There is a new version of the Disney comics Database available from ftp
(ftp.lysator.liu.se, subdir pub/comics/disney/index).
The Database contains a lot of information about Disney stories, grouped
in several indexes:
- stories indexes: lists of stories per story code, for instance the AR-coded
(Gladstone) stories. These lists also have all known reprints of the
stories.
- indexes by creator: lists of stories and covers done by Barks, Rosa and
Van Horn. Again, including all known reprints (in the USA, Sweden and
the Netherlands).
- indexes by country: a Western index, a Gladstone/Disney index, a Swedish
index and a Dutch index.
The ultimate goal of the Database is to include all Disney comics stories
in the world...
Improvements in this version (amongst a lot of things):
- The Swedish index is expanded a lot, and a lot of Swedish titles have
been added. Thank to Anders Engwall!
- The Swedish titles are now in Latin-1. Thanks to Fredrik Ekman!
- A lot of credits have been added to the Western (Dell) stories, from
Becattini's index.
- The lists of Silly Symphonies and WDC are improved, thanks to David
Gerstein!
- The Dutch index now also contains the complete Dutch Barks index (thanks
to Harry Fluks 8-)
- The layout of the output files has changed a bit.
- In the source programs section, a new program is added: 'diznichk'.
I use it to check the format of the 'original' database files.
The R:-title ("Ekman") problem has not been solved yet, that (and two
dozen other things) remains for one of the next versions...
I hope you can read the database files, find it useful and don't
hesitate to give comments or improvements!
--Harry.
Author
Topic: 199501
(168 messages)
H.W. Fluks
Disney comics Databas: new version
Message 136 -
1995-01-25 at 14:18:34
Nisse J. Krenchel
Carl Barks & Co. No. 22
Message 137 -
1995-01-26 at 00:26:32
I'm new on this list - so maybe everybody know this...
The Danish fanzine 'Carl Barks & Co.' One shot No. 22 is out - and I guess
it's the ultimate
description of 'The Carl Barks Europe Tour 1994'.
I just bought it in my local comic shop - and I haven't read it all. But the
whole fanzine is in
English - so at least everybody on this list should have a chance of reading
it.
There are articles by Milton, Jippes, van Horn and many others - it's 56
pages, and the price
is DKK 53,50 (app. $9,00) - the address is:
Forlaget Sejd
J. Brochmandsgade 7, st.tv.
2200 Copenhagen N
DENMARK
If you have the possibility of Giro-transfer, the number is:
6 72 79 64
By the way...
...at least a decent mailing-list!!!
Nisse Krenchel
The Danish fanzine 'Carl Barks & Co.' One shot No. 22 is out - and I guess
it's the ultimate
description of 'The Carl Barks Europe Tour 1994'.
I just bought it in my local comic shop - and I haven't read it all. But the
whole fanzine is in
English - so at least everybody on this list should have a chance of reading
it.
There are articles by Milton, Jippes, van Horn and many others - it's 56
pages, and the price
is DKK 53,50 (app. $9,00) - the address is:
Forlaget Sejd
J. Brochmandsgade 7, st.tv.
2200 Copenhagen N
DENMARK
If you have the possibility of Giro-transfer, the number is:
6 72 79 64
By the way...
...at least a decent mailing-list!!!
Nisse Krenchel
Arne Henrik Juul
Don is not short for Donald
Message 138 -
1995-01-26 at 03:20:57
Actually I didn't do most of the translation myself, but I'll try to
translate things that appear in the Norwegian DD&Co. that is of
interest.
The last line with "Don is not short for Donald" is also in the
article, probably because people would automatically associate
the names.
- Arne H. J.
translate things that appear in the Norwegian DD&Co. that is of
interest.
The last line with "Don is not short for Donald" is also in the
article, probably because people would automatically associate
the names.
- Arne H. J.
Don Rosa
Disney-comics digest #564.
Message 139 -
1995-01-26 at 06:31:28
BJORN:
Thank you for your comments on the Croesus thing!
I encourage comments about where I may have made mistakes -- this way
perhaps I can correct things when stories like this'n appear in a Gladstone
issue (which I regard as the OFFICIAL publication, regardless of the lack of
American readership).
I only wish this job afforded me the opportunity to do more extensive
research, but there are two problems here: first is that I must do the best
research I can in a limited amount of time, then go with what I've got, good or
bad; second is that Louisville is a very anti-library, anti-education city in a
similar part of the nation. Our libraries are very poor. I should be doing my
research at the University of Louisville, but that is far from my home and I'm
pretty sure I can't check books out as a non-collegian.
I myself was very upset just a few days ago while watching a new series
on an educational satellite channel about the 7 Wonders of the World, and I was
naturally anxious to see the parts about the Artesian Temple. I saw several
things mentioned in the show that none of my many reference books hinted at, and
also did NOT see things mentioned that I would think should have been. My books
spoke of the site of the temple as being far from any town, in a marshy
wilderness -- the show suggested that there are villages all about. Yes, I know
that today there is a single column stacked up by archaeologists just "for
laughs" -- but this was done since the 50s (when my story takes place). By the
way, there were several hints that my story is taking place in the 50s, unless
the translators removed them. One is that $crooge says he obtained his permit 50
years ago from Sultan Abdul Hamid (Sultan circa 1900), and he also says he was
part of the dig that unearthed the temple's foundation (1905).
