...nonono, Don -- what I *said* was that I can't make it to Gothenburg (due to
concerts and rehearsals), but that Stockholm is still an open question, i.e.
I'm free to go there for all I know, but I'm not yet sure I can afford it.
And while Gothenburg is *closer* to Lund than Stockholm, it's not *quite*
within a walking distance: Lund--Gothenburg is 350 km (c. 235 miles) while
Lund--Stockholm is 600 km (c. 400 miles). So, OK, it's possible to go to
Gothenburg just for the day, and OK, it seems *now* that it's *just* possible
there'll be no rehearsals on Friday Oct 28th, so *if* I was to take a day off
from work I *might* make it to Gothenburg that day -- but I can't say yet
whether or not. Saturday Oct 29th is however defintely off, since there'll be
concerts and all sorts of things that day that require my presence here in
Lund.
Still -- I do hope to see you somehow, and if you happen to pass through Malm|,
*or* Copenhagen -- hey, gimme a call, whydon'tcha?!
All my best
Mattias
**** Mattias Hallin ** Lund * Sweden ** <Mattias.Hallin at jurenh.lu.se> ****
* *
* "Oh bury me thar! With my battered git-tar! *
************** A-screamin' my heart out fer yew!" *************
Author
Topic: 199409
(131 messages)
Mattias Hallin
Nononono...
Message 31 -
1994-09-08 at 16:38:59
Frank DiCapua
Comic Shop News
Message 32 -
1994-09-08 at 18:14:11
I just got the latest issue of Comics Shop News (a four page newsletter
that most shops give away with comics), and there is a blurb there on
Gladstones' Life and Times of Scrooge McDuck. Its pretty short: it
mentions that this is a very good series, but its been overlooked. It
also says something flattering about Don Rosa. I don't remember the
exact quote, but it compares him favorably to Carl Barks (wait'll
Grandey reads this).
By the way...I agree with the comments about Pat Block: The art is a bit
crude, but has potential. The writing, on the other hand, can use a
whole lot of work.
Frank
that most shops give away with comics), and there is a blurb there on
Gladstones' Life and Times of Scrooge McDuck. Its pretty short: it
mentions that this is a very good series, but its been overlooked. It
also says something flattering about Don Rosa. I don't remember the
exact quote, but it compares him favorably to Carl Barks (wait'll
Grandey reads this).
By the way...I agree with the comments about Pat Block: The art is a bit
crude, but has potential. The writing, on the other hand, can use a
whole lot of work.
Frank
Frank DiCapua
Latest Uncle Scrooge Adventures
Message 33 -
1994-09-08 at 20:50:22
I forgot to mention this in my last post. The current Uncle Scrooge Adventures
(it just came out yesterday) has Srooge, Donald and the nephews shipwrecked
on an island inhabited by an exhiled despot. This character than engages
our heroes on a hunt in which he tracks and goes after U$ and the boys as if
they were wild game.
I don't mind the story at all...the writing and artwork are OK, but not
great...What I was wondering was how this story got by the Disney censors.
It seems that they would probably label this story as too violent and
upsetting. Why would they approve this story, but get all bent out of shape
at some of the more innocent elements in Barks/Rosas works?
Any opinions?
Frank
(it just came out yesterday) has Srooge, Donald and the nephews shipwrecked
on an island inhabited by an exhiled despot. This character than engages
our heroes on a hunt in which he tracks and goes after U$ and the boys as if
they were wild game.
I don't mind the story at all...the writing and artwork are OK, but not
great...What I was wondering was how this story got by the Disney censors.
It seems that they would probably label this story as too violent and
upsetting. Why would they approve this story, but get all bent out of shape
at some of the more innocent elements in Barks/Rosas works?
Any opinions?
Frank
James Williams
Disney-comics digest #426.
Message 34 -
1994-09-08 at 21:25:43
Don,
>His DD and U$ were a little "off" still, but better than MY DDs and
>U$s in "The Son of the Sun", doncha think?
Believe it or not, I've never seen "The Son of the Sun". It and
Chapter 1 of LOS are on the top of my want list. Still, I remember my
reaction to your artwork the first time I saw it. All I could think of
was Robert Crumb does Disney. Needless to say, I wasn't amused. Not
to worry, I now think you are the best artist working on the ducks.
>Just as a matter of personal preference, I prefer Pat's style of art
>on Duck stories much more than Van Horn's style, mainly because I view
>these as adventure characters rather than slapstick stuff
I didn't like Van Horn's first few efforts. His artwork was to loose
for my liking. As he became experienced with the ducks, he started
doing some really *good* stuff. He had a few years where I really
liked his stories and artwork. Unfortunately, I don't like his newer
stuff as much. I'll give one example. Recently, he has started
drawing Donald with a tounge. It comes and goes randomly. Also, the
tounge is connected to the middle of the bill instead of the back of
the bill.
Actually, I like most of Van Horn's slapstick stories. One of the
reasons that Donald and Scrooge are so popular is because they are so
diverse. Very few characters in fiction are equally adept at adventure
and comedy.
>And...uh...no, the story and dialogue in "Widow's Gap" left me
>pretty cold.
I agree with you about the plot, it needed a lot more work. But, I
cannot complain about the dailog because it is better than my dialog.
This is a topic I've wanted to talk to you, David, and Dwight about for
a long time. Someone can take a piece of dialog from your work or
Barks work and just from the dialog, you can tell who is speaking.
