TOMMY:
Oh, yes, I've stuck in some references to Monty Python here and
there. There are LOTS in "The Once and Future Duck" that I finished last
month that's all about King Arthur.
BJORN:
It's been over a year, so now I can't recall exactly what the
"greater than Rome" reference was to in regards to that whatchacllit Mexican
city. But I believe it referred to its physical size -- it covered more
area. And perhaps (with its pyramids) it was taller in spots?
Yes, I was quite aware of the similar ending in "Charts" and
"tGotLL". But that ending of "tGotLL" ending was only used in the USA, so
the vast majority of world readers would not see any similarity -- and I
therefore decided there was no reason to skip that good idea for a closing.
Oh -- as CAREFUL as I try to be, I just don't have time to think of
everything, especially as a rank-amateur historian. So you say that in
Ireland in the 6th century they wouldn't be using so-many-years-AD to denote
the year? Ouch -- that's bad. Please check on that so when this story is
reprinted in America I can make corrections, as I did with "tGotLL".
Again, it's been a while, but I would say that the dialogue that the
translator might have mis-translated was something like "Why should they
have necessarilly put North at the TOP of their map?", not "Why is North at
the top of this map?" Big, big difference! But perhaps the translation was
more like "Why do you think North is at the TOP of this map?" Are you sure
they got it wrong?
ARTHUR:
Yes, in Holland and ALL through Europe they have always colored the
coins in $crooge's Bin to be all GOLD. I think I've often pointed out that
this (to me) is a major misinterpretation of what's in the Money Bin. The
Bin is supposed to be full of common pocket-change... pennies and nickels
and dimes and quarters. It's not a TREASURE Bin, it's just a BIG piggy bank.
Anytime I draw the Money Bin into a story, I try to put colorist-notes in
the margin saying stuff like "PLEASE -- THESE ARE NOT GOLD COINS!" But the
problem is that it's a 40+ year tradition in Europe that the Money Bin is
filled with gold coins, and I don't know how they should handle it now. I
don't want to muck with peoples' traditions. (But still, those coins AREN'T
gold!)
MIKE:
The Finnish album and leather-bound hardback edition of my stories
should be published by now, and waiting to be put on sale during my visit.
What art do they have for display? Through special arrangement with
Disney, I receive my covers that I do for Gladstone back, as long as I never
part with them under any circumstances. I'll be bringing about 10 of those
covers with me. Not for sale (sigh), just for show.
"The Lost Charts of Columbus" is 24 pages. But if they are putting
it in a separate supplement issue, that means they could use a 28 page story
as well. But I don't know this sort of thing, what they can use and what
they can't.
That was QUITE a write-up they gave me in AKU ANKKA!!! How am I
supposed to live up to that sort of intro? Wow! But I love their tag-line...
"TRY TO STAY CALM!" Sounds like Adolf's boys are coming back or something!
Author
Topic: 199510
(299 messages)
Don Rosa
Disney-comics digest #819.
Message 181 -
1995-10-19 at 14:30:00
Allen, Marshall T.
Coin Colors
Message 182 -
1995-10-19 at 15:39:00
Another lurker coming briefly out of hiding.
One reason the European colorists might have for coloring the coins in
Scrooge's money bin the way they do is the color of their own money. In the
USA, almost all of our coins are silver, while in Europe the coins are of
more varied color choices, with copper, brass or gold being more common.
One reason the European colorists might have for coloring the coins in
Scrooge's money bin the way they do is the color of their own money. In the
USA, almost all of our coins are silver, while in Europe the coins are of
more varied color choices, with copper, brass or gold being more common.
Wilmer Rivers
Dates; money bin coins
Message 183 -
1995-10-19 at 16:04:14
Don Rosa writes:
> So you say that in Ireland in the 6th century they wouldn't be using
> so-many-years-AD to denote the year? Ouch -- that's bad. Please check
> on that so when this story is reprinted in America I can make
> corrections, as I did with "tGotLL".
Does anyone know for certain whether this is true? Anyway, it's always
fun when an author deliberately introduces an anachronysm based on the
use of the modern-day scheme of numbering the years. For instance,
sometimes for a gag a cartoonist will show a Roman coin bearing the
date 50 B.C. (as if they would know!), and in "A Funny Thing Happened
on the Way to the Forum" a Roman slave is shopping for wine and asks,
"Was 1 a good year?" If you do want to be a stickler for accuracy,
however, make sure that no one denotes any date by "so-many-years-AD".
The correct way is "AD-so-many-years". That is, 500 B.C. is correct,
but 500 A.D. is wrong. It should be A.D. 500, since "A.D." is Latin
for "in the year of the Lord", and this phrase makes sense only if it
is used in front of the date, not after it. A group of Irish monks
(if that's who you're talking about) would certainly never make so
fundamental a mistake in Latin as to get that backwards!
> Yes, in Holland and ALL through Europe they have always colored the
> coins in $crooge's Bin to be all GOLD.
Do they make any effort, in any published editorial or letter column,
to reconcile this coloring scheme with Barks's paintings of the money
bin, which clearly show that this is wrong?
Wilmer
> So you say that in Ireland in the 6th century they wouldn't be using
> so-many-years-AD to denote the year? Ouch -- that's bad. Please check
> on that so when this story is reprinted in America I can make
> corrections, as I did with "tGotLL".
Does anyone know for certain whether this is true? Anyway, it's always
fun when an author deliberately introduces an anachronysm based on the
use of the modern-day scheme of numbering the years. For instance,
sometimes for a gag a cartoonist will show a Roman coin bearing the
date 50 B.C. (as if they would know!), and in "A Funny Thing Happened
on the Way to the Forum" a Roman slave is shopping for wine and asks,
"Was 1 a good year?" If you do want to be a stickler for accuracy,
however, make sure that no one denotes any date by "so-many-years-AD".
