Jo/rgen:
> I like the amount of information, but I still don't like the amount of
> characters per line...
Still too much? I tried to save width by placing reprint information
on separate lines. But I don't like this format: too much empty space
on the reprint lines.
In fact, I have a way to print pages with 200-character lines, and I
plan to format the output (at least for my personal use) that wide.
I'm always open to proposals for a better output format.
> I've got the Norwegian version (Jeg, Onkel Skrue), but even though it
> does contain 17 (Barks) stories, the Pirate Gold story isn't there.
The German versions had several volumes. This was Ich, Onkel Dagobert #2
(I think).
me> with all panels re-arranged
> Sounds interesting. How did they arrange them? ;-)
I must be missing a joke about my bad English. The German version had
6 rows of panels on a page. The Dutch version was 4 rows a page.
me> Disney stopped their overseas production in 1989.
> Does that mean that all the Duck Tales stories (with S-codes) were produced
> before that?
Yes... have you ever seen a "S 90xxx" code?
--Harry.
Author
Topic: 199502
(185 messages)
H.W. Fluks
To J.A.Bangor
Message 46 -
1995-02-06 at 10:49:24
William Brooks
Disney-comics-request@student.docs.uu.se
Message 47 -
1995-02-06 at 16:04:35
I am a student. This is an assignment. I am trying to subscribe.
DAVID.A.GERSTEIN
Disney-comics digest #573.
Message 48 -
1995-02-06 at 17:41:28
Hi, folks.
I've recently received Moe xeroxes, a Norwegian printing of
"Two in One", and (a bit earlier on) a 1984 German comic with that
story about HDL's cousin Socrates Gander. The senders of these
things need not worry, because they're going to get their British
weeklies soon. The reason for the delay is that I'm waiting for an
issue good enough to satisfy you guys...
ANDERS: Regarding your list,
> 66-39f W WDC 304-?5 3 TS MA Trollpacka och topp-brud [Ap: DD, FE]
This story is called "Ducky Date" in English. I think I've
discussed it on the list before.
> 71-45b 4 DD En tr|ttsam s|mnkur [ap:FE] [D-coded?]
I did see an Egmont four-pager, looking like very early Vicar,
that included Fethry, reprinted in a small comic at Fabio's house.
You remember that, right, Fabio? Can you perhaps describe that story
for us?
HARRY: Now that you mention story codes, I think I'll point
out a mistake in our story-code file. In the Italian section, we
refer to "Dino Pedrocchi". This should be "Federico Pedrocchi" --
and the date of his first stories is 1937, not 1936.
DWIGHT:
> Now, where I _really_ draw the line is things like "Grrr!," "Bah,"
> and "Wak!" Those all seem to me like Things To Say When You Can't
> Think Of Anything Else To Say.
Under Disney, Gary Gabner had the Ducks say "Feh!" and "Yack!"
and Don used to use "Great Honk". Disney, as represented currently
by Russell Schroeder, objects to all three; in my stories they
become "Bah", "Wak" and -- well, "Great Honk" just gets deleted.
They also object to "Homina, Homina" coming from anyone other than
Don Rosa.
ANYONE WHO WORKS WITH EGMONT: If you can talk to Stefan
Printz-Pahlson and tell him that I will have to communicate with him
only by mail from now on, because the British phone system and the
local jacking-up of rates has made it impossible for me to phone him
as of a system alteration last week, I would be very grateful. He
will hear from me as soon as I can figure out what to do, but for now
I am stymied. Perhaps he can send me his comments on my current
projects rather than plan to discuss them on the phone. That may
have to be what is done.
Please don't ask on the digest why I can't make collect calls,
why I can't call him and have him call me back, or why I can't
reach the Danish switchboard operator. I just can't, and I mustn't
waste other people's money explaining everything here.
When I referred to "Only a Poor Old Man" having airbrushed
color, I mean simply Gladstone's current computer color, which
started in 1989. USOS 386 was last reprinted in an album issued just
prior to when Gladstone started using that color. Anyway, now we'll
get this epic tale looking as slick as it should.
That's all for now, folks.
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
I've recently received Moe xeroxes, a Norwegian printing of
"Two in One", and (a bit earlier on) a 1984 German comic with that
story about HDL's cousin Socrates Gander. The senders of these
things need not worry, because they're going to get their British
weeklies soon. The reason for the delay is that I'm waiting for an
issue good enough to satisfy you guys...
ANDERS: Regarding your list,
> 66-39f W WDC 304-?5 3 TS MA Trollpacka och topp-brud [Ap: DD, FE]
This story is called "Ducky Date" in English. I think I've
discussed it on the list before.
> 71-45b 4 DD En tr|ttsam s|mnkur [ap:FE] [D-coded?]
I did see an Egmont four-pager, looking like very early Vicar,
that included Fethry, reprinted in a small comic at Fabio's house.
You remember that, right, Fabio? Can you perhaps describe that story
for us?