While my dialog is okay, the characters unique voices don't come
through. I've got a million questions, but I'll start simple. How do
you write the unique voices for Scrooge, Donald, and Magica?
>There -- you never got so much opinion from me before on here,
>did you?
No, we haven't. I was amazed that you responded. I understand why you
usually refrain.
James Williams
>His DD and U$ were a little "off" still, but better than MY DDs and
>U$s in "The Son of the Sun", doncha think?
Believe it or not, I've never seen "The Son of the Sun". It and
Chapter 1 of LOS are on the top of my want list. Still, I remember my
reaction to your artwork the first time I saw it. All I could think of
was Robert Crumb does Disney. Needless to say, I wasn't amused. Not
to worry, I now think you are the best artist working on the ducks.
>Just as a matter of personal preference, I prefer Pat's style of art
>on Duck stories much more than Van Horn's style, mainly because I view
>these as adventure characters rather than slapstick stuff
I didn't like Van Horn's first few efforts. His artwork was to loose
for my liking. As he became experienced with the ducks, he started
doing some really *good* stuff. He had a few years where I really
liked his stories and artwork. Unfortunately, I don't like his newer
stuff as much. I'll give one example. Recently, he has started
drawing Donald with a tounge. It comes and goes randomly. Also, the
tounge is connected to the middle of the bill instead of the back of
the bill.
Actually, I like most of Van Horn's slapstick stories. One of the
reasons that Donald and Scrooge are so popular is because they are so
diverse. Very few characters in fiction are equally adept at adventure
and comedy.
>And...uh...no, the story and dialogue in "Widow's Gap" left me
>pretty cold.
I agree with you about the plot, it needed a lot more work. But, I
cannot complain about the dailog because it is better than my dialog.
This is a topic I've wanted to talk to you, David, and Dwight about for
a long time. Someone can take a piece of dialog from your work or
Barks work and just from the dialog, you can tell who is speaking.
While my dialog is okay, the characters unique voices don't come
through. I've got a million questions, but I'll start simple. How do
you write the unique voices for Scrooge, Donald, and Magica?
>There -- you never got so much opinion from me before on here,
>did you?
No, we haven't. I was amazed that you responded. I understand why you
usually refrain.
James Williams
Don Rosa
Disney-comics digest #427.
Message 35 -
1994-09-09 at 05:31:19
FRANK:
I haven't seen that new UNCLE $CROOGE ADV. yet, but just from
your brief description of the plot, I can tell that story is a very
direct swipe of "The Most Dangerous Game", an old story filmed MANY
times, most noteably in 1932 simultaneously with KING KONG by the same
director, stars and with the same sets. Maybe it's considered fair game
for swiping as the story is notorious as being swiped by filmmakers for
over a half-century.
But I recall now that several years ago the Egmont editors
telling me about some story they had done that was stolen from an old
movie unbeknownst to them, and that some publishers in their satellite
countries complained about it.
(Of course, I've been known to swipe from old movies myself! I
do always admit to it, even in the story itself if I can.)
JAMES:
How does one write dialogue that is authentic to the character?
I never think about these things, anymore than I conciously think about
pacing or timing -- I just do it the way it seems to me that it
obviously should be done. But writing dialogue true to the characters is
the easy part -- it's more difficult to get it to say precisely what one
wants in as few words as possible, and make it have some life of its
own. But as for authenticity to the characters -- this sounds corny, but
the characters, if you REEEAAAALLY know 'em, take control of you when
you write their lines. They tell ME what they should be saying, or how
they should react to a given situation. Sometimes I want or need them to
say or react differently, but I don't have control over them; they tell
me the dialogue. Maybe I'm schizophrenic?
I haven't seen that new UNCLE $CROOGE ADV. yet, but just from
your brief description of the plot, I can tell that story is a very
direct swipe of "The Most Dangerous Game", an old story filmed MANY
times, most noteably in 1932 simultaneously with KING KONG by the same
director, stars and with the same sets. Maybe it's considered fair game
for swiping as the story is notorious as being swiped by filmmakers for
over a half-century.
But I recall now that several years ago the Egmont editors
telling me about some story they had done that was stolen from an old
movie unbeknownst to them, and that some publishers in their satellite
countries complained about it.
(Of course, I've been known to swipe from old movies myself! I
do always admit to it, even in the story itself if I can.)
JAMES:
How does one write dialogue that is authentic to the character?
I never think about these things, anymore than I conciously think about
pacing or timing -- I just do it the way it seems to me that it
obviously should be done. But writing dialogue true to the characters is
the easy part -- it's more difficult to get it to say precisely what one
wants in as few words as possible, and make it have some life of its
own. But as for authenticity to the characters -- this sounds corny, but
the characters, if you REEEAAAALLY know 'em, take control of you when
you write their lines. They tell ME what they should be saying, or how
they should react to a given situation. Sometimes I want or need them to
say or react differently, but I don't have control over them; they tell
me the dialogue. Maybe I'm schizophrenic?
Lars Lundheim
France
Message 36 -
1994-09-09 at 09:44:50
Don:
I'll see what I can do. I never buy those books myself (bad colouring,
lots of uninteresting Egmont/Italian stuff etc) so I don't know which
issues to look for. Fortunately, back issues are pblished rgularly in thick
"albums", (10-20 books bound together) but then you'll get a lot of the
above mentioned thrash along with the good stuff.