The correct way is "AD-so-many-years". That is, 500 B.C. is correct,
but 500 A.D. is wrong. It should be A.D. 500, since "A.D." is Latin
for "in the year of the Lord", and this phrase makes sense only if it
is used in front of the date, not after it. A group of Irish monks
(if that's who you're talking about) would certainly never make so
fundamental a mistake in Latin as to get that backwards!
> Yes, in Holland and ALL through Europe they have always colored the
> coins in $crooge's Bin to be all GOLD.
Do they make any effort, in any published editorial or letter column,
to reconcile this coloring scheme with Barks's paintings of the money
bin, which clearly show that this is wrong?
Wilmer
Deckerd
WDC&S Circulation
Message 184 -
1995-10-19 at 18:28:50
An American comics fan named Robert Beerbohm has been researching
comic-book circulation figures in connection with a book he is
writing, and recently had a letter in the Comics Buyer's Guide
announcing some of his findings. I found a few of his statistics
frankly incredible, and wrote a letter to CBG questioning his
numbers. He wrote back and sent me some of his data to back up
his statements. I won't go into the argument here, save to say
that some typographical errors on CBG's part and some mutual
misunderstandings may have contributed to the problem. I'll sum it
up by saying that I think Beerbohm has done much solid research
work and has turned up some impressive and useful information,
but I feel that his interpretation of the information is clouded
by his enthusiasm and a couple of eccentric theories he's trying
to prove.
Anyway...among his findings was that Bruce Hamilton has gotten
hold of the Dell Comics circulation ledgers from the 1930s up.
According to this, Hamilton reports that Walt Disney's Comics &
Stories had a circulation in excess of five and a half million
copies per issue at one point (probably in the 1950s). This makes
it the top-selling American comic-book _ever_. Looney Tunes, the
Warner Brothers character comic book, sold over three million
copies per issue at one time. By contrast, Superman and Captain
Marvel peaked in the million to million and a half range.
Beerbohm has also turned up an industry trade journal with a
1959 ad from Dell Comics announcing that their four billionth
comic book was about to be sold (4,000,000,000), and that
"millions of comics fans throughout the country have the Dell
plants producing 100,000 comic books per hour."
Well, it's no secret that American comic-book circulations used
to be much higher than they are now. I was just floored by the
5.5 million figure for WDC&S -- I might have guessed a million
or two at the max. Still, I'm old enough to remember when it
seemed like every kid in the country had a subscription to WDC&S;
I had one myself when I was a wee tyke in the late '50s (although
now I find I remember the Paul Murry Mouse stories better than the
Duck stories at the time). If you ask what happened, I'd say
"television."
If nothing else, I think there's some food for thought here.
--Dwight Decker
comic-book circulation figures in connection with a book he is
writing, and recently had a letter in the Comics Buyer's Guide
announcing some of his findings. I found a few of his statistics
frankly incredible, and wrote a letter to CBG questioning his
numbers. He wrote back and sent me some of his data to back up
his statements. I won't go into the argument here, save to say
that some typographical errors on CBG's part and some mutual
misunderstandings may have contributed to the problem. I'll sum it
up by saying that I think Beerbohm has done much solid research
work and has turned up some impressive and useful information,
but I feel that his interpretation of the information is clouded
by his enthusiasm and a couple of eccentric theories he's trying
to prove.
Anyway...among his findings was that Bruce Hamilton has gotten
hold of the Dell Comics circulation ledgers from the 1930s up.
According to this, Hamilton reports that Walt Disney's Comics &
Stories had a circulation in excess of five and a half million
copies per issue at one point (probably in the 1950s). This makes
it the top-selling American comic-book _ever_. Looney Tunes, the
Warner Brothers character comic book, sold over three million
copies per issue at one time. By contrast, Superman and Captain
Marvel peaked in the million to million and a half range.
Beerbohm has also turned up an industry trade journal with a
1959 ad from Dell Comics announcing that their four billionth
comic book was about to be sold (4,000,000,000), and that
"millions of comics fans throughout the country have the Dell
plants producing 100,000 comic books per hour."
Well, it's no secret that American comic-book circulations used
to be much higher than they are now. I was just floored by the
5.5 million figure for WDC&S -- I might have guessed a million
or two at the max. Still, I'm old enough to remember when it
seemed like every kid in the country had a subscription to WDC&S;
I had one myself when I was a wee tyke in the late '50s (although
now I find I remember the Paul Murry Mouse stories better than the
Duck stories at the time). If you ask what happened, I'd say
"television."
If nothing else, I think there's some food for thought here.
--Dwight Decker
H.W. Fluks
Comments on the past weeks
Message 185 -
1995-10-19 at 19:28:06
Hi all. I've returned from my vacation in Turkey, and spent quite
a few hours to catch up with this mailing list. So the following are
comments on quite old messages...
DANIEL, and others, about APRIL 1ST:
I also thought that april-fool was Dutch folklore: we were taught at
school ("Op 1 april verloor Alva den bril", haha). But quite soon I
knew this could not be true, because an Italian Disney story revealed
quite a different origin. I don't remember in which Dutch pocket book I read
this story, but I remember the artwork was quite good, except the Ducks.
And ehm... well... the art was by Giuseppe Perego.
ARTHUR asked a question about "DISNEY COMICS IN COLOR #1-#7":
> can someone tell me more about these albums?
I don't remember whether this question was answered, so: these albums
were composed of 3 old Gladstone comic albums, with all-new Rosa covers.
I don't think you would want to have these albums, except maybe for the
covers. But be warned: those covers are absolutely the WORST artwork Don
ever did. BTW: we discussed these albums recently.
FRANK asked:
> Which authors do you like best among the Dutch and Danish ones?
Well, let's see:
JIPPES: graphically perfect. Most of the stories very good, some reasonable.
MILTON: good stories, though sometimes much alike. Cooperation with Jippes
gave the best results.
VERHAGEN: a bit strange, small Ducks, but otherwise very good stories with
very good art.
GULBRANSSON: quite good art, quite funny stories with sometimes odd motivations
for the characters.
