DON:
LO$ 11, which I've finally seen now, was a truly great piece
of work. You've pointed out how many Barks references are in it time
and again, but what's best about the story is how even with all the
references, it doesn't feel self-conscious -- it doesn't seem like
you're TRYING to get them all in (even though that's what you were
doing, no doubt), if you know what I mean.
I particularly like the scene where Scrooge selfishly crosses
Foola Zoola's religion. Foola Zoola leaps up -- and then the way we
cut, immediately, to Scrooge covered with warpaint and wearing a
pigskin, is one of the funniest single-panel transitions you've ever
put together.
Your details continue to be appreciated; particularly how you
continue to follow that fellow who expected a tip on his way home
through the Arctic wastes... "Tightwad! (mutter, grumble)"
One minor cavil: I could tell that you prepared the four
panels which replaced splash panel to part 3, later than the rest of
the story. In those four panels Scrooge loses his terror and decides
to fight Bombie, but when the original part 3 picks up again, Scrooge
is scared and musing over his narrow escape, as he was at the end of
the original part 2. Maybe you want to change a line of dialogue for
the album version, or sumpin'?
On the whole, excellent, and you can imagine how glad I am
that it came through unaltered. Beautiful lettering too, by the way,
Todd! And the colors were great, too.
DONALD DUCK ORANGE JUICE
cartons had King Features DD sunday gags on the sides for
eons, but last month I saw a carton with an original William Van
Horn DD gag on it! Everything appeared to be by him, including the
word balloons -- but not the lettering, which was done by computer.
Does anyone know how these were commissioned, and how many there are?
Does Egmont have something to do with the project? (I kinda doubt
it...) The gag I saw even had Van Horn's usual DD name-lettering at
the top of it.
David Gerstein
<96dag at williams.edu>
Author
Topic: 199510
(299 messages)
David A Gerstein
Disney-comics digest #813.
Message 121 -
1995-10-13 at 03:42:22
Augie De Blieck Jr.
Egypt and WDC&S #600
Message 122 -
1995-10-13 at 04:08:49
PER:
Whoo-hoo! The list is back! That was quick!
FREDRIK:
Thanks for the correction on the climate of Egypt. Having never been
outside the U.S., and rarely outside of New Jersey, for that matter, my
knowledge of foreign lands comes mostly from the media, I suppose.
WES:
I, too, liked WDC&S #600, and even noticed the charity parallels between
the stories. Interesting. Was this the first time Gladstone has
reprinted a Don Rosa story in one of its regular issues?
The new Comics Buyers Guide has an ad on the back page for Walt Disney
Giant #3: "Donald the Mighty Duck!" Yes, obviously playing off of
Disney's professional Hockey team, this is a collection of Super Snooper
stories, mostly, including Barks' "Super Snooper" and Don's "Super
Snooper Strikes Again," which I found particularly hilarious as a
super-hero fan. Is this the quickest reprinting of a Rosa story in the
U.S.A.? (It also includes a Lockman/Strol/Liggera tale, "Mighty Duck," by
the way.) It ships the last week of this month.
-Augie
------------------------------------------------------------------------
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Media Relations | for info on how you can | #7
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Whoo-hoo! The list is back! That was quick!
FREDRIK:
Thanks for the correction on the climate of Egypt. Having never been
outside the U.S., and rarely outside of New Jersey, for that matter, my
knowledge of foreign lands comes mostly from the media, I suppose.
WES:
I, too, liked WDC&S #600, and even noticed the charity parallels between
the stories. Interesting. Was this the first time Gladstone has
reprinted a Don Rosa story in one of its regular issues?
The new Comics Buyers Guide has an ad on the back page for Walt Disney
Giant #3: "Donald the Mighty Duck!" Yes, obviously playing off of
Disney's professional Hockey team, this is a collection of Super Snooper
stories, mostly, including Barks' "Super Snooper" and Don's "Super
Snooper Strikes Again," which I found particularly hilarious as a
super-hero fan. Is this the quickest reprinting of a Rosa story in the
U.S.A.? (It also includes a Lockman/Strol/Liggera tale, "Mighty Duck," by
the way.) It ships the last week of this month.
-Augie
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Augie De Blieck Jr.
Gladstone/Hamilton writes a letter (fwd)
Message 123 -
1995-10-13 at 04:13:38
Having attained permission from its author to forward his post here, I
present to you this message originally posted in rec.arts.comics.misc.
(There was also another message posted recently in support of Don's Lo$
storyline. Seems Gladstone is finally getting some play over there. I
know I respond to everything Duck-related there!
-Augie
------------------------------------------------------------------------
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---------- Forwarded message ----------
Newsgroups: rec.arts.comics.misc
From: brents at pmafire.inel.gov (Brent Swanson)
Subject: Gladstone/Hamilton writes a letter
Date: Tue, 10 Oct 95 18:20:15 GMT
Distribution: rec.arts.comics.misc
Expires: 10/18/95
Organization: Bright Kentucky Hotel
Lines: 43
Several of my fellow Disney comics fans and letterhacks recently
fired-off letters to Gladstone concerning those abysmal "coverless"
comics and the generally lame quality of most of the titles in
general. In reply, each writer received a copy of a form letter
stating that prices are up, readership is down, we can't survive
unless we take these measures, and so on. But what was most
interesting was the last paragraph of the letter. I don't have
a copy with me, so I'll paraphrase: "Do not write letters or
otherwise share your complaints with other fans. Send your concerns
to us and we will try to deal with them directly."
Oh so?
