Danny:
> "Carl Barks & Co. One Shot No.22: Europe Tour 1994" and "Carl Barks`
> Surviving Comic Book Art". Does anyone of you know these books?
> If yes, please tell me if there are worth buying or not.
CB&Co.#22 is the latest issue of THE Danish duckzine, which after
Freddy Milton left the editor's seat, has become less amateurish,
though that and Milton's love of animation was part of its magic.
This issue is truly a One Shot, cover to back dedicated to charting
Bark's Tour de Europe, with photos, interviews and congratulatory
art by overseas fans-gone-pros. No 20 page indexes and all in English
this issue has been prepared for a wider audience than the usual
print run of a 1000 allows.
*Of*course* I recommend it!
Order from Fantask, Skt.Pedersstraede 18, DK-1453 Copenhagen K, Denmark.
Price DKr. 38,50 (a Danish Krone is worth about 18 cents.)
Geoffrey Blum (in WDG#1):
> Rosa comes at these characters from the other end of timeline.
> For him young $crooge is a man of the Nineties - the 1990s, that is:
> tough, street smart, and battling alone against a hostile world.'
> [...] 'We have moved into the realm of the modern superhero comic.'
It's funny with this conspiracy to label Don's $crooge as a superhero.
The evidence is more circumstantial, than based on $crooge's exploits
during his career. For one thing the Lo$ is the first true continuity
found in Disney stories, thus eligible for the Eisner award for "Best
Serialized Story" of the year, which gives quite an unfair advantage
to the men-in-tights industry. To those people it may also appear that
Don Rosa is doing exactly to the Disney Universe, what Frank Miller did
to Batman, John Byrne to Superman, and Marvel to whoever they like.
I assume Americans only know 3 kinds of comics; funny animals, super
mutants and breakfast-TV...
The Serial Award is like the World Series in baseball, strictly U.S.,
not T.H.E.M. (Total Hegemony of European Monarchies, my new acronym for
the EuroUnion:) European publishers probably see a closer resemblance
to Hugo Pratt's "Corto Maltese". At least I do.
Daniel:
> Barks left his real last story "King Scrooge the First" unfinished
> as a script. Tony Strobl finished it, Barks script is lost since then.
How much lost can a script get? I hope Daan Jippes will eventually get
around to 'finishing' that story, as it is sadly overlooked, though it
is (was?) Barks' goodbye to comics. It also touches on that interesting
topic of $crooge's death. Though Don hasn't commented on the famous
gravestone drawing (*1867 +1967) to my knowledge, some thought has gone
into it, as hinted in 'ODaDaD'.
Yes, I checked with my Herodotus on the Solon/Midas encounter and it
says something like "Don't count a man (or duck:) lucky until he's dead."
An just LOOK at Magica's face! What does she know, witch and all?!
Don:
> Where do you think chapter 12 needs fleshing out? Is the Beagle Boy
> chase too short? Is $crooge's inspiration to come out of retirement too
> abrupt or too shallow? Just where should I add pages, and how many?
As someone previously noted, a longer recap of his exploits could be
nice. This would separate it more from the series proper, as I find it
more of an epilogue than a conclusion. Or in super-slang: a 'tie-in'.
I would also like it to be more 'christmassy' but I find the BB chase
too LONG, so I must be wrong... :)
Ole 'RoC' Reichstein Nielsen c/o LRN.DAIMI.AAU.DK
Author
Topic: 199508
(229 messages)
Lasse Reichstein Nielsen
From RoC
Message 91 -
1995-08-16 at 15:29:29
Daniel Van Eijmeren
King Scrooge "the Last"
Message 92 -
1995-08-16 at 15:59:52
OLE:
>> Barks left his real last story "King Scrooge the First" unfinished
>> as a script. Tony Strobl finished it, Barks script is lost since then.
> How much lost can a script get?
What do you mean with that?
> I hope Daan Jippes will eventually get around to 'finishing' that
> story, as it is sadly overlooked, though it is (was?) Barks' goodbye
> to comics.
Well, it wasn't overlooked. Artist Ulrich Schroder once inked the
story, but he *destroyed* (!!!) that art when he got it back for some
revisions. A frustrating fact is that he did his job very good, you
can still see a half page of that work in the CBL.
I don't know what was going on in Schroder's mind when he destroyed
the art, it's very difficult to understand that an artist can do such
things to art on which he had a lot of work.
> It also touches on that interesting topic of $crooge's death.
In "King Scrooge the First"??? I think you're wrong, it's the swami
who dies. I guess you're referring to "Go Slowly, Sands of Time" in
which Scrooge is dying (although that isn't mentioned). Barks made
only the text for that story, later he did also some drawings. (In
first instance the story was left unused.)
--- Daniel
>> Barks left his real last story "King Scrooge the First" unfinished
>> as a script. Tony Strobl finished it, Barks script is lost since then.
> How much lost can a script get?
What do you mean with that?
> I hope Daan Jippes will eventually get around to 'finishing' that
> story, as it is sadly overlooked, though it is (was?) Barks' goodbye
> to comics.
Well, it wasn't overlooked. Artist Ulrich Schroder once inked the
story, but he *destroyed* (!!!) that art when he got it back for some
revisions. A frustrating fact is that he did his job very good, you
can still see a half page of that work in the CBL.
I don't know what was going on in Schroder's mind when he destroyed
the art, it's very difficult to understand that an artist can do such
things to art on which he had a lot of work.
> It also touches on that interesting topic of $crooge's death.
In "King Scrooge the First"??? I think you're wrong, it's the swami
who dies. I guess you're referring to "Go Slowly, Sands of Time" in
which Scrooge is dying (although that isn't mentioned). Barks made
only the text for that story, later he did also some drawings. (In
first instance the story was left unused.)
--- Daniel
Don Rosa
Disney-comics digest #755.
Message 93 -
1995-08-16 at 16:07:00
DWIGHT:
As much as I respect translators (and colorists and letterers and
all the people who work on these stories, making bad stories look good and
good stories look great), I would not say that translators are anonymous
drudges. In the European Disney comics, the translators get credit for their
work in the comic indicia, but the people who actually did the writing,
pencilling and inking of all the stories get NO credit. I try to take the
lack of "creator" credits in an existential attitude, but it rankles me that
the translators and editors get their names in print, while the people who
created the work they are handling are ignored. Either all credits should be
listed, or none.
Of course, there might be legal reasons for all this, so I hear. I'm
told that European law dictates that creators are due royalties for their
work and part ownership, whereas this would not apply to editorial workers.
But then, some publishers list me as the artist/writer of one of my stories
now and then, and the world doesn't explode. So I really don't know why they
credit the editorial staff but still not the creative people.
But someday all these "Disney system" problems will surely be
rectified and the system will be brought into the 1970s. >
As much as I respect translators (and colorists and letterers and
all the people who work on these stories, making bad stories look good and
good stories look great), I would not say that translators are anonymous
drudges. In the European Disney comics, the translators get credit for their
work in the comic indicia, but the people who actually did the writing,
pencilling and inking of all the stories get NO credit. I try to take the
lack of "creator" credits in an existential attitude, but it rankles me that
the translators and editors get their names in print, while the people who
created the work they are handling are ignored. Either all credits should be
listed, or none.
Of course, there might be legal reasons for all this, so I hear. I'm
told that European law dictates that creators are due royalties for their
work and part ownership, whereas this would not apply to editorial workers.
But then, some publishers list me as the artist/writer of one of my stories
now and then, and the world doesn't explode. So I really don't know why they
credit the editorial staff but still not the creative people.
But someday all these "Disney system" problems will surely be
rectified and the system will be brought into the 1970s. >
Mike Pohjola
Disney-comics digest #755.
Message 94 -
1995-08-16 at 17:05:50
WES, PER and all the others:
How about this: "If somebody is interested in having access with
Don Rosa and several other Disney comics makers (is there a better word
for this?) via Internet, he may do this through me. My e-mail address
is mikep at freenet.hut.fi" Whaddaya think?
