WES:
Why, OF COURSE, the fact that $crooge once sold lawnmowers in the
Sahara is in chapter XI of the "Lo$"! Didn't I say I missed NOTHING! NOTHING!!!
(I wondered about that comment of $crooge's, however... how would he
learn Arabic while in the Sahara desert? The Sahara is several countries
away from Arabia.)
JOHN:
Why was the Atlantic Ocean where the Pacific Ocean is supposed to be
on the map at the beginning of the "Lo$" chapter VIII? Because the letterer
goofed. I was worried that *I* had made that goof, but I checked my original
script and I had the right ocean in place. Letterers work fast and sometimes
read one thing and think another, I guess. One time I was talking on the
phone to that letterer (Todd Klein, the best in the bizniz) and found out
that while we were talking he was lettering a story. That means he had to be
thinking one thing and lettereing another... gosh, maybe I was talking to
him while he was lettering that map. Maybe it IS my fault! Drat!
In the more recent Klondike story of mine, the letterer had Iceland
where Lapland is. What can I do?
How did you manage to just now find that old issue of UNCLE $CROOGE?
You should have been buying chapter X, not VIII. I thought those $CROOGE
issues became scarce as Duck teeth a few days after they went on sale.
Author
Topic: 199509
(268 messages)
Don Rosa
Disney-comics digest #787.
Message 151 -
1995-09-17 at 16:16:00
Daniel Van Eijmeren
About give-aways and photostats
Message 152 -
1995-09-17 at 19:29:56
Hi all!
This message contains a conversation which I had with Don in private
mail, it is about the problems publishers seems to have with
reprinting Barks' give-away stories.
I'm sending this to the club, because this subject might be too
interesting to keep in private mail.
For those who don't know: In the 40's Barks made also stories which
didn't appear in the regular comics. They appeared in comics called
"give-aways", these were comics which were given away by companies as
promotion. Examples of these stories are "Darkest Africa", "Race to
the South Seas" and "Donald Duck's Atom Bomb".
The last two decades the stories were reprinted *redrawn* (by other
artists), because there seem to be problems with reprinting the
original art. As what I am told this is because the original art and
the photostats of (most of) these stories are lost.
I asked Don why they didn't work from xeroxes of the original comics.
-------------------- Beginning of forwarded messages ------------------
From: Daniel van Eijmeren
To: donrosa at iglou.com (Don Rosa)
Subject: Give-aways
Date sent: Thu, 14 Sep 1995 17:48:28
Hi Don,
I have a question to you about the CBL-reprints of Barks' give-away
stories. I've also asked it on the club, but then no one replied. I'm
asking this to you, because you might know a lot about the
reproduction techniques of Another Rainbow / Gladstone.
Why didn't the CBL use the original art of the give-aways? I've heard
that the photostats of the stories are lost, but why didn't they make
a reproduction of the original give-away comic?
It might be a problem that these comics contain colours, but I know
of xeroxers which have the possibility to leave colours out of the
xerox (so you get only the black lines). Harry has (or had) one at his
work, and the xeroxes he made with it looked quite good. So this is
why I think that it's not that impossible to make a good reproduction.
I'm even thinking that Another Rainbow did use reproductions of comics
(instead of photostats) in the CBL, so that's also why I'm wondering
why they didn't do that with the give-aways.
At first I thought that they didn't make a reproduction, because it
was far more easier to use the redrawn versions which were already
ready to print. So I thought it was lazyness. But the redrawn
versions have the original balloons pasted in their art, and I
certainly don't call all that work on pasting being lazy!
Now I'm thinking of the possibility that they only used the balloons
because these didn't contain colours (so it isn't very difficult to
make a black-and-white reproduction). Do editors still have problems
with coloured art, despite the existance of the xeroxer I mentioned?
I hope you can answer these questions.
Greetings,
--- Daniel
----------------------------------------------------------------------
Date sent: Fri, 15 Sep 95 07:53 EDT
To: Daniel van Eijmeren <daniel at maisie.ow.nl>
From: donrosa at iglou.com (Don Rosa)
Subject: Re: Give-aways
They seem to need to work from photostats and not xeroxes.
Whatever method you might use on a common copier to get the colors to
drop out either isn't suitable or not as successful as you believe --
all I know is it won't work for the system they use to print comics
or books. This must be true since I know of a guy who has even
copywrited a system for dropping colors off a comic page for B&W
repro and if it was easy to do correctly on a simple copy machine,
this wouldn't be necessary.
Anyway, the only acceptable way to get a good B&W copy of old
colored comic art is to cut the comic into individual pages and soak
eachpage in a solution which bleaches out all but the black ink. This
obviously RUINS the comic, and no one is willing to do that to a MARCH
OF COMICS issue that has a current "value" of around $5000.
----------------------------------------------------------------------
From: Daniel van Eijmeren
To: donrosa at iglou.com (Don Rosa)
Subject: More give-aways
Date sent: Sat, 16 Sep 1995 17:52:50
Hi Don!