HARRY: Now that you mention story codes, I think I'll point
out a mistake in our story-code file. In the Italian section, we
refer to "Dino Pedrocchi". This should be "Federico Pedrocchi" --
and the date of his first stories is 1937, not 1936.
DWIGHT:
> Now, where I _really_ draw the line is things like "Grrr!," "Bah,"
> and "Wak!" Those all seem to me like Things To Say When You Can't
> Think Of Anything Else To Say.
Under Disney, Gary Gabner had the Ducks say "Feh!" and "Yack!"
and Don used to use "Great Honk". Disney, as represented currently
by Russell Schroeder, objects to all three; in my stories they
become "Bah", "Wak" and -- well, "Great Honk" just gets deleted.
They also object to "Homina, Homina" coming from anyone other than
Don Rosa.
ANYONE WHO WORKS WITH EGMONT: If you can talk to Stefan
Printz-Pahlson and tell him that I will have to communicate with him
only by mail from now on, because the British phone system and the
local jacking-up of rates has made it impossible for me to phone him
as of a system alteration last week, I would be very grateful. He
will hear from me as soon as I can figure out what to do, but for now
I am stymied. Perhaps he can send me his comments on my current
projects rather than plan to discuss them on the phone. That may
have to be what is done.
Please don't ask on the digest why I can't make collect calls,
why I can't call him and have him call me back, or why I can't
reach the Danish switchboard operator. I just can't, and I mustn't
waste other people's money explaining everything here.
When I referred to "Only a Poor Old Man" having airbrushed
color, I mean simply Gladstone's current computer color, which
started in 1989. USOS 386 was last reprinted in an album issued just
prior to when Gladstone started using that color. Anyway, now we'll
get this epic tale looking as slick as it should.
That's all for now, folks.
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
DAVID.A.GERSTEIN
Disney-comics digest #574.
Message 49 -
1995-02-06 at 17:51:53
The Jaime Diaz studio may not do S-coded stories anymore. But
they're still at work. The Argentinian names that turned up all over
the Disney Comics comics of 1990-1992 were in fact stories done by
the Jaime Diaz studio, even if they were not billed as such. (How
else to explain a 24-page story inked by six people?) The Diazers
still contribute to Marvel's Disney comics, although Scott -- or is it
Hector? I mean the artist of the two -- Saavedra works for Egmont too
(on Mickey stories like the recent "Up the Amazon"). But more
notably, the Jaime Diaz folks draw the majority of the new Warner
Bros. comic book stories. IMHO, they do MUCH better WB characters
than Disney characters.
A related WB question: anyone know a 1940s BB issue in which
BB and Porky are stuck in a lost kingdom whose ruler is named Omi
Akinback? My dad remembers that one.
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
they're still at work. The Argentinian names that turned up all over
the Disney Comics comics of 1990-1992 were in fact stories done by
the Jaime Diaz studio, even if they were not billed as such. (How
else to explain a 24-page story inked by six people?) The Diazers
still contribute to Marvel's Disney comics, although Scott -- or is it
Hector? I mean the artist of the two -- Saavedra works for Egmont too
(on Mickey stories like the recent "Up the Amazon"). But more
notably, the Jaime Diaz folks draw the majority of the new Warner
Bros. comic book stories. IMHO, they do MUCH better WB characters
than Disney characters.
A related WB question: anyone know a 1940s BB issue in which
BB and Porky are stuck in a lost kingdom whose ruler is named Omi
Akinback? My dad remembers that one.
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
Raquel Guzman
Unsubscribe
Message 50 -
1995-02-06 at 20:32:18
unsubscribe rguzman at bgsuvax.bgsu.edu
9475609
Plotless stories a la Goof
Message 51 -
1995-02-06 at 20:42:23
AUGIE: Just reread your last letter to the list. To be quite
honest, I don't mind a gag-filled story that's fairly plotless -- if it
stays in-character, is appropriate in the place that it appears, and is
not too long.
"Mickey Mouse Vs. Katt Nipp" (a story from 1931, not reprinted in
the United States) is a good example. What little plot there is runs
like this: A bully has moved into the village -- yes, VILLAGE, in these
earliest stories Mouseton is hardly more modern than Asterix's universe
-- and Mickey is determined to get rid of him, so they begin a duel of
wits in which the goal is to completely knot up the other's tail; a
suitably nutty concept. From this point on it's gags, gags, gags,
building up and getting wilder and wilder, all based on relatively
little plot and finally exploding into a great and very funny climax.
But the thing is that the story is only half the length of the Goofy
stories, and relys 100% on personality -- in this case, Mickey's, which
is bold, brash, dynamic, and mischievous.
I don't mind the art layout in the Goofy stories. My problem is
as follows (feel free to just clobber me with flames and such, if you
disagree -- in fact, I'm anxious to debate like crazy! ;-)
A) The stories rely very little on character. The story of Don't
Call Me Tut could in fact be done as a non-Disney King Tut parody.