Cheers,
Lars
I'll see what I can do. I never buy those books myself (bad colouring,
lots of uninteresting Egmont/Italian stuff etc) so I don't know which
issues to look for. Fortunately, back issues are pblished rgularly in thick
"albums", (10-20 books bound together) but then you'll get a lot of the
above mentioned thrash along with the good stuff.
Cheers,
Lars
Anders Engwall
From RoC
Message 37 -
1994-09-09 at 11:35:50
oLe 'RoC' Reichstein Nielsen:
> The Complete (in-the-disney-comics-sense-of-that-word) Moe Checklist:
Hooray!
> X 1048 11 42/69 'DD - a Peaceful Fishing Trip!'
> Only a minor role for Moe here. (Drawn by Paul Arens)
A couple of minor nits:
1) The code implies that it was made in 1971. A typo?
2) There is no Paul Arens in the creators index, but there is one *Mike*
Arens there. What gives?
> The Fethry in DD #106 is very different in appearance from the later Fethry
> as drawn by TS. The really good stories are however the ones drawn by Al
> Hubbard around 1964.
Just like those newspaper office stories by Strobl, these constitute a
subgenre of their own, except these are...well, *weird*... They are certainly
some of the most bizarre Disney comics I've seen. Hubbard's artwork is very
loose here, and it fits these wild stories perfectly. HDL are absent for some
reason but OTOH Donald's cat takes a rather prominent role in the mayhem.
Great stuff -- I wish it was better known outside Scandinavia.
> Try these: EXTRA 4024, 4033, 4051, 4079, 4120, 4130, and 6066...
Say, could you point out in which issues of AA&Co (and hence KA&Co) these
appear?
And why is it that all this great material was X- or S-coded and not pub-
lished in the U.S?
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
endremin saxassa flumen flobollala / feilobasch falljada follidi / flumbasch
> The Complete (in-the-disney-comics-sense-of-that-word) Moe Checklist:
Hooray!
> X 1048 11 42/69 'DD - a Peaceful Fishing Trip!'
> Only a minor role for Moe here. (Drawn by Paul Arens)
A couple of minor nits:
1) The code implies that it was made in 1971. A typo?
2) There is no Paul Arens in the creators index, but there is one *Mike*
Arens there. What gives?
> The Fethry in DD #106 is very different in appearance from the later Fethry
> as drawn by TS. The really good stories are however the ones drawn by Al
> Hubbard around 1964.
Just like those newspaper office stories by Strobl, these constitute a
subgenre of their own, except these are...well, *weird*... They are certainly
some of the most bizarre Disney comics I've seen. Hubbard's artwork is very
loose here, and it fits these wild stories perfectly. HDL are absent for some
reason but OTOH Donald's cat takes a rather prominent role in the mayhem.
Great stuff -- I wish it was better known outside Scandinavia.
> Try these: EXTRA 4024, 4033, 4051, 4079, 4120, 4130, and 6066...
Say, could you point out in which issues of AA&Co (and hence KA&Co) these
appear?
And why is it that all this great material was X- or S-coded and not pub-
lished in the U.S?
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
endremin saxassa flumen flobollala / feilobasch falljada follidi / flumbasch
Sigurdur Hrafn Gislason
Icelandic translation?
Message 38 -
1994-09-09 at 15:05:25
OLE:
Helseth? How did this pop up?
I can only think of one icelandic word that comes close to that spelling.
Helsaerdur, which means lethally wounded (as you suggested).
The d is pronounced as th, so maybe this is the word.
The ending ..ur is skipped if it was about a female person.
In what context was it spoken?
It seems like my other message somehow got scrambled and appeared in
somebody's else post. I was just saying that I was surprised about
seeing Don in a Barks tv show.
Sigurdur
Helseth? How did this pop up?
I can only think of one icelandic word that comes close to that spelling.
Helsaerdur, which means lethally wounded (as you suggested).
The d is pronounced as th, so maybe this is the word.
The ending ..ur is skipped if it was about a female person.
In what context was it spoken?
It seems like my other message somehow got scrambled and appeared in
somebody's else post. I was just saying that I was surprised about
seeing Don in a Barks tv show.
Sigurdur
James Williams
Disney comics on CompuServe
Message 39 -
1994-09-09 at 17:16:00
FYI. There is now a Disney comics section on CompuServe. The forum
is COMICS. The section is #18.
James Williams
is COMICS. The section is #18.
James Williams
Harry Fluks
Icelandic translation? / Scrambled message
Message 40 -
1994-09-09 at 17:20:48
Sigurdur to Ole:
> Helseth? How did this pop up?
No, no: Trygve Helseth was curious about the meaning of his FIRST name:
Trygve. British or Norse?
And Sigurdur said:
> It seems like my other message somehow got scrambled and appeared in
> somebody's else post.
It was scrambled in the Digest only. "Normal" subscribers got your
entire message.
--Harry.
> Helseth? How did this pop up?
No, no: Trygve Helseth was curious about the meaning of his FIRST name:
Trygve. British or Norse?
And Sigurdur said:
> It seems like my other message somehow got scrambled and appeared in
> somebody's else post.
It was scrambled in the Digest only. "Normal" subscribers got your
entire message.
--Harry.
Tryg Helseth
Beagles, CompuServe Disney, and name that geek
Message 41 -
1994-09-09 at 20:28:31
JAMES:
>Actually there were two different Beagle Boy trios who appeared
>regulary. One set of beagles looked different; The others looked the
>same.
