I do not understand for the life of me why Gladstone does not contact
you directly every time they intend to print one of your stories. Since
you write the stories in English, it should be easy for them to take your
original script and apply it to the art.
Do the people on this list have to start writing Gladstone and complaining
to them that they've screwed up your stories?
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
Author
Topic: 199406
(121 messages)
Mark Mayerson
The Duck Who Never Was
Message 91 -
1994-06-24 at 18:12:20
Fredrik Ekman
I'm back!
Message 92 -
1994-06-25 at 01:29:40
Hi all!
I just returned from a two-week vacation in sunny Portugal, which
explains why I've been a little quiet lately. I'll be back within
the next few days with a report on the state of Disney comics there.
Also, I'll start updating the lists I maintain; the International
Character Names list and the Van Horn index. Send in your updates! I
even hope that I'll get some time to review Harry's database files
(which I haven't even had the time to look at yet!).
And Don; I, of course, didn't react to how you've been treated by
this Grandy guy because I wasn't here to do it, but believe me: I'm
right behind you all the way and I really hope that you put him down
where he belongs. Also, I hope that you manage to get some good
publicity out of it (and some bad publicity for him as well).
Feels good to be back.
/F
I just returned from a two-week vacation in sunny Portugal, which
explains why I've been a little quiet lately. I'll be back within
the next few days with a report on the state of Disney comics there.
Also, I'll start updating the lists I maintain; the International
Character Names list and the Van Horn index. Send in your updates! I
even hope that I'll get some time to review Harry's database files
(which I haven't even had the time to look at yet!).
And Don; I, of course, didn't react to how you've been treated by
this Grandy guy because I wasn't here to do it, but believe me: I'm
right behind you all the way and I really hope that you put him down
where he belongs. Also, I hope that you manage to get some good
publicity out of it (and some bad publicity for him as well).
Feels good to be back.
/F
Don Rosa
Disney-comics digest #366.
Message 93 -
1994-06-25 at 07:39:08
FRANK:
Yes, Gladstone is free to publish WAR OF THE WENDIGO, as is, in
an album. Disney finally acknowledges that the albums are for a more
sophisticated audience. But Gladstone doesn't publish albums any longer,
other than the Barks library.
MARK:
Gladstone always contacts me to make sure the script they have
is my original version. I think I said that the letterer HAD the correct
script on "The Duck Who Never Was", but simply screwed it up in 4 or 5
key spots. Then John Clark failed to spot the errors when he proofread
it -- but I can see how he was searching for misspelled words and
obvious mistakes, while these were errors of placement and not so
apparent if one is proofreading for spelling.
Anyway, I doubt if many readers will spot the error in the
family-tree diagram, and they will most likely take the empty word
balloon in stride... but having me saying that DD was born on Sept. 6...
I'm still cussing about that one.
Yes, Gladstone is free to publish WAR OF THE WENDIGO, as is, in
an album. Disney finally acknowledges that the albums are for a more
sophisticated audience. But Gladstone doesn't publish albums any longer,
other than the Barks library.
MARK:
Gladstone always contacts me to make sure the script they have
is my original version. I think I said that the letterer HAD the correct
script on "The Duck Who Never Was", but simply screwed it up in 4 or 5
key spots. Then John Clark failed to spot the errors when he proofread
it -- but I can see how he was searching for misspelled words and
obvious mistakes, while these were errors of placement and not so
apparent if one is proofreading for spelling.
Anyway, I doubt if many readers will spot the error in the
family-tree diagram, and they will most likely take the empty word
balloon in stride... but having me saying that DD was born on Sept. 6...
I'm still cussing about that one.
Fredrik Ekman
I just remembered...
Message 94 -
1994-06-25 at 12:58:57
Harry; do you still want details regarding that Italian story where
Scrooge meets his sister Grandma? What Fabio told was about everything
important, but I could also give you Swedish publication details and a
story code, should you want to try and find it.
/F
Scrooge meets his sister Grandma? What Fabio told was about everything
important, but I could also give you Swedish publication details and a
story code, should you want to try and find it.
/F
Per Starback
Disney comics Database
Message 95 -
1994-06-25 at 18:36:33
Harry wrote:
> I just sent some new files to Per, to put on our ftp site. (Maybe he gets
> to it after his croquet game..)
Sorry. I didn't put them there until now. As Harry said d.dbl, h.dbl,
and s.dbl are extended a lot, and there are new sweden.dbl and
gl-cbl-albums.dbl, as well as a short g.dbs with German stories.
-- "
Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
> I just sent some new files to Per, to put on our ftp site. (Maybe he gets
> to it after his croquet game..)
Sorry. I didn't put them there until now. As Harry said d.dbl, h.dbl,
and s.dbl are extended a lot, and there are new sweden.dbl and
gl-cbl-albums.dbl, as well as a short g.dbs with German stories.
-- "
Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
Mikko Henri Juhani Aittola
Grandey's comments on Lo$
Message 96 -
1994-06-26 at 22:56:53
Hi folks!
I just read popular Finnish weekly magazine called Apu.
It contains Carl Barks interview. The contents are mostly
the things he said in the press-conference, I suppose.
But Apu is the only magazine which has also printed
Grandey's opinions about Mr. Don Rosa...
I try to make quick summary about the last part of
the interview:
translated from Apu 25/26 1994.
Original Finnish writer Ilkka Ranta-Aho
'What Barks thinks about current Duck-artists?'
Barks' has said before that he likes work of William Van
Horn, Daan Jippes and Don Rosa. After that Rosa has 'dubbled
under' from Barks' list.
Barks, being almost overly polite man, doesn't critisize
Rosa's work in public, but Barks managers Bill Grandey and
Kathy Morby have things to say about Life and Times of $crooge
McDuck.
