> This turned up on an alternative comix mailing list that I am on. I
> naturally thought the members of this list would be interested in reading it.
Hmm...this has been floating around for quite a while. Dana Gabbard sent
me a copy several years ago when the book came up for discussion. I'm not
sure where my copy is now, so I was glad to see it again. It's highly
revealing in a personal sense: Kunzle letting his good sense, his
knowledge of art and culture, be overwhelmed by solidarity with Marxist
hard-liners and the necessity to push a party line whether it's objectively
true or not. Events in the real world of the past few years make all this
look like a relic of another age.
> But it was three veteran Marxists
> (including two whose steel had been hardened in the fire of
> revolutionary struggle) against one wobbly neophyte Marxist, who
> didn't mind if his bourgeois slip was showing.
> I had sunk my ego in the higher
> political purpose; maybe this was a true revolutionary self-
> denial, true Marxist self-discipline.
Gads, listen to this stuff! Do real people in the real world talk like
this?! No wonder Marxism is headed for the scrapheap of history! This
is thought control, this is Kunzle denying his individuality and
everything that makes him human! Maybe he can sink his ego in a higher
political purpose, but the usual word for that is slavery.
I recall that one of the horrible examples cited in the book was a
panel in the Square Eggs story. In the American original, the line
was something to the effect of HD&L announcing they were going to
teach square dancing to the natives (in keeping with the square motif).
In the Chilean translation, translated back from Spanish to English,
it came out as teaching the natives to stand at attention or some
such thing. "Ooo...fascist! Ooo...militaristic! Ooo...evil!"
Turns out, though, that square dancing isn't called that in Spanish,
but there's an idiom for standing at attention that literally means
something on the order of "square up." (I'm doing this from memory,
so the details may only be approximate.) The translator was trying to
come up with an equivalent joke but the Mickey Marxists saw an Evil
Message Being Sent. If fascism means having to stand at attention
and follow orders, it looks to me like Kunzle got a pretty good dose
of it himself from his comrade revolutionaries.
So why does anybody still take that wretched book seriously?!
--Dwight Decker
Author
Topic: 199506
(219 messages)
Deckerd
How to Read DD
Message 136 -
1995-06-14 at 18:44:26
James E. Smith III
Give Me a Digest Subs
Message 137 -
1995-06-14 at 19:39:19
Dear Sirs:
Since I'm new to the Disney newgroup, I would humbly like to ask for a
digest subscription rather than the latter. I'm afraid my mailbox could
not take the regular messages coming in en masse.
Sincerely,
James Smith
jsmith3 at host1.dia.williston.nd.us
Since I'm new to the Disney newgroup, I would humbly like to ask for a
digest subscription rather than the latter. I'm afraid my mailbox could
not take the regular messages coming in en masse.
Sincerely,
James Smith
jsmith3 at host1.dia.williston.nd.us
RHODE
Marx on Barks
Message 138 -
1995-06-14 at 22:07:48
This may be of interest to the list; it's been being discussed on
Comix (majordomo at world.std.com). I've forwarded it without the
knowledge of the original poster.
The following is an attached File item from cc:Mail. It contains
information which had to be encoded to insure successful transmission
through various mail systems. To decode the file use the UUDECODE
program.
--------------------------------- Cut Here ---------------------------------
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Comix (majordomo at world.std.com). I've forwarded it without the
knowledge of the original poster.
The following is an attached File item from cc:Mail. It contains
information which had to be encoded to insure successful transmission
through various mail systems. To decode the file use the UUDECODE
program.
--------------------------------- Cut Here ---------------------------------
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13TU)6"U$24=U3Q`0L`\<P`
end
RHODE
Marks & Barks (long)
Message 139 -
1995-06-14 at 23:32:02
This has been a discussion on Comix (majordomo at world.std.com) lately
and I thought you might be interested in this. I'm forwarding it
without the knowledge of the poster.
---------------------------------------------------------------------------
From: WITEK at suvax1.stetson.edu
Date: Wed, 14 Jun 1995 08:50:02 -0500 (EST)
Subject: Kunzle on "How to Read Donald Duck" (long)
- -Poster: WITEK at suvax1.stetson.edu
During the discussion of Dorfman & Mattelart's Marxist polemic a
while back I mentioned that I had an unpublished essay in which
David Kunzle, the book's English translator, explained a bit
about how the book made it into English. While he doesn't
address CH's original point (D&M were critiquing_Chilean_
translations, often inaccurate and highly tendentious ones, of
Barks's work), the piece does give some context on the book. I
hope some of you will find it of interest.
************************************************************
David Kunzle
THE PARTS THAT GOT LEFT OUT OF THE DONALD DUCK BOOK, OR: HOW
KARL MARX PREVAILED OVER CARL BARKS
All of us, whether we know it or not, write art history from a
subjective political position. Occasionally, that position
obtrudes upon us with such force that we discover--perhaps to our
surprise--our scholarship as part of a larger and bitter
political struggle, which spins it out of our control. This is
the story of dilemmas and compromises faced in the course of a
collaboration between myself, moving gradually and hesitantly out
of bourgeois ideology towards Marxism, and true Marxist
revolutionaries with a totally different background. I am not, I
hope, engaging merely in an autobiographical self-indulgence, but
making a self-criticism designed to come to grips with my own
subjectivity.
Three years ago, on my way to Chile, I discovered a book just
published in that country called _How to Read Donald Duck_ (Para
leer al
Pato Donald). In Santiago at the University I tracked down Ariel
Dorfman, one of the two authors, succeeded in reassuring him I
was not C.I.A., befriended him, proposed myself as translator,
and engaged to look for a U.S. publisher. I soon discovered that
publishers in this country were leery of the copyright problems
relating to Disney illustrations, but eventually there turned up
an eccentric, one-man, Paris-based publishing firm called
International General, who wanted to produce the English-language
edition.
