"MADS F0K", published by the students of math-phys-faculty at Aarhus
University, kicked of this year with the usual amount of "Calvin &
Hobbes" strips, "Far Side" cartoons, a Winnie the Pooh article and...
a better-than-passable DD ten-pager: "The Master Computer Scientist"!
It's, of course, a tribute to Barks (who also appears.)
The artist is unschooled, but with a professional attitude; it's
consistently horrific throughout. The best poses are well-stolen.
The writer appears talented though. The predictable story-line is
well paced, and even without knowing any of the professors at DAIMI,
or too much computer science many of the gags work.
Well, it was the funniest story I've read this week.
I hoarded a bunch of them, in case anyone cares to look.
"A simple Turing-machine I built from an old tape-recorder!"
"You see, the Towers of Hanoi require *three* sticks, or it's
unsolvable!"
Fabio:
> Ole: I have all your stuff already ready to be sent, but I'm
> still waiting to be able to get the Index...
Good to have you back, I was beginning to wonder if you were a
figment of my - or David's - deranged imagination:)
You don't think your 'family' could lean a little on this Ricciardelli
character, or is the only thing leaning in Pisa the tower? :)
Meanwhile, please send what you've already got. I'll happily pay
postage twice; my patience is growing thinner than my wallet...
David:
> [...] "the "Remuda" Triangle, and the story [...] is called "Fantasy Island."
The Danish edition was the only of the 4 Nordic versions I subscribe to
that used exactly those names, so I'll quote from that in the future.
Unless the Finnish is funnier.
Harry:
> [W]hat SPECIES [is] our Hillbilly character[?]
> Is he a Duck? Is he a dog?
No - and no. He doesn't have neither beak nor blot-nose. Unless his
down-to-his-knees-beard hide a pair of dog ears, that makes him a
close relative to homo sapiens, another 'missing link'.
(Just like Li'l Hiawatha and them other injuns).
Dwight:
> [Barks] hasn't done any new [oils] for quite some time[...]?
I don't remember if I already mentioned this, but the imminent
Trojan story evolved from a painting, which may also explain the
question of the splash panel being by Barks or van Horn. Possibly
several versions of that half-page may exist.
A series of DD lithographies is/was produced while Barks worked
on the Scrooge script (according to an interview in the catalogue
for the recent exhibition in Copenhagen and Stuttgart).
Something special is probably also in the pipes for Egmont's
complete edition, scheduled for 1996.
Mikko:
> Can you give some codes of [Ben Verhagen's] stories?
In my eagerness to make fun of you last time, I forgot to answer;)
This year he's had two stories published in Finnish Aku Ankka:
AAF 9419, page 22-23 (H 89153) and AAF 9425, page 12-22 (H 84060).
Karl-Erik:
> Does anybody know if [Dick Moores has been] involved in the cartoons?
As so many others Richard Arnold 'Dick' Moores (1909-?) got into Disney's
rapidly growing industry in 1942. Apparently he is one of the few artists
who weren't transfered from the animation department, and his first jobs
were inking Gottfredson and Murry (Jose Carioca sundays).
The first story he both wrote, drew and lettered was Jose Carioca in
WDC&S #44. His "The Wonderful Whizzix" was reprinted recently in WDC&S.
A Richard Th. 'Sparky' Moore, mostly did animation for Hanna/Barbera,
but also Disney comics in 1967-69 (Moby Duck, Robin Hood, Chip'n'Dale a.o.)
The above data is from a heavily copyrighted article by Horst Schroeder
for "Der Disney Reader" (sic), previewed in "Carl Barks & Co". #9 (1977),
so watch it! Ain't it about time we got a creator hoozoo on ftp too?
Everybody (that's no-one in particular:)
Please give the code when a specific story is introduced for discussion
if possible. At least the first time. There's always a couple of requests
for it in the following days, when we try to find it in our own archives.
And even if we recognize the story, it takes some time to track it down.
Not to mention the *wear* an *tear* on our priceless collectibles!
A little cross-referencing with Harry's database (plug, plug) makes
it almost too easy to find them. Just don't use *my* index! Yet.
"Bedank Fluks maar! Hij heeft het grote werk gedaan!"
Tokkie Tor (Bucky Bug)
// oLe 'RoC' Reichstein Nielsen c/o lrn at daimi.aau.dk //
Author
Topic: 199409
(131 messages)
Lasse Reichstein Nielsen
From RoC
Message 121 -
1994-09-30 at 08:44:48
Even Flood
Original text of "War of the Wendigo"
Message 122 -
1994-09-30 at 09:20:47
On 29 Sep 1994, Don Rosa wrote:
> BJORN:
> Uh... aren't you in Norway? Why would you need an English
> transcription of "War of the Wendigo" when it was printed in Norway?
