Author
Topic: 199508
(229 messages)
DanOlson01
UNSUBSCRIBE
Message 211 -
1995-08-30 at 06:54:07
UNSUBSCRIBE
Innkurv
UNSUBSCRIBE
Message 212 -
1995-08-30 at 10:07:08
UNSUBSCRIBE
_______________________________________________________________
Bokjegerne as, Schwensensgate 5,0170 Oslo
e-post: innkurv at bokjegerne.no
tlf. 2269 5344 fax 2269 4490
Hvis boeker og skrifter det hender
du trenger fra fremmede strender
en bok eller fler
intet gleder oss mer
og til hele Norden vi sender
...spesialister paa engelskspraaklige, tyske og franske boeker.
Book Hunters, Inc., Schwensensgate 5, N-0170 Oslo (Norway)
e-mail:innkurv at bokjegerne.no
tel. +47 2269 5344 fax +47 2269 4490
_______________________________________________________________
Bokjegerne as, Schwensensgate 5,0170 Oslo
e-post: innkurv at bokjegerne.no
tlf. 2269 5344 fax 2269 4490
Hvis boeker og skrifter det hender
du trenger fra fremmede strender
en bok eller fler
intet gleder oss mer
og til hele Norden vi sender
...spesialister paa engelskspraaklige, tyske og franske boeker.
Book Hunters, Inc., Schwensensgate 5, N-0170 Oslo (Norway)
e-mail:innkurv at bokjegerne.no
tel. +47 2269 5344 fax +47 2269 4490
Arthur & Daniel
Hearts of the Yukon / Australian comics
Message 213 -
1995-08-30 at 15:26:07
Hi!
Today, I (Arthur) am visiting Daniel, here in Maassluis. I finally got
to see his Carl Barks Library.
We decided to write a letter together:
DON:
Hearts of the Yukon <SPOILER!!!>
--------------------------------
We just read your new story in WDG#1 "Heart of the Yukon". We liked
it a lot. The ending was kind of surprising though. It sure was an
'open ending'! What did you mean with it? We think that you intended
that Scrooge rather wants to keep the delusion of Goldie being his
only 'could-be lover', instead of knowing the truth (the contents of
Goldie's letter could also be very negative).
Anyway, it was very strange to see such an ending in a *Disney comic*.
We're not saying that we didn't like the story, but after reading the
last page of the story, we turned the next page over, to see if it
REALLY was the ending of the story!
Maybe that's the 'artistic' thing about the story? It reminded us a
bit with a surprise-ending of a movie. It always gives a very
disappointed feeling to see the movie suddenly stop, but a little
time later you understand the meaning of it.
BTW. We really liked the gag on page 4 with that huge man
on the bear, it really gives you the feeling that HE is Steele. It's
also very strange (but good "IOHO") to see such a gag in a Disney-
Comic, it's almost like watching "Monty Python" (if you know what we
mean).
Are you planning to do more Yukon-stories? On one side we're thinking
that this subject is getting worn out. But on the other side... the
more we're talking here about this one, the more we're going to like
it! Compliments! <END OF SPOILER!!!>
Australian comics
-----------------
Last time, you said that Gladstone's licence covered all of Northern
America, Australia and New Zealand. Why are the English Disney comics
also distributed in Australia then?
--- Daniel & Arthur.
Today, I (Arthur) am visiting Daniel, here in Maassluis. I finally got
to see his Carl Barks Library.
We decided to write a letter together:
DON:
Hearts of the Yukon <SPOILER!!!>
--------------------------------
We just read your new story in WDG#1 "Heart of the Yukon". We liked
it a lot. The ending was kind of surprising though. It sure was an
'open ending'! What did you mean with it? We think that you intended
that Scrooge rather wants to keep the delusion of Goldie being his
only 'could-be lover', instead of knowing the truth (the contents of
Goldie's letter could also be very negative).
Anyway, it was very strange to see such an ending in a *Disney comic*.
We're not saying that we didn't like the story, but after reading the
last page of the story, we turned the next page over, to see if it
REALLY was the ending of the story!
Maybe that's the 'artistic' thing about the story? It reminded us a
bit with a surprise-ending of a movie. It always gives a very
disappointed feeling to see the movie suddenly stop, but a little
time later you understand the meaning of it.
BTW. We really liked the gag on page 4 with that huge man
on the bear, it really gives you the feeling that HE is Steele. It's
also very strange (but good "IOHO") to see such a gag in a Disney-
Comic, it's almost like watching "Monty Python" (if you know what we
mean).
