Nominees have been announced for the Eisner Awards, which are awards for comic
book professionals in America, chosen by comic book professionals in America.
William Van Horn was nominated as best cartoonist for his work in WDC&S.
Don "No Respect" Rosa was not nominated.
greg
--
"REALISTIC ORIGIN COMICS: BATMAN. Young Bruce Wayne was walking home with
his parents one night, when a mugger stepped out of the shadows and murdered
his parents in front of him. Bruce never truly got over the trauma, and after
a childhood full of reform schools, he was placed into Arkham Asylum after
claiming that a bat had told him that he had to dress up in a funny costume
and beat criminals into submission."--Mike Schiffer et al.
elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov)
Author
Topic: 199405
(152 messages)
M-O-O-N Spells Elmo, Laws Yes
Eisner Awards
Message 91 -
1994-05-11 at 19:05:45
Fredrik Ekman
Eisner Awards
Message 92 -
1994-05-11 at 21:58:02
Greg wrote:
> William Van Horn was nominated as best cartoonist for his work in WDC&S.
> Don "No Respect" Rosa was not nominated.
Could you please tell us poor non-English-as-first-language-speaking
devils exactly what "cartoonist" signifies in this particular context?
/F
> William Van Horn was nominated as best cartoonist for his work in WDC&S.
> Don "No Respect" Rosa was not nominated.
Could you please tell us poor non-English-as-first-language-speaking
devils exactly what "cartoonist" signifies in this particular context?
/F
Mark Mayerson
Rosa self-caricature?
Message 93 -
1994-05-11 at 22:17:23
I recently bought a book from Krause publications called Comic Book
Superstars, covering biographical data for American comics creators.
Besides biographical information on Don Rosa, there was a photo of him
sporting a moustache and goatee. This surprised me since the only
image I had of Don were self caricatures (clean shaven) that he used
to do for Information Center columns in Rocket's Blast and elsewhere.
So.....there's a character in Guardians of the Lost Library named
Hassan Ben Fhedyet who sports a moustache and goatee. What's the story,
Don? Is that you?
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
Superstars, covering biographical data for American comics creators.
Besides biographical information on Don Rosa, there was a photo of him
sporting a moustache and goatee. This surprised me since the only
image I had of Don were self caricatures (clean shaven) that he used
to do for Information Center columns in Rocket's Blast and elsewhere.
So.....there's a character in Guardians of the Lost Library named
Hassan Ben Fhedyet who sports a moustache and goatee. What's the story,
Don? Is that you?
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
Tryg Helseth
Rosa self-caricature?
Message 94 -
1994-05-12 at 02:02:21
Mark Mayerson wrote:
>So.....there's a character in Guardians of the Lost Library named
>Hassan Ben Fhedyet who sports a moustache and goatee. What's the story,
>Don? Is that you?
That character, Hassan Ben Fhedyet, doesn't look anything like the
self-caricaricatures that Don did in the RBCC... HBF is thin and drawn
(drawn thin? <G>) to go along with his name.
Tryg
>So.....there's a character in Guardians of the Lost Library named
>Hassan Ben Fhedyet who sports a moustache and goatee. What's the story,
>Don? Is that you?
That character, Hassan Ben Fhedyet, doesn't look anything like the
self-caricaricatures that Don did in the RBCC... HBF is thin and drawn
(drawn thin? <G>) to go along with his name.
Tryg
Don Rosa
Disney-comics digest #326.
Message 95 -
1994-05-12 at 07:42:56
SWEDEN:
Yes, Sweden WILL be getting the Lo$ part 12, only it will be
delayed until Christmas (since it's a Christmas story -- I can't argue
with that). But also Sweden will delay my DD's special 60th Birthday
story for one year since their editor has already written a special
birthday story. This is not something in my control or any of my
business, but my story was both clearly a story celebrating a "special"
birthday, not the umpty-first. Also, it deals specifically with the 60th
Birthday... it will need some rewriting and page deletions to remove
that reference.
HARRY:
I see now what you meant about the nephew saying he could
"barely recognize the JW emblem" on the book in the case when it looked
quite clear. As the upside-down Guardian symbol, it was barely
recognizeable as just a shape... but only *I* knew that since I wrote
the story! As a JW symbol, which is what everyone in the story thought
it was, there wasn't much reason for anyone to say it wasn't
recognizeable. Hm. I guess I shouldn't have worded that just so.
RoC:
The "official" Egmont title to Lo$ #11 WAS "The Richest Duck in
the World". Sometimes Byron and I don't quite agree on everything, but
he's the boss; he chose that as the title for #11 and the title for #12
will be "The Recluse of McDuck Mansion". If I ultimately decide I don't
like those titles, I'll suggest others to Gladstone and see what they
think when it comes time for them to reprint them. "TRDitW" has a very
special ring to it, and I wanted that as the title of the final chapter;
my title for #11 was "The Empire-Builder from Calisota".
By the way, are you saying that you've mailed those comics to me
now? By air-mail? I look forward to receiving them! I'm sure you
included your address so I can send you some CAPTAIN KENTUCKYs... but
don't you want more, such as postage???
MIKKO:
Yes, Egmont most certainly owns your Finnish publisher of Disney
comics and all those other best-selling publications. Egmont is a @#$#&%
big company -- they own over 100 publishers and TV/movie production
companies around the world.
And how do you know they received lots of favorable mail for my
"Wendigo" story? Did they announce that in the comic or something? They
never tell me stuff like that.
DANIEL van E.:
Of course, thanks for the kind words!
As to your specific questions -- my putting a squished MM on the
bottom of the elephant's foot in Lo$ #6 was just a joke between me and
Byron Erickson. He was SUPPOSED to delete that. He thought the
publishers would get a chuckle out of it, then THEY would delete it.
Nobody deleted it and it was published in all editions! Gah! I know I
kid a lot about how much more I like DD than MM... but I don't mean to
be that disrespectful to poor MM.
As for the comment in Lo$ #5 about $crooge selling all the
furniture from the castle -- yes, I DO put an enormous amount of
detailed references to old stories, many of which you won't spot for
years... but THAT wasn't one of them. It was just something funny for
$crooge to be saying in that panel.
MARK M.:
You know, you're the SECOND person to ask me if that guy in
"GotLL" was supposed to be ME. And I can't figure this out. Why would
anyone think it's ME? Does it look like it was drawn to LOOK like
someone??? Why ME?
Nah, it's not me -- I have a full red beard, not a black
pencil-thin moustache and tiny goatee. And I'm not thin as a rail. And
I'm not Egyptian. And I don't have a lil' black nose. Why would that be
me?