Don!
Are you kidding? Do you really not know how much is lost in
translation of ordinary text and even more of any kind of
poetry and even more considering the quality of previous translations in
DD&Co? I would like to join Bjorn-Are in requesting a copy of
your original text. At least some of us then get to read the story as you
intended it, if it is not going to have an English language publication.
Even
> BJORN:
> Uh... aren't you in Norway? Why would you need an English
> transcription of "War of the Wendigo" when it was printed in Norway?
Don!
Are you kidding? Do you really not know how much is lost in
translation of ordinary text and even more of any kind of
poetry and even more considering the quality of previous translations in
DD&Co? I would like to join Bjorn-Are in requesting a copy of
your original text. At least some of us then get to read the story as you
intended it, if it is not going to have an English language publication.
Even
Mark Mayerson
Dick Moores
Message 123 -
1994-09-30 at 17:01:43
> Interesting, I didn't realize that Dick Moores did newspaper work for
> Disney. I also never realized that Jose Carioca was popular enough in
> the US to have his own Sunday strip. Were these published in the US or
> were they done for foreign markets? The newspaper work must have been
> contagious because when Dick Moores left Disney, he created his own comic
> strip called 'Gasoline Alley'.
Gasoline Alley was created by Frank King around 1919. Moores started
working on it as an assistant to King in the 1950's. He first took
over the daily strip and then took over the Sundays as well.
This may be one of the few cases where somebody continuing a strip
was as good, though different, than the originator. Moore's work on
Gasoline Alley is incredible and it's actually easier to find reprints
of Moore's work than it is King's.
It's hard to know how much Moores learned at Disney and how much was
his natural approach, but he did terrific characterizations and his drawing
was extremely solid. While he used a relatively simple style, his
perspectives and compositions were all well worked out.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
> Disney. I also never realized that Jose Carioca was popular enough in
> the US to have his own Sunday strip. Were these published in the US or
> were they done for foreign markets? The newspaper work must have been
> contagious because when Dick Moores left Disney, he created his own comic
> strip called 'Gasoline Alley'.
Gasoline Alley was created by Frank King around 1919. Moores started
working on it as an assistant to King in the 1950's. He first took
over the daily strip and then took over the Sundays as well.
This may be one of the few cases where somebody continuing a strip
was as good, though different, than the originator. Moore's work on
Gasoline Alley is incredible and it's actually easier to find reprints
of Moore's work than it is King's.
It's hard to know how much Moores learned at Disney and how much was
his natural approach, but he did terrific characterizations and his drawing
was extremely solid. While he used a relatively simple style, his
perspectives and compositions were all well worked out.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
James Williams
From RoC
Message 124 -
1994-09-30 at 17:06:00
>Something special is probably also in the pipes for Egmont's
>complete edition, scheduled for 1996.
I've never heard of this. I assume it's Egmonts answer to
Another Rainbow's The Carl Barks' Library.
>As so many others Richard Arnold 'Dick' Moores (1909-?) got into
>Disney's rapidly growing industry in 1942. Apparently he is one of the
>few artists who weren't transfered from the animation department, and
>his first jobs were inking Gottfredson and Murry (Jose Carioca sundays).
Interesting, I didn't realize that Dick Moores did newspaper work for
Disney. I also never realized that Jose Carioca was popular enough in
the US to have his own Sunday strip. Were these published in the US or
were they done for foreign markets? The newspaper work must have been
contagious because when Dick Moores left Disney, he created his own comic
strip called 'Gasoline Alley'.
>Ain't it about time we got a creator hoozoo on ftp too?
The lack of one is my fault. I volunteered to write an FAQ including
a section on the creators. Shortly after I volunteered, my comic book
writing finally took off and I never had the time to complete this task.
I'd be happy to contribute to such a task, but there is now way I'll
have the time to write one myself.
James Williams
>complete edition, scheduled for 1996.
I've never heard of this. I assume it's Egmonts answer to
Another Rainbow's The Carl Barks' Library.
>As so many others Richard Arnold 'Dick' Moores (1909-?) got into
>Disney's rapidly growing industry in 1942. Apparently he is one of the
>few artists who weren't transfered from the animation department, and
>his first jobs were inking Gottfredson and Murry (Jose Carioca sundays).
Interesting, I didn't realize that Dick Moores did newspaper work for
Disney. I also never realized that Jose Carioca was popular enough in
the US to have his own Sunday strip. Were these published in the US or
were they done for foreign markets? The newspaper work must have been
contagious because when Dick Moores left Disney, he created his own comic
strip called 'Gasoline Alley'.