Goofy and Mickey don't do anything that is unique to them. Goofy is
simply dumb, without the sort of distinctive dumbness that makes him
unique, if you catch my point.
B) The stories aren't right to be presented as serials. Since
their plots are so weak and move so slowly, there's hardly a climax to
each "episode" -- and there's also the feeling that you've just read a
15-page chapter that has hardly moved the story forward. Even as
1-parters, the stories still feel extended.
C) The series just doesn't work in DONALD AND MICKEY! No matter
how good you might feel they are (and although it may surprise you, I
actually enjoy them on their own terms), Mickey has very little to do.
He appeared in about four pages of the most recent issue, for example.
Sure, a lot of the new Egmont stories aren't very good (the last eight
weeks have seen a huge pile of lemons IMHO), but the good ones ("Hocus
Pocus Hypnosis", "Fossil Hunters", "Fantasy Island", "In William Tell's
Domain", etc.) come often enough that they could be a nearly-constant
source of backup material for DM, with Italian stories in the occasional
64-page giant. That's not even to mention an occasional Paul Murry
reprint.
As it stands, I see a comic two-thirds of every issue which
feature stories which deny exposition to the character they nominally
star; are presented in a broken way that doesn't work right with their
format; and most importantly get their consistent exposure at the
expense of stories which the comic's readership would probably find
right up their alley -- and which you might clamor for too, if you knew
what they were like. The fact that for what they are, the stories are
often quite enjoyable (in my opinion) isn't the issue.
When DM 27 goes as far as to actually mention that half the
letter-writing readers have disliked these Diaz stories (that's not even
thinking of those who buy other Gladstone books, but not this one --
these are the fans who still BUY DM!), it looks to me to be time for a
change, no matter what I thought of "Goofy Midas" and Disney Comics'
offering from the same S-coded series, "Goofy Frankenstein" (my personal
favorite in the genre).
Mickey's limited exposure is too valuable to spend on long,
rambling stories that lack plot, structure, and character development.
Heck, maybe I'll submit the above as a letter to Gladstone. What
do you think, Augie? Agree? Disagree? Ready with another armload of
tomatoes? ;-) Maybe this is "a case of too much blathering", so I'll
call it quits for today.
Your friend,
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
honest, I don't mind a gag-filled story that's fairly plotless -- if it
stays in-character, is appropriate in the place that it appears, and is
not too long.
"Mickey Mouse Vs. Katt Nipp" (a story from 1931, not reprinted in
the United States) is a good example. What little plot there is runs
like this: A bully has moved into the village -- yes, VILLAGE, in these
earliest stories Mouseton is hardly more modern than Asterix's universe
-- and Mickey is determined to get rid of him, so they begin a duel of
wits in which the goal is to completely knot up the other's tail; a
suitably nutty concept. From this point on it's gags, gags, gags,
building up and getting wilder and wilder, all based on relatively
little plot and finally exploding into a great and very funny climax.
But the thing is that the story is only half the length of the Goofy
stories, and relys 100% on personality -- in this case, Mickey's, which
is bold, brash, dynamic, and mischievous.
I don't mind the art layout in the Goofy stories. My problem is
as follows (feel free to just clobber me with flames and such, if you
disagree -- in fact, I'm anxious to debate like crazy! ;-)
A) The stories rely very little on character. The story of Don't
Call Me Tut could in fact be done as a non-Disney King Tut parody.
Goofy and Mickey don't do anything that is unique to them. Goofy is
simply dumb, without the sort of distinctive dumbness that makes him
unique, if you catch my point.
B) The stories aren't right to be presented as serials. Since
their plots are so weak and move so slowly, there's hardly a climax to
each "episode" -- and there's also the feeling that you've just read a
15-page chapter that has hardly moved the story forward. Even as
1-parters, the stories still feel extended.
C) The series just doesn't work in DONALD AND MICKEY! No matter
how good you might feel they are (and although it may surprise you, I
actually enjoy them on their own terms), Mickey has very little to do.
He appeared in about four pages of the most recent issue, for example.
Sure, a lot of the new Egmont stories aren't very good (the last eight
weeks have seen a huge pile of lemons IMHO), but the good ones ("Hocus
Pocus Hypnosis", "Fossil Hunters", "Fantasy Island", "In William Tell's
Domain", etc.) come often enough that they could be a nearly-constant
source of backup material for DM, with Italian stories in the occasional
64-page giant. That's not even to mention an occasional Paul Murry
reprint.
As it stands, I see a comic two-thirds of every issue which
feature stories which deny exposition to the character they nominally
star; are presented in a broken way that doesn't work right with their
format; and most importantly get their consistent exposure at the
expense of stories which the comic's readership would probably find
right up their alley -- and which you might clamor for too, if you knew
what they were like. The fact that for what they are, the stories are
often quite enjoyable (in my opinion) isn't the issue.