I didn't remember that, but then it has been a few years since I watched
DuckTales (woo-oo). I enjoyed the earlier episodes when the did
adpatations of Barks stories, but lost interest about the time they
introduced Bubba the cave-boy and Robo Duck. Just saw for the first time
_DuckTales: The Movie_. It had its funny moments, but I prefer stories
that are not based on magic.
>FYI. There is now a Disney comics section on CompuServe. The forum
>is COMICS. The section is #18.
I checked it out and there were 5 messages posted there. Some were from
Bob Ingersol. Is he on this list also?
EVEN and THORE:
Thanks ever so much for your help in researching my first name. Now I need
to decide which of the many alternative combinations I want to go by.
(fearless/reliable/trusted + winner/conqueror/warrior/victor) Maybe I'll
jsut stick with "Trigger the Terrible." :)
OLE and SIGURDUR:
>In Icelandic 'helseth' means 'dead clever' (or maybe 'lethally wounded'?)
>At least that's what my Icelandic/Danish dictionary said. Sigurdur?
>Helseth? How did this pop up?
>I can only think of one icelandic word that comes close to that spelling.
>Helsaerdur, which means lethally wounded (as you suggested).
I forgot to ask anyone about the meaning of my last name, but thanks for
the information, I think... Lethally wounded?!? :)
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -the Beach Drakes
>Actually there were two different Beagle Boy trios who appeared
>regulary. One set of beagles looked different; The others looked the
>same.
I didn't remember that, but then it has been a few years since I watched
DuckTales (woo-oo). I enjoyed the earlier episodes when the did
adpatations of Barks stories, but lost interest about the time they
introduced Bubba the cave-boy and Robo Duck. Just saw for the first time
_DuckTales: The Movie_. It had its funny moments, but I prefer stories
that are not based on magic.
>FYI. There is now a Disney comics section on CompuServe. The forum
>is COMICS. The section is #18.
I checked it out and there were 5 messages posted there. Some were from
Bob Ingersol. Is he on this list also?
EVEN and THORE:
Thanks ever so much for your help in researching my first name. Now I need
to decide which of the many alternative combinations I want to go by.
(fearless/reliable/trusted + winner/conqueror/warrior/victor) Maybe I'll
jsut stick with "Trigger the Terrible." :)
OLE and SIGURDUR:
>In Icelandic 'helseth' means 'dead clever' (or maybe 'lethally wounded'?)
>At least that's what my Icelandic/Danish dictionary said. Sigurdur?
>Helseth? How did this pop up?
>I can only think of one icelandic word that comes close to that spelling.
>Helsaerdur, which means lethally wounded (as you suggested).
I forgot to ask anyone about the meaning of my last name, but thanks for
the information, I think... Lethally wounded?!? :)
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -the Beach Drakes
Larry Gerstein
A forwarded message from Fabio
Message 42 -
1994-09-10 at 01:26:32
Dear Folks,
Fabio sent this to me, saying he couldn't get it onto the Digest. Per,
maybe you can make sure he's still hooked up properly.
David
gerstein at math.ucsb.edu
The subject is 'Sorry, folks...'
Dear friends,
I'm sorry for all the problems my e-mail address could have caused to you...
My system was down for a while: so I lost a lot of messages of the list
(last two weeks of August, even if I just read the digests in the archive),
and all the e-mails you sent me... expecially from you, Don, who wrote on
August, 17...
FABIO:
Did I get your mail? I got an E-Mail from you -- didn't you get
a response? I hate to have you send it (and me pay for it) again if I
already received it -- what were the general contents? Maybe you just
didn't get my response, whatever it was.
...and on August, 27...
FABIO:
Doggonnit, fella, where do you keep disappearing to? I'd like to
make sure you received the looooong answer I sent to your previous
message, but we can't seem to maintain contact on here.
That's all. I'm sorry for the problems, and I hope all of you who sent me
their e-mail could send it again... :-)
But let me put my 2 cents on the most recent threads!
>David Gerstein wrote:
>
>> ROC announced that "the hillbilly character - a.k.a.
>> 'Urtigao'/'Skogs-Ola' and 'Jesper Skauen' - in Denmark is (or should I say
>> 'was'?) called 'Habakuk', which could be his, although misspelt, original
>> name. A Strobl story in AA&Co. #27/1969 also mentions his friend Amos -
>> not a very common name in Danish."
>>
>> So it was a STROBL story? An S-coded story, then? This means that
>> it was originally made in English! So this tramp DOES have an English
>> name. If someone can give me the code for the SHORTEST GOOD S-story with
>> this tramp, I can see if Gladstone wants to order it and find out the name
>> -- and then presumably use it.
>
The Italian name of the character is Dinamite Bla' (from dynamite and blam,
the onomatopoeic sound for a shot). It is well remembered by all those guys
(like me) who were children in the mid-Seventies: as far as I remember, all
these stories were coded S. The best ones had as main characters Feathry
and all the others journalists working for 'Papersera' (that is, Feathry,
Donald and U$ :-).
I can try to found out more information about the original name (maybe
asking to that crazy guy of Alberto Becattini: I'll meet him in a few
days...) and send you some of the S-codes...