>Ain't it about time we got a creator hoozoo on ftp too?
The lack of one is my fault. I volunteered to write an FAQ including
a section on the creators. Shortly after I volunteered, my comic book
writing finally took off and I never had the time to complete this task.
I'd be happy to contribute to such a task, but there is now way I'll
have the time to write one myself.
James Williams
Tallmo
From RoC
Message 125 -
1994-09-30 at 18:01:53
> As so many others Richard Arnold 'Dick' Moores (1909-?) got into Disney's
>rapidly growing industry in 1942. Apparently he is one of the few artists
>who weren't transfered from the animation department, and his first jobs
>were inking Gottfredson and Murry (Jose Carioca sundays).
> The first story he both wrote, drew and lettered was Jose Carioca in
>WDC&S #44. His "The Wonderful Whizzix" was reprinted recently in WDC&S.
> A Richard Th. 'Sparky' Moore, mostly did animation for Hanna/Barbera,
>but also Disney comics in 1967-69 (Moby Duck, Robin Hood, Chip'n'Dale a.o.)
>
> The above data is from a heavily copyrighted article by Horst Schroeder
>for "Der Disney Reader" (sic), previewed in "Carl Barks & Co". #9 (1977),
>so watch it! Ain't it about time we got a creator hoozoo on ftp too?
'RoC': Thanks. Yes, I figured he had that background. I will try to get the
Disney Reader. I don't know very much about were to get biographical stuff
about the artists, so more tips about, for instance, Murry and Strobl would
be appreciated. Eventually maybe we could compile a small encyclopedia with
data about the more important artists.
Karl-Erik
>rapidly growing industry in 1942. Apparently he is one of the few artists
>who weren't transfered from the animation department, and his first jobs
>were inking Gottfredson and Murry (Jose Carioca sundays).
> The first story he both wrote, drew and lettered was Jose Carioca in
>WDC&S #44. His "The Wonderful Whizzix" was reprinted recently in WDC&S.
> A Richard Th. 'Sparky' Moore, mostly did animation for Hanna/Barbera,
>but also Disney comics in 1967-69 (Moby Duck, Robin Hood, Chip'n'Dale a.o.)
>
> The above data is from a heavily copyrighted article by Horst Schroeder
>for "Der Disney Reader" (sic), previewed in "Carl Barks & Co". #9 (1977),
>so watch it! Ain't it about time we got a creator hoozoo on ftp too?
'RoC': Thanks. Yes, I figured he had that background. I will try to get the
Disney Reader. I don't know very much about were to get biographical stuff
about the artists, so more tips about, for instance, Murry and Strobl would
be appreciated. Eventually maybe we could compile a small encyclopedia with
data about the more important artists.
Karl-Erik
Jørgen Andreas Bangor
Disney-comics digest #448
Message 126 -
1994-09-30 at 18:04:27
Don Rosa:
>"JAB":
> Are those your initials?
Oops, sorry. I thought my name would appear in one of the headers.
I guess I shouldn't use Scandinavian letters here...
My name is Jorgen A. Bangor. The 'o' in 'Jorgen' is an o with slash :)
It's the Scandinavian (or rather Danish, I think) version of 'George'.
"War of the Wendigo"
I agree with Bjorn and Even. I would like to see an English
transcription of this too.
Jon Cato Lorentzen:
>The text never mentioned Van Horn. It seems like the only artists they find
>it worth mentioning over here is Barks and Rosa.
Wasn't Daan Jippes mentioned in the "autumn extra" magazine?
There was an introduction of a JW story written by Carl Barks
and drawn by Jippes. There was one strange thing though. It
said the story was written, and drawn, in the seventies. I
thought the art was quiet new. Don't remember the story code...
BTW. Those JW stories drawn recently by Jippes, are they redrawn,
or are they drawn for the first time? In case they are redrawn,
is the original artwork published in the early seventies?
(hmm, I am not sure where to put those ,'s in English...)
Jorgen A. Bangor (jorgenb at ifi.uio.no)
>"JAB":
> Are those your initials?
Oops, sorry. I thought my name would appear in one of the headers.
I guess I shouldn't use Scandinavian letters here...
My name is Jorgen A. Bangor. The 'o' in 'Jorgen' is an o with slash :)
It's the Scandinavian (or rather Danish, I think) version of 'George'.
"War of the Wendigo"
I agree with Bjorn and Even. I would like to see an English
transcription of this too.
Jon Cato Lorentzen:
>The text never mentioned Van Horn. It seems like the only artists they find
>it worth mentioning over here is Barks and Rosa.