--
Mike - The Finnish Trekkie
How about this: "If somebody is interested in having access with
Don Rosa and several other Disney comics makers (is there a better word
for this?) via Internet, he may do this through me. My e-mail address
is mikep at freenet.hut.fi" Whaddaya think?
--
Mike - The Finnish Trekkie
Dixon H Chandler
Monarch, Mickey, Gottfriedson
Message 95 -
1995-08-16 at 19:23:15
While I, too, hate to see stories serialized like "Monarch" was, I have to
I enjoy the work of Floyd Gottfriedson a great deal, and would like to see
many more of his Mickey Mouse stories presented.
-dc
I enjoy the work of Floyd Gottfriedson a great deal, and would like to see
many more of his Mickey Mouse stories presented.
-dc
Frank Stajano
No subject
Message 96 -
1995-08-16 at 23:42:00
Subject: Frank Stajano's Introduc(k)tion
Hello everybody and thanks for making this list the high-quality forum
that it is! I've only discovered it recently and I think I've found the
Holy Grail. I was sure that there were other people in the world who
loved the Disney comics just like I do and I was longing to find some to
correspond with...
As this is my first message to the list, custom dictates that I start
with an introduc(k)tion. So here it goes.
My name is Francesco Stajano, generally known as Frank. I am Italian but
I've been moving around quite a lot; I lived in Belgium for four years in
the '70s and I've been in Cambridge, UK, since 1992 (no, that's not
university, I did that in Rome; this one in Cambridge is a permanent
real-world job). English is my third language after Italian and French.
Like all of you on this list I am an enthusiastic Disney fan. I learnt to
read at age three (STRICTLY ALL-CAPITALS, OF COURSE) thanks to Topolino,
the Italian Mickey Mouse comic. While at primary school one of my most
prized possessions was a small booklet that other Italians on the list
won't fail to recognise, "Vita e dollari di Paperon De' Paperoni" ("Life
and dollars of Scrooge Mc Duck"), a black and white paperback with some
great Barks stories including "A Christmas for Shacktown", "Uncle Scrooge
and the Seven Cities of Cibola", "Only a Poor Old Man" and "Back to the
Klondike" (censored, of course, although I had no idea that it was). At
the time I couldn't tell what the actual difference was (I naively
believed that all the Disney comics in existence had been written by a
gentleman named Walt Disney), but I very definitely felt that these
stories were special compared to all the other ones. When aged 9 or 10 I
got hold of a huge volume (for comparison: the format was slightly larger
than that of the blue CBL volumes with which you are probably familiar)
with more Barks stories: "Io, Paperone" ("I, Scrooge"). Again, these were
"the special stories". Among the most prized comics I had at the time
were also some Gottfredson reprints (that was the "Il Topolino d'oro"
("The Golden Mickey Mouse") series), including the Dr. Einmug "Island in
the Sky" one and "Mickey Mouse Outwits the Phantom Blot". In all fairness
I must admit that, while I found them fascinating, I was a bit scared by
the Gottfredson stories! Barks was gentler, more reassuring: the only
Barks story that I ever found frightening was "The Old Castle's Secret",
which despite that was one of the ones I liked best. And, as well as
these golden oldies, I had lots of "plain" Italian Disney comics, which I
all knew almost by heart: you could show me the cover and I would tell
you the stories inside.
At that time my family moved to Waterloo, Belgium. As a sort of
compensation for having left all my schoolfriends behind, I was granted a
subscription to Topolino. A couple of years later this was stopped, on
the grounds that I was a grown-up and I was not supposed to have that
childish passion for comics, and all that sort of rubbish (sounds
familiar to you? I hope not...). But the worst was yet to come: when, a
couple more years later, we came back to Italy, my father obliged me to
get rid of almost all my comics (!) because we couldn't afford to carry
around all that junk (!!) and the new house was smaller anyway. Sigh! So
this started a sad, dark Disney-less age that lasted for several years.
(With hindsight I might say that it was a good thing that this happened
at that time, as the late '70s and early '80s were a comparatively poor
period for the Italian production of Disney comics.)
Many years later, when I was at university, I once found a second-hand
comics shop with piles of "Topolino" in the back room. So I bought a few.
You may guess the rest. You can't separate what Destiny once joined...
Over the years, I bought back most of the comics that I had had to give
away in Belgium, plus tons more. Back to full-time Disney passion again!
Only, now I had a more "adult" perspective: I could tell the various
artists apart (although I could only assign "Dances-With-Wolves"-style
names to them, because the publisher didn't print the credits) and I
liked to indulge in comparative studies of various reprints of the same
story to find out, e.g., what the original format of the pages was, what
bits had been added and what bits had been edited out from a translated
edition and so on. I tried to assign a rough date to a story from the
shape of accessories like telephones and cars... That's when I started to
call myself, jokingly, "filologo disneyano", a Disney philologist. When I
got into modems and bulletin boards I inserted this description in my
signature and it has remained there since. It once upset somebody, a
comics collector I met on a bulletin board who claimed that _he_, if
anyone, should be the one "wearing" this title. He hadn't realised that
"filologo disneyano" does not have a definite article in front of it; I
am not claiming to be "THE" Disney philologist, just "A" Disney
philologist -- just like the words "research engineer" on my business
card shouldn't be taken to mean that I am the only person in the world
with that qualification. Rest assured that, whenever I meet other people
who are themselves Disney philologists, I am all too excited about it!
That's why I am so happy I found this mailing list which, by what I've
seen from the monthly digests, has a very high S/N ratio and a high
density of dedicated comics lovers.
Let's now get more specific about my Disney preferences and knowledge
(the Disney comics world is so large that most of us only know specific
areas of it: I look forward to learning a lot more thanks to you all). I
know the Italian production rather well. There has been so much of it,
lately (more new authors than I can recognise), that not all of it is up
to the highest standards; but there are still top-notch stories from
selected authors coming out at a steady pace. The Italian artist who I
think has been doing best in 1995 is definitely Massimo De Vita. There
are also some *VERY* gifted newcomers, but I'll talk about these in later
messages. I love Barks, of course, to me the best Disney author ever (the
greatest joy in my life was to meet him in London in 1994 -- he even
signed my old "Io, Paperone" book! There's a picture of him on my web
page), and Gottfredson. I am not thrilled by the current French and
Brazilian production (although I like the B-stories with Fethry Duck's
nephew-- what's his name in English?) and don't know much about the D-
and H- stuff.
I only discovered Don Rosa's work last year, when I went to a computer
conference in America; I hoped to fill up on comics but didn't have any
spare time to look for the right shops, so I came back with only ONE (can
you believe it!?) comic, bought at the airport. Luckily it had part of
the "Life of Scrooge" saga in it. That's how I got to know Don's stuff.
At first I didn't like the art too much (too un-Disney: with all that
woodcut-like inking it felt more like a "Where is Wally?" book than a
duck comic) and I also felt it was a bit cheeky and assertive to want to
complete Barks' universe... But the story was good, so I was intrigued.
This year I went to Canada for another conference (the follow-up to last
year's, actually), and this time I took a few days off to be sure I could
fill up on comics. And I sure did. Just before that, I had been to
another conference in Milan and I had found the new series of "If", with
an article by Fabio Gadducci describing Don's work and mentioning this
list (they managed to screw up the Internet address by the way...). The
"Return to Xanadu" story sounded fascinating. You bet that, in Toronto, I
especially looked for comics containing Don's stories!
I am a collector of stories, not of comics per se, and I've had some
heated flame-wars with people from the opposite camp. I accept and enjoy
reprints instead of originals if they are faithful and of reasonable
quality. I was pleased to read Harry Fluks' introduc(k)tion which
expresses a similar point of view. Don's "The Money Pit" story from
Donald Duck Adventures (Disney) #1 is also close to my feelings, with
lines such as "They put their coins in plastic sleeves, and are even
afraid to TOUCH then for fear they'll be worth less to somebody ELSE! Hee
hee!" Well said Don-- we know you were actually referring to COMICS
collectors!
