Author
Topic: 199508
(229 messages)
DEYON GOSSE
No subject
Message 181 -
1995-08-26 at 23:59:54
My email address has changed to "dgosse at mail.databits.com"
Arthur_de_Wolf
Spanish!
Message 182 -
1995-08-27 at 03:15:46
Hi!
FREDERIK:
> Interestingly, in my list of Disney character names translations (which
> can be found on the FTP archives) there are different Spanish names from
> Spain, Mexico and Argentina. This would seem to indicate that there are
> different editions for all of those countries.
First, I'd like to say something about the Spanish language. Maybe
you already know everything I'm gonna tell now. But I'll
do it anyway. There are THREE different Spanish languages:
Castillian (which is spoken in Spain)
Mexican Spanish (which is spoken in Mexico)
Argentinian Spanish (which is spoken in Argentina)
Spanish is the official language of many Latin American coun-
tries. The Spanish spoken in Argentina has a more musical intonation
than the harsher tones of the Castilian (which is the form of Spanish
spoken in spain), but it's syntax and structure closely resemble those
of the Spanish spoken in Spain.
Mexican Spanish uses more English words than Castillian. Spanish
spelling closely reflects the pronunciation of the Mexican language.
So, the main difference between de Castillian and Mexican
languages IS, that the mexican uses more English words, and Mexican
people pronounce their words more in a way, in which they are spelled.
All this would mean, that both the Castillian and Mexican as well
as the Argentinian languages are in written form the same. But
the pronounciation is different, for all of these three!
So, it COULD be possible to have all the same Disney comics in
Argentina, Spain and Mexico. The people living there, read the
comics as they are written, but pronounce them differently.
But that's not the way it happened. Spain has it's own Disney comics,
like 'Mickey' and 'Pato Donald', but the comics published in Columbia
are the ones which are distributed in Mexico and Argentina (and also
other countries in South America).
Honestly, I don't understand why you (Frederik) have different
character-names for Argentina and Mexico.
FREDERIK:
> I suppose it possible that there has once upon a distant time been a
> separate Mexican (or whatever) version.
Look, Spain has it's own Disney-comics, so Spain also has it's own
character-names. But why would Argentina and Mexico have different
character-names? In my Columbian comics, (which are also sold in Arg.
and Mexico), Huey, Duey and Louie are called "Hugo, Paco y Louis". Uncle
Scrooge though, is called Tio Rico. In the SAME issue. While you said:
> Mexico: Hugo, Paco y Louis
> Argentina: Tio Rico
Somehow, the names for the Portuguese, Spanish, Mexican and Argentinian
characters are mixed up.
What about the Portuguese language? Portuguese resembles Spanish more
than it does any of the other Romance tongues. Like Spanish, it contains
a very large number of words of Arabic origin, and like other modern
languages, its vocabulary contains also a great many words of French
and Greek origin. Portuguese is spoken in Portugal, Galicia (in a dialect
called Galician), Brazil, several islands in the Atlantic Ocean, Angola
and Mozambique.
That way, the portugeuse Disney comics are the same comics which are
distributed in Brazil. (And maybe as well in Angola and Mozambique!).
But why did I mention Portuguese language?
Well, in your list of 'international disney character names', I saw:
> es-ar:Daisy
> es-es:Daisy
> es-mx:Margarita(?)
But ALL of these three countries (Argentina, Spain and Mexico), call
Daisy 'Daisy'. (at least: in the comics I have). They're all spanish
speaking countries. They only PRONOUNCE the words differently.
MARGARIDA (in stead of MargariTa) is the name for Daisy in PORTUGAL
(and BRAZIL). Not Mexico!
See ya,
--Arthur.
FREDERIK:
> Interestingly, in my list of Disney character names translations (which
> can be found on the FTP archives) there are different Spanish names from
> Spain, Mexico and Argentina. This would seem to indicate that there are
> different editions for all of those countries.
First, I'd like to say something about the Spanish language. Maybe
you already know everything I'm gonna tell now. But I'll
do it anyway. There are THREE different Spanish languages:
Castillian (which is spoken in Spain)
Mexican Spanish (which is spoken in Mexico)
Argentinian Spanish (which is spoken in Argentina)
Spanish is the official language of many Latin American coun-
tries. The Spanish spoken in Argentina has a more musical intonation
than the harsher tones of the Castilian (which is the form of Spanish
spoken in spain), but it's syntax and structure closely resemble those
of the Spanish spoken in Spain.
Mexican Spanish uses more English words than Castillian. Spanish
spelling closely reflects the pronunciation of the Mexican language.