I think it is more than a little presumptuous of Gladstone/Hamilton
to request fans not to communicate with one another about Gladstone's
shortcomings. Many of us were eager to communicate directly with
Gladstone at this year's San Diego Comic Con, but Gladstone pulled a
no-show (as opposed to a seldom-seen show at the previous few cons).
There's quite a bit to be concerned about in Gladstone's revised lineup.
We're told that the coverless comics are holding down the prices (at
45 cents per), and yet the new, prestige format _Walt Disney's Comics
and Stories_ will be retailing for just under $6, which blows away all
the "savings" added up incurred from the other titles. The transfer of
the letter pages from the books to the "Gladstone Gazette" is little
short of insidious. To get the "Gazette," you must subscribe directly
from Gladstone, thereby removing some of your badly needed support from
your local comics shop. The bulk of the "Gazette" is a puff sheet for
Gladstone and not a "fanzine" as has been inferred.
Worst of all, we're being told that all these changes are being made
for the collectors and fans. So if nobody buys the shoddy coverless
books, and nobody can afford to buy the "collector's" book (_WDCS_),
then it won't be Gladstone's fault--it'll be the rotten fans and
collectors who didn't support Gladstone.
Given this operating mindset, maybe it won't do much good for fans
to write to one another and speak out. But we still have a right
to, though at the rate Gladstone is going downhill, all such
dialogue may soon be academic.
Brent Swanson, 2nd assistant desk clerk and ice bucket scrubber
Bright Kentucky Hotel, Crooper, Illinois
present to you this message originally posted in rec.arts.comics.misc.
(There was also another message posted recently in support of Don's Lo$
storyline. Seems Gladstone is finally getting some play over there. I
know I respond to everything Duck-related there!
-Augie
------------------------------------------------------------------------
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Virtual Storm | Keep VR.5 Alive! |
---------- Forwarded message ----------
Newsgroups: rec.arts.comics.misc
From: brents at pmafire.inel.gov (Brent Swanson)
Subject: Gladstone/Hamilton writes a letter
Date: Tue, 10 Oct 95 18:20:15 GMT
Distribution: rec.arts.comics.misc
Expires: 10/18/95
Organization: Bright Kentucky Hotel
Lines: 43
Several of my fellow Disney comics fans and letterhacks recently
fired-off letters to Gladstone concerning those abysmal "coverless"
comics and the generally lame quality of most of the titles in
general. In reply, each writer received a copy of a form letter
stating that prices are up, readership is down, we can't survive
unless we take these measures, and so on. But what was most
interesting was the last paragraph of the letter. I don't have
a copy with me, so I'll paraphrase: "Do not write letters or
otherwise share your complaints with other fans. Send your concerns
to us and we will try to deal with them directly."
Oh so?
I think it is more than a little presumptuous of Gladstone/Hamilton
to request fans not to communicate with one another about Gladstone's
shortcomings. Many of us were eager to communicate directly with
Gladstone at this year's San Diego Comic Con, but Gladstone pulled a
no-show (as opposed to a seldom-seen show at the previous few cons).
There's quite a bit to be concerned about in Gladstone's revised lineup.
We're told that the coverless comics are holding down the prices (at
45 cents per), and yet the new, prestige format _Walt Disney's Comics
and Stories_ will be retailing for just under $6, which blows away all
the "savings" added up incurred from the other titles. The transfer of
the letter pages from the books to the "Gladstone Gazette" is little
short of insidious. To get the "Gazette," you must subscribe directly
from Gladstone, thereby removing some of your badly needed support from
your local comics shop. The bulk of the "Gazette" is a puff sheet for
Gladstone and not a "fanzine" as has been inferred.
Worst of all, we're being told that all these changes are being made
for the collectors and fans. So if nobody buys the shoddy coverless
books, and nobody can afford to buy the "collector's" book (_WDCS_),
then it won't be Gladstone's fault--it'll be the rotten fans and
collectors who didn't support Gladstone.
Given this operating mindset, maybe it won't do much good for fans
to write to one another and speak out. But we still have a right
to, though at the rate Gladstone is going downhill, all such
dialogue may soon be academic.
Brent Swanson, 2nd assistant desk clerk and ice bucket scrubber
Bright Kentucky Hotel, Crooper, Illinois
TKlein28
Digest 811
Message 124 -
1995-10-13 at 12:19:58
AUGIE:
Thanks for the kind words about my lettering. I talked to John Clark about
doing more Rosa stories for Gladstone about six weeks ago, and said I'd be
interested, but haven't heard any more. And, seeing some of the cost-cutting
measures they've been taking lately (cheaper paper, self-covers, computer
lettering), I have to wonder whether they are really willing or able to pay
my page rate. I may only be given any further chapters of LO$ that Don does
-- my only suggestion is for Don and anyone else with contacts at Gladstone
to keep asking.
Here is more than you probably want to know about computer lettering
(BOREDOM ALERT):
The font you have been seeing at Gladstone is the one advertised in the
classifieds of Comics Buyers Guide, "Whizbang". I rather like the overall
look of the letterforms myself (and would love to know where they got it
originally), but it is a limited font in that there is just one sample of
each character, so, for instance, each letter "L" is the same. This can
become very tiresome, especially when it's used for EVERYTHING including
signs and sound effects.