BARKS' NASTY COMMENTS:
I'm steeling myself for a deluge of this sort of thing during
Barks' European tour. There is evidence that the whole idea for this
tour came from how much attention I've been getting in Europe, and he
seems to offer at least two unsolicited more-and-more direct attacks on
me with each interview he gives. I'm delighted he's going to Europe to
enjoy how wildly popular his work is there, and I've always freely
admitted that I thought all the attention I get was that the Europeans
saw me as his "proxy" and I was all they had... but now they have the
real thing. But I DO sorta resent the fact that he can't enjoy that
popularity without taking swipes at me for no apparent reason -- maybe
that's his revenge on me, in his eyes? I dunno, but as much as it hurts,
I CAN'T react to it publicly. He is Barks.
The way I'm trying to look at it nowadays is that if my lifelong
idol fears me so much that he goes out of his way to make these
mean-spirited and, perhaps, cowardly sneak attacks on me, I should take
that as a supreme complement? At least that might help cut down on the
nightmares I get each night that I hear his latest remark about me. Ah,
well.
Yes, Sweden WILL be getting the Lo$ part 12, only it will be
delayed until Christmas (since it's a Christmas story -- I can't argue
with that). But also Sweden will delay my DD's special 60th Birthday
story for one year since their editor has already written a special
birthday story. This is not something in my control or any of my
business, but my story was both clearly a story celebrating a "special"
birthday, not the umpty-first. Also, it deals specifically with the 60th
Birthday... it will need some rewriting and page deletions to remove
that reference.
HARRY:
I see now what you meant about the nephew saying he could
"barely recognize the JW emblem" on the book in the case when it looked
quite clear. As the upside-down Guardian symbol, it was barely
recognizeable as just a shape... but only *I* knew that since I wrote
the story! As a JW symbol, which is what everyone in the story thought
it was, there wasn't much reason for anyone to say it wasn't
recognizeable. Hm. I guess I shouldn't have worded that just so.
RoC:
The "official" Egmont title to Lo$ #11 WAS "The Richest Duck in
the World". Sometimes Byron and I don't quite agree on everything, but
he's the boss; he chose that as the title for #11 and the title for #12
will be "The Recluse of McDuck Mansion". If I ultimately decide I don't
like those titles, I'll suggest others to Gladstone and see what they
think when it comes time for them to reprint them. "TRDitW" has a very
special ring to it, and I wanted that as the title of the final chapter;
my title for #11 was "The Empire-Builder from Calisota".
By the way, are you saying that you've mailed those comics to me
now? By air-mail? I look forward to receiving them! I'm sure you
included your address so I can send you some CAPTAIN KENTUCKYs... but
don't you want more, such as postage???
MIKKO:
Yes, Egmont most certainly owns your Finnish publisher of Disney
comics and all those other best-selling publications. Egmont is a @#$#&%
big company -- they own over 100 publishers and TV/movie production
companies around the world.
And how do you know they received lots of favorable mail for my
"Wendigo" story? Did they announce that in the comic or something? They
never tell me stuff like that.
DANIEL van E.:
Of course, thanks for the kind words!
As to your specific questions -- my putting a squished MM on the
bottom of the elephant's foot in Lo$ #6 was just a joke between me and
Byron Erickson. He was SUPPOSED to delete that. He thought the
publishers would get a chuckle out of it, then THEY would delete it.
Nobody deleted it and it was published in all editions! Gah! I know I
kid a lot about how much more I like DD than MM... but I don't mean to
be that disrespectful to poor MM.
As for the comment in Lo$ #5 about $crooge selling all the
furniture from the castle -- yes, I DO put an enormous amount of
detailed references to old stories, many of which you won't spot for
years... but THAT wasn't one of them. It was just something funny for
$crooge to be saying in that panel.
MARK M.:
You know, you're the SECOND person to ask me if that guy in
"GotLL" was supposed to be ME. And I can't figure this out. Why would
anyone think it's ME? Does it look like it was drawn to LOOK like
someone??? Why ME?
Nah, it's not me -- I have a full red beard, not a black
pencil-thin moustache and tiny goatee. And I'm not thin as a rail. And
I'm not Egyptian. And I don't have a lil' black nose. Why would that be
me?
BARKS' NASTY COMMENTS:
I'm steeling myself for a deluge of this sort of thing during
Barks' European tour. There is evidence that the whole idea for this
tour came from how much attention I've been getting in Europe, and he
seems to offer at least two unsolicited more-and-more direct attacks on
me with each interview he gives. I'm delighted he's going to Europe to
enjoy how wildly popular his work is there, and I've always freely
admitted that I thought all the attention I get was that the Europeans
saw me as his "proxy" and I was all they had... but now they have the
real thing. But I DO sorta resent the fact that he can't enjoy that
popularity without taking swipes at me for no apparent reason -- maybe
that's his revenge on me, in his eyes? I dunno, but as much as it hurts,
I CAN'T react to it publicly. He is Barks.
The way I'm trying to look at it nowadays is that if my lifelong
idol fears me so much that he goes out of his way to make these
mean-spirited and, perhaps, cowardly sneak attacks on me, I should take
that as a supreme complement? At least that might help cut down on the
nightmares I get each night that I hear his latest remark about me. Ah,
well.
Mikko Henri Juhani Aittola
Threethings
Message 96 -
1994-05-12 at 12:53:53
William Van Horn index update:
According to an advertisment in U$ #252 the 'Run-Down Runner'
story in DDAD #10 is written by John Lustig.
Family-Tree:
Aku Ankka published some comments regarding Don Rosa's
family tree. They also published a Barks' small (old?)
version. According to that Gus Goose is as much Donald's
cousin as Gladstone. Can someone confirm this or did
our publisher mess things up?
Universe Poll in rec.arts.comics.misc:
Some guy is running a poll in racm about favourite
Universes. You can vote three universes, best
gets 5pts, second 3pts and third 1pt.
So, vote for 'Barks-verse (Disney)'.
Send votes (before 17th) to: misc209 at csc.canterbury.ac.nz
/M
According to an advertisment in U$ #252 the 'Run-Down Runner'
story in DDAD #10 is written by John Lustig.
Family-Tree:
Aku Ankka published some comments regarding Don Rosa's
family tree. They also published a Barks' small (old?)
version. According to that Gus Goose is as much Donald's
cousin as Gladstone. Can someone confirm this or did
our publisher mess things up?
