-page panel. I don't
know why I can't see this sort of thing until after I send in the art,
but those battleships are drawn with the wrong perspective and look like
2D cut-outs in a shooting gallery. (People who have yet to read the
story are going "Battleships? What the hell...?" Gosh, it'll be late
summer 1995 before Americans will know about those battleships.
Anyway, yes, I was real happy with Lo$ #10. In fact, I just
received my copies from the Norwegian editor (the ONLY editor in the
world who is nice enough to send me copies). I can't check now - are you
in Norway? Is someone else here in Norway? Geir, are you out there
tonight? The reason I ask is that I'd really like to know what is going
on in this DONALD DUCK & CO. #10, 1994, (this Lo$#10 issue) on pages 24
& 25! It seems to be some sort of contest with the prize being a signed
& numbered limited edition lithograph of my DD Family Tree. (I may have
never mentioned that they printed a small number of these in Norway for
such prize offers and to give to Egmont VIPs. I signed and numbered them
last time I was in Norway.) Does this contest have something to do with
the approach of DD&CO #2000 in about 5 weeks? And what is that puzzle
story that precedes the prize pages?
MATTIAS:
Yes, getcherseff a Lo$ #10. I want to know what you think of it!
And, YES, I'm still trusting that you'll be my Swedish supplier
of funnybooks! I don't think there are any back-issue Don Rosa - KALLE
ANKAs that I need, unless you already have some set aside. Whatever I
might have told you I needed before still applies, I guess.
ABOUT HARRY GLADSTONE:
NOW I know the story you folks are discussing! I have an
interesting tale to tell about that, involving the only brush I had with
Disney stuff prior to going to work for Gladstone (the company) in '86.
I had known Russell Schroeder through fanzines since about
1974, and on my first visit to DisneyWorld, he took me on a tour of his
office in the Disney Merchandise Art Department below Main Street.
While down there he introduced me to someone (apparently Gladstone, the
guy) and told me he had done a story that Gold Key had just used. And I
was very interested since I had spotted that story while flipping
through those hideous Gold Key comics that I was still buying for
collection's sake. I can't recall any details of the story's history
that he told me -- I can't recall when or why he submitted it to Gold
Key, or why they used a story so completely different from the drek
they'd been publishing. I don't think he ever had any interest in doing
comic books but did that one tale for fun. And if Barks had any
connection with it, I dunno... I would think I'd recall that detail.
Anyway, the OTHER weird thing that happened was that Russell
then took me to meet...uh...whatzisname, the old guy who is down there
in DisneyWorld and who they trot out to park guests since he's one of
the few living souls who worked in the studio animation department in
the 30s. You still see this guy down set up in the Disney "collectibles"
(UGH) store there in the Magic Kingdom where "The Walt Disney Story"
used to be. Anyhow, I spoke to the old fellow briefly, and he said he
used to know Barks at the studio, and our short discussion lead somehow
to my commenting on how Barks was then currently painting scenes of
Donald and $crooge and selling them at auctions or to collectors for
thousands of dollars and wasn't that great. And the old guy's eyes lit
up with fire and he said "He's doing WHAT!!!???"... and he became rather
disturbed. Naturally ALL those guys would like to have a deal like that,
but it's not allowed. I asked Russell later if he thought I had
inadvertantly gotten Barks in trouble and he said he was sure not. And
yet, shortly thereafter, Disney ordered Barks to STOP doing those
paintings. I'll never know the story of what happened here.
RON:
I'm compelled to mention that there were a few stories in the
mid 60s... ONE in particular... where Barks claimed that Duckburg was
far advanced of all other Earth cities, it looked like a city out of
Buck Rogers with people hopping about in space-cars, its own space
station, and everybody and his brother rocketing about the solar system
on weekend trips. I regard these as "fictitious" tales, done at a time
when Barks must obviously have been running dry of ideas! Duckburg is
nothing more than a medium-sized, absolutely normal west-coast city. The
only space travel I can tolerate in a Duck comic is when Gyro invents
some one-of-a-kind ship for $crooge for some special occaission, and
where the idea of space travel is treated in a very Jules Verne style. I
will not tolerate the idea of these Ducks being able to hop around the
solar system at will in rockets, anymore than I would tolerate them all
becoming a super-hero team or some such.