So, the main difference between de Castillian and Mexican
languages IS, that the mexican uses more English words, and Mexican
people pronounce their words more in a way, in which they are spelled.
All this would mean, that both the Castillian and Mexican as well
as the Argentinian languages are in written form the same. But
the pronounciation is different, for all of these three!
So, it COULD be possible to have all the same Disney comics in
Argentina, Spain and Mexico. The people living there, read the
comics as they are written, but pronounce them differently.
But that's not the way it happened. Spain has it's own Disney comics,
like 'Mickey' and 'Pato Donald', but the comics published in Columbia
are the ones which are distributed in Mexico and Argentina (and also
other countries in South America).
Honestly, I don't understand why you (Frederik) have different
character-names for Argentina and Mexico.
FREDERIK:
> I suppose it possible that there has once upon a distant time been a
> separate Mexican (or whatever) version.
Look, Spain has it's own Disney-comics, so Spain also has it's own
character-names. But why would Argentina and Mexico have different
character-names? In my Columbian comics, (which are also sold in Arg.
and Mexico), Huey, Duey and Louie are called "Hugo, Paco y Louis". Uncle
Scrooge though, is called Tio Rico. In the SAME issue. While you said:
> Mexico: Hugo, Paco y Louis
> Argentina: Tio Rico
Somehow, the names for the Portuguese, Spanish, Mexican and Argentinian
characters are mixed up.
What about the Portuguese language? Portuguese resembles Spanish more
than it does any of the other Romance tongues. Like Spanish, it contains
a very large number of words of Arabic origin, and like other modern
languages, its vocabulary contains also a great many words of French
and Greek origin. Portuguese is spoken in Portugal, Galicia (in a dialect
called Galician), Brazil, several islands in the Atlantic Ocean, Angola
and Mozambique.
That way, the portugeuse Disney comics are the same comics which are
distributed in Brazil. (And maybe as well in Angola and Mozambique!).
But why did I mention Portuguese language?
Well, in your list of 'international disney character names', I saw:
> es-ar:Daisy
> es-es:Daisy
> es-mx:Margarita(?)
But ALL of these three countries (Argentina, Spain and Mexico), call
Daisy 'Daisy'. (at least: in the comics I have). They're all spanish
speaking countries. They only PRONOUNCE the words differently.
MARGARIDA (in stead of MargariTa) is the name for Daisy in PORTUGAL
(and BRAZIL). Not Mexico!
See ya,
--Arthur.
Deckerd
CBL: DDA 18
Message 183 -
1995-08-27 at 03:53:34
I just got around to reading Donald Duck Adventures #18 (the
album in the Carl Barks Library series). I'd never read
the story "Jungle Hi-Jinks," reprinted from Summer Fun #2
(1959). It looks about like the WDC&S ten-pagers of the time,
but it was a fairly awful story. Interesting that in 1959,
the idea of a super-keen invention was a movie camera that
developed film instantly (not a problem these days with video
cameras). The weakest part of the story was a line of dialogue:
one of the nephews tells Donald at the end, "Wearing that
caveman outfit must make you stronger and smarter!" That
feeble explanation is the entire justification for the previous
two pages worth of action, and of the story's pay-off in the
last panel (which in itself is kind of out of nowhere and not
really a resolution of anything in the rest of the story).
The story could be rearranged to make it stronger, with the
ending more of a resolution of the situation set up at the
beginning...but it's about 36 years too late. Why am I not
surprised that Barks didn't write the story, but merely
illustrated another writer's script?
There's also an essay wasting two pages with windy quack
scholarly analysis of Barks's panel arrangements and shapes.
Don, do artists really think this way? I'd bet that Barks
was thinking of ways to make the page design look interesting
as well as tell the story. The illustration with the essay
purporting to show how, "as the villain destroys Donald's
car, the motion lines and panel shape point to Huey's camera,
the new vehicle of redemption," is the crowning absurdity.
The analysis depends on a pun that surely exists only in
the professor's mind (car/vehicle) -- I can't believe Barks
thought in those terms -- and further, the car and speed
lines are in panel 6 of the story while the camera is in
panel 8. I can't believe Barks would deliberately break
such a basic rule of comic-book page storytelling. Panel
6 should flow into panel 7, not panel 8. Directing the
reader's eye from 6 to 8 and leaving 7 off to the side is
incompetent storytelling, even if the postmodern professor's
deconstruction of the "text" claims otherwise. Isn't it more
likely that Barks, a largely self-taught cartoonist was
simply experimenting with layout, perhaps sometimes none
too wisely, without much aforethought other than just
making the page look interesting, and fitting scenes
into the allowable space? Why does Gladstone waste pages on
this stuff when the stories are good enough to stand up on
their own and speak for themselves?