"Art of the story is very un-Disney and there is too much details
even in the not-so-meaningful panels. The story is overdone, almost
cannibalistic. Carl Barks wants to make clear that $crooge didn't
born in 1877. How could he be about 60-years old in 1994 around
Troja in Barks' new story if he is 117-years old?"
------
So there it was. I wonder why he thinks that Rosa thinks that
$crooge was born in 1877? He obviously hasn't even read Don's
story. The word cannibalistic is also weird. Maybe that has
something to do with chapter 11? Grandey doesn't even know
Barks' own work and Barks' zombie-story.
Anyway the story in Apu was very bad publicity for Rosa.
They closed the story with Rosa comments.
The writer didn't know anything about Don and Lo$, he just
went with Grandey.
Maybe I should Xerox 'The Making of the Lo$' from Gladstone
issues for the writer or something?
Here is FAX number for the magazine:
'code for foreign calls'-358-0-781911
'358' should be code for Finland from outside.
Send corrections to there!
Now we have also proof that
Grandey really wants to turn Rosa down, no matter what.
Don:
You have posted before that $crooge was born in 1867. Is
this based on some actual story or did you made it up
yourself? But at least we know that Barks has made direct references
that $crooge was alive in 1880 and 1882.
/Mikko
I just read popular Finnish weekly magazine called Apu.
It contains Carl Barks interview. The contents are mostly
the things he said in the press-conference, I suppose.
But Apu is the only magazine which has also printed
Grandey's opinions about Mr. Don Rosa...
I try to make quick summary about the last part of
the interview:
translated from Apu 25/26 1994.
Original Finnish writer Ilkka Ranta-Aho
'What Barks thinks about current Duck-artists?'
Barks' has said before that he likes work of William Van
Horn, Daan Jippes and Don Rosa. After that Rosa has 'dubbled
under' from Barks' list.
Barks, being almost overly polite man, doesn't critisize
Rosa's work in public, but Barks managers Bill Grandey and
Kathy Morby have things to say about Life and Times of $crooge
McDuck.
"Art of the story is very un-Disney and there is too much details
even in the not-so-meaningful panels. The story is overdone, almost
cannibalistic. Carl Barks wants to make clear that $crooge didn't
born in 1877. How could he be about 60-years old in 1994 around
Troja in Barks' new story if he is 117-years old?"
------
So there it was. I wonder why he thinks that Rosa thinks that
$crooge was born in 1877? He obviously hasn't even read Don's
story. The word cannibalistic is also weird. Maybe that has
something to do with chapter 11? Grandey doesn't even know
Barks' own work and Barks' zombie-story.
Anyway the story in Apu was very bad publicity for Rosa.
They closed the story with Rosa comments.
The writer didn't know anything about Don and Lo$, he just
went with Grandey.
Maybe I should Xerox 'The Making of the Lo$' from Gladstone
issues for the writer or something?
Here is FAX number for the magazine:
'code for foreign calls'-358-0-781911
'358' should be code for Finland from outside.
Send corrections to there!
Now we have also proof that
Grandey really wants to turn Rosa down, no matter what.
Don:
You have posted before that $crooge was born in 1867. Is
this based on some actual story or did you made it up
yourself? But at least we know that Barks has made direct references
that $crooge was alive in 1880 and 1882.
/Mikko
Archbishop MacElmo
"Cannibalistic"
Message 97 -
1994-06-27 at 07:11:33
Mikko Henri Juhani Aittola <maittola at snakemail.hut.fi> writes:
[Quoting Apu quoting Grandey:]
> "Art of the story is very un-Disney and there is too much details
>even in the not-so-meaningful panels. The story is overdone, almost
>cannibalistic.
>The word cannibalistic is weird.
Probably in this case, it means that the work relies too much on previous
(Barks) stories: It "eats" its predecessors in order to have any life
itself. It's just an odd English metaphor. It does seem to me that
Lo$ is spending most of its time and effort dashing from Barks reference
to Barks reference (this is not necessarily negative criticism), but I've
only seen the first three chapters; later ones may have more individuality.
[Back to Grandey]
>Carl Barks wants to make clear that $crooge didn't
>born in 1877. How could he be about 60-years old in 1994 around
>Troja in Barks' new story if he is 117-years old?"
Too much thinking going on here. Don writes stories set in 1954;
Barks writes a story in 1994 (which may or may not be set explicitly in 1994).
So what if they portray Scrooge at the same age? Superman has been
29 for more than 50 years....
greg
--
"I do like the idea of the Talking Death doll. Says six different phrases:
`I am Death', `One lifetime is all you get', `I've got a job to do, and I
do it', `In the end there is me', `Supercalifragilisticexpialidocious!',
`Gee, math is hard!' "
--Lance "Squiddie" Smith
elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov)
[Quoting Apu quoting Grandey:]
> "Art of the story is very un-Disney and there is too much details
>even in the not-so-meaningful panels. The story is overdone, almost
>cannibalistic.
>The word cannibalistic is weird.
Probably in this case, it means that the work relies too much on previous
(Barks) stories: It "eats" its predecessors in order to have any life
itself. It's just an odd English metaphor. It does seem to me that
Lo$ is spending most of its time and effort dashing from Barks reference
to Barks reference (this is not necessarily negative criticism), but I've
only seen the first three chapters; later ones may have more individuality.
[Back to Grandey]
>Carl Barks wants to make clear that $crooge didn't
>born in 1877. How could he be about 60-years old in 1994 around
>Troja in Barks' new story if he is 117-years old?"
Too much thinking going on here. Don writes stories set in 1954;
Barks writes a story in 1994 (which may or may not be set explicitly in 1994).