MATENA, PLIJNAAR: very good Big Bad Wolf stories in the 70s. More recent
Matena work is rubbish.
REICHE: only did 6 stories. Between reasonable and good. My favourite is the
wall-paper story.
GERADTS: good scripts. One can see he was a big Barks fan from the beginning.
VAN DER KROFT: only a few, but quite funny stories in the 70s.
COENEN: (I mean Jules, not Danny) some good Brer Rabbit stories. His Duck-work
was not that good.
STRAATMAN: wrote some very good Joe Carioca stories. Other material
usually is rubbish.
DE JONGE: good stories, quite good art. ("Zo is dat!")
HEYMANS: very good. Especially his short stories (written by himself, his
girlfriend, Frank Jonker or others).
Maybe other people disagree with this, or have additions?
Let someone else pick the best Danish writers and artists...
AUGIE said, about the "Khaos" story in USA #35:
> the nephews are wearing sweaters in Egypt. And how must it have been with
> a t-shirt on underneath?
In the original, the nephews and Scrooge were NOT wearing T-shirts. So they
were completely naked in some panels. Gladstone added the lines suggesting
the T-shirts. They also did this in several other Verhagen stories.
DANIEL, about a Dutch 23-pager (H8296) where Scrooge "died":
> Is this story ever published in the USA?
No, it isn't. It was drawn by Jan Gulbransson, BTW.
That's all for now!
--Harry.
a few hours to catch up with this mailing list. So the following are
comments on quite old messages...
DANIEL, and others, about APRIL 1ST:
I also thought that april-fool was Dutch folklore: we were taught at
school ("Op 1 april verloor Alva den bril", haha). But quite soon I
knew this could not be true, because an Italian Disney story revealed
quite a different origin. I don't remember in which Dutch pocket book I read
this story, but I remember the artwork was quite good, except the Ducks.
And ehm... well... the art was by Giuseppe Perego.
ARTHUR asked a question about "DISNEY COMICS IN COLOR #1-#7":
> can someone tell me more about these albums?
I don't remember whether this question was answered, so: these albums
were composed of 3 old Gladstone comic albums, with all-new Rosa covers.
I don't think you would want to have these albums, except maybe for the
covers. But be warned: those covers are absolutely the WORST artwork Don
ever did. BTW: we discussed these albums recently.
FRANK asked:
> Which authors do you like best among the Dutch and Danish ones?
Well, let's see:
JIPPES: graphically perfect. Most of the stories very good, some reasonable.
MILTON: good stories, though sometimes much alike. Cooperation with Jippes
gave the best results.
VERHAGEN: a bit strange, small Ducks, but otherwise very good stories with
very good art.
GULBRANSSON: quite good art, quite funny stories with sometimes odd motivations
for the characters.
MATENA, PLIJNAAR: very good Big Bad Wolf stories in the 70s. More recent
Matena work is rubbish.
REICHE: only did 6 stories. Between reasonable and good. My favourite is the
wall-paper story.
GERADTS: good scripts. One can see he was a big Barks fan from the beginning.
VAN DER KROFT: only a few, but quite funny stories in the 70s.
COENEN: (I mean Jules, not Danny) some good Brer Rabbit stories. His Duck-work
was not that good.
STRAATMAN: wrote some very good Joe Carioca stories. Other material
usually is rubbish.
DE JONGE: good stories, quite good art. ("Zo is dat!")
HEYMANS: very good. Especially his short stories (written by himself, his
girlfriend, Frank Jonker or others).
Maybe other people disagree with this, or have additions?
Let someone else pick the best Danish writers and artists...
AUGIE said, about the "Khaos" story in USA #35:
> the nephews are wearing sweaters in Egypt. And how must it have been with
> a t-shirt on underneath?
In the original, the nephews and Scrooge were NOT wearing T-shirts. So they
were completely naked in some panels. Gladstone added the lines suggesting
the T-shirts. They also did this in several other Verhagen stories.
DANIEL, about a Dutch 23-pager (H8296) where Scrooge "died":
> Is this story ever published in the USA?
No, it isn't. It was drawn by Jan Gulbransson, BTW.
That's all for now!
--Harry.
Deckerd
Duck Naked!
Message 186 -
1995-10-19 at 20:40:06
Since I translated that "Khaos" story, I'll mention that
the spectacle of naked ducklings kind of surprised me. I
hadn't realized Gladstone added t-shirts -- I'll have to
take a closer look at the printed story. It's interesting
to work out the implied rules of Duck nakedness in the
Disney universe. Donald and the others (even Daisy)
typically wear something on top but nothing on the bottom.
Yet I've seen bath gags (such as Donald having to answer
the door when he was in the middle of taking a bath) where
Donald has a towel wrapped around his bottom but his top
is bare. Why wrap the towel around his bottom when he
normally doesn't wear anything there anyway? (It's funnier
that way -- part of the gag is that this is what people do.)
The implied rule seems to be that a Duck can leave the top
_or_ the bottom bare and retain his modesty, but to leave
_both_ bare at the same time is nakedness. It's absurd when
you think about it, but in the context of the comics, it
seems to be sort of reasonable.
--Dwight Decker
the spectacle of naked ducklings kind of surprised me. I
hadn't realized Gladstone added t-shirts -- I'll have to
take a closer look at the printed story. It's interesting
to work out the implied rules of Duck nakedness in the
Disney universe. Donald and the others (even Daisy)
typically wear something on top but nothing on the bottom.
Yet I've seen bath gags (such as Donald having to answer
the door when he was in the middle of taking a bath) where
Donald has a towel wrapped around his bottom but his top
is bare. Why wrap the towel around his bottom when he
normally doesn't wear anything there anyway? (It's funnier
that way -- part of the gag is that this is what people do.)
The implied rule seems to be that a Duck can leave the top
_or_ the bottom bare and retain his modesty, but to leave
_both_ bare at the same time is nakedness. It's absurd when
you think about it, but in the context of the comics, it
seems to be sort of reasonable.