Are you planning to do more Yukon-stories? On one side we're thinking
that this subject is getting worn out. But on the other side... the
more we're talking here about this one, the more we're going to like
it! Compliments! <END OF SPOILER!!!>
Australian comics
-----------------
Last time, you said that Gladstone's licence covered all of Northern
America, Australia and New Zealand. Why are the English Disney comics
also distributed in Australia then?
--- Daniel & Arthur.
Geir J. Netland
CBL: DDA 18
Message 214 -
1995-08-30 at 16:09:37
Dwight: I haven't read DDA 18 yet, but don't you
like any of the articles in CBL?
---Geir J. Netland
like any of the articles in CBL?
---Geir J. Netland
Don Rosa
Disney-comics digest #769.
Message 215 -
1995-08-30 at 16:10:00
HARRY:
The cover for "Lo$" chapter X: when it came time to do a cover, I
couldn't help but be honest with Gladstone and tell them that there already
was a cover that I liked which they could use. I knew this would knock me
out of an extra income in doing a new cover, not to mention the future extra
bucks when we are finally allowed to sell our art... but to not tell them
that they could have something for free just woulda' been kinda weasely. I
did the same for the next cover, and even the same, in reverse, for one of
the next German "Don Rosa Library" albums (and they pay even more). As
always, it's not a fair system that allows two publishers to freely use
someone's work, but that's the system these publishers are in, and even if I
don't agree with the morality of that system, I'm not going to lie to those
publishers about their options, even at my own expense.
That chater X cover was slightly redrawn. I redid the Beagle Boy's
upper lip because I decided that it looked wrong, and I think I touched up
one or two other spots (FREE to Gladstone... just to improve my own work...
same way I did those new panels for that "Guardians of the Lost Library"
story). But when they told me they were gonna flip the cover art to allow
for the oval portrait, I neglected to warn them to flip the "D.U.C.K.".
Lucky it was simply written and not really hidden, or no one could ever have
spotted it! Egad -- that reminds me -- the cover for part XI will also be
flipped, and that "D.U.C.K." IS hidden. Give up on that one!
I dunno -- I guess I was too busy to redraw those two battleships,
or I didn't want to bother poor busy Gladstone with the idea. What I SHOULD
have bothered them with is to make sure they had proper color notes on it,
but I never thought they wouldn't. (As I've said, the 1902 battleships were
drastically miscolored, as were the Rough Rider uniforms, through some fault
of Egmont's photostat people.)
I hadn't noticed any misplacement of Grandpa Beagle -- I'll check
that out. Yes, it was surely for the benefit of the speech balloons, but I'm
not sure why he couldn't have started out on the proper side of $crooge.
There was a time in my fanzine-strip days when I thought very hard
about which side of a 2-page spread the "surprize" panels might appear. But
now, when Egmont so severely limits my page count, I can't possibly afford
to do that. Besides, one country will differ from the next as to how they
present the story. And then there's Germany who, for unknown reasons, never
uses my recap panels and makes a half-page recap of their own, thereby
throwing the half-pages of the story into a bottom-on-top mess until they
place a half-page ad partway through the story to straighten it out again.
So it's now IMPOSSIBLE for me to take that aspect of the storytelling into
consideration. There's really little about the Egmont method of
presentation, whether its coloring, lettering or printing, that enhances the
stories, sad to say. But that's life.
And if you were to ask me... comics became 6 panels per page instead
of 8 simply (as you suggest) to stretch the same story into more pages.
Buyers only notice how many pages of art they buy, not how much plot or
substance they're getting. Otherwise, how do you explain American super-hero
comics? Even 10-12 years ago when I was still glancing at American comics, I
recall something called MAGE that I looked through, and decided that I could
fit the issue's entire plot into 3 pages rather than 22. But there's
different things than what I think are important driving American comics in
the 90s. I guess I'm another dinosaur. But you'll never get less than 8
panels from me.
I wish I could get 10 or 12 panels on a page, what with these dang
space limitations I have! Right now I'm trying a new idea: I plotted out a
new story I'm calling "The Treasure of the Ten Avatars" about $crooge
hunting a lost city in the upper Punjab. I plotted it out to 30 pages! I
only have 24 to work with! I squeezed it together into 27 pages. I don't
want to cut any out! So I plan on doing the treasure hunt in such a way that
the Egmont weeklies can use it as a 24-page 2-parter, or someone else like
Gladstone or the other foreign albums can use it as a 27 page one-part
adventure! The weeklies will simply have to call it "The Treasure of the
Seven Avatars" -- they'll have to eliminate three or so Avatars. Of course,
there were ten Avatars in Hindu mythology, but I can't help that. I'll leave
it up to the publishers as to what they want to give their readers.