So what if they portray Scrooge at the same age? Superman has been
29 for more than 50 years....
greg
--
"I do like the idea of the Talking Death doll. Says six different phrases:
`I am Death', `One lifetime is all you get', `I've got a job to do, and I
do it', `In the end there is me', `Supercalifragilisticexpialidocious!',
`Gee, math is hard!' "
--Lance "Squiddie" Smith
elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov)
Ajd105
Grandey :(
Message 98 -
1994-06-27 at 08:07:56
Hi Don and everyone else. Since everyone else is responding to this Grandey
business I guess I will too. Simply put, Don doesn't deserve this
treatment at all, and I am sad that Carl Barks will allow such an
obvious travesty to take place supposedly under his auspices. (I am
inclined to be charitable and assume it is all Grandey's fault, but even
so, if I had a manager doing things like that it would be a short
association indeed.)
Perhaps the oddest thing was the (paraphrasing here) " I keep getting
letters from child psychologists....not my Scrooge...".
Now, have I got this right? This is supposedly said by the same person
who invented J. Pulpheart Clabberhead (? hmmm, wish I had my CBL handy)
the child pschologist who won't allow Donald to spank HD&L, but ends up
doing it himself? The same guy who wrote a letter to the office of
Weston Pub. complaining about "nosepicking crybabies and their neurotic
mothers"? Somehow it doesn't seem to me that the concerns of child
psychologists have ever been high on Carl Barks' list of things to take
account of.
Even if the other bizarre claims weren't made, this alone would be
enough to tip me off that it is likely that an anti-Rosa campaign of
inuendo and fabrication is afoot.
While it still pains me to see my favourite two comic writers
coming to blows as it were, I acknowledge that you had to
take action about all of this Don. Hang in there and win. Also, take it
as a (very) backhanded compliment. If no-one admired and enthused about
your work, there'd be no "need" to do this contemptable thing to you.
Andrew
business I guess I will too. Simply put, Don doesn't deserve this
treatment at all, and I am sad that Carl Barks will allow such an
obvious travesty to take place supposedly under his auspices. (I am
inclined to be charitable and assume it is all Grandey's fault, but even
so, if I had a manager doing things like that it would be a short
association indeed.)
Perhaps the oddest thing was the (paraphrasing here) " I keep getting
letters from child psychologists....not my Scrooge...".
Now, have I got this right? This is supposedly said by the same person
who invented J. Pulpheart Clabberhead (? hmmm, wish I had my CBL handy)
the child pschologist who won't allow Donald to spank HD&L, but ends up
doing it himself? The same guy who wrote a letter to the office of
Weston Pub. complaining about "nosepicking crybabies and their neurotic
mothers"? Somehow it doesn't seem to me that the concerns of child
psychologists have ever been high on Carl Barks' list of things to take
account of.
Even if the other bizarre claims weren't made, this alone would be
enough to tip me off that it is likely that an anti-Rosa campaign of
inuendo and fabrication is afoot.
While it still pains me to see my favourite two comic writers
coming to blows as it were, I acknowledge that you had to
take action about all of this Don. Hang in there and win. Also, take it
as a (very) backhanded compliment. If no-one admired and enthused about
your work, there'd be no "need" to do this contemptable thing to you.
Andrew
Harry Fluks
Don and Fredrik in Disney-comics digest #367.
Message 99 -
1994-06-27 at 11:43:26
Don:
~~~
> Gladstone always contacts me to make sure the script they have
> is my original version.
They also should have contacted you to make the changes in Lo$ part 3 that
Disney required (have the guns removed). As David already said, the newly
drawn beak of Scrooge in one panel looks just awful!
Fredrik:
~~~~~~~
Welcome back, and I think you're just in time to send in your answers to
David's Barks Quote Quiz.
I'm looking forward to your comments on the Database.
And here is some info for your van-horn index. The following 3 stories were
published in DD Extra 6-1994 (X94-06):
KJD006-1 2 DD (Nap in Nature)
KJD007-1 2 DD Magic Trick
D 92211 12 DD (The fastest pizza deliverer in town)
They announced this as a special "DD 60 years" issue. I guess the 'special'
thing about it is that it contains NO Rosa story 8-(.
> Harry; do you still want details regarding that Italian story where
> Scrooge meets his sister Grandma?
I don't think so; even when I have the story code, it will be very difficult
to find the story in a Dutch version...
--Harry.
(Anybody know when David's back?)
~~~
> Gladstone always contacts me to make sure the script they have
> is my original version.
They also should have contacted you to make the changes in Lo$ part 3 that
Disney required (have the guns removed). As David already said, the newly
drawn beak of Scrooge in one panel looks just awful!
Fredrik:
~~~~~~~
Welcome back, and I think you're just in time to send in your answers to
David's Barks Quote Quiz.
I'm looking forward to your comments on the Database.
And here is some info for your van-horn index. The following 3 stories were
published in DD Extra 6-1994 (X94-06):
KJD006-1 2 DD (Nap in Nature)
KJD007-1 2 DD Magic Trick
D 92211 12 DD (The fastest pizza deliverer in town)
They announced this as a special "DD 60 years" issue. I guess the 'special'
thing about it is that it contains NO Rosa story 8-(.
> Harry; do you still want details regarding that Italian story where
> Scrooge meets his sister Grandma?
I don't think so; even when I have the story code, it will be very difficult
to find the story in a Dutch version...
--Harry.
(Anybody know when David's back?)
Mattias Hallin
Disney-comics digest #364 & 368.
Message 100 -
1994-06-27 at 16:53:29
DON:
I owe you a couple of apologies: first for not answering your reply to my
last posting before -- I've been out of town for a couple of days; but mainly
for making light of what can't very well be a light subject to you: of course I
don't fear being sued by Bill Grandey for calling him what I think he must be
(a nasty, stupid and greedy sod, who rides the coattails of Carl Barks' work and
reputation in order to fatten noone but himself). But I was that flabbergasted
by what you had to reveal, that I didn't really know what to say, and instead
of saying so, I made a light quip about the whole thing. For which I am sorry,
and do apologize.