But this message is getting too long already-- time to stop. What about
non-Disney things? I'll be very brief on that. I am a computer person, by
passion and by trade (always good when the two go together, and you get
paid to do what you like...); in 1992 I wrote a rather successful book on
modems and communications (good news, it's free; bad news, at least for
most of you, it's in Italian); in 1994 I created the DOOM Honorific
Titles. For more information about me, including contact information and
PGP keys, you may visit my web page. I add goodies from time to time. The
Disney pages I have in mind may eventually make their long overdue
appearance too. If you only have text access to the net, try finger.
http://www.cam-orl.co.uk/~fms/
finger fms at cam-orl.co.uk
Frank (Filologo Disneyano)
Hello everybody and thanks for making this list the high-quality forum
that it is! I've only discovered it recently and I think I've found the
Holy Grail. I was sure that there were other people in the world who
loved the Disney comics just like I do and I was longing to find some to
correspond with...
As this is my first message to the list, custom dictates that I start
with an introduc(k)tion. So here it goes.
My name is Francesco Stajano, generally known as Frank. I am Italian but
I've been moving around quite a lot; I lived in Belgium for four years in
the '70s and I've been in Cambridge, UK, since 1992 (no, that's not
university, I did that in Rome; this one in Cambridge is a permanent
real-world job). English is my third language after Italian and French.
Like all of you on this list I am an enthusiastic Disney fan. I learnt to
read at age three (STRICTLY ALL-CAPITALS, OF COURSE) thanks to Topolino,
the Italian Mickey Mouse comic. While at primary school one of my most
prized possessions was a small booklet that other Italians on the list
won't fail to recognise, "Vita e dollari di Paperon De' Paperoni" ("Life
and dollars of Scrooge Mc Duck"), a black and white paperback with some
great Barks stories including "A Christmas for Shacktown", "Uncle Scrooge
and the Seven Cities of Cibola", "Only a Poor Old Man" and "Back to the
Klondike" (censored, of course, although I had no idea that it was). At
the time I couldn't tell what the actual difference was (I naively
believed that all the Disney comics in existence had been written by a
gentleman named Walt Disney), but I very definitely felt that these
stories were special compared to all the other ones. When aged 9 or 10 I
got hold of a huge volume (for comparison: the format was slightly larger
than that of the blue CBL volumes with which you are probably familiar)
with more Barks stories: "Io, Paperone" ("I, Scrooge"). Again, these were
"the special stories". Among the most prized comics I had at the time
were also some Gottfredson reprints (that was the "Il Topolino d'oro"
("The Golden Mickey Mouse") series), including the Dr. Einmug "Island in
the Sky" one and "Mickey Mouse Outwits the Phantom Blot". In all fairness
I must admit that, while I found them fascinating, I was a bit scared by
the Gottfredson stories! Barks was gentler, more reassuring: the only
Barks story that I ever found frightening was "The Old Castle's Secret",
which despite that was one of the ones I liked best. And, as well as
these golden oldies, I had lots of "plain" Italian Disney comics, which I
all knew almost by heart: you could show me the cover and I would tell
you the stories inside.
At that time my family moved to Waterloo, Belgium. As a sort of
compensation for having left all my schoolfriends behind, I was granted a
subscription to Topolino. A couple of years later this was stopped, on
the grounds that I was a grown-up and I was not supposed to have that
childish passion for comics, and all that sort of rubbish (sounds
familiar to you? I hope not...). But the worst was yet to come: when, a
couple more years later, we came back to Italy, my father obliged me to
get rid of almost all my comics (!) because we couldn't afford to carry
around all that junk (!!) and the new house was smaller anyway. Sigh! So
this started a sad, dark Disney-less age that lasted for several years.
(With hindsight I might say that it was a good thing that this happened
at that time, as the late '70s and early '80s were a comparatively poor
period for the Italian production of Disney comics.)
Many years later, when I was at university, I once found a second-hand
comics shop with piles of "Topolino" in the back room. So I bought a few.
You may guess the rest. You can't separate what Destiny once joined...
Over the years, I bought back most of the comics that I had had to give
away in Belgium, plus tons more. Back to full-time Disney passion again!
Only, now I had a more "adult" perspective: I could tell the various
artists apart (although I could only assign "Dances-With-Wolves"-style
names to them, because the publisher didn't print the credits) and I
liked to indulge in comparative studies of various reprints of the same
story to find out, e.g., what the original format of the pages was, what
bits had been added and what bits had been edited out from a translated
edition and so on. I tried to assign a rough date to a story from the
shape of accessories like telephones and cars... That's when I started to
call myself, jokingly, "filologo disneyano", a Disney philologist. When I
got into modems and bulletin boards I inserted this description in my
signature and it has remained there since. It once upset somebody, a
comics collector I met on a bulletin board who claimed that _he_, if
anyone, should be the one "wearing" this title. He hadn't realised that
"filologo disneyano" does not have a definite article in front of it; I
am not claiming to be "THE" Disney philologist, just "A" Disney
philologist -- just like the words "research engineer" on my business
card shouldn't be taken to mean that I am the only person in the world
with that qualification. Rest assured that, whenever I meet other people
who are themselves Disney philologists, I am all too excited about it!
That's why I am so happy I found this mailing list which, by what I've
seen from the monthly digests, has a very high S/N ratio and a high
density of dedicated comics lovers.
Let's now get more specific about my Disney preferences and knowledge
(the Disney comics world is so large that most of us only know specific
areas of it: I look forward to learning a lot more thanks to you all). I
know the Italian production rather well. There has been so much of it,
lately (more new authors than I can recognise), that not all of it is up
to the highest standards; but there are still top-notch stories from
selected authors coming out at a steady pace. The Italian artist who I
think has been doing best in 1995 is definitely Massimo De Vita. There
are also some *VERY* gifted newcomers, but I'll talk about these in later
messages. I love Barks, of course, to me the best Disney author ever (the
greatest joy in my life was to meet him in London in 1994 -- he even
signed my old "Io, Paperone" book! There's a picture of him on my web
page), and Gottfredson. I am not thrilled by the current French and
Brazilian production (although I like the B-stories with Fethry Duck's
nephew-- what's his name in English?) and don't know much about the D-
and H- stuff.
I only discovered Don Rosa's work last year, when I went to a computer
conference in America; I hoped to fill up on comics but didn't have any
spare time to look for the right shops, so I came back with only ONE (can
you believe it!?) comic, bought at the airport. Luckily it had part of
the "Life of Scrooge" saga in it. That's how I got to know Don's stuff.
At first I didn't like the art too much (too un-Disney: with all that
woodcut-like inking it felt more like a "Where is Wally?" book than a
duck comic) and I also felt it was a bit cheeky and assertive to want to
complete Barks' universe... But the story was good, so I was intrigued.
This year I went to Canada for another conference (the follow-up to last
year's, actually), and this time I took a few days off to be sure I could
fill up on comics. And I sure did. Just before that, I had been to
another conference in Milan and I had found the new series of "If", with
an article by Fabio Gadducci describing Don's work and mentioning this
list (they managed to screw up the Internet address by the way...). The
"Return to Xanadu" story sounded fascinating. You bet that, in Toronto, I
especially looked for comics containing Don's stories!
I am a collector of stories, not of comics per se, and I've had some
heated flame-wars with people from the opposite camp. I accept and enjoy
reprints instead of originals if they are faithful and of reasonable
quality. I was pleased to read Harry Fluks' introduc(k)tion which
expresses a similar point of view. Don's "The Money Pit" story from
Donald Duck Adventures (Disney) #1 is also close to my feelings, with
lines such as "They put their coins in plastic sleeves, and are even
afraid to TOUCH then for fear they'll be worth less to somebody ELSE! Hee
hee!" Well said Don-- we know you were actually referring to COMICS
collectors!