ARTHUR:
What do you mean, what is the true face of Disney? I don't
understand the question...
And PLEASE DON'T UNSUBSCRIBE ME TO THE LIST.
The cover for "Lo$" chapter X: when it came time to do a cover, I
couldn't help but be honest with Gladstone and tell them that there already
was a cover that I liked which they could use. I knew this would knock me
out of an extra income in doing a new cover, not to mention the future extra
bucks when we are finally allowed to sell our art... but to not tell them
that they could have something for free just woulda' been kinda weasely. I
did the same for the next cover, and even the same, in reverse, for one of
the next German "Don Rosa Library" albums (and they pay even more). As
always, it's not a fair system that allows two publishers to freely use
someone's work, but that's the system these publishers are in, and even if I
don't agree with the morality of that system, I'm not going to lie to those
publishers about their options, even at my own expense.
That chater X cover was slightly redrawn. I redid the Beagle Boy's
upper lip because I decided that it looked wrong, and I think I touched up
one or two other spots (FREE to Gladstone... just to improve my own work...
same way I did those new panels for that "Guardians of the Lost Library"
story). But when they told me they were gonna flip the cover art to allow
for the oval portrait, I neglected to warn them to flip the "D.U.C.K.".
Lucky it was simply written and not really hidden, or no one could ever have
spotted it! Egad -- that reminds me -- the cover for part XI will also be
flipped, and that "D.U.C.K." IS hidden. Give up on that one!
I dunno -- I guess I was too busy to redraw those two battleships,
or I didn't want to bother poor busy Gladstone with the idea. What I SHOULD
have bothered them with is to make sure they had proper color notes on it,
but I never thought they wouldn't. (As I've said, the 1902 battleships were
drastically miscolored, as were the Rough Rider uniforms, through some fault
of Egmont's photostat people.)
I hadn't noticed any misplacement of Grandpa Beagle -- I'll check
that out. Yes, it was surely for the benefit of the speech balloons, but I'm
not sure why he couldn't have started out on the proper side of $crooge.
There was a time in my fanzine-strip days when I thought very hard
about which side of a 2-page spread the "surprize" panels might appear. But
now, when Egmont so severely limits my page count, I can't possibly afford
to do that. Besides, one country will differ from the next as to how they
present the story. And then there's Germany who, for unknown reasons, never
uses my recap panels and makes a half-page recap of their own, thereby
throwing the half-pages of the story into a bottom-on-top mess until they
place a half-page ad partway through the story to straighten it out again.
So it's now IMPOSSIBLE for me to take that aspect of the storytelling into
consideration. There's really little about the Egmont method of
presentation, whether its coloring, lettering or printing, that enhances the
stories, sad to say. But that's life.
And if you were to ask me... comics became 6 panels per page instead
of 8 simply (as you suggest) to stretch the same story into more pages.
Buyers only notice how many pages of art they buy, not how much plot or
substance they're getting. Otherwise, how do you explain American super-hero
comics? Even 10-12 years ago when I was still glancing at American comics, I
recall something called MAGE that I looked through, and decided that I could
fit the issue's entire plot into 3 pages rather than 22. But there's
different things than what I think are important driving American comics in
the 90s. I guess I'm another dinosaur. But you'll never get less than 8
panels from me.
I wish I could get 10 or 12 panels on a page, what with these dang
space limitations I have! Right now I'm trying a new idea: I plotted out a
new story I'm calling "The Treasure of the Ten Avatars" about $crooge
hunting a lost city in the upper Punjab. I plotted it out to 30 pages! I
only have 24 to work with! I squeezed it together into 27 pages. I don't
want to cut any out! So I plan on doing the treasure hunt in such a way that
the Egmont weeklies can use it as a 24-page 2-parter, or someone else like
Gladstone or the other foreign albums can use it as a 27 page one-part
adventure! The weeklies will simply have to call it "The Treasure of the
Seven Avatars" -- they'll have to eliminate three or so Avatars. Of course,
there were ten Avatars in Hindu mythology, but I can't help that. I'll leave
it up to the publishers as to what they want to give their readers.
ARTHUR:
What do you mean, what is the true face of Disney? I don't
understand the question...
And PLEASE DON'T UNSUBSCRIBE ME TO THE LIST.
Fumetti
Disney comics from China and India!
Message 216 -
1995-08-30 at 16:32:08
Sorry Art. I suppose Don does not want to talk about the Walt Disney company
in a public list... Indeed I sent you a message "personally" because I know
that WD people are constantly looking at our mail... Do you understand what
I mean?
