FREDRIK:
Who's Daan Jippes? Some dutch guy? And Vicar? He's probably italian
- is he the one, whose characters have those phony eyes, that look like
they're not drawn whole? And Branca? Who the heck is he?
KARL-ERIK:
In the rifle story, does it say anywhere, what is inside the sled?
DON:
You said you're the very only one, who's ever considered any of
the writers canon. So, does that mean, you're going to keep making
stories based on his stories or just stories that don't deny anything
he's once said?
BTW, what have you done after LO$, Lillehammer and Birthday stories?
Those are the last ones been published in Finland.
> MIKKO
JORGEN: (are you sure it isn't J|rgen?-)
Not that this has anything to do with Disney-comics anymore, but
how the heck do you give shape for those car parts you make by yourself?
DON:
Jorgen's adress is jorgenb at ifi.uio.no.
MARIA:
> (I must admit to feeling inhibited by b)not being Scandinavian or Dutch!)
That's ok. As long as you are a Finn :)
--
Mike - The Finnish Trekkie
Author
Topic: 199412
(199 messages)
Mike Pohjola
Disney-comics
Message 16 -
1994-12-05 at 12:31:22
DAVID.A.GERSTEIN
Disney-comics digest #512.
Message 17 -
1994-12-05 at 18:04:54
Dear Folks,
JORGEN: I believe that the pocket books all come from the
same Italian root source. They aren't random collections of Italian
stuff, but I think the exact order of the same stories is the same in
a specific volume from one country to another.
I believe that the pocket book series started in Italy as just
an inexpensive way to reprint old stories from TOPOLINO. They began
doing a monthly series as early as the 1960s. I think France began
doing exact reprints of those books shortly after. Then Egmont made a
deal with Mondadori, and then -- at varying times -- various Egmont
publishers jumped on the boat to reprint the pocketbooks. And I
think they just chose randomly which pocketbooks to reprint in which
order. For example, my oldest French pocketbook is from 1965, and it
was reprinted as pocketbook #15 "Hexenzauber mit Micky und Goofy" in
Germany, ca. 1972. If every country printed corresponding
pocketbooks at the same time, the Germans would have printed what the
French were printing in 1972.
So that explains why there was a disparity in starting dates.
But I think that the monthly contents of the pocketbooks are
basically similar from country to country, month to month, by this
time.
There is an Ariel monthly in Britain, BTW. It's on its third
issue; it has so far used K-coded stories from LM 3 and 4 and the
two Sebastian one-shots, but there has also been a beautifully drawn
H-coded story (this being the only reason I bring up Ariel here).
Are these also printed in Holland? If so, where?
This week's British MM includes the Barks "Masters of Melody."
The text has been through the British mill; not only reset in type a
la Egmont tradition, but an occasional line rephrased slightly.
Title given as: "String Trio." Still, one of my favorite ten-pagers.
Part two of the Mickey fish story -- here called "Kyle of Mulltyre",
a 2-page Br'er Rabbit (speaking Oxford English with an occasional
"Howdy-do" thrown in), and a Goofy one-pager "Dinosaur Problems" fill
out the sadly short comic.
The string trio story seems to me to be the first in which
Barks used the late-1940s models that are considered the best. I
believe he must have been influenced by a model sheet, because the
ducks vary wildly from panel to panel. The most notable contrast is
between the immediately-adjacent panels where Donald watches the
nephews: "Such enthusiasm! I'll have a string trio before you can
say do-re-mi in Eskimo!" and the one where he sees Grandma out the
door. What a huge difference -- a compact duck at first, then one
with a huge body, small bill, and long legs.
How is Marvel doing with its Disney titles? An early Gladstone
Series-II lettercol discussed the fate of the modern feature-film
characters by noting that "Disney has other plans for them." Did
Gladstone, at some point, have the chance to buy comic rights to
those characters, too, and if so, why did they refuse? Are these
comics popular or successful now? Or very good?
Best,
David Gerstein
JORGEN: I believe that the pocket books all come from the
same Italian root source. They aren't random collections of Italian
stuff, but I think the exact order of the same stories is the same in
a specific volume from one country to another.
I believe that the pocket book series started in Italy as just
an inexpensive way to reprint old stories from TOPOLINO. They began
doing a monthly series as early as the 1960s. I think France began
doing exact reprints of those books shortly after. Then Egmont made a
deal with Mondadori, and then -- at varying times -- various Egmont
publishers jumped on the boat to reprint the pocketbooks. And I
think they just chose randomly which pocketbooks to reprint in which
order. For example, my oldest French pocketbook is from 1965, and it
was reprinted as pocketbook #15 "Hexenzauber mit Micky und Goofy" in
Germany, ca. 1972. If every country printed corresponding
pocketbooks at the same time, the Germans would have printed what the
French were printing in 1972.
So that explains why there was a disparity in starting dates.
But I think that the monthly contents of the pocketbooks are
basically similar from country to country, month to month, by this
time.
There is an Ariel monthly in Britain, BTW. It's on its third
issue; it has so far used K-coded stories from LM 3 and 4 and the
two Sebastian one-shots, but there has also been a beautifully drawn
H-coded story (this being the only reason I bring up Ariel here).
