Sigurdur:
>Where are the baseball stories? Football stories? Donald as a
>basketball hero (might make a good story). Are these stories made
>and never published in the European market?
You know, that may be one of the reasons I enjoyed DD comics. They weren't
saturated by the sports mentality. I have never been a sports fan, and
have had to endure the long-winded sports fans who seem to believe that
*everybody* should share there passion for sports. Some even imply that
there must be something wrong with you if you don't share their
enthusiasm.
Now in this part of the US, professional sports only make of a third the
the complete males expected passion; the other two are hunting and fishing.
If you don't do any of those you must be quite perverse!
-Exit soapbox..
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
Author
Topic: 199410
(172 messages)
Tryg Helseth
Donald as a sport fan.
Message 121 -
1994-10-23 at 21:36:31
DAVID.A.GERSTEIN
Cry Hafoc -- How Barks Came to Britain
Message 122 -
1994-10-24 at 12:46:33
Dear Folks,
Being in Great Britain lately gave me the chance to see how
Barks' work was first used here. And the method in which it was done
was a tremendous shock to me.
You see, the Mickey Mouse weekly comic in the 1940s wasn't big
enough to hold Barks material (it was eight pages per week!), and
wouldn't feature any of his stories until the 1950s (and even then,
serialized, I believe). So what was done? Dean and Son, publishers
of the 250-page MICKEY MOUSE ANNUAL, had a solution.
You'd think that would be to print Barks stories there, right?
Nope. Instead, Barks' comics were rewritten entirely as text
stories and illustrated with crude copies of Barks' drawings. But
the ratio of text to art was heavy on the text-side. So these really
were *stories*, not Big Little Book style 50-50 mixtures of drawings
and print.
The 1946 annual I saw (but could not afford) at a bookdealer's
shop the other day contained stories based on "Frozen Gold" and WDC&S
47's "Farragut the Falcon." But tremendous liberties have been taken
with the stories. Characters' names have been changed, and so forth.
And the writing is SO long-winded that you wouldn't believe it! In
the Farragut story, the falcon's name is changed to Hafoc for some
unknown reason. You probably remember the panel on the last page of
the original tale in which the judge hands Farragut back to Donald.
"Take this empty-headed eagle and begone! You're expelled from this
meeting!" (Or some such) Well, here we have: "'Take this horrible
hawk, this empty-headed eagle, this -- this BRAZEN BUZZARD, OUT
of here -- and when I say out, I mean out! If you ever come back here,
I'm not letting you in! You're expelled -- nay, KICKED OUT of this
meeting! So be off with you!" Everything is expanded to an idiotic
length.
Can you believe this? What a miserable situation. On the
other hand, Wilfred Haughton drew some very good one-page Mickey gags
for these Annuals, too (these were comics, I mean); if I can get a
copy of one Annual, maybe I can have Gladstone reprint a few of those
gags. Drawn with pie-eyed MM, even as late as 1946 (Haughton would,
reportedly, draw no other version of the character).
Well, I must be off, folks. But I'll be back tomorrow.
Best,
David Gerstein
Being in Great Britain lately gave me the chance to see how
Barks' work was first used here. And the method in which it was done
was a tremendous shock to me.
You see, the Mickey Mouse weekly comic in the 1940s wasn't big
enough to hold Barks material (it was eight pages per week!), and
wouldn't feature any of his stories until the 1950s (and even then,
serialized, I believe). So what was done? Dean and Son, publishers
of the 250-page MICKEY MOUSE ANNUAL, had a solution.
You'd think that would be to print Barks stories there, right?
Nope. Instead, Barks' comics were rewritten entirely as text
stories and illustrated with crude copies of Barks' drawings. But
the ratio of text to art was heavy on the text-side. So these really
were *stories*, not Big Little Book style 50-50 mixtures of drawings
and print.
The 1946 annual I saw (but could not afford) at a bookdealer's
shop the other day contained stories based on "Frozen Gold" and WDC&S
47's "Farragut the Falcon." But tremendous liberties have been taken
with the stories. Characters' names have been changed, and so forth.
And the writing is SO long-winded that you wouldn't believe it! In
the Farragut story, the falcon's name is changed to Hafoc for some
unknown reason. You probably remember the panel on the last page of
the original tale in which the judge hands Farragut back to Donald.
"Take this empty-headed eagle and begone! You're expelled from this
meeting!" (Or some such) Well, here we have: "'Take this horrible
hawk, this empty-headed eagle, this -- this BRAZEN BUZZARD, OUT
of here -- and when I say out, I mean out! If you ever come back here,
I'm not letting you in! You're expelled -- nay, KICKED OUT of this
meeting! So be off with you!" Everything is expanded to an idiotic
length.