I started work on the translation in intensely emotional
circumstances. I had just returned from two months in Cuba,
which made socialism seem so viable; yet there had just been the
fascist counter-revolution in Chile, which was destroying a whole
socialist culture, and I feared for the safety of the authors of
the book, as well as for that of so many other friends I had made
in Chile. I had just been fired for political reasons from the
University where I had taught for eight years; I had no paid
employment then, or in the offing; and I had lost my house in a
divorce settlement. Suffering from a great sense of
dispossession, personal and political, I set about possessing
myself of and being possessed by the Donald Duck book and its
ideas. I added the subtitle _Imperialist Ideology in the Disney
Comic_, and determined psychologically to repossess Chile as I
had
known it and wrest it from U.S. fascist-imperialism.
I acquired, at express speed, a new language and whole ideology
based on a range of primordial Marxist concepts which, although
not entirely strange to me, I had never seen applied to the
comics, and never to any cultural material in so rigorous,
impassioned and imaginative a fashion. In making this work my
own, I saw my chance to become a true Marxist art historian, and
throw in my lot with the Third World.
I began to impose myself on the book. I made some minor
editorial changes, and questioned (in the margin of my
typescript) some of the authors' statements. I spit and
polished, and labored over Dorfman's weird metaphors (Dorfman is
also a noted novelist). Then I wrote a long Introduction, to
research which I used two primary sources, apart from a few
volumes of Disney comics I managed to find in an academic
library: Disney Productions archives, and Carl Barks. The
Burbank HQ of Disney Productions, where I twice visited the
comics editorial offices and the archives, chilled me to the
bone. Both the stiffly courteous guard of the comics editor, and
the puzzled, cautious helpfulness of the archivist, in whose
cramped office I searched sheaves of back issues for the U.S.
originals of stories used by the Chilean authors, made me feel
like an enemy spy, as indeed I was. Despite my pose as an
innocent, Disney-struck comics historian, the archivist and
editors might rumble, from my requests for Latin American
editions and my cautious questions about attitudes to copyright,
that I was working for the enemy, those Chilean commies they knew
about from a hostile, politically scandal-mongering AP dispatch
issued when the book first made news in Chile. Would I clumsily
blow my cover, and be thrown into a Disney or Duckburg jail, and
by Scrooge McDuck himself, like one of those naughty, thieving
Beagle Boys? Was I not also out to steal Private Property
(inside information and pictures I planned to add to those in the
Chilean edition) from the Rightful Owners thereof?
With Carl Barks, my experience was totally different. Barks,
single-handed creator of the best Disney comics for thirty years,
lives in retirement, modestly (of necessity) in a small house in
Santa Barbara. He was all old-world graciousness, flattered that
I should consider him worth visiting, open, freely lending me
unique copies from his own collection, telling me stories about
himself, his failures, Disney (the "machine" he half-escaped when
he turned from animation the comic books), his painstaking mode
of creation, and the tyrannical time-schedule and pay-rate
imposed upon him. I liked Barks, marvelled at the way he had
quietly repressed his anger at Disney, and became entirely
sympathetic to him. I incorporated into my Introduction a very
favorable estimate of his work, which really is aesthetically
superior to all other children's comics of its time, and reveals-
- -to me at any rate--a very significant ambivalence towards the
Disney-capitalist ideology of which he is both victim and critic.
I established the artist as an example of economic exploitation
more typical of industrial than cultural workers, as we normally
understand the terms. The immensely industrious and
conscientious Barks, the slave to his drawing-board, enriching
the bosses with his labors, was exploited by ruthless Uncle Walt
Disney like Donald Duck is exploited by the tyrannical capitalist
miser Uncle Scrooge McDuck. I saw Barks projecting his self-
portrait, and that of the oppressed bourgeoisie, into poor
frantic neurotic Donald, and this in itself as an act of
unconscious rebellion, from which intelligent children might
learn to despise capitalist ethics, as Barks truly despises
Disney and the avarice of the system which seeks to grind him
down. I saw many of Barks' best stories not as justifications of
imperialist adventure, like the Chileans did, but as satires upon
it, in which the imperialist Duckburgers come off looking as
foolish as--and far meaner than--the innocent Third World
natives.
I sent off my Introduction, studded with statistics about comics
sales to the Third World and brilliant insights about Barks and
Scrooge, to the publisher in Paris. Soon the bad news filtered
back: first the publisher, then the one author, finally the
other, all objected to my "heroising" the enemy, to my apparent
effort to supplant Karl Marx with Carl Barks. Rendered obstinate
by praise from friends to whom I had shown my piece, I resisted
and fought back with every argument I could muster: the Barks
bit was the most original part, it provided the necessary bridge
from the "rigid" Third World Marxist viewpoint of the authors, to
a U.S. audience generally well-disposed towards Disney Comics,
especially Barks'; the book had to reach progressive bourgeois as
well as Marxists;; I was mediator, moderator (in two senses), I
was *me*. I wrote to the publisher long, rambling defenses,
high-
sounding political manifestoes about the need to reveal
subjectivity of critical viewpoint, open up contradictions within
Left perspectives, admit ambivalence, plurality, etc. etc. I
stressed the importance of showing that a production process in
art was subject to the same kind of exploitation as any other
kind of production, and that it is possible to resist from within
that process itself. But it was three veteran Marxists
(including two whose steel had been hardened in the fire of
revolutionary struggle) against one wobbly neophyte Marxist, who
didn't mind if his bourgeois slip was showing.