The real question is panel design. The Disney artist typically
works with a grid of eight panels to a page. Egmont numbers
the panels on every page that way (a half-page splash panel
is considered panels 1-4 rather than just 1). Barks was
further limited in what he could do by working in half-page
rather than full-page sections (usually -- there are at
least a couple of stories where he was working on full-page
sheets and did three-tier pages rather than four, with full
freedom of panel shape and arrangement). In "Vacation Time,"
for all of his experimentation in irregular panel shape
that the professor finds so Fraught With Significance, Barks
only breaks the half-page barrier once. I'd assume he was
working, again, with half pages, so I'm a little puzzled as
to how (or why) he was able to extend the the one panel on
the one page from the top half into the bottom half of that
page. (It's not necessary for the extended panel, as the
extra space doesn't include any significant detail, and the
lower panel's composition is actually hurt by the intrusion
of the panel above.) Oddly, the essay purporting to analyze
Barks's composition doesn't even mention the half-page
original art size Barks used, which is well-known among
Barks fanciers -- the professor can tell us all about the
deep underlying meanings and subtexts of Barks's panel shapes
but misses one of the most basic factors dictating the page
layout?! Just leafing through the story, it's glaringly
obvious that for all the irregular panel shapes, all pages but
one are sharply divided into top and bottom halves.
Page composition is an art in itself. My take on it is that
the artist should design panel arrangement to best tell the
story: the panel should frame the artwork to best effect.
A rigid framework of identically sized boxes is bad because
different scenes require different shapes and amounts of
space to depict them. Really fancy graphics are bad, too,
because when characters jump out of panel borders and the panels
are erratically shaped, the story is lost and unreadable.
A couple of panels on page 12 of "Vacation Time" come to hand.
The irregular shapes of panels 2 and 4 allow Barks to stage
certain scenes for maximum effect, shaping the panels to include
foreground and background characters and objects in a minimal
amount of space. Drawing the panels as regular boxes would
have required much more room and superfluous detail to fill
the extra space, or else have required restaging of the scenes
in a perhaps duller, less dramatic angle. At the same time,
I think some of Barks's irregular panel designs are unnecessarily
distracting and interfere with the panel-to-panel flow of the story.
--Dwight Decker
album in the Carl Barks Library series). I'd never read
the story "Jungle Hi-Jinks," reprinted from Summer Fun #2
(1959). It looks about like the WDC&S ten-pagers of the time,
but it was a fairly awful story. Interesting that in 1959,
the idea of a super-keen invention was a movie camera that
developed film instantly (not a problem these days with video
cameras). The weakest part of the story was a line of dialogue:
one of the nephews tells Donald at the end, "Wearing that
caveman outfit must make you stronger and smarter!" That
feeble explanation is the entire justification for the previous
two pages worth of action, and of the story's pay-off in the
last panel (which in itself is kind of out of nowhere and not
really a resolution of anything in the rest of the story).
The story could be rearranged to make it stronger, with the
ending more of a resolution of the situation set up at the
beginning...but it's about 36 years too late. Why am I not
surprised that Barks didn't write the story, but merely
illustrated another writer's script?
There's also an essay wasting two pages with windy quack
scholarly analysis of Barks's panel arrangements and shapes.
Don, do artists really think this way? I'd bet that Barks
was thinking of ways to make the page design look interesting
as well as tell the story. The illustration with the essay
purporting to show how, "as the villain destroys Donald's
car, the motion lines and panel shape point to Huey's camera,
the new vehicle of redemption," is the crowning absurdity.
The analysis depends on a pun that surely exists only in
the professor's mind (car/vehicle) -- I can't believe Barks
thought in those terms -- and further, the car and speed
lines are in panel 6 of the story while the camera is in
panel 8. I can't believe Barks would deliberately break
such a basic rule of comic-book page storytelling. Panel
6 should flow into panel 7, not panel 8. Directing the
reader's eye from 6 to 8 and leaving 7 off to the side is
incompetent storytelling, even if the postmodern professor's
deconstruction of the "text" claims otherwise. Isn't it more
likely that Barks, a largely self-taught cartoonist was
simply experimenting with layout, perhaps sometimes none
too wisely, without much aforethought other than just
making the page look interesting, and fitting scenes
into the allowable space? Why does Gladstone waste pages on
this stuff when the stories are good enough to stand up on
their own and speak for themselves?