Your answer about the giveaways was very interesting. I've still
some questions: Isn't it also possible to soak away colours from
colour-xeroxes? And what is exactly a photostat?
BTW. This is going on in private mail, but maybe you allow me to send
your previous answer to the club? Maybe others would also like to
know about it.
Greetings,
--- Daniel
----------------------------------------------------------------------
Date sent: Sun, 17 Sep 95 09:16 EDT
To: Daniel van Eijmeren <daniel at maisie.ow.nl>
From: donrosa at iglou.com (Don Rosa)
Subject: Re: More give-aways
A photostat is really just a photo. It's done on a huge
expensive machine which has the camera mounted pointing down at a flat
surface with lotsa guide-marks on it, and the camera can enlarge or
shrink the photo and keep the whole flat sheet in perfact (?) focus
and so forth. A Xerox or any copy-machine is really just an invention
for making really, really cheap photostat-type shots. Actually, on
modern copiers, I've found that a very carefully done Xerox from a
extremely good (i.e. big and expensive) Xerox machine is BETTER than a
photostat. Even photostats are a little blurry if they aren't done
very carefully. When I personally supervize my copy-store people, they
can make perfect Xerox copies.
I don't know about soaking color out of color copies -- it
sounds like it would not give the quality that is needed.
I think the Digest has already discussed this, but you can
post all this there if you wish. Somebody there probably knows much
more than I do about this subject.
--------------------------- End --------------------------------------
Is there someone who can add his/her two cents to this?
Greetings,
--- Daniel
This message contains a conversation which I had with Don in private
mail, it is about the problems publishers seems to have with
reprinting Barks' give-away stories.
I'm sending this to the club, because this subject might be too
interesting to keep in private mail.
For those who don't know: In the 40's Barks made also stories which
didn't appear in the regular comics. They appeared in comics called
"give-aways", these were comics which were given away by companies as
promotion. Examples of these stories are "Darkest Africa", "Race to
the South Seas" and "Donald Duck's Atom Bomb".
The last two decades the stories were reprinted *redrawn* (by other
artists), because there seem to be problems with reprinting the
original art. As what I am told this is because the original art and
the photostats of (most of) these stories are lost.
I asked Don why they didn't work from xeroxes of the original comics.
-------------------- Beginning of forwarded messages ------------------
From: Daniel van Eijmeren
To: donrosa at iglou.com (Don Rosa)
Subject: Give-aways
Date sent: Thu, 14 Sep 1995 17:48:28
Hi Don,
I have a question to you about the CBL-reprints of Barks' give-away
stories. I've also asked it on the club, but then no one replied. I'm
asking this to you, because you might know a lot about the
reproduction techniques of Another Rainbow / Gladstone.
Why didn't the CBL use the original art of the give-aways? I've heard
that the photostats of the stories are lost, but why didn't they make
a reproduction of the original give-away comic?
It might be a problem that these comics contain colours, but I know
of xeroxers which have the possibility to leave colours out of the
xerox (so you get only the black lines). Harry has (or had) one at his
work, and the xeroxes he made with it looked quite good. So this is
why I think that it's not that impossible to make a good reproduction.
I'm even thinking that Another Rainbow did use reproductions of comics
(instead of photostats) in the CBL, so that's also why I'm wondering
why they didn't do that with the give-aways.
At first I thought that they didn't make a reproduction, because it
was far more easier to use the redrawn versions which were already
ready to print. So I thought it was lazyness. But the redrawn
versions have the original balloons pasted in their art, and I
certainly don't call all that work on pasting being lazy!
Now I'm thinking of the possibility that they only used the balloons
because these didn't contain colours (so it isn't very difficult to
make a black-and-white reproduction). Do editors still have problems
with coloured art, despite the existance of the xeroxer I mentioned?
I hope you can answer these questions.
Greetings,
--- Daniel
----------------------------------------------------------------------
Date sent: Fri, 15 Sep 95 07:53 EDT
To: Daniel van Eijmeren <daniel at maisie.ow.nl>
From: donrosa at iglou.com (Don Rosa)
Subject: Re: Give-aways
They seem to need to work from photostats and not xeroxes.
Whatever method you might use on a common copier to get the colors to
drop out either isn't suitable or not as successful as you believe --
all I know is it won't work for the system they use to print comics
or books. This must be true since I know of a guy who has even
copywrited a system for dropping colors off a comic page for B&W
repro and if it was easy to do correctly on a simple copy machine,
this wouldn't be necessary.
Anyway, the only acceptable way to get a good B&W copy of old
colored comic art is to cut the comic into individual pages and soak
eachpage in a solution which bleaches out all but the black ink. This
obviously RUINS the comic, and no one is willing to do that to a MARCH
OF COMICS issue that has a current "value" of around $5000.
----------------------------------------------------------------------
From: Daniel van Eijmeren
To: donrosa at iglou.com (Don Rosa)
Subject: More give-aways
Date sent: Sat, 16 Sep 1995 17:52:50
Hi Don!
