Keskustelujen arkisto

About the incompetent unsubscribers:

I basically agree with Fredrik's proposal. In fact I've been using a
similar mechanism for something else and it worked out very
well. Adapting my protocol to this mailing list would work like this:

1) The only way to subscribe to the list is to send
disney-comics-request a message like this one:

-------------
Please subscribe me to the disney-comics mailing list.

DECLARATION:

I understand that the mailing list is about Disney comic books and
*NOT* about cartoons, theme parks or other unrelated Disney
subjects. I know that to unsubscribe to this list I must send a
message with a body of "UNSUBSCRIBE" to the
disney-comics-request at minsk.docs.uu.se address, and I'll keep a note
of this for future reference.

--------------

2) A sample copy of this message will be on the web server, on the ftp
server and on the fingerable .plan of the disney-comics account (if
one exists-- I don't know how this mailing list is actually
implemented; otherwise it could be on Per's own .plan).

3) Any request not conforming to the above will NOT result in
subscription but in an automated reply that says: "if you really want
to subscribe please read this, understand it, agree with it and send
it back to me".

I've been running a sort of competition called DHT for more than a
year now, and the adoption of this policy has been very helpful.

To Even:

I don't think postmasters would ever be so rude as to sending
unsubscribe messages to a mailing list. It's their job to be "on the
other side" of such requests...

About the name:

I think it should stay the same. It's as unequivocal and descriptive
as we can get.

End of boring administrivia, back to comics.

I went back to Italy on holiday recently, travelling by plane to
Belgium and by car to Italy, going through Luxembourg, Germany,
Switzerland and Austria. In the German-speaking countries, at highway
petrol stations and the like, I saw many booklets by the title of
(where's that bit of paper? I don't read German myself...) LUSTIGES
TASCHENBUCH. ("taschenbuch" must obviously be something like
"pocket-sized book", I await enlightenment on the "lustiges"). Well,
for the most part these seemed to be EXACT reprints of the Italian
"Classici di Walt Disney" (CWD), a glorious series that started in
1957. So I thought that maybe some of you would enjoy some more
information on that.

When I was a kid the CWDs came out at a rate of 3 or 4 per year; later
on they became monthly. This series is all reprints, mostly of Italian
stories. Most of the Scarpa stories, including the ancient ones, have
been reprinted here. Stories in installments get a bit butchered at
the junction (a typical ugliness would be the joining panels drawn by
a completely unrelated artist, usually Giuseppe Perego), but apart
from that it's a great, affordable anthology of past classics. Before
Perego retired they had him draw rather silly "connections" between
the different stories of the booklet, as if pretending that all the
stories were really one big story. These were generally scripted by
Giangiacomo Dalmasso. For many decades the CWDs had half of the pages
in black and white and half of them in colour. The German edition I
saw was identical to the original in all respects (in several cases
I've seen they've even kept the same cover), except that the lettering
was typeset and not hand-drawn. Of course I can't judge on the quality
of the translation.

And now a question for the other Italians on the list. I was reading a
story the other day and I have a strong suspicion I found a
connection, but I had no way to confirm or reject it. The story is
<Topolino e il suo "amico" Macchia Nera>, from TL 1397, art by Giulio
Chierchini. I was trying to guess the writer and what I suspect is
that (s)he must have been a writer for Diabolik (which, to the rest of
you, is a popular non-Disney comic about a high-tech thief). Mostly
because of the ending, which is so untypical for a Mickey story, but
also because of details like the use of the face mask. I'd be grateful
if anyone could help me on that one. Who is the writer? Was I right or
wrong about Diabolik?

Frank (Filologo Disneyano)

[Send unsubscription requests to <disney-comics-request at minsk.docs.uu.se>.]

Contents of digest #729:

Larry P. Carter Unsubscribe
Bob Wright Disney-comics digest #726.
Mikko Aittola Weasel and Lustig
Mikko Aittola Re: Rosa-Grandey Settlement Statement
Mike Rhode Patrick Bloch
Anders Engwall The worst of Barks? (was: Defending Venus...)
Arthur de Wolf What's going on?
Mike Pohjola Re: Disney-comics digest #728.

======================================================================
Date: 19 Jul 1995 17:49:59 GMT
From: Larry_P._Carter at topkids.com (Larry P. Carter)
Subject: Unsubscribe

======================================================================
Date: Thu, 20 Jul 1995 00:20:18 -0400 (EDT)
From: Bob Wright <ARCHIMEDES at delphi.com>
Subject: Disney-comics digest #726.