Can you believe this? What a miserable situation. On the
other hand, Wilfred Haughton drew some very good one-page Mickey gags
for these Annuals, too (these were comics, I mean); if I can get a
copy of one Annual, maybe I can have Gladstone reprint a few of those
gags. Drawn with pie-eyed MM, even as late as 1946 (Haughton would,
reportedly, draw no other version of the character).
Well, I must be off, folks. But I'll be back tomorrow.
Best,
David Gerstein
Don Rosa
Disney-comics digest #470.
Message 123 -
1994-10-24 at 15:20:09
DAVID:
No, Gladstone did not shorten Hortense's bill for me as I'd
asked them to. I doubt that anyone will notice the difference; she's
only in a few panels, and she won't be back (with her shorter bill)
until part 9. But the fact is they rarely do ANYTHING I ask them to do,
perhaps because they decide I'm trying to correct miniscule details, but
more likely that they remember nothing that I tell them as soon as I
hang up the phone. I'm constantly telling them "be sure to do
such-and-such" and it's never done because they "disremembered". That's
the reason, f'rinstance, you didn't see that family tree in the 60th
Birthday issue.
No, Gladstone did not shorten Hortense's bill for me as I'd
asked them to. I doubt that anyone will notice the difference; she's
only in a few panels, and she won't be back (with her shorter bill)
until part 9. But the fact is they rarely do ANYTHING I ask them to do,
perhaps because they decide I'm trying to correct miniscule details, but
more likely that they remember nothing that I tell them as soon as I
hang up the phone. I'm constantly telling them "be sure to do
such-and-such" and it's never done because they "disremembered". That's
the reason, f'rinstance, you didn't see that family tree in the 60th
Birthday issue.
Tallmo
WWW-page
Message 124 -
1994-10-24 at 17:23:33
PER:
I have visited the WWW page and I agree with Trygve. It is a very good
start, although I got error messages too. But it is under construction, I
know.
This could be a good "front end" for the Disney comics list, I guess. I
don't know how big you want this list to be, but the WWW page could
certainly show people in advance that this list is about comics and nothing
else.
I recently had a little discussion privately with Dwight Decker about
copyright. Maybe it would be possible to show scanned images of important
panels from Disney comics on the WWW. Dwight assumed that if you "quote" a
panel or two in connection with, for instance, an article, a review or some
such, it wouldn't violate any law. I don't know. Dwight and I were talking
about printed stuff. It would be a nice feature, though.
Karl-Erik
---------------------------------------------------------------------
KARL-ERIK TALLMO, Swedish writer, journalist, critic and HyperCard
programmer, living in Stockholm. Contributor of articles to Nordic dailies
and magazines. Writes about music, literature and computers. Also DTP,
Swedish grammar checking, translation, etc. through the private firm NISUS
PUBLISHING.
---------------------------------------------------------------------
I have visited the WWW page and I agree with Trygve. It is a very good
start, although I got error messages too. But it is under construction, I
know.
This could be a good "front end" for the Disney comics list, I guess. I
don't know how big you want this list to be, but the WWW page could
certainly show people in advance that this list is about comics and nothing
else.
I recently had a little discussion privately with Dwight Decker about
copyright. Maybe it would be possible to show scanned images of important
panels from Disney comics on the WWW. Dwight assumed that if you "quote" a
panel or two in connection with, for instance, an article, a review or some
such, it wouldn't violate any law. I don't know. Dwight and I were talking
about printed stuff. It would be a nice feature, though.
Karl-Erik
---------------------------------------------------------------------
KARL-ERIK TALLMO, Swedish writer, journalist, critic and HyperCard
programmer, living in Stockholm. Contributor of articles to Nordic dailies
and magazines. Writes about music, literature and computers. Also DTP,
Swedish grammar checking, translation, etc. through the private firm NISUS
PUBLISHING.
---------------------------------------------------------------------
Per Starback
WWW page (http://www.update.uu.se/~starback/disney-comics.html)
Message 125 -
1994-10-24 at 18:04:49
I don't know why you all get those error messages. It works for me
anyway with different WWW browsers on different computers, and I don't
*think* I've made any errors with those FTP links. If anyone realizes
what the problem is, please tell me! (Have you who have had problems
managed to access any other ftp pages with your WWW browser?)
--
Per
anyway with different WWW browsers on different computers, and I don't
*think* I've made any errors with those FTP links. If anyone realizes
what the problem is, please tell me! (Have you who have had problems
managed to access any other ftp pages with your WWW browser?)
--
Per
Jørgen Andreas Bangor
Various
Message 126 -
1994-10-25 at 01:27:07
About "The life of Donald Duck".