When DM 27 goes as far as to actually mention that half the
letter-writing readers have disliked these Diaz stories (that's not even
thinking of those who buy other Gladstone books, but not this one --
these are the fans who still BUY DM!), it looks to me to be time for a
change, no matter what I thought of "Goofy Midas" and Disney Comics'
offering from the same S-coded series, "Goofy Frankenstein" (my personal
favorite in the genre).
Mickey's limited exposure is too valuable to spend on long,
rambling stories that lack plot, structure, and character development.
Heck, maybe I'll submit the above as a letter to Gladstone. What
do you think, Augie? Agree? Disagree? Ready with another armload of
tomatoes? ;-) Maybe this is "a case of too much blathering", so I'll
call it quits for today.
Your friend,
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
Debra L. Gurule
No subject
Message 52 -
1995-02-07 at 01:30:12
Please "unsubscribe" or disenroll me from this list. Thank you.
Jørgen Andreas Bangor
Various
Message 53 -
1995-02-07 at 02:05:55
HARRY:
>Still too much?
Anything more than 80 characters is to much... It could be convenient for
a computer with lines of more than 80 characters, but it makes it difficult
to read (fast) for a human.
>I must be missing a joke about my bad English.
Eh, not exactly that... It just sounded a bit funny that it was re-arranged
(and butchered) once, and then re-arranged again, instead of just using the
original version.
I didn't mean to make jokes about anyone's language. I'm probably the last
one who should do that...
> 71-45b 4 DD En tr|ttsam s|mnkur [ap:FE] [D-coded?]
I remember a story which could fit that title, but I don't think it's D-coded,
but rather T-coded. Donald have problems falling asleep, and calls up Fethry
to ask him if he knows a simple cure. Instead of just answering, Fethry comes
over to Donald's house. In the last panel, we see a part of the city, from
above, where Donald is chasing Fethry around.
DAVID:
>The reason for the delay is that I'm waiting for an issue good enough to
>satisfy you guys...
No need to hurry. I've already got two...
>If you can talk to Stefan Printz-Pahlson...
Now that you mention him -- what is he doing except for writing scripts?
Is he Swedish or Danish?
Now I should fix a couple of mistakes I've made in earlier letters.
Me, to Don:
>BTW: If you were ever looking for gags that were _really_ lost in foreign
>translations of your stories, there is a "good" one at the end of the
>Norwegian version of "Cash flow": (something like)
> "How can Anton do it in the comic business?"
This should have been "Nobody's Business", not "Cash Flow".
Me:
>Fethry's first appearance in Norway was in 1963, BTW.
That should have been 1965.
Jorgen
>Still too much?
Anything more than 80 characters is to much... It could be convenient for
a computer with lines of more than 80 characters, but it makes it difficult
to read (fast) for a human.
>I must be missing a joke about my bad English.
Eh, not exactly that... It just sounded a bit funny that it was re-arranged
(and butchered) once, and then re-arranged again, instead of just using the
original version.
I didn't mean to make jokes about anyone's language. I'm probably the last
one who should do that...
> 71-45b 4 DD En tr|ttsam s|mnkur [ap:FE] [D-coded?]
I remember a story which could fit that title, but I don't think it's D-coded,
but rather T-coded. Donald have problems falling asleep, and calls up Fethry
to ask him if he knows a simple cure. Instead of just answering, Fethry comes
over to Donald's house. In the last panel, we see a part of the city, from
above, where Donald is chasing Fethry around.
DAVID:
>The reason for the delay is that I'm waiting for an issue good enough to
>satisfy you guys...
No need to hurry. I've already got two...
>If you can talk to Stefan Printz-Pahlson...
Now that you mention him -- what is he doing except for writing scripts?
Is he Swedish or Danish?
Now I should fix a couple of mistakes I've made in earlier letters.
Me, to Don:
>BTW: If you were ever looking for gags that were _really_ lost in foreign
>translations of your stories, there is a "good" one at the end of the
>Norwegian version of "Cash flow": (something like)
> "How can Anton do it in the comic business?"
This should have been "Nobody's Business", not "Cash Flow".
Me:
>Fethry's first appearance in Norway was in 1963, BTW.
That should have been 1965.
Jorgen
Jørgen Andreas Bangor
DD&Co #6
Message 54 -
1995-02-07 at 02:08:15
Donald Duck & Co #6 1995
------------------------
Yup, David, Helge was right -- "Pork-Barrel Politics" is the lead story of
this issue. You want a copy?
- Donald Duck (D93554, 11 pages) -- "Pork-Barrel Politics". Script by David
Gerstein, art by Vicar.
WOW! This is good, David! You certainly know your Barks. There's a lot of
details here that reminds me of Barks stories -- HDL crawling around on the
floor playing with trains, Donald reading a book of how to become an expert,
the picture (with ducks) on the wall, the episode with Little Helper and
the mouse, etc. Vicar has really done a good job here too.