On 17-JUL-1995 19:37:14.0 disney-comics said to ARCHIMEDES
DANIEL: Thanks for the pointer to the changed panel in the Marco Polo
story. I noticed it remained original in US 134 dated 11/76.
>Reading "Marco Polo" makes me ask how that story even got published
>back in 1966 and 1976. This story is like watching news about war on
>televsion... how did this story got past Western's desk?
I thought the story was quite humorous when it was first printed in
'66, especially the line about "watches from the workers' paradise". As I
recall, the story was similar to a lot of satire being published about the
war at the time by the liberal press. Perhaps it wasn't all that
conspicuous and got by the editor's desk smoothly.

{ Bob Wright }
{ archimedes at delphi.com }

======================================================================
Date: Thu, 20 Jul 1995 12:35:22 +0300 (EET DST)
From: Mikko Henri Juhani Aittola <maittola at snakemail.hut.fi>
Subject: Weasel and Lustig

Hey I just HAVE TO write this reply, cause I THINK that
John Lustig is way out of line on this one. Even I see
the things very differently and have first person experiment
how weasel the 'weasel' really is. I must also include little
quotes:

Lustig wrotes:
> I won't deny that I was very angry about some of the things I read in the
> archives. I was angry about the things written about me. And I was especially
> angry about the things written about people who are my friends and whom I
> respect--among them Bill Grandey, William Van Horn and Carl Barks.

Written by who? Rosa?

Don has written 'bad things' about Grandey. (And my opinion
is that he has had a real reason for this.)

I don't recall Don saying anything negative against WVH or CB.
Why are you bringing those two to this. The two persons
involved are Grandey and Rosa.

Rosa has always praised WVH's stories, his ability to draw, his use
of brush (instead of pen), his ability to have more traditional
approach to the stories, and whatever.

And as for CB. I think everybody on this list knows what Barks
means to Rosa. We know about his feelings after CB rejected to
meet Rosa, but he has never written 'bad things' about Barks.

I think, John Lustig, you have misunderstood.

> The things that were said about Barks particularly horrified me.

Who said what? Rosa? I get an expression from this that Rosa
has said things about Barks that horrify you.
1) What are those things?
2) If you mean somebody other that Rosa, why you bring
it up with Grandey-Rosa lawsuit?

> Most of the
> members of this list have never met Barks--and yet various people expressed
> very forceful and elaborate opinions about what kind of person Barks is and
> came up with some very sinister and far-fetched theories about his behavior.

What are these theories? I don't recall. You MUST have misunderstood.
If you have found those theories from the archives post those here
again, and THEN we can have a discussion.

> To some extent I can understand this. For the most part, you folks have only
> heard one side of this entire controversy. What else were you to think?

Hey, this list is not the only basis of our information.

Basicly it went like this:

Grandey attacked against Rosa in PUBLIC, and then Rosa
defended (because WE ASKED HIM what the hell was going on)
himself here.

And, oh yeah, Grandey REALLY attacked Rosa in public, and
also HERE IN FINLAND.

> So, I thought about writing into the list and giving the other side. The
> problem, though, was that many of the most inflammatory statements were made
> almost two years before I joined the list. To object now and deal with them
> in detail would only stir things up again and bring more attention to them.
> So I decided to say nothing--for the time at least.

Bullshit. You have just here wroted a big article claiming about
the things you have read from the archives without mentioning
what those things are. What kind of objective approach is that?

> And I think it's probably best not to get into the specifics of those past
> missives now.

I disagree, cause I think you have misunderstood something in
a BIG way. I think it's better to clear it up. It's better
for all of us.

> Saying that you dislike someone's story is fine. But to say horrible things
> about someone--purely on the basis of hearsay--that is unfair. Attacking
> someone who is not on this list to defend himself is even worse.

What are those 'horrible things'?
Who has attacked? Maybe there is a reason for an attack?
What about attacking someone in Scandinavia in Finnish language,
when the target is in America. I guess Grandey didn't understand
the power of internet. He thought he could say anything about
anybody here in scandinavia.

> I find it particularly contemptible to go after Barks. This man who has given
> us decades of wonderful characters and comics surely deserves an honored
> place here. From all accounts--except the ones posted on this list--Barks has
> gone out of his way over the years not to unnecessarily offend people. He is
> reclusive, but whenever he's been prodded out of his shell he's usually been
> gracious to fans and both helpful and encouraging to other professionals.

That is axactly what Don Rosa has said in past. He didn't do the
'Grandey thing'.