The computer lettering that Richard Starkings is doing is different in
two ways: first, his balloon fonts have at least two variations of each
letter to add variety, and second, he has about six regular fonts (and
families) to choose from, as well as about two dozen sound effects fonts,
and lots of commercial fonts as well for signs and such. I'm just getting
into this myself, and am trying to follow his example, as I think it's a good
one. There are other letterers with computer fonts, some of them pretty hard
to detect even for me, and this is an area that I think letterers today
should be exploring if they can afford the equipment. (John Byrne's stuff is
different in that he doesn't have a style of his own, but has "borrowed" or
commissioned samples from letterers like John Morelli.)
If Gladstone really wanted to do decent computer lettering, they could
purchase Richard's commercially available font, "Comic Crazy". It would cost
them a few hundred dollars, but would greatly improve on what they have now.
Of course, you still need someone who knows what looks good to use it, but
John Clark is a good letterer himself, so that shouldn't be a problem.
Hope that answers your questions if not your concerns.
DON: thanks for confirming that the script I had said "ducks". I hate to
think I messed up on something like that. Are you kept up to date on what
stories of yours may be in the pipeline for Gladstone?
Todd Klein
Thanks for the kind words about my lettering. I talked to John Clark about
doing more Rosa stories for Gladstone about six weeks ago, and said I'd be
interested, but haven't heard any more. And, seeing some of the cost-cutting
measures they've been taking lately (cheaper paper, self-covers, computer
lettering), I have to wonder whether they are really willing or able to pay
my page rate. I may only be given any further chapters of LO$ that Don does
-- my only suggestion is for Don and anyone else with contacts at Gladstone
to keep asking.
Here is more than you probably want to know about computer lettering
(BOREDOM ALERT):
The font you have been seeing at Gladstone is the one advertised in the
classifieds of Comics Buyers Guide, "Whizbang". I rather like the overall
look of the letterforms myself (and would love to know where they got it
originally), but it is a limited font in that there is just one sample of
each character, so, for instance, each letter "L" is the same. This can
become very tiresome, especially when it's used for EVERYTHING including
signs and sound effects.
The computer lettering that Richard Starkings is doing is different in
two ways: first, his balloon fonts have at least two variations of each
letter to add variety, and second, he has about six regular fonts (and
families) to choose from, as well as about two dozen sound effects fonts,
and lots of commercial fonts as well for signs and such. I'm just getting
into this myself, and am trying to follow his example, as I think it's a good
one. There are other letterers with computer fonts, some of them pretty hard
to detect even for me, and this is an area that I think letterers today
should be exploring if they can afford the equipment. (John Byrne's stuff is
different in that he doesn't have a style of his own, but has "borrowed" or
commissioned samples from letterers like John Morelli.)
If Gladstone really wanted to do decent computer lettering, they could
purchase Richard's commercially available font, "Comic Crazy". It would cost
them a few hundred dollars, but would greatly improve on what they have now.
Of course, you still need someone who knows what looks good to use it, but
John Clark is a good letterer himself, so that shouldn't be a problem.
Hope that answers your questions if not your concerns.
DON: thanks for confirming that the script I had said "ducks". I hate to
think I messed up on something like that. Are you kept up to date on what
stories of yours may be in the pipeline for Gladstone?
Todd Klein
Cdoberman
Lost in the Andes
Message 125 -
1995-10-13 at 21:47:11
Theah They Blows:
Well, after hearing a heck of a lot about it, I finally found a copy of "Lost
in the Andes" reprinted in Gladstone DDA #3. After reading Rosa's references
to it in Lo$, and hearing it discussed so often, I was pretty anxious. It's
talked about on this list as if of course we have ALL read it, so I had very
high expectations. Guess what. I was NOT disappointed. I loved this story
and understand why it is such a classic. I loved the concept of Plain Awful
lost in the fog, and it was consistently funny throughout the story. The
moment Donald hears the man in Plain Awful singing Dixie was just beautiful.
(Barks sure did use a lot of exclamation marks.) Don, now I look forward to
reading the sequal -- but like most sequals, I expect to be disappointed.
I'll let you know when I find a copy.
-- Wes
"They had so little of ANYTHING, yet they were the happiest people we have
ever known!"
Well, after hearing a heck of a lot about it, I finally found a copy of "Lost
in the Andes" reprinted in Gladstone DDA #3. After reading Rosa's references
to it in Lo$, and hearing it discussed so often, I was pretty anxious. It's
talked about on this list as if of course we have ALL read it, so I had very
high expectations. Guess what. I was NOT disappointed. I loved this story
and understand why it is such a classic. I loved the concept of Plain Awful
lost in the fog, and it was consistently funny throughout the story. The
moment Donald hears the man in Plain Awful singing Dixie was just beautiful.
(Barks sure did use a lot of exclamation marks.) Don, now I look forward to
reading the sequal -- but like most sequals, I expect to be disappointed.
I'll let you know when I find a copy.
-- Wes
"They had so little of ANYTHING, yet they were the happiest people we have
ever known!"
TKlein28
Digest 811, etc.
Message 126 -
1995-10-14 at 01:52:26
AUGIE:
Thanks for the kind words about my lettering. I talked to John Clark about
doing more Rosa stories for Gladstone about six weeks ago, and said I'd be
interested, but haven't heard any more. And, seeing some of the cost-cutting
measures they've been taking lately (cheaper paper, self-covers, computer
lettering), I have to wonder whether they are really willing or able to pay
my page rate. I may only be given any further chapters of LO$ that Don does
-- my only suggestion is for Don and anyone else with contacts at Gladstone
to keep asking.