But this message is getting too long already-- time to stop. What about
non-Disney things? I'll be very brief on that. I am a computer person, by
passion and by trade (always good when the two go together, and you get
paid to do what you like...); in 1992 I wrote a rather successful book on
modems and communications (good news, it's free; bad news, at least for
most of you, it's in Italian); in 1994 I created the DOOM Honorific
Titles. For more information about me, including contact information and
PGP keys, you may visit my web page. I add goodies from time to time. The
Disney pages I have in mind may eventually make their long overdue
appearance too. If you only have text access to the net, try finger.
http://www.cam-orl.co.uk/~fms/
finger fms at cam-orl.co.uk
Frank (Filologo Disneyano)
Arthur_de_Wolf
Carl ... WHO?
Message 97 -
1995-08-17 at 05:43:54
DON said:
> In the European Disney comics, the translators get credit for their
> work in the comic indicia, but the people who actually did the writing,
> pencilling and inking of all the stories get NO credit.
That's what I dislike most in the Dutch Disney comics. They NEVER tell
you who created a story. Disney comics are quite popular in Holland,
but (most of) the poeple who read them, never heard of 'Don Rosa', 'Carl
Barks' or 'William Van Horn'! That's why (I think) the Dutch Donald Duck
weekly gets those childish letters in their letter-column, like: "I had to
go to the dentist yesterday", or: "when it's my birthday, I get TWO
cookies with my cola!". What ELSE can the readers of Dutch Disney comics
write about?
Just like Don said, it's ALL European Disney comics, that 'refuse' to
print the entire credits. When I'm reading a German "Donald Duck Sonder-
heft" or a french "Le Journal de Mickey". It's always the same!
I only got to know about these artists, when I began reading American
Disney comics!
DANNY:
> At least I never saw any Disney comics the times I`ve been to Kenya.
> (The last time was just two weeks ago). But would you give away money
> for comic books if you only earned about 80$ a month??? But I`ll
> have a look at it when I go there next time.
I'd appreciate that. If you'd like to take a look, I'd maybe be able to
add "Kenya" to my "(Non-)Disney-Comics-Publishing-Countries-List".
I have to agree, that when you only earn about $80 a month, you're not
really interested in buying Disney comics. Someone, who had visited Mexico
City, once told me, that almost ALL children on the street are reading
comics. They're not DISNEY comics though! But very small and cheap comics.
(with a lot of violence and sex). These comics are supposed to be extremely
popular over there. Even the children who live on the streets read them.
I have one of those comics here. It's called "Sensacional de Luchas a
Color". The Disney Comics in Mexico (like 'Pato Donald' or 'Daisy') are
also very cheap and small!
--Arthur.
> In the European Disney comics, the translators get credit for their
> work in the comic indicia, but the people who actually did the writing,
> pencilling and inking of all the stories get NO credit.
That's what I dislike most in the Dutch Disney comics. They NEVER tell
you who created a story. Disney comics are quite popular in Holland,
but (most of) the poeple who read them, never heard of 'Don Rosa', 'Carl
Barks' or 'William Van Horn'! That's why (I think) the Dutch Donald Duck
weekly gets those childish letters in their letter-column, like: "I had to
go to the dentist yesterday", or: "when it's my birthday, I get TWO
cookies with my cola!". What ELSE can the readers of Dutch Disney comics
write about?
Just like Don said, it's ALL European Disney comics, that 'refuse' to
print the entire credits. When I'm reading a German "Donald Duck Sonder-
heft" or a french "Le Journal de Mickey". It's always the same!
I only got to know about these artists, when I began reading American
Disney comics!
DANNY:
> At least I never saw any Disney comics the times I`ve been to Kenya.
> (The last time was just two weeks ago). But would you give away money
> for comic books if you only earned about 80$ a month??? But I`ll
> have a look at it when I go there next time.
I'd appreciate that. If you'd like to take a look, I'd maybe be able to
add "Kenya" to my "(Non-)Disney-Comics-Publishing-Countries-List".
I have to agree, that when you only earn about $80 a month, you're not
really interested in buying Disney comics. Someone, who had visited Mexico
City, once told me, that almost ALL children on the street are reading
comics. They're not DISNEY comics though! But very small and cheap comics.
(with a lot of violence and sex). These comics are supposed to be extremely
popular over there. Even the children who live on the streets read them.
I have one of those comics here. It's called "Sensacional de Luchas a
Color". The Disney Comics in Mexico (like 'Pato Donald' or 'Daisy') are
also very cheap and small!
--Arthur.
H.W. Fluks
Daniel,Ole,Don,Art,Frank in digest #756.
Message 98 -
1995-08-17 at 14:22:47
DANIEL:
-------
> In which story did Miss Quackfaster appear for the first time?
Let me quote an old answer from Don Rosa to one of my questions (july, 1993):
> As you noted, she was only used in
> the American UNCLE $CROOGE #36 & 39 (IF that's her in #36), and she was
> only named in #39. As to why she is popular -- it's only because
> somebody at Egmont or Oberon decided to start using her as $crooge's
> one-and-only secretary many years back, so she became a fixture in the
> European stories, and therefore NOW in American reprints.
OLE, about "King Scrooge the First":
----
> How much lost can a script get?
In this case (and other cases), Barks' script was in the form of pencilled
pages with text. Strobl and/or the editor seem to have changed several things,
but we can't tell for sure, because the original Barks pencils are lost.
DON:
----
> In the European Disney comics, the translators get credit for their
> work in the comic indicia
In the Dutch comics, the translators, colourists etc. are named in the indicia,
but their work is not exactly described (only general terms like "art director",
"color art" etc.). Apparently, they (have to?) make a difference between
the staff and their freelance workers.
I think it is a law somehow, because the DD Extra comic carried no credits
at all, until recently. The moment they started SUBSCRIPTIONS to that comic,
the indicia were added.
ARTHUR:
-------
> That's what I dislike most in the Dutch Disney comics. They NEVER tell
> you who created a story.
Well... ALMOST never. Remember the issue last year when Barks visited Holland?
It was clearly stated that Carl Barks created all the comic stories in that
issue.
> Just like Don said, it's ALL European Disney comics, that 'refuse' to
> print the entire credits.
Danish comics printed credits during a (short) time, and the current Italian
and French comics (Oncle Picsou) give credits as well, as far as they
know them. (Apparently noone tells them that some of the best Dutch stories
are drawn by Mau Heymans, because they don't credit him.)
> The Disney Comics in Mexico (like 'Pato Donald' or 'Daisy') are
> also very cheap
That goes for both price and contents!
FRANK:
------
Welcome to this list! It's nice to read your background and to see
you've read our introducktions as well!
> [...] I was a grown-up and I was not supposed to have that
> childish passion for comics, and all that sort of rubbish (sounds
> familiar to you? I hope not...).
VERY familiar.
> The Italian artist who I
> think has been doing best in 1995 is definitely Massimo De Vita.
If I remember well, this artist made awful drawings in th 60s or 70s.
How come some Italians change their drawing style so drastically? For
instance, Romano Scarpa was very good in the 50s, and then he started
drawing VERY ugly Ducks in the 60s!
Does the Italian editor demand style changes from time to time?
> I am not thrilled by the current French and
> Brazilian production (although I like the B-stories with Fethry Duck's
> nephew-- what's his name in English?) and don't know much about the D-
> and H- stuff.
This is very typical. There seem to be two Disney comics worlds: the
Italian/French/Brazilian world, and the USA/Danish/Dutch world. People
from one world seem to know very little about the other. I for instance
know almost nothing about French or Brazilian comics.
Maybe, with Egmont (Denmark) producing digest-sized comics in "Italian"
style, both worlds get more together...
> I am a collector of stories, not of comics per se
Hear, hear! 8-)
--Harry.
Harry Fluks ()_() Dutch Disney comics freak
PTT Telecom (_) fluks at pcssdc.pttnwb.nl
Netherlands "Yeah.. I've _heard_ of coral barques"
-------
> In which story did Miss Quackfaster appear for the first time?