About what you said of GotLL and the morality of the JWs and the Guidebook --
of course I realize both the need for that interior logic/motivation and also
that it's just a logical extension of how Barks used the Guidebook. So in a
sense, maybe my argument isn't with you but with the Junior Woodchucks of the
World... Are you, BTW, familiar with "The Name of the Rose" by Umberto Eco (the
book I mean, not so much the movie)? That book, as you might know, deals with
that very problem: the freedom of knowledge and access to knowledge, and if you
haven't yet come across it, you might find it worth your time.
Yes... I also see your point of Donald getting $crooge to re-retire by making
him mad enough to care once more -- but if you add pages, maybe you could make
Donald realize his mistaken attitude somewhere nearing the end of the story? I
think that the final whole-page splash is too good to be replaced in toto, but
perhaps Donald could somehow be made to have that final line instead of HD&L? I
mean, $crooge DOES demonstrate rather clearly both verbally and by action that
he is a duck of some personal resources... and if Donald's initial antagonism
stems from his misconception that $crooge is undeservedly rich, and born with
the proverbial silverspoon and all, and he then slowly realizes that he's been
wrong about this -- then you could BOTH have the mean Donald as catalyst for
goading $crooge out of retirement, AND make Donald more sympathetic when he
realizes and ADMITS he's been wrong, and add emotional depth to the character
of Donald -- which I am convinced he does indeed possess. Incindentally, this
would also tally better with the very un-antagonistic and happy mood of the
last page of "Christmas on Bear Mountain" where, as you well know, Donald and
$crooge are perfectly chummy.
And still I don't understand how Donald could be younger in 1930 than HD$L are
in 1947 -- if he's supposed to have been born in 1920 and they in 1940 -- or
isn't this in your original script?
MIKKO:
That was a very interesting item you posted -- it proves yet again the
apparently utter and complete stupidity (and meanness!) of Bill Grandey, if he
tries to claim that Barks would have $crooge be born in 1994-60 years=1934!!!
It is one thing, alright, that Barks never tried to build, nor probably cared
for any set chronology of $crooge's life; but it's a fact, as you yourself
point out, that according to Barks' own stories $crooge must at least be born
well before 1900 in order to be able to do a number of the things he does in
those very stories. Which makes Don's conclusions very logical: either one
accepts that $crooge was born approx. in the mid-1860s, and that no $crooge
story can take place much later than approx. the mid 1960s; OR you don't use
any time-frame at all!
We can't really "blame" Carl Barks for not caring about this matter -- he was a
professional cartoonist (and I'm NOT trying to call Don an amateur -- he, too,
makes his living as a cartoonist, albeit possibly with slightly different
points of view) who never for a minute thought anyone would remember his
stories for any time worth mentioning -- so why should Barks have put a lot
of effort into constructing a logical time-frame for his stories, when he
didn't think it would be needed? Instead he opted for a present that was the
then current present -- a story published in 1951 takes place in 1951, unless
it's historical.
Personally I completely agree with Don's choice: I, too, think of $crooge as
born in or around (the exact year isn't VERY important) 1867.
Well... all my best, and once more Don: my apologies!
Mattias
!==============================================================================!
!* Mattias Hallin ** <Mattias.Hallin at Jurenh.lu.se> ** Phone: +46 46-14 84 43 **!
!* Trollebergsvagen 24 B ***** Work: Lund University, Box 117, S-221 00 Lund **!
!* S-222 29 Lund, SWEDEN **************************** Phone: +46 46-10 71 37 **!
!==============================================================================!
!***** "Oh, the villain onward stole... While a wicked smile he smole!" ******!
!==============================================================================!
I owe you a couple of apologies: first for not answering your reply to my
last posting before -- I've been out of town for a couple of days; but mainly
for making light of what can't very well be a light subject to you: of course I
don't fear being sued by Bill Grandey for calling him what I think he must be
(a nasty, stupid and greedy sod, who rides the coattails of Carl Barks' work and
reputation in order to fatten noone but himself). But I was that flabbergasted
by what you had to reveal, that I didn't really know what to say, and instead
of saying so, I made a light quip about the whole thing. For which I am sorry,
and do apologize.
About what you said of GotLL and the morality of the JWs and the Guidebook --
of course I realize both the need for that interior logic/motivation and also
that it's just a logical extension of how Barks used the Guidebook. So in a
sense, maybe my argument isn't with you but with the Junior Woodchucks of the
World... Are you, BTW, familiar with "The Name of the Rose" by Umberto Eco (the
book I mean, not so much the movie)? That book, as you might know, deals with
that very problem: the freedom of knowledge and access to knowledge, and if you
haven't yet come across it, you might find it worth your time.
Yes... I also see your point of Donald getting $crooge to re-retire by making
him mad enough to care once more -- but if you add pages, maybe you could make
Donald realize his mistaken attitude somewhere nearing the end of the story? I
think that the final whole-page splash is too good to be replaced in toto, but
perhaps Donald could somehow be made to have that final line instead of HD&L? I
mean, $crooge DOES demonstrate rather clearly both verbally and by action that
he is a duck of some personal resources... and if Donald's initial antagonism
stems from his misconception that $crooge is undeservedly rich, and born with
the proverbial silverspoon and all, and he then slowly realizes that he's been
wrong about this -- then you could BOTH have the mean Donald as catalyst for
goading $crooge out of retirement, AND make Donald more sympathetic when he
realizes and ADMITS he's been wrong, and add emotional depth to the character
of Donald -- which I am convinced he does indeed possess. Incindentally, this
would also tally better with the very un-antagonistic and happy mood of the
last page of "Christmas on Bear Mountain" where, as you well know, Donald and
$crooge are perfectly chummy.
