Keskustelujen arkisto

»±
h"Åî½Cñ9r³û>Ë~?

Arthur de Wolf accidentally sent this to the administrative address of
the mailing list instead of to the whole list. /Per

(BTW: Thanks for answering my question on WD Giant, David. I ought to
have guessed that that was the case, but the explicit wording about
all titles being converted to the $1.50 format except WDC fooled me.)

------- Start of forwarded message -------
Date: Mon, 16 Oct 95 20:28:20 PDT
From: Arthur de Wolf <wolfman at pi.net>
Subject: -- What does Gladstone mean --
To: Disney-Comics-Request at Minsk.Docs.UU.SE

ALL:
I had a little question about the publisher of Disney comics
in the US. It's probably a stupid one, but I was just wondering: what
does the name Gladstone mean? Has it anything to do with Gladstone
Gander? (Or does Gladstone also publish non-Disney material?) Or has
there once been a Mr. Gladstone, who is/was the owner of the company?
___
C:\>aR|HUr

------- End of forwarded message -------

ALL: Spielberg himself has said that the traps from the first Indiana
Jones-film was inspired from the Barks-stories he read as a kid, and
he especially mentioned "Seven cities of Cibola". This was mentioned
in a little book that came with one of the latest Norwegian/Danish
DD-weekly magazines.

DON, ANDREAS: The little pamphlet contains facts I have collected
during several years that might be strange to Norwegian and Danish
readers. I don?t have the book here, but I can translate some of it
on the list if there are others interested. If not I will send it
private mail to you, Don, as Andreas probably understood most of it
allready. I will return to your question then, Don.

Erik Horthe
address egil at telepost.no

DWIGHT:
The Rosa story you refer to which contains the Gladstone logo
is "Nobody's Business," AR 103. "Nobody's Business" was reprinted in
France only a few months after the American printing; it was the
first Don Rosa story printed there, and perhaps the first Don Rosa
story printed in any foreign language (Egmont didn't start using his
stories until much later). In any event, the French left the
Gladstone logo in the last panel.
Egmont, on the other hand, took it out of their printings.

EVERYONE:
I've got a home page on the Web now, so why not swing by and
give it a try? I don't have Disney comic references on there besides
a link to our normal site -- I have to say, we basically have it all,
so while I'll add a few unique Disney-comics items to my page, I'm in
no hurry to prepare them.
On the other hand, I do have some artwork from the Felix book
I've mentioned was in the works, and I have links to many other comics
of the types that Disney comics fans also tend to go for. Also some
good animation sites and other things...
So why not try "David Gerstein's Virtual Inkwell"? The URL is
http://wso.williams.edu/faculty/psci335/gerstein/dag.html
You can reach my special Felix page from my main page. The
pages have been in the works for a while now, but only now do I think
they look good enough to mention here.

David Gerstein
<96dag at williams.edu>

ARTHUR & TOD:

> Does anyone know, if there are MORE movies that contain scenes,
> being based on Disney-comic-stories?

Maybe "Sherrif of Bullet Valley" is inspired by Western-movies? (And
maybe also some other Barksian Western-stories?)

TOMMY:

> I figure that Scrooge is so worried about loosing his dime, that he
> pays little attention to the rest of his fortune, much of which is
> managed by him alone (why spend money hiring more managers than he
> needs).

That's almost literally to what I was/am thinking about the whole
dime. I think that this is the only way to explain both Scrooge's
"luck" from the dime *and* Scrooge's hard working in the Klondike.

And I think it's not very difficult to understand Scrooge's "love"
for the dime. The dime has *always* been with him. And, in fact, the
dime is the only thing that survived from his early youth (as
described by Don in Lo$). No wonder that Scrooge looses his self-
confidence, and at least gets worried, when his dime is gone.

My idea is that the whole Magica-thing was created by Barks to
continue with making stories at the end of his career. I really don't
like it that, nowadays, a lot of Scrooge-stories are filled with that
"Magica-gets-dime-Magica-looses-dime"-stuff.