Something not mentioned on the show was anything about the dismantling of
the Temple by a Leo the First and the removal of what he missed by British
colonials. I was stunned to see the TV special not show the columns that are (my
sources claim) stacked by hundreds at the British Museum and Hagia Sophia.
And you added a new bit of news yourself: my research did chance to
expose me to some pictures of the Cistern in Constantinople, but no mention was
ever made that some of those columns were used there. Those would have been hard
for $crooge to remove! But the TV show did speak of the fact that many columns
can be seen in other ancient constructions in Turkey -- they showed the one
thing I avoided mentioning: that while these ancient columns were employed like
this, and $crooge could have hunted them down (with impossible research), the
fact is that the columns were naturally not used as column-sections, but cut up
into tiny bits to be used as blocks.
I'm afraid I didn't catch what you're trying to say as regards my story
depending on how much money $crooge has IN his Bin. Did the translator suggest
this fact was important? My point was that $crooge was richer than Croesus ever
was; and this would not alone depend on how much cash either one of them had in
their Bins. It would depend on their total worth. Heck, maybe Croesus DID have
more money just in his Bin than $crooge has in his. Good for the Turkish
government at the end of the story, eh? Speaking of the Turkish government, I
wonder why Egmont screwed around with the Turkish flags I had in the army-attack
scene! I wonder what they did to my text! You never know what you're actually
getting when I can't inspect it for you! Just wait for the TRUE version in a
Gladstone issue someday.
And what's this about the Tomb of Alexander. I understood they put him on
display in the Library of Alexandria, and I've already found him in my Lost
Library story. Did he leave some dough laying around somewhere else?
EVEN:
And thank you as well for the kind remarks!
NISSE:
I wish I could get a copy of that CB & CO., in English no less, eh? I
could actually read it!
But are you saying that Van Horn wrote an article about Barks' European
tour? What would he know about it? I suspect this may be planted propaganda from
The Weasel.
Thank you for your comments on the Croesus thing!
I encourage comments about where I may have made mistakes -- this way
perhaps I can correct things when stories like this'n appear in a Gladstone
issue (which I regard as the OFFICIAL publication, regardless of the lack of
American readership).
I only wish this job afforded me the opportunity to do more extensive
research, but there are two problems here: first is that I must do the best
research I can in a limited amount of time, then go with what I've got, good or
bad; second is that Louisville is a very anti-library, anti-education city in a
similar part of the nation. Our libraries are very poor. I should be doing my
research at the University of Louisville, but that is far from my home and I'm
pretty sure I can't check books out as a non-collegian.
I myself was very upset just a few days ago while watching a new series
on an educational satellite channel about the 7 Wonders of the World, and I was
naturally anxious to see the parts about the Artesian Temple. I saw several
things mentioned in the show that none of my many reference books hinted at, and
also did NOT see things mentioned that I would think should have been. My books
spoke of the site of the temple as being far from any town, in a marshy
wilderness -- the show suggested that there are villages all about. Yes, I know
that today there is a single column stacked up by archaeologists just "for
laughs" -- but this was done since the 50s (when my story takes place). By the
way, there were several hints that my story is taking place in the 50s, unless
the translators removed them. One is that $crooge says he obtained his permit 50
years ago from Sultan Abdul Hamid (Sultan circa 1900), and he also says he was
part of the dig that unearthed the temple's foundation (1905).
Something not mentioned on the show was anything about the dismantling of
the Temple by a Leo the First and the removal of what he missed by British
colonials. I was stunned to see the TV special not show the columns that are (my
sources claim) stacked by hundreds at the British Museum and Hagia Sophia.
And you added a new bit of news yourself: my research did chance to
expose me to some pictures of the Cistern in Constantinople, but no mention was
ever made that some of those columns were used there. Those would have been hard
for $crooge to remove! But the TV show did speak of the fact that many columns
can be seen in other ancient constructions in Turkey -- they showed the one
thing I avoided mentioning: that while these ancient columns were employed like
this, and $crooge could have hunted them down (with impossible research), the
fact is that the columns were naturally not used as column-sections, but cut up
into tiny bits to be used as blocks.
I'm afraid I didn't catch what you're trying to say as regards my story
depending on how much money $crooge has IN his Bin. Did the translator suggest
this fact was important? My point was that $crooge was richer than Croesus ever
was; and this would not alone depend on how much cash either one of them had in
their Bins. It would depend on their total worth. Heck, maybe Croesus DID have
more money just in his Bin than $crooge has in his. Good for the Turkish
government at the end of the story, eh? Speaking of the Turkish government, I
wonder why Egmont screwed around with the Turkish flags I had in the army-attack
scene! I wonder what they did to my text! You never know what you're actually
getting when I can't inspect it for you! Just wait for the TRUE version in a
Gladstone issue someday.
And what's this about the Tomb of Alexander. I understood they put him on
display in the Library of Alexandria, and I've already found him in my Lost
Library story. Did he leave some dough laying around somewhere else?
EVEN:
And thank you as well for the kind remarks!