The real question is panel design. The Disney artist typically
works with a grid of eight panels to a page. Egmont numbers
the panels on every page that way (a half-page splash panel
is considered panels 1-4 rather than just 1). Barks was
further limited in what he could do by working in half-page
rather than full-page sections (usually -- there are at
least a couple of stories where he was working on full-page
sheets and did three-tier pages rather than four, with full
freedom of panel shape and arrangement). In "Vacation Time,"
for all of his experimentation in irregular panel shape
that the professor finds so Fraught With Significance, Barks
only breaks the half-page barrier once. I'd assume he was
working, again, with half pages, so I'm a little puzzled as
to how (or why) he was able to extend the the one panel on
the one page from the top half into the bottom half of that
page. (It's not necessary for the extended panel, as the
extra space doesn't include any significant detail, and the
lower panel's composition is actually hurt by the intrusion
of the panel above.) Oddly, the essay purporting to analyze
Barks's composition doesn't even mention the half-page
original art size Barks used, which is well-known among
Barks fanciers -- the professor can tell us all about the
deep underlying meanings and subtexts of Barks's panel shapes
but misses one of the most basic factors dictating the page
layout?! Just leafing through the story, it's glaringly
obvious that for all the irregular panel shapes, all pages but
one are sharply divided into top and bottom halves.
Page composition is an art in itself. My take on it is that
the artist should design panel arrangement to best tell the
story: the panel should frame the artwork to best effect.
A rigid framework of identically sized boxes is bad because
different scenes require different shapes and amounts of
space to depict them. Really fancy graphics are bad, too,
because when characters jump out of panel borders and the panels
are erratically shaped, the story is lost and unreadable.
A couple of panels on page 12 of "Vacation Time" come to hand.
The irregular shapes of panels 2 and 4 allow Barks to stage
certain scenes for maximum effect, shaping the panels to include
foreground and background characters and objects in a minimal
amount of space. Drawing the panels as regular boxes would
have required much more room and superfluous detail to fill
the extra space, or else have required restaging of the scenes
in a perhaps duller, less dramatic angle. At the same time,
I think some of Barks's irregular panel designs are unnecessarily
distracting and interfere with the panel-to-panel flow of the story.
--Dwight Decker
Deckerd
CBL: DDA 18
Message 184 -
1995-08-27 at 04:04:02
Two minutes after sending the original message, I thought better
of some of my phrasing, to wit:
> There's also an essay wasting two pages with windy quack
> scholarly analysis of Barks's panel arrangements and shapes.
I apologize for using the word "quack," since the author of the
essay is a degreed academic and thus competent in his field. I
disagree strenuously with his analysis, and indeed with the
assumptions and ideology of the school of thought that gave rise
to it, but I don't mean to question his qualifications or
cast aspersions on his competency.
--Dwight Decker
of some of my phrasing, to wit:
> There's also an essay wasting two pages with windy quack
> scholarly analysis of Barks's panel arrangements and shapes.
I apologize for using the word "quack," since the author of the
essay is a degreed academic and thus competent in his field. I
disagree strenuously with his analysis, and indeed with the
assumptions and ideology of the school of thought that gave rise
to it, but I don't mean to question his qualifications or
cast aspersions on his competency.
--Dwight Decker
Arthur_de_Wolf
My list of countries!
Message 185 -
1995-08-27 at 04:56:37
Hi!
DAVE:
> Thanks to Arthur de Wolf for his ammendments to the following list.
> Does anyone else have any additions or corrections?
My list is like this: (it contains about 59 countries!)
This row shows the countries, in which Disney
comics are PRINTED. So NOT the countries in
which comics are distributed, but printed
in another country!
|
V
ALBANIA
AUSTRALIA in the 70s, they had their own comics which were the
same in SINGAPORE, BRUNEI and MALAYSIA, but nowadays
they get the same comics as in the: USA and GREAT BRITAIN
BELGIUM in the 40s and 50s they had their own comic
called 'Mickey Magazine', but nowadays they get the
comics which are the same in: HOLLAND
BELO-RUSSIA
BULGARIA
CHINA
COLUMBIA these comics are the same in: MEXICO, ARGENTINA, CHILE,
COLUMBIA, PUERTO RICO,
ESTADOS UNIDOS, PANAMA,
VENEZUELA, ECUADOR,
HONDURAS and R. DOMINICANA
CROATIA
CZECH REPUBLIC
DENMARK
EGYPT
FAEROE ISLANDS
FINLAND
FRANCE these comics are also sold in the southern part of
BELGIUM and in French speaking parts of SCHWITZERLAND
GERMANY these comics are the same in: AUSTRIA and SCHWITZERLAND
GREAT BRITAIN these comics are the same in: AUSTRALIA
GREECE
HOLLAND these comics are the same in: BELGIUM
HUNGARIA
ICELAND
INDIA
INDONESIA
ITALY
LAPLAND
LITHUANIA
MACEDONIA
MALAYSIA they recently get special MALAYSIA edition of comics
which are the same in: USA
NORWAY
POLAND
PORTUGAL these comics are the same in: BRAZIL, ANGOLA?, MOZAMBIQUE?