Still obdurate, I found myself in Paris, and reunited with
Dorfman. Our friendship deepened. I witnessed, at first hand,
the terrible plight of the Chilean exiles. They were trying to
save lives; I was trying to save a few pages of my writing, and a
bit of my ego. I became part of the planning for a great
international Anti-Fascist cultural Conference, which made our
dispute over Barks seem very unimportant. Scholars, even
politically committed ones, usually work from the periphery; here
I had the feeling what it was like to be in the center. Dorfman
told me how he had seen on television, from his hiding-place in
Chile after the coup, the Donald Duck book burning on the
bonfires of socialist literature and posters made by fascist
soldiers. He had been stimulated, as well as worried, by my
Barks bit, and began to plan a novel in which Carl Barks would be
taken by the Duckburgers on a great adventure tour of the Third
World, and find himself confronted with real revolutionary
natives. He went over my typescript, and objected to many
changes introduced not by me, but the publisher and his co-
author, who held to a slightly different political position,
further Left. Proudly, I pointed to my faithful translation
underneath the pasted-over changes, hoping to garner enough good
will to gain a reprieve of the execution of Barks. In vain.
Painfully and reluctantly, I agreed to rewrite and cut back
drastically. Alas, on my return to the U.S., I discovered that
even this was considered insufficient. Finally I received a
long, carefully worded ultimatum from the authors, who signed
jointly. Tactfully but firmly I was told, as it were by a Party
hierarchy, to snap back into line, and accept a virtual
elimination of my "dissident" view. By this time, fortunately,
my sense of personal possession of the book had diminished, and I
was ready to accept a situation I cold not influence. I felt
chastened and even proud of a self-sacrifice which became,
retroactively, voluntary. I had sunk my ego in the higher
political purpose; maybe this was a true revolutionary self-
denial, true Marxist self-discipline. And when the book finally
appeared in print, I was grateful and gratified to see that a
short but pungent paragraph about Barks-the-great-exploited-
artist had survived, after all.
Cleansed of its bourgeois dross, politically purified, the book
has met the political fate we feared all along, without being
able really to anticipate: it was seized six months ago by U.S.
customs when the publisher tried to bring a shipment of 6,000
copies into New York. Despite our efforts, and those of the
Center for Constitutional Rights which is defending it, and
without Disney himself having to raise a (public) finger against
it, it remains blockaded. This on the highly dubious legal
technicality that we may have violated copyright by quoting
"Disney's" cartoons.
Disney's? Carl Barks', surely. In the course of my
conversations with Carl Barks, I asked him, in anticipation of
the copyright problem, whether he would refuse permission to
reproduce his work in a book critical of it and Disney, if he
rather than Disney were the copyright holder (as of course he
should be). "No," he replied, "not as long as it was serious
criticism." How to Read Donald Duck is very serious indeed--
--too serious, ironically, to accommodate a more favorable
view of the very man whose work it attacks, and who would free it
if he could.
and I thought you might be interested in this. I'm forwarding it
without the knowledge of the poster.
---------------------------------------------------------------------------
From: WITEK at suvax1.stetson.edu
Date: Wed, 14 Jun 1995 08:50:02 -0500 (EST)
Subject: Kunzle on "How to Read Donald Duck" (long)
- -Poster: WITEK at suvax1.stetson.edu
During the discussion of Dorfman & Mattelart's Marxist polemic a
while back I mentioned that I had an unpublished essay in which
David Kunzle, the book's English translator, explained a bit
about how the book made it into English. While he doesn't
address CH's original point (D&M were critiquing_Chilean_
translations, often inaccurate and highly tendentious ones, of
Barks's work), the piece does give some context on the book. I
hope some of you will find it of interest.
************************************************************
David Kunzle
THE PARTS THAT GOT LEFT OUT OF THE DONALD DUCK BOOK, OR: HOW
KARL MARX PREVAILED OVER CARL BARKS
All of us, whether we know it or not, write art history from a
subjective political position. Occasionally, that position
obtrudes upon us with such force that we discover--perhaps to our
surprise--our scholarship as part of a larger and bitter
political struggle, which spins it out of our control. This is
the story of dilemmas and compromises faced in the course of a
collaboration between myself, moving gradually and hesitantly out
of bourgeois ideology towards Marxism, and true Marxist
revolutionaries with a totally different background. I am not, I
hope, engaging merely in an autobiographical self-indulgence, but
making a self-criticism designed to come to grips with my own
subjectivity.
Three years ago, on my way to Chile, I discovered a book just
published in that country called _How to Read Donald Duck_ (Para
leer al
Pato Donald). In Santiago at the University I tracked down Ariel
Dorfman, one of the two authors, succeeded in reassuring him I
was not C.I.A., befriended him, proposed myself as translator,
and engaged to look for a U.S. publisher. I soon discovered that
publishers in this country were leery of the copyright problems
relating to Disney illustrations, but eventually there turned up
an eccentric, one-man, Paris-based publishing firm called
International General, who wanted to produce the English-language
edition.
I started work on the translation in intensely emotional
circumstances. I had just returned from two months in Cuba,
which made socialism seem so viable; yet there had just been the
fascist counter-revolution in Chile, which was destroying a whole
socialist culture, and I feared for the safety of the authors of
the book, as well as for that of so many other friends I had made
in Chile. I had just been fired for political reasons from the
University where I had taught for eight years; I had no paid
employment then, or in the offing; and I had lost my house in a
divorce settlement. Suffering from a great sense of
dispossession, personal and political, I set about possessing
myself of and being possessed by the Donald Duck book and its
ideas. I added the subtitle _Imperialist Ideology in the Disney
Comic_, and determined psychologically to repossess Chile as I
had
known it and wrest it from U.S. fascist-imperialism.