Bye!
Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian cartoonists society: fumetti at alpcom.it
http://www.alpcom.it/fumetti/
in a public list... Indeed I sent you a message "personally" because I know
that WD people are constantly looking at our mail... Do you understand what
I mean?
Bye!
Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian cartoonists society: fumetti at alpcom.it
http://www.alpcom.it/fumetti/
Jon Cato Lorentzen
Why no loooong stories from Egmont?
Message 217 -
1995-08-30 at 16:34:58
What is Egmonts reason for not wanting stories above 24 pages? Are the
stories considered too long to divide over several issues?
(8 pages an issue could make the stories last over a month)
Wouldn't it be great to get a 48-page Rosa story in those supplemental
issues that pop up now and then in the Scandinavian DD&Co, instead of those
movie-adaptions (Aristocats, etc.) :)
-jonC
stories considered too long to divide over several issues?
(8 pages an issue could make the stories last over a month)
Wouldn't it be great to get a 48-page Rosa story in those supplemental
issues that pop up now and then in the Scandinavian DD&Co, instead of those
movie-adaptions (Aristocats, etc.) :)
-jonC
Fumetti
Disney comics from China and India!
Message 218 -
1995-08-30 at 17:40:19
>ARTHUR
Anyway I was saying... ARGH! The Disney spy-killers got me! ARGH! Help!
Coff! Coff!...
eheheh! I'm joking (I hope so)!
Indeed the WD company is nothing more than a capitalistic multi-national
industry, and maybe loving to monopolize (ABC).
So they are obvioulsy interested in making money and money and money (money
that no one of them can take with him after death).
Art, literature, culture and so on are things for artists, writers and so on
(an industry may think this way). So there is nothing strange that
industries just think how to make more money and are very little (or
nothing) interested in what can help people or make them have a better life,
for the little time (very little - very little indeed) we live.
In what do we trust?
Amen.
Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian cartoonists society: fumetti at alpcom.it
http://www.alpcom.it/fumetti/
Anyway I was saying... ARGH! The Disney spy-killers got me! ARGH! Help!
Coff! Coff!...
eheheh! I'm joking (I hope so)!
Indeed the WD company is nothing more than a capitalistic multi-national
industry, and maybe loving to monopolize (ABC).
So they are obvioulsy interested in making money and money and money (money
that no one of them can take with him after death).
Art, literature, culture and so on are things for artists, writers and so on
(an industry may think this way). So there is nothing strange that
industries just think how to make more money and are very little (or
nothing) interested in what can help people or make them have a better life,
for the little time (very little - very little indeed) we live.
In what do we trust?
Amen.
Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian cartoonists society: fumetti at alpcom.it
http://www.alpcom.it/fumetti/
Deckerd
CBL: DDA 18
Message 219 -
1995-08-30 at 19:28:47
> Dwight: I haven't read DDA 18 yet, but don't you
> like any of the articles in CBL?
>
In a word, no. The text pieces are worthwhile only to the
extent that they fill in historical background (explaining
topical jokes circa 1947 that today's readers wouldn't
understand, for example). When it comes to _interpretation_,
I don't need somebody filtering Barks through his own
opinion and outlook to tell me what he thinks Barks meant,
or worse, what he thinks Barks meant even though Barks
didn't know he meant it. I'm still annoyed by the essay
that interpreted Barks's postwar stories as atomic bomb
allegories even though Barks was quoted as saying he meant
no such thing. When the writers of these essays imply that
they know better than the actual creator of the stories,
they've left the real world behind and the essays are
worthless for any real understanding of Barks and his
stories. That's my opinion. Your mileage may differ.
--Dwight Decker
> like any of the articles in CBL?
>
In a word, no. The text pieces are worthwhile only to the
extent that they fill in historical background (explaining
topical jokes circa 1947 that today's readers wouldn't
understand, for example). When it comes to _interpretation_,
I don't need somebody filtering Barks through his own
opinion and outlook to tell me what he thinks Barks meant,
or worse, what he thinks Barks meant even though Barks
didn't know he meant it. I'm still annoyed by the essay
that interpreted Barks's postwar stories as atomic bomb
allegories even though Barks was quoted as saying he meant
no such thing. When the writers of these essays imply that
they know better than the actual creator of the stories,
they've left the real world behind and the essays are
worthless for any real understanding of Barks and his
stories. That's my opinion. Your mileage may differ.