--Dwight Decker
Daniel Van Eijmeren
Scrooge's death
Message 187 -
1995-10-19 at 23:01:14
HARRY:
> Daniel, about a Dutch 23-pager (H8296) where Scrooge "died":
>> Is this story ever published in the USA?
> No, it isn't. It was drawn by Jan Gulbransson, BTW.
I asked here the last week if it is a good idea to reprint this story
in the USA, but then no-one answered. What do you think of it, Harry?
*If* it's going to be reprinted by Gladstone, I think the story needs
a very good recoloring, the panels have a kind of "empty look" to me
now (or do you think I'm wrong with that?).
DAVID & DWIGHT:
Maybe you are interested?
Greetings,
--- Daniel
> Daniel, about a Dutch 23-pager (H8296) where Scrooge "died":
>> Is this story ever published in the USA?
> No, it isn't. It was drawn by Jan Gulbransson, BTW.
I asked here the last week if it is a good idea to reprint this story
in the USA, but then no-one answered. What do you think of it, Harry?
*If* it's going to be reprinted by Gladstone, I think the story needs
a very good recoloring, the panels have a kind of "empty look" to me
now (or do you think I'm wrong with that?).
DAVID & DWIGHT:
Maybe you are interested?
Greetings,
--- Daniel
Bjorn-Are.Davidsen
Heyerdahl, Ingstad and Columbus
Message 188 -
1995-10-19 at 23:27:27
Re: D-code
David:
I guess this has been submitted several times already (the disadvantage
of having someone like me receiving the Disney- Comics in digest format
and not as individual messages), however to make sure Gladstone may
get no excuse for delaying publication, I'll boldly venture forth and reveal
that the D-code of "The Lost Charts of Columbus" is D94144.
Re: Heyerdahl, Ingstad - and Columbus
Don:
Its great to see you keep up your historical interests and planning more
stories on Columbus! Looking forward to reading it, as it will provide more
excuses for unlurking.
Regarding Norwegians and publicity I have not seen any so far touching
the Columbus story (there may be some though, as I'm not a frequent
reader of weekly magazines nort the tabloids). However its true about the
> currently hot public debate between the elderly Thor Heyerdahl and
> some other famous, elderly Norwegian historian/explorer (the guy who
>discovered the Viking settlement in Newfoundland) about who actually
> discovered America..
This has been in the large very non-tabloid Norwegian newspaper
Aftenposten, based on the Swedish chartographer Per Lilliestroms
research of a Portugese map seemingly showing a 1477 exploration of
Greenland and the Northeastern shores of Canada.
Lots of interesting things to this theory of how the Portugese may have
taken the last of the Norse poplulation as slaves and traded them to the
Canary islands, where some wood ornaments are supposed to be in the
form of "Norse dragons".
Now, Heyerdahl has presented this theory in a preface to an new edition
of one of his latest book. And the opponent is Helge Ingstad, an (believe
it or not) even more incredible viking descendant than mr. Heyerdahl.
While Heyerdahl is still in his youthfull 80's (born 1914) and going on
writing books, excavating pyraminds and doing Indian tribal dances in
Peru (having retired for a period from sea traveling on wooden rafts and
such), Ingstad has become a mature man of 96 (born 1899) relaxing from
a hard life by partcipating in court trials in favor of his daughter as well as
news paper discussions.
Both H. and I. have led lives which should provide material for lots of plots
for you, Don and other artists. As H. may be well known (Fatu Hiva, Kon
Tiki, Aku Aku, Ra, Tigris a.s.o.), I'll elaborate a bit on I.
Ingstad was originally a lawyer who left his lawbooks and took up life as a
trapper in North Western Canada (around Great Bear Lake and such) in
the 20's for several years, living among indians and raindeer (later writing
several books and novels about this). Then he became leader of the
Norwegian expedition who reconquered Greenland from the evil Danish
in the early 30's before international law decided the land was to belong
to the Danish after all (even if originally Norwegian until Denmark and
Norway bacame an union in the 14th century). Then he was headman on
Spitsbergen for several years (writing books on Greenland and
Spitsbergen), before going to Arizona and Mexico to visit the Apaches.
He led a smal expedition to discover "wild apaches" (those who had
escaped from being taken as prisoners with Geronimo, and went on living
in the Sierra Madre). I. found signs of some few pitifull and poor "wild"
apaches still living there. After having written a book on this, he went on
with archeological excavations in Greenland and Newfoundland and did
the famous discovey of Norse settlements ( with his wife Anne Stine). After
having written some more books he seemed to have calmed down until
he now joins battle with Heyerdahl (e.g. pointing out strange aspects with
the Portugese maps and that few explorers would have dared those
coasts in February - when the ice and cold are at its worst).
In many ways, I believe a certain Carl Barks would thoroughly enjoy
chatting for days with mr. Ingstad - and with Heyerdahl. If you haven't read
any of their books, I very much recommend it, as they represent values
and a generation of "giants" there seem to be few possibilities of having
in the internet 90's. And - of course - materials for stories!
Bjorn-Are
bjorn-are.davidsen at s.prosjekt98.telenor.no
************************************************************************************
- The Weaver in the Web that he made -
************************************************************************************
David:
I guess this has been submitted several times already (the disadvantage
of having someone like me receiving the Disney- Comics in digest format
and not as individual messages), however to make sure Gladstone may
get no excuse for delaying publication, I'll boldly venture forth and reveal
that the D-code of "The Lost Charts of Columbus" is D94144.
Re: Heyerdahl, Ingstad - and Columbus
Don:
Its great to see you keep up your historical interests and planning more
stories on Columbus! Looking forward to reading it, as it will provide more
excuses for unlurking.
Regarding Norwegians and publicity I have not seen any so far touching
the Columbus story (there may be some though, as I'm not a frequent
reader of weekly magazines nort the tabloids). However its true about the
> currently hot public debate between the elderly Thor Heyerdahl and
> some other famous, elderly Norwegian historian/explorer (the guy who
>discovered the Viking settlement in Newfoundland) about who actually
> discovered America..