Your answer about the giveaways was very interesting. I've still
some questions: Isn't it also possible to soak away colours from
colour-xeroxes? And what is exactly a photostat?
BTW. This is going on in private mail, but maybe you allow me to send
your previous answer to the club? Maybe others would also like to
know about it.
Greetings,
--- Daniel
----------------------------------------------------------------------
Date sent: Sun, 17 Sep 95 09:16 EDT
To: Daniel van Eijmeren <daniel at maisie.ow.nl>
From: donrosa at iglou.com (Don Rosa)
Subject: Re: More give-aways
A photostat is really just a photo. It's done on a huge
expensive machine which has the camera mounted pointing down at a flat
surface with lotsa guide-marks on it, and the camera can enlarge or
shrink the photo and keep the whole flat sheet in perfact (?) focus
and so forth. A Xerox or any copy-machine is really just an invention
for making really, really cheap photostat-type shots. Actually, on
modern copiers, I've found that a very carefully done Xerox from a
extremely good (i.e. big and expensive) Xerox machine is BETTER than a
photostat. Even photostats are a little blurry if they aren't done
very carefully. When I personally supervize my copy-store people, they
can make perfect Xerox copies.
I don't know about soaking color out of color copies -- it
sounds like it would not give the quality that is needed.
I think the Digest has already discussed this, but you can
post all this there if you wish. Somebody there probably knows much
more than I do about this subject.
--------------------------- End --------------------------------------
Is there someone who can add his/her two cents to this?
Greetings,
--- Daniel
Arthur De Wolf
Why I feel cheated too!
Message 153 -
1995-09-18 at 00:44:19
Hi!
AUGIE:
> Was I the only one who felt sickened to have to pay for Bruce Hamil-
> ton's advertisement--- er, story "The Cold Blooded Penguin?"
I thought Gladstone wanted to make their Disney comics more attractive
by decreasing their prices and using the recycled-looking paper. And
now they make an extra large Giant-issue for a higher price, with
only a stupid Pablo-story of 17 pages in it! I don't understand it.
"That's not logical, captain!" Aren't comicbooks supposed to contain
-comic-stories? And you're right! It's only an advertisement for
the original art from The Cold-Blooded Penguin.
-- Arthur.
AUGIE:
> Was I the only one who felt sickened to have to pay for Bruce Hamil-
> ton's advertisement--- er, story "The Cold Blooded Penguin?"
I thought Gladstone wanted to make their Disney comics more attractive
by decreasing their prices and using the recycled-looking paper. And
now they make an extra large Giant-issue for a higher price, with
only a stupid Pablo-story of 17 pages in it! I don't understand it.
"That's not logical, captain!" Aren't comicbooks supposed to contain
-comic-stories? And you're right! It's only an advertisement for
the original art from The Cold-Blooded Penguin.
-- Arthur.
Daniel Van Eijmeren
Lettering a Don Rosa story
Message 154 -
1995-09-18 at 01:45:26
DON:
> Why was the Atlantic Ocean where the Pacific Ocean is supposed to be
> on the map at the beginning of the "Lo$" chapter VIII? Because the
> letterer goofed. (...) In the more recent Klondike story of mine,
> the letterer had Iceland where Lapland is. What can I do?
Why don't you letter a Gladstone-story yourself after you sent a
"blank-balloon" version to Egmont? Or isn't it possible to do such
work for Gladstone and getting paid as a letterer that way?
If this is possible you don't have to depend anymore on someone else
about the dialogue and texts of you stories.
Greetings,
--- Daniel
> Why was the Atlantic Ocean where the Pacific Ocean is supposed to be
> on the map at the beginning of the "Lo$" chapter VIII? Because the
> letterer goofed. (...) In the more recent Klondike story of mine,
> the letterer had Iceland where Lapland is. What can I do?
Why don't you letter a Gladstone-story yourself after you sent a
"blank-balloon" version to Egmont? Or isn't it possible to do such
work for Gladstone and getting paid as a letterer that way?
If this is possible you don't have to depend anymore on someone else
about the dialogue and texts of you stories.
Greetings,
--- Daniel
Elmo
Disney-comics digest #788.
Message 155 -
1995-09-18 at 06:53:46
donrosa at iglou.com (Don Rosa) writes:
> (I wondered about that comment of $crooge's, however... how would he
>learn Arabic while in the Sahara desert? The Sahara is several countries
>away from Arabia.)
Arabic is spoken across the whole of super-Saharan Africa; one of my
experimental collaborators is from Morocco and one of his languages is Arabic.
It's apparently spoken--at least occasionally--anywhere that's heavily Muslim.
greg
--
"If British engineers build a machine that doesn't work properly, they will
junk it and build a different one. If Japanese engineers build a machine
that doesn't work properly, they will modify it until it does work. If
American engineers build a machine that doesn't work properly, they will
build a bigger one."--'73 Chevy Pick-up
elmo (morrow at physics.rice.edu,morrow at fnalv.fnal.gov)
> (I wondered about that comment of $crooge's, however... how would he
>learn Arabic while in the Sahara desert? The Sahara is several countries
>away from Arabia.)