Remember when I told you that Grandey attacked Rosa here in Finland?
I try to explain the situation here also:

Barks gave an interview to one Finnish magazine. I'm not
sure but I think both Grandey and Kathy Bates were present
during the interview. The interviewer asked about things
about Rosa. Barks didn't want to talk about it. BUT, after
the interview, the interviewer got lots of 'material' from
Grandey. The pre-written material was then added to the interview.
Altought Barks didn't want to say anything about Rosa he kinda
said because of Garndey. What kind of manager is that?
Well, I call him 'weasel'.

> The fact that Barks and one other professional do not like each other and are
> feuding should not be the concern of fans. And even if it is there's no
> reason that you have to take sides.

What. Are. You. Saying? This. Isn't. The. U..S..S..R.

I guess we have some freedoms...

> The lawsuits and the controversies that surround them have already caused
> Barks and others a great deal of anxiety and pain. I think it's a damn shame
> that a man in his 90's has to spend his last years dealing with something
> like this.

So why did Grandey start all this? Maybe he gets Barks money after
Barks is gone? I think, basicly, Grandey uses Barks OR if Barks
is aware of what Grandey is doing, then he ain't the kind of
guy he wants to show us.

If you are over 90 that doesn't mean that you can attack the other
people without experimenting some defense. And my opinion is:
The real attacker was (is?) Grandey not Barks.

And certainly NOT Mr. Don Rosa.

/Mikko

> ======================================================================
> Date: Mon, 17 Jul 1995 19:42:00 -0400
> From: JALustig at aol.com
> Subject: Rosa-Grandey Settlement Statement
>
> As I mentioned in another posting, I'm placing this on the mailing list at
> the request of Bill Grandey of the Carl Barks Studio:
>
> JOINT STATEMENT OF SETTLEMENT
>
> JULY 6, 1995
>
> This joint statement of settlement is made by and between Don Rosa ("Rosa")
> and William R. Grandey ("Grandey") (collectively the "Parties") as of the
> above date, and is being made and issued to inform all interested persons
> that they have resolved their differences.
>------
> 3. The Parties also acknowledge and agree that Rosa's "Scrooge History"
> is his own work and was done neither in collaboration with nor with the
> endorsement of Mr. Carl Barks.

So...first you give your approval for the series and then you
start a campaign against it? Rosa gave a clear chance for Barks
to object to the contents of this series. Barks objected and Rosa
made the changes. Then after Rosa has made a series and was not
able to change it anymore - already published - then Grandey
started a campaign against the series...
And that campaign was also going on here in Finland.

Yep, call him weasel.

/Mikko

------------------

======================================================================
Date: Thu, 20 Jul 1995 14:27:43 +0300 (EET DST)
From: Mikko Henri Juhani Aittola <maittola at snakemail.hut.fi>
To: Knut Hunstad <Knut.Hunstad at veg.sintef.no>
Cc: disney-comics at minsk.docs.uu.se
Subject: Re: Rosa-Grandey Settlement Statement

This is a reply to Knut Hunstad post:

I don't agree. I think John Lustig's move was against all of us.
When he posts that we have made theories about what kind of man
Barks is WITHOUT telling who has made the theories and what are
the theories. He forgot to mention WHO, WHAT, WHEN and WHERE.
He kinda made me feel quilty and I don't even know what I have done...

In my post I made it quite clear that I was responsing to John
Lustig's post and his post was 'distributed' through disney-comics
mailing list and therefore I replied through that list.

I sure as hell didn't bring the subject up again, but when you
start an attack you have to be ready for defence...

/Mikko

======================================================================
Date: Thu, 20 Jul 95 08:45:50 EST
From: RHODE at email.afip.osd.mil
Subject: Patrick Bloch

Someone (sorry) asked who Patrick Bloch is. He's a new American
Disney artist who draws much in the style of Barks. The current
Donald Duck Adventures is by him and a very nice job. He even used
the Alex Raymond style for "human" characters in that story.

I've also met him and his wife (who colors for him) at a signing at
Dreaming City in Arlington VA (which should still have some signed
copies of his first book - the DDA from last fall with Donald on a
burro cover). Very nice guy. Acknowledges that Barks is his major
influence. Since last fall I saw the pencils for the story that came
out yesterday, I think he's getting yanked around a bit in his
publishing schedule. In conclusion, I think he's an up and coming
talent and you could do worse than begin following him now.