I must admit I _do_ know how Disney treats Donald. Puts him
into every role they can to squeeze money out of him.
But, this book says it was originally published in 1941
(if it hadn't, I wouldn't have cared to mention it). That
means it was published years before Tony Strobl's "This is
your life Donald Duck", and also before Barks had "created"
Donald Duck.
The WWW.
I've tried it. Nice. No problems.
Making a comic story.
James, thank you for taking your time to explain this. Now when
I've read it, I have a new question. You don't have to explain
to the penciler how Scrooge looks like, of course, but do you
explain everything else? Do you make a scetch of the panel, for
instance?
Distribution.
I think I'm very happy to be a Scandinavian :-)
I can just walk into almost any shop anywhere to get my daily,
er... weekly DD&Co.
Does Marvel put something on the frontcover of the Gladstones
they distribute? And who is distributing Gladstones to the
foreign market? (this market seems to be a quiet big share of
Gladstones total market...).
"Horsing Around with History"
I guess I've commented it enough, but I just saw a small article
in the newspaper "Aftenposten" (Norway's biggest non-tabloid
newspaper) that slightly commented it. It was about the latest
Barks book issued in Norway (#11). It just said something like
"here's the _real_ Barks," and concluded that Barks has _done_
his good work.
Don, if you want to see the (first issue of :) "Horsing Around
with History", I could send you a copy (two issues).
Br'er Rabbit.
Does that mean "Brother Rabbit"?
I'm glad to see that someone who wants to make good stories plan
to write a story with him. I can't remember having seen a good
Br'er Rabbit story for years. They've also changed him the last
years. He's shorter, and, well, he doesn't really look like a
rabbit anymore. He looks more like a cute little Disney-thing.
The dialect will be lost in Norway, I'm afraid.
And now some non-Disney (sorry). As far as I've understood there
will be issued an album in France next week in the honor of
Asterix. I think the price is 23 Francs. I'm not going to France
next week, I'm afraid... so I would be very much obliged if some-
one out there could get this for me.
Jorgen A. Bangor (jorgenb at ifi.uio.no)
I must admit I _do_ know how Disney treats Donald. Puts him
into every role they can to squeeze money out of him.
But, this book says it was originally published in 1941
(if it hadn't, I wouldn't have cared to mention it). That
means it was published years before Tony Strobl's "This is
your life Donald Duck", and also before Barks had "created"
Donald Duck.
The WWW.
I've tried it. Nice. No problems.
Making a comic story.
James, thank you for taking your time to explain this. Now when
I've read it, I have a new question. You don't have to explain
to the penciler how Scrooge looks like, of course, but do you
explain everything else? Do you make a scetch of the panel, for
instance?
Distribution.
I think I'm very happy to be a Scandinavian :-)
I can just walk into almost any shop anywhere to get my daily,
er... weekly DD&Co.
Does Marvel put something on the frontcover of the Gladstones
they distribute? And who is distributing Gladstones to the
foreign market? (this market seems to be a quiet big share of
Gladstones total market...).
"Horsing Around with History"
I guess I've commented it enough, but I just saw a small article
in the newspaper "Aftenposten" (Norway's biggest non-tabloid
newspaper) that slightly commented it. It was about the latest
Barks book issued in Norway (#11). It just said something like
"here's the _real_ Barks," and concluded that Barks has _done_
his good work.
Don, if you want to see the (first issue of :) "Horsing Around
with History", I could send you a copy (two issues).
Br'er Rabbit.
Does that mean "Brother Rabbit"?
I'm glad to see that someone who wants to make good stories plan
to write a story with him. I can't remember having seen a good
Br'er Rabbit story for years. They've also changed him the last
years. He's shorter, and, well, he doesn't really look like a
rabbit anymore. He looks more like a cute little Disney-thing.
The dialect will be lost in Norway, I'm afraid.
And now some non-Disney (sorry). As far as I've understood there
will be issued an album in France next week in the honor of
Asterix. I think the price is 23 Francs. I'm not going to France
next week, I'm afraid... so I would be very much obliged if some-
one out there could get this for me.
Jorgen A. Bangor (jorgenb at ifi.uio.no)
Fredrik Ekman
Foorball, and Database
Message 127 -
1994-10-25 at 01:45:06
On Fri, 21 Oct 1994, H.W. Fluks wrote:
> When determining a title in an issue file:
>
> IF the story has a title in that issue
> THEN use that title without any tags (case A)
> [in a lot of cases this could mean: get the title from the stories files,
> and remove the tag]
> ELSE use whatever data is in the stories file, with the appropriate tag
> (cases 1 to 6 below)
Which turns out to be for all practical reasons identical with what I
suggested. And this means that "all" we will have to do is to include the
correct titles (preferrably in Latin-1) in the Swedish (and other) .dbi
files, right?