Here is more than you probably want to know about computer lettering
(BOREDOM ALERT):
The font you have been seeing at Gladstone is the one advertised in the
classifieds of Comics Buyers Guide, "Whizbang". I rather like the overall
look of the letterforms myself (and would love to know where they got it
originally), but it is a limited font in that there is just one sample of
each character, so, for instance, each letter "L" is the same. This can
become very tiresome, especially when it's used for EVERYTHING including
signs and sound effects.
The computer lettering that Richard Starkings is doing is different in
two ways: first, his balloon fonts have at least two variations of each
letter to add variety, and second, he has about six regular fonts (and
families) to choose from, as well as about two dozen sound effects fonts,
and lots of commercial fonts as well for signs and such. I'm just getting
into this myself, and am trying to follow his example, as I think it's a good
one. There are other letterers with computer fonts, some of them pretty hard
to detect even for me, and this is an area that I think letterers today
should be exploring if they can afford the equipment. (John Byrne's stuff is
different in that he doesn't have a style of his own, but has "borrowed" or
commissioned samples from letterers like John Morelli.)
If Gladstone really wanted to do decent computer lettering, they could
purchase Richard's commercially available font, "Comic Crazy". It would cost
them a few hundred dollars, but would greatly improve on what they have now.
Of course, you still need someone who knows what looks good to use it, but
John Clark is a good letterer himself, so that shouldn't be a problem.
Hope that answers your questions if not your concerns.
DON: thanks for confirming that the script I had said "ducks". I hate to
think I messed up on something like that. Are you kept up to date on what
stories of yours may be in the pipeline for Gladstone?
Todd Klein
Thanks for the kind words about my lettering. I talked to John Clark about
doing more Rosa stories for Gladstone about six weeks ago, and said I'd be
interested, but haven't heard any more. And, seeing some of the cost-cutting
measures they've been taking lately (cheaper paper, self-covers, computer
lettering), I have to wonder whether they are really willing or able to pay
my page rate. I may only be given any further chapters of LO$ that Don does
-- my only suggestion is for Don and anyone else with contacts at Gladstone
to keep asking.
Here is more than you probably want to know about computer lettering
(BOREDOM ALERT):
The font you have been seeing at Gladstone is the one advertised in the
classifieds of Comics Buyers Guide, "Whizbang". I rather like the overall
look of the letterforms myself (and would love to know where they got it
originally), but it is a limited font in that there is just one sample of
each character, so, for instance, each letter "L" is the same. This can
become very tiresome, especially when it's used for EVERYTHING including
signs and sound effects.
The computer lettering that Richard Starkings is doing is different in
two ways: first, his balloon fonts have at least two variations of each
letter to add variety, and second, he has about six regular fonts (and
families) to choose from, as well as about two dozen sound effects fonts,
and lots of commercial fonts as well for signs and such. I'm just getting
into this myself, and am trying to follow his example, as I think it's a good
one. There are other letterers with computer fonts, some of them pretty hard
to detect even for me, and this is an area that I think letterers today
should be exploring if they can afford the equipment. (John Byrne's stuff is
different in that he doesn't have a style of his own, but has "borrowed" or
commissioned samples from letterers like John Morelli.)
If Gladstone really wanted to do decent computer lettering, they could
purchase Richard's commercially available font, "Comic Crazy". It would cost
them a few hundred dollars, but would greatly improve on what they have now.
Of course, you still need someone who knows what looks good to use it, but
John Clark is a good letterer himself, so that shouldn't be a problem.
Hope that answers your questions if not your concerns.
DON: thanks for confirming that the script I had said "ducks". I hate to
think I messed up on something like that. Are you kept up to date on what
stories of yours may be in the pipeline for Gladstone?
Todd Klein
Daniel Van Eijmeren
Charity / Death of Scrooge McDuck
Message 127 -
1995-10-14 at 03:15:43
WES:
> I've enjoyed reading WDC&S #600. All but one of the stories were
> new to me so I feel like I'm catching up on what I've missed. I'd
> read the Jippes story ("The Do-Gooders League") before, and I like
> it a lot.
Me too! I think that this story is one of the best ten-pagers ever
made. It was published here in Holland in the 25th anniversary issue
of the Dutch weekly (which had 80 pages instead of 30), back in 1977.
Wasn't this story already published in the USA recently?
ALL:
I just read another Dutch story of which I think it's very good, at
least very original. In this 23-pager (H8296) Donald and Gladstone
inherit Scrooge's fortune, because Scrooge *died* in the Himalaya by a
plane-crash (although the reader knows better in the 3rd page).
There's a beautiful scene at the beginning of the story where Donald
hears about Scrooge's death and tells the nephews about it.
In this story there are also the barristers of Barks' 8-pager
"Hierloom Watch" (US 10).
Is this story ever published in the USA (or somewhere else)?
Greetings,
--- Daniel
> I've enjoyed reading WDC&S #600. All but one of the stories were
> new to me so I feel like I'm catching up on what I've missed. I'd
> read the Jippes story ("The Do-Gooders League") before, and I like
> it a lot.
Me too! I think that this story is one of the best ten-pagers ever
made. It was published here in Holland in the 25th anniversary issue
of the Dutch weekly (which had 80 pages instead of 30), back in 1977.
Wasn't this story already published in the USA recently?
ALL:
I just read another Dutch story of which I think it's very good, at
least very original. In this 23-pager (H8296) Donald and Gladstone
inherit Scrooge's fortune, because Scrooge *died* in the Himalaya by a
plane-crash (although the reader knows better in the 3rd page).
There's a beautiful scene at the beginning of the story where Donald
hears about Scrooge's death and tells the nephews about it.