Let me quote an old answer from Don Rosa to one of my questions (july, 1993):
> As you noted, she was only used in
> the American UNCLE $CROOGE #36 & 39 (IF that's her in #36), and she was
> only named in #39. As to why she is popular -- it's only because
> somebody at Egmont or Oberon decided to start using her as $crooge's
> one-and-only secretary many years back, so she became a fixture in the
> European stories, and therefore NOW in American reprints.
OLE, about "King Scrooge the First":
----
> How much lost can a script get?
In this case (and other cases), Barks' script was in the form of pencilled
pages with text. Strobl and/or the editor seem to have changed several things,
but we can't tell for sure, because the original Barks pencils are lost.
DON:
----
> In the European Disney comics, the translators get credit for their
> work in the comic indicia
In the Dutch comics, the translators, colourists etc. are named in the indicia,
but their work is not exactly described (only general terms like "art director",
"color art" etc.). Apparently, they (have to?) make a difference between
the staff and their freelance workers.
I think it is a law somehow, because the DD Extra comic carried no credits
at all, until recently. The moment they started SUBSCRIPTIONS to that comic,
the indicia were added.
ARTHUR:
-------
> That's what I dislike most in the Dutch Disney comics. They NEVER tell
> you who created a story.
Well... ALMOST never. Remember the issue last year when Barks visited Holland?
It was clearly stated that Carl Barks created all the comic stories in that
issue.
> Just like Don said, it's ALL European Disney comics, that 'refuse' to
> print the entire credits.
Danish comics printed credits during a (short) time, and the current Italian
and French comics (Oncle Picsou) give credits as well, as far as they
know them. (Apparently noone tells them that some of the best Dutch stories
are drawn by Mau Heymans, because they don't credit him.)
> The Disney Comics in Mexico (like 'Pato Donald' or 'Daisy') are
> also very cheap
That goes for both price and contents!
FRANK:
------
Welcome to this list! It's nice to read your background and to see
you've read our introducktions as well!
> [...] I was a grown-up and I was not supposed to have that
> childish passion for comics, and all that sort of rubbish (sounds
> familiar to you? I hope not...).
VERY familiar.
> The Italian artist who I
> think has been doing best in 1995 is definitely Massimo De Vita.
If I remember well, this artist made awful drawings in th 60s or 70s.
How come some Italians change their drawing style so drastically? For
instance, Romano Scarpa was very good in the 50s, and then he started
drawing VERY ugly Ducks in the 60s!
Does the Italian editor demand style changes from time to time?
> I am not thrilled by the current French and
> Brazilian production (although I like the B-stories with Fethry Duck's
> nephew-- what's his name in English?) and don't know much about the D-
> and H- stuff.
This is very typical. There seem to be two Disney comics worlds: the
Italian/French/Brazilian world, and the USA/Danish/Dutch world. People
from one world seem to know very little about the other. I for instance
know almost nothing about French or Brazilian comics.
Maybe, with Egmont (Denmark) producing digest-sized comics in "Italian"
style, both worlds get more together...
> I am a collector of stories, not of comics per se
Hear, hear! 8-)
--Harry.
Harry Fluks ()_() Dutch Disney comics freak
PTT Telecom (_) fluks at pcssdc.pttnwb.nl
Netherlands "Yeah.. I've _heard_ of coral barques"
Daniel Van Eijmeren
Harry and Ole
Message 99 -
1995-08-17 at 14:55:12
HARRY:
------
>> In which story did Miss Quackfaster appear for the first time?
> Let me quote an old answer from Don Rosa to one of my questions
> (july, 1993):
>> As you noted, she was only used in the American UNCLE $CROOGE
>> #36 & 39 (IF that's her in #36), and she was only named in #39.
Thanks! I will add her to the list of introduction-stories. (It seems
that you can search very quickly through your archives.) I will also
note that she was nameless in US 36 (if it's her).
>> As to why she is popular -- it's only because somebody at
>> Egmont or Oberon decided to start using her as $crooge's
>> one-and-only secretary many years back, so she became a fixture
>> in the European stories, and therefore NOW in American
>> reprints.
I think that is a reason to put her on that list. But... maybe then I
should also place "Rockerduck" on it? He seems to be used very often
in Italy. I should know it, but was Rockerduck really a creation of
Barks? Why did Barks create the character? (I ask this because I
vaguely remember that I red something about this.)
Harry, we also had a little discussion once if we should put "Venijn
MacSnekkie" (Dutch name for the pig-villian) on the intro-list. You
said something like that it could be a problem, because Barks used
different names for the pig. Maybe we can put him on the list as "pig-
villian"?
But then... which story introduced the pig-villian?
HARRY & OLE about "King Scrooge the First":
-------------------------------------------
>> How much lost can a script get?
> In this case (and other cases), Barks' script was in the form of
> pencilled pages with text. Strobl and/or the editor seem to have
> changed several things, but we can't tell for sure, because the
> original Barks pencils are lost.
In the CBL is an article about the story. What survived of the story
is also a page-by-page written script by Barks. After that he made the
pencil script. This makes it easier to find out what might be changed
by Strobl and the editors. (But I agree that we can't tell it for
sure.)
The ending of the story has very typical differences with the written
script, so that's why we can say that there are some changes there.
--- Daniel
"King Scrooge had a fantastic layout and I hardly needed to do any
preliminary sketches, just trace." [Tony Strobl]
------
>> In which story did Miss Quackfaster appear for the first time?
> Let me quote an old answer from Don Rosa to one of my questions
> (july, 1993):
>> As you noted, she was only used in the American UNCLE $CROOGE
>> #36 & 39 (IF that's her in #36), and she was only named in #39.
Thanks! I will add her to the list of introduction-stories. (It seems
that you can search very quickly through your archives.) I will also
note that she was nameless in US 36 (if it's her).
>> As to why she is popular -- it's only because somebody at
>> Egmont or Oberon decided to start using her as $crooge's
>> one-and-only secretary many years back, so she became a fixture
>> in the European stories, and therefore NOW in American
>> reprints.
I think that is a reason to put her on that list. But... maybe then I
should also place "Rockerduck" on it? He seems to be used very often
in Italy. I should know it, but was Rockerduck really a creation of
Barks? Why did Barks create the character? (I ask this because I
vaguely remember that I red something about this.)
Harry, we also had a little discussion once if we should put "Venijn
MacSnekkie" (Dutch name for the pig-villian) on the intro-list. You
said something like that it could be a problem, because Barks used
different names for the pig. Maybe we can put him on the list as "pig-
villian"?
But then... which story introduced the pig-villian?
HARRY & OLE about "King Scrooge the First":
-------------------------------------------
>> How much lost can a script get?
> In this case (and other cases), Barks' script was in the form of
> pencilled pages with text. Strobl and/or the editor seem to have
> changed several things, but we can't tell for sure, because the
> original Barks pencils are lost.
In the CBL is an article about the story. What survived of the story
is also a page-by-page written script by Barks. After that he made the
pencil script. This makes it easier to find out what might be changed
by Strobl and the editors. (But I agree that we can't tell it for
sure.)
The ending of the story has very typical differences with the written
script, so that's why we can say that there are some changes there.
--- Daniel
"King Scrooge had a fantastic layout and I hardly needed to do any
preliminary sketches, just trace." [Tony Strobl]
Fumetti
Daniel,Ole,Don,Art,Frank in digest #756.
Message 100 -
1995-08-17 at 15:56:19
>FRANK:
>> The Italian artist who I
>> think has been doing best in 1995 is definitely Massimo De Vita.
>
>If I remember well, this artist made awful drawings in th 60s or 70s.
>How come some Italians change their drawing style so drastically? For
>instance, Romano Scarpa was very good in the 50s, and then he started
>drawing VERY ugly Ducks in the 60s!
>Does the Italian editor demand style changes from time to time?
The Walt Disney Italy (and Mondadori before) does not ask us to change style
in this way: the changes you noted are due to the artist's personal changes.