Arabic is spoken across the whole of super-Saharan Africa; one of my
experimental collaborators is from Morocco and one of his languages is Arabic.
It's apparently spoken--at least occasionally--anywhere that's heavily Muslim.
greg
--
"If British engineers build a machine that doesn't work properly, they will
junk it and build a different one. If Japanese engineers build a machine
that doesn't work properly, they will modify it until it does work. If
American engineers build a machine that doesn't work properly, they will
build a bigger one."--'73 Chevy Pick-up
elmo (morrow at physics.rice.edu,morrow at fnalv.fnal.gov)
Arthur De Wolf
An original version of "Darkest Africa"?
Message 156 -
1995-09-18 at 09:40:51
Hi!
DANIEL:
> The last two decades the stories were reprinted *redrawn* (by other
> artists), because there seem to be problems with reprinting the
> original art.
I have here a copy of the French 'Le Journal de Mickey'. In this
comicbook, I found a version of 'Darkest Africa' that wasn't
redrawn. When I compared it with the original giveaway, I saw
that it was exactly the same! The version of 'Darkest Africa' in
this 'LJdM' is extremely bad though! Some panels were cut in
half, and every page has 4 panels horizontally and 6 panels
vertically. (If I remember well!). I examined the two versions
very close, and I'm 99.9% sure, that they are the same!
Every leaf of every tree is the same. Every line is the same.
It's a shame, that the art looks so bad. Sometimes a cannibal
looks like one black spot, with two white eyes in it. The art
is that bad!
Maybe they made a color-photocopy, and printed that! Or is
that not possible?
-- Arthur.
DANIEL:
> The last two decades the stories were reprinted *redrawn* (by other
> artists), because there seem to be problems with reprinting the
> original art.
I have here a copy of the French 'Le Journal de Mickey'. In this
comicbook, I found a version of 'Darkest Africa' that wasn't
redrawn. When I compared it with the original giveaway, I saw
that it was exactly the same! The version of 'Darkest Africa' in
this 'LJdM' is extremely bad though! Some panels were cut in
half, and every page has 4 panels horizontally and 6 panels
vertically. (If I remember well!). I examined the two versions
very close, and I'm 99.9% sure, that they are the same!
Every leaf of every tree is the same. Every line is the same.
It's a shame, that the art looks so bad. Sometimes a cannibal
looks like one black spot, with two white eyes in it. The art
is that bad!
Maybe they made a color-photocopy, and printed that! Or is
that not possible?
-- Arthur.
Fredrik Ekman
Arabic
Message 157 -
1995-09-18 at 15:17:22
On Sun, 17 Sep 1995, Elmo wrote:
> Arabic is spoken across the whole of super-Saharan Africa; one of my
> experimental collaborators is from Morocco and one of his languages is Arabic.
> It's apparently spoken--at least occasionally--anywhere that's heavily Muslim.
While this is true, it is also interesting to know that while the spoken
forms of Arabic vary quite a lot (don't ask me how much, though), the
written language is the same all over the muslim world.
/F
> Arabic is spoken across the whole of super-Saharan Africa; one of my
> experimental collaborators is from Morocco and one of his languages is Arabic.
> It's apparently spoken--at least occasionally--anywhere that's heavily Muslim.
While this is true, it is also interesting to know that while the spoken
forms of Arabic vary quite a lot (don't ask me how much, though), the
written language is the same all over the muslim world.
/F
Jørgen Andreas Bangor
Gus Goose, Verhagen and pigmys
Message 158 -
1995-09-18 at 17:10:59
Mike (about a short Grandma Duck story, D92550):
| Did you notice that there was a portrait of Gus's father on his wall?
I must admit that I didn't. Seems that Don isn't the only one who can
put in details to be discovered later :-)
Mike again (about H8580):
| I thought the ending was a bit flat. There could've been another way
| of making the chest not found. And the art... It was _awful_! Just look at
| HDL for instance.
Agree about the ending, but the idea of the story, about Donald acting
in two times simultaneously, was very good, IMHO.
I like Verhagen's art. I agree that the nephews heads are a bit strange,
but he always draws them that way, so I've get used to this Verhagen style.
Harry:
| "What a nice little fellers!"
| "Watch it, guys! You can't touch a Pigmy! They get angry when you do that!"
| (very insulting quote from a Strobl story, translated from the Chile version)
I think that as well could have been translated from the Norwegian version.
The pigmys are drawn like cute, angry children -- with spears.
Someone did test if I had set up some automatic replier, BTW...
Looking at the orthography, I don't think it surprises me to find
"prodigy" in the From header.
Jorgen
| Did you notice that there was a portrait of Gus's father on his wall?
I must admit that I didn't. Seems that Don isn't the only one who can
put in details to be discovered later :-)
Mike again (about H8580):
| I thought the ending was a bit flat. There could've been another way
| of making the chest not found. And the art... It was _awful_! Just look at
| HDL for instance.