BTW, David -- when Donald gets the pig (Napoleon) to jump "through" the
ring, did you have one of the nephews call him "Lord of the rings"?
- Donald Duck (D93179, 6 pages). This is quite badly drawn, but it looks
a bit like Branca.
Donald is hired by a film company to teach one of their actors how to act
like a lazy guy with no purposes for his life. He does a very good job.
- Donald Duck (W/O.S. 147, 1 page). Carl Barks.
- Mickey Mouse (D93039, 10 pages) -- "Mickey the Detective in 'Phantom Bob
Returns'". Art by Esteban.
I said I didn't look forward to see this story, but it is actually quite
good. It's inpired by Stephen King's "Misery". I usually don't like King's
stories, but "Misery" isn't so bad. In this story Mickey is a writer, who
desides to cancel his series of books with "The Phantom Bob" as the villain.
The Phantom Blot kidnappes him, and forces him to bring back "the Bob".
- Uncle Scrooge (D92206, 8+ pages). Willian van Horn.
US disappears and Donald is taking over the business, with very bad results.
At the same time some mysterious person is taking over US's companies when
they get broke.
I think I start to like van Horn. The art is much better (and more relaxed)
than it used to be. Maybe he's trying to get more like Jippes (and Barks)...
- Donald Duck (KF 12.1.46, 1 page). Al Taliaferro.
Next week comes Extra issue #2 this year. It's celebrating Black Pete's
70th birtday. I didn't know he was older than Mickey. The issue has a big
drawing by Esteban on the cover. I hope there's something more interesting
inside.
Jorgen
------------------------
Yup, David, Helge was right -- "Pork-Barrel Politics" is the lead story of
this issue. You want a copy?
- Donald Duck (D93554, 11 pages) -- "Pork-Barrel Politics". Script by David
Gerstein, art by Vicar.
WOW! This is good, David! You certainly know your Barks. There's a lot of
details here that reminds me of Barks stories -- HDL crawling around on the
floor playing with trains, Donald reading a book of how to become an expert,
the picture (with ducks) on the wall, the episode with Little Helper and
the mouse, etc. Vicar has really done a good job here too.
BTW, David -- when Donald gets the pig (Napoleon) to jump "through" the
ring, did you have one of the nephews call him "Lord of the rings"?
- Donald Duck (D93179, 6 pages). This is quite badly drawn, but it looks
a bit like Branca.
Donald is hired by a film company to teach one of their actors how to act
like a lazy guy with no purposes for his life. He does a very good job.
- Donald Duck (W/O.S. 147, 1 page). Carl Barks.
- Mickey Mouse (D93039, 10 pages) -- "Mickey the Detective in 'Phantom Bob
Returns'". Art by Esteban.
I said I didn't look forward to see this story, but it is actually quite
good. It's inpired by Stephen King's "Misery". I usually don't like King's
stories, but "Misery" isn't so bad. In this story Mickey is a writer, who
desides to cancel his series of books with "The Phantom Bob" as the villain.
The Phantom Blot kidnappes him, and forces him to bring back "the Bob".
- Uncle Scrooge (D92206, 8+ pages). Willian van Horn.
US disappears and Donald is taking over the business, with very bad results.
At the same time some mysterious person is taking over US's companies when
they get broke.
I think I start to like van Horn. The art is much better (and more relaxed)
than it used to be. Maybe he's trying to get more like Jippes (and Barks)...
- Donald Duck (KF 12.1.46, 1 page). Al Taliaferro.
Next week comes Extra issue #2 this year. It's celebrating Black Pete's
70th birtday. I didn't know he was older than Mickey. The issue has a big
drawing by Esteban on the cover. I hope there's something more interesting
inside.
Jorgen
Don Rosa
Disney-comics digest #575.
Message 55 -
1995-02-07 at 06:04:04
DAVID:
"Great Honk"? I sorta stopped using that on my own... and I've actually
mostly stopped using most old Barks expletives. When I try to jam one into my
dialogue, it seems forced and unnatural to me -- too obvious that I'm trying to
cram someone else's old expressions into inappropriate spots. But why would
Disney object to "Great Honk"? I haven't any idea what it means -- I think it's
just an old expression from the "Gay 90s". Maybe it scares Disney because they
don't know what it means, and they think you're trying to slip some dirty words
past them.
But there's no telling what's on Disney's mind when they make these
seemingly arbitrary deletions and censorships. It was Disney that stuck the word
"barf" in one of my stories -- NEVER would I use such a word. And Disney allowed
me to be the person who introduced the word "hell" into Disney comicbookdom in
that new Lo$ #7 from Gladstone. They object to "honk" but they don't mind
"hell"?
And I seem to recall sticking Jackie Gleason's "homina homina" into a
story or two, but I don't recall if it was ever used that way. Where did those
words/sounds actually appear in print?