> Do you think the readers of [The Grand Comics Database], being super-hero
> comics fans, are interested in a Disney index?
Yes and no. Those I have been in touch with are not the least interested.
But their goal (as I mentioned) is to produce a COMPLETE database. With
everything. The lot. All of it. That, naturally, includes Disney comics.
Thus, they are not over-enthusiastic about doing the work themselves
(and I can tell that they are doing a lot as it is) but will be glad to
take anything that is thrown upon them by someone else. My hope is that
in the long run we too will benefit from this. With your standardised
indexes, converting it should be relatively easy. The problem is how to
get updates for them whenever you update our database without doing any
excessive amounts of work.
> With my new proposal (the pseudo-code above), [the national] tags will
> occur as little as possible in the stories files, and (almost) not at
> all in the issues files.
Sounds good in theory, but who will do all the necessary translations
into O: descriptions?
As for your other remarks, I either agree or don't have an opinion.
/F
> When determining a title in an issue file:
>
> IF the story has a title in that issue
> THEN use that title without any tags (case A)
> [in a lot of cases this could mean: get the title from the stories files,
> and remove the tag]
> ELSE use whatever data is in the stories file, with the appropriate tag
> (cases 1 to 6 below)
Which turns out to be for all practical reasons identical with what I
suggested. And this means that "all" we will have to do is to include the
correct titles (preferrably in Latin-1) in the Swedish (and other) .dbi
files, right?
> Do you think the readers of [The Grand Comics Database], being super-hero
> comics fans, are interested in a Disney index?
Yes and no. Those I have been in touch with are not the least interested.
But their goal (as I mentioned) is to produce a COMPLETE database. With
everything. The lot. All of it. That, naturally, includes Disney comics.
Thus, they are not over-enthusiastic about doing the work themselves
(and I can tell that they are doing a lot as it is) but will be glad to
take anything that is thrown upon them by someone else. My hope is that
in the long run we too will benefit from this. With your standardised
indexes, converting it should be relatively easy. The problem is how to
get updates for them whenever you update our database without doing any
excessive amounts of work.
> With my new proposal (the pseudo-code above), [the national] tags will
> occur as little as possible in the stories files, and (almost) not at
> all in the issues files.
Sounds good in theory, but who will do all the necessary translations
into O: descriptions?
As for your other remarks, I either agree or don't have an opinion.
/F
Jørgen Andreas Bangor
Don Rosa in Scandinavia
Message 128 -
1994-10-25 at 02:16:16
I told Realistforeningen that you are coming, Don.
Just got a message where they said they would do
something about it.
Jorgen A. Bangor (jorgenb at ifi.uio.no)
Just got a message where they said they would do
something about it.
Jorgen A. Bangor (jorgenb at ifi.uio.no)
Suzy Shaw
Ducks in Academia
Message 129 -
1994-10-25 at 02:30:51
I know we're always bemoaning the fact that no one in the U.S.
seems to take comics in general, and Disney comics in particular,
seriously. Here's a rare exception. I recently noticed that one of the
people who contributed to the Gladstone Barks Library, Donald Ault,
teaches right here at UF. While attempting to find out if he has an
email address, I accidently discovered this course description on the
UF English Department Gopher. Four whole weeks (6 hours each) on
Disney comics! I've got to figure a way to sit in on this course. I
wonder if he knows about this list? If not, he will soon; I plan to
give him a call tomorrow. Enjoy.
--Suzy Shaw, Network Geek and Duck Lover
University of Florida Libraries
"A metal misfit in an age that's gone nylon"
----------------------------------------------------
ENG 4110 ANIMATION, COMICS, AND MOVIE SERIALS AULT
Texts:
Xerographics (Goerings): Class Packet
Blackbeard and Martin, THE SMITHSONIAN COLL. OF NEWS PAPER COMICS
Maltin, OF MICE AND MAGIC
Crafton, BEFORE MICKEY
THE VELVET LIGHT TRAP (animation issue)
Smoodin, ANIMATING CULTURE
Eisner, COMICS AND SEQUENTIAL ART
On Reserve: A large number of animated cartoons, serials, and
features on video, as well as comic books and comic strips--
including the complete E.C. Library, complete Carl Barks
Library, complete R. Crumb
This experimental course will provide:
--an introduction to a selected history of animated cartoons, of
comic strips and comic books, and of movie serials
--a consideration of the theoretical implications (Lacanian,
marxist, phenomenological, etc.) of the relations and
disjunctions between these fields of _representation_
--probably an emphasis on American productions, especially of the
1930s, 1940s, and 1950s, with considerable focus on the
works of Carl Barks (Donald Duck, Uncle Scrooge) as central to
the theoretical problems addressed in the course
The class will meet two periods each day, three days a week,
which should provide a time-format that will work for screening
cartoons, even features, and discussing them the same day. The
format needs to be kept open-ended throughout the semester
Some specific issues to be addressed:
1. perceptual processes involved in reading comic strip and
comic book narratives
2. perceptual processes involved in viewing comics,
animation, and live action, especially in different formats
(16mm, 35mm, video projection, video monitor; in original comics,
in reprints, or in slide projection) and conditions of reception
(in a theater, at home, in the classroom).