Agree about the ending, but the idea of the story, about Donald acting
in two times simultaneously, was very good, IMHO.
I like Verhagen's art. I agree that the nephews heads are a bit strange,
but he always draws them that way, so I've get used to this Verhagen style.
Harry:
| "What a nice little fellers!"
| "Watch it, guys! You can't touch a Pigmy! They get angry when you do that!"
| (very insulting quote from a Strobl story, translated from the Chile version)
I think that as well could have been translated from the Norwegian version.
The pigmys are drawn like cute, angry children -- with spears.
Someone did test if I had set up some automatic replier, BTW...
Looking at the orthography, I don't think it surprises me to find
"prodigy" in the From header.
Jorgen
David A Gerstein
Disney-comics digest #788.
Message 159 -
1995-09-18 at 18:31:18
ARTHUR:
The French version of "Darkest Africa" is quite old and,
although it is the original one, it is so badly reproduced that it's
basically unusable for any modern reprint.
But there WAS a bootlegged Italian printing, around 1980, that
used that process of bleaching the pages (or something). Fabio
Gadducci and I found it in the collection of a friend of his, and we
sent it right to Gladstone, hoping to get these very usable photostats
to them before it came time to publish the story in CBLDD album.
Sadly, we were too late. But when the story next comes up for
reprint in any form, the original version will be used, although it
will probably be censored the same way as the redrawn one.
(Fabio, John told me he did send the original bootleg-comic
back to you a few months ago... do you have it now?)
Disney Comics, Inc. had a cache of proofs to the 1947 Cheerios
giveaways which had previously been unknown (Bob Foster discovered
them). This led to the reprint of two formerly unreprintable MM
stories in WDC&S ("MM at the Rodeo" and "MM in the Haunted House").
Bob Foster has speculated that this cache may also have
included proofs to "DD's Atom Bomb," but at the time that he reprinted
the story (WDC&S 571) he didn't know that the CBL version was reinked
(Daan Jippes was just too good at it... >sigh!<) and so didn't look
for the original Barks art, thinking he already had it in the
CBL-proofs. And when Gladstone got in touch with Disney upon
reprinting the story in recent CBLDD album, Disney's emissaries didn't
know about the cache of proofs or where they might be now.
Aargh! Disney's so disorganized!
I also found out that the original, non-restored version
of OS 29's "The Hard Loser," reprinted (ONLY) in WDC&S 551, was simply
found among some dusty old boxes in W D Publications offices. No one
knew how they got there. There were a handful of gigantic, 11-by-17
pages, comprising parts of many stories (which existed in other
proofs), but only one complete story ("The Hard Loser").
I'm not sure why Gladstone didn't bother to use the WDC&S 551
version in their CBLDD album. Speculation: The WDC&S 551 version is
not from perfect proofs, and it does look a bit muddy. Perhaps
Gladstone wasn't aware that it was, in places, better than the CBL.
Finally, I have a German, Egmont-produced album which includes
the real, Barks version of "Santa's Stormy Visit" (album series DISNEY
SONDERALBUM Nr. 3, "Weinachtsgeschichte mit Donald Duck"). Since
Egmont produced this album, why did they ever REINK the story, and
choose that infinitely inferior version to send to Gladstone?
I didn't know about this being the original version, BTW,
until I made a comparison recently...
WES:
"The Fabulous Philosopher's Stone" was also reprinted in UNCLE
SCROOGE #253. Magnificent cover, and the story itself was pretty
well-colored. Although Disney Comics back issues are getting harder
to find these days, this would still be probably the easiest one to
hunt down.
HARRY:
Did you get the private messages I sent you a few days ago?
DON:
The old Gladstone-Marvel issues (of which US #292 was the
last) were distributed in many venues where the new
Gladstone-Gladstone issues are not. I used to complain about the poor
distribution Marvel gave the books, until I see how impossible they
are to find now... (but you know all this, right?)
The upshot of all this is that some stands that put their
Duck books in less-visible spots on the rack have the final
Gladstone-Marvels still there, including US #292.
My local drug store stocks the Disney titles, although since
Gladstone took over in 1993 they have never -- NEVER -- gotten UNCLE
SCROOGE, even when they ask their distributor for it. (They DO get
UNCLE SCROOGE ADVENTURES.)
I was also at a Pic-n-Pay last month where the comic rack was
JAMMED with comics. They were randomly distributed and packed so
tightly that comics were falling out onto the floor. I saw Gladstones
from as far back as the Marvel period, in single issues only, there,
sandwiched between all kinds of things, but I also saw the new
Gladstones, too. The newsprint covers were suffering a lot of damage
in that unhealthy climate.
But... but... John Clark tells me that the newsprint comics
uniformly outsell the $2 glossy covers on the newsstands, so they're
going to be around for a while. (They'll be getting their letter
columns back, though, pretty soon.)
David Gerstein
<96dag at williams.edu>
"Who am I? 176-671!" (Broadway musical in Duckburg)
The French version of "Darkest Africa" is quite old and,
although it is the original one, it is so badly reproduced that it's
basically unusable for any modern reprint.