--Dwight Decker
Neal Kinney
Gladstone Gazette #1
Message 220 -
1995-08-30 at 20:11:24
Following along with the discussions of the latest Disney comics on this
mailing list, I have often felt left out because I hadn't yet read the
specific stories. The problem seems to be that, for some reason, I receive
my Gladstone subscriptions, by mail, weeks after they have appeared on
supermarket racks and comic bookstore shelves. By this time, each issue has
been discussed thoroughly. I can't believe my remote location in the stark
wilderness of the San Francisco Bay Area (near the site of the old Fort
Duckburg, I believe) is the reason for the mail delay. Can anyone on this
mailing list enlighten me as to why Gladstone subscribers seem to enjoy
such a low priority?
On a related matter, I just received Donald Duck Adventures #34 a couple of
days ago. It was one of those "fewer pages, newsprint cover" issues. Much
to my surprise, also in the package was a four-page, nice-quality, black &
white newsletter from Gladstone which I had not seen discussed on this list
(could it be that I am the only U.S. subscriber to Gladstone's duck
titles?). This issue of the Gazette tells the story of the ill-fated "Uncle
Scrooge Pennywise Comics", explains the "This is the Year that Was" series,
offers quotes from Carl Barks, has profiles of some Gladstone employees AND
contains the "Cross Talk" and extended Letters to the Editor columns deleted
from the smaller, newsprint cover issues. Actually, very nicely done!
mailing list, I have often felt left out because I hadn't yet read the
specific stories. The problem seems to be that, for some reason, I receive
my Gladstone subscriptions, by mail, weeks after they have appeared on
supermarket racks and comic bookstore shelves. By this time, each issue has
been discussed thoroughly. I can't believe my remote location in the stark
wilderness of the San Francisco Bay Area (near the site of the old Fort
Duckburg, I believe) is the reason for the mail delay. Can anyone on this
mailing list enlighten me as to why Gladstone subscribers seem to enjoy
such a low priority?
On a related matter, I just received Donald Duck Adventures #34 a couple of
days ago. It was one of those "fewer pages, newsprint cover" issues. Much
to my surprise, also in the package was a four-page, nice-quality, black &
white newsletter from Gladstone which I had not seen discussed on this list
(could it be that I am the only U.S. subscriber to Gladstone's duck
titles?). This issue of the Gazette tells the story of the ill-fated "Uncle
Scrooge Pennywise Comics", explains the "This is the Year that Was" series,
offers quotes from Carl Barks, has profiles of some Gladstone employees AND
contains the "Cross Talk" and extended Letters to the Editor columns deleted
from the smaller, newsprint cover issues. Actually, very nicely done!
INET64
Newest comics
Message 221 -
1995-08-30 at 20:58:55
I am a big comic book fan. Do you have any comics with Mickey or Minnie.
Erica Rhoades
Erica Rhoades
952SANDLIN
Un
Message 222 -
1995-08-30 at 21:38:45
please take me off your mailing list.... PLEASE!!!!!!!!!!!!!!
Mark Semich
Un
Message 223 -
1995-08-30 at 23:38:38
have you tried contacintg disney-comics-request rather than disney-comics?
Larry Gerstein
The past weeks' digests
Message 224 -
1995-08-31 at 02:57:57
Hi, gang.
This is the last day, for a while, that I'll be going by the
nom-de-plume "Larry" ... I'm off to Williamstown, Massachusetts, and
college, very shortly, so I'll have my own account to use (rather than the
family one). But Per, you can keep sending the digests to my Dad's E-Mail
address for now. I have to do some work on my Williams account before I
can accept new messages there. By next week things will be well.
BARRY:
As I correct my own name, I've gotten another one WRONG! Sorry,
Barry. I know you're not your wife. I only have brief periods at my Dad's
office when the computer is accessible, so I generally have little time to
glance over my letters again before sending them. Here, the realization I
should have had shoulda been: "SHARON?! Not at the Egmont dinner!"
Gaiist at aol.com:
""The Money Counting Machine" [USA 34] has a cute plot, and the
Gerstein translation is a great example of a translator making the best use
of his material. That said, I think that it is also painfully obvious that
the story, like so much of the Gladstone material, is padded to the point
of boredom."
I wasn't making the best use of "material" that Gladstone sent me,
though...I loved that story in German, so I selected it myself for
Gladstone! To me, at the time, I (coff, coff) didn't think the story had
that many faults.
But I'm glad you liked my version of it. I didn't think it was
that sluggish, but... oh, well.
FABIO:
"David kept on talking, and talking... ;-)
(Hi, Barry: not to talk about I.D., hum?)"
Gosh, was I SUCH a jabberer as all that...?
(You'll get a private mail from me soon, Fabio, with other things
to tell you, so don't worry!)