"Great Honk"? I sorta stopped using that on my own... and I've actually
mostly stopped using most old Barks expletives. When I try to jam one into my
dialogue, it seems forced and unnatural to me -- too obvious that I'm trying to
cram someone else's old expressions into inappropriate spots. But why would
Disney object to "Great Honk"? I haven't any idea what it means -- I think it's
just an old expression from the "Gay 90s". Maybe it scares Disney because they
don't know what it means, and they think you're trying to slip some dirty words
past them.
But there's no telling what's on Disney's mind when they make these
seemingly arbitrary deletions and censorships. It was Disney that stuck the word
"barf" in one of my stories -- NEVER would I use such a word. And Disney allowed
me to be the person who introduced the word "hell" into Disney comicbookdom in
that new Lo$ #7 from Gladstone. They object to "honk" but they don't mind
"hell"?
And I seem to recall sticking Jackie Gleason's "homina homina" into a
story or two, but I don't recall if it was ever used that way. Where did those
words/sounds actually appear in print?
Anders Engwall
Fethry's cure(s) for insomnia (was: various)
Message 56 -
1995-02-07 at 08:44:28
Jorgen wrote:
> > 71-45b 4 DD En tr|ttsam s|mnkur [ap:FE] [D-coded?]
>
> I remember a story which could fit that title, but I don't think it's D-coded,
> but rather T-coded. Donald have problems falling asleep, and calls up Fethry
> to ask him if he knows a simple cure. Instead of just answering, Fethry comes
> over to Donald's house. In the last panel, we see a part of the city, from
> above, where Donald is chasing Fethry around.
What you describe is a similar Italian six-pager titled 'Bot mot s|mnl|shet'
('Cure for insomnia'), which was published in Sweden in the first issue of
1971.
As David Gerstein suggested, 'En tr|ttsam s|mnkur' ('A tiresome cure for
insomnia') could very well be one of Vicar's early works. The main gag here
is that Fethry's cure actually works. However, it is a multi-part cure and
Donald, sound asleep, has to be repeatedly awakened to continue with the next
part.
Anders Engwall Email: Anders.Engwall at eua.ericsson.se
ELLEMTEL Utvecklings AB Voice: +46 8 727 3893
[lvsj|, Sweden Fax: +46 8 727 42 20
Brullt brullt brullt brullt brullt brullt brullt brullt brullt brullt brullt
> > 71-45b 4 DD En tr|ttsam s|mnkur [ap:FE] [D-coded?]
>
> I remember a story which could fit that title, but I don't think it's D-coded,
> but rather T-coded. Donald have problems falling asleep, and calls up Fethry
> to ask him if he knows a simple cure. Instead of just answering, Fethry comes
> over to Donald's house. In the last panel, we see a part of the city, from
> above, where Donald is chasing Fethry around.
What you describe is a similar Italian six-pager titled 'Bot mot s|mnl|shet'
('Cure for insomnia'), which was published in Sweden in the first issue of
1971.
As David Gerstein suggested, 'En tr|ttsam s|mnkur' ('A tiresome cure for
insomnia') could very well be one of Vicar's early works. The main gag here
is that Fethry's cure actually works. However, it is a multi-part cure and
Donald, sound asleep, has to be repeatedly awakened to continue with the next
part.
Anders Engwall Email: Anders.Engwall at eua.ericsson.se
ELLEMTEL Utvecklings AB Voice: +46 8 727 3893
[lvsj|, Sweden Fax: +46 8 727 42 20
Brullt brullt brullt brullt brullt brullt brullt brullt brullt brullt brullt
Anders Engwall
A tiresome cure for insomnia
Message 57 -
1995-02-07 at 08:50:50
Me:
> As David Gerstein suggested, 'En tr|ttsam s|mnkur' ('A tiresome cure for
> insomnia') could very well be one of Vicar's early works. The main gag here
> is that Fethry's cure actually works. However, it is a multi-part cure and
> Donald, sound asleep, has to be repeatedly awakened to continue with the next
> part.
Oh no, I should learn not to be so quick on the trigger!
I suddenly realise I'm not sure if I have described the main gag of
'A tiresome cure for insomnia' or that other insomnia story, the
Italian 'Bot mot s|mnl|shet'. It's been quite a while since I read
these...
/Anders
> As David Gerstein suggested, 'En tr|ttsam s|mnkur' ('A tiresome cure for
> insomnia') could very well be one of Vicar's early works. The main gag here
> is that Fethry's cure actually works. However, it is a multi-part cure and
> Donald, sound asleep, has to be repeatedly awakened to continue with the next
> part.
Oh no, I should learn not to be so quick on the trigger!
I suddenly realise I'm not sure if I have described the main gag of
'A tiresome cure for insomnia' or that other insomnia story, the
Italian 'Bot mot s|mnl|shet'. It's been quite a while since I read
these...
/Anders
Mike Pohjola
Disney-comics digest #574.