3. differences in narrative possibilities and limitations of
comics, animated cartoons, and live-action.
4. what happens when characters are translated from one
medium (comics, animation, live-action film) to another--
how does it alter their "being"?
5. what is the aesthetic and cultural importance of Disney
films and characters (especially Donald Duck); how does this
relate to work at other animation studios (Warners, Fleischers,
MGM, Van Beuren, Iwerks, etc.)?
6. what happens to narrative and perception when
verbal/visual dimensions of texts are reorganized?
8. what are the ideological, psychological, etc., functions
of such perceptual narratives?
9. How do these productions relate to multicultural,
gender, race, class issues?
Although we will not be proceeding strictly chronologically, here
is a possible scenario of the kinds of material we may be
studying (the schedule below is adapted from a prior incarnation
of this course) :
Week 1: animation to comic strips: including McCay
(Little Nemo), Herriman (Krazy Kat),Mesmer
(Felix), Disney/ Gottfredson (Mickey Mouse)
Week 2-3: comic strips to animation and serials: including
Segar (Popeye), Raymond (Flash Gordon), and Gould
(Dick Tracy)
Weeks 4-5: animation: including Disney (Silly Symphonies),
Warners (Looney Tunes and Merrie Melodies [Bosko,
Buddy, Porky Pig, Daffy Duck, Bugs Bunny]; Iwerks
(Flip the Frog), Fleischer (Betty Boop, Bimbo),
Van Beuren, MGM (Happy Harmonies), etc.
Week 6: serials: Mascot, Republic, Universal, Columbia
Hurricane Express, Fighting Devil Dogs, Phantom
Empire, Perils of Nyoka, etc.
Weeks 7-10: animation to comic books and back (Disney, Barks);
Disney shorts, features, and television.
Weeks 11-12: comic books: animation and live action; Superman,
Batman, Captain Marvel, Spy Smasher, Captain
America, The Shadow, The Spider, The Green Hornet
Weeks 13-15: more recent developments in comics (E. C.,
underground comics, graphic novels, etc.); recent
animation (including Japanese and
computer-generated).
Requirements: Numerous short exercises and experiments; active
class participation; a final paper/project
seems to take comics in general, and Disney comics in particular,
seriously. Here's a rare exception. I recently noticed that one of the
people who contributed to the Gladstone Barks Library, Donald Ault,
teaches right here at UF. While attempting to find out if he has an
email address, I accidently discovered this course description on the
UF English Department Gopher. Four whole weeks (6 hours each) on
Disney comics! I've got to figure a way to sit in on this course. I
wonder if he knows about this list? If not, he will soon; I plan to
give him a call tomorrow. Enjoy.
--Suzy Shaw, Network Geek and Duck Lover
University of Florida Libraries
"A metal misfit in an age that's gone nylon"
----------------------------------------------------
ENG 4110 ANIMATION, COMICS, AND MOVIE SERIALS AULT
Texts:
Xerographics (Goerings): Class Packet
Blackbeard and Martin, THE SMITHSONIAN COLL. OF NEWS PAPER COMICS
Maltin, OF MICE AND MAGIC
Crafton, BEFORE MICKEY
THE VELVET LIGHT TRAP (animation issue)
Smoodin, ANIMATING CULTURE
Eisner, COMICS AND SEQUENTIAL ART
On Reserve: A large number of animated cartoons, serials, and
features on video, as well as comic books and comic strips--
including the complete E.C. Library, complete Carl Barks
Library, complete R. Crumb
This experimental course will provide:
--an introduction to a selected history of animated cartoons, of
comic strips and comic books, and of movie serials
--a consideration of the theoretical implications (Lacanian,
marxist, phenomenological, etc.) of the relations and
disjunctions between these fields of _representation_
--probably an emphasis on American productions, especially of the
1930s, 1940s, and 1950s, with considerable focus on the
works of Carl Barks (Donald Duck, Uncle Scrooge) as central to
the theoretical problems addressed in the course
The class will meet two periods each day, three days a week,
which should provide a time-format that will work for screening
cartoons, even features, and discussing them the same day. The
format needs to be kept open-ended throughout the semester
Some specific issues to be addressed:
1. perceptual processes involved in reading comic strip and
comic book narratives
2. perceptual processes involved in viewing comics,
animation, and live action, especially in different formats
(16mm, 35mm, video projection, video monitor; in original comics,
in reprints, or in slide projection) and conditions of reception
(in a theater, at home, in the classroom).