And still I don't understand how Donald could be younger in 1930 than HD$L are
in 1947 -- if he's supposed to have been born in 1920 and they in 1940 -- or
isn't this in your original script?
MIKKO:
That was a very interesting item you posted -- it proves yet again the
apparently utter and complete stupidity (and meanness!) of Bill Grandey, if he
tries to claim that Barks would have $crooge be born in 1994-60 years=1934!!!
It is one thing, alright, that Barks never tried to build, nor probably cared
for any set chronology of $crooge's life; but it's a fact, as you yourself
point out, that according to Barks' own stories $crooge must at least be born
well before 1900 in order to be able to do a number of the things he does in
those very stories. Which makes Don's conclusions very logical: either one
accepts that $crooge was born approx. in the mid-1860s, and that no $crooge
story can take place much later than approx. the mid 1960s; OR you don't use
any time-frame at all!
We can't really "blame" Carl Barks for not caring about this matter -- he was a
professional cartoonist (and I'm NOT trying to call Don an amateur -- he, too,
makes his living as a cartoonist, albeit possibly with slightly different
points of view) who never for a minute thought anyone would remember his
stories for any time worth mentioning -- so why should Barks have put a lot
of effort into constructing a logical time-frame for his stories, when he
didn't think it would be needed? Instead he opted for a present that was the
then current present -- a story published in 1951 takes place in 1951, unless
it's historical.
Personally I completely agree with Don's choice: I, too, think of $crooge as
born in or around (the exact year isn't VERY important) 1867.
Well... all my best, and once more Don: my apologies!
Mattias
!==============================================================================!
!* Mattias Hallin ** <Mattias.Hallin at Jurenh.lu.se> ** Phone: +46 46-14 84 43 **!
!* Trollebergsvagen 24 B ***** Work: Lund University, Box 117, S-221 00 Lund **!
!* S-222 29 Lund, SWEDEN **************************** Phone: +46 46-10 71 37 **!
!==============================================================================!
!***** "Oh, the villain onward stole... While a wicked smile he smole!" ******!
!==============================================================================!
Don Rosa
Disney-comics digest #368.
Message 101 -
1994-06-27 at 16:58:10
Barks stated that $crooge was a cowboy in 1882 and worked on a
riverboat in 1880. I decided to have $crooge born in 1867 because I
figured the YOUNGEST $crooge could be allowed to be working on and
piloting a riverboat would be about 13... and even THAT you'll admit is
preposterously YOUNG. No riverboat pilot could have ever been younger
than 20 by law (I figured that was overridden by $crooge owning the
boat).
Barks also stated, in "Go Slowly Sands of Time", that $crooge
was a "bonanza king on the Comstock Lode". That year was about 1850
which would have necessitated $crooge being born about 1820, therefore
about 130 years old during Barks' stories. So that was one Barksian fact
I ignored. (Not only am I not inaccurate, I actually try to HELP clear
up the false Barksian facts that make $crooge too old.)
These are not comments from Grandey that I can object to. If he
choses to profess a certain opinion about my work to further his greedy
ends, it's my tough luck. Nor is there a reason for me to object,
because his comments will not cause a single person to dislike my
stories one iota. He's f*rting in the wind.
But you also see his use of lies even in those "opnions", as
well as his lack of grasp of the English language. I can't stop him from
telling lies about my work, nor should I care to.
I CAN stop him from telling lies about my character and my
actions and accusing me of criminal activity to my employers. This I
will do "with extreme prejudice", and make some money for some lawyers
and wildlife charities.
riverboat in 1880. I decided to have $crooge born in 1867 because I
figured the YOUNGEST $crooge could be allowed to be working on and
piloting a riverboat would be about 13... and even THAT you'll admit is
preposterously YOUNG. No riverboat pilot could have ever been younger
than 20 by law (I figured that was overridden by $crooge owning the
boat).
Barks also stated, in "Go Slowly Sands of Time", that $crooge
was a "bonanza king on the Comstock Lode". That year was about 1850
which would have necessitated $crooge being born about 1820, therefore
about 130 years old during Barks' stories. So that was one Barksian fact
I ignored. (Not only am I not inaccurate, I actually try to HELP clear
up the false Barksian facts that make $crooge too old.)
These are not comments from Grandey that I can object to. If he
choses to profess a certain opinion about my work to further his greedy
ends, it's my tough luck. Nor is there a reason for me to object,
because his comments will not cause a single person to dislike my
stories one iota. He's f*rting in the wind.
But you also see his use of lies even in those "opnions", as
well as his lack of grasp of the English language. I can't stop him from
telling lies about my work, nor should I care to.
I CAN stop him from telling lies about my character and my
actions and accusing me of criminal activity to my employers. This I
will do "with extreme prejudice", and make some money for some lawyers
and wildlife charities.
Elon V. Brisola
Report from Portugal
Message 102 -
1994-06-27 at 19:42:55
Hello!
Fredrik wrote:
> And then there are the Disney comics. They, too, are imported
> from Brazil and all have very weird titles. While I was there
> I saw "Gladstone Gander", "Joe Carioca" (sp?), "Daisy" and a
> character of whom I don't even know the English name ("Skogs-
> Ola" in Swedish). I can't remember having seen any of these
> characters having their own title in ANY other country I've
> been to before. There used to be a Brazilian member on this
> list, right? If you're still out there; don't you even have a
> Mickey Mouse or Donald Duck title over there?
Yes, one of us is still here. I guess Ricardo (the other guy) is still
a lurker too!
For the records: yes, there is a Mickey Mouse title (called simply
"Mickey") published since the fifties. Donald Duck ("Pato Donald") is
published since 1950. And my favorite, Uncle Scrooge ("Tio Patinhas"),
is published since 1963. (Always a Barks story in the early issues).