This has been in the large very non-tabloid Norwegian newspaper
Aftenposten, based on the Swedish chartographer Per Lilliestroms
research of a Portugese map seemingly showing a 1477 exploration of
Greenland and the Northeastern shores of Canada.
Lots of interesting things to this theory of how the Portugese may have
taken the last of the Norse poplulation as slaves and traded them to the
Canary islands, where some wood ornaments are supposed to be in the
form of "Norse dragons".
Now, Heyerdahl has presented this theory in a preface to an new edition
of one of his latest book. And the opponent is Helge Ingstad, an (believe
it or not) even more incredible viking descendant than mr. Heyerdahl.
While Heyerdahl is still in his youthfull 80's (born 1914) and going on
writing books, excavating pyraminds and doing Indian tribal dances in
Peru (having retired for a period from sea traveling on wooden rafts and
such), Ingstad has become a mature man of 96 (born 1899) relaxing from
a hard life by partcipating in court trials in favor of his daughter as well as
news paper discussions.
Both H. and I. have led lives which should provide material for lots of plots
for you, Don and other artists. As H. may be well known (Fatu Hiva, Kon
Tiki, Aku Aku, Ra, Tigris a.s.o.), I'll elaborate a bit on I.
Ingstad was originally a lawyer who left his lawbooks and took up life as a
trapper in North Western Canada (around Great Bear Lake and such) in
the 20's for several years, living among indians and raindeer (later writing
several books and novels about this). Then he became leader of the
Norwegian expedition who reconquered Greenland from the evil Danish
in the early 30's before international law decided the land was to belong
to the Danish after all (even if originally Norwegian until Denmark and
Norway bacame an union in the 14th century). Then he was headman on
Spitsbergen for several years (writing books on Greenland and
Spitsbergen), before going to Arizona and Mexico to visit the Apaches.
He led a smal expedition to discover "wild apaches" (those who had
escaped from being taken as prisoners with Geronimo, and went on living
in the Sierra Madre). I. found signs of some few pitifull and poor "wild"
apaches still living there. After having written a book on this, he went on
with archeological excavations in Greenland and Newfoundland and did
the famous discovey of Norse settlements ( with his wife Anne Stine). After
having written some more books he seemed to have calmed down until
he now joins battle with Heyerdahl (e.g. pointing out strange aspects with
the Portugese maps and that few explorers would have dared those
coasts in February - when the ice and cold are at its worst).
In many ways, I believe a certain Carl Barks would thoroughly enjoy
chatting for days with mr. Ingstad - and with Heyerdahl. If you haven't read
any of their books, I very much recommend it, as they represent values
and a generation of "giants" there seem to be few possibilities of having
in the internet 90's. And - of course - materials for stories!
Bjorn-Are
bjorn-are.davidsen at s.prosjekt98.telenor.no
************************************************************************************
- The Weaver in the Web that he made -
************************************************************************************
Rune Gudmundsen
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Message 189 -
1995-10-20 at 01:57:31
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Paal Rui
No subject
Message 190 -
1995-10-20 at 03:13:52
unsubcribe rui at sfu.ca
Arthur De Wolf
-- Coins, coins and coins --
Message 191 -
1995-10-20 at 04:20:55
DON:
You said that it is a BIG mistake that colorists in Europe
color Scrooge's coins gold. But Barks always colors his coins gold/yellow
on his paintings!
I just looked at the copies of all European Disney comics I have,
and you're right: all coins are yellow. Well, there were a few Greek comics
that had white coins.
ALLEN:
Do you think that they color the coins in Europe gold, because
European coins are mostly gold, brass and copper-colored. Well, maybe
we have a few not-silver colored coins in Holland, but most of them
ARE silver. Let's see, we have six different coins in Holland, of which
four are silver! One of the two non-silver coins is quite a new one
(5 guilders), so until recently, four out of five coins were silver.
So why should they color all coins in Scrooge's money bin GOLD in Holland?
No, I just think it's a tradition, like Don said. The first time
I noticed the white/silver coins in American comics was in Don's "The
Money Pit" in Disney Comics' Donald Duck Adventures #1! I thought: "Hey!
Those coins are WHITE!". I had been reading Disney comics with yellow/gold
coins my entire life, and now I saw WHITE coins. It seemed odd. But I
guess it's a tradition of what people in different countries are used to!
___
C:\>aR|HUr
___
C:\>aR|HUr
You said that it is a BIG mistake that colorists in Europe
color Scrooge's coins gold. But Barks always colors his coins gold/yellow
on his paintings!
I just looked at the copies of all European Disney comics I have,
and you're right: all coins are yellow. Well, there were a few Greek comics
that had white coins.
ALLEN:
Do you think that they color the coins in Europe gold, because
European coins are mostly gold, brass and copper-colored. Well, maybe
we have a few not-silver colored coins in Holland, but most of them
ARE silver. Let's see, we have six different coins in Holland, of which
four are silver! One of the two non-silver coins is quite a new one
(5 guilders), so until recently, four out of five coins were silver.
So why should they color all coins in Scrooge's money bin GOLD in Holland?
No, I just think it's a tradition, like Don said. The first time
I noticed the white/silver coins in American comics was in Don's "The
Money Pit" in Disney Comics' Donald Duck Adventures #1! I thought: "Hey!
Those coins are WHITE!". I had been reading Disney comics with yellow/gold
coins my entire life, and now I saw WHITE coins. It seemed odd. But I
guess it's a tradition of what people in different countries are used to!
___
C:\>aR|HUr
___
C:\>aR|HUr
James E. Smith III
Disney-comics digest #820.
Message 192 -
1995-10-20 at 04:55:23
Dear Don:
ATTN Mr. Rosa:
Just two quick questions. 1) Can you tell us a bit more about this
supposed "painting-cover" you did that was supposed to be about the
Funeral of Scrooge with Donald, Daisy, and the nephews looking over. Is
this really something you did? Is there any way I can get a glimpse of
this artwork? Sounds really fascinating?