For example, Massimo De Vita changed style many times before he founded his
own style (you can see samples on our pages: http://www.alpcom.it/fumetti/).
>ALL
Can someone tell me who did art and text of a story (D 9004 : Le Jugement de
Paris) I found on "Le Journal de Mickey" and if there are other stories
dwelling in Italy? This is a story in Sicily (maybe a too old style
Sicily...). Well drawn. Thanks.
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/
>> The Italian artist who I
>> think has been doing best in 1995 is definitely Massimo De Vita.
>
>If I remember well, this artist made awful drawings in th 60s or 70s.
>How come some Italians change their drawing style so drastically? For
>instance, Romano Scarpa was very good in the 50s, and then he started
>drawing VERY ugly Ducks in the 60s!
>Does the Italian editor demand style changes from time to time?
The Walt Disney Italy (and Mondadori before) does not ask us to change style
in this way: the changes you noted are due to the artist's personal changes.
For example, Massimo De Vita changed style many times before he founded his
own style (you can see samples on our pages: http://www.alpcom.it/fumetti/).
>ALL
Can someone tell me who did art and text of a story (D 9004 : Le Jugement de
Paris) I found on "Le Journal de Mickey" and if there are other stories
dwelling in Italy? This is a story in Sicily (maybe a too old style
Sicily...). Well drawn. Thanks.
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/
Don Rosa
Disney-comics digest #756.
Message 101 -
1995-08-17 at 16:03:00
"RoC":
Glad to see you back to these screens after an ansence.
I wish someone over in Europe can help me get a copy of that CARL
BARKS & CO. #22. I was wondering why Milton hadn't sent me one, but if he
was not the editor/publisher for this issue, that might explain it. I can't
send a check to Denmark since it would cost them too much to cash a foreign
check, or so I was once told by someone there who wouldn't accept my currency.
I have just about finished up my additional material to the "Lo$"
part 12. Several people suggested adding to the opening TV documentary about
$crooge's life, but that seems like useless filler to me -- that was all in
parts 1-11, right? Besides, I try to make it clear that no one in Duckburg
knows much about $crooge's life or money since he's always been so
reclusive, and the TV show couldn't say more than it did.
You thought the BB chase was already too long? Oops -- well, now
it's too, TOO long. Actually, I didn't think the story needed any additions
to the plot or the incidents -- it was just that everything seemed to happen
too ABRUPTLY! The Ducks enter $crooge's mansion and BANG they're standing in
front of him. The Ducks take off after the BBs and BANG they catch them. I
was squeezed for space (but, as usual, long on ideas). So all I've done is
added panels in between the beginnings of some action and the outcome. This
would STILL make the BB chase longer, nonetheless -- you'll just hafta tell
me if I harmed or helped the mess.
I really should have concentrated on making the darn story more
CHRISTMASSY! You're right! I LOVE Christmas schmaltz!!! Perhaps that was
never in the forefront of my mind since I had so much other stuff to cram
in, and both times I was working on the story was in the middle of
burning-hot Augusts. And unlike when chptar 12 appeared in Europe, it will
by sheer chance be appearing in the Christmas issue of Gladstone's U$, so it
would have been soooo great to punch up the Christmas aspects more! I'm
gonna go back over there and think some more about where to stick some
Christmas into the mess -- yet, there's little hope. The story takes place
in places like $crooge's mansion and Money Bin... and Christmas cheer and
decorations would be completely out of place in those settings. I've put in
more of my "dripping sentimentality" as some people accuse me... and the
addition of Christmas schmaltz would have displeased that clique of readers
even if it had pleased others. You can't please everyone so you just hafta
try to only please yourself, as some song says.
However, a REAL CHRISTMASSY story is on my agenda -- the European
publishers have been asking me for one for years. It's already too late for
this year. Maybe next.
FRANK:
I'm glad to have another Italian in the group. That was an excellent
introDUCKtion. It sounds like you've really seen very few of my stories -- I
hope they'll grow on you a bit when you see more. But... maybe not?
Where was this self-proclaimed Disney comics expert that you
mentioned getting into a tiff with on some BBS? Why isn't he here? How many
more friends would we have here if people knew where to find us? And I don't
know what else Per can do to spread the word. In my final text for the
"Lo$", I hope to put the Internet addresses of the group and perhaps myself.
We'll see what that does.>
Glad to see you back to these screens after an ansence.
I wish someone over in Europe can help me get a copy of that CARL
BARKS & CO. #22. I was wondering why Milton hadn't sent me one, but if he
was not the editor/publisher for this issue, that might explain it. I can't
send a check to Denmark since it would cost them too much to cash a foreign
check, or so I was once told by someone there who wouldn't accept my currency.
I have just about finished up my additional material to the "Lo$"
part 12. Several people suggested adding to the opening TV documentary about
$crooge's life, but that seems like useless filler to me -- that was all in
parts 1-11, right? Besides, I try to make it clear that no one in Duckburg
knows much about $crooge's life or money since he's always been so
reclusive, and the TV show couldn't say more than it did.
You thought the BB chase was already too long? Oops -- well, now
it's too, TOO long. Actually, I didn't think the story needed any additions
to the plot or the incidents -- it was just that everything seemed to happen
too ABRUPTLY! The Ducks enter $crooge's mansion and BANG they're standing in
front of him. The Ducks take off after the BBs and BANG they catch them. I
was squeezed for space (but, as usual, long on ideas). So all I've done is
added panels in between the beginnings of some action and the outcome. This
would STILL make the BB chase longer, nonetheless -- you'll just hafta tell
me if I harmed or helped the mess.
I really should have concentrated on making the darn story more
CHRISTMASSY! You're right! I LOVE Christmas schmaltz!!! Perhaps that was
never in the forefront of my mind since I had so much other stuff to cram
in, and both times I was working on the story was in the middle of
burning-hot Augusts. And unlike when chptar 12 appeared in Europe, it will
by sheer chance be appearing in the Christmas issue of Gladstone's U$, so it
would have been soooo great to punch up the Christmas aspects more! I'm
gonna go back over there and think some more about where to stick some
Christmas into the mess -- yet, there's little hope. The story takes place
in places like $crooge's mansion and Money Bin... and Christmas cheer and
decorations would be completely out of place in those settings. I've put in
more of my "dripping sentimentality" as some people accuse me... and the
addition of Christmas schmaltz would have displeased that clique of readers
even if it had pleased others. You can't please everyone so you just hafta
try to only please yourself, as some song says.
However, a REAL CHRISTMASSY story is on my agenda -- the European
publishers have been asking me for one for years. It's already too late for
this year. Maybe next.
FRANK:
I'm glad to have another Italian in the group. That was an excellent
introDUCKtion. It sounds like you've really seen very few of my stories -- I
hope they'll grow on you a bit when you see more. But... maybe not?
Where was this self-proclaimed Disney comics expert that you
mentioned getting into a tiff with on some BBS? Why isn't he here? How many
more friends would we have here if people knew where to find us? And I don't
know what else Per can do to spread the word. In my final text for the
"Lo$", I hope to put the Internet addresses of the group and perhaps myself.
We'll see what that does.>
Lutz Koch
Disney-comics digest #755.
Message 102 -
1995-08-17 at 16:08:38
Dwight:
>Yeah, for German Duck fans, Dr. Erika Fuchs's translations are kind of
>the King James Version of Barks stories. (...)
>For German fans who grew up on her versions of Barks's stories, they're just
>as "official" as the originals. Thus the demand for her work in the
>German edition of the CBL.
This is absolutely correct, and Dr. Erika Fuchs translations can't really be
praised high enough for all their wit and high standard. Because of her fine
work, Carl Barks' stories have actually become part of modern German culture.
But it should also be noted that EHAPA, the German Disney publishers, have shown
a bad choice of words when describing Barks' original version. In a 1995
promotional brochure, the chapter describing the German CBL contains the
following phrase:
"Many readers would be disappointed if they could take a look at the American
original: Carl Barks without the verbal wit of Dr. Erika Fuchs - unthinkable!"