In this story there are also the barristers of Barks' 8-pager
"Hierloom Watch" (US 10).
Is this story ever published in the USA (or somewhere else)?
Greetings,
--- Daniel
Augie De Blieck Jr.
Lettering
Message 128 -
1995-10-14 at 04:48:10
TODD:
Thanks for the long discussion on computer-lettering. (I know I wasn't
bored by it, but then the more mundane parts - to most people - of comics
are what I like to talk about. Namely, lettering and letters columns.)
Yes, I've seen that Whiz-Bang font in the CBG before, and yet I still
didn't pick up on the fact Gladstone is using just that. You're right in
that the letters are nicely, er, sculpted. There is an interesting
variety of line weight inside each individual letter. However, it looks
cheap awfully fast. And it looks really cheap when they use the same
lettering for the comic as they do the advertising. Maybe that's why I
haven't been able to get into it.
And is Chris Eliopolous (sp?) experimenting with computer lettering now?
Look at his work in the Star Trek comics. Makes me appreciate his
hand-lettering stuff in the Highbrow books all the more. (Sorry for the
digression there, everyone.)
-Augie, has been told he has nice hand-writing
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Thanks for the long discussion on computer-lettering. (I know I wasn't
bored by it, but then the more mundane parts - to most people - of comics
are what I like to talk about. Namely, lettering and letters columns.)
Yes, I've seen that Whiz-Bang font in the CBG before, and yet I still
didn't pick up on the fact Gladstone is using just that. You're right in
that the letters are nicely, er, sculpted. There is an interesting
variety of line weight inside each individual letter. However, it looks
cheap awfully fast. And it looks really cheap when they use the same
lettering for the comic as they do the advertising. Maybe that's why I
haven't been able to get into it.
And is Chris Eliopolous (sp?) experimenting with computer lettering now?
Look at his work in the Star Trek comics. Makes me appreciate his
hand-lettering stuff in the Highbrow books all the more. (Sorry for the
digression there, everyone.)
-Augie, has been told he has nice hand-writing
------------------------------------------------------------------------
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Don Rosa
Disney-comics digest #814.
Message 129 -
1995-10-14 at 06:50:00
TODD:
No, I don't stay too well informed on which of my stories Gladstone
is reprinting next. Mostly, I just wait for them to call and ask me for an
accompanying cover. I do know that they will use the "Lo$" episode "0" in U$
#297. Did you letter that? (I suspect not, eh?) What folks like David are
always reminding me is that I need to TELL them at Gladstone WHEN they are
allowed to use one of my stories -- they don't see the foreign editions and
wouldn't know, f'rinstance, that they can now use "The Incredible Shrinking
Tightwad". If I kept them informed on this, they could be using my stories
immediately after Egmont uses them, rather than when they notice it on their
own around a year later as it works now.
DAVID:
Hm. Yes, $crooge does change his attitude in those added panels
where Bombie is chasing him on the deck of the boat. Partly, I'm searching
for a decent gag to stick into a scene where one is not needed. But I did
think $crooge was acting too cowardly and I felt it was just right to have
him stop and turn to face "death" rather than run like a Donald Duck. I
think my idea was that $crooge would not have feared Bombie at ALL except
that it was a touch more of the supernatural than he was used to, he was
always caught off-guard by Bombie's surprise appearances, and because Bombie
represented a shameful memory for him. Each meeting $crooge has with the old
guy in that very cramped episode is very brief, lasting only a minute or two
in real time. Once I started expanding one such scene, it immediately seemed
to me that a young $crooge McDuck runs from NO man, alive or deceased.
But did you notice how especially muddy that added half-page was?
Perhaps, since it was a dark night, it didn't look so bad (?).
No, I don't stay too well informed on which of my stories Gladstone
is reprinting next. Mostly, I just wait for them to call and ask me for an
accompanying cover. I do know that they will use the "Lo$" episode "0" in U$
#297. Did you letter that? (I suspect not, eh?) What folks like David are
always reminding me is that I need to TELL them at Gladstone WHEN they are
allowed to use one of my stories -- they don't see the foreign editions and
wouldn't know, f'rinstance, that they can now use "The Incredible Shrinking
Tightwad". If I kept them informed on this, they could be using my stories
immediately after Egmont uses them, rather than when they notice it on their
own around a year later as it works now.
DAVID:
Hm. Yes, $crooge does change his attitude in those added panels
where Bombie is chasing him on the deck of the boat. Partly, I'm searching
for a decent gag to stick into a scene where one is not needed. But I did
think $crooge was acting too cowardly and I felt it was just right to have
him stop and turn to face "death" rather than run like a Donald Duck. I
think my idea was that $crooge would not have feared Bombie at ALL except
that it was a touch more of the supernatural than he was used to, he was
always caught off-guard by Bombie's surprise appearances, and because Bombie
represented a shameful memory for him. Each meeting $crooge has with the old
guy in that very cramped episode is very brief, lasting only a minute or two
in real time. Once I started expanding one such scene, it immediately seemed
to me that a young $crooge McDuck runs from NO man, alive or deceased.
But did you notice how especially muddy that added half-page was?
Perhaps, since it was a dark night, it didn't look so bad (?).
Arthur De Wolf
-- Computer lettered comics --
Message 130 -
1995-10-14 at 07:17:58
TODD:
You were talking about lettering done by the computer. I was
wonder how they do that. Do they,
1. enter the dialogues in the computer, print them out on some regular
paper, cut the texts out, and paste that on a comic-page?