I acquired, at express speed, a new language and whole ideology
based on a range of primordial Marxist concepts which, although
not entirely strange to me, I had never seen applied to the
comics, and never to any cultural material in so rigorous,
impassioned and imaginative a fashion. In making this work my
own, I saw my chance to become a true Marxist art historian, and
throw in my lot with the Third World.
I began to impose myself on the book. I made some minor
editorial changes, and questioned (in the margin of my
typescript) some of the authors' statements. I spit and
polished, and labored over Dorfman's weird metaphors (Dorfman is
also a noted novelist). Then I wrote a long Introduction, to
research which I used two primary sources, apart from a few
volumes of Disney comics I managed to find in an academic
library: Disney Productions archives, and Carl Barks. The
Burbank HQ of Disney Productions, where I twice visited the
comics editorial offices and the archives, chilled me to the
bone. Both the stiffly courteous guard of the comics editor, and
the puzzled, cautious helpfulness of the archivist, in whose
cramped office I searched sheaves of back issues for the U.S.
originals of stories used by the Chilean authors, made me feel
like an enemy spy, as indeed I was. Despite my pose as an
innocent, Disney-struck comics historian, the archivist and
editors might rumble, from my requests for Latin American
editions and my cautious questions about attitudes to copyright,
that I was working for the enemy, those Chilean commies they knew
about from a hostile, politically scandal-mongering AP dispatch
issued when the book first made news in Chile. Would I clumsily
blow my cover, and be thrown into a Disney or Duckburg jail, and
by Scrooge McDuck himself, like one of those naughty, thieving
Beagle Boys? Was I not also out to steal Private Property
(inside information and pictures I planned to add to those in the
Chilean edition) from the Rightful Owners thereof?
With Carl Barks, my experience was totally different. Barks,
single-handed creator of the best Disney comics for thirty years,
lives in retirement, modestly (of necessity) in a small house in
Santa Barbara. He was all old-world graciousness, flattered that
I should consider him worth visiting, open, freely lending me
unique copies from his own collection, telling me stories about
himself, his failures, Disney (the "machine" he half-escaped when
he turned from animation the comic books), his painstaking mode
of creation, and the tyrannical time-schedule and pay-rate
imposed upon him. I liked Barks, marvelled at the way he had
quietly repressed his anger at Disney, and became entirely
sympathetic to him. I incorporated into my Introduction a very
favorable estimate of his work, which really is aesthetically
superior to all other children's comics of its time, and reveals-
- -to me at any rate--a very significant ambivalence towards the
Disney-capitalist ideology of which he is both victim and critic.
I established the artist as an example of economic exploitation
more typical of industrial than cultural workers, as we normally
understand the terms. The immensely industrious and
conscientious Barks, the slave to his drawing-board, enriching
the bosses with his labors, was exploited by ruthless Uncle Walt
Disney like Donald Duck is exploited by the tyrannical capitalist
miser Uncle Scrooge McDuck. I saw Barks projecting his self-
portrait, and that of the oppressed bourgeoisie, into poor
frantic neurotic Donald, and this in itself as an act of
unconscious rebellion, from which intelligent children might
learn to despise capitalist ethics, as Barks truly despises
Disney and the avarice of the system which seeks to grind him
down. I saw many of Barks' best stories not as justifications of
imperialist adventure, like the Chileans did, but as satires upon
it, in which the imperialist Duckburgers come off looking as
foolish as--and far meaner than--the innocent Third World
natives.
I sent off my Introduction, studded with statistics about comics
sales to the Third World and brilliant insights about Barks and
Scrooge, to the publisher in Paris. Soon the bad news filtered
back: first the publisher, then the one author, finally the
other, all objected to my "heroising" the enemy, to my apparent
effort to supplant Karl Marx with Carl Barks. Rendered obstinate
by praise from friends to whom I had shown my piece, I resisted
and fought back with every argument I could muster: the Barks
bit was the most original part, it provided the necessary bridge
from the "rigid" Third World Marxist viewpoint of the authors, to
a U.S. audience generally well-disposed towards Disney Comics,
especially Barks'; the book had to reach progressive bourgeois as
well as Marxists;; I was mediator, moderator (in two senses), I
was *me*. I wrote to the publisher long, rambling defenses,
high-
sounding political manifestoes about the need to reveal
subjectivity of critical viewpoint, open up contradictions within
Left perspectives, admit ambivalence, plurality, etc. etc. I
stressed the importance of showing that a production process in
art was subject to the same kind of exploitation as any other
kind of production, and that it is possible to resist from within
that process itself. But it was three veteran Marxists
(including two whose steel had been hardened in the fire of
revolutionary struggle) against one wobbly neophyte Marxist, who
didn't mind if his bourgeois slip was showing.
Still obdurate, I found myself in Paris, and reunited with
Dorfman. Our friendship deepened. I witnessed, at first hand,
the terrible plight of the Chilean exiles. They were trying to
save lives; I was trying to save a few pages of my writing, and a
bit of my ego. I became part of the planning for a great
international Anti-Fascist cultural Conference, which made our
dispute over Barks seem very unimportant. Scholars, even
politically committed ones, usually work from the periphery; here
I had the feeling what it was like to be in the center. Dorfman
told me how he had seen on television, from his hiding-place in
Chile after the coup, the Donald Duck book burning on the
bonfires of socialist literature and posters made by fascist
soldiers. He had been stimulated, as well as worried, by my
Barks bit, and began to plan a novel in which Carl Barks would be
taken by the Duckburgers on a great adventure tour of the Third
World, and find himself confronted with real revolutionary
natives. He went over my typescript, and objected to many
changes introduced not by me, but the publisher and his co-
author, who held to a slightly different political position,
further Left. Proudly, I pointed to my faithful translation
underneath the pasted-over changes, hoping to garner enough good
will to gain a reprieve of the execution of Barks. In vain.