Are these also printed in Holland? If so, where?
This week's British MM includes the Barks "Masters of Melody."
The text has been through the British mill; not only reset in type a
la Egmont tradition, but an occasional line rephrased slightly.
Title given as: "String Trio." Still, one of my favorite ten-pagers.
Part two of the Mickey fish story -- here called "Kyle of Mulltyre",
a 2-page Br'er Rabbit (speaking Oxford English with an occasional
"Howdy-do" thrown in), and a Goofy one-pager "Dinosaur Problems" fill
out the sadly short comic.
The string trio story seems to me to be the first in which
Barks used the late-1940s models that are considered the best. I
believe he must have been influenced by a model sheet, because the
ducks vary wildly from panel to panel. The most notable contrast is
between the immediately-adjacent panels where Donald watches the
nephews: "Such enthusiasm! I'll have a string trio before you can
say do-re-mi in Eskimo!" and the one where he sees Grandma out the
door. What a huge difference -- a compact duck at first, then one
with a huge body, small bill, and long legs.
How is Marvel doing with its Disney titles? An early Gladstone
Series-II lettercol discussed the fate of the modern feature-film
characters by noting that "Disney has other plans for them." Did
Gladstone, at some point, have the chance to buy comic rights to
those characters, too, and if so, why did they refuse? Are these
comics popular or successful now? Or very good?
Best,
David Gerstein
DAVID.A.GERSTEIN
More of Scrooge's surplus rubbish
Message 18 -
1994-12-05 at 19:58:15
Some more stuff for Don:
A) Scrooge's itching powder from WDC&S 104.
B) Scrooge's disguises from WDC&S 159.
C) That newspaper announcing Flintheart Glomgold as the
world's richest duck, which Scrooge found in US 15 (that is, if he
didn't tear it up). Perhaps with a note taped to it, "Problem taken
care of," or some such.
D) A sign from when Scrooge ran for treasurer in US 8.
E) A sign from when Scrooge ran for mayor (and failed) in
WDC&S 199 (or wherever, I mean the smoke story).
F) That rock with the moss on it from the Unicorn story, but
with more of the moss eaten off than before.
G) Do I recall some story in which Scrooge was paid for
something in (you name the island)'s currency, that being huge, stone
wagon wheels? I wouldn't put that in my money bin if I might clonk
my head on it while swimming. Better put it here. Or maybe that was
a Van Horn story?
H) A book on cormorant language from when Scrooge was a yak
trader?
I) A pile of valueless Castrovian Rubleniks (US 36).
J) Scrooge's OLD glasses from prior to "The Money Well."
K) One of the sagging bags that got McDuck's Baghdad bag
factory in bad with the Bagdad bigdads (US 65).
L) The disguise Scrooge wore in Unsteadystan, US 64.
M) The doctored newspaper announcing fish being used for
money, OS 456.
N) Metal wreckage left over from briefly having the money bin on
wheels (in that 4-pager about the virtues of 'progress').
O) The old flags from when Scrooge created McDuckland (US 14,
YOUR story, Don.)
P) The used cannon ball that wrecked the safe in WDC&S 134.
Scrooge would never get rid of a cannon ball that had been returned
to him when he might be able to use it again. But I think this is
going a little bit off the deep end.
Q) That money-sorting machine from the cover of US 11. I
can't imagine Scrooge would have kept using THAT for long.
R) The bike-saucer U$ bought from Gyro in "The Stubborn
Stork."
Just what is this story about? And how are you going to deal
with all of this debris? Is it just background gags for the story,
or something more for it?
Best,
David Gerstein
"Are you sure that what you saw wasn't a flying saucer? Or a
few pig-faced purple people eaters?"
<9475609 at arran.sms.ed.ac.uk>
A) Scrooge's itching powder from WDC&S 104.
B) Scrooge's disguises from WDC&S 159.
C) That newspaper announcing Flintheart Glomgold as the
world's richest duck, which Scrooge found in US 15 (that is, if he
didn't tear it up). Perhaps with a note taped to it, "Problem taken
care of," or some such.
D) A sign from when Scrooge ran for treasurer in US 8.
E) A sign from when Scrooge ran for mayor (and failed) in
WDC&S 199 (or wherever, I mean the smoke story).
F) That rock with the moss on it from the Unicorn story, but
with more of the moss eaten off than before.
G) Do I recall some story in which Scrooge was paid for
something in (you name the island)'s currency, that being huge, stone
wagon wheels? I wouldn't put that in my money bin if I might clonk
my head on it while swimming. Better put it here. Or maybe that was
a Van Horn story?
H) A book on cormorant language from when Scrooge was a yak
trader?
I) A pile of valueless Castrovian Rubleniks (US 36).
J) Scrooge's OLD glasses from prior to "The Money Well."
K) One of the sagging bags that got McDuck's Baghdad bag
factory in bad with the Bagdad bigdads (US 65).
L) The disguise Scrooge wore in Unsteadystan, US 64.
M) The doctored newspaper announcing fish being used for
money, OS 456.
N) Metal wreckage left over from briefly having the money bin on
wheels (in that 4-pager about the virtues of 'progress').