NISSE:
I wish I could get a copy of that CB & CO., in English no less, eh? I
could actually read it!
But are you saying that Van Horn wrote an article about Barks' European
tour? What would he know about it? I suspect this may be planted propaganda from
The Weasel.
H.W. Fluks
Message not in digest...
Message 140 -
1995-01-26 at 10:14:53
Even after the retry yesterday, this message did not appear in the digest
(but I got the "normal" list version).
--Harry.
> Subject: Don's multi-part stories (retry)
> DON:
> > I also see they used a few more of the "Lo$"... including using the
> > 3-part chapter 8 as one part. But they used the WRONG version!
> Right: they (the Dutch publisher GP) used the already coloured version,
> they never colour the stories for DD Extra themselves.
> But I wouldn't want to miss those magnificent half-page panels you put
> there! They are not just enlarged opening panels of parts 2 and 3: they
> fit perfectly in the story as a whole. Except that the captions are a bit
> large. Has the "right" version 2 rows of panels in stead?
> I can hardly wait to see the Gladstone version...
> --Harry.
(but I got the "normal" list version).
--Harry.
> Subject: Don's multi-part stories (retry)
> DON:
> > I also see they used a few more of the "Lo$"... including using the
> > 3-part chapter 8 as one part. But they used the WRONG version!
> Right: they (the Dutch publisher GP) used the already coloured version,
> they never colour the stories for DD Extra themselves.
> But I wouldn't want to miss those magnificent half-page panels you put
> there! They are not just enlarged opening panels of parts 2 and 3: they
> fit perfectly in the story as a whole. Except that the captions are a bit
> large. Has the "right" version 2 rows of panels in stead?
> I can hardly wait to see the Gladstone version...
> --Harry.
Mark Mayerson
Looking for Walt Kelly material
Message 141 -
1995-01-26 at 16:53:24
Hello folks. I'm passing this along for Steve Thompson, who is the
editor of The Fort Mudge Most and co-author of Pogo Files for Pogophiles.
A series in The Fort Mudge Most (which is dedicated to the work of Walt
Kelly) is covering Kelly's comic book work. The author of the articles
(Richard Davidson) and Thompson are looking for photocopies certain Kelly
material. Perhaps readers of this list could help out.
> Richard Davidson wrote asking if we could find
> people with copies of the following issues, who would be willing to
> photocopy the relevant parts. These are ones we don't have, so we could
> use photocopies here as well. If you have any of these, and they can be
> copied, by all means let me know:
> Donald Duck's Surprise Party-complete issue
> Our Gang #7-OG story and both covers
> New Funnies #69-Brownies story or other Kelly stories
> New Funnies #71, 72, 74-Brownies stories
> New Funnies #84-Brownies story
> Raggedy Ann + Andy #12-Animal Mother Goose
> Raggedy Ann + Andy #37-The Brownies
> Looney Tunes & Merrie Melodies #6-Kandi the Cave Kid
> Looney Tunes & Merrie Melodies #20-Pat, Patsy and Pete, King Hickory
> Stickory and the Dragon
> I also have a letter from someone who says the cover to New Funnies #77 and
> a Woody Woodpecker story in New Funnies #109. I've asked him for copies,
> but haven't received anything yet. I have my doubts, but who knows? Anyway,
> any help would be appreciated by all, and properly credited as well.
Replies can be sent directly to Steve Thompson (thomp030 at maroon.tc.umn.edu).
Thanks for whatever help you can be.
___________________________________________________________________
Mark Mayerson Catapult Productions
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 504-9876
editor of The Fort Mudge Most and co-author of Pogo Files for Pogophiles.
A series in The Fort Mudge Most (which is dedicated to the work of Walt
Kelly) is covering Kelly's comic book work. The author of the articles
(Richard Davidson) and Thompson are looking for photocopies certain Kelly
material. Perhaps readers of this list could help out.
> Richard Davidson wrote asking if we could find
> people with copies of the following issues, who would be willing to
> photocopy the relevant parts. These are ones we don't have, so we could
> use photocopies here as well. If you have any of these, and they can be
> copied, by all means let me know:
> Donald Duck's Surprise Party-complete issue
> Our Gang #7-OG story and both covers
> New Funnies #69-Brownies story or other Kelly stories
> New Funnies #71, 72, 74-Brownies stories
> New Funnies #84-Brownies story
> Raggedy Ann + Andy #12-Animal Mother Goose
> Raggedy Ann + Andy #37-The Brownies
> Looney Tunes & Merrie Melodies #6-Kandi the Cave Kid
> Looney Tunes & Merrie Melodies #20-Pat, Patsy and Pete, King Hickory
> Stickory and the Dragon
> I also have a letter from someone who says the cover to New Funnies #77 and
> a Woody Woodpecker story in New Funnies #109. I've asked him for copies,
> but haven't received anything yet. I have my doubts, but who knows? Anyway,
> any help would be appreciated by all, and properly credited as well.
Replies can be sent directly to Steve Thompson (thomp030 at maroon.tc.umn.edu).
Thanks for whatever help you can be.
___________________________________________________________________
Mark Mayerson Catapult Productions
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 504-9876
DAVID.A.GERSTEIN
Disney-comics digest #563.