Painfully and reluctantly, I agreed to rewrite and cut back
drastically. Alas, on my return to the U.S., I discovered that
even this was considered insufficient. Finally I received a
long, carefully worded ultimatum from the authors, who signed
jointly. Tactfully but firmly I was told, as it were by a Party
hierarchy, to snap back into line, and accept a virtual
elimination of my "dissident" view. By this time, fortunately,
my sense of personal possession of the book had diminished, and I
was ready to accept a situation I cold not influence. I felt
chastened and even proud of a self-sacrifice which became,
retroactively, voluntary. I had sunk my ego in the higher
political purpose; maybe this was a true revolutionary self-
denial, true Marxist self-discipline. And when the book finally
appeared in print, I was grateful and gratified to see that a
short but pungent paragraph about Barks-the-great-exploited-
artist had survived, after all.
Cleansed of its bourgeois dross, politically purified, the book
has met the political fate we feared all along, without being
able really to anticipate: it was seized six months ago by U.S.
customs when the publisher tried to bring a shipment of 6,000
copies into New York. Despite our efforts, and those of the
Center for Constitutional Rights which is defending it, and
without Disney himself having to raise a (public) finger against
it, it remains blockaded. This on the highly dubious legal
technicality that we may have violated copyright by quoting
"Disney's" cartoons.
Disney's? Carl Barks', surely. In the course of my
conversations with Carl Barks, I asked him, in anticipation of
the copyright problem, whether he would refuse permission to
reproduce his work in a book critical of it and Disney, if he
rather than Disney were the copyright holder (as of course he
should be). "No," he replied, "not as long as it was serious
criticism." How to Read Donald Duck is very serious indeed--
--too serious, ironically, to accommodate a more favorable
view of the very man whose work it attacks, and who would free it
if he could.
Daniel Van Eijmeren
How to read digest #694...
Message 140 -
1995-06-15 at 08:05:49
Hi all!
I just read digest 694 and... is it true that the same long message
is send *three* times? Two times in a normal way and one time is
attached encoded file? What I like to know is: Why also that encoded
version?
Per, thanks for printing my "previously unpublished" message! To be
frankly, I didn't notice that is was missing!
That bit of it at the end of another message, is because I forgot to
delete that left-over while replying another message...
Have a nice day!
:-Daniel
I just read digest 694 and... is it true that the same long message
is send *three* times? Two times in a normal way and one time is
attached encoded file? What I like to know is: Why also that encoded
version?
Per, thanks for printing my "previously unpublished" message! To be
frankly, I didn't notice that is was missing!
That bit of it at the end of another message, is because I forgot to
delete that left-over while replying another message...
Have a nice day!
:-Daniel
Gianfranco Goria - Anonima Fumetti - Italian Cartoonists Society
News on Uncle Scrooge Magazine in Italy
Message 141 -
1995-06-15 at 11:48:04
With the number 69, Zio Paperone (the monthly 100 pages Italian Disney
Magazine dedicated to the stories made by Carl Barks) has published all the
stories.
From number 70 there are interesting changes:
- all the covers wil be made by Marco Rota;
- the Life and Times of US by Don Rosa will be enterily published;
- the stories by carl Barks which inspired the episodes of Lo$ will be
reprinted along with each episode of Lo$;
- there will be stories by Daan Jippes, Fred Milton and Marco Rota;
- in each issue there will be six pages of the complete chronology of Carl
Barks stories along with curiosities and so on, by Franco Fossati.
Bye!
Magazine dedicated to the stories made by Carl Barks) has published all the
stories.
From number 70 there are interesting changes:
- all the covers wil be made by Marco Rota;
- the Life and Times of US by Don Rosa will be enterily published;
- the stories by carl Barks which inspired the episodes of Lo$ will be
reprinted along with each episode of Lo$;
- there will be stories by Daan Jippes, Fred Milton and Marco Rota;
- in each issue there will be six pages of the complete chronology of Carl
Barks stories along with curiosities and so on, by Franco Fossati.
Bye!
H.W. Fluks
Daniel Fredrik Dwight Jacob ... in digest #693.
Message 142 -
1995-06-15 at 19:00:34
I said:
> D 92193, "Tour de Jour". This one *is* written by one of our list members
Daniel asked:
> Who? David?
The story was written by Dave Rawson (member of this list) and Pat McGreal.
This story was published by Gladstone a while ago, and at that time
discussed here on the list. I forgot all about that and asked Dave
later if, and when, one of his stories will be reprinted by Gladstone.
Yes, I do forget things, sometimes... 8-)
The other story I was talking about (about Donald training pigeons to pick
coins) looks "special" enough to assume it is written by either Dave, or
John Lustig.
Well? Dave, John: any comments?
----
Fredrik:
> Kuno Knauel. That's the guy called Filo Sganga in Italian.
Ah! I suspected that. Is this character already in the "interlingual" file?
I must admit I haven't looked at that file in months, since I can't use ftp
the normal way anymore.
----
Dwight (about "Listige Taschenbuecher"):
> Uhm...aren't those Lustige Taschenbucher?
Well, yes, if you add an umlaut to the u on -bucher.
Just a typo. Sirry.
----
Jakob:
> Do you think that IF he is the father
> of HDL he would be a 'close relative'?