This is a mean and tasteless statement. But what can you expect from a company
that fills its most popular publication, the MM weekly, with editorial trash of
the worst kind (like encouraging kids to play filthy tricks on their classmates
etc.).
>I read in a European fanzine that Barks visited Dr. Fuchs when he was
>over there last year. She isn't a whole lot younger than he is (late
>80s, I think). He took her flowers and the account almost made it sound
>like a young man shyly calling on a young lady.
Yes, part of their encounter can be seen in the 40min. video which documents his
visit to Germany, "Duckburgh is Everywhere" (available at comic stores). She's
88 years old, and she is an art historian.
--Lutz
>Yeah, for German Duck fans, Dr. Erika Fuchs's translations are kind of
>the King James Version of Barks stories. (...)
>For German fans who grew up on her versions of Barks's stories, they're just
>as "official" as the originals. Thus the demand for her work in the
>German edition of the CBL.
This is absolutely correct, and Dr. Erika Fuchs translations can't really be
praised high enough for all their wit and high standard. Because of her fine
work, Carl Barks' stories have actually become part of modern German culture.
But it should also be noted that EHAPA, the German Disney publishers, have shown
a bad choice of words when describing Barks' original version. In a 1995
promotional brochure, the chapter describing the German CBL contains the
following phrase:
"Many readers would be disappointed if they could take a look at the American
original: Carl Barks without the verbal wit of Dr. Erika Fuchs - unthinkable!"
This is a mean and tasteless statement. But what can you expect from a company
that fills its most popular publication, the MM weekly, with editorial trash of
the worst kind (like encouraging kids to play filthy tricks on their classmates
etc.).
>I read in a European fanzine that Barks visited Dr. Fuchs when he was
>over there last year. She isn't a whole lot younger than he is (late
>80s, I think). He took her flowers and the account almost made it sound
>like a young man shyly calling on a young lady.
Yes, part of their encounter can be seen in the 40min. video which documents his
visit to Germany, "Duckburgh is Everywhere" (available at comic stores). She's
88 years old, and she is an art historian.
--Lutz
Daniel Van Eijmeren
Some comments on Barks-stories
Message 103 -
1995-08-17 at 17:16:31
Hi all!
Again, these are lists of Harry which I translated and extended a
little. Please, tell me if there's a mistake or something missing.
--- Daniel
======================================================================
STORY-IDEAS
-----------
WDC 103 <beachcombing>. Idea by Dana Coty.
WDC 107 <super-snooper>. Idea by Dana Coty.
WDC 160 <camel as present>. The joke of page 2, panel 4 is by
Gare Barks.
Of the following stories, the story-idea is by Barks' daughter:
WDC 198 <knight in shining armor>, WDC 200 <donald's pet service>,
WDC 211 <wishing stones>, WDC 218 <porpoise-hunting>, WDC 231 "The
Wax Museum" and US 24b "The Magic Ink".
WDC 264 "Master Wrecker". Idea by Joe Cowles.
OS 9 "Finds Pirate Gold". Barks drew the pages 1, 2, 5, 12 to 40. The
pages were drawn by Jack Hannah. The script is by Bob Karp, who
rewrote it from an unused script for an animated Disney movie.
OS 29c "Too Many Pets". Merill de Maris started with the script.
Finished, rewritten and extended by Barks.
OS 256a "Luck of the North". Idea by Dana Coty.
OS 263b "Trail of the Unicorn". Idea by Dana Coty.
DD 26a "Trick or Treat". Converted by Barks from the cartoon of the
same name (1952, directed by Jack Hannah).
US 5a <secret of atlantis>. Idea by Chase Craig.
US 16a "Back to Long Ago". Idea by a friend of Bill Spicer.
US 23a "The Strange Shipwrecks". Extended from a short script of
Nick George.
SOME COMMENTS ON VARIOUS STORIES
--------------------------------
In this paragraph some comments, which don't fit in other paragraphs.
SGW '54 "Donald Tells About Kites". Only on page 7 this version is
only different from the Pacific-version: Panels 3 and 4 are
replaced for other panels.
US&DD 1 "The Mummy's Ring". Barks redrew page 1, 16 and 17 of "The
Mummy's Ring" (OS 29a).
u-WDC 110 <wave-set on dog>. Only a very diminished and partly
hidden version of this cover has survived. It was used as a
detail for an advertisement for WDC.
s-GG '59 "The Pied Piper of Duckburg". Barks made 3 pages of script
for a Gyro Gearloose-story, which he never finished. The script
consists of elaborated pencil drawings. In 1989 Don Rosa
extended, elaborated and finished it to a 8-page story.
s-US 35a "Aswan Dam". Barks rejected this story in an early phase.
What survives of the story are two letters in which he tells
about it. It's not likely that Barks made any drawings for this
story.
Covers from paintings:
In 1972 Barks' painting no. 20 was made as a cover for a
Christmas Oneshot, but only years later it was used by Gladstone.
Paintings as cover-ideas:
Of the following paintings, Barks sold the sketch as cover-idea:
No. 72 (wild horse, 1973, published on WDC 405).
No. 107 (money falls out of hat, 1975, published on US 135).
No. 108 (video-phone, 1975, published on Daisy and Donald 25).
Script-only stories:
DD 117, DD 126 and US 71a are drawn by Tony Strobl.
DD 138 is propably drawn by Bob Gregory.
Most JW-stories are drawn by Kay Wright, some by Tony Strobl.
Written-only stories:
During his retirement Barks made three stories which he
submitted as written text, these stories are "Hang Gliders be
Hanged", "Go Slowly Sands of Time" and "Horsing Around with
History". At the end of the '70s, Barks made 12 drawings for
"Go Slowly".
======================================================================
Again, these are lists of Harry which I translated and extended a
little. Please, tell me if there's a mistake or something missing.
--- Daniel
======================================================================
STORY-IDEAS
-----------
WDC 103 <beachcombing>. Idea by Dana Coty.
WDC 107 <super-snooper>. Idea by Dana Coty.
WDC 160 <camel as present>. The joke of page 2, panel 4 is by
Gare Barks.
Of the following stories, the story-idea is by Barks' daughter:
WDC 198 <knight in shining armor>, WDC 200 <donald's pet service>,
WDC 211 <wishing stones>, WDC 218 <porpoise-hunting>, WDC 231 "The
Wax Museum" and US 24b "The Magic Ink".
WDC 264 "Master Wrecker". Idea by Joe Cowles.
OS 9 "Finds Pirate Gold". Barks drew the pages 1, 2, 5, 12 to 40. The
pages were drawn by Jack Hannah. The script is by Bob Karp, who
rewrote it from an unused script for an animated Disney movie.
OS 29c "Too Many Pets". Merill de Maris started with the script.
Finished, rewritten and extended by Barks.
OS 256a "Luck of the North". Idea by Dana Coty.
OS 263b "Trail of the Unicorn". Idea by Dana Coty.
DD 26a "Trick or Treat". Converted by Barks from the cartoon of the
same name (1952, directed by Jack Hannah).
US 5a <secret of atlantis>. Idea by Chase Craig.
US 16a "Back to Long Ago". Idea by a friend of Bill Spicer.
US 23a "The Strange Shipwrecks". Extended from a short script of
Nick George.
SOME COMMENTS ON VARIOUS STORIES
--------------------------------
In this paragraph some comments, which don't fit in other paragraphs.
SGW '54 "Donald Tells About Kites". Only on page 7 this version is
only different from the Pacific-version: Panels 3 and 4 are
replaced for other panels.
US&DD 1 "The Mummy's Ring". Barks redrew page 1, 16 and 17 of "The
Mummy's Ring" (OS 29a).
u-WDC 110 <wave-set on dog>. Only a very diminished and partly
hidden version of this cover has survived. It was used as a
detail for an advertisement for WDC.
s-GG '59 "The Pied Piper of Duckburg". Barks made 3 pages of script
for a Gyro Gearloose-story, which he never finished. The script
consists of elaborated pencil drawings. In 1989 Don Rosa
extended, elaborated and finished it to a 8-page story.
s-US 35a "Aswan Dam". Barks rejected this story in an early phase.