2. place the comic-page in the printer and print the dialogues, made on
the computer, straight on it?
3. scan in a comic-page, place the computer-fonts in the balloons and
afterwards print the entire page out?
4. something else, that I forgot?
I always HATED to see some comic, lettered with a computer.
Sometimes I read a 'Tom & Jerry'-story. Most of the time, those comics
are lettered with a computer. But the fonts they use, are almost the
same as one would see in an average newspaper. I think those computer-
lettered comics are awfull to read.
I guess that nowadays, with all the different fonts, they
can do MUCH a better job. You talked about different versions of every
letter. You also talked about scanned in written letters. That must
look MUCH better. Maybe I have some computer-lettered Disney-comics,
that I had always thought of(f?) as being lettered by a REAL letterer.
Can someone tell me a couple of Disney-stories that were done by a
computer, the way Todd described? Or aren't there any?
___
C:\>aR|HUr
You were talking about lettering done by the computer. I was
wonder how they do that. Do they,
1. enter the dialogues in the computer, print them out on some regular
paper, cut the texts out, and paste that on a comic-page?
2. place the comic-page in the printer and print the dialogues, made on
the computer, straight on it?
3. scan in a comic-page, place the computer-fonts in the balloons and
afterwards print the entire page out?
4. something else, that I forgot?
I always HATED to see some comic, lettered with a computer.
Sometimes I read a 'Tom & Jerry'-story. Most of the time, those comics
are lettered with a computer. But the fonts they use, are almost the
same as one would see in an average newspaper. I think those computer-
lettered comics are awfull to read.
I guess that nowadays, with all the different fonts, they
can do MUCH a better job. You talked about different versions of every
letter. You also talked about scanned in written letters. That must
look MUCH better. Maybe I have some computer-lettered Disney-comics,
that I had always thought of(f?) as being lettered by a REAL letterer.
Can someone tell me a couple of Disney-stories that were done by a
computer, the way Todd described? Or aren't there any?
___
C:\>aR|HUr
Daniel Van Eijmeren
Computer lettering / CBL
Message 131 -
1995-10-14 at 07:26:46
ARTHUR:
> Can someone tell me a couple of Disney-stories that were done by a
> computer, the way Todd described? Or aren't there any?
Well, Arthur, you don't have to look for that in faraway countries.
Harry told me that they already do that here in Holland.
They do it very well IMHO, because I didn't see it untill Harry
mentioned it. They use a little trick for it, because every time two
same letters appear next to each other, the second one is a bit
different. (For example: aa, ee, oo.)
DAVID:
> I didn't make it clear in the most recent Digest, that I only
> SUSPECT that "political incorrectness" is why Disney didn't let
> Gladstone keep printing the CBL.
I always thought that the CBL was a limited edition of 5000 copies,
this is what I read in a Dutch book entirely about Barks. (This was
the book which made me aware of Barks and his work.)
Greetings,
--- Daniel
> Can someone tell me a couple of Disney-stories that were done by a
> computer, the way Todd described? Or aren't there any?
Well, Arthur, you don't have to look for that in faraway countries.
Harry told me that they already do that here in Holland.
They do it very well IMHO, because I didn't see it untill Harry
mentioned it. They use a little trick for it, because every time two
same letters appear next to each other, the second one is a bit
different. (For example: aa, ee, oo.)
DAVID:
> I didn't make it clear in the most recent Digest, that I only
> SUSPECT that "political incorrectness" is why Disney didn't let
> Gladstone keep printing the CBL.
I always thought that the CBL was a limited edition of 5000 copies,
this is what I read in a Dutch book entirely about Barks. (This was
the book which made me aware of Barks and his work.)
Greetings,
--- Daniel
Arthur De Wolf
-- Barks' Andes-stories --
Message 132 -
1995-10-14 at 07:40:50
WES:
I also liked Barks' "Lost in the Andes" a lot. Two of my most
favorite Barks stories happen to take place in the Andes. The first
is DDOS#233, "Lost in the Andes" and the other is US#26, "The prize
of Pizarro". I looked up the album with "LitA" and I saw it was from
1982. That's 13 years ago. I was about 6 or 7 years old back then.
And I can still remember that I was impressed by the story. I had never
heard of Carl Barks, but the square eggs made quite an impression
on me. When I read Don's "Return to Plain Awfull" some years ago, I DID
know who Carl Barks, and even Don Rosa were. I thought that sequel was
superb. (And it still IS!). I always like sequels a lot. Especially the
ones Don by done ... errrrhhh ... done by Don.
The other 'Andes'-story "tPoP" is one of my favorites too. I read
that story for the first time in 1984. I liked all the gadgets that the
Inca's had made to scare away the Ducks. The scene in which Scrooge, Donald
and the nephews are in a cave, and when they have to flee for the water
coming towards them. And when they come to the end of the cave, and they
quickly jump aside, and the water splashes to the other side of the
canyon. That scene always reminded me of the one in Indiana Jones
and The Temple of Doom. Actually, it's exactly the SAME. (I didn't know
Barks was an Indiana Jones-fan!!! ;-))
The album in which "tPoP" was printed in 1984, also contained the
Barks story, in which Scrooge and the gang are kidnapped by those ants and
when Huey has to use sugar to keep the ants busy, so that Scrooge can escape
and the Beagle Boys have to carry Scrooge's moneybin and dime outside.
(isn't that a nice description, or what?). Anyway, it's US#33, "Billions in
the Hole". That's one of my favorite Barks-stories too! But then-again,
which Barks-story ISN'T ?!?!