How close can one get? I would say MY father is a VERY close relative.
And even if I hadn't seen him for ages, I wouldn't welcome him as a
distant "uncle Aaldrik".
Could you tell us a bit more about that one cartoon in which HDL's
father appeared. Wat it stated that he is their father? Did he
unmistakenly look like Von Drake? I mean, in that one cartoon where
Scrooge is drawn, he looks just like Von Drake, only with different
"hair" (feathers?) and hat. (The animators never understood what Scrooge
should really look like.)
----
Daniel ("Horsing Around with History"):
> But even if that was a way to
> send S.O.S.'s in the past, why should Barks include it in his story?
> It's only a lot of irritating delay (and someone here once said that
> the theory with those stars isn't right). Barks could have omitted
> this all by using something more simple, making the story "flow"
> better... What do you think?
The scene didn't bother me. The only thing that bothered me when I first
read the story was the abrupt ending. Like there should have been at
least another page with all kinds of explanations.
--Harry.
P.S. Gilbert, Anders (if you're reading this): thanks for your indexes/updates.
It may take a while before I have a better look at them. Busy...
> D 92193, "Tour de Jour". This one *is* written by one of our list members
Daniel asked:
> Who? David?
The story was written by Dave Rawson (member of this list) and Pat McGreal.
This story was published by Gladstone a while ago, and at that time
discussed here on the list. I forgot all about that and asked Dave
later if, and when, one of his stories will be reprinted by Gladstone.
Yes, I do forget things, sometimes... 8-)
The other story I was talking about (about Donald training pigeons to pick
coins) looks "special" enough to assume it is written by either Dave, or
John Lustig.
Well? Dave, John: any comments?
----
Fredrik:
> Kuno Knauel. That's the guy called Filo Sganga in Italian.
Ah! I suspected that. Is this character already in the "interlingual" file?
I must admit I haven't looked at that file in months, since I can't use ftp
the normal way anymore.
----
Dwight (about "Listige Taschenbuecher"):
> Uhm...aren't those Lustige Taschenbucher?
Well, yes, if you add an umlaut to the u on -bucher.
Just a typo. Sirry.
----
Jakob:
> Do you think that IF he is the father
> of HDL he would be a 'close relative'?
How close can one get? I would say MY father is a VERY close relative.
And even if I hadn't seen him for ages, I wouldn't welcome him as a
distant "uncle Aaldrik".
Could you tell us a bit more about that one cartoon in which HDL's
father appeared. Wat it stated that he is their father? Did he
unmistakenly look like Von Drake? I mean, in that one cartoon where
Scrooge is drawn, he looks just like Von Drake, only with different
"hair" (feathers?) and hat. (The animators never understood what Scrooge
should really look like.)
----
Daniel ("Horsing Around with History"):
> But even if that was a way to
> send S.O.S.'s in the past, why should Barks include it in his story?
> It's only a lot of irritating delay (and someone here once said that
> the theory with those stars isn't right). Barks could have omitted
> this all by using something more simple, making the story "flow"
> better... What do you think?
The scene didn't bother me. The only thing that bothered me when I first
read the story was the abrupt ending. Like there should have been at
least another page with all kinds of explanations.
--Harry.
P.S. Gilbert, Anders (if you're reading this): thanks for your indexes/updates.
It may take a while before I have a better look at them. Busy...
Cdoberman
Daisy's siblings
Message 143 -
1995-06-15 at 21:46:09
In a message dated 95-06-14 05:43:20 EDT, daniel at maisie.ow.nl (Daniel van
Eijmeren) writes:
> In Holland children sometimes also
>call *friends of their parents* "uncle" or "aunt". Is that also a
>"habit" in other countries? This could mean then, that Daisy doesn't
>need to be family...
>
>
In America we do. At least my family did when I was a child.
Wes
Eijmeren) writes:
> In Holland children sometimes also
>call *friends of their parents* "uncle" or "aunt". Is that also a
>"habit" in other countries? This could mean then, that Daisy doesn't
>need to be family...
>
>
In America we do. At least my family did when I was a child.
Wes
Cdoberman
HDL's dad
Message 144 -
1995-06-15 at 21:46:10
In a message dated 95-06-13 12:41:50 EDT, vd.pol2 at memo.volvo.se (Jakob
Soderbaum) writes:
>I'm not quite sure of what you mean by "did they blow up their
>fathers chair for de-flowering their mother?". If you explain it
>for me I am sure I can give you a good answer. No, Huey, Dewey
>and Louie are NOT any kind of love ducklings! I thought you knew
>that they usually do a lot of tricks to make the boring time in
>Donald's house go faster! :-)
Um, I may have opened a can of worms with this little (extremely little) joke
that only Americans might understand. De-flowering is an American
colloquialism which I will not explain here, and "love ducklings" is an
adaptation of another American phrase "love child" which refers to a child
born out of wedlock. My Puritan American heritage makes me ashamed for
having even brought it up. Apologies. ;-)
Wes
"But, Mickey, it's SUICIDE! We'll be KILLED! How'll we ever land without
wheels?" -- Captain Doberman
Soderbaum) writes:
>I'm not quite sure of what you mean by "did they blow up their
>fathers chair for de-flowering their mother?". If you explain it
>for me I am sure I can give you a good answer. No, Huey, Dewey
>and Louie are NOT any kind of love ducklings! I thought you knew
>that they usually do a lot of tricks to make the boring time in
>Donald's house go faster! :-)
Um, I may have opened a can of worms with this little (extremely little) joke
that only Americans might understand. De-flowering is an American
colloquialism which I will not explain here, and "love ducklings" is an
adaptation of another American phrase "love child" which refers to a child
born out of wedlock. My Puritan American heritage makes me ashamed for
having even brought it up. Apologies. ;-)
Wes
"But, Mickey, it's SUICIDE! We'll be KILLED! How'll we ever land without
wheels?" -- Captain Doberman
Daniel Van Eijmeren
Horsing around some more
Message 145 -
1995-06-16 at 00:07:51
HARRY:
> The only thing that bothered me when I first read ["Horsing
> Around with History"] was the abrupt ending. Like there should have
> been at least another page with all kinds of explanations.