Second question: Again, this is something that you may have already
answered here. But then, I'm great at asking redundent questions.
Ok, is there going to be a Life of Scrooge #0, that will be coming out
after issue #12. I may have missed your previous answer.
As always, a devoted fan.
James Smith III
Williston, ND 58801
ATTN Mr. Rosa:
Just two quick questions. 1) Can you tell us a bit more about this
supposed "painting-cover" you did that was supposed to be about the
Funeral of Scrooge with Donald, Daisy, and the nephews looking over. Is
this really something you did? Is there any way I can get a glimpse of
this artwork? Sounds really fascinating?
Second question: Again, this is something that you may have already
answered here. But then, I'm great at asking redundent questions.
Ok, is there going to be a Life of Scrooge #0, that will be coming out
after issue #12. I may have missed your previous answer.
As always, a devoted fan.
James Smith III
Williston, ND 58801
Tommy Tran
Mythical Places and Calendars
Message 193 -
1995-10-20 at 06:19:58
I hope you are all happy, I'm now again in my research mode, which was what
compelled me the write that paper of mine.
________________________________________________________________________________
DANIEL: (Mythical Places
I found this at the following link:
http://aleph0.clarku.edu/rajs/Shangri_La.html
>Writers have imagined and explorers have travelled afar before and since James
>Hilton first conjured up "Shangri-la" in his classic 1935 novel The Lost
>Horizon. It is refreshing to know that the notion of Shangri-la has been
>preserved over time, at least in pockets. While most references to Shangri-la
>relate to the fictional utopia, I am taking the liberty, here, to give it
flesh
>and blood and present the Himalayan region of the world, in its totality, as a
>living, existing Shangri La, with a subtle difference from the original
idea of
>the Shangri-la.
Kubla Khan is one of my favorite poems, and is the original source for the
legend of Xanadu. This a quote of his own account of the poem creation:
"In consequence of a slight indisposition, an anodyne had been prescribed (it
was later found that he had been taking a from of opium), from the effects of
which he fell asleep in his chair at the moment that he was reading the
following sentence, or words of the same substance, in Purchas's Pilgrimage:
``Here the Khan Kubla commanded a palace to be built, and a stately garden
thereunto. And thus ten miles of fertile ground were inclosed with a wall.''
The
Author continued for about three hours in a profound sleep, at least of the
external senses, during which time he has the most vivid confidence, that he
could not have composed less than from two to three hundred lines; if that
indeed can be called composition in which all the images rose up before him as
things, with a parallel production of the correspondent expressions, without
any
sensation or consciousness of effort."
Here is a (slightly edited) list of refrence to Xanadu I had found
at http://www.aus.xanadu.com/xanadu/faq.html:
________________________________________________________________________________
What is the history of the name "Xanadu"?
* Marco Polo mentioned the original palace "Shan-Du", somewhere near
Beijing, in
his autobiography.
* Samuel Taylor Coleridge published the poem "Kubla Khan", ... in the early
19th
century... [He] was interrupted while trying to write it down by the infamous
"person from Porlock" who bothered him on trivial business and made him forget
the rest of the poem. This has been disputed by scholars who didn't believe
there actually could have been any more to the poem. Coleridge was inspired by
the autobiography of Marco Polo mentioned in answer 7a above, which he was
reading.
* Orson Welles, in his famous film "Citizen Kane", named the palace of Charles
Foster Kane "Xanadu" after the Coleridge poem. It was based on the real life
palace of San Simeon owned by William Randolph Hearst.
* Ted Nelson named his World Publishing Repository (trademark of Project
Xanadu)
project after the Coleridge poem, to suggest "the magic place of literary
memory
where nothing is forgotten".
* The secret hideout of Mandrake the Magician in the comic strip of the same
name was called "Xanadu" (presumably after the Coleridge poem).
* The rock group Rush released a song called Xanadu, obviously inspired by
"Kubla Khan", on their 1970s album "Farewell to Kings".
* The 1980 movie "Xanadu" starring Olivia Newton-John as a muse was also named
after the Coleridge poem, as an allusion to literary inspiration. She also sang
the title song.
* Greg Bear used "Kubla Khan" in his 1984 science fiction novel "The Infinity
Concerto" and its sequel "The Serpent Mage" (collectively published as
"Songs of
Earth and Power"), in which the poem is considered a song of power whose
completion would have vast political and social implications. The book also
features a massive palace called Xanadu.
* David Butler based the plot of his 1986 science-fiction novel "The Men Who
Mastered Time" around the story of "Kubla Khan".
* Douglas Adams used the story of the creation of the Coleridge poem mentioned
in answer 7b above as a central part of the plot of his science-fiction novel
"Dirk Gently's Wholistic Detective Agency". (highly suggested - Tommy)
________________________________________________________________________________
BJORN: (Calendar)
Here is something I found out of my encyclopedia:
>Year
>In ancient calendars, years were generally numbered according to the year
of a >ruler's reign. About AD 525, a monk named Dionysius Exiguus suggested
that
>years be counted from the birth of Christ, which was designated AD (anno
>Domini, "the year of the Lord") 1. This proposal came to be adopted
throughout
>Christendom during the next 500 years.
>The 1st century of the Christian Era began in AD 1, the 2d in AD 101;
>the 21st will begin in 2001.
So a 537 A.D. artifact may be possible, espessially in a group of monks, who
would be quick to adopt such a standard, if they had heard of it. This does
confirm your interpretation of the Latin phrase usage (AD first), though.
________________________________________________________________________________
Finally, here is the bibliography for my paper minus specific comic books
(Barks and
Rosa) (I've already taken too much space):
Works Cited
"Barks, Carl." Contemporary Authors. Ed. Hal May. Detroit: Gale Research
Co., 1985.