RUSSIA
SLOVENIA
SPAIN
SWEDEN
TURKEY
USA these comics are the same in: CANADA, AUSTRALIA, NEW ZEALAND
and JAPAN
--Arthur.
DAVE:
> Thanks to Arthur de Wolf for his ammendments to the following list.
> Does anyone else have any additions or corrections?
My list is like this: (it contains about 59 countries!)
This row shows the countries, in which Disney
comics are PRINTED. So NOT the countries in
which comics are distributed, but printed
in another country!
|
V
ALBANIA
AUSTRALIA in the 70s, they had their own comics which were the
same in SINGAPORE, BRUNEI and MALAYSIA, but nowadays
they get the same comics as in the: USA and GREAT BRITAIN
BELGIUM in the 40s and 50s they had their own comic
called 'Mickey Magazine', but nowadays they get the
comics which are the same in: HOLLAND
BELO-RUSSIA
BULGARIA
CHINA
COLUMBIA these comics are the same in: MEXICO, ARGENTINA, CHILE,
COLUMBIA, PUERTO RICO,
ESTADOS UNIDOS, PANAMA,
VENEZUELA, ECUADOR,
HONDURAS and R. DOMINICANA
CROATIA
CZECH REPUBLIC
DENMARK
EGYPT
FAEROE ISLANDS
FINLAND
FRANCE these comics are also sold in the southern part of
BELGIUM and in French speaking parts of SCHWITZERLAND
GERMANY these comics are the same in: AUSTRIA and SCHWITZERLAND
GREAT BRITAIN these comics are the same in: AUSTRALIA
GREECE
HOLLAND these comics are the same in: BELGIUM
HUNGARIA
ICELAND
INDIA
INDONESIA
ITALY
LAPLAND
LITHUANIA
MACEDONIA
MALAYSIA they recently get special MALAYSIA edition of comics
which are the same in: USA
NORWAY
POLAND
PORTUGAL these comics are the same in: BRAZIL, ANGOLA?, MOZAMBIQUE?
RUSSIA
SLOVENIA
SPAIN
SWEDEN
TURKEY
USA these comics are the same in: CANADA, AUSTRALIA, NEW ZEALAND
and JAPAN
--Arthur.
Gregory Charles Rivers
UNSUBSCRIBE
Message 186 -
1995-08-27 at 15:06:18
At 01:50 PM 26/08/95, Infinit2 at ix.netcom.com wrote:
>You wrote:
>>
>>At 02:39 PM 25/08/95, Fredrik Ekman wrote:
>>>Now, I don't remember this clearly, but what way do the Chinese read?
>>>Right-to-left? Top-to-bottom?
>>
>>Chinese characters can be read in three directions: left to right,
>right to
>>left and up to down. Here in Hong Kong, left to right has become more
>>prominent with the advent of English and English-speaking countries
>trade,
>>but you can still see examples of the other directions. In particular,
>most
>>newspapers use the up to down direction.
>>
>>
>>
>>Gregory
>>
>>Gregory Charles Rivers
>>G&B Computers Limited, Hong Kong
>>email <gregoryr at hk.super.net>
>>Ph: (852) 26658199 * Fax: (852) 26614679
>>
>>
> *****PLEASE UNSUBSCRIBE FROM U"R LIST**********
>
>>
What does this mean? Does Infinit2 (with no signature) want me to leave the
Disney list?
Gregory
Gregory Charles Rivers
G&B Computers Limited, Hong Kong
email <gregoryr at hk.super.net>
Ph: (852) 26658199 * Fax: (852) 26614679
>You wrote:
>>
>>At 02:39 PM 25/08/95, Fredrik Ekman wrote:
>>>Now, I don't remember this clearly, but what way do the Chinese read?
>>>Right-to-left? Top-to-bottom?
>>
>>Chinese characters can be read in three directions: left to right,
>right to
>>left and up to down. Here in Hong Kong, left to right has become more
>>prominent with the advent of English and English-speaking countries
>trade,
>>but you can still see examples of the other directions. In particular,
>most
>>newspapers use the up to down direction.