O) The old flags from when Scrooge created McDuckland (US 14,
YOUR story, Don.)
P) The used cannon ball that wrecked the safe in WDC&S 134.
Scrooge would never get rid of a cannon ball that had been returned
to him when he might be able to use it again. But I think this is
going a little bit off the deep end.
Q) That money-sorting machine from the cover of US 11. I
can't imagine Scrooge would have kept using THAT for long.
R) The bike-saucer U$ bought from Gyro in "The Stubborn
Stork."
Just what is this story about? And how are you going to deal
with all of this debris? Is it just background gags for the story,
or something more for it?
Best,
David Gerstein
"Are you sure that what you saw wasn't a flying saucer? Or a
few pig-faced purple people eaters?"
<9475609 at arran.sms.ed.ac.uk>
Rreeves
Junk Closet
Message 19 -
1994-12-05 at 20:02:29
Just stepping out of the shadows to mention some of my
favourite Barks one pagers: What about the different coffee cups
$crooge used at that diner? One was a folding cup, one was giant
sized, think that's was all- the other was a gag about a doughnut
sponge....
Also- how about the bust that Boffo the artist made of
Scrooge by throwing him out of the studio and into the mud. another
early one-page gag. Anyone remember what happened to the box Gyro
made that turned people into chickens, made them go to the swamp?
Scrooge ended up shooting it thinking he was a sharp-shooter. That
would certainly be to valuable to throw away, yet not really worth
anything...
Oh well- back to the shadows until inspired again.
/robert
favourite Barks one pagers: What about the different coffee cups
$crooge used at that diner? One was a folding cup, one was giant
sized, think that's was all- the other was a gag about a doughnut
sponge....
Also- how about the bust that Boffo the artist made of
Scrooge by throwing him out of the studio and into the mud. another
early one-page gag. Anyone remember what happened to the box Gyro
made that turned people into chickens, made them go to the swamp?
Scrooge ended up shooting it thinking he was a sharp-shooter. That
would certainly be to valuable to throw away, yet not really worth
anything...
Oh well- back to the shadows until inspired again.
/robert
Jørgen Andreas Bangor
Model building, and Vicar
Message 20 -
1994-12-05 at 21:46:21
MIKE:
>JORGEN: (are you sure it isn't J|rgen?-)
It is indeed J|rgen, but I don't think everybody on this list
are familiar with ISO 646 ;-)
>how the heck do you give shape for those car parts you make by yourself?
Well... that's what I'm trying to find out. I've made my own parts
earlier, but this will be the first time I build most of the body.
Plastic and tin are easy to cast, that is, they melt at low temperatures.
So does lead, but it smells bad, and is also quite poisonous (gallium and
mercury are not very useful...). A little lead in the tin make the "tin"
more rigid though.
Then I need an original part, from which I can make a mold. Plastilin
is a good material for this part. The problem is how to make the mold. It
must not destroy the original part, at least not before it's finished, and
it must not be destroyed by the material poured into it later. I have a
few ideas, which I will try out in the coming vacation.
Another way, which I think I will use for the biggest parts, is to
build it like they built cars in earlier times. Make a model in wood, then
use metalsheets and shape them with a hammer on the wooden model. I think
I will try the metal in soft drink cans. It's thick enough to not being
destroyed just by being breathed at, and thin enough to easily be shaped.
A lot of model builders use so called vacu forms to make bodys (in
plastic (polystyren)), but I don't know anything about that technique (yet).
Last night I made a "model" in plastilin of Uncle Scrooge dressed like a
knight. I tried to make him exactly like Don's small drawing on the front
cover of the latest Uncle Scrooge (adding one dimension, though). The
body was quite easy. Lots of lovely details to put on the model, but the
expression in the face was quite difficult. Well, just a few more heads...
Vicar
-----
To make this a bit more Disney-comics again...
In this studio of Vicar, there are some people inking his pencils, right?
Could this make the drawings look a bit different from story to story?
When I look at a story, I am often quite sure that it's drawn by Vicar,
but it still looks a bit different from another story, which I'm also
quite sure is drawn by Vicar. I guess this studio could be the explanation
to this problem.
I don't think I like all those diagonal "side walls" in his panels, BTW.
Jorgen
>JORGEN: (are you sure it isn't J|rgen?-)
It is indeed J|rgen, but I don't think everybody on this list
are familiar with ISO 646 ;-)
>how the heck do you give shape for those car parts you make by yourself?
Well... that's what I'm trying to find out. I've made my own parts
earlier, but this will be the first time I build most of the body.
Plastic and tin are easy to cast, that is, they melt at low temperatures.
So does lead, but it smells bad, and is also quite poisonous (gallium and
mercury are not very useful...). A little lead in the tin make the "tin"
more rigid though.
Then I need an original part, from which I can make a mold. Plastilin
is a good material for this part. The problem is how to make the mold. It
must not destroy the original part, at least not before it's finished, and
it must not be destroyed by the material poured into it later. I have a
few ideas, which I will try out in the coming vacation.