Boatner, E. B.. "Carl Barks - from Burbank to Calisota." The Comic Book
Price Guide
7 (1977): A-37 - A-57.
Blum, Geoffrey. "One More Hurrah." Walt Disney's Uncle Scrooge Adventures.
ns 33
(July 1995): 25-28.
Campbell, Joseph. The Hero With A Thousand Faces. Princeton: Princeton
University
Press, 1968.
Cocks, Jay. "The Duck with the Bucks." Rev. of Uncle Scrooge McDuck: His
Life &
Times, by Carl Barks. Time 17 May, 1982: 78-79.
Erickson, Byron. Reply to letter of Paul Kjoss. Walt Disney's Uncle Scrooge.
235
(July 1989): cover.
Holman, C. Hugh, William Harmon. A Handbook of Literature. New York: Macmillian
Co., 1992.
Merchant, Paul. "Epic." Grolier's Encyclopedia. Grolier Inc., 1995. CARL
Information
System.
Miller, Jim. "Lord Love a Duck." Rev. of Uncle Scrooge McDuck: His Life &
Times, by
Carl Barks. Newsweek 28 June, 1982: 76.
compelled me the write that paper of mine.
________________________________________________________________________________
DANIEL: (Mythical Places
I found this at the following link:
http://aleph0.clarku.edu/rajs/Shangri_La.html
>Writers have imagined and explorers have travelled afar before and since James
>Hilton first conjured up "Shangri-la" in his classic 1935 novel The Lost
>Horizon. It is refreshing to know that the notion of Shangri-la has been
>preserved over time, at least in pockets. While most references to Shangri-la
>relate to the fictional utopia, I am taking the liberty, here, to give it
flesh
>and blood and present the Himalayan region of the world, in its totality, as a
>living, existing Shangri La, with a subtle difference from the original
idea of
>the Shangri-la.
Kubla Khan is one of my favorite poems, and is the original source for the
legend of Xanadu. This a quote of his own account of the poem creation:
"In consequence of a slight indisposition, an anodyne had been prescribed (it
was later found that he had been taking a from of opium), from the effects of
which he fell asleep in his chair at the moment that he was reading the
following sentence, or words of the same substance, in Purchas's Pilgrimage:
``Here the Khan Kubla commanded a palace to be built, and a stately garden
thereunto. And thus ten miles of fertile ground were inclosed with a wall.''
The
Author continued for about three hours in a profound sleep, at least of the
external senses, during which time he has the most vivid confidence, that he
could not have composed less than from two to three hundred lines; if that
indeed can be called composition in which all the images rose up before him as
things, with a parallel production of the correspondent expressions, without
any
sensation or consciousness of effort."
Here is a (slightly edited) list of refrence to Xanadu I had found
at http://www.aus.xanadu.com/xanadu/faq.html:
________________________________________________________________________________
What is the history of the name "Xanadu"?
* Marco Polo mentioned the original palace "Shan-Du", somewhere near
Beijing, in
his autobiography.
* Samuel Taylor Coleridge published the poem "Kubla Khan", ... in the early
19th
century... [He] was interrupted while trying to write it down by the infamous
"person from Porlock" who bothered him on trivial business and made him forget
the rest of the poem. This has been disputed by scholars who didn't believe
there actually could have been any more to the poem. Coleridge was inspired by
the autobiography of Marco Polo mentioned in answer 7a above, which he was
reading.
* Orson Welles, in his famous film "Citizen Kane", named the palace of Charles
Foster Kane "Xanadu" after the Coleridge poem. It was based on the real life
palace of San Simeon owned by William Randolph Hearst.
* Ted Nelson named his World Publishing Repository (trademark of Project
Xanadu)
project after the Coleridge poem, to suggest "the magic place of literary
memory
where nothing is forgotten".
* The secret hideout of Mandrake the Magician in the comic strip of the same
name was called "Xanadu" (presumably after the Coleridge poem).
* The rock group Rush released a song called Xanadu, obviously inspired by
"Kubla Khan", on their 1970s album "Farewell to Kings".
* The 1980 movie "Xanadu" starring Olivia Newton-John as a muse was also named
after the Coleridge poem, as an allusion to literary inspiration. She also sang
the title song.
* Greg Bear used "Kubla Khan" in his 1984 science fiction novel "The Infinity
Concerto" and its sequel "The Serpent Mage" (collectively published as
"Songs of
Earth and Power"), in which the poem is considered a song of power whose
completion would have vast political and social implications. The book also
features a massive palace called Xanadu.
* David Butler based the plot of his 1986 science-fiction novel "The Men Who
Mastered Time" around the story of "Kubla Khan".
* Douglas Adams used the story of the creation of the Coleridge poem mentioned
in answer 7b above as a central part of the plot of his science-fiction novel
"Dirk Gently's Wholistic Detective Agency". (highly suggested - Tommy)
________________________________________________________________________________
BJORN: (Calendar)
Here is something I found out of my encyclopedia:
>Year
>In ancient calendars, years were generally numbered according to the year
of a >ruler's reign. About AD 525, a monk named Dionysius Exiguus suggested
that
>years be counted from the birth of Christ, which was designated AD (anno
>Domini, "the year of the Lord") 1. This proposal came to be adopted
throughout
>Christendom during the next 500 years.
>The 1st century of the Christian Era began in AD 1, the 2d in AD 101;
>the 21st will begin in 2001.
So a 537 A.D. artifact may be possible, espessially in a group of monks, who
would be quick to adopt such a standard, if they had heard of it. This does
confirm your interpretation of the Latin phrase usage (AD first), though.
________________________________________________________________________________
Finally, here is the bibliography for my paper minus specific comic books
(Barks and
Rosa) (I've already taken too much space):
Works Cited
"Barks, Carl." Contemporary Authors. Ed. Hal May. Detroit: Gale Research
Co., 1985.
Boatner, E. B.. "Carl Barks - from Burbank to Calisota." The Comic Book
Price Guide
7 (1977): A-37 - A-57.