___
C:\>aR|HUr
I also liked Barks' "Lost in the Andes" a lot. Two of my most
favorite Barks stories happen to take place in the Andes. The first
is DDOS#233, "Lost in the Andes" and the other is US#26, "The prize
of Pizarro". I looked up the album with "LitA" and I saw it was from
1982. That's 13 years ago. I was about 6 or 7 years old back then.
And I can still remember that I was impressed by the story. I had never
heard of Carl Barks, but the square eggs made quite an impression
on me. When I read Don's "Return to Plain Awfull" some years ago, I DID
know who Carl Barks, and even Don Rosa were. I thought that sequel was
superb. (And it still IS!). I always like sequels a lot. Especially the
ones Don by done ... errrrhhh ... done by Don.
The other 'Andes'-story "tPoP" is one of my favorites too. I read
that story for the first time in 1984. I liked all the gadgets that the
Inca's had made to scare away the Ducks. The scene in which Scrooge, Donald
and the nephews are in a cave, and when they have to flee for the water
coming towards them. And when they come to the end of the cave, and they
quickly jump aside, and the water splashes to the other side of the
canyon. That scene always reminded me of the one in Indiana Jones
and The Temple of Doom. Actually, it's exactly the SAME. (I didn't know
Barks was an Indiana Jones-fan!!! ;-))
The album in which "tPoP" was printed in 1984, also contained the
Barks story, in which Scrooge and the gang are kidnapped by those ants and
when Huey has to use sugar to keep the ants busy, so that Scrooge can escape
and the Beagle Boys have to carry Scrooge's moneybin and dime outside.
(isn't that a nice description, or what?). Anyway, it's US#33, "Billions in
the Hole". That's one of my favorite Barks-stories too! But then-again,
which Barks-story ISN'T ?!?!
___
C:\>aR|HUr
Jørgen Andreas Bangor
-- Barks' Andes-stories --
Message 133 -
1995-10-14 at 21:57:02
Arthur:
| And when they come to the end of the cave, and they quickly jump
| aside, and the water splashes to the other side of the canyon.
| That scene always reminded me of the one in Indiana Jones and
| The Temple of Doom. Actually, it's exactly the SAME. (I didn't know
| Barks was an Indiana Jones-fan!!! ;-))
Funny you should mention that. A small book telling about strange
Disney-facts came with the Norwegian weekly a couple of weeks ago.
I believe it was made by Erik Horthe. It mentions that George Lucas
used exactly that scene as inspiration for that scene in the Indiana
Jones movie.
JAB
| And when they come to the end of the cave, and they quickly jump
| aside, and the water splashes to the other side of the canyon.
| That scene always reminded me of the one in Indiana Jones and
| The Temple of Doom. Actually, it's exactly the SAME. (I didn't know
| Barks was an Indiana Jones-fan!!! ;-))
Funny you should mention that. A small book telling about strange
Disney-facts came with the Norwegian weekly a couple of weeks ago.
I believe it was made by Erik Horthe. It mentions that George Lucas
used exactly that scene as inspiration for that scene in the Indiana
Jones movie.
JAB
Tommy Tran
No subject
Message 134 -
1995-10-15 at 00:19:35
Sorry about sending that fisrt paragraph twice, I got some strange message about
the mail being held up somewhere, and I forgot that I recieved a copy of my
own message from the mailing list already.
Well, here is the third paragraph.
-------------------------------------------------------------------------------
Epics must also offer a sense of the supernatural (Holman ),
something that Barks and subsequent artist / writers were able to instill in
the
Scrooge legend. In the first installment of Life and Times, Rosa has Scrooge
inspired by the ghost of his ancestors. The ancestors, replacing the classic
watchful gods, send young Scrooge off on a quest to earn his riches, and
restore
the McDuck family name to it's former glory (1: 18-19). Of his most famed
foes,
the only supernatural one would be Magica de Spell, a sorceress from Crete.
Both she and Scrooge believe that the power to McDuck's wealth lies in the
first
dime he ever earned . Using this, Barks set up an interesting paradox, as
Scrooge also firmly believes that he earned his money. Barks, through Scrooge,
questions the value of luck in a life of hard work. Of course the paradox is
never resolved, and the closest closure we can ever be is explained by one of
the comics editors ". . . we prefer to think of Old Number One as a security
blanket and not as a luck talisman. You can liken Scrooge's faith in his dime
to a belief in astrology. . . " (Erickson cover). Barks even makes a gag
out of
this idea as well, with his character Gladstone Gander, the exact opposite of
Scrooge. Gladstone "was not simply fortunate and lazy; he was lucky beyond
one's wildest dreams and inert beyond any heretofore recorded nadir of sloth"
(Boatner A-49-A-50). While Scrooge proudly displays his first dime, Gladstone
says, ". . . in a very weak moment I took a job. . . and I've been so
ashamed of
[my dime] . . . that I hid it in the safe and never looked at it again" (A-49)!
Of course in a world were technology makes magic obsolete, it also empowers
his
foes with near supernatural capabilities. His arch rival, Flintheart Glomgold,
(the Second Richest Duck in the World), often uses his rival resources, such as
jet plane and robots, to cheat in competition with Scrooge ("So Far. . ." 6).
Just as the gods help their heroes, Scrooge himself has a considerable backing
of technological "magic" from one Gyro Gearloose, who provides Scrooge with
everything from undersea salvagers to time machines. Even the young Scrooge
receives help from a Gearloose ancestor in the form of the first water
purification pills (Rosa 2 : 5-6).