DANNY:
"Are Fethry (I don`t think so), Gladstone's nephew (I don`t know)
and Rumpus Barks` charakters or inventions of other artists?"
Fethry was created by Dick Kinney and Al Hubbard in 1965, I
believe. I have to admit I'm not sure which nephew of Gladstone you're
referring to. And Uncle Rumpus was created by William Van Horn.
CAREY:
The decision to move all Gladstones to 32-page newsprint-covered
issues appears, as far as I can reckon, to have been made after they got a
reaction to their first SOLICITATION (in comic shop "preview" catalogues)
for the new format. My local comic shop, and some others, ordered more
copies of the 32-pagers, because Gladstone's reference to "high-quality
paper" made them think the entire issues would be printed on slick paper.
These shops were surprised to see that the paper in question was just
Gladstone's usual paper.
WES:
"I did try to read the whole thing, but I fell asleep..."
In the same letter, you say that the story ("Monarch of Medioka")
was GOOD! Was one of these comments sarcastic?
("Monarch of Medioka" is one of my very favorite Disney comic
stories, IMHO. Gottfredson at his best! Rather slow in 7 serialized parts
though.)
KATHY:
"Mythological Menagerie" will be reprinted in WDC&S 600 along with
three other vintage ten-pagers (Barks' "Rabbit's Foot" from WDC&S 32,
Jippes' "Do-Gooder Duck", and Van Horn's story of DD as binge eater from
WDC&S 133).
KNUT:
"I always loved that first Phantom Blot story! Just yesterday I
spent over 1 hour looking for a comic book I bought some years ago in the
USA with that story, very differently edited than the version I have in my
"I, Goofy"-book..."
The version you're looking for must be the 1956 version, with the
"trap" sequences rewritten and redrawn by Paul Murry. The traps in the
1939 version of the story are:
A gun that will shoot MM when a cat jumps for a fish.
A gun with a rope trigger which MM will pull when burned by a flame.
A noose suspended from a high beam, from which a drugged MM will fall.
A barber chair with a dagger that will impale MM.
An electric-shocked door.
In the redrawn version these become:
A mallet that will knock MM out when a cat jumps for a fish.
MM tied to a giant tortoise which is placed beside a steep cliff.
(This is a long sequence replacing 2 of the original traps)
A noose lowering MM into some water full of vicious swordfish.
And, again, the electric door (unchanged).
Disney Comics reprinted the redrawn version in 1990's DISNEY COMICS ALBUM
4; and in 1988, Gladstone's MM IN COLOR book had the original version,
spared even the relettering that's in the I, GOOFY book.
DWIGHT:
"I do recall seeing an issue of "Beano," the British comic weekly,
sometime in the mid'70s, which featured a strip called "Dennis the Menace,"
but a decidedly non-Ketcham local original character."
This character is still going, published from Scotland. I made
ends meet between Egmont jobs by doing some writing for him while in
Edinburgh last year; while I can't say I was very good with those
characters (they turned down a lot of my attempts), I did have the
distinction of being the first American ever to work for the company.
I also "Americanized" a 32-page Dennis story for them, which will
be the first appearance of their Dennis in the U. S. Not a great story,
but with some great possibilities for me. I had to come up with my own
idiom for the characters, so I mixed one part Donald, one part Mickey, and
one part Matt Groening. We'll see how it goes over.
HARRY:
Glad you liked "E. A. T."!! Again, it's one I chose, so I'm to
blame if it hits or misses in the United States.
"On the first panel of page 3, Scrooge is clearly dialing a number on
his phone. So it's not logical for him to say "Miss Quackfaster, give me
my head watchman!""
I thought he was pushing a line-switch button that would give him
the front desk, as opposed to Mr. Montague in the money-counting office or
Clerkly in some other department. But maybe I'm wrong!
I'll be back soon, with some other news.
David Gerstein
<gerstein at math.ucsb.edu>
"Have a chestnut, boys! ... OW!"
gerstein at math.ucsb.edu
This is the last day, for a while, that I'll be going by the
nom-de-plume "Larry" ... I'm off to Williamstown, Massachusetts, and
college, very shortly, so I'll have my own account to use (rather than the
family one). But Per, you can keep sending the digests to my Dad's E-Mail
address for now. I have to do some work on my Williams account before I
can accept new messages there. By next week things will be well.
BARRY:
As I correct my own name, I've gotten another one WRONG! Sorry,
Barry. I know you're not your wife. I only have brief periods at my Dad's
office when the computer is accessible, so I generally have little time to
glance over my letters again before sending them. Here, the realization I
should have had shoulda been: "SHARON?! Not at the Egmont dinner!"