>>
>>
>>
>>Gregory
>>
>>Gregory Charles Rivers
>>G&B Computers Limited, Hong Kong
>>email <gregoryr at hk.super.net>
>>Ph: (852) 26658199 * Fax: (852) 26614679
>>
>>
> *****PLEASE UNSUBSCRIBE FROM U"R LIST**********
>
>>
What does this mean? Does Infinit2 (with no signature) want me to leave the
Disney list?
Gregory
Gregory Charles Rivers
G&B Computers Limited, Hong Kong
email <gregoryr at hk.super.net>
Ph: (852) 26658199 * Fax: (852) 26614679
952SANDLIN
Unsubscribe
Message 187 -
1995-08-27 at 19:51:15
please take me off your mailing list
Deckerd
Codes
Message 188 -
1995-08-27 at 22:35:07
> I found an AR-coded story ("Feijoada Completa", AR/52) in
> Brazilian _Tio Patinhas_ #361. Where is it from?
The US. In particular the Gladstone/Bruce Hamilton group. "AR" stands for
"Another
Rainbow."
--Dwight Decker
> Brazilian _Tio Patinhas_ #361. Where is it from?
The US. In particular the Gladstone/Bruce Hamilton group. "AR" stands for
"Another
Rainbow."
--Dwight Decker
952SANDLIN
Unsubscribe
Message 189 -
1995-08-28 at 02:29:40
please take me off your mailing list
Arthur_de_Wolf
Portoguese comics!
Message 190 -
1995-08-28 at 05:06:55
Hi!
PAULO:
> Or instead, Brazilian comics are distributed in Portugal.
I have a couple of Brazilian and Portuguese Disney comics.
They can be divided in two:
1. Published by Editora Morumbi
Printed in Brazil
Distributed in Portugal also!
2. Published by Abril Jovem
Printed in Portugal
Distributed in Brazil also!
They BOTH have this little box with a tree inside on the cover.
(with the name of the publisher).
> And surely Angola and Mozambique.
So you are sure that the Brazilian comics are also sold in Angola
and Mozambique? What about other Portuguese talking 'countries'? Like:
REPUBLIC OF CAPE VERDE
GALICIA (PROVINCE OF SPAIN)
GUINEA BISSAU
PARTS OF INDONESIA
MADEIRA ISLANDS
AZORES
And what about other South American countries that are not on
my list. Like: PERU, BOLIVIA, URUGUAY, PARAGUAY, SURINAME, NICARAGUA,
BELIZE or SALVADOR?
What can you tell me about these?
--Arthur.
PAULO:
> Or instead, Brazilian comics are distributed in Portugal.
I have a couple of Brazilian and Portuguese Disney comics.
They can be divided in two:
1. Published by Editora Morumbi
Printed in Brazil
Distributed in Portugal also!
2. Published by Abril Jovem
Printed in Portugal
Distributed in Brazil also!
They BOTH have this little box with a tree inside on the cover.
(with the name of the publisher).
> And surely Angola and Mozambique.
So you are sure that the Brazilian comics are also sold in Angola
and Mozambique? What about other Portuguese talking 'countries'? Like:
REPUBLIC OF CAPE VERDE
GALICIA (PROVINCE OF SPAIN)
GUINEA BISSAU
PARTS OF INDONESIA
MADEIRA ISLANDS
AZORES
And what about other South American countries that are not on
my list. Like: PERU, BOLIVIA, URUGUAY, PARAGUAY, SURINAME, NICARAGUA,
BELIZE or SALVADOR?
What can you tell me about these?
--Arthur.
Andreas Poszvek
UNSUBSCRIBE
Message 191 -
1995-08-28 at 09:52:31
Thanx !
wbr.,
/\ http://stud1.tuwien.ac.at/~e8825393
/ \
/ \
/ndreas\ Christian P O S Z V E K
/ \
/ \
/ \ e8825393 at stud1.tuwien.ac.at
wbr.,
/\ http://stud1.tuwien.ac.at/~e8825393
/ \
/ \
/ndreas\ Christian P O S Z V E K
/ \
/ \
/ \ e8825393 at stud1.tuwien.ac.at
H.W. Fluks
Codes
Message 192 -
1995-08-28 at 10:28:30
Paulo:
> I found an AR-coded story ("Feijoada Completa", AR/52) in
> Brazilian _Tio Patinhas_ #361. Where is it from?
Dwight:
> The US. In particular the Gladstone/Bruce Hamilton group. "AR" stands for
> "Another Rainbow."
The story itself must be AR 152, because there's no AR 52. Gladstone started
numbering at AR 101.