Universe Poll in rec.arts.comics.misc:
Some guy is running a poll in racm about favourite
Universes. You can vote three universes, best
gets 5pts, second 3pts and third 1pt.
So, vote for 'Barks-verse (Disney)'.
Send votes (before 17th) to: misc209 at csc.canterbury.ac.nz
/M
Nikolaus Andresen
I'm visiting Vancouver!
Message 97 -
1994-05-12 at 15:02:59
Hi there Barks and Gottfredson-freaks!
I know I'm not one of the regular posters
( mostly when I have requests :-) )
but nevertheless I've got another question:
Are there any canadian members from the region
around Vancouver or US-members from the west
down to California in this list ?
Me, I'm one of the german members of
this list and I'm going for a summer-job
abroad to Vancouver from July to September,
and maybe I'll travel around a bit down
to the states.
If anyone is interested to be visited :-)
and have a chat with a big Barks and
Gottfredson fan, just let me know!
Cheers
Nikolaus Andresen
<niko at ramz.ing.tu-bs.de>
I know I'm not one of the regular posters
( mostly when I have requests :-) )
but nevertheless I've got another question:
Are there any canadian members from the region
around Vancouver or US-members from the west
down to California in this list ?
Me, I'm one of the german members of
this list and I'm going for a summer-job
abroad to Vancouver from July to September,
and maybe I'll travel around a bit down
to the states.
If anyone is interested to be visited :-)
and have a chat with a big Barks and
Gottfredson fan, just let me know!
Cheers
Nikolaus Andresen
<niko at ramz.ing.tu-bs.de>
M-O-O-N Spells Elmo, Laws Yes
Disney-comics digest #326.
Message 98 -
1994-05-12 at 22:07:01
Fredrik Ekman <d91fe at neptunus.pt.hk-r.se> writes:
>Greg wrote:
>> William Van Horn was nominated as best cartoonist for his work in WDC&S.
>> Don "No Respect" Rosa was not nominated.
>Could you please tell us poor non-English-as-first-language-speaking
>devils exactly what "cartoonist" signifies in this particular context?
I double-checked. The actual cateogry is "Writer/Artist or Cartoonist".
I suspect the difference between Wartist and Cartoonist is style and
humor content. Cartoonists use "cartoony" art (big-foot style, caricatures,
funny animals, etc.) and produce mostly humorous work.
The complete category nominations are:
12. Best Writer/Artist or Cartoonist
Phil Foglio, XXXenophile (Palliard Press) [also Buck Godot (Palliard) --gm.]
Roberta Gregory, Naughty Bits (Fantagraphics)
Stan Sakai, Usagi Yojimbo (Fantagraphics/Mirage)
Dave Sim, Cerebus (Aardvark-Vanaheim)
Jeff Smith, Bone (Cartoon Books)
William Van Horn, Walt Disney's Comics and Stories, Donald Duck Adventures
(Gladstone)
Of these, Phil Foglio, Stan Sakai, Jeff Smith, and William Van Horn are
cartoonists.
Incidentally, I'm familiar with the work of everyone on this list except
Roberta Gregory. Every single one of them is a good-to-excellent read.
(My vote would go to Foglio.) Word-of-mouth on Gregory is also excellent.
greg
--
"The use of unnecessary force in the apprehension of the Blues Brothers has
been approved."--The Blues Brothers
elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov)
>Greg wrote:
>> William Van Horn was nominated as best cartoonist for his work in WDC&S.
>> Don "No Respect" Rosa was not nominated.
>Could you please tell us poor non-English-as-first-language-speaking
>devils exactly what "cartoonist" signifies in this particular context?
I double-checked. The actual cateogry is "Writer/Artist or Cartoonist".
I suspect the difference between Wartist and Cartoonist is style and
humor content. Cartoonists use "cartoony" art (big-foot style, caricatures,
funny animals, etc.) and produce mostly humorous work.
The complete category nominations are:
12. Best Writer/Artist or Cartoonist
Phil Foglio, XXXenophile (Palliard Press) [also Buck Godot (Palliard) --gm.]
Roberta Gregory, Naughty Bits (Fantagraphics)
Stan Sakai, Usagi Yojimbo (Fantagraphics/Mirage)
Dave Sim, Cerebus (Aardvark-Vanaheim)
Jeff Smith, Bone (Cartoon Books)
William Van Horn, Walt Disney's Comics and Stories, Donald Duck Adventures
(Gladstone)
Of these, Phil Foglio, Stan Sakai, Jeff Smith, and William Van Horn are
cartoonists.
Incidentally, I'm familiar with the work of everyone on this list except
Roberta Gregory. Every single one of them is a good-to-excellent read.
(My vote would go to Foglio.) Word-of-mouth on Gregory is also excellent.
greg
--
"The use of unnecessary force in the apprehension of the Blues Brothers has
been approved."--The Blues Brothers
elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov)
Mikko Henri Juhani Aittola
Disney-comics digest #327.
Message 99 -
1994-05-13 at 11:59:57
Don wrote:
> Yes, Egmont most certainly owns your Finnish publisher of Disney
> comics and all those other best-selling publications.
I have to check that out somehow, but I think
'Helsinki Media Company Oy' is mainly owned by Finnish people,
Egmont may have big bunch of its stocks tough.
> And how do you know they received lots of favorable mail for my
> "Wendigo" story? Did they announce that in the comic or something? They
> never tell me stuff like that.
In Aku Ankka there is sometimes (not in every issue) a
sort of letter-column called 'Toimituksen oma nurkka'.
After the Wendigo-story they 'announced' that they
have never received so much fan-mail for any story.
They also published a fan-letter right after your 'first'
story (not Son Of the Sun) in Finland was published. The
writer asked who the incredible artist-with-odd-style was
and they answered it was 'young American called Don Rosa.'
In last week's issue there is discussion about your Family-Tree.
People are complaining like 'Since I was three I have known
Granny Duck is $crooges sister...' (for some reason $crooges last
name in Finland is Duck not McDuck). They also talked about
Dumbella-Della 'incident'.
/M
> Yes, Egmont most certainly owns your Finnish publisher of Disney
> comics and all those other best-selling publications.
I have to check that out somehow, but I think
'Helsinki Media Company Oy' is mainly owned by Finnish people,
Egmont may have big bunch of its stocks tough.
> And how do you know they received lots of favorable mail for my
> "Wendigo" story? Did they announce that in the comic or something? They
> never tell me stuff like that.
In Aku Ankka there is sometimes (not in every issue) a
sort of letter-column called 'Toimituksen oma nurkka'.
After the Wendigo-story they 'announced' that they
have never received so much fan-mail for any story.