3. differences in narrative possibilities and limitations of
comics, animated cartoons, and live-action.
4. what happens when characters are translated from one
medium (comics, animation, live-action film) to another--
how does it alter their "being"?
5. what is the aesthetic and cultural importance of Disney
films and characters (especially Donald Duck); how does this
relate to work at other animation studios (Warners, Fleischers,
MGM, Van Beuren, Iwerks, etc.)?
6. what happens to narrative and perception when
verbal/visual dimensions of texts are reorganized?
8. what are the ideological, psychological, etc., functions
of such perceptual narratives?
9. How do these productions relate to multicultural,
gender, race, class issues?
Although we will not be proceeding strictly chronologically, here
is a possible scenario of the kinds of material we may be
studying (the schedule below is adapted from a prior incarnation
of this course) :
Week 1: animation to comic strips: including McCay
(Little Nemo), Herriman (Krazy Kat),Mesmer
(Felix), Disney/ Gottfredson (Mickey Mouse)
Week 2-3: comic strips to animation and serials: including
Segar (Popeye), Raymond (Flash Gordon), and Gould
(Dick Tracy)
Weeks 4-5: animation: including Disney (Silly Symphonies),
Warners (Looney Tunes and Merrie Melodies [Bosko,
Buddy, Porky Pig, Daffy Duck, Bugs Bunny]; Iwerks
(Flip the Frog), Fleischer (Betty Boop, Bimbo),
Van Beuren, MGM (Happy Harmonies), etc.
Week 6: serials: Mascot, Republic, Universal, Columbia
Hurricane Express, Fighting Devil Dogs, Phantom
Empire, Perils of Nyoka, etc.
Weeks 7-10: animation to comic books and back (Disney, Barks);
Disney shorts, features, and television.
Weeks 11-12: comic books: animation and live action; Superman,
Batman, Captain Marvel, Spy Smasher, Captain
America, The Shadow, The Spider, The Green Hornet
Weeks 13-15: more recent developments in comics (E. C.,
underground comics, graphic novels, etc.); recent
animation (including Japanese and
computer-generated).
Requirements: Numerous short exercises and experiments; active
class participation; a final paper/project
Don Rosa
Disney-comics digest #472.
Message 130 -
1994-10-25 at 04:55:41
JORGEN:
No, don't send that Barks story issue. I'll probably see it next
week when I'm in Norway.
But please explain (though I may not see your answer before I
leave) what the AFTENPOSTEN meant by the lines you quoted. "Here's the
*real* Barks. He has done his good stories." Is this a compliment
praising the new story? Or a dig suggesting that his good stories are
behind him?
One more message on here before I disappear.
No, don't send that Barks story issue. I'll probably see it next
week when I'm in Norway.
But please explain (though I may not see your answer before I
leave) what the AFTENPOSTEN meant by the lines you quoted. "Here's the
*real* Barks. He has done his good stories." Is this a compliment
praising the new story? Or a dig suggesting that his good stories are
behind him?
One more message on here before I disappear.
H.W. Fluks
Life and T. of S. McD. chapter 5
Message 131 -
1994-10-25 at 10:37:49
Don, about Lo$ 5:
> No off register coloring in your issue of U$ #289?
I looked at the comic again and I see some VERY small colour shifts.
The 4th page has a shift to the right of less than 1 mm, and a few other
pages have even smaller shifts. I didn't notice them when I read the story
first, second and third, and I still didn't notice it when I compared
the story panel by panel with the Dutch version (which I use to do
to detect translation differences).
But now that I look at that story again: in the panels where Hortense
appears (2nd and 3rd page), they DID change her beak. They made it a
bit BIGGER. I had to look 3 times to see the difference, but there IS a
difference.
> maybe you can GET me one?
I wouldn't be able anyway, because Rosa issues are almost always sold out.
I have to reserve 2 issues of every Rosa comic in advance (one for me, and
one for Daniel van E.).
--Harry.
> No off register coloring in your issue of U$ #289?
I looked at the comic again and I see some VERY small colour shifts.
The 4th page has a shift to the right of less than 1 mm, and a few other
pages have even smaller shifts. I didn't notice them when I read the story
first, second and third, and I still didn't notice it when I compared
the story panel by panel with the Dutch version (which I use to do
to detect translation differences).