------------------------------------------------------------------------------
I also vaugely remember a friend of mine who is a George Lucas fan telling me
that in one of his Biographies, Lucas mentions Uncle Scrooge comics as
a strong influence on his word and this narrative style. I think the
biography was called Skywalking, and the passage was a quote from
_Uncle Scrooge McDuck: His Life and Times_.
-Tommy Tran
incidentally, can I be switched to the mailing list digest, or should I
send a letter to the other maintenance address.
the mail being held up somewhere, and I forgot that I recieved a copy of my
own message from the mailing list already.
Well, here is the third paragraph.
-------------------------------------------------------------------------------
Epics must also offer a sense of the supernatural (Holman ),
something that Barks and subsequent artist / writers were able to instill in
the
Scrooge legend. In the first installment of Life and Times, Rosa has Scrooge
inspired by the ghost of his ancestors. The ancestors, replacing the classic
watchful gods, send young Scrooge off on a quest to earn his riches, and
restore
the McDuck family name to it's former glory (1: 18-19). Of his most famed
foes,
the only supernatural one would be Magica de Spell, a sorceress from Crete.
Both she and Scrooge believe that the power to McDuck's wealth lies in the
first
dime he ever earned . Using this, Barks set up an interesting paradox, as
Scrooge also firmly believes that he earned his money. Barks, through Scrooge,
questions the value of luck in a life of hard work. Of course the paradox is
never resolved, and the closest closure we can ever be is explained by one of
the comics editors ". . . we prefer to think of Old Number One as a security
blanket and not as a luck talisman. You can liken Scrooge's faith in his dime
to a belief in astrology. . . " (Erickson cover). Barks even makes a gag
out of
this idea as well, with his character Gladstone Gander, the exact opposite of
Scrooge. Gladstone "was not simply fortunate and lazy; he was lucky beyond
one's wildest dreams and inert beyond any heretofore recorded nadir of sloth"
(Boatner A-49-A-50). While Scrooge proudly displays his first dime, Gladstone
says, ". . . in a very weak moment I took a job. . . and I've been so
ashamed of
[my dime] . . . that I hid it in the safe and never looked at it again" (A-49)!
Of course in a world were technology makes magic obsolete, it also empowers
his
foes with near supernatural capabilities. His arch rival, Flintheart Glomgold,
(the Second Richest Duck in the World), often uses his rival resources, such as
jet plane and robots, to cheat in competition with Scrooge ("So Far. . ." 6).
Just as the gods help their heroes, Scrooge himself has a considerable backing
of technological "magic" from one Gyro Gearloose, who provides Scrooge with
everything from undersea salvagers to time machines. Even the young Scrooge
receives help from a Gearloose ancestor in the form of the first water
purification pills (Rosa 2 : 5-6).
------------------------------------------------------------------------------
I also vaugely remember a friend of mine who is a George Lucas fan telling me
that in one of his Biographies, Lucas mentions Uncle Scrooge comics as
a strong influence on his word and this narrative style. I think the
biography was called Skywalking, and the passage was a quote from
_Uncle Scrooge McDuck: His Life and Times_.
-Tommy Tran
incidentally, can I be switched to the mailing list digest, or should I
send a letter to the other maintenance address.
Arthur De Wolf
-- Erfenis and e's --
Message 135 -
1995-10-15 at 01:29:11
DANIEL
I just reread that Dutch H82096 story "De Triljarden Erfenis"
in the Dutch Donald Duck weekly #23 en #24 of 1983 too. I couldn't
remember it. But I did like it. The artwork isn't very impressive, but
the story is nice. A little weird though, but it was nice.
I didn't know that they use computer-lettering in Holland!
I had never noticed it. I looked in a vacationbook, but those stories
were sure lettered by a real letterer. But when I took a Dutch Donald
Duck weekly from 1995, I could clearly see that it was done by a computer.
All letters, like a "t" or an "h" are the same. And I mean EXACTLY the same.
Only when there are for example two "e"s next to eachother, the second one
is different from the first one. So in "ee", the two letters are different.
Everytime there is an "ee" though, the combination of the first version of
the "e" and the second version of the "e" is the same. It's very well done.
But if you don't know that the dialogues are done by a computer, you
wouldn't recognize it!
Do they only use computer-lettering in the Dutch Donald Duck
weekly? Or also in other Dutch Disney-comics/albums?
___
C:\>aR|HUr
I just reread that Dutch H82096 story "De Triljarden Erfenis"
in the Dutch Donald Duck weekly #23 en #24 of 1983 too. I couldn't
remember it. But I did like it. The artwork isn't very impressive, but
the story is nice. A little weird though, but it was nice.
I didn't know that they use computer-lettering in Holland!
I had never noticed it. I looked in a vacationbook, but those stories
were sure lettered by a real letterer. But when I took a Dutch Donald
Duck weekly from 1995, I could clearly see that it was done by a computer.
All letters, like a "t" or an "h" are the same. And I mean EXACTLY the same.
Only when there are for example two "e"s next to eachother, the second one
is different from the first one. So in "ee", the two letters are different.
Everytime there is an "ee" though, the combination of the first version of
the "e" and the second version of the "e" is the same. It's very well done.
But if you don't know that the dialogues are done by a computer, you
wouldn't recognize it!
Do they only use computer-lettering in the Dutch Donald Duck
weekly? Or also in other Dutch Disney-comics/albums?
___
C:\>aR|HUr