Message 142 -
1995-01-26 at 17:41:14
DON: I couldn't get any more-recent French issues of PICSOU
because, as far as I can tell, comic shops do not sell recent Disney
back-issues. Because of the very childish translations, the stories
simply do not appeal to older folks (although they are immensely
popular with kids), and so comic shops do not carry them. It REALLY
hurts to hear an Asterix fan point out Donald Duck, who in English is
every bit as good, as something completely subpar.
Anyway, what I'm getting to is that to get back issues, you
have to go to used-magazine shops, where there is no attempt to keep
a good selection of back-issues in stock. They just get what people
sell, used. And, I presume, post-1990 issues are mostly still in the
grubby paws of the tots who originally bought them.
But I'll see what I can do....
PER: Seemed fishy to have a "P. S." put on the list without my
original letter. The letter that it originally followed discussed my
work on DDA 31 ("A Car-gone Conclusion," for which I was not credited
in the comic) and what Disney censored therein. Sadly, I don't have
another copy of that letter. Should I write it again?
MARK: Wherefore art thou, Mark? What's become of ya?
because, as far as I can tell, comic shops do not sell recent Disney
back-issues. Because of the very childish translations, the stories
simply do not appeal to older folks (although they are immensely
popular with kids), and so comic shops do not carry them. It REALLY
hurts to hear an Asterix fan point out Donald Duck, who in English is
every bit as good, as something completely subpar.
Anyway, what I'm getting to is that to get back issues, you
have to go to used-magazine shops, where there is no attempt to keep
a good selection of back-issues in stock. They just get what people
sell, used. And, I presume, post-1990 issues are mostly still in the
grubby paws of the tots who originally bought them.
But I'll see what I can do....
PER: Seemed fishy to have a "P. S." put on the list without my
original letter. The letter that it originally followed discussed my
work on DDA 31 ("A Car-gone Conclusion," for which I was not credited
in the comic) and what Disney censored therein. Sadly, I don't have
another copy of that letter. Should I write it again?
MARK: Wherefore art thou, Mark? What's become of ya?
Jacob S. Andersen
Pjuske/Biquinho
Message 143 -
1995-01-26 at 18:30:08
Paulo:
I compared your description of Biquinho with the drawings of Pjuske in
'Fra alle os til alle jer'. It seemed to be the same duck, except for the
color.
I've put a single frame from the story 'En pjusket jul' on my http sites.
The URLs are:
http://meyer.fys.ku.dk/~sparre/Disney/B-820205_46.gif
http://www.pitt.edu/~sparre/Disney/B-820205_46.gif
The code is <story code>_<frame number>.
Regards,
Jacob Sparre Andersen.
--
Try Ada 95 - The programming language of today
--
URL's: "mailto:sparre at nbi.dk", "http://meyer.fys.ku.dk/~sparre",
"mailto:sparre+ at pitt.edu" & "http://www.pitt.edu/~sparre".
--
"We need a plan to diverge from", Fesser
I compared your description of Biquinho with the drawings of Pjuske in
'Fra alle os til alle jer'. It seemed to be the same duck, except for the
color.
I've put a single frame from the story 'En pjusket jul' on my http sites.
The URLs are:
http://meyer.fys.ku.dk/~sparre/Disney/B-820205_46.gif
http://www.pitt.edu/~sparre/Disney/B-820205_46.gif
The code is <story code>_<frame number>.
Regards,
Jacob Sparre Andersen.
--
Try Ada 95 - The programming language of today
--
URL's: "mailto:sparre at nbi.dk", "http://meyer.fys.ku.dk/~sparre",
"mailto:sparre+ at pitt.edu" & "http://www.pitt.edu/~sparre".
--
"We need a plan to diverge from", Fesser
Don Rosa
Disney-comics digest #565.
Message 144 -
1995-01-27 at 07:19:29
ARNE:
As regards the Norwegian texts that you translated for me, I got a call
from a Norwegian fan today (my phone number is not kept secret, and perhaps I'd
get more calls if it weren't $o ex$pen$ive). He knew the writer of those text
pieces, Eric Hoethe (misspelled), and he told me the editor purposely left out
the last line. Wasn't there a final line that said something like "you should
check the first panel for tiny details". I thought that sounded sort of odd --
why the first panel in particular? What was omitted was the purpose for that
remark -- Eric went on to mention how I always hide "D.U.C.K." in the splash
panel. I have no idea why the Norwegian editors wish that to remain secret.
HARRY:
And speaking of splash panels... yes, the alternate version of that
chapter 8 was one that wasn't much different in the either the one-part or the
three-part version, except those big caption boxes were gone in the one-parter.
This didn't effect the panel with the mammoth, but there was LOTS of stuff going
on under the caption box in the entering-Dawson panel! But what was being said
in the caption boxes in the Dutch issue where those caption boxes barged into
the story for no reason?
Sometimes when there is a cliff-hanger at the end of a chapter that calls
for a half-page "spectacle" to appear on the next page, the one-part version
will be the same as the three-parter except that I must still supply two
different versions of that next page. The local publishers are not capable of
adding or deleting ANYTHING from the art since it comes to them already colored.