But now that I look at that story again: in the panels where Hortense
appears (2nd and 3rd page), they DID change her beak. They made it a
bit BIGGER. I had to look 3 times to see the difference, but there IS a
difference.
> maybe you can GET me one?
I wouldn't be able anyway, because Rosa issues are almost always sold out.
I have to reserve 2 issues of every Rosa comic in advance (one for me, and
one for Daniel van E.).
--Harry.
Sigurdur Hrafn Gislason
Donald as a sport fan.
Message 132 -
1994-10-25 at 11:37:55
TRYG:
I think you misunderstood me. I wasn't in any way recommending sport
stories (though of course some are entertaining) but merely asking
why we haven't seen any baseball, basketball or american football
stories here in Europe. Maybe it is because there simply aren't any or
that they never get published here. Considering how many soccer
stories we get here, I only thought it was reasonable to assume that
similar stories existed for other sports.
Sigurdur
I think you misunderstood me. I wasn't in any way recommending sport
stories (though of course some are entertaining) but merely asking
why we haven't seen any baseball, basketball or american football
stories here in Europe. Maybe it is because there simply aren't any or
that they never get published here. Considering how many soccer
stories we get here, I only thought it was reasonable to assume that
similar stories existed for other sports.
Sigurdur
Tryg Helseth
Ducks in Academia
Message 133 -
1994-10-25 at 12:11:25
Suzy:
>I accidently discovered this course description on the
>UF English Department Gopher. Four whole weeks (6 hours each) on
>Disney comics! I've got to figure a way to sit in on this course.
Wow! If that isn't a good excuse for us Northern duck fans to migrate
south for the Winter, I don't know what is! I hope you can sit in on the
class and give us some details. I wonder what kind of response they will
get for a class on ducks in a collection of students who grew up on
superheros? Maybe there are more latent duck fans than we realize.
> "A metal misfit in an age that's gone nylon"
Is that an acutal quote from someone, or just something you made up
for your signature?
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
>I accidently discovered this course description on the
>UF English Department Gopher. Four whole weeks (6 hours each) on
>Disney comics! I've got to figure a way to sit in on this course.
Wow! If that isn't a good excuse for us Northern duck fans to migrate
south for the Winter, I don't know what is! I hope you can sit in on the
class and give us some details. I wonder what kind of response they will
get for a class on ducks in a collection of students who grew up on
superheros? Maybe there are more latent duck fans than we realize.
> "A metal misfit in an age that's gone nylon"
Is that an acutal quote from someone, or just something you made up
for your signature?
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
DAVID.A.GERSTEIN
Disney-comics digest #472.
Message 134 -
1994-10-25 at 13:37:50
Dear Folks,
Karl-Eric mentioned that "maybe it would be possible to show
scanned images of important panels from Disney comics on the WWW." I
think that's a fine idea. Our WWW page has links to other people's
Disney pages, and all of those have huge numbers of scanned Disney
images on them. I think that our page will be a great tool to get
people INTERESTED in Disney comics if we have pictures from the
stories there. For example, at the very top of the page I imagine we
might have a scene from WDC&S 141: a gloomy Donald saying to
himself, "Oh, that the name of Duck should ever sink so low!" A nice
ironic way to begin. Just don't ask ME to do the scanning -- I don't
have a scanner, or many Disney comics with me in England.
JORGEN: The Marvel-Gladstones do look different from
Gladstone-Gladstones. Instead of the Gladstone symbol they have a
square logo that says "Disney Comics, Distributed by Marvel." The
interesting thing is that "Disney Comics" is done as the same symbol
that Disney Comics, Inc. used from 1990-1993. There is also a UPC
symbol on the lower left-hand corner of each issue.
The only places in Europe where you can get Gladstones is at
comic shops (as far as I can tell), and since they get them from
direct comic distribution companies, these have the Gladstone logo on
them, and no UPC symbol either.
Br'er Rabbit does indeed come from "Brother." That's because
the character as we know him comes from U. S. black folklore. But he was
even with blacks when they first came to America from Africa. The
tales originated there, and there he is called Zomo. (I wonder if they
call him that in the local Disney comics?)
Yeah, I notice that they draw Br'er Rabbit differently now. He
has a huge crest of hair on top of his head like Woody Woodpecker, or
like the European comic character Spirou. Eccch. I hope that I can
convince Egmont to have the artist leave it off in my story. If they
don't, I'll see about having it changed when it's published in the
States -- and I may have to, because Disney-U. S. would (in this
case, rightfully) claim it was severely off-model.
Jorgen: "The dialect will be lost in Norway, I'm afraid."