Message 58 -
1995-02-07 at 09:56:23
DON:
I talked to the Finnish publisher a while ago and he said he had just
sent you the Finnish issues with some of you in 'em. He also said he put three
months letters in the package. PS. Sorry for the delay, but the Finnish
Freenet was down for a while.
--
Mike - The Finnish Trekkie
I talked to the Finnish publisher a while ago and he said he had just
sent you the Finnish issues with some of you in 'em. He also said he put three
months letters in the package. PS. Sorry for the delay, but the Finnish
Freenet was down for a while.
--
Mike - The Finnish Trekkie
Jon Cato Lorentzen
One pager in Norwegian DD&Co.
Message 59 -
1995-02-07 at 12:22:48
Joergen mentioned a Barks one-pager in the latest issue of DD&Co, coded
W/O.S.147.
Is this Barks? I have read this one before, and if my memory serves me
correctly it can be found in one of the big orange books printed here in
Norway with Al Talifiero (or however you spell it) stories. It's even got
that donkey that Al used in many strips, and I can't recall Barks using it
too much (except for that Mailman story).
Anyway, a synopsis of the one pager is that Donald is trying on hats in a
store, and finally buys a big sombrero much to large for Donalds head, and
then goes out to his wagon and lets his donkey wear it while pulling the
wagon.
-jonC
W/O.S.147.
Is this Barks? I have read this one before, and if my memory serves me
correctly it can be found in one of the big orange books printed here in
Norway with Al Talifiero (or however you spell it) stories. It's even got
that donkey that Al used in many strips, and I can't recall Barks using it
too much (except for that Mailman story).
Anyway, a synopsis of the one pager is that Donald is trying on hats in a
store, and finally buys a big sombrero much to large for Donalds head, and
then goes out to his wagon and lets his donkey wear it while pulling the
wagon.
-jonC
DAVID.A.GERSTEIN
Disney-comics digest #575.
Message 60 -
1995-02-07 at 13:58:35
Hi, gang.
DON:
> I'm pretty sure this guy couldn't read and would have tried to
> cheat me if he'd been brighter.
So "being bright" + "being in the antique business" = "Barnum
wannabe"? Since when? I've met plenty of honest antique dealers
who were smart, but still knew that their customers deserved to be
treated fairly. And decently. That's one of the ways of getting
regular customers. Of course, the number of those who would
swindle suckers seems to grow with every passing year. But so does
the antique business, wouldn't you say?
HARRY:
When's Croesus landing in the U. S.? USA 33 = "Horsing Around
with History" + "Only a Poor Old Man". USA 34 = some Jippes Junior
Woodchuck story, and probably one of the Danish stories I rewrote,
according to what Don once wrote to me. "Two in One" was once
scheduled for USA 35, but John informed me that it was pushed ahead
to USA 38 (11 months away). Van Horn sends John copies of his
work before they're published by Egmont, so he can use them right
afterward. So I'm suspecting that USA 35, 36, and 37 may include the
Croesus story and the new Van Horn two-parter (in one piece), in some
order, as well as something else ("The Universal Solvent"? Don's
told us that he didn't tell John when it was coming, but maybe Byron
did...)
JORGEN:
I've also read the T-coded Fethry story you describe. It is
longer than four pages, though. DD doesn't actually call up Fethry:
Fethry simply shows up at his house when he returns from grocery
shopping, and begins causing trouble. For example, Fethry makes
dinner, but uses Bolivar's canned food. The sleeping gags begin
around the fourth page, I think. I'll always remember that last
panel of DD furiously chasing Fethry down the block.
Stefan Printz-Pahlson is editing about half of Egmont's new
stories, with Byron doing the other half, starting now. Both were
very disappointed that Anina left, but haven't yet tried to arrange
for another U. S. editor. Not that they don't need one.
Those of you who work for Egmont need not bother to tell him
about my predicament. Through a stroke of luck I DID manage to reach
him yesterday and explain everything.
Stefan told me that the reason for the low number of MM stories
being done this year is that they made far too many in 1992, before
they kept tabs on exactly how many of each character they made. They
will continue to have a MM story every week, but a lot of them will
be inventory for a while. So it's not MM's popularity that caused
the cutdown.
Stefan's wife Unn Printz-Pahlson is a Duck writer, BTW. She
wrote "Adventures in Fantasyland" (DDAD 27) as well as a sequel to
Barks' truant officer story. I rewrote the latter story from German
-- it should appear this year under the title "For School the Bell Tolls."
JORGEN AGAIN: I WOULD like a copy of "Pork-Barrel
Politics"! Thanks a lot! The British chose not to print it. >Sigh!< I'd
also like to know, from everyone, what the three pigs are called in
various languages. Since the story is partly a jab at Orwell's
"Animal Farm," I named them Napoleon, Snowball, and Squealer.