Therefore there must be TWO versions even if there's no difference except a
square box in one corner. But sometimes there's no need for a half-page panel on
that next page and I then do some gag that takes up 3 or 4 panels that the
people who live where they get the three-parter will never see. The recent
Croesus story is a perfect example... in the one-part version there is still a
half-page shot of the rebuilt temple on page 9, but on page 17 there is a minor
gag in the upper half of the page where the three-parter only had a big panel
showing the Turkish army menacing $crooge.
Nonetheless, the Dutch publisher DOES do SOME coloring on its own, right?
They could VERY easilly obtain the proper pages and color them themselves if
they were interested in the proper presentation of the story. It would be an
extraordinarilly tiny bit of additional work for them. I think you might still
make certain your friend is aware of the two different versions next time you
talk to him. I think it's very probable that Egmont has both versions already
colored, but the Dutch simply don't know to ask for the one-part style.
TO ALL:
I have a friend who is writing an article on "Politically correct
Disney". It's so extremely rare that someone does an article on Disney in an
American trade-magazine that I was hoping you guys might help out. Seems like
some of us were trying to think of changes made in Disney comics in recent years
to make them bland(er) and PC. The writer already knows about the "War of the
Wendigo" silliness, and the changing of art in my stories involving guns. And of
course there's the redrawing of the cartoony black natives from old stories. But
what are other instances of revising stories and art to meet Disney's ulra-PC
attitudes?
As regards the Norwegian texts that you translated for me, I got a call
from a Norwegian fan today (my phone number is not kept secret, and perhaps I'd
get more calls if it weren't $o ex$pen$ive). He knew the writer of those text
pieces, Eric Hoethe (misspelled), and he told me the editor purposely left out
the last line. Wasn't there a final line that said something like "you should
check the first panel for tiny details". I thought that sounded sort of odd --
why the first panel in particular? What was omitted was the purpose for that
remark -- Eric went on to mention how I always hide "D.U.C.K." in the splash
panel. I have no idea why the Norwegian editors wish that to remain secret.
HARRY:
And speaking of splash panels... yes, the alternate version of that
chapter 8 was one that wasn't much different in the either the one-part or the
three-part version, except those big caption boxes were gone in the one-parter.
This didn't effect the panel with the mammoth, but there was LOTS of stuff going
on under the caption box in the entering-Dawson panel! But what was being said
in the caption boxes in the Dutch issue where those caption boxes barged into
the story for no reason?
Sometimes when there is a cliff-hanger at the end of a chapter that calls
for a half-page "spectacle" to appear on the next page, the one-part version
will be the same as the three-parter except that I must still supply two
different versions of that next page. The local publishers are not capable of
adding or deleting ANYTHING from the art since it comes to them already colored.
Therefore there must be TWO versions even if there's no difference except a
square box in one corner. But sometimes there's no need for a half-page panel on
that next page and I then do some gag that takes up 3 or 4 panels that the
people who live where they get the three-parter will never see. The recent
Croesus story is a perfect example... in the one-part version there is still a
half-page shot of the rebuilt temple on page 9, but on page 17 there is a minor
gag in the upper half of the page where the three-parter only had a big panel
showing the Turkish army menacing $crooge.
Nonetheless, the Dutch publisher DOES do SOME coloring on its own, right?
They could VERY easilly obtain the proper pages and color them themselves if
they were interested in the proper presentation of the story. It would be an
extraordinarilly tiny bit of additional work for them. I think you might still
make certain your friend is aware of the two different versions next time you
talk to him. I think it's very probable that Egmont has both versions already
colored, but the Dutch simply don't know to ask for the one-part style.
TO ALL:
I have a friend who is writing an article on "Politically correct
Disney". It's so extremely rare that someone does an article on Disney in an
American trade-magazine that I was hoping you guys might help out. Seems like
some of us were trying to think of changes made in Disney comics in recent years
to make them bland(er) and PC. The writer already knows about the "War of the
Wendigo" silliness, and the changing of art in my stories involving guns. And of
course there's the redrawing of the cartoony black natives from old stories. But
what are other instances of revising stories and art to meet Disney's ulra-PC
attitudes?
Bjorn-are.Davidsen
Croesus
Message 145 -
1995-01-27 at 10:13:27
Thanks for interesting comments, Don!
I understand very much how frustrating it can be to do a story on facts and not
having a well stacked library of usefull info at hand! However, I think you
indeed have been managing extremely well in all of your stories and VERY
seldom has done anything amounting to direct errors (like the Marco Polo
thing). In fact, I am duly impressed by the way you mix detailed research and
the delightfull fantasies on $crooge! The reason why you get comments is
exactly that you are a person worth making comments to: knowledgeable,
thorough, and able to answer back!
My own musings on this subjects was based on a vacation in the aerea
some years ago, and a lot of general reading on the history of Asia Minor
and adjacent areas. I have not any direct info in mind on the Artemis columns
being used for the Cistern, my comments was (as mentioned) more in the
area of a suggestion, based on probability.