And about Feathry: yes, it is quite popular in Italy (as I already told you
many times before, some of his stories of the mid-late Seventies with
Donald and U$, written by Pezzin and drawn by Cavazzano, are my favourite
ducks stories ever), even if I think that few Italian stories with him
appeared during the Sixties. So when Lars wrote
>Harry Fluks writes:
>> They say they don't use "Popop" (Fethry) much because all his stories
>> are Italian, and they can't translate them.Apparently, they don't know there
>> are quite a lot of English stories with
>> Fethry, even by Strobl.
>
>Yes, and the funniest ones are drawn in a style very similar to
>Al Hubbard. Are these the italian ones, ore are they actually Hubbards work?
>(In Norway in the sixties I believe their codes started with x, xtra or extra.)
I'm quite sure the stories he is referring to, are not Italian.
Could you maybe tell me something more about the plot, the characters and so on?
Now, about the credits (a most recurring thread, I see... ;-): Don wrote
>NEWS:
> Speaking of Sweden, Egmont mentioned to me today that some
>Swedish comic fans are suing the editor of the Egmont Disney weekly on
>the basis that it is against Swedish law NOT to give artist and writer
>credits and it's the editor's responsibility to obey the law. This is a
>very noble and selfless thing for someone to be doing and paying for
>themselves; and I think Egmont is interested in the outcome. It's DISNEY
>that is preventing Egmont from putting those credits in while Egmont
>WANTS to do so, and this will be interesting to watch. I wonder what
>Swedish law says about denying the "creators" royalties off the use of
>their work?
and Mikko replied
> This is not true at least here in Finland. Finnish editors have
> complete credits for new Egmont stories but they have decided
> not to print 'em. They say that part of the reason to do that
> is that they don't get the credits for Dutch (and propably
> Italian) stories. And they don't want to treat various artists
> differently....
>
> I asked this from Byron also when he was in Finland, but
> he didn't give answer.
Even if it does not make any difference from a $$-oriented point of view
(no royaltes at all), in Italy writers and artists get FULL credits for
their work. Usually, only Egmont stories get no credits, simply because (as
they told me) they are not sent with the stories. It could be so, even if
all of you know the kind of disagreement existing betwenn Disney Italy and
Egmont. And I'm sure Finnish artists get the credits for Italian stories:
Disney Italy would like to sell the work of its artists all around
Europe...
Then, a curious thread started by Sigurdur:
>I was reading a 3 year old Italian Disney pocket comic book just yesterday
>and I came upon a most pecculiar story. Very unDisneylike in fact.
>The plot was about Mickey's two nephews meeting a new friend and finding
>out that he was being abused at home, that is, he shows up with a bruise on
>his face and claims his father did it. The nephews contact the local
>phoneline for abused children and ask for help. The phone agency then
>contacts one of their top agents who, incidentally, is Mickey Mouse.
>In the end everything works out. The father promises never to do this again,
>he was under a lot of strain etc.
>Anyway, this is something I never ever saw in a Disney comic.
>Stories that address real social problems? Never seen those in a Disney comic.
>Maybe this was the only time, but I wonder how it got past the editors.
>Could it be that the italian comics are more serious in this matter?
Then Don
> The "odd" story in that Italian Disney digest was surely not
>something that "slipped by the editors". Wouldn't you suppose it was
>something that the editors planned carefully?
> I think I'd rather not see such sordid things dealt with in a
>Disney comic, even though I know exactly what the editors would say and
>the good that they were hoping to accomplish. And for all I know, it
>might have DONE some good somewhere. I just hate to think that it's the
>responsibility of a Mickey Mouse or Donald Duck story to deal with this
>sort of thing when it should be dealt with in some other manner or
>agency. Oh, well, I guess if I get away with the weird stuff I am
>allowed to put into "Disney comics" simply as entertainment, other
>people can use their stories to save mankind.
and Bror
>Well, I have seen this story and a few similar. In a couple of stories MM
>is an agent for WWF flying around the world and saves animals.
>
>I think that the Italians have more liberty and don't need to be PC.
These stories are not obviously 'slipped by the editors'. Usually, they are
created with the help of some organization.
In the case of the abused child, there was the support of the Italian
phoneline, 'Telefono Azzurro'; in the other case mentioned by Bror, it was
supported by the WWF itself. Moreover, in both cases there was a very lerge
article inside 'Topolino' devoted to the argument, and explaining what
these organizations are working for.
Not a bad thing to do, in my opinion...
Then our never-forgotten ;-) David
> First, the long-awaited Scarpa story "Colossus of the Nile" has
>been received by Gladstone and will appear in late 1995. They just got the
>proofs in recently.
Great! Maybe you could send me some more information, to find out if they
sent you the mutilated version (but I do not think so) or the original
one...
Could you tell us something more about the panel. A friend of mine who was
at the San Diego Con told me only very old people attended it... ;-0
And about Fatherland :-), Don wrote
> I certainly don't mean to suggest there's a need for a Rosa
>index for every country, but Fabio just sent me a copy of the Italian
>PAPERINO #168, the DD 60th birthday issue, with my "The Duck Who Never
>Was" as the lead feature (including a short text where I see my name
>mentioned and some comments about the Lo$ series which the Italians will
>also soon see). This is the first time one of my stories has appeared in
>my father's country; the reason is, as we've said, they only have
>digest-sized comics in Italy, and my Birthday story was cut apart and
>reassembled in digest shape -- this meant they needed to add lots of art
>to all the panels to make them larger or squarer, and that didn't do my
>already lopsided art much good. I'm sure Italian readers wondered why
>this story, which I assume the opening text was praising (?), seemed so
>cockeyed looking. They also used Marco Rota's "Life of DD" story in the
>same issue, and they ran it in its original form -- I don't know why
>they treated the two stories differently. But I see that the opening
>mentioned that my grandparents came from Maniago and Venice, and perhaps
>that either pleased or embarrassed the readership.