AR 152 is the 13-page DuckTales story "The Billion-Bean Stampede" by John
Lustig and William Van Horn.
--Harry.
> I found an AR-coded story ("Feijoada Completa", AR/52) in
> Brazilian _Tio Patinhas_ #361. Where is it from?
Dwight:
> The US. In particular the Gladstone/Bruce Hamilton group. "AR" stands for
> "Another Rainbow."
The story itself must be AR 152, because there's no AR 52. Gladstone started
numbering at AR 101.
AR 152 is the 13-page DuckTales story "The Billion-Bean Stampede" by John
Lustig and William Van Horn.
--Harry.
H.W. Fluks
Art's list of countries
Message 193 -
1995-08-28 at 10:53:24
ART, 6 remarks:
1. Look at last year's Dutch DD Weekly. They had several pages (spread over
the year) with all kinds of foreign Disney comics. Including Estonia
("Estland") and Latvia (?) ("Letland"), which aren't on your list yet.
2. Brazil produces their own Disney STORIES, so it's unlikely they get
their comics from Portugal. I think all Portuguese comics are from Brazil.
3. The countries listed on the cover (with prices) is not a full indication
that the comic is THE Disney comic in that country. Dutch comics have
Spanish prices during the summer. German comics not only list Austria
and Switzerland, but also Luxemburg, The Netherlands and others.
Maybe the Columbian comics also list the price in Argentina, while
Argentina also has (or had) their own comics.
4. YOU told me (quoting Becattini) that Argentina had an own production
in the 40s. So there must have been an Argentinan comic as wel. Maybe it's
the same situation as in Belgium: they had their own comic in the past only.
> This row shows the countries, in which Disney
> comics are PRINTED. So NOT the countries in
> which comics are distributed, but printed
> in another country!
5. I don't think the country of the PRINTER should be listed, but of the
EDITOR. A lot of Dutch comic books are printed in Belgium or Italy (mostly
noted on the last internal page of the book). Dwight once mentioned that
all pocket books are printed on the same place, and he has a German
Lustiges Taschenbuch (pocket book) with some Dutch pages in it.
> LAPLAND
> NORWAY
6. Lapland is not a country. I think you should list Norway only, with the
remark that they also published versions in Sami (Lapland) and Nynorsk.
--Harry.
1. Look at last year's Dutch DD Weekly. They had several pages (spread over
the year) with all kinds of foreign Disney comics. Including Estonia
("Estland") and Latvia (?) ("Letland"), which aren't on your list yet.
2. Brazil produces their own Disney STORIES, so it's unlikely they get
their comics from Portugal. I think all Portuguese comics are from Brazil.
3. The countries listed on the cover (with prices) is not a full indication
that the comic is THE Disney comic in that country. Dutch comics have
Spanish prices during the summer. German comics not only list Austria
and Switzerland, but also Luxemburg, The Netherlands and others.
Maybe the Columbian comics also list the price in Argentina, while
Argentina also has (or had) their own comics.
4. YOU told me (quoting Becattini) that Argentina had an own production
in the 40s. So there must have been an Argentinan comic as wel. Maybe it's
the same situation as in Belgium: they had their own comic in the past only.
> This row shows the countries, in which Disney
> comics are PRINTED. So NOT the countries in
> which comics are distributed, but printed
> in another country!
5. I don't think the country of the PRINTER should be listed, but of the
EDITOR. A lot of Dutch comic books are printed in Belgium or Italy (mostly
noted on the last internal page of the book). Dwight once mentioned that
all pocket books are printed on the same place, and he has a German
Lustiges Taschenbuch (pocket book) with some Dutch pages in it.
> LAPLAND
> NORWAY
6. Lapland is not a country. I think you should list Norway only, with the
remark that they also published versions in Sami (Lapland) and Nynorsk.
--Harry.
Bror Hellman
Art's list of countries
Message 194 -
1995-08-28 at 14:02:44
> > LAPLAND
> > NORWAY
>
> 6. Lapland is not a country. I think you should list Norway only, with the
> remark that they also published versions in Sami (Lapland) and Nynorsk.
You can easily tell that Norway is one duck of a Disney-reading country.
That small population (about half of Swedens) and three different language
editions. :-)
About the Lapland or Sami editions, they're for sale in Sweden and
perhaps in Finland too. 'cause the Samis are spread all over northern
Scandinavia. I know Sweden and Norway for sure.
--
Steamboat Willie
------------------------------------------------------------------------------
I noticed that around episode 20-30 or so, Akemi's nightgown is
no longer transparent! Not that, uh, I was like disappointed or anything.