Another way, which I think I will use for the biggest parts, is to
build it like they built cars in earlier times. Make a model in wood, then
use metalsheets and shape them with a hammer on the wooden model. I think
I will try the metal in soft drink cans. It's thick enough to not being
destroyed just by being breathed at, and thin enough to easily be shaped.
A lot of model builders use so called vacu forms to make bodys (in
plastic (polystyren)), but I don't know anything about that technique (yet).
Last night I made a "model" in plastilin of Uncle Scrooge dressed like a
knight. I tried to make him exactly like Don's small drawing on the front
cover of the latest Uncle Scrooge (adding one dimension, though). The
body was quite easy. Lots of lovely details to put on the model, but the
expression in the face was quite difficult. Well, just a few more heads...
Vicar
-----
To make this a bit more Disney-comics again...
In this studio of Vicar, there are some people inking his pencils, right?
Could this make the drawings look a bit different from story to story?
When I look at a story, I am often quite sure that it's drawn by Vicar,
but it still looks a bit different from another story, which I'm also
quite sure is drawn by Vicar. I guess this studio could be the explanation
to this problem.
I don't think I like all those diagonal "side walls" in his panels, BTW.
Jorgen
Tallmo
Rifle again
Message 21 -
1994-12-05 at 22:42:39
>KARL-ERIK:
> In the rifle story, does it say anywhere, what is inside the sled?
Mike:
Gold (of course), a treasure from Scrooge's golddigging days in Alaska.
That's why it was too heavy for the dogs to pull up from the hole in the
ice.
Karl-Erik
> In the rifle story, does it say anywhere, what is inside the sled?
Mike:
Gold (of course), a treasure from Scrooge's golddigging days in Alaska.
That's why it was too heavy for the dogs to pull up from the hole in the
ice.
Karl-Erik
Wilmer Rivers
Model ducks
Message 22 -
1994-12-05 at 23:19:44
Jorgen writes:
> Last night I made a "model" in plastilin of Uncle Scrooge dressed like a
> knight. I tried to make him exactly like Don's small drawing on the front
> cover of the latest Uncle Scrooge (adding one dimension, though). The
> body was quite easy. Lots of lovely details to put on the model, but the
> expression in the face was quite difficult. Well, just a few more heads...
Hey Jorgen, have you ever considered creating duck bookends, like those
that Don invented for the 60th birthday story? Why, you could even sell
them to the rest of us on this list! Everybody would want a set! And
I'm **certain** that the Walt Disney Corporation wouldn't mind at all!
:) :) :)
Wilmer Rivers
> Last night I made a "model" in plastilin of Uncle Scrooge dressed like a
> knight. I tried to make him exactly like Don's small drawing on the front
> cover of the latest Uncle Scrooge (adding one dimension, though). The
> body was quite easy. Lots of lovely details to put on the model, but the
> expression in the face was quite difficult. Well, just a few more heads...
Hey Jorgen, have you ever considered creating duck bookends, like those
that Don invented for the 60th birthday story? Why, you could even sell
them to the rest of us on this list! Everybody would want a set! And
I'm **certain** that the Walt Disney Corporation wouldn't mind at all!
:) :) :)
Wilmer Rivers
Don Rosa
Disney-comics digest #513.
Message 23 -
1994-12-06 at 06:19:48
MIKE:
Am I going to do stories based on Barks stories (sequels?) or
also stories that don't deny facts in old Barks stories? Both.
I have done a number of stories since the 60th Birthday story
which will begin to appear early next year. I've discussed them on here
in varying degrees of depth if you want to reread old Digests, but here
are the titles: "The Treasury of Croesus", "The Universal Solvent", "An
Eye for Detail", "The Lost Charts of Columbus", and now "Lost in the
Money Bin"(tentative title). Gosh, that's not many. I'm very slow.
ROBERT:
Good junk-closet suggestions, particularly the old coffee cups
-- those are favorite old gag pages.
DAVID:
Your list was too long for me to comment on individually. There
were several items in there that I think I'll use. However, MOST of the
stuff you list was rather TOO obscure (even for my taste), so vague that
a reader would never realize what it was (such as a cannonball -- how
would the reader know WHAT cannonball that was -- or disassembled
items), or you've suggested newspapers or flags which would require
lettering -- I try very hard to avoid ANY use of background lettering in
my stories whenever possible just to save myself the aggravation of
seeing Egmont ignore it or screw it up. I wasn't expecting suggestions
based on Barks COVERS; I had never really thought about it... but if
pressed, I think I would consider his covers to just be gags. Not real.
That's the same way I regard the one-page gags. Imaginary. Jokes.
Non-canonical. (I still like the idea of putting those coffee cups in
the closet -- those were a few of the most famous gag pages.)
Am I going to do stories based on Barks stories (sequels?) or
also stories that don't deny facts in old Barks stories? Both.
I have done a number of stories since the 60th Birthday story
which will begin to appear early next year. I've discussed them on here
in varying degrees of depth if you want to reread old Digests, but here
are the titles: "The Treasury of Croesus", "The Universal Solvent", "An
Eye for Detail", "The Lost Charts of Columbus", and now "Lost in the
Money Bin"(tentative title). Gosh, that's not many. I'm very slow.