Other titles came afterwards, mostly during the eighties. I think the
quality came down a lot then. I didn't check the Brazilian comics for
quite some time afterwards. Fredrik, you probably missed some titles.
There are more...
By the way, the parrot is "Ze Carioca" (put an acute accent on that 'e',
please), published for more than 30 years now. This "Skogs-Ola" must
be the "bearded hillbilly" guy. If that's so, his name is "Urtigao" in
Portuguese (a tilde on that 'a', please).
The main Brazilian publishing company, Editora Abril, started with
"Pato Donald". Nowadays, I guess other magazines and the TV business are
more important and more profitable to them (magazines on every other
subject, besides comics).
Fredrik, I will send you some updates on the portuguese part for your
interlingual file. I'm quite busy right now, so please bear with me...
Ricardo, I still owe you a response! I'm checking thru my collection, and
will send you e-mail afterwards... Sorry!
Cheers,
Elon
--
Elon V. Brisola
IBM Brazil
Internet: elon at vnet.ibm.com
Disclaimer: I speak for myself, not IBM.
Fredrik wrote:
> And then there are the Disney comics. They, too, are imported
> from Brazil and all have very weird titles. While I was there
> I saw "Gladstone Gander", "Joe Carioca" (sp?), "Daisy" and a
> character of whom I don't even know the English name ("Skogs-
> Ola" in Swedish). I can't remember having seen any of these
> characters having their own title in ANY other country I've
> been to before. There used to be a Brazilian member on this
> list, right? If you're still out there; don't you even have a
> Mickey Mouse or Donald Duck title over there?
Yes, one of us is still here. I guess Ricardo (the other guy) is still
a lurker too!
For the records: yes, there is a Mickey Mouse title (called simply
"Mickey") published since the fifties. Donald Duck ("Pato Donald") is
published since 1950. And my favorite, Uncle Scrooge ("Tio Patinhas"),
is published since 1963. (Always a Barks story in the early issues).
Other titles came afterwards, mostly during the eighties. I think the
quality came down a lot then. I didn't check the Brazilian comics for
quite some time afterwards. Fredrik, you probably missed some titles.
There are more...
By the way, the parrot is "Ze Carioca" (put an acute accent on that 'e',
please), published for more than 30 years now. This "Skogs-Ola" must
be the "bearded hillbilly" guy. If that's so, his name is "Urtigao" in
Portuguese (a tilde on that 'a', please).
The main Brazilian publishing company, Editora Abril, started with
"Pato Donald". Nowadays, I guess other magazines and the TV business are
more important and more profitable to them (magazines on every other
subject, besides comics).
Fredrik, I will send you some updates on the portuguese part for your
interlingual file. I'm quite busy right now, so please bear with me...
Ricardo, I still owe you a response! I'm checking thru my collection, and
will send you e-mail afterwards... Sorry!
Cheers,
Elon
--
Elon V. Brisola
IBM Brazil
Internet: elon at vnet.ibm.com
Disclaimer: I speak for myself, not IBM.
Fredrik Ekman
Report from Portugal
Message 103 -
1994-06-28 at 00:39:22
Hi all!
Like I promised a few days ago; here's my report on the state
of Disney comics (insofar as I was able to see it) in Portugal.
First of all, I'd like to say that I didn't see much of
Portugal itself. I was in the province of Algarve which is the
smallest province in Portugal save for the islands in the
Atlantic. Thus, I have no idea what things are like in Lissabon
or any other major city.
But so far as I could see, comics are generally in quite a
miserable state. The two only sources for comic book buyers
seem to be book shops and newsstands. In the former you may
find albums with popular European comics such as Tintin,
Asterix and Lucky Luke. This is very well, but things are very
much different in the newsstands. Almost all comic books there
seem to be imported from Brazil. The most dominating by far
are Marvel comics, about 1/4 the size of the American originals
(although still slightly larger than the normal Italian comic
book). There are also a few DC and a _lot_ of even smaller
pornographic comics that seemed to be, in every meaning of the
word, cheap.
And then there are the Disney comics. They, too, are imported
from Brazil and all have very weird titles. While I was there
I saw "Gladstone Gander", "Joe Carioca" (sp?), "Daisy" and a
character of whom I don't even know the English name ("Skogs-
Ola" in Swedish). I can't remember having seen any of these
characters having their own title in ANY other country I've
been to before. There used to be a Brazilian member on this
list, right? If you're still out there; don't you even have a
Mickey Mouse or Donald Duck title over there?
Anyway, I bought a copy of "Gastao" (Gladstone Gander) and it
turned out to be a 68 pages mix of just about everything;
Egmont, Western, Disney Studios, King Feature and some locally
produced in Brazil. Price: About $1.
I also found and bought a copy of "Hiper Disney". These are
similar to the German "Lustige Taschenbucher" (I've forgotten
the name of the Italian originals again) but with slightly
different contents. In addition to the usual Italian comics,
there was one Murry story and even two Barks. The price is
about $4 and there also exists "Hiper Hiper Disney" consisting
of two older "Hiper Disney" bound together and with a hard
cover.
And that's it. That's all I could find and I can tell you that
it wasn't easy to find even that. Of course it's difficult to
tell when you come as a tourist, but my impression was that
Disney comics in Portugal are not even close to the popularity
they have in many other European countries.
/F
Like I promised a few days ago; here's my report on the state
of Disney comics (insofar as I was able to see it) in Portugal.
First of all, I'd like to say that I didn't see much of
Portugal itself. I was in the province of Algarve which is the
smallest province in Portugal save for the islands in the
Atlantic. Thus, I have no idea what things are like in Lissabon
or any other major city.