Mike Rhode

======================================================================
Date: Thu, 20 Jul 95 16:20:00 +0200
From: Anders.Engwall at eua.ericsson.se (Anders Engwall)
Subject: The worst of Barks? (was: Defending Venus...)

> I just wanted to say that I don't agree on the "Interplanetary postman"
> beeing Barks' worst story! I think it's quite funny. Admittedly it's quite
> negligant of simple economics, but that wouldn't be the first time...
>
> Can't really say what my candidate for the title would be (never really
> thought about it), but I'll keep it in mind...

Interesting question, this. Among the 10-pagers one of my candidates
would have to be 'Billions to Sneeze At' (WDC 124). Sort of surprising,
because this is from the classic period when Barks supposedly could do
no wrong... I find this one to be surprisingly dull and, well, heartless.

Possibly the Danish/Swedish publishers thought the same, because after
its initial run here back in 1951 it wasn't reprinted until 1990. Normally
the time period between reprints is about 20 years -- this one waited twice
as long.

As for longer stories, the worst one I can think of right now is 'Billion
Dollar Safari' (US 54). Less surprising, I suppose.

But all this is off the top of my head, I haven't really thought *that*
much about it...

Anders Engwall
---
"N{r atombomben kommer, l}t oss ta en kasse |l
och g} ut i skogen med tills det blir fred"

======================================================================
Date: Thu, 20 Jul 95 22:18:38 PDT
From: Arthur de Wolf <wolfman at pi.net>
Subject: What's going on?

Hi everyone,

There're some things I'd like to know. I'm currently collecting six
bimonthly comics by Gladstone. They're called:

Walt Disney's Comics and Stories
Donald Duck
Donald Duck Adventures
Uncle Scrooge
Uncle Scrooge Adventures
Donald and Mickey

As I'm reading the messages on this newsgroup, I'm getting the feeling
that there're going to be some serious changes at Gladstone.
First of all, I got #1 issue if Donald Duck and Mickey Mouse last time.
So that would mean that the Donald and Mickey comic has stopped!

Yesterday, I got Donald Duck Adventures #34. It was printed on this
'recycled looking' paper (like DD&MM). Why is this? I haven't got any
new issues of the other four comics, but are they going to change too?

It's not only the paper that has changed. I also noticed that there
isn't a 'letters page' (like the MAIL BIN and the ADVENTURE'S LOG)
anymore. Also the price sunk from $1.95/$2.50 to $1.50/$2.10

Why are all these changes going on? And what about the other comics.
Are there any new comics being published by Gladstone?

What about this "Walt Disney Giant", that you're all talking about?
Is it a new serie, that is being published every 2 months?

I heard that it's not going very well with Gladstone, because Disney
comics aren't very popular in the States anymore. I don't know if this
is true, but does it have anything to do with all of the things
I mentioned here?

I'm from Holland, you know. And I'm not quite aware of all these
things happening in the States, so I hope someone can tell me
more about it.

--Art.

======================================================================
Date: Fri, 21 Jul 1995 00:07:00 +0300
From: mikep at freenet.hut.fi (Mike Pohjola)
Subject: Re: Disney-comics digest #728.

LUCKY:
>written by Taliaferro in the early 1930's. Can someone tell me when did
>Carl Barks start drawing DD? And when he stopoped? The strip was unfinnished;

Of course it was unfinnished! The magazine was after all, in English!-)

Carl Barks begun drawing Donald Duck comics at 1942. Before that he had
been working as an animator and his first known picture of Donald was a scetch
of a movie poster: "Desert Prospectors", a film that was never published. His
first Donald comic was "Gold of the Pirates" (or something like that). His
last Disney comic was made in 1967 though I'm not exactly certain what it was.
Before (?) he started drawing for Disney, he had made some nice cartoons with
Barney the Bear and Benny the Donkey.

--

Mike - The Finnish Trekkie

======================================================================
(End of digest.)

gerstein at math.ucsb.edu

[Send unsubscription requests to <disney-comics-request at minsk.docs.uu.se>.]

Contents of digest #770:

DanOlson01 at aol.com UNSUBSCRIBE
innkurv at powertech.no UNSUBSCRIBE
Geir J. Netland Re: CBL: DDA 18
Don Rosa Re: Disney-comics digest #769.
fumetti at alpcom.it Re: Disney comics from China and India!
Jon Cato Lorentzen Why no loooong stories from Egmont?
Arthur & Daniel Hearts of the Yukon / Australian comics
Dwight Decker Re: CBL: DDA 18
Neal Kinney Re: Gladstone Gazette #1
INET64 newest comics
952SANDLIN at ALPHA.NLU.EDU un
Mark Semich Re: un
fumetti at alpcom.it Re: Disney comics from China and India!