ROBERT:
Good junk-closet suggestions, particularly the old coffee cups
-- those are favorite old gag pages.
DAVID:
Your list was too long for me to comment on individually. There
were several items in there that I think I'll use. However, MOST of the
stuff you list was rather TOO obscure (even for my taste), so vague that
a reader would never realize what it was (such as a cannonball -- how
would the reader know WHAT cannonball that was -- or disassembled
items), or you've suggested newspapers or flags which would require
lettering -- I try very hard to avoid ANY use of background lettering in
my stories whenever possible just to save myself the aggravation of
seeing Egmont ignore it or screw it up. I wasn't expecting suggestions
based on Barks COVERS; I had never really thought about it... but if
pressed, I think I would consider his covers to just be gags. Not real.
That's the same way I regard the one-page gags. Imaginary. Jokes.
Non-canonical. (I still like the idea of putting those coffee cups in
the closet -- those were a few of the most famous gag pages.)
DAVID.A.GERSTEIN
Vicar's inkers
Message 24 -
1994-12-06 at 13:39:31
Hi, folks.
JORGEN: According to what I'm told by Egmont, you're right about
Vicar. His studio consists of himself as penciller and others doing
the inking, at least most of the time. A good way to tell the inkers
apart is how some of them give all the ducks pie-eyes, some give
them only to Donald, and some give them to nobody at all. The second
of the above three (or maybe there's more than one for each style!)
inks HDL with very little distinction, IMHO. As you might guess it's
harder to tell the inkers apart when a story doesn't include HDL.
DON: What about having the voodoo doll from "Voodoo Hoodoo" in
Scrooge's refuse pile? Or did Donald bring it with him on his
meeting with Foola Zoola, upon which it was taken from him by said
villain? I cannot check now, as both my 1949 and 1988 editions of
"Voodoo Hoodoo" are safely ensconced 8,000 miles from here.
MIKE: Vicar isn't Italian. He works for Egmont, and the
most-recently published story of his in a Gladstone comic was "Tour
de Jour" in DDA 29 (story: Rawson+McGreal). The guy who draws the
ducks' eyes so that they don't look whole isn't Italian either, if
you mean who I think you do. Both Ben Verhagen, who works over in
Holland, and Pat Block, who works for Gladstone, use VERY big
pie-cuts in the Ducks' eyes sometimes so that they have that look of
being in two halves. The last story of each respectively were "The
Hoard at the Rainbow's End" (DDA 25, story: Jan Kruse) and "Too Late
for Christmas" (DDA 30, story: Ron Fernandez). Maybe one of these
guys is who you meant. But neither of them is Italian.
Sorry I can't refer you to recent Finnish Vicar publications.
But if your comics are anything like the British ones, the two most
recent examples of his work would be the one about DD as a soccer
coach, and another one called "The Gourmet Club." I don't know when
Verhagen's stories last appeared in Finnish, or any Egmont, DD
weeklies. "Bugged by Humbuggery" appeared in No. 27/1992 in Germany,
I think. I don't think Pat Block's stories have appeared in foreign
countries. Too soon, yet.
David Gerstein
"One more crack like that, and I'll turn YOU into a McDuck
Gourmet Meal!"
<9475609 at arran.sms.ed.ac.uk>
JORGEN: According to what I'm told by Egmont, you're right about
Vicar. His studio consists of himself as penciller and others doing
the inking, at least most of the time. A good way to tell the inkers
apart is how some of them give all the ducks pie-eyes, some give
them only to Donald, and some give them to nobody at all. The second
of the above three (or maybe there's more than one for each style!)
inks HDL with very little distinction, IMHO. As you might guess it's
harder to tell the inkers apart when a story doesn't include HDL.
DON: What about having the voodoo doll from "Voodoo Hoodoo" in
Scrooge's refuse pile? Or did Donald bring it with him on his
meeting with Foola Zoola, upon which it was taken from him by said
villain? I cannot check now, as both my 1949 and 1988 editions of
"Voodoo Hoodoo" are safely ensconced 8,000 miles from here.
MIKE: Vicar isn't Italian. He works for Egmont, and the
most-recently published story of his in a Gladstone comic was "Tour
de Jour" in DDA 29 (story: Rawson+McGreal). The guy who draws the
ducks' eyes so that they don't look whole isn't Italian either, if
you mean who I think you do. Both Ben Verhagen, who works over in
Holland, and Pat Block, who works for Gladstone, use VERY big
pie-cuts in the Ducks' eyes sometimes so that they have that look of
being in two halves. The last story of each respectively were "The
Hoard at the Rainbow's End" (DDA 25, story: Jan Kruse) and "Too Late
for Christmas" (DDA 30, story: Ron Fernandez). Maybe one of these
guys is who you meant. But neither of them is Italian.
Sorry I can't refer you to recent Finnish Vicar publications.
But if your comics are anything like the British ones, the two most
recent examples of his work would be the one about DD as a soccer
coach, and another one called "The Gourmet Club." I don't know when
Verhagen's stories last appeared in Finnish, or any Egmont, DD
weeklies. "Bugged by Humbuggery" appeared in No. 27/1992 in Germany,
I think. I don't think Pat Block's stories have appeared in foreign
countries. Too soon, yet.