The relevance of the bin was also based on the storyline putting rather a lot
emphasis on the bin and it's contents, and indirectly (or at least so to me!)
pointing at the bin as major indicator of Croesus' wealth. And as it's rather
obvious that the Lydian was not very much into modern global business
getting revenues from production lines everywhere, it would be unfair to
compare anything but their collected treasures. However, as that is just a
(minor) part of $crooge's fortune, it will be (as we do agree upon!) impossible
to make asessment of Croesus vs. $crooge from their bins. So the "first coin"
twist was great!
Reg. Alexanders' tomb I may have goofed, as I just plain simple didn't
remember it as being in GotLL! That's the problem when one doesn't have a
well stacked Rosian library close to the computer in one's office and getting
carried away by the lust for treasure:-)
BTW, have you read "Treasure" by Clive Cusstler, another story about
discovering the Alexandrian treasure? Not very similar to your, though! And
one could make a lot of comments on his use of "historical facts", and even
geographical ones (like talking about the "Northern coast of Sweden and
Russia"...).
I'm looking forward to see the Gladstone Croesus with correct flags and text!
And hoping for more stories on fabulous treasures.
Bjorn Are
I understand very much how frustrating it can be to do a story on facts and not
having a well stacked library of usefull info at hand! However, I think you
indeed have been managing extremely well in all of your stories and VERY
seldom has done anything amounting to direct errors (like the Marco Polo
thing). In fact, I am duly impressed by the way you mix detailed research and
the delightfull fantasies on $crooge! The reason why you get comments is
exactly that you are a person worth making comments to: knowledgeable,
thorough, and able to answer back!
My own musings on this subjects was based on a vacation in the aerea
some years ago, and a lot of general reading on the history of Asia Minor
and adjacent areas. I have not any direct info in mind on the Artemis columns
being used for the Cistern, my comments was (as mentioned) more in the
area of a suggestion, based on probability.
The relevance of the bin was also based on the storyline putting rather a lot
emphasis on the bin and it's contents, and indirectly (or at least so to me!)
pointing at the bin as major indicator of Croesus' wealth. And as it's rather
obvious that the Lydian was not very much into modern global business
getting revenues from production lines everywhere, it would be unfair to
compare anything but their collected treasures. However, as that is just a
(minor) part of $crooge's fortune, it will be (as we do agree upon!) impossible
to make asessment of Croesus vs. $crooge from their bins. So the "first coin"
twist was great!
Reg. Alexanders' tomb I may have goofed, as I just plain simple didn't
remember it as being in GotLL! That's the problem when one doesn't have a
well stacked Rosian library close to the computer in one's office and getting
carried away by the lust for treasure:-)
BTW, have you read "Treasure" by Clive Cusstler, another story about
discovering the Alexandrian treasure? Not very similar to your, though! And
one could make a lot of comments on his use of "historical facts", and even
geographical ones (like talking about the "Northern coast of Sweden and
Russia"...).
I'm looking forward to see the Gladstone Croesus with correct flags and text!
And hoping for more stories on fabulous treasures.
Bjorn Are
LarsLundheim
Disney-comics digest #565.
Message 146 -
1995-01-27 at 10:19:08
DON:
I promised to look for some French comics for you. I've found the
following ones which contain work by you:
Journal de Mickey: No 2051, 2066, and 2209
Piscou: 240, 241, 256, 266
The copies not mint, but rather gently read. Please tell if you have them
already.
GEIR, EVEN, BJORN ARE:
Boy! I sure wish I was back in Norway to take part in the enjoyment over
the Croesus story
Lars
I promised to look for some French comics for you. I've found the
following ones which contain work by you:
Journal de Mickey: No 2051, 2066, and 2209
Piscou: 240, 241, 256, 266
The copies not mint, but rather gently read. Please tell if you have them
already.
GEIR, EVEN, BJORN ARE:
Boy! I sure wish I was back in Norway to take part in the enjoyment over
the Croesus story
Lars
Mike Pohjola
Disney-comics digest #564.
Message 147 -
1995-01-27 at 11:10:13
DON:
Could I describe you the 400 page hc book? Well, I'm not so sure
it works that way, but I can try. Would you also like me to ask if the
local Sanomaprint which publishes DDs in Finland would send you all the
new magazines with something of you?
By the way, if you're working for a new story right now, what is it
gonna be like?
--
Mike - The Finnish Trekkie
Could I describe you the 400 page hc book? Well, I'm not so sure
it works that way, but I can try. Would you also like me to ask if the
local Sanomaprint which publishes DDs in Finland would send you all the
new magazines with something of you?
By the way, if you're working for a new story right now, what is it
gonna be like?
--
Mike - The Finnish Trekkie
Don Rosa
Disney-comics digest #566.
Message 148 -
1995-01-28 at 06:57:28
LARS:
I need the PICSOU #256 & 266. I would need a JOURNAL #2209, but I would
be surprised that issue number could have been reached by now. But I guess it's
weekly and #2209 is a very recent issue?
I just sent a FAX to the guy in EuroDisneyland (or whatever they call
that place now) who told me the French publisher was going to send me all those
issues but never did. I haven't heard from him, but I can still use a few extra
issues if you can get those for me. No need to send them anytime soon unless
you're anxious to get them outta the way -- otherwise you can just set them
aside for me and perhaps add to the stack later on.