======================================================================
Date: Tue, 29 Aug 1995 23:54:07 -0400
From: DanOlson01 at aol.com
To: Disney-Comics at minsk.docs.uu.se
Subject: UNSUBSCRIBE

UNSUBSCRIBE

======================================================================
Date: Wed, 30 Aug 1995 09:07:08 +0200
From: innkurv at powertech.no
To: Disney-Comics at minsk.docs.uu.se
Subject: UNSUBSCRIBE

UNSUBSCRIBE

_______________________________________________________________
Bokjegerne as, Schwensensgate 5,0170 Oslo
e-post: innkurv at bokjegerne.no
tlf. 2269 5344 fax 2269 4490

Hvis boeker og skrifter det hender
du trenger fra fremmede strender
en bok eller fler
intet gleder oss mer
og til hele Norden vi sender

...spesialister paa engelskspraaklige, tyske og franske boeker.

Book Hunters, Inc., Schwensensgate 5, N-0170 Oslo (Norway)
e-mail:innkurv at bokjegerne.no
tel. +47 2269 5344 fax +47 2269 4490

======================================================================
Date: Wed, 30 Aug 1995 15:09:37 +0200 (METDST)
From: "Geir J. Netland" <Geir.J.Netland at misjonshs.no>
Subject: Re: CBL: DDA 18

Dwight: I haven't read DDA 18 yet, but don't you
like any of the articles in CBL?

---Geir J. Netland

======================================================================
Date: Wed, 30 Aug 95 09:10 EDT
From: donrosa at iglou.com (Don Rosa)
Subject: Re: Disney-comics digest #769.

HARRY:
The cover for "Lo$" chapter X: when it came time to do a cover, I
couldn't help but be honest with Gladstone and tell them that there already
was a cover that I liked which they could use. I knew this would knock me
out of an extra income in doing a new cover, not to mention the future extra
bucks when we are finally allowed to sell our art... but to not tell them
that they could have something for free just woulda' been kinda weasely. I
did the same for the next cover, and even the same, in reverse, for one of
the next German "Don Rosa Library" albums (and they pay even more). As
always, it's not a fair system that allows two publishers to freely use
someone's work, but that's the system these publishers are in, and even if I
don't agree with the morality of that system, I'm not going to lie to those
publishers about their options, even at my own expense.
That chater X cover was slightly redrawn. I redid the Beagle Boy's
upper lip because I decided that it looked wrong, and I think I touched up
one or two other spots (FREE to Gladstone... just to improve my own work...
same way I did those new panels for that "Guardians of the Lost Library"
story). But when they told me they were gonna flip the cover art to allow
for the oval portrait, I neglected to warn them to flip the "D.U.C.K.".
Lucky it was simply written and not really hidden, or no one could ever have
spotted it! Egad -- that reminds me -- the cover for part XI will also be
flipped, and that "D.U.C.K." IS hidden. Give up on that one!
I dunno -- I guess I was too busy to redraw those two battleships,
or I didn't want to bother poor busy Gladstone with the idea. What I SHOULD
have bothered them with is to make sure they had proper color notes on it,
but I never thought they wouldn't. (As I've said, the 1902 battleships were
drastically miscolored, as were the Rough Rider uniforms, through some fault
of Egmont's photostat people.)
I hadn't noticed any misplacement of Grandpa Beagle -- I'll check
that out. Yes, it was surely for the benefit of the speech balloons, but I'm
not sure why he couldn't have started out on the proper side of $crooge.
There was a time in my fanzine-strip days when I thought very hard
about which side of a 2-page spread the "surprize" panels might appear. But
now, when Egmont so severely limits my page count, I can't possibly afford
to do that. Besides, one country will differ from the next as to how they
present the story. And then there's Germany who, for unknown reasons, never
uses my recap panels and makes a half-page recap of their own, thereby
throwing the half-pages of the story into a bottom-on-top mess until they
place a half-page ad partway through the story to straighten it out again.
So it's now IMPOSSIBLE for me to take that aspect of the storytelling into
consideration. There's really little about the Egmont method of
presentation, whether its coloring, lettering or printing, that enhances the
stories, sad to say. But that's life.
And if you were to ask me... comics became 6 panels per page instead
of 8 simply (as you suggest) to stretch the same story into more pages.
Buyers only notice how many pages of art they buy, not how much plot or
substance they're getting. Otherwise, how do you explain American super-hero
comics? Even 10-12 years ago when I was still glancing at American comics, I
recall something called MAGE that I looked through, and decided that I could
fit the issue's entire plot into 3 pages rather than 22. But there's
different things than what I think are important driving American comics in
the 90s. I guess I'm another dinosaur. But you'll never get less than 8
panels from me.
I wish I could get 10 or 12 panels on a page, what with these dang
space limitations I have! Right now I'm trying a new idea: I plotted out a
new story I'm calling "The Treasure of the Ten Avatars" about $crooge
hunting a lost city in the upper Punjab. I plotted it out to 30 pages! I
only have 24 to work with! I squeezed it together into 27 pages. I don't
want to cut any out! So I plan on doing the treasure hunt in such a way that
the Egmont weeklies can use it as a 24-page 2-parter, or someone else like
Gladstone or the other foreign albums can use it as a 27 page one-part
adventure! The weeklies will simply have to call it "The Treasure of the
Seven Avatars" -- they'll have to eliminate three or so Avatars. Of course,
there were ten Avatars in Hindu mythology, but I can't help that. I'll leave
it up to the publishers as to what they want to give their readers.