They also published a fan-letter right after your 'first'
story (not Son Of the Sun) in Finland was published. The
writer asked who the incredible artist-with-odd-style was
and they answered it was 'young American called Don Rosa.'
In last week's issue there is discussion about your Family-Tree.
People are complaining like 'Since I was three I have known
Granny Duck is $crooges sister...' (for some reason $crooges last
name in Finland is Duck not McDuck). They also talked about
Dumbella-Della 'incident'.
/M
James Williams
Disney-comics digest #324.
Message 100 -
1994-05-13 at 15:27:16
Mikko wrote:
>I think Barks has right of some degree to be upset at Rosa. I think I
>would be too if somebody would start to make sequels to MY stories.
I disagree. Anyone doing stories featuring Scrooge or Gyro are
building on Barks. When Barks did his stories and created new
characters, they became part of the Disney Duck Universe. Part of
the magic of comics is having multiple writers and artists work
on the same characters or stories. If I wrote comics, I'd be thrilled
to create a comic book character (or story) that out lived me.
James Williams
>I think Barks has right of some degree to be upset at Rosa. I think I
>would be too if somebody would start to make sequels to MY stories.
I disagree. Anyone doing stories featuring Scrooge or Gyro are
building on Barks. When Barks did his stories and created new
characters, they became part of the Disney Duck Universe. Part of
the magic of comics is having multiple writers and artists work
on the same characters or stories. If I wrote comics, I'd be thrilled
to create a comic book character (or story) that out lived me.
James Williams
Fabio Gadducci
Varia
Message 101 -
1994-05-13 at 18:28:05
Dear folks,
just some scattered remarcks on a few topics.
I'm sorry with all of you (mainly David and Don) who are still waiting for
a personal answer: I'll try to send you a personal mail asap.
And about David: some time ago he wrote
> James said, "Instead of copying Osbourne and Gottfredson, why
>[shouldn't Egmont's creators] use some of their influences. Imagine
>instead that Egmont chose Dashil Hammet or Raymond Chandler as their
>influence for the writing and for the artwork use some of the old film
>noir movies of the 40s and 50s."
>
> I'm sorry to disagree with you on this, James, but let me
>explain why. Mickey Mouse's personality, in both the best of the
>cartoons and the (generally acknowledged) best of the comics, is based
>on EXUBERANCE. The best MM stories come when MM is like a mouse in his
>inquisitiveness, curiosity, flightiness and enthusiasm. A "film noir"
>aspect tends to work against that feeling. Scarpa manages it now and
>then (see "Kali's Nail", MM 254-255), but most of the time stays clear
>of it, because a grim aspect neutralizes what makes MM different from
>other adventure-oriented characters, if he stays in it for long.
> In some of the "Italian Disney Universe" stories by those
>other than Scarpa, they've gone overboard with this. In fact, perhaps
>the most direct statement came when Disney-Italy produced a straight
>MM version of "Casablanca" a few years back. Beautifully drawn, but
>MM didn't feel quite right in the role.
Well, to be honest, I really like that version of "Casablanca". A great
story by Cavazzano -one of his best ever-, who also wrote -adapted- the
script.
Mickey there is really exuberant (as you say), Goofy is great, while the
grim aspects are really in the background. Anyway, since you'll never see
it (Disney banned the story... don't ask me way!!), there is no reason to
keep on talking... :-)
Gilbert wrote:
> From: "Elon V. Brisola" <elon at VNET.IBM.COM>
>
> DAVID: (Fethry as a superhero)
> I don't know who Darkwing Duck is. I've seen only Rescue Rangers and some
> Donald Duck on TV, lately. But that doesn't sound like what I was talking
> about. Anyway, this hero Fethry thing is from the '70es.
>
>
>I remember a story in which Fethry helps Donald to prevent his secret being
>"Paperinik" as he disguises himself as "Paperinik" and shows himself along
>with Donald.
>Is it that what You meant?
The story you are referring to is Italian, even if I do not remember now
the authors (it was a stupid-but-not-so-bad-drawn story of the late
Seventies, anyway).
David was referring to Paperbat (the Italian name): a very silly character,
Brasilian I think, which is quite appreciated in South America (or so I'm
told). Even more, they have a whole group of superhero characters,
including Super-Goofy, his nephew Gilberto (Italian name), Paperinika
(SuperDaisy, more or less: a bad Italian character created by Martina and
Cavazzano, as far as I remember) and some other ones, even more silly.
Ronald wrote:
>Okay folks --- I FOUND my copies of "Dan O'Neill's Comics and Stories" Vol. 2
>Nos. 1 & 2 in my basement (I haven't the foggiest notion if there was ever a
>Vol. ONE...maybe he was referring to the two issues of "Air Pirates"), from
>1975.
I have a copy of "Dan O'Neill's Comics and Stories" Vol. 1 No. 1, dated
January 1948, even if I'm quite sure it is from 1974... :-)
Btw, can someone of you find old underground comix for me? I'm willing to
pay, honestly...
And Greg, about Eisner Awards:
>Incidentally, I'm familiar with the work of everyone on this list except
>Roberta Gregory. Every single one of them is a good-to-excellent read.
>(My vote would go to Foglio.) Word-of-mouth on Gregory is also excellent.
Instead, my vote would go to Roberta Gregory. Like her previous works on
Wimmen's Comix, Naughty Bits by R.G. (published by Fantagraphics) is a
really excellent read. Try it!!
Let's stop commercials here...
Fabio
PS Yes, Don: I received the magazines, but only two days ago. I'll send you
my impressions next week, after the Rome convention (I won't be there, but
I have a good secret agent...)
================================================================
Fabio Gadducci Dip. di Informatica
Home: +39-50-541725 Universita` di Pisa
Off.: +39-50-887268 Corso Italia 40, 56100 PISA (ITALY)
FAX: +39-50-887226 E-mail:gadducci at di.unipi.it
================================================================
just some scattered remarcks on a few topics.
I'm sorry with all of you (mainly David and Don) who are still waiting for
a personal answer: I'll try to send you a personal mail asap.
And about David: some time ago he wrote
> James said, "Instead of copying Osbourne and Gottfredson, why
>[shouldn't Egmont's creators] use some of their influences. Imagine
>instead that Egmont chose Dashil Hammet or Raymond Chandler as their
>influence for the writing and for the artwork use some of the old film
>noir movies of the 40s and 50s."