Umm... yeah.
-- Chae
------------------------------------------------------------------------------
Internet: hellman at proxxi.uf.se, UFNet(ftn): hellman at 54:100/106.0
AnimeNet European Coordinator 401:3000/0.0
> > NORWAY
>
> 6. Lapland is not a country. I think you should list Norway only, with the
> remark that they also published versions in Sami (Lapland) and Nynorsk.
You can easily tell that Norway is one duck of a Disney-reading country.
That small population (about half of Swedens) and three different language
editions. :-)
About the Lapland or Sami editions, they're for sale in Sweden and
perhaps in Finland too. 'cause the Samis are spread all over northern
Scandinavia. I know Sweden and Norway for sure.
--
Steamboat Willie
------------------------------------------------------------------------------
I noticed that around episode 20-30 or so, Akemi's nightgown is
no longer transparent! Not that, uh, I was like disappointed or anything.
Umm... yeah.
-- Chae
------------------------------------------------------------------------------
Internet: hellman at proxxi.uf.se, UFNet(ftn): hellman at 54:100/106.0
AnimeNet European Coordinator 401:3000/0.0
Don Rosa
Disney-comics digest #767.
Message 195 -
1995-08-28 at 16:19:00
DWIGHT:
I can only speak for myself, since you ask. But to me, each panel on
a page is a separate unit, its purpose is ONLY to perform its own function
and NEVER to "lead the eye" to any other panel on the page. I, too, think
that sort of talk is pseudo-intellectual quackery and I think it's written
just to fill text pages in the CBL and elsewhere. Perhaps there are
cartoonists who compose each page to be an art masterpiece, with each panel
having some special shape or design or color or balance of tones so as to
direct the eye or give the reader psychological subconscious directives.
Perhaps. (?) But to me, what I do is not "art". It is simply entertainment
for tired minds. Each of my panels stands alone and has no meaning other
than what is inside its own border, and that's not much. The ONLY special
thought I give to a page as a unit, rather than the panels as units, is that
I try a lil' bit to get a gag or "hook" into the last panel to be a
miniature "cliff-hanger" for the turn of the page. Or if it is convenient
(but only IF), I'll try to start a new scene at the top of the next page. I
certainly would try not to start a scene in the last panel of a page, or
stop a scene in the first panel of a page.
So, as for me, I put ALL my work into the plot and gags and
individual drawing, and 0 effort into composing each page as some
artsy-fartsy subliminal message conveyor. But then, I'm not a cartoonist; I
still think of myself as a civil engineer who has a hobby of doing comics
just for fun. They never taught me to put subliminal eye directives into my
truss diagrams and mechanics of deformable solids differential equations.>
And, PER, no kidding! Now these nuts are sending "unsubscribe"
messages to me, personally! What can you do about it? This is getting
annoying. Seems like half the messages every day are "PLEASE UNSUBSCRIBE
ME". Maybe you should just wipe the list clean and start from scratch!
I can only speak for myself, since you ask. But to me, each panel on
a page is a separate unit, its purpose is ONLY to perform its own function
and NEVER to "lead the eye" to any other panel on the page. I, too, think
that sort of talk is pseudo-intellectual quackery and I think it's written
just to fill text pages in the CBL and elsewhere. Perhaps there are
cartoonists who compose each page to be an art masterpiece, with each panel
having some special shape or design or color or balance of tones so as to
direct the eye or give the reader psychological subconscious directives.
Perhaps. (?) But to me, what I do is not "art". It is simply entertainment
for tired minds. Each of my panels stands alone and has no meaning other
than what is inside its own border, and that's not much. The ONLY special
thought I give to a page as a unit, rather than the panels as units, is that
I try a lil' bit to get a gag or "hook" into the last panel to be a
miniature "cliff-hanger" for the turn of the page. Or if it is convenient
(but only IF), I'll try to start a new scene at the top of the next page. I
certainly would try not to start a scene in the last panel of a page, or
stop a scene in the first panel of a page.
So, as for me, I put ALL my work into the plot and gags and
individual drawing, and 0 effort into composing each page as some
artsy-fartsy subliminal message conveyor. But then, I'm not a cartoonist; I
still think of myself as a civil engineer who has a hobby of doing comics
just for fun. They never taught me to put subliminal eye directives into my
truss diagrams and mechanics of deformable solids differential equations.>
And, PER, no kidding! Now these nuts are sending "unsubscribe"
messages to me, personally! What can you do about it? This is getting
annoying. Seems like half the messages every day are "PLEASE UNSUBSCRIBE
ME". Maybe you should just wipe the list clean and start from scratch!