ARTHUR:
What do you mean, what is the true face of Disney? I don't
understand the question...

And PLEASE DON'T UNSUBSCRIBE ME TO THE LIST.

======================================================================
Date: Wed, 30 Aug 1995 13:32:08 +0000 (GMT)
From: fumetti at alpcom.it
To: Arthur_de_Wolf <wolfman at pi.net>
Cc: Disney-Comics at Minsk.Docs.UU.SE
Subject: Re: Disney comics from China and India!

Sorry Art. I suppose Don does not want to talk about the Walt Disney company
in a public list... Indeed I sent you a message "personally" because I know
that WD people are constantly looking at our mail... Do you understand what
I mean?
Bye!

Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian cartoonists society: fumetti at alpcom.it
http://www.alpcom.it/fumetti/

======================================================================
Date: Wed, 30 Aug 1995 15:34:58 +0200
From: Jon Cato Lorentzen <jonlo at ifi.uio.no>
Subject: Why no loooong stories from Egmont?

What is Egmonts reason for not wanting stories above 24 pages? Are the
stories considered too long to divide over several issues?
(8 pages an issue could make the stories last over a month)

Wouldn't it be great to get a 48-page Rosa story in those supplemental
issues that pop up now and then in the Scandinavian DD&Co, instead of those
movie-adaptions (Aristocats, etc.) :)

-jonC

======================================================================
Date: Wed, 30 Aug 1995 15:26:07
From: Arthur & Daniel <daniel at maisie.ow.nl>
Subject: Hearts of the Yukon / Australian comics

Hi!

Today, I (Arthur) am visiting Daniel, here in Maassluis. I finally got
to see his Carl Barks Library.

We decided to write a letter together:

DON:

Hearts of the Yukon <SPOILER!!!>
--------------------------------

We just read your new story in WDG#1 "Heart of the Yukon". We liked
it a lot. The ending was kind of surprising though. It sure was an
'open ending'! What did you mean with it? We think that you intended
that Scrooge rather wants to keep the delusion of Goldie being his
only 'could-be lover', instead of knowing the truth (the contents of
Goldie's letter could also be very negative).

Anyway, it was very strange to see such an ending in a *Disney comic*.
We're not saying that we didn't like the story, but after reading the
last page of the story, we turned the next page over, to see if it
REALLY was the ending of the story!

Maybe that's the 'artistic' thing about the story? It reminded us a
bit with a surprise-ending of a movie. It always gives a very
disappointed feeling to see the movie suddenly stop, but a little
time later you understand the meaning of it.

BTW. We really liked the gag on page 4 with that huge man
on the bear, it really gives you the feeling that HE is Steele. It's
also very strange (but good "IOHO") to see such a gag in a Disney-
Comic, it's almost like watching "Monty Python" (if you know what we
mean).

Are you planning to do more Yukon-stories? On one side we're thinking
that this subject is getting worn out. But on the other side... the
more we're talking here about this one, the more we're going to like
it! Compliments! <END OF SPOILER!!!>

Australian comics
-----------------

Last time, you said that Gladstone's licence covered all of Northern
America, Australia and New Zealand. Why are the English Disney comics
also distributed in Australia then?

--- Daniel & Arthur.