Of course there are some very interesting post-Barks Magica-stories,
I think that Don's "On a Silver Platter" is a good example, and also a
long (Rota?) story which was called "The Money Sea" in it's Dutch
publication (KJUO43/I-A-215).

DAVID:

> I wrote earlier to describe the WWW page I now have available (...)
> In the next few days, I'll add some previews of coming Gladstones,
> too.

I hope that you will keep on sending these previews to the club. I
don't know if I'm one of the few, but I don't have a direct-access
(which means that I can only send and recieve messages, no "net-
surfing").

Much greetings and have a nice day!

--- Daniel

Unlurking as is my custom whenever Don gets his history oriented stories
out in Norway, I will once more gratulate you on a great story, Don!

This Map of Columbus story was exactly what history buffs like me love!

(SHORT SPOILER ALERT)

Great idea to follow up the Golden Helmet by focusing on the various
"discoveries" of America, incorporating elements from stories of your own
stories. Great ending as well!

More specific comments later!

Bjorn-Are

bjorn-are.davidsen at s.prosjekt98.telenor.no

************************************************************************************
- The Weaver in the Web that he made -
************************************************************************************

Don asked about the book in DD wwkly 40/95, why his name was
connected to how much money Scrooge had in his bin. Actually, in the
Norwegian issue I wrote about the money bin being 3 cubic acres, and
that people have tried to figure out how much money such a bin could
hold. (cubic acres are of course impossible) The Danish translator
has instead made something around how much money Scrooge actually
has, and by accident mixed Barks and Rosa?s name.

DAVID: I like the web page, especially the links. Very well done. I am having
a problem with viewing the "NEW" Graphic, for some reason. (Netscape broken
picture). That looks annoying, but the rest looks very good.

DON: On the topic of movie inspiration. I remeber a panel from LO$ 9
(I think, my comics are not with me now, but at my home in Houston) that
refered
to the Constitutional Peasant from _Monty Python and The Search for the Holy
Grail_. "Peasant. . ." "Did you hear him repressing me?"
Is this so, I've been wondering since I read that.

________________________________________________________________________________
The status of the legendary Scrooge McDuck, leads into the discussion of
mythology, and integral part of an epic. In a direct comparison, the unending
supply of Beagle Boys (masked robbers who try to steal McDuck's money) can be
compared to the heads of Hercules' Hydra. The more you defeat them, the more
they come back. Barks draws extensively on "real" mythology directly, when
Scrooge drags his nephew Donald, Huey, Dewy, and Louie on treasure hunts. Even
more appropriately, Barks chose the treasures of other epic heroes, including
"the treasures of Ulysses" (Blum 26), the Trojan Horse ("Horsing Around with
History" 19) and the Library of Alexandria (USA 27). Barks down plays his use
of myth though as he states:
"'As for my use of myths in the plots of my stories, the reason is
laziness. A myth from ancient times gave me many plot gimmicks upon
which to base the actions and motivations. I was hitching rides on the
chariots of the gods." (Boatner A-49)
Epics need to provide a mythology of their own as well, and again Barks and
Rosa
deliver. In Scrooge McDuck's travels, he's discovered "Tralla La", a place
"where there is no money, and wealth means nothing" (Cocks 78); the real cause
of earthquakes -- races of colorful underground critters known as the Terries
and the Fermies (Miller 76); and has visited a second moon behind ours that is
made entirely of gold ("The Twenty-four Carat Moon" 13). In a most fantastic
coupe, Rosa wrote a sequel to the "Tralla La" story, revealing it as Coleridges
legendary land of Xanadu ("Return to Xanadu" 261). The multitude of writers
behind Scrooge have given us a whole other world behind the scenes of our own.
". . . the mock-heroic sweep of Barks' stories . . . made a heavy mark on a
generation of children for whom comic books offered a powerful mythology."
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