Wasn't Daan Jippes mentioned in the "autumn extra" magazine?
There was an introduction of a JW story written by Carl Barks
and drawn by Jippes. There was one strange thing though. It
said the story was written, and drawn, in the seventies. I
thought the art was quiet new. Don't remember the story code...
BTW. Those JW stories drawn recently by Jippes, are they redrawn,
or are they drawn for the first time? In case they are redrawn,
is the original artwork published in the early seventies?
(hmm, I am not sure where to put those ,'s in English...)
Jorgen A. Bangor (jorgenb at ifi.uio.no)
Trygve J Helseth
Disney-comics digest #448
Message 127 -
1994-09-30 at 19:22:01
Jorgen:
> My name is Jorgen A. Bangor. The 'o' in 'Jorgen' is an o with slash :)
> It's the Scandinavian (or rather Danish, I think) version of 'George'.
Interesting! My uncle's name is Jorgen and I never knew that it was
equivalent to George. (I don't think he did either...}
> "War of the Wendigo"
> I agree with Bjorn and Even. I would like to see an English
> transcription of this too.
And so would a lot of us in the US like the see the English transcription
along with the artwork... :)
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN
or <tryg.helseth at tstation.mn.org>
> My name is Jorgen A. Bangor. The 'o' in 'Jorgen' is an o with slash :)
> It's the Scandinavian (or rather Danish, I think) version of 'George'.
Interesting! My uncle's name is Jorgen and I never knew that it was
equivalent to George. (I don't think he did either...}
> "War of the Wendigo"
> I agree with Bjorn and Even. I would like to see an English
> transcription of this too.
And so would a lot of us in the US like the see the English transcription
along with the artwork... :)
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN
or <tryg.helseth at tstation.mn.org>
James Williams
Dick Moores
Message 128 -
1994-09-30 at 19:29:01
Mark,
>Gasoline Alley was created by Frank King around 1919.
Odd, I've read a bunch of and on Gasoline Alley and have never
seen Frank King mentiond. Is Frank King by any chance the
person who also founded King Syndicates, the newspaper strip
syndication group?
>Moore's work on Gasoline Alley is incredible
Exactly. I was reading his work on Gasoline Alley long before I
got to read any of his work on Mickey Mouse. I cannot describe
how disappointed I was in his Mickey Mouse work. Neither the
writing nor the artwork have any of the magic found in his
later work.
James Williams
>Gasoline Alley was created by Frank King around 1919.
Odd, I've read a bunch of and on Gasoline Alley and have never
seen Frank King mentiond. Is Frank King by any chance the
person who also founded King Syndicates, the newspaper strip
syndication group?
>Moore's work on Gasoline Alley is incredible
Exactly. I was reading his work on Gasoline Alley long before I
got to read any of his work on Mickey Mouse. I cannot describe
how disappointed I was in his Mickey Mouse work. Neither the
writing nor the artwork have any of the magic found in his
later work.
James Williams
Mark Mayerson
Dick Moores
Message 129 -
1994-09-30 at 21:03:22
James Williams wrote:
> Is Frank King by any chance the
> person who also founded King Syndicates, the newspaper strip
> syndication group?
No connection whatever. I'm pretty sure that King Features Syndicate was
William Randolph Hearst's.
Check out The Smithsonian Book of Newspaper Comics (I may have the title
slightly wrong) by Martin Williams and Bill Blackbeard. It reproduces some
King Gasoline Alley Sunday pages. Besides reprinting lots of other good
stuff, it has a Mickey Mouse daily continuity by Gottfredson.
As for Moores' Gasoline Alley work being better than his Disney, I think
that Moores had a lot more freedom on the former than on the latter.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
> Is Frank King by any chance the
> person who also founded King Syndicates, the newspaper strip
> syndication group?
No connection whatever. I'm pretty sure that King Features Syndicate was
William Randolph Hearst's.
Check out The Smithsonian Book of Newspaper Comics (I may have the title
slightly wrong) by Martin Williams and Bill Blackbeard. It reproduces some
King Gasoline Alley Sunday pages. Besides reprinting lots of other good
stuff, it has a Mickey Mouse daily continuity by Gottfredson.
As for Moores' Gasoline Alley work being better than his Disney, I think
that Moores had a lot more freedom on the former than on the latter.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
James Williams
Jippes and the JWW
Message 130 -
1994-09-30 at 21:41:40
Jorgen said:
>It said the story was written, and drawn, in the seventies. I
>thought the art was quiet new.