But there WAS a bootlegged Italian printing, around 1980, that
used that process of bleaching the pages (or something). Fabio
Gadducci and I found it in the collection of a friend of his, and we
sent it right to Gladstone, hoping to get these very usable photostats
to them before it came time to publish the story in CBLDD album.
Sadly, we were too late. But when the story next comes up for
reprint in any form, the original version will be used, although it
will probably be censored the same way as the redrawn one.
(Fabio, John told me he did send the original bootleg-comic
back to you a few months ago... do you have it now?)
Disney Comics, Inc. had a cache of proofs to the 1947 Cheerios
giveaways which had previously been unknown (Bob Foster discovered
them). This led to the reprint of two formerly unreprintable MM
stories in WDC&S ("MM at the Rodeo" and "MM in the Haunted House").
Bob Foster has speculated that this cache may also have
included proofs to "DD's Atom Bomb," but at the time that he reprinted
the story (WDC&S 571) he didn't know that the CBL version was reinked
(Daan Jippes was just too good at it... >sigh!<) and so didn't look
for the original Barks art, thinking he already had it in the
CBL-proofs. And when Gladstone got in touch with Disney upon
reprinting the story in recent CBLDD album, Disney's emissaries didn't
know about the cache of proofs or where they might be now.
Aargh! Disney's so disorganized!
I also found out that the original, non-restored version
of OS 29's "The Hard Loser," reprinted (ONLY) in WDC&S 551, was simply
found among some dusty old boxes in W D Publications offices. No one
knew how they got there. There were a handful of gigantic, 11-by-17
pages, comprising parts of many stories (which existed in other
proofs), but only one complete story ("The Hard Loser").
I'm not sure why Gladstone didn't bother to use the WDC&S 551
version in their CBLDD album. Speculation: The WDC&S 551 version is
not from perfect proofs, and it does look a bit muddy. Perhaps
Gladstone wasn't aware that it was, in places, better than the CBL.
Finally, I have a German, Egmont-produced album which includes
the real, Barks version of "Santa's Stormy Visit" (album series DISNEY
SONDERALBUM Nr. 3, "Weinachtsgeschichte mit Donald Duck"). Since
Egmont produced this album, why did they ever REINK the story, and
choose that infinitely inferior version to send to Gladstone?
I didn't know about this being the original version, BTW,
until I made a comparison recently...
WES:
"The Fabulous Philosopher's Stone" was also reprinted in UNCLE
SCROOGE #253. Magnificent cover, and the story itself was pretty
well-colored. Although Disney Comics back issues are getting harder
to find these days, this would still be probably the easiest one to
hunt down.
HARRY:
Did you get the private messages I sent you a few days ago?
DON:
The old Gladstone-Marvel issues (of which US #292 was the
last) were distributed in many venues where the new
Gladstone-Gladstone issues are not. I used to complain about the poor
distribution Marvel gave the books, until I see how impossible they
are to find now... (but you know all this, right?)
The upshot of all this is that some stands that put their
Duck books in less-visible spots on the rack have the final
Gladstone-Marvels still there, including US #292.
My local drug store stocks the Disney titles, although since
Gladstone took over in 1993 they have never -- NEVER -- gotten UNCLE
SCROOGE, even when they ask their distributor for it. (They DO get
UNCLE SCROOGE ADVENTURES.)
I was also at a Pic-n-Pay last month where the comic rack was
JAMMED with comics. They were randomly distributed and packed so
tightly that comics were falling out onto the floor. I saw Gladstones
from as far back as the Marvel period, in single issues only, there,
sandwiched between all kinds of things, but I also saw the new
Gladstones, too. The newsprint covers were suffering a lot of damage
in that unhealthy climate.
But... but... John Clark tells me that the newsprint comics
uniformly outsell the $2 glossy covers on the newsstands, so they're
going to be around for a while. (They'll be getting their letter
columns back, though, pretty soon.)
David Gerstein
<96dag at williams.edu>
"Who am I? 176-671!" (Broadway musical in Duckburg)
L.Gori
Darkest africa redrawn
Message 160 -
1995-09-18 at 19:46:36
The old italian version of Darkest Africa ("Paperino e la Cleopatrias
Extinta") is *not* redrawn, and the original Barks art has yi*not
politically correct* images of natives, etc.
The Barks art in this verR Oyysion is superb, the one reprinted in CBL is
IMHO very *ugly*! and has a lot of ] 0Ographic censorships!
Excuse for the English!
Leonardo Gori
Extinta") is *not* redrawn, and the original Barks art has yi*not
politically correct* images of natives, etc.
The Barks art in this verR Oyysion is superb, the one reprinted in CBL is
IMHO very *ugly*! and has a lot of ] 0Ographic censorships!
Excuse for the English!
Leonardo Gori
Frank Stajano
Digests 782 - 786
Message 161 -
1995-09-18 at 19:58:36
DANIEL:
Well done for your list! Very nice thing to do. I suggest that, if you
can, you also put the date (at least the year) next to the issue
number, to make consultation easier.