David Gerstein
"One more crack like that, and I'll turn YOU into a McDuck
Gourmet Meal!"
<9475609 at arran.sms.ed.ac.uk>
James Williams
Disney-comics digest #513.
Message 25 -
1994-12-06 at 14:59:49
David Gerstein asked how Marvel's Disney comics were selling and
about their quality. Marvel publishes four Disney comics: Aladdin,
Beauty and The Beast, The Disney Afternoon, and The Little Mermaid.
I can only guestimate sales based on the few comic shops I visit.
Aladdin seems to be selling well, about 4 to 5 times more than a
Gladstone comic. TLM and B&TB sells about 2x Gladstone. While,
TDA is even with Gladstone.
Three of the titles, A, TLM, and B&TB are edited by Hildy Mesnik.
They are decent comics. A & TLM have rotating staffs and feature
one story per issue. B&TB has the same creative team and each issue
is a single chapter in a large story. B&TB is my personal favorite;
the writing is good and the artwork is excellent.
TDA is edited by Sarra Mossoff. I like Sarra and wish that I could
complement TDA, but I can't. TDA is bad. TDA is very bad. Where
to begin? The issues contents never match the solicitations. There is
no variety to this so called anthology. Example, the latest issue only
featured two Darkwing Duck comics. The previous issues had 18 pages of
Darkwing Duck. The writing is bad. I think it speaks down to the reader.
The coloring is horrible. The Darkwing Duck stories becomes a mix of
dark browns and purples. The end result looks like mud. While I really
dislike the artwork, I can't critize it because it may just be ruined by
the coloring. Avoid this comic!
=====
It's Christmas season and I've got a related question. In the US,
Christmas means Disney comics involving Santa Claus. Other countries
have other "images" of Christmas - like Saint Nicholas or Befana (sp?)
The Witch. Are their Disney comics involving these characters?
James Williams
about their quality. Marvel publishes four Disney comics: Aladdin,
Beauty and The Beast, The Disney Afternoon, and The Little Mermaid.
I can only guestimate sales based on the few comic shops I visit.
Aladdin seems to be selling well, about 4 to 5 times more than a
Gladstone comic. TLM and B&TB sells about 2x Gladstone. While,
TDA is even with Gladstone.
Three of the titles, A, TLM, and B&TB are edited by Hildy Mesnik.
They are decent comics. A & TLM have rotating staffs and feature
one story per issue. B&TB has the same creative team and each issue
is a single chapter in a large story. B&TB is my personal favorite;
the writing is good and the artwork is excellent.
TDA is edited by Sarra Mossoff. I like Sarra and wish that I could
complement TDA, but I can't. TDA is bad. TDA is very bad. Where
to begin? The issues contents never match the solicitations. There is
no variety to this so called anthology. Example, the latest issue only
featured two Darkwing Duck comics. The previous issues had 18 pages of
Darkwing Duck. The writing is bad. I think it speaks down to the reader.
The coloring is horrible. The Darkwing Duck stories becomes a mix of
dark browns and purples. The end result looks like mud. While I really
dislike the artwork, I can't critize it because it may just be ruined by
the coloring. Avoid this comic!
=====
It's Christmas season and I've got a related question. In the US,
Christmas means Disney comics involving Santa Claus. Other countries
have other "images" of Christmas - like Saint Nicholas or Befana (sp?)
The Witch. Are their Disney comics involving these characters?
James Williams
Dwight Decker
Signs in Rosa Comics
Message 26 -
1994-12-07 at 00:36:02
I noticed Don Rosa expressing some dissatisfaction with Egmont's
handling of background signs in his stories. I don't know if this
is quite the same thing, but when I was in Germany the other week,
I picked up the three available albums collecting his Life of
Scrooge series (two episodes per album); the cover of Volume II
is the Wild West one, with Scrooge on horseback. When Gladstone
ran the cover, the sign in the lower righthand corner said 'PAY
DIRT'. On the German album cover, the sign was simply left blank,
which seems kind of pointless, as it makes the cover meaningless
(that is, the sign is pointing in the direction Scrooge is riding
hellbent for leather). For our foreign friends, I'll add that "pay
dirt" was American miners' slang for "soil containing enough metal,
especially gold, to be profitable to mine," to quote the dictionary.
"Hitting pay dirt" also entered the language as a metaphor for
achieving success in one's endeavor, so there's a larger meaning to
the sign beyond the strictly literal one. Surely German has something
equivalent, even something as simple as "Ruhm" on the sign ("glory"
or "Erfolg" (success) would have sufficed.
The albums also reprint shorter, unrelated Duck stories to fill
out the page count. I'd tell Don what the translator did to AR 104
(his story where the Nephews are trying to identify wildlife as a
Woodchuck project and Donald tries to stump them by disguising
Grandma's livestock as increasingly fantastic creatures), but his
screams would break every window in Louisville.