>
> I'm sorry to disagree with you on this, James, but let me
>explain why. Mickey Mouse's personality, in both the best of the
>cartoons and the (generally acknowledged) best of the comics, is based
>on EXUBERANCE. The best MM stories come when MM is like a mouse in his
>inquisitiveness, curiosity, flightiness and enthusiasm. A "film noir"
>aspect tends to work against that feeling. Scarpa manages it now and
>then (see "Kali's Nail", MM 254-255), but most of the time stays clear
>of it, because a grim aspect neutralizes what makes MM different from
>other adventure-oriented characters, if he stays in it for long.
> In some of the "Italian Disney Universe" stories by those
>other than Scarpa, they've gone overboard with this. In fact, perhaps
>the most direct statement came when Disney-Italy produced a straight
>MM version of "Casablanca" a few years back. Beautifully drawn, but
>MM didn't feel quite right in the role.
Well, to be honest, I really like that version of "Casablanca". A great
story by Cavazzano -one of his best ever-, who also wrote -adapted- the
script.
Mickey there is really exuberant (as you say), Goofy is great, while the
grim aspects are really in the background. Anyway, since you'll never see
it (Disney banned the story... don't ask me way!!), there is no reason to
keep on talking... :-)
Gilbert wrote:
> From: "Elon V. Brisola" <elon at VNET.IBM.COM>
>
> DAVID: (Fethry as a superhero)
> I don't know who Darkwing Duck is. I've seen only Rescue Rangers and some
> Donald Duck on TV, lately. But that doesn't sound like what I was talking
> about. Anyway, this hero Fethry thing is from the '70es.
>
>
>I remember a story in which Fethry helps Donald to prevent his secret being
>"Paperinik" as he disguises himself as "Paperinik" and shows himself along
>with Donald.
>Is it that what You meant?
The story you are referring to is Italian, even if I do not remember now
the authors (it was a stupid-but-not-so-bad-drawn story of the late
Seventies, anyway).
David was referring to Paperbat (the Italian name): a very silly character,
Brasilian I think, which is quite appreciated in South America (or so I'm
told). Even more, they have a whole group of superhero characters,
including Super-Goofy, his nephew Gilberto (Italian name), Paperinika
(SuperDaisy, more or less: a bad Italian character created by Martina and
Cavazzano, as far as I remember) and some other ones, even more silly.
Ronald wrote:
>Okay folks --- I FOUND my copies of "Dan O'Neill's Comics and Stories" Vol. 2
>Nos. 1 & 2 in my basement (I haven't the foggiest notion if there was ever a
>Vol. ONE...maybe he was referring to the two issues of "Air Pirates"), from
>1975.
I have a copy of "Dan O'Neill's Comics and Stories" Vol. 1 No. 1, dated
January 1948, even if I'm quite sure it is from 1974... :-)
Btw, can someone of you find old underground comix for me? I'm willing to
pay, honestly...
And Greg, about Eisner Awards:
>Incidentally, I'm familiar with the work of everyone on this list except
>Roberta Gregory. Every single one of them is a good-to-excellent read.
>(My vote would go to Foglio.) Word-of-mouth on Gregory is also excellent.
Instead, my vote would go to Roberta Gregory. Like her previous works on
Wimmen's Comix, Naughty Bits by R.G. (published by Fantagraphics) is a
really excellent read. Try it!!
Let's stop commercials here...
Fabio
PS Yes, Don: I received the magazines, but only two days ago. I'll send you
my impressions next week, after the Rome convention (I won't be there, but
I have a good secret agent...)
================================================================
Fabio Gadducci Dip. di Informatica
Home: +39-50-541725 Universita` di Pisa
Off.: +39-50-887268 Corso Italia 40, 56100 PISA (ITALY)
FAX: +39-50-887226 E-mail:gadducci at di.unipi.it
================================================================
Lasse Reichstein Nielsen
From RoC
Message 102 -
1994-05-15 at 17:36:50
DIGESTS #322-325
Harry about Donald's 2000th story:
==================================
>Ole "RoC" said:
>> (The Flux Soap ad is there, but there's only one Donald. Really.)
>
>The Flux Soap ad is one one of the 1-page panels, while I was talking about
>another 1-page panel, where Donald appears twice. It's the panel where
>the Ducks and a lot of familiar persons have a banquet.
On the FLUX page there are about 24 Donalds, but on the other I can
find only ONE, unless you are referring to the suspicious-looking guy
wearing top hat, false(?) beard, and sunglasses? Has the double been
removed in the Egmont editions, or have I just gone blind?
Mikko about Finnish Aku Ankka:
==============================
>In Barks interview, printed in Aku Ankka last year, they asked Barks
>what he thinked about current disney writers/artists. He replied
>that he is only familiar with Don Rosa's and Van Horn's work. He
>said that he likes both (he's being polite here) but the Van Horn's
>style is closer to his own. He also said that Rosa's artwork is much
>more detailed, sometimes even too detailed.
I think exactly those lines were quoted here. The new issue #18
has a page with a schedule for Barks' Euro-tour, something about the
family-tree and something else about Marco Rota's 50 years' story?
I know exactly how Don feels, when he's trying to guess what a foreign
comics says, and nothing but names make any sense...
Harry about The return of Eli Squinch:
======================================
>[...]
>And David and Ole asked for more information about it. I don't have the story
>nearby, but from my own version of the Dutch index (not on ftp yet, I think):
>
>The story is coded D 91420. Its title can be translated as "Shark Reef".
>It's 16 pages (2 episodes of 8 pages). Dutch publication: Groot Winterboek
>1993.
"Secret of the Shark Reef" is in Danish AA #42+43/92.
>The Dutch named Eli Squinch "Udo J. Uitzuiger", while his name in the old
>MM stories was "Eli Gluip". Apparently, they didn't recognise him. But I'm
>sure it's Squinch.
Well, he didn't recognize Mickey and Goofy either. I'm not even sure
if Bad Pete did. Except for decent, but uninspired, art and a gag
stolen from Herge's "Tintin and The Treasure of Red Rackham" it is not
a very interesting story.
>I also checked Ole's Danish index, and he doesn't credit the story ("Hajrevets
>Hemmelighed") to Ferioli. This probably means I still can't recognise
>Ferioli's work good enough...?
Even I can't! But it appears to be by Miguel. I assume he works for
Tello-Team, as some stories credited to them are similar to his style.
Also it's one of those "Zoom Transport" stories that, I think it was
Gary who said so, were being produced by Tello-Team.
Fredrik about Van Horn story in WDC&S #593:
===========================================
>David wrote: [...] anyone know which one this is?