HARRY:
> ["Cash Flow"] was reprinted in Gladstone's giant album #28 (the
> _first_ special Rosa album; a lot of people seem not to know this
> album exists).
Sounds like a good start for me: how do people in Europe normally get
these comics? Your local shop imports them? You go to the U.S. from
time to time? You have friends who do? Or you write to Gladstone and
ask for back issues by mail?
JORGEN:
(about the Rota story D94046) Do you know what languages these new
Rota stories have been published in?
DAVID:
Congratulations for being published in Italy too! I'll make a note of
the issue you mentioned-- see if I can find it next time I go back.
HARRY:
Thanks for the info on Marco Rota. It's really good news to hear that
he's doing new work! I hope these stories will someday be reprinted in
a language I can read... Thanks for telling me about Ferioli,
too. Your advice on reading more Danish and Dutch stuff is very
sound-- however my ignorance prevents me from going for the
originals. Any suggestions for reasonable translations? Are there any
which credit the authors?
DON:
Interesting stuff, this business about the Egmont colours vs the
Gladstone colours! I assumed that the artist would give directions to
the colorist -- obviously it is not the case. I also thought that an
artist would draw a scene expecting a certain kind of colouring style
to be applied to it: for example, I assume that one would draw rather
differently when targeting the "shaded millions of colours" rendering
style than when targeting the "flat colours" style. Do you give any
thoughts to this? Or did you have to give up on that because of what
you just told me?
JORGEN:
I sympathise with your "non-disclaimer". I think it's best to allow
oneself the freedom to say what one thinks; a polite censorship of the
bad comments means that nobody will know if you say it's OK because
you liked it or because you didn't want to upset the author. As long
as the criticisms are not offensive, they can be constructive and
helpful.
RAUL:
I agree with Harry: no binaries to the list please. Make them
available for ftp somewhere (assuming that the legal side is sorted
out).
FABIO:
Thanks for your welcome, but most of all thanks for your IF article
which told me about the existence of this list (and of Don Rosa)! Sad
to hear that you, too, were disney-raped by your parents... Can you
give me some issue numbers of Mega Almanacco with Rota stories?
Coming back to the subject of authors that are published in a language
that is different from their own: do you know how it works for Rota?
Does he send the story in Italian to Egmont? And what happens when the
story is reprinted in Italy? Do they get the original script back (one
would hope so) or do they retranslate from Danish? :-)
Frank (Filologo Disneyano)
Well done for your list! Very nice thing to do. I suggest that, if you
can, you also put the date (at least the year) next to the issue
number, to make consultation easier.
HARRY:
> ["Cash Flow"] was reprinted in Gladstone's giant album #28 (the
> _first_ special Rosa album; a lot of people seem not to know this
> album exists).
Sounds like a good start for me: how do people in Europe normally get
these comics? Your local shop imports them? You go to the U.S. from
time to time? You have friends who do? Or you write to Gladstone and
ask for back issues by mail?
JORGEN:
(about the Rota story D94046) Do you know what languages these new
Rota stories have been published in?
DAVID:
Congratulations for being published in Italy too! I'll make a note of
the issue you mentioned-- see if I can find it next time I go back.
HARRY:
Thanks for the info on Marco Rota. It's really good news to hear that
he's doing new work! I hope these stories will someday be reprinted in
a language I can read... Thanks for telling me about Ferioli,
too. Your advice on reading more Danish and Dutch stuff is very
sound-- however my ignorance prevents me from going for the
originals. Any suggestions for reasonable translations? Are there any
which credit the authors?
DON:
Interesting stuff, this business about the Egmont colours vs the
Gladstone colours! I assumed that the artist would give directions to
the colorist -- obviously it is not the case. I also thought that an
artist would draw a scene expecting a certain kind of colouring style
to be applied to it: for example, I assume that one would draw rather
differently when targeting the "shaded millions of colours" rendering
style than when targeting the "flat colours" style. Do you give any
thoughts to this? Or did you have to give up on that because of what
you just told me?
JORGEN:
I sympathise with your "non-disclaimer". I think it's best to allow
oneself the freedom to say what one thinks; a polite censorship of the
bad comments means that nobody will know if you say it's OK because
you liked it or because you didn't want to upset the author. As long
as the criticisms are not offensive, they can be constructive and
helpful.
RAUL:
I agree with Harry: no binaries to the list please. Make them
available for ftp somewhere (assuming that the legal side is sorted
out).
FABIO:
Thanks for your welcome, but most of all thanks for your IF article
which told me about the existence of this list (and of Don Rosa)! Sad
to hear that you, too, were disney-raped by your parents... Can you
give me some issue numbers of Mega Almanacco with Rota stories?
Coming back to the subject of authors that are published in a language
that is different from their own: do you know how it works for Rota?