======================================================================
Date: Wed, 30 Aug 1995 09:28:47 -0700
From: deckerd at agcs.com
To: Geir.J.Netland at misjonshs.no
Cc: disney-comics at minsk.docs.uu.se
Subject: Re: CBL: DDA 18

> Dwight: I haven't read DDA 18 yet, but don't you
> like any of the articles in CBL?
>
In a word, no. The text pieces are worthwhile only to the
extent that they fill in historical background (explaining
topical jokes circa 1947 that today's readers wouldn't
understand, for example). When it comes to _interpretation_,
I don't need somebody filtering Barks through his own
opinion and outlook to tell me what he thinks Barks meant,
or worse, what he thinks Barks meant even though Barks
didn't know he meant it. I'm still annoyed by the essay
that interpreted Barks's postwar stories as atomic bomb
allegories even though Barks was quoted as saying he meant
no such thing. When the writers of these essays imply that
they know better than the actual creator of the stories,
they've left the real world behind and the essays are
worthless for any real understanding of Barks and his
stories. That's my opinion. Your mileage may differ.

--Dwight Decker

======================================================================
Date: Wed, 30 Aug 1995 10:11:24 -0700
From: nkinney at netcom.netcom.com (Neal Kinney)
Subject: Re: Gladstone Gazette #1

Following along with the discussions of the latest Disney comics on this
mailing list, I have often felt left out because I hadn't yet read the
specific stories. The problem seems to be that, for some reason, I receive
my Gladstone subscriptions, by mail, weeks after they have appeared on
supermarket racks and comic bookstore shelves. By this time, each issue has
been discussed thoroughly. I can't believe my remote location in the stark
wilderness of the San Francisco Bay Area (near the site of the old Fort
Duckburg, I believe) is the reason for the mail delay. Can anyone on this
mailing list enlighten me as to why Gladstone subscribers seem to enjoy
such a low priority?

On a related matter, I just received Donald Duck Adventures #34 a couple of
days ago. It was one of those "fewer pages, newsprint cover" issues. Much
to my surprise, also in the package was a four-page, nice-quality, black &
white newsletter from Gladstone which I had not seen discussed on this list
(could it be that I am the only U.S. subscriber to Gladstone's duck
titles?). This issue of the Gazette tells the story of the ill-fated "Uncle
Scrooge Pennywise Comics", explains the "This is the Year that Was" series,
offers quotes from Carl Barks, has profiles of some Gladstone employees AND
contains the "Cross Talk" and extended Letters to the Editor columns deleted
from the smaller, newsprint cover issues. Actually, very nicely done!

======================================================================
Date: Wed, 30 Aug 1995 11:58:55 -0600 (MDT)
From: INET64 <inet64 at mosquito.frcc.cccoes.edu>
Subject: newest comics

I am a big comic book fan. Do you have any comics with Mickey or Minnie.

Erica Rhoades

======================================================================
Date: Wed, 30 Aug 1995 13:38:45 -0500 (CDT)
From: 952SANDLIN at ALPHA.NLU.EDU
Subject: un

please take me off your mailing list.... PLEASE!!!!!!!!!!!!!!

======================================================================
Date: Wed, 30 Aug 1995 16:38:38 -0400
From: mas at cs.bu.edu (Mark Semich)
To: 952SANDLIN at ALPHA.NLU.EDU
Cc: disney-comics at minsk.docs.uu.se
Subject: Re: un

have you tried contacintg disney-comics-request rather than disney-comics?

======================================================================
Date: Wed, 30 Aug 1995 14:40:19 +0000 (GMT)
From: fumetti at alpcom.it
To: Arthur_de_Wolf <wolfman at pi.net>
Cc: Disney-Comics at Minsk.Docs.UU.SE
Subject: Re: Disney comics from China and India!

>ARTHUR
Anyway I was saying... ARGH! The Disney spy-killers got me! ARGH! Help!
Coff! Coff!...
eheheh! I'm joking (I hope so)!
Indeed the WD company is nothing more than a capitalistic multi-national
industry, and maybe loving to monopolize (ABC).
So they are obvioulsy interested in making money and money and money (money
that no one of them can take with him after death).
Art, literature, culture and so on are things for artists, writers and so on
(an industry may think this way). So there is nothing strange that
industries just think how to make more money and are very little (or
nothing) interested in what can help people or make them have a better life,
for the little time (very little - very little indeed) we live.
In what do we trust?
Amen.
Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian cartoonists society: fumetti at alpcom.it
http://www.alpcom.it/fumetti/

======================================================================
(End of digest.)

gerstein at math.ucsb.edu

ARTHUR:

> When people are searching for Disney-related subjects, they find
> this Mailing List! But what, if Per changes the name, to something
> like: 'Dis-ney-comics'? I don't mean that the little stripe between
> the 's' en 'n' is a good idea, but something like -that- will
> prevent the people who want to find Disney-related subjects to find
> our ML!