Still, the albums do have a photo of Don's smiling mug on the
back cover, along with detailed text about his life and goals. It
was kind of odd to pick up a copy of one of the albums in a newsstand
in the Hamburg train station, read the back-cover text, and stumble
across a mention of Byron Erickson, the Egmont editor -- who I had
seen just a few hours earlier in Copenhagen (and whined my way into
having him drive me from the Egmont offices to the Copenhagen train
station). Also, the albums' printing is better than Gladstone's, so
the art comes across nicer. Even some inside jokes were left in, such
as Carl Barks's signature on the check for Scrooge's share of the
Anaconda mine and the squished Mickey Mouse on the bottom of the
elephant's foot in the Transvaal story.
For that matter, in Don's "Duck Who Never Was" story, printed in
a special 60th Anniversary of Donald Duck album, the Germans left his
"Mickey Mouse Voodoo Doll" intact in the museum scenes.
--Dwight Decker
handling of background signs in his stories. I don't know if this
is quite the same thing, but when I was in Germany the other week,
I picked up the three available albums collecting his Life of
Scrooge series (two episodes per album); the cover of Volume II
is the Wild West one, with Scrooge on horseback. When Gladstone
ran the cover, the sign in the lower righthand corner said 'PAY
DIRT'. On the German album cover, the sign was simply left blank,
which seems kind of pointless, as it makes the cover meaningless
(that is, the sign is pointing in the direction Scrooge is riding
hellbent for leather). For our foreign friends, I'll add that "pay
dirt" was American miners' slang for "soil containing enough metal,
especially gold, to be profitable to mine," to quote the dictionary.
"Hitting pay dirt" also entered the language as a metaphor for
achieving success in one's endeavor, so there's a larger meaning to
the sign beyond the strictly literal one. Surely German has something
equivalent, even something as simple as "Ruhm" on the sign ("glory"
or "Erfolg" (success) would have sufficed.
The albums also reprint shorter, unrelated Duck stories to fill
out the page count. I'd tell Don what the translator did to AR 104
(his story where the Nephews are trying to identify wildlife as a
Woodchuck project and Donald tries to stump them by disguising
Grandma's livestock as increasingly fantastic creatures), but his
screams would break every window in Louisville.
Still, the albums do have a photo of Don's smiling mug on the
back cover, along with detailed text about his life and goals. It
was kind of odd to pick up a copy of one of the albums in a newsstand
in the Hamburg train station, read the back-cover text, and stumble
across a mention of Byron Erickson, the Egmont editor -- who I had
seen just a few hours earlier in Copenhagen (and whined my way into
having him drive me from the Egmont offices to the Copenhagen train
station). Also, the albums' printing is better than Gladstone's, so
the art comes across nicer. Even some inside jokes were left in, such
as Carl Barks's signature on the check for Scrooge's share of the
Anaconda mine and the squished Mickey Mouse on the bottom of the
elephant's foot in the Transvaal story.
For that matter, in Don's "Duck Who Never Was" story, printed in
a special 60th Anniversary of Donald Duck album, the Germans left his
"Mickey Mouse Voodoo Doll" intact in the museum scenes.
--Dwight Decker
Fredrik Ekman
Disney-comics
Message 27 -
1994-12-07 at 01:38:38
On Mon, 5 Dec 1994, Mike Pohjola wrote:
> FREDRIK:
> Who's Daan Jippes? Some dutch guy? And Vicar? He's probably italian
> - is he the one, whose characters have those phony eyes, that look like
> they're not drawn whole? And Branca? Who the heck is he?
I'm certainly not the best person to answer this. I think I can fairly
well identify all three at a glance, but I do not know much about them.
Others have already replied about Vicar. Harry know more about Jippes,
but he is indeed Dutch as you suspect (although I think he lives in the
US now). Many regard him as the best active Disney artist. Of Branca I
know nothing except that he works for Egmont.
/F
> FREDRIK:
> Who's Daan Jippes? Some dutch guy? And Vicar? He's probably italian
> - is he the one, whose characters have those phony eyes, that look like
> they're not drawn whole? And Branca? Who the heck is he?
I'm certainly not the best person to answer this. I think I can fairly
well identify all three at a glance, but I do not know much about them.
Others have already replied about Vicar. Harry know more about Jippes,
but he is indeed Dutch as you suspect (although I think he lives in the
US now). Many regard him as the best active Disney artist. Of Branca I
know nothing except that he works for Egmont.
/F
Erik Corry
Two in One
Message 28 -
1994-12-07 at 01:44:07
David Gerstein wrote (ages ago):
> [...] Yep, I'm excited to announce that "Two in One" (D93138) is my
> own creation, and I couldn't be happier with how Daniel Branca drew
> it. I'd like to know what issues this story has appeared in in other
> European countries. More important, I'd also be tickled to know how
> the title -- and Magica's incantation at the bottom of page two --
> translates in other languages.
It has finally appeared in the German weekly this week. The title is
"Die doppelte Hexe" - possibly a reference to "Das doppelte Lottchen",
a very popular children's film about twins. Though if this was intended,
"Die doppelte Gundel" would seem more fitting. The incantation is:
Die Krone aller Hexerei, das ist der Spruch... [Bizzel!] ...aus
eins mach zwei!
Ever since I read this in the Danish issue, I've been trying to remember
where I've seen the idea with the virus - it's some Disney film with
a battle between Mim and Merlin.