>
>Umm... quite frankly... I have no idea. The most obvious would be that
>it is one of the unpublished Danish stories, but none of the ones in
>the Van Horn index includes no uncle. Of course, it COULD be that I've
>missed one, but with Ole watching my every move, striking like a hawk
>as soon as I make even the slightest mistake, that doesn't seem very
>probable.
Odd. I don't recall it either, so maybe it's unpublished here too.
You should not be able to make many mistakes if you read your Kalle
Anka & C:o every week like me. All Scandinavian/Nordic issues always
print his stories, and in Norway even the old 6-panel-a-page stories
are being reprinted.
Tryg about RoC:
===============
>OLE wrote:
>
>>*Heidi Ace MacDonald.
>> I hope an unsubscribe message will not be your only contribution.
>>Us 3-letter-joke-names got to stick together! Welcome aboard, Ace!
>
>><oLe 'RoC' Reichstein Nielsen, c/o Lasse 'Spot' R.N. (lrn at daimi.aau.dk)>
>
>I don't understand this. Could you please explain to me what you mean by
>"3-letter-joke-names?" Do you mean Heidi is a "HAM?" For that matter,
>would you mind explaining your name? Why do you capitalize it that way?
>Does "LRC" have some special meaning? Who is Lasse Reichstein Nielsen? Is
>that you or someone else? (At least I think I get the Lasse / Spot joke,
>but oLe / RoC is beyond my understanding... :) )
>
>Desparately in need of a clue...
No, I'm not an ORN either. Heidi is an "Ace".
oLe -> It supposed to be a guy with a big nose who doesn't see too well
with his right eye. You try and draw yourself in ASCII!
Ole Reichstein Nielsen -> My first, middle and last name.
I don't have net-access so...
Lasse Reichstein Nielsen -> My brothers first, middle and last name.
He sends and recieves mail for me.
RoC -> My handle. Could mean "Reader of Comics" or "Right on, Commander!"
or "Republic of China" or "Red 'ot Chili-peppers" or...
Spot -> My brothers handle. Not from Kurt Vonnegut's "Slaughterhouse 5",
but Frank Miller's "Batman: The Dark Knight Returns".
LRC -> "Lower Right Corner": where to contact me.
But if YOU got a Lasse / Spot joke, please tell me (us)!
<oLe 'RoC' Reichstein Nielsen, c/o Lasse 'Spot' R.N. (lrn at daimi.aau.dk)>
Harry about Donald's 2000th story:
==================================
>Ole "RoC" said:
>> (The Flux Soap ad is there, but there's only one Donald. Really.)
>
>The Flux Soap ad is one one of the 1-page panels, while I was talking about
>another 1-page panel, where Donald appears twice. It's the panel where
>the Ducks and a lot of familiar persons have a banquet.
On the FLUX page there are about 24 Donalds, but on the other I can
find only ONE, unless you are referring to the suspicious-looking guy
wearing top hat, false(?) beard, and sunglasses? Has the double been
removed in the Egmont editions, or have I just gone blind?
Mikko about Finnish Aku Ankka:
==============================
>In Barks interview, printed in Aku Ankka last year, they asked Barks
>what he thinked about current disney writers/artists. He replied
>that he is only familiar with Don Rosa's and Van Horn's work. He
>said that he likes both (he's being polite here) but the Van Horn's
>style is closer to his own. He also said that Rosa's artwork is much
>more detailed, sometimes even too detailed.
I think exactly those lines were quoted here. The new issue #18
has a page with a schedule for Barks' Euro-tour, something about the
family-tree and something else about Marco Rota's 50 years' story?
I know exactly how Don feels, when he's trying to guess what a foreign
comics says, and nothing but names make any sense...
Harry about The return of Eli Squinch:
======================================
>[...]
>And David and Ole asked for more information about it. I don't have the story
>nearby, but from my own version of the Dutch index (not on ftp yet, I think):
>
>The story is coded D 91420. Its title can be translated as "Shark Reef".
>It's 16 pages (2 episodes of 8 pages). Dutch publication: Groot Winterboek
>1993.
"Secret of the Shark Reef" is in Danish AA #42+43/92.
>The Dutch named Eli Squinch "Udo J. Uitzuiger", while his name in the old
>MM stories was "Eli Gluip". Apparently, they didn't recognise him. But I'm
>sure it's Squinch.
Well, he didn't recognize Mickey and Goofy either. I'm not even sure
if Bad Pete did. Except for decent, but uninspired, art and a gag
stolen from Herge's "Tintin and The Treasure of Red Rackham" it is not
a very interesting story.
>I also checked Ole's Danish index, and he doesn't credit the story ("Hajrevets
>Hemmelighed") to Ferioli. This probably means I still can't recognise
>Ferioli's work good enough...?
Even I can't! But it appears to be by Miguel. I assume he works for
Tello-Team, as some stories credited to them are similar to his style.
Also it's one of those "Zoom Transport" stories that, I think it was
Gary who said so, were being produced by Tello-Team.
Fredrik about Van Horn story in WDC&S #593:
===========================================
>David wrote: [...] anyone know which one this is?
>
>Umm... quite frankly... I have no idea. The most obvious would be that
>it is one of the unpublished Danish stories, but none of the ones in
>the Van Horn index includes no uncle. Of course, it COULD be that I've
>missed one, but with Ole watching my every move, striking like a hawk
>as soon as I make even the slightest mistake, that doesn't seem very
>probable.
Odd. I don't recall it either, so maybe it's unpublished here too.
You should not be able to make many mistakes if you read your Kalle
Anka & C:o every week like me. All Scandinavian/Nordic issues always
print his stories, and in Norway even the old 6-panel-a-page stories
are being reprinted.
Tryg about RoC:
===============
>OLE wrote:
>
>>*Heidi Ace MacDonald.
>> I hope an unsubscribe message will not be your only contribution.
>>Us 3-letter-joke-names got to stick together! Welcome aboard, Ace!
>
>><oLe 'RoC' Reichstein Nielsen, c/o Lasse 'Spot' R.N. (lrn at daimi.aau.dk)>
>
>I don't understand this. Could you please explain to me what you mean by
>"3-letter-joke-names?" Do you mean Heidi is a "HAM?" For that matter,
>would you mind explaining your name? Why do you capitalize it that way?
>Does "LRC" have some special meaning? Who is Lasse Reichstein Nielsen? Is
>that you or someone else? (At least I think I get the Lasse / Spot joke,
>but oLe / RoC is beyond my understanding... :) )
>
>Desparately in need of a clue...