But so far as I could see, comics are generally in quite a
miserable state. The two only sources for comic book buyers
seem to be book shops and newsstands. In the former you may
find albums with popular European comics such as Tintin,
Asterix and Lucky Luke. This is very well, but things are very
much different in the newsstands. Almost all comic books there
seem to be imported from Brazil. The most dominating by far
are Marvel comics, about 1/4 the size of the American originals
(although still slightly larger than the normal Italian comic
book). There are also a few DC and a _lot_ of even smaller
pornographic comics that seemed to be, in every meaning of the
word, cheap.
And then there are the Disney comics. They, too, are imported
from Brazil and all have very weird titles. While I was there
I saw "Gladstone Gander", "Joe Carioca" (sp?), "Daisy" and a
character of whom I don't even know the English name ("Skogs-
Ola" in Swedish). I can't remember having seen any of these
characters having their own title in ANY other country I've
been to before. There used to be a Brazilian member on this
list, right? If you're still out there; don't you even have a
Mickey Mouse or Donald Duck title over there?
Anyway, I bought a copy of "Gastao" (Gladstone Gander) and it
turned out to be a 68 pages mix of just about everything;
Egmont, Western, Disney Studios, King Feature and some locally
produced in Brazil. Price: About $1.
I also found and bought a copy of "Hiper Disney". These are
similar to the German "Lustige Taschenbucher" (I've forgotten
the name of the Italian originals again) but with slightly
different contents. In addition to the usual Italian comics,
there was one Murry story and even two Barks. The price is
about $4 and there also exists "Hiper Hiper Disney" consisting
of two older "Hiper Disney" bound together and with a hard
cover.
And that's it. That's all I could find and I can tell you that
it wasn't easy to find even that. Of course it's difficult to
tell when you come as a tourist, but my impression was that
Disney comics in Portugal are not even close to the popularity
they have in many other European countries.
/F
Anders Engwall
Strobl (was: From RoC)
Message 104 -
1994-06-28 at 12:37:59
Way back in April, oLe 'RoC' Reichstein Nielsen (lrn at daimi.aau.dk) wrote
something that I should have responded to *long* ago:
> WARNING: highly inflammable material:
> =====================================
> Jan Lund Thomsen, who may still be lurking out there, has elevated a
> phrase of mine to A Quote. It goes "Nobody likes Tony Strobl!"
Well, he's wrong! And there's at least one lurker out there who agrees
with me on this one...
> Not one to speak ill of the dead, or even the mortal, I'd like to
> elaborate on that: The recent tribute to Tony Strobl in WDC&S #592 and
> D&M #25, both of which I have yet to see, perpetuates the American
> publishers' obvious preference to old and tried material.
So, what *did* they choose to reprint? See, there's Strobl and then there's
*Strobl*... Whereas I find his artwork from the fifties and early sixties
rather appalling, his work from roughly 1964/65 and after that works just fine
with me. This *could* have something to do with nostalgia, but hey.
The scripts he had to work with were unfortunately of very uneven quality.
Contrary to common belief, some were great. The ones RoC mentions, for
instance:
> I would rather have seen some of the numerous Studio stories from ca.
> 1970 with Scrooge as a newspaper editor, Donald and Feathry as his un-
> enthusiastic bullpen, and Daisy as a meter maid.
Ahh, yes! *Now* you're talking... These are some of my favourite non-Barks
stories.
> Just as fictive as the
> Duck Tales show, these stories are, with no quality judgment implied,
> simplistic and trivial; a comic book version of the TV sit-com usually
> dismissed offhand as typical bad, or complete lack of, taste.
> They do, however, within the limits of the set-up, excell in stringent
> plots, ironic comments, and absurd events, otherwise unknown to Disney
> comics.
And this is why I like them so much. May I add that IMO the unusually sharp
wit of the scripts lends a more "adult" feel to these stories than there is in
any other Disney comics I've seen.
However, the qualities mentioned above are not featured only within this
newspaper office set-up. There were several other stories with equally witty
scripts published in Sweden ca 1969-72 (S-coded? Hard to tell as story codes
weren't printed in Sweden until 1972). Many of them included that bearded
hillbilly character that doesn't seem to have a name in English
("Skogs-Ola" in Swedish, "Urtigao" in Portuguese). I wish I could refer to
these more exactly, but the swedish index (sweden.dbl) is far from complete,
and the s-code index (s.dbl) is even less enlightening (It's fun trying to
decrypt all those Dutch titles, though!). Ah, well...
> ("Engage flame shield, Lieutenant!" "Aye-aye, Commander!")
You said it!
Anders Engwall Email: Anders.Engwall at eua.ericsson.se
ELLEMTEL Utvecklings AB Voice: +46 8 727 3893
[lvsj|, Sweden Fax: +46 8 727 42 20
"Faktiskt {r definitionen ganska lyckad. Den {r extremt godtycklig."
something that I should have responded to *long* ago:
> WARNING: highly inflammable material:
> =====================================
> Jan Lund Thomsen, who may still be lurking out there, has elevated a
> phrase of mine to A Quote. It goes "Nobody likes Tony Strobl!"
Well, he's wrong! And there's at least one lurker out there who agrees
with me on this one...
> Not one to speak ill of the dead, or even the mortal, I'd like to
> elaborate on that: The recent tribute to Tony Strobl in WDC&S #592 and
> D&M #25, both of which I have yet to see, perpetuates the American
> publishers' obvious preference to old and tried material.
So, what *did* they choose to reprint? See, there's Strobl and then there's
*Strobl*... Whereas I find his artwork from the fifties and early sixties
rather appalling, his work from roughly 1964/65 and after that works just fine
with me. This *could* have something to do with nostalgia, but hey.
The scripts he had to work with were unfortunately of very uneven quality.
Contrary to common belief, some were great. The ones RoC mentions, for
instance:
> I would rather have seen some of the numerous Studio stories from ca.