You're both correct. Carl Barks gave up drawing comic books before he
quit writing them. The catch is that Carl didn't use scripts, he used
rough breakdowns instead. According to Mark Evanier, this was a
normal method used by most "funny animal" publishers. I think Archie
Comics still uses this method. So Carl Barks wrote a series of
Junior Woodchuck stories. These were finished by other people and
printed. But, the artwork wasn't anything special. Daan Jippes
has been re-inking these stories.
While I understand this, I still have some questions. I always thought
the policy was that the scripts were thumbnail sketches. When the
artist went to draw the stories, they used the thumbnail sketches for
reference. If that is the case, why is this called re-inking? Second,
the thumbnail sketches would have been tossed when the pencils were
finished unless Carl kept a copy. Third, if Carl's scripts had
really been full sized rough breakdowns and not thumbnail sketches,
wouldn't those pages have been inked already. Once their inked, the
original rough pencils are gone. Again, it is always possible Carl
kept a copy of these. If anyone know the exact details, I'd be
interested in hearing them.
James Williams
>It said the story was written, and drawn, in the seventies. I
>thought the art was quiet new.
You're both correct. Carl Barks gave up drawing comic books before he
quit writing them. The catch is that Carl didn't use scripts, he used
rough breakdowns instead. According to Mark Evanier, this was a
normal method used by most "funny animal" publishers. I think Archie
Comics still uses this method. So Carl Barks wrote a series of
Junior Woodchuck stories. These were finished by other people and
printed. But, the artwork wasn't anything special. Daan Jippes
has been re-inking these stories.
While I understand this, I still have some questions. I always thought
the policy was that the scripts were thumbnail sketches. When the
artist went to draw the stories, they used the thumbnail sketches for
reference. If that is the case, why is this called re-inking? Second,
the thumbnail sketches would have been tossed when the pencils were
finished unless Carl kept a copy. Third, if Carl's scripts had
really been full sized rough breakdowns and not thumbnail sketches,
wouldn't those pages have been inked already. Once their inked, the
original rough pencils are gone. Again, it is always possible Carl
kept a copy of these. If anyone know the exact details, I'd be
interested in hearing them.
James Williams
Tallmo
To RoC (repost)
Message 131 -
1994-09-30 at 23:36:40
This message bounced back, so I will try and post it again:
> As so many others Richard Arnold 'Dick' Moores (1909-?) got into Disney's
>rapidly growing industry in 1942. Apparently he is one of the few artists
>who weren't transfered from the animation department, and his first jobs
>were inking Gottfredson and Murry (Jose Carioca sundays).
> The first story he both wrote, drew and lettered was Jose Carioca in
>WDC&S #44. His "The Wonderful Whizzix" was reprinted recently in WDC&S.
> A Richard Th. 'Sparky' Moore, mostly did animation for Hanna/Barbera,
>but also Disney comics in 1967-69 (Moby Duck, Robin Hood, Chip'n'Dale a.o.)
>
> The above data is from a heavily copyrighted article by Horst Schroeder
>for "Der Disney Reader" (sic), previewed in "Carl Barks & Co". #9 (1977),
>so watch it! Ain't it about time we got a creator hoozoo on ftp too?
'RoC': Thanks. Yes, I figured he had that background. I will try to get the
Disney Reader. I don't know very much about were to get biographical stuff
about the artists, so more tips about, for instance, Murry and Strobl would
be appreciated. Eventually maybe we could compile a small encyclopedia with
data about the more important artists.
Karl-Erik
> As so many others Richard Arnold 'Dick' Moores (1909-?) got into Disney's
>rapidly growing industry in 1942. Apparently he is one of the few artists
>who weren't transfered from the animation department, and his first jobs
>were inking Gottfredson and Murry (Jose Carioca sundays).
> The first story he both wrote, drew and lettered was Jose Carioca in
>WDC&S #44. His "The Wonderful Whizzix" was reprinted recently in WDC&S.
> A Richard Th. 'Sparky' Moore, mostly did animation for Hanna/Barbera,
>but also Disney comics in 1967-69 (Moby Duck, Robin Hood, Chip'n'Dale a.o.)
>
> The above data is from a heavily copyrighted article by Horst Schroeder
>for "Der Disney Reader" (sic), previewed in "Carl Barks & Co". #9 (1977),
>so watch it! Ain't it about time we got a creator hoozoo on ftp too?
'RoC': Thanks. Yes, I figured he had that background. I will try to get the
Disney Reader. I don't know very much about were to get biographical stuff
about the artists, so more tips about, for instance, Murry and Strobl would
be appreciated. Eventually maybe we could compile a small encyclopedia with
data about the more important artists.
Karl-Erik