Does he send the story in Italian to Egmont? And what happens when the
story is reprinted in Italy? Do they get the original script back (one
would hope so) or do they retranslate from Danish? :-)
Frank (Filologo Disneyano)
John Mayer
Chapter VIII
Message 162 -
1995-09-18 at 20:59:10
DON,
>How did you manage to just now find that old issue of UNCLE $CROOGE?
>You should have been buying chapter X, not VIII. I thought those $CROOGE
>issues became scarce as Duck teeth a few days after they went on sale.
Guess I'm just a lucky duck. It was the last one, and I did get chapter
X at the same time, although they didn't have chapter IX. Another factor
might be that in the all night grocery store I was shopping in, they
cleverly put the comic books on the shelves which are 6 and 7 feet off
the floor so that only big kids like me can reach them!
Chapter VIII was a Marvel and Chapter X was a Gladstone.
(Doesn't Chapter XI have to do with bankruptcy? ;-)
--
John Mayer
Moscow, Idaho
jdmayer at moscow.com
>How did you manage to just now find that old issue of UNCLE $CROOGE?
>You should have been buying chapter X, not VIII. I thought those $CROOGE
>issues became scarce as Duck teeth a few days after they went on sale.
Guess I'm just a lucky duck. It was the last one, and I did get chapter
X at the same time, although they didn't have chapter IX. Another factor
might be that in the all night grocery store I was shopping in, they
cleverly put the comic books on the shelves which are 6 and 7 feet off
the floor so that only big kids like me can reach them!
Chapter VIII was a Marvel and Chapter X was a Gladstone.
(Doesn't Chapter XI have to do with bankruptcy? ;-)
--
John Mayer
Moscow, Idaho
jdmayer at moscow.com
Deckerd
Digests 782 - 786
Message 163 -
1995-09-18 at 20:59:48
Frank said:
> Coming back to the subject of authors that are published in a language
> that is different from their own: do you know how it works for Rota?
> Does he send the story in Italian to Egmont? And what happens when the
> story is reprinted in Italy? Do they get the original script back (one
> would hope so) or do they retranslate from Danish? :-)
The scripts Rota sends to Egmont are in Italian. However, the house
language at Egmont is English, not Danish. All the scripts have to
be in English so they can be translated into other languages by the
various different publishers. It's easier for, say, the Brazilian
publisher to find somebody to translate a story from English to
Portuguese than it is Danish to Portuguese. I've translated several
Rota scripts from Italian to English for Egmont at the first-draft
stage just so the editors know what they have and can suggest
changes or whatever before Rota does the final art. What happens
when the story appears in Italy...well, that's a mystery someone
else will have to elucidate!
--Dwight Decker
> Coming back to the subject of authors that are published in a language
> that is different from their own: do you know how it works for Rota?
> Does he send the story in Italian to Egmont? And what happens when the
> story is reprinted in Italy? Do they get the original script back (one
> would hope so) or do they retranslate from Danish? :-)
The scripts Rota sends to Egmont are in Italian. However, the house
language at Egmont is English, not Danish. All the scripts have to
be in English so they can be translated into other languages by the
various different publishers. It's easier for, say, the Brazilian
publisher to find somebody to translate a story from English to
Portuguese than it is Danish to Portuguese. I've translated several
Rota scripts from Italian to English for Egmont at the first-draft
stage just so the editors know what they have and can suggest
changes or whatever before Rota does the final art. What happens
when the story appears in Italy...well, that's a mystery someone
else will have to elucidate!
--Dwight Decker
Daniel Van Eijmeren
Are there still German members???
Message 164 -
1995-09-18 at 22:57:29
Hi all! (Especially people from Germany)
Is there someone in Germany who can help me getting the
"DISNEY SONDERALBUM Nr. 3, Weinachtgeschichte mit Donald Duck"?
Please, contact me if you can get that album. Tell me about the price
or maybe swap-material you want to have for it.
Auf Wiedersehen,
--- Daniel
Is there someone in Germany who can help me getting the
"DISNEY SONDERALBUM Nr. 3, Weinachtgeschichte mit Donald Duck"?
Please, contact me if you can get that album. Tell me about the price
or maybe swap-material you want to have for it.
Auf Wiedersehen,
--- Daniel
Fumetti
Darkest africa redrawn
Message 165 -
1995-09-19 at 01:11:38
What Leonardo Gori said about the Barks' story "DD in Darkest Africa" (with
the "Almostus Extinctus" butterfly) is true! That story was published in
Italy in 1951 and was given as a gift to the members of the Mickey Mouse
Club and was not censored at all. If someone asks me, I can make a scanned
copy of a few pages available (in .gif file format) at the Anonima Fumetti's
web pages (http://www.alpcom.it/fumetti/), on demand.
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 "Almostus Extinctus" butterfly) is true! That story was published in
Italy in 1951 and was given as a gift to the members of the Mickey Mouse
Club and was not censored at all. If someone asks me, I can make a scanned
copy of a few pages available (in .gif file format) at the Anonima Fumetti's
web pages (http://www.alpcom.it/fumetti/), on demand.
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/