Also in this issue, the second part of D93063 - the hotel-fishing
story. Maybe there should be a ban at Egmont on new Mickey and
Goofy stories in which M&G are tied up, but manage to untie them-
selves just in time to prevent the villains from doing their dirty
stuff/getting away. I remember finding this hackneyed when I was
10. There must be dozens and dozens of stories with this in.
--
Erik Corry, Freiburg, Germany, +49 761 406637 erik at kroete2.freinet.de
> [...] Yep, I'm excited to announce that "Two in One" (D93138) is my
> own creation, and I couldn't be happier with how Daniel Branca drew
> it. I'd like to know what issues this story has appeared in in other
> European countries. More important, I'd also be tickled to know how
> the title -- and Magica's incantation at the bottom of page two --
> translates in other languages.
It has finally appeared in the German weekly this week. The title is
"Die doppelte Hexe" - possibly a reference to "Das doppelte Lottchen",
a very popular children's film about twins. Though if this was intended,
"Die doppelte Gundel" would seem more fitting. The incantation is:
Die Krone aller Hexerei, das ist der Spruch... [Bizzel!] ...aus
eins mach zwei!
Ever since I read this in the Danish issue, I've been trying to remember
where I've seen the idea with the virus - it's some Disney film with
a battle between Mim and Merlin.
Also in this issue, the second part of D93063 - the hotel-fishing
story. Maybe there should be a ban at Egmont on new Mickey and
Goofy stories in which M&G are tied up, but manage to untie them-
selves just in time to prevent the villains from doing their dirty
stuff/getting away. I remember finding this hackneyed when I was
10. There must be dozens and dozens of stories with this in.
--
Erik Corry, Freiburg, Germany, +49 761 406637 erik at kroete2.freinet.de
ARCHIMEDES
Disney-comics digest #513.
Message 29 -
1994-12-07 at 04:42:45
72> ROBERT:
72> Good junk-closet suggestions, particularly the old coffee cups
72> -- those are favorite old gag pages.
72> DAVID:
ALL:
Hello, my name is Robert Wright (call me Bob) and I'm new to the
digest. Long time Barks fan, comics collector, father of at least 3 Uncle
Scrooge fans, auto mechanic by trade. Nice to be here. Does anyone know
if Alberto Becattini has an Email address? Thanks.
DON:
Nice to see you again. I still don't know how you got an Email
from me last week, as I sent none. Someone must have fowarded my request
for this digest.
I couldn't find your D.U.C.K. on the "Land Beneath the Ground"
cover. Was it there?
Having just joined the digest, I missed the "junk list". Was the
golden coat from US #12 included?
{ Bob Wright }
{ ARCHIMEDES at delphi.com }
I dive into it like a porpoise...
`[1;30;44mRainbow V 1.08 for Delphi - Registered
72> Good junk-closet suggestions, particularly the old coffee cups
72> -- those are favorite old gag pages.
72> DAVID:
ALL:
Hello, my name is Robert Wright (call me Bob) and I'm new to the
digest. Long time Barks fan, comics collector, father of at least 3 Uncle
Scrooge fans, auto mechanic by trade. Nice to be here. Does anyone know
if Alberto Becattini has an Email address? Thanks.
DON:
Nice to see you again. I still don't know how you got an Email
from me last week, as I sent none. Someone must have fowarded my request
for this digest.
I couldn't find your D.U.C.K. on the "Land Beneath the Ground"
cover. Was it there?
Having just joined the digest, I missed the "junk list". Was the
golden coat from US #12 included?
{ Bob Wright }
{ ARCHIMEDES at delphi.com }
I dive into it like a porpoise...
`[1;30;44mRainbow V 1.08 for Delphi - Registered
ARCHIMEDES
Disney-comics digest #514.
Message 30 -
1994-12-07 at 06:14:18
DAVID:
Re your comments about Vicar, I've heard the operation may be
similar to the "job-shop" of the Golden Age, like the Iger and Eisner comic
mills. Usually the editor in charge will take a script and do the layouts,
one artist will pencil and ink the backgrounds, another the main
characters, a third detailing and so on. What results is a mixture of
style similar to the Fox and Fiction House books of the time. I'm not sure
if Vicar is run exactly like this, but the mixture of expression in the
stories might hint at such.
{ Bob Wright }
{ ARCHIMEDES at delphi.com }
Anyone for 23,000,000 quarts of pickled rutabagas?
`[1;33;41mRainbow V 1.08 for Delphi - Registered
Re your comments about Vicar, I've heard the operation may be
similar to the "job-shop" of the Golden Age, like the Iger and Eisner comic
mills. Usually the editor in charge will take a script and do the layouts,
one artist will pencil and ink the backgrounds, another the main
characters, a third detailing and so on. What results is a mixture of
style similar to the Fox and Fiction House books of the time. I'm not sure
if Vicar is run exactly like this, but the mixture of expression in the
stories might hint at such.
{ Bob Wright }
{ ARCHIMEDES at delphi.com }
Anyone for 23,000,000 quarts of pickled rutabagas?
`[1;33;41mRainbow V 1.08 for Delphi - Registered