MIKE P.:
Yes, I would be very interested in getting the Finnish issues with my
stories. Same situation there -- the Finnish publisher has long promised them to
me but never delivered.
Uh... you said you were going to describe that 400 page book to me but
you never did. What could be the difficulty in describing the thing? Just what
does it contain in general? What is its purpose? Title?
What am I currently working on? Just last week I sent off a story about
$crooge and Donald being shrunk to microbe size that featured the Beagle Boys.
Now I am doing the research on a new "Life and Times of $crooge McDuck" chapter
which will be taking place after chapter 8 and just after the flashback in "Back
to the Klondike". This is a "special" story being done in part for the
centennial celebration of Dawson City and the Yukon Gold Rush that will be
printed in a special issue by Gladstone and be also sold as a souvenir in
Canada. So I need to be EXTRA accurate... and that means that I'll need to
depict Dawson City differently as I did in chapter 8; the American city of
Skagway was the lawless, crime-ridden murder-capital-of-the-world, not the
peaceful Canadian city of Dawson which was run by the NWMP.
BJORN:
I have read TREASURE and listened to the audio-tapes of SAHARA and RAISE
THE TITANIC (while drawing). I can't resist the plot synopsis on the jackets --
they sound like EXACTLY the sort of stories I would love! But after 3 Cussler
books, I have sworn to stop torturing myself. He is without a doubt the WORST
writer I have ever read, and I don't consider myself too demanding, especially
on pulp-fiction like he writes. He seems to be getting fed these great plots by
someone far more intelligent than is writing the juvenile text.
I read TREASURE about a year before doing GotLL, but I'd always been
interested in the L of A and read some other book about it once before. I think
I disliked TREASURE far less than the asinine SAHARA. I wonder if I swiped any
ideas from it, even though I wouldn't have wanted to. I'm very happy you saw no
similarities!
Speaking of similarities, that fan who I mentioned called me from Norway
last night said that he thought the Croesus story was too similar to my GotLL. I
hope I haven't run out of plots already!
I need the PICSOU #256 & 266. I would need a JOURNAL #2209, but I would
be surprised that issue number could have been reached by now. But I guess it's
weekly and #2209 is a very recent issue?
I just sent a FAX to the guy in EuroDisneyland (or whatever they call
that place now) who told me the French publisher was going to send me all those
issues but never did. I haven't heard from him, but I can still use a few extra
issues if you can get those for me. No need to send them anytime soon unless
you're anxious to get them outta the way -- otherwise you can just set them
aside for me and perhaps add to the stack later on.
MIKE P.:
Yes, I would be very interested in getting the Finnish issues with my
stories. Same situation there -- the Finnish publisher has long promised them to
me but never delivered.
Uh... you said you were going to describe that 400 page book to me but
you never did. What could be the difficulty in describing the thing? Just what
does it contain in general? What is its purpose? Title?
What am I currently working on? Just last week I sent off a story about
$crooge and Donald being shrunk to microbe size that featured the Beagle Boys.
Now I am doing the research on a new "Life and Times of $crooge McDuck" chapter
which will be taking place after chapter 8 and just after the flashback in "Back
to the Klondike". This is a "special" story being done in part for the
centennial celebration of Dawson City and the Yukon Gold Rush that will be
printed in a special issue by Gladstone and be also sold as a souvenir in
Canada. So I need to be EXTRA accurate... and that means that I'll need to
depict Dawson City differently as I did in chapter 8; the American city of
Skagway was the lawless, crime-ridden murder-capital-of-the-world, not the
peaceful Canadian city of Dawson which was run by the NWMP.
BJORN:
I have read TREASURE and listened to the audio-tapes of SAHARA and RAISE
THE TITANIC (while drawing). I can't resist the plot synopsis on the jackets --
they sound like EXACTLY the sort of stories I would love! But after 3 Cussler
books, I have sworn to stop torturing myself. He is without a doubt the WORST
writer I have ever read, and I don't consider myself too demanding, especially
on pulp-fiction like he writes. He seems to be getting fed these great plots by
someone far more intelligent than is writing the juvenile text.
I read TREASURE about a year before doing GotLL, but I'd always been
interested in the L of A and read some other book about it once before. I think
I disliked TREASURE far less than the asinine SAHARA. I wonder if I swiped any
ideas from it, even though I wouldn't have wanted to. I'm very happy you saw no
similarities!
Speaking of similarities, that fan who I mentioned called me from Norway
last night said that he thought the Croesus story was too similar to my GotLL. I
hope I haven't run out of plots already!
Mike Pohjola
Disney-comics digest #567.
Message 149 -
1995-01-29 at 17:32:34
DON:
Btw, you are the only one sitting by your computer emailing the
list at saturday night ;->
So, I'll talk to the Finnish publisher and tell him to send you all
the new issues with you while I'll keep hunting the old ones? Do you want
translations of the articles about you and the linquistic (?) jokes in the
stories?
And I didn't say I was going to describe you the 400 page book but
never did, but I was just thinking about that and going to talk to the
Finnish publisher but never did. Confused? You won't be after the next
episode of...