Obviously, the opening text was praising you (I mean, the author was Luca
Boschi, he likes your work, and besides that all the information came from
this list :-), and the mentioning of your grandparents' origins was a kind
of 'captatio benevolentiae': something which was intended to please the
readers, 'for the work of this great author' (somewhere in the
introduction). It has been well accepted, even if some friends of mine
(die-hard disney fans) think that your art is quite un-disney... But alas,
a really good first appearence, after all.
I'll tell you more after I get your lost e-mail... :-)
That's all for now, folks. A last thought, Don. I understand why you are so
angry with Jippes, Grandey and so on. But we like your stories, and we like
your being so #$%$#@ proud. Keep up the good work!
Fabio
PS Harry wrote:
> "The Secret of Mars" was very entertaining. I expected a quite bad
>story, that's only reprinted because it is the "first". But it was quite
>fun reading it! And I liked the name of Fabio Gadducci in the credits.
>This mailing list is really accomplishing things!
Thank you, my friend!! (I'll send you the money in a little while... :-)
================================================================
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
================================================================
gerstein at math.ucsb.edu
Fabio sent this to me, saying he couldn't get it onto the Digest. Per,
maybe you can make sure he's still hooked up properly.
David
gerstein at math.ucsb.edu
The subject is 'Sorry, folks...'
Dear friends,
I'm sorry for all the problems my e-mail address could have caused to you...
My system was down for a while: so I lost a lot of messages of the list
(last two weeks of August, even if I just read the digests in the archive),
and all the e-mails you sent me... expecially from you, Don, who wrote on
August, 17...
FABIO:
Did I get your mail? I got an E-Mail from you -- didn't you get
a response? I hate to have you send it (and me pay for it) again if I
already received it -- what were the general contents? Maybe you just
didn't get my response, whatever it was.
...and on August, 27...
FABIO:
Doggonnit, fella, where do you keep disappearing to? I'd like to
make sure you received the looooong answer I sent to your previous
message, but we can't seem to maintain contact on here.
That's all. I'm sorry for the problems, and I hope all of you who sent me
their e-mail could send it again... :-)
But let me put my 2 cents on the most recent threads!
>David Gerstein wrote:
>
>> ROC announced that "the hillbilly character - a.k.a.
>> 'Urtigao'/'Skogs-Ola' and 'Jesper Skauen' - in Denmark is (or should I say
>> 'was'?) called 'Habakuk', which could be his, although misspelt, original
>> name. A Strobl story in AA&Co. #27/1969 also mentions his friend Amos -
>> not a very common name in Danish."
>>
>> So it was a STROBL story? An S-coded story, then? This means that
>> it was originally made in English! So this tramp DOES have an English
>> name. If someone can give me the code for the SHORTEST GOOD S-story with
>> this tramp, I can see if Gladstone wants to order it and find out the name
>> -- and then presumably use it.
>
The Italian name of the character is Dinamite Bla' (from dynamite and blam,
the onomatopoeic sound for a shot). It is well remembered by all those guys
(like me) who were children in the mid-Seventies: as far as I remember, all
these stories were coded S. The best ones had as main characters Feathry
and all the others journalists working for 'Papersera' (that is, Feathry,
Donald and U$ :-).
I can try to found out more information about the original name (maybe
asking to that crazy guy of Alberto Becattini: I'll meet him in a few
days...) and send you some of the S-codes...
And about Feathry: yes, it is quite popular in Italy (as I already told you
many times before, some of his stories of the mid-late Seventies with
Donald and U$, written by Pezzin and drawn by Cavazzano, are my favourite
ducks stories ever), even if I think that few Italian stories with him
appeared during the Sixties. So when Lars wrote
>Harry Fluks writes:
>> They say they don't use "Popop" (Fethry) much because all his stories
>> are Italian, and they can't translate them.Apparently, they don't know there
>> are quite a lot of English stories with
>> Fethry, even by Strobl.
>
>Yes, and the funniest ones are drawn in a style very similar to
>Al Hubbard. Are these the italian ones, ore are they actually Hubbards work?
>(In Norway in the sixties I believe their codes started with x, xtra or extra.)
I'm quite sure the stories he is referring to, are not Italian.
Could you maybe tell me something more about the plot, the characters and so on?
Now, about the credits (a most recurring thread, I see... ;-): Don wrote
>NEWS:
> Speaking of Sweden, Egmont mentioned to me today that some
>Swedish comic fans are suing the editor of the Egmont Disney weekly on
>the basis that it is against Swedish law NOT to give artist and writer
>credits and it's the editor's responsibility to obey the law. This is a
>very noble and selfless thing for someone to be doing and paying for
>themselves; and I think Egmont is interested in the outcome. It's DISNEY
>that is preventing Egmont from putting those credits in while Egmont
>WANTS to do so, and this will be interesting to watch. I wonder what
>Swedish law says about denying the "creators" royalties off the use of
>their work?
and Mikko replied
> This is not true at least here in Finland. Finnish editors have
> complete credits for new Egmont stories but they have decided
> not to print 'em. They say that part of the reason to do that
> is that they don't get the credits for Dutch (and propably
> Italian) stories. And they don't want to treat various artists
> differently....