> 1970 with Scrooge as a newspaper editor, Donald and Feathry as his un-
> enthusiastic bullpen, and Daisy as a meter maid.
Ahh, yes! *Now* you're talking... These are some of my favourite non-Barks
stories.
> Just as fictive as the
> Duck Tales show, these stories are, with no quality judgment implied,
> simplistic and trivial; a comic book version of the TV sit-com usually
> dismissed offhand as typical bad, or complete lack of, taste.
> They do, however, within the limits of the set-up, excell in stringent
> plots, ironic comments, and absurd events, otherwise unknown to Disney
> comics.
And this is why I like them so much. May I add that IMO the unusually sharp
wit of the scripts lends a more "adult" feel to these stories than there is in
any other Disney comics I've seen.
However, the qualities mentioned above are not featured only within this
newspaper office set-up. There were several other stories with equally witty
scripts published in Sweden ca 1969-72 (S-coded? Hard to tell as story codes
weren't printed in Sweden until 1972). Many of them included that bearded
hillbilly character that doesn't seem to have a name in English
("Skogs-Ola" in Swedish, "Urtigao" in Portuguese). I wish I could refer to
these more exactly, but the swedish index (sweden.dbl) is far from complete,
and the s-code index (s.dbl) is even less enlightening (It's fun trying to
decrypt all those Dutch titles, though!). Ah, well...
> ("Engage flame shield, Lieutenant!" "Aye-aye, Commander!")
You said it!
Anders Engwall Email: Anders.Engwall at eua.ericsson.se
ELLEMTEL Utvecklings AB Voice: +46 8 727 3893
[lvsj|, Sweden Fax: +46 8 727 42 20
"Faktiskt {r definitionen ganska lyckad. Den {r extremt godtycklig."
Harry Fluks
Strobl and S-coded stories (Anders)
Message 105 -
1994-06-28 at 15:31:10
Anders Engwall, about Strobl's "S-coded" stories from the early 70s:
> And this is why I like them so much. May I add that IMO the unusually sharp
> wit of the scripts lends a more "adult" feel to these stories than there is in
> any other Disney comics I've seen.
Unfortunately, maybe only one of these stories has been reprinted in
Holland, so I can't give an opinion on that.
> However, the qualities mentioned above are not featured only within this
> newspaper office set-up. There were several other stories with equally witty
> scripts published in Sweden ca 1969-72 (S-coded? Hard to tell as story codes
> weren't printed in Sweden until 1972).
Any story involving Fethry is either "S-coded" or Italian. Italian stories
can be recognised from 1 km distance, so you must be talking about "S-coded"
stories.
(For those who wonder what we're talking about: Disney USA produces
comic stories especially for the 'foreign market'. These stories have
a code starting with S. For more information see the file 'story-codes' on
ftp.)
> Many of them included that bearded
> hillbilly character that doesn't seem to have a name in English
> ("Skogs-Ola" in Swedish, "Urtigao" in Portuguese).
None of these stories were reprinted in Holland (nor the USA, I guess).
> I wish I could refer to
> these more exactly, but the swedish index (sweden.dbl) is far from complete,
It only contains Swedish reprints of old Western (Dell) stories, adapted
from Kjell Crone's index. Feel free to complete the index 8-).
> and the s-code index (s.dbl) is even less enlightening
This file contains all the "S-coded" stories that HAVE a code in the USA or
Dutch reprint. Apart from that, there are dozens of stories that were reprinted
without code in Holland, so I could not include them in the 's.dbl' file
(since the story code is the 'key' on that file).
> (It's fun trying to decrypt all those Dutch titles, though!).
I have the same fun trying to read Ole's Danish titles...
But still, I would like all titles to be in English.
--Harry.
"I Costa Rica tål de inte att min rika råkost råkar kosta mer
än rostad räkost"
(A bit disturbed Swedish quote I got somewhere, long ago...)
> And this is why I like them so much. May I add that IMO the unusually sharp
> wit of the scripts lends a more "adult" feel to these stories than there is in
> any other Disney comics I've seen.
Unfortunately, maybe only one of these stories has been reprinted in
Holland, so I can't give an opinion on that.
> However, the qualities mentioned above are not featured only within this
> newspaper office set-up. There were several other stories with equally witty
> scripts published in Sweden ca 1969-72 (S-coded? Hard to tell as story codes
> weren't printed in Sweden until 1972).
Any story involving Fethry is either "S-coded" or Italian. Italian stories
can be recognised from 1 km distance, so you must be talking about "S-coded"
stories.
(For those who wonder what we're talking about: Disney USA produces
comic stories especially for the 'foreign market'. These stories have
a code starting with S. For more information see the file 'story-codes' on
ftp.)
> Many of them included that bearded
> hillbilly character that doesn't seem to have a name in English
> ("Skogs-Ola" in Swedish, "Urtigao" in Portuguese).
None of these stories were reprinted in Holland (nor the USA, I guess).
> I wish I could refer to
> these more exactly, but the swedish index (sweden.dbl) is far from complete,
It only contains Swedish reprints of old Western (Dell) stories, adapted
from Kjell Crone's index. Feel free to complete the index 8-).
> and the s-code index (s.dbl) is even less enlightening
This file contains all the "S-coded" stories that HAVE a code in the USA or
Dutch reprint. Apart from that, there are dozens of stories that were reprinted
without code in Holland, so I could not include them in the 's.dbl' file
(since the story code is the 'key' on that file).
> (It's fun trying to decrypt all those Dutch titles, though!).
I have the same fun trying to read Ole's Danish titles...
But still, I would like all titles to be in English.
--Harry.
"I Costa Rica tål de inte att min rika råkost råkar kosta mer
än rostad räkost"
(A bit disturbed Swedish quote I got somewhere, long ago...)