Preventing people to find us??? That's exactly were I'm afraid of!
I don't agree that that's a good way to solve the unsubscribe-
problem. I think that it's very nescessary that people are able to
find our club, so I think that the name "Disney" is a very important
key-word to keep in the title.

There are people in America who really don't know that Disney
publishes comics. Are we going to create the same problem on the
Internet: People not knowing there's a mailing-list for Disney comics?

Why don't we first try Fredrik's two-step subscription-method and
Per's new Smartlist-method? If that doesn't work, we can always talk
about the sense of changing our name.

Greetings,

--- Daniel

Hi!

Last time I bought the 'Golden Directory of the Internet'-book. The
information about this ML was wrong. I've told them (the people of
the book), and they recently said to me, that they will change it
in their next edition! :-)

--Arthur.

HARRY:
I'm glad to hear you liked that weird chapter XI. As I said, that
was the episode that gave me the most trouble.
You make me tear out my hair!!! WHY would the Dutch use the wrong
version of the story?! You mean they use a version that needlessly has a
repitition of the large ship-sinking panel, at the bottom of page 16 then
again on page 17? ARGH! But the only reason could be that they used the
version that was already colored by Egmont. I need to get with the editor to
tell him that I'm wasting my time doing two versions of all these stories
unless they CLOR both versions for use by these publishers!
The American version of chapter XI, with my annotations as to ALL
the Barks references, should be out in a very short time! Maybe one week.
You need to post your quiz soon.
I would not have drawn a windmill without finding a source to copy
from. But I'm not going to argue with a Dutchman as to what windmills look
like! I blame my reference source, whatever that was 2 1/2 years ago.
Why not use "The Gilded Man"? It's not important that that was a
"Donald story"... it was a BARKS story. It's just that Barks had put $crooge
in Guiana and I saw the obvious reference to another old story... besides, I
was desparate to find HUMOR to put into that disjointed tale!

ARTHUR:
Yes, as I was saying. 99% of the problem is the Internet directories
who list this NG as dealing with "Disney cartoons" without explaining what
they think they mean by "cartoons". But we should NOT inconvenience
ourselves by changing our name or find odd ways to misspell it -- I'm always
opposed to letting people who are making the errors or crimes force us to
change our behavior to suit their misdeeds. That would be admitting that the
stupid people are winning, and we're giving up. A good philosophy of life is
to never let the stupid people win. That comes close to happening in America
these days all too often.

DAVE R.:
Someone sent me a new PICSOU (French Uncle $crooge) today since it
had a "Lo$" chapter and an article about me... and I see it also reprints
your "Tour de Jour". Oh, drat -- and I just realized I didn't look to see
what title they used there in France! That would be interesting. I'll double
check for next time. Anyway, it was in the August issue, #283.

Frank:

> About the incompetent unsubscribers:
>
> I basically agree with Fredrik's proposal.

Me too!

> End of boring administrivia, back to comics.

> I went back to Italy on holiday recently, travelling by plane to
> Belgium and by car to Italy, going through Luxembourg, Germany,
> Switzerland and Austria. In the German-speaking countries, at highway
> petrol stations and the like, I saw many booklets by the title of
> (where's that bit of paper? I don't read German myself...) LUSTIGES
> TASCHENBUCH. ("taschenbuch" must obviously be something like
> "pocket-sized book", I await enlightenment on the "lustiges"). Well,
> for the most part these seemed to be EXACT reprints of the Italian
> "Classici di Walt Disney" (CWD), a glorious series that started in
> 1957. So I thought that maybe some of you would enjoy some more
> information on that.

With my horrible (but usually working) German and my limited English, I
translate "Lustiges Taschenbuch" to "Funny Pocketbook".

Your description of the CWDs fits with the Danish "Jumboboger". The joining
of seperate stories is truly horrible (imho).

I've just picked up no. 170 this morning. How far is the Italian publication?

Jacob Sparre Andersen.
--
Have you played with your LEGO today?
--
URL's: "mailto:sparre at cats.nbi.dk", "http://fys.ku.dk/~sparre".
--
"We need a plan to diverge from", Fesser