No, I'm not an ORN either. Heidi is an "Ace".
oLe -> It supposed to be a guy with a big nose who doesn't see too well
with his right eye. You try and draw yourself in ASCII!
Ole Reichstein Nielsen -> My first, middle and last name.
I don't have net-access so...
Lasse Reichstein Nielsen -> My brothers first, middle and last name.
He sends and recieves mail for me.
RoC -> My handle. Could mean "Reader of Comics" or "Right on, Commander!"
or "Republic of China" or "Red 'ot Chili-peppers" or...
Spot -> My brothers handle. Not from Kurt Vonnegut's "Slaughterhouse 5",
but Frank Miller's "Batman: The Dark Knight Returns".
LRC -> "Lower Right Corner": where to contact me.
But if YOU got a Lasse / Spot joke, please tell me (us)!
<oLe 'RoC' Reichstein Nielsen, c/o Lasse 'Spot' R.N. (lrn at daimi.aau.dk)>
Wilmer Rivers
Washington Post on Mickey
Message 103 -
1994-05-15 at 21:39:32
The magazine section of today's issue of the Washington Post newspaper
contains a long article by Peter Carlson about the Walt Disney Corpora-
tion and their theme parks (since they are considering building a fifth
one, near Washington). This article also contains some interesting
comments about Mickey himself, and I think the members of this list
would want to read those. I hope the Internet police will allow me to
extract those remarks from the much longer article, which of course is
copyrighted by the Washington Post.
Most of the comments about Mickey are quotes from John Hench, who is
identified as "working for Disney since the '30s, painting backgrounds
on 'Dumbo', winning an Oscar for special effects on '20,000 Leagues
under the Sea', designing portions of all four Disney theme parks"
(including Disneyland, where the interview took place). His comments
on Mickey begin with the character's creation, after Disney's distri-
butor had stolen from him the rights to Oswald Rabbit.
-------- begin Washington Post's copyrighted material here ----------
Disney responded by creating a new character, a mouse named Mickey.
His chief animator, Ub Iwerks, simply erased Oswald's long narrow ears,
replaced them with new round ears and fiddled a bit with the face.
Presto, a mouse!
That little change - from long ears to round ears - made Mickey's head
basically a series of three interlocking circles. And that, says John
Hench, is the secret of Mickey's unprecedented international success.
Hench ought to know: He's been Mickey's "official portrait artist" for
40 years. "There's power in that kind of arrangement of circles," he
says. "His contemporary, Felix the Cat, has got a lot of points on him
and I think that activates a very old concept - that you can get hurt
around sharp points. Round forms are definitely more friendly."
Round forms recall a mother's breast and a pregnant torso and a baby's
face and other good things, Hench says. He swears he's seen ancient
fertility symbols that looked like Mickey. "They were carried as some
kind of magic."
[Carlson then discusses how Mickey has changed from the mischievous
Iwerks character to today's bland corporate representative.]
"As Mickey's personality softened, his appearance changed," wrote Har-
vard biologist Stephen Jay Gould in _The Panda's Thumb_. Gould traced
Mickey's evolution from a ratty rodent with a long, pointy snout to a
cute little creature with the round, soft features and big eyes of a
human baby. Why does a Harvard biologist pay attention to such mat-
ters? Because the cute-ification of Mickey illustrates a famous evolu-
tionary theory theory, which holds that human beings - stuck with off-
spring requiring years of labor-intensive nurturing - are biologically
programmed to get all gooey and gaga over animals with babyish fea-
tures. That, he says, is why we love the Mouse: Mickey "reflects the
unconscious discovery of this biological principle by Disney and his
artists."
Hench disagrees slightly: He says the artists _consciously_ made Mickey
look like a cute little kid.
[Carlson and Hench run into a group of kids gathered around the Disney-
land employee in the Mickey costume.]
Hench acknowledges, however, that the costumed Mickeys bother him.
"The walk-around Mickey is, to my mind, a monstrous distortion of what
the real figure should be. They have to get a human being in there,
and human beings are built differently." He shrugs. "But it still
works."
Hench sits on a park bench, takes out a piece of paper and starts
sketching Mickey. With a couple quick strokes, he creates the famous
ears. "They're always circles, no matter which way he looks," he says.
Then he adds Mickey's rounded hairline and pointed widow's peak. "This
gives him his eternally surprised expression - surprised and delighted
somehow." He smiles. "And he _is_ delighted. He's a kind of pro-life
symbol."
-----------------------------------------------------------------------
Wilmer Rivers
contains a long article by Peter Carlson about the Walt Disney Corpora-
tion and their theme parks (since they are considering building a fifth
one, near Washington). This article also contains some interesting
comments about Mickey himself, and I think the members of this list
would want to read those. I hope the Internet police will allow me to
extract those remarks from the much longer article, which of course is
copyrighted by the Washington Post.
Most of the comments about Mickey are quotes from John Hench, who is
identified as "working for Disney since the '30s, painting backgrounds
on 'Dumbo', winning an Oscar for special effects on '20,000 Leagues
under the Sea', designing portions of all four Disney theme parks"
(including Disneyland, where the interview took place). His comments
on Mickey begin with the character's creation, after Disney's distri-
butor had stolen from him the rights to Oswald Rabbit.
-------- begin Washington Post's copyrighted material here ----------
Disney responded by creating a new character, a mouse named Mickey.
His chief animator, Ub Iwerks, simply erased Oswald's long narrow ears,
replaced them with new round ears and fiddled a bit with the face.
Presto, a mouse!
That little change - from long ears to round ears - made Mickey's head
basically a series of three interlocking circles. And that, says John
Hench, is the secret of Mickey's unprecedented international success.
Hench ought to know: He's been Mickey's "official portrait artist" for
40 years. "There's power in that kind of arrangement of circles," he
says. "His contemporary, Felix the Cat, has got a lot of points on him
and I think that activates a very old concept - that you can get hurt
around sharp points. Round forms are definitely more friendly."
Round forms recall a mother's breast and a pregnant torso and a baby's
face and other good things, Hench says. He swears he's seen ancient
fertility symbols that looked like Mickey. "They were carried as some
kind of magic."
[Carlson then discusses how Mickey has changed from the mischievous
Iwerks character to today's bland corporate representative.]