Gaiist at aol.com:
""The Money Counting Machine" [USA 34] has a cute plot, and the
Gerstein translation is a great example of a translator making the best use
of his material. That said, I think that it is also painfully obvious that
the story, like so much of the Gladstone material, is padded to the point
of boredom."
I wasn't making the best use of "material" that Gladstone sent me,
though...I loved that story in German, so I selected it myself for
Gladstone! To me, at the time, I (coff, coff) didn't think the story had
that many faults.
But I'm glad you liked my version of it. I didn't think it was
that sluggish, but... oh, well.
FABIO:
"David kept on talking, and talking... ;-)
(Hi, Barry: not to talk about I.D., hum?)"
Gosh, was I SUCH a jabberer as all that...?
(You'll get a private mail from me soon, Fabio, with other things
to tell you, so don't worry!)
DANNY:
"Are Fethry (I don`t think so), Gladstone's nephew (I don`t know)
and Rumpus Barks` charakters or inventions of other artists?"
Fethry was created by Dick Kinney and Al Hubbard in 1965, I
believe. I have to admit I'm not sure which nephew of Gladstone you're
referring to. And Uncle Rumpus was created by William Van Horn.
CAREY:
The decision to move all Gladstones to 32-page newsprint-covered
issues appears, as far as I can reckon, to have been made after they got a
reaction to their first SOLICITATION (in comic shop "preview" catalogues)
for the new format. My local comic shop, and some others, ordered more
copies of the 32-pagers, because Gladstone's reference to "high-quality
paper" made them think the entire issues would be printed on slick paper.
These shops were surprised to see that the paper in question was just
Gladstone's usual paper.
WES:
"I did try to read the whole thing, but I fell asleep..."
In the same letter, you say that the story ("Monarch of Medioka")
was GOOD! Was one of these comments sarcastic?
("Monarch of Medioka" is one of my very favorite Disney comic
stories, IMHO. Gottfredson at his best! Rather slow in 7 serialized parts
though.)
KATHY:
"Mythological Menagerie" will be reprinted in WDC&S 600 along with
three other vintage ten-pagers (Barks' "Rabbit's Foot" from WDC&S 32,
Jippes' "Do-Gooder Duck", and Van Horn's story of DD as binge eater from
WDC&S 133).
KNUT:
"I always loved that first Phantom Blot story! Just yesterday I
spent over 1 hour looking for a comic book I bought some years ago in the
USA with that story, very differently edited than the version I have in my
"I, Goofy"-book..."
The version you're looking for must be the 1956 version, with the
"trap" sequences rewritten and redrawn by Paul Murry. The traps in the
1939 version of the story are:
A gun that will shoot MM when a cat jumps for a fish.
A gun with a rope trigger which MM will pull when burned by a flame.
A noose suspended from a high beam, from which a drugged MM will fall.
A barber chair with a dagger that will impale MM.
An electric-shocked door.
In the redrawn version these become:
A mallet that will knock MM out when a cat jumps for a fish.
MM tied to a giant tortoise which is placed beside a steep cliff.
(This is a long sequence replacing 2 of the original traps)
A noose lowering MM into some water full of vicious swordfish.
And, again, the electric door (unchanged).
Disney Comics reprinted the redrawn version in 1990's DISNEY COMICS ALBUM
4; and in 1988, Gladstone's MM IN COLOR book had the original version,
spared even the relettering that's in the I, GOOFY book.
DWIGHT:
"I do recall seeing an issue of "Beano," the British comic weekly,
sometime in the mid'70s, which featured a strip called "Dennis the Menace,"
but a decidedly non-Ketcham local original character."
This character is still going, published from Scotland. I made
ends meet between Egmont jobs by doing some writing for him while in
Edinburgh last year; while I can't say I was very good with those
characters (they turned down a lot of my attempts), I did have the
distinction of being the first American ever to work for the company.
I also "Americanized" a 32-page Dennis story for them, which will
be the first appearance of their Dennis in the U. S. Not a great story,
but with some great possibilities for me. I had to come up with my own
idiom for the characters, so I mixed one part Donald, one part Mickey, and
one part Matt Groening. We'll see how it goes over.
HARRY:
Glad you liked "E. A. T."!! Again, it's one I chose, so I'm to
blame if it hits or misses in the United States.
"On the first panel of page 3, Scrooge is clearly dialing a number on
his phone. So it's not logical for him to say "Miss Quackfaster, give me
my head watchman!""
I thought he was pushing a line-switch button that would give him
the front desk, as opposed to Mr. Montague in the money-counting office or
Clerkly in some other department. But maybe I'm wrong!