--
Mike - The Finnish Trekkie
Btw, you are the only one sitting by your computer emailing the
list at saturday night ;->
So, I'll talk to the Finnish publisher and tell him to send you all
the new issues with you while I'll keep hunting the old ones? Do you want
translations of the articles about you and the linquistic (?) jokes in the
stories?
And I didn't say I was going to describe you the 400 page book but
never did, but I was just thinking about that and going to talk to the
Finnish publisher but never did. Confused? You won't be after the next
episode of...
--
Mike - The Finnish Trekkie
Mark Mayerson
PC censorship
Message 150 -
1995-01-29 at 22:16:33
Don Rosa asked for samples of Disney censorship of old comics. One example
that I'm familiar with is Walt Kelly's comic book adaptation of the film The
Three Caballeros, originally in Four Color #71.
I don't have the original, but I have two reprintings, one in Walt Disney's
Comics Digest #1, December 1986 (Gladstone) and the other in Walt Disney's
Comics and Stories 582-583, April and May 1993 (Disney). I would guess that
the Gladstone printing is unchanged, but the later Disney printing is very
heavily edited.
Kelly had characters speak with a marked accent. In the Disney reprinting,
all of the dialogue has been cleaned up so there is no hint of dialect. For
instance, the Gladstone printing has Jose Carioca saying "The gauchos of these
pampas they swing the bola around the haid - than they throw it like lasso.
Swiftly through the air like poetry the gaucho swings thee bola - eet strikes
thee rhea aroun' thee legs...around and around eet goes - eet treeps thee rhea!"
The revised version says "The gauchos of these pampas swing the bola around
their heads - then they throw it like a lasso. Swiftly through the air like
poetry, the gaucho throws the bola - it strikes the rhea around the legs...
around and around it goes - it trips the rhea!"
The art is also altered in the Disney printing, specifically in the section
about the flying gauchito. When the bettors discover that the donkey
has wings, they charge the donkey with knives and guns. These have been
eliminated, even though Panchito still has pistols. The narrator's
cigarette has been removed, though Jose Carioca still smokes a cigar. Perhaps
the strangest change for this sequence is that practically all the human
faces have been redrawn. In some cases, it was to make them less of a
caricature by shrinking their noses and chins. But in other cases, it makes
no sense at all to me. There is a panel where a man is drinking from a bottle
with a straw. Somebody has redrawn the mouth so it looks like a smile
instead of a pucker.
This whole sequence is only five pages, but has been reworked extensively.
The later section, Las Posadas, also includes humans but appears to be
untouched.
This was not one of Walt Kelly's best art jobs from the period. However, I
still resent their altering his art and I especially resent that there is
no mention in the comics that the work has been altered. On TV, it's now
common to see a title that says that a movie has been "Edited for Television."
I think that Disney and other comics publishers have the same obligation to
their audience to make it clear that the work is not in its original form.
___________________________________________________________________
Mark Mayerson Catapult Productions
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 504-9876
that I'm familiar with is Walt Kelly's comic book adaptation of the film The
Three Caballeros, originally in Four Color #71.
I don't have the original, but I have two reprintings, one in Walt Disney's
Comics Digest #1, December 1986 (Gladstone) and the other in Walt Disney's
Comics and Stories 582-583, April and May 1993 (Disney). I would guess that
the Gladstone printing is unchanged, but the later Disney printing is very
heavily edited.
Kelly had characters speak with a marked accent. In the Disney reprinting,
all of the dialogue has been cleaned up so there is no hint of dialect. For
instance, the Gladstone printing has Jose Carioca saying "The gauchos of these
pampas they swing the bola around the haid - than they throw it like lasso.
Swiftly through the air like poetry the gaucho swings thee bola - eet strikes
thee rhea aroun' thee legs...around and around eet goes - eet treeps thee rhea!"
The revised version says "The gauchos of these pampas swing the bola around
their heads - then they throw it like a lasso. Swiftly through the air like
poetry, the gaucho throws the bola - it strikes the rhea around the legs...
around and around it goes - it trips the rhea!"
The art is also altered in the Disney printing, specifically in the section
about the flying gauchito. When the bettors discover that the donkey
has wings, they charge the donkey with knives and guns. These have been
eliminated, even though Panchito still has pistols. The narrator's
cigarette has been removed, though Jose Carioca still smokes a cigar. Perhaps
the strangest change for this sequence is that practically all the human
faces have been redrawn. In some cases, it was to make them less of a
caricature by shrinking their noses and chins. But in other cases, it makes
no sense at all to me. There is a panel where a man is drinking from a bottle
with a straw. Somebody has redrawn the mouth so it looks like a smile
instead of a pucker.
This whole sequence is only five pages, but has been reworked extensively.
The later section, Las Posadas, also includes humans but appears to be
untouched.
This was not one of Walt Kelly's best art jobs from the period. However, I
still resent their altering his art and I especially resent that there is
no mention in the comics that the work has been altered. On TV, it's now
common to see a title that says that a movie has been "Edited for Television."
I think that Disney and other comics publishers have the same obligation to
their audience to make it clear that the work is not in its original form.
___________________________________________________________________
Mark Mayerson Catapult Productions
Internet: mayerson at sidefx.com Toronto, Ontario, Canada
(416) 504-9876