What survives of the story are two letters in which he tells
about it. It's not likely that Barks made any drawings for this
story.
Covers from paintings:
In 1972 Barks' painting no. 20 was made as a cover for a
Christmas Oneshot, but only years later it was used by Gladstone.
Paintings as cover-ideas:
Of the following paintings, Barks sold the sketch as cover-idea:
No. 72 (wild horse, 1973, published on WDC 405).
No. 107 (money falls out of hat, 1975, published on US 135).
No. 108 (video-phone, 1975, published on Daisy and Donald 25).
Script-only stories:
DD 117, DD 126 and US 71a are drawn by Tony Strobl.
DD 138 is propably drawn by Bob Gregory.
Most JW-stories are drawn by Kay Wright, some by Tony Strobl.
Written-only stories:
During his retirement Barks made three stories which he
submitted as written text, these stories are "Hang Gliders be
Hanged", "Go Slowly Sands of Time" and "Horsing Around with
History". At the end of the '70s, Barks made 12 drawings for
"Go Slowly".
======================================================================
Arthur_de_Wolf
1 out of 2217. That's good!
Message 104 -
1995-08-18 at 06:19:27
HARRY:
> Well... they ALMOST never tell you who created a story. Remember the
> issue last year when Barks visited Holland? It was clearly stated that
> Carl Barks created all the comic stories in that issue.
That's ONE issue. What about the other 2217 issues of Donald Duck weekly?
Well, 1 out of 2217. That's not bad...for a Dutch comic book.
Most of the time in "De Beste Verhalen van Donald Duck" (BV) though,
they DO print a little story about Carl Barks on the second page.
--Arthur.
> Well... they ALMOST never tell you who created a story. Remember the
> issue last year when Barks visited Holland? It was clearly stated that
> Carl Barks created all the comic stories in that issue.
That's ONE issue. What about the other 2217 issues of Donald Duck weekly?
Well, 1 out of 2217. That's not bad...for a Dutch comic book.
Most of the time in "De Beste Verhalen van Donald Duck" (BV) though,
they DO print a little story about Carl Barks on the second page.
--Arthur.
Don Rosa
Disney-comics digest #757.
Message 105 -
1995-08-18 at 15:19:00
HARRY:
Yes, SOMETIMES the various European editions do give story credits,
but only for Barks or the Rosa guy. But that's one of my points. If there IS
some legal reason or pressure from Disney NOT to give credits, then I can't
understand how they can still give a few. If Barks or I can get credit for
some (but not many) of our stories, what harm could there be in giving
everyone the credit they deserve.
They did begin doing this in all Egmont editions in 1991, as I may
have mentioned here before. And they swore to me that no one could force
them to stop giving the credits as they should be given. But someone stopped
them, and they've always seemed too embarrassed to ever tell me exactly what
pressure was brought to bare on them.
One suspiscion I have is that they may be able to give credits to
people living in America since we can't (if we decided to) force royalties
out of them. It may be a different matter for the writers/artists who live
there where the comics are published. (???)
LUTZ:
Whatever opinion you may have of your German Disney publishers,
don't lump the weekly comic publisher together with the album publisher.
Those are virtually two entirely separate companies, not even located in the
same city. They are two publishers owned by a common corporation (Egmont).
Surely they hobnob to some extent, but the workforces and editorial staffs
and ideas are completely separate.
SPEAKING OF different European Disney comics, here's one that I've just come
across. Someone has been sending me copies of KOMIX, the monthly Disney
comic from GREECE published by "Attica General Publishing", ("At-ti-ca!
At-ti-ca!") This title seems to be less than 7 years old, but it may rival
Gladstone or Disney-Italia in producing slick, well-colored quality Disney
comics with a good letters page (not letters from kiddies, but more like
Gladstone) and an editorial staff which goes to great lengths to include
numerous historical texts concerning the Disney comics and characters ...
and with FULL CREDITS for every story, presented prominently! Plus they sell
all back issues! It's true that they seem to be lifting various texts and
covers from other publishers, but that's all part of having a Disney license
-- you have rights to anything that has ever appeared in any other Disney
comic book anywhere -- and the editors are very diligent and descriminating
and selective in what they choose to "swipe". I see lots of Geof Blum texts
and even some texts that I seem to have written, even with my signature
reproduced at the end! And this isn't easy for me to figure out -- it's one
thing to read other European languages that use the same characters and use
words that are similar at times to English or use the same latin derivation.
But you've heard the expression "It's all Greek to me" and I see where this
comes from. I kid about European comics being filled with "gibberish", but I
can't even recognize Greek enough to say it's gibberish. It looks like
secret code symbols. It took a while, but I can finally recognize "Carl
Barks" and "Don Rosa" in Greek. ("Don Rosa" comes out looking like "Ntov
Pooa"!) Anyway, these are really nice looking comics, printed in what we
call in America the "graphic novel" style, with heavy covers and square
binding and excellent coloring. I'm currently trying to establish contact
with Attica General to praise them.>
Yes, SOMETIMES the various European editions do give story credits,
but only for Barks or the Rosa guy. But that's one of my points. If there IS
some legal reason or pressure from Disney NOT to give credits, then I can't
understand how they can still give a few. If Barks or I can get credit for
some (but not many) of our stories, what harm could there be in giving
everyone the credit they deserve.
They did begin doing this in all Egmont editions in 1991, as I may
have mentioned here before. And they swore to me that no one could force
them to stop giving the credits as they should be given. But someone stopped
them, and they've always seemed too embarrassed to ever tell me exactly what
pressure was brought to bare on them.
One suspiscion I have is that they may be able to give credits to
people living in America since we can't (if we decided to) force royalties
out of them. It may be a different matter for the writers/artists who live
there where the comics are published. (???)
LUTZ:
Whatever opinion you may have of your German Disney publishers,
don't lump the weekly comic publisher together with the album publisher.
Those are virtually two entirely separate companies, not even located in the
same city. They are two publishers owned by a common corporation (Egmont).
Surely they hobnob to some extent, but the workforces and editorial staffs
and ideas are completely separate.
SPEAKING OF different European Disney comics, here's one that I've just come
across. Someone has been sending me copies of KOMIX, the monthly Disney
comic from GREECE published by "Attica General Publishing", ("At-ti-ca!
At-ti-ca!") This title seems to be less than 7 years old, but it may rival
Gladstone or Disney-Italia in producing slick, well-colored quality Disney
comics with a good letters page (not letters from kiddies, but more like
Gladstone) and an editorial staff which goes to great lengths to include
numerous historical texts concerning the Disney comics and characters ...
and with FULL CREDITS for every story, presented prominently! Plus they sell
all back issues! It's true that they seem to be lifting various texts and
covers from other publishers, but that's all part of having a Disney license
-- you have rights to anything that has ever appeared in any other Disney
comic book anywhere -- and the editors are very diligent and descriminating
and selective in what they choose to "swipe". I see lots of Geof Blum texts
and even some texts that I seem to have written, even with my signature
reproduced at the end! And this isn't easy for me to figure out -- it's one
thing to read other European languages that use the same characters and use
words that are similar at times to English or use the same latin derivation.
But you've heard the expression "It's all Greek to me" and I see where this
comes from. I kid about European comics being filled with "gibberish", but I
can't even recognize Greek enough to say it's gibberish. It looks like
secret code symbols. It took a while, but I can finally recognize "Carl
Barks" and "Don Rosa" in Greek. ("Don Rosa" comes out looking like "Ntov
Pooa"!) Anyway, these are really nice looking comics, printed in what we
call in America the "graphic novel" style, with heavy covers and square
binding and excellent coloring. I'm currently trying to establish contact
with Attica General to praise them.>