I'll be back soon, with some other news.
David Gerstein
<gerstein at math.ucsb.edu>
"Have a chestnut, boys! ... OW!"
gerstein at math.ucsb.edu
Larry Gerstein
Disney-comics digest #770.
Message 225 -
1995-08-31 at 03:57:42
Hi again, all.
Life is chaotic here, so while I have a lot of things to say, I
can't get all of 'em in just now. Okay -- what first?
DONALD DUCK 294 contains a Taliaferro strip with a warning about
the safety of whatever Donald's doing -- looking at an eclipse of the sun,
I think. I'm glad that the gag was not irretrievably banned.
I have seen ads for the new WDC&S 601 and future issues -- and the
issue gets back its 1940s logo, and even has the date written as it was on
those old issues. This is a high-class thing... I sure hope it sells.
My own work has been exhausting. Just got the art back from Vicar
for the Hard-Haid Moe story I started the year off with; I find this to be
some of the best art I've ever seen from Vicar, but... but... he refused to
draw Moe in the Strobl style, and drew a basically different character. So
I guess I'll have to rename him. The revival attempt that failed... >sigh<
Didn't someone on this list write a Neighbor Jones story that ended up
with someone else in it instead of Jones?
Anyway, the story is about DD as an insurance salesman. Due to a
situation too complicated to explain, he hits on the idea of Moe being an
easy sucker (he thinks) for a hard-sell, so tries to sell him "woods
insurance" policies... which protect the owner in case of bear bites, etc.
When stubborn Moe points out how he's always gotten along fine with the
forest animals, then throws DD out of his cabin, Donald riles up the local
animals to try to get them to turn on Moe, but... but... (end of spoiler)
I sent two scripts to Oberon recently: a Gyro and a Big Bad Wolf.
Does anyone have contacts over there? I sure wish I knew if they have
them, or if they liked them, or something!
And I just finished a new script for Egmont, too. "The Cavern in
the Shifting Sands" brings Mickey and Minnie to the Great Sand Dunes of
Colorado, where they discover a buried treasure -- and discover Pegleg Pete
and Shyster hot on its trail!
I'm also editing a collection of 1920s Felix the Cat Sunday pages
for another publisher right now. How I talked my way into that will have
to wait for another time -- but anyone who likes Disney comics should like
this collection.
Best,
David Gerstein
<gerstein at math.ucsb.edu>
"Have a chestnut, boys! ... OW!"
gerstein at math.ucsb.edu
Life is chaotic here, so while I have a lot of things to say, I
can't get all of 'em in just now. Okay -- what first?
DONALD DUCK 294 contains a Taliaferro strip with a warning about
the safety of whatever Donald's doing -- looking at an eclipse of the sun,
I think. I'm glad that the gag was not irretrievably banned.
I have seen ads for the new WDC&S 601 and future issues -- and the
issue gets back its 1940s logo, and even has the date written as it was on
those old issues. This is a high-class thing... I sure hope it sells.
My own work has been exhausting. Just got the art back from Vicar
for the Hard-Haid Moe story I started the year off with; I find this to be
some of the best art I've ever seen from Vicar, but... but... he refused to
draw Moe in the Strobl style, and drew a basically different character. So
I guess I'll have to rename him. The revival attempt that failed... >sigh<
Didn't someone on this list write a Neighbor Jones story that ended up
with someone else in it instead of Jones?
Anyway, the story is about DD as an insurance salesman. Due to a
situation too complicated to explain, he hits on the idea of Moe being an
easy sucker (he thinks) for a hard-sell, so tries to sell him "woods
insurance" policies... which protect the owner in case of bear bites, etc.
When stubborn Moe points out how he's always gotten along fine with the
forest animals, then throws DD out of his cabin, Donald riles up the local
animals to try to get them to turn on Moe, but... but... (end of spoiler)
I sent two scripts to Oberon recently: a Gyro and a Big Bad Wolf.
Does anyone have contacts over there? I sure wish I knew if they have
them, or if they liked them, or something!
And I just finished a new script for Egmont, too. "The Cavern in
the Shifting Sands" brings Mickey and Minnie to the Great Sand Dunes of
Colorado, where they discover a buried treasure -- and discover Pegleg Pete
and Shyster hot on its trail!
I'm also editing a collection of 1920s Felix the Cat Sunday pages
for another publisher right now. How I talked my way into that will have
to wait for another time -- but anyone who likes Disney comics should like
this collection.
Best,
David Gerstein
<gerstein at math.ucsb.edu>
"Have a chestnut, boys! ... OW!"
gerstein at math.ucsb.edu