Another page with explanations? What explanations do you mean? I
think there could have been some more action in the ending, but
there's nothing of which I think it should be explained.
--- Daniel
> The only thing that bothered me when I first read ["Horsing
> Around with History"] was the abrupt ending. Like there should have
> been at least another page with all kinds of explanations.
Another page with explanations? What explanations do you mean? I
think there could have been some more action in the ending, but
there's nothing of which I think it should be explained.
--- Daniel
Arne H. Juul
"Mickey Mystery" stories
Message 146 -
1995-06-16 at 04:48:56
H.W. Fluks writes:
> EIN FALL FUER MICKY Nr. 19 (German comic, "Mickey Mystery")
>
> These comics (digest-sized, with stories on 3 rows) were discussed
> on the mailing list before.
> Number 19 contains two stories, D 94011 ("The ring of the jewel thieves")
> and D 93557 ("Scandal at the film festival"). What a disappointment!
> Even the Dutch mystery stories, with Basil from Baker Street, are
> much better!
With respect, I have to disagree. When I first saw these I was very
negative to them. The concept (Mickey as trenchcoat detective, Minnie
as television talk-show host, very italian drawing style) put me off.
Mostly because it's so different from how we're used to seeing Mickey
(any version), but also because it seems a 'cheap' setting which
invites shallow stories.
However, I have since become very positive to the series. The last
issue (number 19) wasn't anything special, but I didn't think it was
particularly bad, either.
I'm not sure what all my reasons are for liking these stories, but
here are some possible factors:
- High degree of internal consistency: I find that the 'anything
goes' approach is all too often used both in Disney and other
Comics. This is a good reason to like Don Rosa and Neil Gaiman, too :-)
The "Mickey Mystery" series is consistent in character, style and plot
(even if there's no "continuity").
- "Realism" (mostly drawing style): This Mousetown has dirty back
alleys, dark shadows, Mickey eating junk food etc. The best story so
far (which I have at home, but I'll try to bring it and write a bit
more about it later) is very strong on this point. Like Don Rosa's
"realistic" Duckburg (ref. "The Duck that Fell to Earth") this
appeals to me, but maybe not to others. In this "film noire" setting
the Trenchcoat Mickey doesn't seem so out of place. Also note that
Goofy does not appear - the comical element is more sporadical and
mostly darker than in 'normal' Disney comics.
- Not always black-and-white: The villains doesn't necessarily look
like obvious villains. Also there are "normal" people that may do
wrongs (and go to jail) without being "villains" in the comic-book sense.
- Working plots: Not always spectacular, they are a great deal better
than most Disney plots. Again, I'll have to bring some of my copies
and try to analyse them more carefully.
There's no accounting for taste, of course, but I was so surprised at
liking these stories that I've tried to analyse mine a bit.
Yours,
- Arne H. Juul
> EIN FALL FUER MICKY Nr. 19 (German comic, "Mickey Mystery")
>
> These comics (digest-sized, with stories on 3 rows) were discussed
> on the mailing list before.
> Number 19 contains two stories, D 94011 ("The ring of the jewel thieves")
> and D 93557 ("Scandal at the film festival"). What a disappointment!
> Even the Dutch mystery stories, with Basil from Baker Street, are
> much better!
With respect, I have to disagree. When I first saw these I was very
negative to them. The concept (Mickey as trenchcoat detective, Minnie
as television talk-show host, very italian drawing style) put me off.
Mostly because it's so different from how we're used to seeing Mickey
(any version), but also because it seems a 'cheap' setting which
invites shallow stories.
However, I have since become very positive to the series. The last
issue (number 19) wasn't anything special, but I didn't think it was
particularly bad, either.
I'm not sure what all my reasons are for liking these stories, but
here are some possible factors:
- High degree of internal consistency: I find that the 'anything
goes' approach is all too often used both in Disney and other
Comics. This is a good reason to like Don Rosa and Neil Gaiman, too :-)
The "Mickey Mystery" series is consistent in character, style and plot
(even if there's no "continuity").
- "Realism" (mostly drawing style): This Mousetown has dirty back
alleys, dark shadows, Mickey eating junk food etc. The best story so
far (which I have at home, but I'll try to bring it and write a bit
more about it later) is very strong on this point. Like Don Rosa's
"realistic" Duckburg (ref. "The Duck that Fell to Earth") this
appeals to me, but maybe not to others. In this "film noire" setting
the Trenchcoat Mickey doesn't seem so out of place. Also note that
Goofy does not appear - the comical element is more sporadical and
mostly darker than in 'normal' Disney comics.
- Not always black-and-white: The villains doesn't necessarily look
like obvious villains. Also there are "normal" people that may do
wrongs (and go to jail) without being "villains" in the comic-book sense.
- Working plots: Not always spectacular, they are a great deal better
than most Disney plots. Again, I'll have to bring some of my copies
and try to analyse them more carefully.
There's no accounting for taste, of course, but I was so surprised at
liking these stories that I've tried to analyse mine a bit.