>
> I asked this from Byron also when he was in Finland, but
> he didn't give answer.
Even if it does not make any difference from a $$-oriented point of view
(no royaltes at all), in Italy writers and artists get FULL credits for
their work. Usually, only Egmont stories get no credits, simply because (as
they told me) they are not sent with the stories. It could be so, even if
all of you know the kind of disagreement existing betwenn Disney Italy and
Egmont. And I'm sure Finnish artists get the credits for Italian stories:
Disney Italy would like to sell the work of its artists all around
Europe...
Then, a curious thread started by Sigurdur:
>I was reading a 3 year old Italian Disney pocket comic book just yesterday
>and I came upon a most pecculiar story. Very unDisneylike in fact.
>The plot was about Mickey's two nephews meeting a new friend and finding
>out that he was being abused at home, that is, he shows up with a bruise on
>his face and claims his father did it. The nephews contact the local
>phoneline for abused children and ask for help. The phone agency then
>contacts one of their top agents who, incidentally, is Mickey Mouse.
>In the end everything works out. The father promises never to do this again,
>he was under a lot of strain etc.
>Anyway, this is something I never ever saw in a Disney comic.
>Stories that address real social problems? Never seen those in a Disney comic.
>Maybe this was the only time, but I wonder how it got past the editors.
>Could it be that the italian comics are more serious in this matter?
Then Don
> The "odd" story in that Italian Disney digest was surely not
>something that "slipped by the editors". Wouldn't you suppose it was
>something that the editors planned carefully?
> I think I'd rather not see such sordid things dealt with in a
>Disney comic, even though I know exactly what the editors would say and
>the good that they were hoping to accomplish. And for all I know, it
>might have DONE some good somewhere. I just hate to think that it's the
>responsibility of a Mickey Mouse or Donald Duck story to deal with this
>sort of thing when it should be dealt with in some other manner or
>agency. Oh, well, I guess if I get away with the weird stuff I am
>allowed to put into "Disney comics" simply as entertainment, other
>people can use their stories to save mankind.
and Bror
>Well, I have seen this story and a few similar. In a couple of stories MM
>is an agent for WWF flying around the world and saves animals.
>
>I think that the Italians have more liberty and don't need to be PC.
These stories are not obviously 'slipped by the editors'. Usually, they are
created with the help of some organization.
In the case of the abused child, there was the support of the Italian
phoneline, 'Telefono Azzurro'; in the other case mentioned by Bror, it was
supported by the WWF itself. Moreover, in both cases there was a very lerge
article inside 'Topolino' devoted to the argument, and explaining what
these organizations are working for.
Not a bad thing to do, in my opinion...
Then our never-forgotten ;-) David
> First, the long-awaited Scarpa story "Colossus of the Nile" has
>been received by Gladstone and will appear in late 1995. They just got the
>proofs in recently.
Great! Maybe you could send me some more information, to find out if they
sent you the mutilated version (but I do not think so) or the original
one...
Could you tell us something more about the panel. A friend of mine who was
at the San Diego Con told me only very old people attended it... ;-0
And about Fatherland :-), Don wrote
> I certainly don't mean to suggest there's a need for a Rosa
>index for every country, but Fabio just sent me a copy of the Italian
>PAPERINO #168, the DD 60th birthday issue, with my "The Duck Who Never
>Was" as the lead feature (including a short text where I see my name
>mentioned and some comments about the Lo$ series which the Italians will
>also soon see). This is the first time one of my stories has appeared in
>my father's country; the reason is, as we've said, they only have
>digest-sized comics in Italy, and my Birthday story was cut apart and
>reassembled in digest shape -- this meant they needed to add lots of art
>to all the panels to make them larger or squarer, and that didn't do my
>already lopsided art much good. I'm sure Italian readers wondered why
>this story, which I assume the opening text was praising (?), seemed so
>cockeyed looking. They also used Marco Rota's "Life of DD" story in the
>same issue, and they ran it in its original form -- I don't know why
>they treated the two stories differently. But I see that the opening
>mentioned that my grandparents came from Maniago and Venice, and perhaps
>that either pleased or embarrassed the readership.
Obviously, the opening text was praising you (I mean, the author was Luca
Boschi, he likes your work, and besides that all the information came from
this list :-), and the mentioning of your grandparents' origins was a kind
of 'captatio benevolentiae': something which was intended to please the
readers, 'for the work of this great author' (somewhere in the
introduction). It has been well accepted, even if some friends of mine
(die-hard disney fans) think that your art is quite un-disney... But alas,
a really good first appearence, after all.
I'll tell you more after I get your lost e-mail... :-)
That's all for now, folks. A last thought, Don. I understand why you are so
angry with Jippes, Grandey and so on. But we like your stories, and we like
your being so #$%$#@ proud. Keep up the good work!
Fabio
PS Harry wrote:
> "The Secret of Mars" was very entertaining. I expected a quite bad
>story, that's only reprinted because it is the "first". But it was quite
>fun reading it! And I liked the name of Fabio Gadducci in the credits.
>This mailing list is really accomplishing things!
Thank you, my friend!! (I'll send you the money in a little while... :-)
================================================================
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
================================================================
gerstein at math.ucsb.edu
Don Rosa
Disney-comics digest #428.
Message 43 -
1994-09-10 at 06:30:58
HARRY:
So my "Lo$" #7-9 has been printed in Holland? Have you set aside
some issues for me, I hope?