Yeah, and probably here in the States, too. There's a difference
between real country dialect and stereotypical minstrel-show dialect.
I find that the very first Disney BR stories use the latter, but it
is softened to the former around 1950. I'll use the former, but
don't bet on it appearing in the final U. S. version.
There is a letter in WDC&S 594 by someone who claims he'd heard
that Gladstone is banned from printing Br'er Rabbit stories. John
Clark has told me differently -- it's the dialect, he says, that they
want changed. However, on the two occasions when Disney Comics
reprinted old BR stories (HP 2 and WDC&S 576, that second one the
finest BR I have ever read), they left the dialect intact.
Well, I'll be off just now. I'll clock in again tomorrow,
folks, and may have comments about DD 288 then (which is supposed to
arrive at my local comic shop today).
Best,
David Gerstein
"It don't take th' New World long t' start gittin' OLD!"
<9475609 at arran.sms.edinburgh.ac.uk>
Karl-Eric mentioned that "maybe it would be possible to show
scanned images of important panels from Disney comics on the WWW." I
think that's a fine idea. Our WWW page has links to other people's
Disney pages, and all of those have huge numbers of scanned Disney
images on them. I think that our page will be a great tool to get
people INTERESTED in Disney comics if we have pictures from the
stories there. For example, at the very top of the page I imagine we
might have a scene from WDC&S 141: a gloomy Donald saying to
himself, "Oh, that the name of Duck should ever sink so low!" A nice
ironic way to begin. Just don't ask ME to do the scanning -- I don't
have a scanner, or many Disney comics with me in England.
JORGEN: The Marvel-Gladstones do look different from
Gladstone-Gladstones. Instead of the Gladstone symbol they have a
square logo that says "Disney Comics, Distributed by Marvel." The
interesting thing is that "Disney Comics" is done as the same symbol
that Disney Comics, Inc. used from 1990-1993. There is also a UPC
symbol on the lower left-hand corner of each issue.
The only places in Europe where you can get Gladstones is at
comic shops (as far as I can tell), and since they get them from
direct comic distribution companies, these have the Gladstone logo on
them, and no UPC symbol either.
Br'er Rabbit does indeed come from "Brother." That's because
the character as we know him comes from U. S. black folklore. But he was
even with blacks when they first came to America from Africa. The
tales originated there, and there he is called Zomo. (I wonder if they
call him that in the local Disney comics?)
Yeah, I notice that they draw Br'er Rabbit differently now. He
has a huge crest of hair on top of his head like Woody Woodpecker, or
like the European comic character Spirou. Eccch. I hope that I can
convince Egmont to have the artist leave it off in my story. If they
don't, I'll see about having it changed when it's published in the
States -- and I may have to, because Disney-U. S. would (in this
case, rightfully) claim it was severely off-model.
Jorgen: "The dialect will be lost in Norway, I'm afraid."
Yeah, and probably here in the States, too. There's a difference
between real country dialect and stereotypical minstrel-show dialect.
I find that the very first Disney BR stories use the latter, but it
is softened to the former around 1950. I'll use the former, but
don't bet on it appearing in the final U. S. version.
There is a letter in WDC&S 594 by someone who claims he'd heard
that Gladstone is banned from printing Br'er Rabbit stories. John
Clark has told me differently -- it's the dialect, he says, that they
want changed. However, on the two occasions when Disney Comics
reprinted old BR stories (HP 2 and WDC&S 576, that second one the
finest BR I have ever read), they left the dialect intact.
Well, I'll be off just now. I'll clock in again tomorrow,
folks, and may have comments about DD 288 then (which is supposed to
arrive at my local comic shop today).
Best,
David Gerstein
"It don't take th' New World long t' start gittin' OLD!"
<9475609 at arran.sms.edinburgh.ac.uk>
Tallmo
Scanning etc
Message 135 -
1994-10-25 at 15:46:31
David,
I have a scanner and I think I could save images in the right format too. I
have been experimenting locally with a WWW-project with the format
Compuserve-GIF and it seems to work with MacMosaic anyway. So, I could scan
some pictures. A problem is that my Disney collection is not huge, and 60
percent is in Swedish. I haven't got the WDC&S 141, for instance.
Besides, what does Per as editor of the WWW page think of this?
Karl-Erik
I have a scanner and I think I could save images in the right format too. I
have been experimenting locally with a WWW-project with the format
Compuserve-GIF and it seems to work with MacMosaic anyway. So, I could scan
some pictures. A problem is that my Disney collection is not huge, and 60
percent is in Swedish. I haven't got the WDC&S 141, for instance.
Besides, what does Per as editor of the WWW page think of this?
Karl-Erik