Yours,
- Arne H. Juul
H.W. Fluks
"Mickey Mystery" stories
Message 147 -
1995-06-16 at 11:43:19
ARNE:
Maybe I demand too much. I judged the stories as *mystery* stories, and
I expected plots like Agatha Christie's, or at least like in the TV-series
"Murder, she wrote". In stead, the MM plots are very simple, and almost
without surprizes.
I agree on many of your points when I judge the stories as *disney* stories.
They are much better than any Tello story (and most of the later Murry
stories), where the bad are bad, as can be recognised the first time they
appear.
BTW: my criticism wasn't about the drawings; they are above average.
And Minnie is a TV journalist in *all* the MMMystery stories? That explains
what I thought was a plot flaw in one of the stories.
These stories are not humorous, OK. They are meant to be exciting and
"mysterious". For me, the stories in issue #19 are just not interesting
enough for that. If they are all like this, I wouldn't buy them.
Just like I don't buy a comic for its Tello story. And like I'm disappointed
when an episode of "Murder, she wrote" was bad (the quality varies week
by week).
Yes, I certainly demand too much.
--Harry.
Maybe I demand too much. I judged the stories as *mystery* stories, and
I expected plots like Agatha Christie's, or at least like in the TV-series
"Murder, she wrote". In stead, the MM plots are very simple, and almost
without surprizes.
I agree on many of your points when I judge the stories as *disney* stories.
They are much better than any Tello story (and most of the later Murry
stories), where the bad are bad, as can be recognised the first time they
appear.
BTW: my criticism wasn't about the drawings; they are above average.
And Minnie is a TV journalist in *all* the MMMystery stories? That explains
what I thought was a plot flaw in one of the stories.
These stories are not humorous, OK. They are meant to be exciting and
"mysterious". For me, the stories in issue #19 are just not interesting
enough for that. If they are all like this, I wouldn't buy them.
Just like I don't buy a comic for its Tello story. And like I'm disappointed
when an episode of "Murder, she wrote" was bad (the quality varies week
by week).
Yes, I certainly demand too much.
--Harry.
H.W. Fluks
Horsing around some more
Message 148 -
1995-06-16 at 13:47:25
Daniel ("Horsing Around with History"):
> Another page with explanations? What explanations do you mean?
For example: why did the Beagles need both a button and a bird to
eavesdrop on Scrooge. The button could be a short-range transmitter,
the bird had to be around to receive the message and record it, and
bring the recorded message physically to the Beagles. The transmitter
could be short-range because otherwise the whole world could listen to
Scrooge's words and ruin whatever plan the Beagles would make.
Another example: why weren't the Beagles interested in the horse itself.
The gold might be not real gold, or the Beagles might not have heard
Scrooge saying the horse was gold-plated, while they couldn't see it
in the dark.
I could think of more explanations of things already mentioned in a
previous discussion on this list. Those explanations would have made the
story a bit more acceptable.
--Harry.
> Another page with explanations? What explanations do you mean?
For example: why did the Beagles need both a button and a bird to
eavesdrop on Scrooge. The button could be a short-range transmitter,
the bird had to be around to receive the message and record it, and
bring the recorded message physically to the Beagles. The transmitter
could be short-range because otherwise the whole world could listen to
Scrooge's words and ruin whatever plan the Beagles would make.
Another example: why weren't the Beagles interested in the horse itself.
The gold might be not real gold, or the Beagles might not have heard
Scrooge saying the horse was gold-plated, while they couldn't see it
in the dark.
I could think of more explanations of things already mentioned in a
previous discussion on this list. Those explanations would have made the
story a bit more acceptable.
--Harry.
Gianfranco Goria - Anonima Fumetti - Italian Cartoonists Society
"Mickey Mystery" stories
Message 149 -
1995-06-16 at 14:10:13
>Maybe I demand too much.
>Yes, I certainly demand too much.
No. You don't demand too much. A reader must pretend the best from us, the
cartoonists, even when working for #*# Disney products.
But... I don't know elsewhere, here Disney modify almost all our stories, so
it is difficult to understand when the bad things were made by the authors
and when by Disney staff itself...
Anyhow, you all MUST pretend the best! Don't you PAY for it?
>Yes, I certainly demand too much.
No. You don't demand too much. A reader must pretend the best from us, the
cartoonists, even when working for #*# Disney products.
But... I don't know elsewhere, here Disney modify almost all our stories, so
it is difficult to understand when the bad things were made by the authors
and when by Disney staff itself...
Anyhow, you all MUST pretend the best! Don't you PAY for it?
Bror Hellman
Marks & Barks (long)
Message 150 -
1995-06-16 at 15:27:43
> Three years ago, on my way to Chile, I discovered a book just
> published in that country called _How to Read Donald Duck_ (Para
> leer al Pato Donald).
This book was published in Sweden. No-one mentioned that the references
was to Chilean Donald Duck and many parents decided to ban DD comics from
their children.
It can be found in every public library.
--
Steamboat Willie
------------------------------------------------
... and as usual, Ataru Moroboshi is involved!
------------------------------------------------
Internet: hellman at proxxi.uf.se, UFNet(ftn): hellman at 54:100/106.0
AnimeNet European Coordinator 401:3000/0.0
> published in that country called _How to Read Donald Duck_ (Para
> leer al Pato Donald).
This book was published in Sweden. No-one mentioned that the references
was to Chilean Donald Duck and many parents decided to ban DD comics from
their children.
It can be found in every public library.
--
Steamboat Willie
------------------------------------------------
... and as usual, Ataru Moroboshi is involved!
------------------------------------------------
Internet: hellman at proxxi.uf.se, UFNet(ftn): hellman at 54:100/106.0
AnimeNet European Coordinator 401:3000/0.0