SIGURDUR:
I thought maybe we mentioned that Norwegian Barks documentary on
here before? The TV crew came here to my remote Kentucky home for a
whole day -- and filmed me for about 4 hours talking about Barks and the
Ducks, after which my wife put on a veritable banquet for the whole
crowd. They had to keep the visit quiet from Barks for fear he would
refuse to cooperate with them if they knew I was on their itinerary.
Of course, it was a show about Barks, so I am honored to be
mentioned at all. But you notice that they used none of the footage
where I'm talking about Barks or Ducks, and they didn't even mention
that I had a blinkin' thing to do with the characters. They only used a
brief shot of me saying something about American comics. I suspect
"hanky-panky" as Inspector Clouseau might say. If they were going to
snub me like that, why did they waste a whole day of my time (and pay)
by coming here?!?! Maybe they just wanted the steak dinners. (snort)
FABIO through DAVID or somehow:
I did send you a long reply to your last message, but I'll never
recall everything that was in it. I recall asking you why they'd cut up
my "Birthday" story while leaving Rota's as was -- and if you have a
clue about that, you still didn't say. I also asked what I was supposed
to do with this album that your friend gave me in San Diego; he said he
had no instructions from you about it. It was an album with my work AND
Barks' work, and it was already signed by Barks. I vaguely recall you
saying that I was supposed to sign it and give it back to your friend
for return to you. But I wasn't sure -- if it was a gift to me like the
other stuff, it would have seemed rude if I'd sent it back. Am I
supposed to return this signed or keep it?
Also, here I go again, but... PLEASE don't repeat all those
messages when you reply to them. Perhaps they were old, but can't you
just make a reference to what you're replying to rather than bounce the
entire messages back at us? Just imagine if everybody did that on here
every day. Each person's message would bounce back the entire previous
day's Digest, and it would take 2 hours (and cost $5) each day to read
it all.
So my "Lo$" #7-9 has been printed in Holland? Have you set aside
some issues for me, I hope?
SIGURDUR:
I thought maybe we mentioned that Norwegian Barks documentary on
here before? The TV crew came here to my remote Kentucky home for a
whole day -- and filmed me for about 4 hours talking about Barks and the
Ducks, after which my wife put on a veritable banquet for the whole
crowd. They had to keep the visit quiet from Barks for fear he would
refuse to cooperate with them if they knew I was on their itinerary.
Of course, it was a show about Barks, so I am honored to be
mentioned at all. But you notice that they used none of the footage
where I'm talking about Barks or Ducks, and they didn't even mention
that I had a blinkin' thing to do with the characters. They only used a
brief shot of me saying something about American comics. I suspect
"hanky-panky" as Inspector Clouseau might say. If they were going to
snub me like that, why did they waste a whole day of my time (and pay)
by coming here?!?! Maybe they just wanted the steak dinners. (snort)
FABIO through DAVID or somehow:
I did send you a long reply to your last message, but I'll never
recall everything that was in it. I recall asking you why they'd cut up
my "Birthday" story while leaving Rota's as was -- and if you have a
clue about that, you still didn't say. I also asked what I was supposed
to do with this album that your friend gave me in San Diego; he said he
had no instructions from you about it. It was an album with my work AND
Barks' work, and it was already signed by Barks. I vaguely recall you
saying that I was supposed to sign it and give it back to your friend
for return to you. But I wasn't sure -- if it was a gift to me like the
other stuff, it would have seemed rude if I'd sent it back. Am I
supposed to return this signed or keep it?
Also, here I go again, but... PLEASE don't repeat all those
messages when you reply to them. Perhaps they were old, but can't you
just make a reference to what you're replying to rather than bounce the
entire messages back at us? Just imagine if everybody did that on here
every day. Each person's message would bounce back the entire previous
day's Digest, and it would take 2 hours (and cost $5) each day to read
it all.
Mikko Henri Juhani Aittola
That Mickey story...
Message 44 -
1994-09-11 at 21:33:11
I obviously mixed things up...
So the new Mickey story 'D 93379' is by Erickson/Ferioli?
I saw some pages of this story when Byron was in Finland
and he said that drawer of this story is currently the
best Mickey artist in the world. I heard his name was
Verhagen or something but it seems it is indeed Ferioli.
So does Mickey artist called Paul Verhagen exist? Can you
give some codes of his stories?
/Mikko
So the new Mickey story 'D 93379' is by Erickson/Ferioli?
I saw some pages of this story when Byron was in Finland
and he said that drawer of this story is currently the
best Mickey artist in the world. I heard his name was
Verhagen or something but it seems it is indeed Ferioli.
So does Mickey artist called Paul Verhagen exist? Can you
give some codes of his stories?
/Mikko
Mark Mayerson
I met David Gerstein
Message 45 -
1994-09-12 at 15:29:58
I was in Los Angeles on business and attended a gathering at animator
Milt Gray's house. One of the guests was David Gerstein. David mentioned
that he was about to leave for Scotland for the school year. While he
had no idea if he would automatically get an email account at school,
he promised that one way or another he'd make his way onto the internet.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607
Milt Gray's house. One of the guests was David Gerstein. David mentioned
that he was about to leave for Scotland for the school year. While he
had no idea if he would automatically get an email account at school,
he promised that one way or another he'd make his way onto the internet.
___________________________________________________________________
Mark Mayerson Side Effects Software Inc.,
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 366-4607