Blum, Geoffrey. "One More Hurrah." Walt Disney's Uncle Scrooge Adventures.
ns 33
(July 1995): 25-28.
Campbell, Joseph. The Hero With A Thousand Faces. Princeton: Princeton
University
Press, 1968.
Cocks, Jay. "The Duck with the Bucks." Rev. of Uncle Scrooge McDuck: His
Life &
Times, by Carl Barks. Time 17 May, 1982: 78-79.
Erickson, Byron. Reply to letter of Paul Kjoss. Walt Disney's Uncle Scrooge.
235
(July 1989): cover.
Holman, C. Hugh, William Harmon. A Handbook of Literature. New York: Macmillian
Co., 1992.
Merchant, Paul. "Epic." Grolier's Encyclopedia. Grolier Inc., 1995. CARL
Information
System.
Miller, Jim. "Lord Love a Duck." Rev. of Uncle Scrooge McDuck: His Life &
Times, by
Carl Barks. Newsweek 28 June, 1982: 76.
JALustig
Van Horn's Orange Juice & More About DuckTales
Message 194 -
1995-10-20 at 07:12:18
David:
You asked about a Donald Duck orange juice carton that had a William Van
Horn gag on it. I asked Bill about this and he said he did five of these last
year and another one several years before. All of them were written by Bob
Foster.
BTW, thanks (and also thanks to Jorgen) for identifying the 42-page European
edition of the DuckTales graphic novel as being a revised version of the
62-page American edition that I did. David, if we both make it to San Diego
next year maybe you can bring along the European version so I can take a
look. I've got to admit I'm curious to see how it turned out. Was the
European version printed with larger pages to offset the reformatting? Or was
the art just cropped and reduced to fit in the extra tiers? Sigh! There's so
many things about that project I wish I could change now.
To be honest, I've come to the conclussion that comic book adaptions of
movies are usually a mistake. I think they really made sense decades
ago--back in the days before everyone had video tape players. Comic book
adaptions of movies have often been nothing more than pale versions of the
original films. Still, they were better than nothing. Today, however, with
nearly every major modern movie on video tape I'm not sure what purpose a
comic book adaption fills. The only advantage a comic might have is that it's
probably easier to find a specific scene than on a video tape. (Of course, a
well-indexed laser disc would have the edge even there.)
I'm not trying to imply that movies are superior to comics. But when someone
buys a comic book-adaption of a movie they are--I presume--trying to
recapture the movie experience. For that--I would think--a video or laser
disc version of the movie would be superior.
Personally, a comic book adaption of a movie would interest me a lot more if
it was in someway different from the movie. If it could add something to the
original movie's story, take a different viewpoint or even dramatise the
story from different camera angles--these are all things that might help a
comic book adaption stand on its own.
At least, it's what I might find interesting. I'd be very interested to know
what other members on the list think. Are comic book adaptions of movies
something you really want to see these days? And, if so, should the adaptions
be as close as posssible to the original movie? Or should they try to retell
the story of the movie in a new way--even at the risk of changing some events
in the movie?
On to another DuckTales subject! Someone awhile back was asking about which
issue of Disney's DuckTales Magazine had Don Rosa's four-page story "Back in
Time for a Dime!" I finally got around to unearthing my collection and found
the story. It's in the "Spring 1990" issue. Once again I want to emphasize
that it's in a magazine and has not--as far as I know--ever been printed in
any regular comic books. The same goes for my two stories which appeared in a
couple of other issues of that magazine.
---John Lustig
Also thank for SD panel.
You asked about a Donald Duck orange juice carton that had a William Van
Horn gag on it. I asked Bill about this and he said he did five of these last
year and another one several years before. All of them were written by Bob
Foster.
BTW, thanks (and also thanks to Jorgen) for identifying the 42-page European
edition of the DuckTales graphic novel as being a revised version of the
62-page American edition that I did. David, if we both make it to San Diego
next year maybe you can bring along the European version so I can take a
look. I've got to admit I'm curious to see how it turned out. Was the
European version printed with larger pages to offset the reformatting? Or was
the art just cropped and reduced to fit in the extra tiers? Sigh! There's so
many things about that project I wish I could change now.
To be honest, I've come to the conclussion that comic book adaptions of
movies are usually a mistake. I think they really made sense decades
ago--back in the days before everyone had video tape players. Comic book
adaptions of movies have often been nothing more than pale versions of the
original films. Still, they were better than nothing. Today, however, with
nearly every major modern movie on video tape I'm not sure what purpose a
comic book adaption fills. The only advantage a comic might have is that it's
probably easier to find a specific scene than on a video tape. (Of course, a
well-indexed laser disc would have the edge even there.)
I'm not trying to imply that movies are superior to comics. But when someone
buys a comic book-adaption of a movie they are--I presume--trying to
recapture the movie experience. For that--I would think--a video or laser
disc version of the movie would be superior.
Personally, a comic book adaption of a movie would interest me a lot more if
it was in someway different from the movie. If it could add something to the
original movie's story, take a different viewpoint or even dramatise the
story from different camera angles--these are all things that might help a
comic book adaption stand on its own.
At least, it's what I might find interesting. I'd be very interested to know
what other members on the list think. Are comic book adaptions of movies
something you really want to see these days? And, if so, should the adaptions
be as close as posssible to the original movie? Or should they try to retell
the story of the movie in a new way--even at the risk of changing some events
in the movie?
On to another DuckTales subject! Someone awhile back was asking about which
issue of Disney's DuckTales Magazine had Don Rosa's four-page story "Back in
Time for a Dime!" I finally got around to unearthing my collection and found
the story. It's in the "Spring 1990" issue. Once again I want to emphasize
that it's in a magazine and has not--as far as I know--ever been printed in
any regular comic books. The same goes for my two stories which appeared in a
couple of other issues of that magazine.
---John Lustig
Also thank for SD panel.
Salim Shariff
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Message 195 -
1995-10-20 at 07:27:29
In which case unsubscribe me please.