"As Mickey's personality softened, his appearance changed," wrote Har-
vard biologist Stephen Jay Gould in _The Panda's Thumb_. Gould traced
Mickey's evolution from a ratty rodent with a long, pointy snout to a
cute little creature with the round, soft features and big eyes of a
human baby. Why does a Harvard biologist pay attention to such mat-
ters? Because the cute-ification of Mickey illustrates a famous evolu-
tionary theory theory, which holds that human beings - stuck with off-
spring requiring years of labor-intensive nurturing - are biologically
programmed to get all gooey and gaga over animals with babyish fea-
tures. That, he says, is why we love the Mouse: Mickey "reflects the
unconscious discovery of this biological principle by Disney and his
artists."
Hench disagrees slightly: He says the artists _consciously_ made Mickey
look like a cute little kid.
[Carlson and Hench run into a group of kids gathered around the Disney-
land employee in the Mickey costume.]
Hench acknowledges, however, that the costumed Mickeys bother him.
"The walk-around Mickey is, to my mind, a monstrous distortion of what
the real figure should be. They have to get a human being in there,
and human beings are built differently." He shrugs. "But it still
works."
Hench sits on a park bench, takes out a piece of paper and starts
sketching Mickey. With a couple quick strokes, he creates the famous
ears. "They're always circles, no matter which way he looks," he says.
Then he adds Mickey's rounded hairline and pointed widow's peak. "This
gives him his eternally surprised expression - surprised and delighted
somehow." He smiles. "And he _is_ delighted. He's a kind of pro-life
symbol."
-----------------------------------------------------------------------
Wilmer Rivers
David A Gerstein
Washington Post on Mickey
Message 104 -
1994-05-16 at 04:25:55
Dear Folks,
Stephen Jay Gould's comments about Mickey Mouse, explaining
why America allegedly loves the character in his current state more
than ever, really bothered me.
"Human beings - stuck with off-spring requiring years of
labor-intensive nurturing - are biologically programmed to get all
gooey and gaga over animals with babyish features. That, he says,
is why we love the Mouse."
Excuse my irritation, but worship of THIS type of paean to the
post-lobotomy MM results in MM products which turn off everyone but
mothers of newborn babies. Anyone who thinks that designing MM with
fetuslike features endears him to kids and everyone else BUT
mothers of newborn babies is VERY WRONG. Mickey's popularity first
began to fall when his screen self got lobotomized in 1934. It took
the second (and fatal, in terms of his popularity with older kids)
plunge when the character was infantized in the late 1940s.
(I don't pinpoint the "infantization" as being when he got the
whites in his eyes, but I mean when he got the pink face, big cheeks,
and high forehead after WWII.)
In this country Mickey is not a beloved CHARACTER. He is a
beloved IMAGE. I think that the "Perils of Mickey" campaign, based on
a MM who is an attractive character but not babylike, and its recent
success show that Disney may realize this at last. But I don't think
re-iteration of S. J. Gould's comments show anything but why new
mothers love Mickey, and you can bet that most of them are not
interested in him for his complex character traits.
David Gerstein
<David.A.Gerstein at Williams.edu>
"I'll put Minnie's silk parachute in my pocket so nobody'll
see me carrying it! Else they might think I was a *baby!*" [roughly
paraphrased]
Stephen Jay Gould's comments about Mickey Mouse, explaining
why America allegedly loves the character in his current state more
than ever, really bothered me.
"Human beings - stuck with off-spring requiring years of
labor-intensive nurturing - are biologically programmed to get all
gooey and gaga over animals with babyish features. That, he says,
is why we love the Mouse."
Excuse my irritation, but worship of THIS type of paean to the
post-lobotomy MM results in MM products which turn off everyone but
mothers of newborn babies. Anyone who thinks that designing MM with
fetuslike features endears him to kids and everyone else BUT
mothers of newborn babies is VERY WRONG. Mickey's popularity first
began to fall when his screen self got lobotomized in 1934. It took
the second (and fatal, in terms of his popularity with older kids)
plunge when the character was infantized in the late 1940s.
(I don't pinpoint the "infantization" as being when he got the
whites in his eyes, but I mean when he got the pink face, big cheeks,
and high forehead after WWII.)
In this country Mickey is not a beloved CHARACTER. He is a
beloved IMAGE. I think that the "Perils of Mickey" campaign, based on
a MM who is an attractive character but not babylike, and its recent
success show that Disney may realize this at last. But I don't think
re-iteration of S. J. Gould's comments show anything but why new
mothers love Mickey, and you can bet that most of them are not
interested in him for his complex character traits.
David Gerstein
<David.A.Gerstein at Williams.edu>
"I'll put Minnie's silk parachute in my pocket so nobody'll
see me carrying it! Else they might think I was a *baby!*" [roughly
paraphrased]
David A Gerstein
Disney-comics digest #329.
Message 105 -
1994-05-16 at 06:02:01
Dear Folks,
Sounds to me like the character in Egmont's "Secret of Shark
Reef" isn't really Eli Squinch, just a rather loose plagiarism of the
character.
Squinch, as he is to be used regularly in the new Egmont
stories, is being defined strictly from his earlier, Gottfredson
appearances. Although he was last seen in stories made nearly sixty
years ago, he's being treated now as if he's never been gone!
Maybe the character in "Shark Reef" was in fact Don Rosa's
villain from "His Majesty McDuck"!! (Who, if you'll forgive me, Don,
was very like a hybrid of Eli Squinch and Sylvester Shyster... perhaps
that's why I like him so much!) Akers MacCovet, I mean.
What's MacCovet called in the foreign editions of Don's story?
"Ye've been stickin' your big nose into too many things that
*aren't* your *business*, whippersnapper! And you're going to *pay*
for it!"
"Oh, *sorry* to have bothered ya, Mr. Squinch! Such a shame
that you've gotta be leavin'!"
<David.A.Gerstein at williams.edu>
Sounds to me like the character in Egmont's "Secret of Shark
Reef" isn't really Eli Squinch, just a rather loose plagiarism of the
character.
Squinch, as he is to be used regularly in the new Egmont
stories, is being defined strictly from his earlier, Gottfredson
appearances. Although he was last seen in stories made nearly sixty
years ago, he's being treated now as if he's never been gone!
Maybe the character in "Shark Reef" was in fact Don Rosa's
villain from "His Majesty McDuck"!! (Who, if you'll forgive me, Don,
was very like a hybrid of Eli Squinch and Sylvester Shyster... perhaps
that's why I like him so much!) Akers MacCovet, I mean.
What's MacCovet called in the foreign editions of Don's story?
"Ye've been stickin' your big nose into too many things that
*aren't* your *business*, whippersnapper! And you're going to *pay*
for it!"
"Oh, *sorry* to have bothered ya, Mr. Squinch! Such a shame
that you've gotta be leavin'!"
<David.A.Gerstein at williams.edu>