> BTW, David -- when Donald gets the pig (Napoleon) to jump "through" the
> ring, did you have one of the nephews call him "Lord of the rings"?
Nope. There are, however, dozens of awful puns elsewhere in the
American version, which you'll all see when Gladstone eventually
prints the tale.
Vicar got very mixed up as to which pig was which, even though
I specified quite clearly as to their appearances in the script.
Napoleon is supposed to be the gray pig, Snowball the white pig, and
Squealer the spotted pig. But I don't think that's how it always
ended up.
Last -- thanks a lot, Jorgen, for your praise. I'm very
honored to know you like my stories so much! The next you'll be
seeing will be a Mickey story, "Digging Up Trouble," drawn by Noel
Van Horn. I can't say the plot is anything too special (MM and
Horace go to Mount Fishflake to prospect for valuable minerals, but
are thwarted by landslides), but I think you'll see right away how I
like to characterize Mickey. And Van Horn's art is PERFECT.
That's all for now, folks. Take care.
David Gerstein
<9475609 at arran.sms.ed.ac.uk>
DON:
> I'm pretty sure this guy couldn't read and would have tried to
> cheat me if he'd been brighter.
So "being bright" + "being in the antique business" = "Barnum
wannabe"? Since when? I've met plenty of honest antique dealers
who were smart, but still knew that their customers deserved to be
treated fairly. And decently. That's one of the ways of getting
regular customers. Of course, the number of those who would
swindle suckers seems to grow with every passing year. But so does
the antique business, wouldn't you say?
HARRY:
When's Croesus landing in the U. S.? USA 33 = "Horsing Around
with History" + "Only a Poor Old Man". USA 34 = some Jippes Junior
Woodchuck story, and probably one of the Danish stories I rewrote,
according to what Don once wrote to me. "Two in One" was once
scheduled for USA 35, but John informed me that it was pushed ahead
to USA 38 (11 months away). Van Horn sends John copies of his
work before they're published by Egmont, so he can use them right
afterward. So I'm suspecting that USA 35, 36, and 37 may include the
Croesus story and the new Van Horn two-parter (in one piece), in some
order, as well as something else ("The Universal Solvent"? Don's
told us that he didn't tell John when it was coming, but maybe Byron
did...)
JORGEN:
I've also read the T-coded Fethry story you describe. It is
longer than four pages, though. DD doesn't actually call up Fethry:
Fethry simply shows up at his house when he returns from grocery
shopping, and begins causing trouble. For example, Fethry makes
dinner, but uses Bolivar's canned food. The sleeping gags begin
around the fourth page, I think. I'll always remember that last
panel of DD furiously chasing Fethry down the block.
Stefan Printz-Pahlson is editing about half of Egmont's new
stories, with Byron doing the other half, starting now. Both were
very disappointed that Anina left, but haven't yet tried to arrange
for another U. S. editor. Not that they don't need one.
Those of you who work for Egmont need not bother to tell him
about my predicament. Through a stroke of luck I DID manage to reach
him yesterday and explain everything.
Stefan told me that the reason for the low number of MM stories
being done this year is that they made far too many in 1992, before
they kept tabs on exactly how many of each character they made. They
will continue to have a MM story every week, but a lot of them will
be inventory for a while. So it's not MM's popularity that caused
the cutdown.
Stefan's wife Unn Printz-Pahlson is a Duck writer, BTW. She
wrote "Adventures in Fantasyland" (DDAD 27) as well as a sequel to
Barks' truant officer story. I rewrote the latter story from German
-- it should appear this year under the title "For School the Bell Tolls."
JORGEN AGAIN: I WOULD like a copy of "Pork-Barrel
Politics"! Thanks a lot! The British chose not to print it. >Sigh!< I'd
also like to know, from everyone, what the three pigs are called in
various languages. Since the story is partly a jab at Orwell's
"Animal Farm," I named them Napoleon, Snowball, and Squealer.
> BTW, David -- when Donald gets the pig (Napoleon) to jump "through" the
> ring, did you have one of the nephews call him "Lord of the rings"?
Nope. There are, however, dozens of awful puns elsewhere in the
American version, which you'll all see when Gladstone eventually
prints the tale.
Vicar got very mixed up as to which pig was which, even though
I specified quite clearly as to their appearances in the script.
Napoleon is supposed to be the gray pig, Snowball the white pig, and
Squealer the spotted pig. But I don't think that's how it always
ended up.
Last -- thanks a lot, Jorgen, for your praise. I'm very
honored to know you like my stories so much! The next you'll be
seeing will be a Mickey story, "Digging Up Trouble," drawn by Noel
Van Horn. I can't say the plot is anything too special (MM and
Horace go to Mount Fishflake to prospect for valuable minerals, but
are thwarted by landslides), but I think you'll see right away how I
like to characterize Mickey. And Van Horn's art is PERFECT.
That's all for now, folks. Take care.
David Gerstein
<9475609 at arran.sms.ed.ac.uk>