TODD ended his message with a note about how sad it is that American
doesn't appreciate Don Rosa's work (and, by extension I'm sure, the Duck
books in general) as much as Italy or any of the other European countries.
Arthur had some pretty interesting numbers about circulation figures for
Uncle $crooge and Donald Duck comics in Scandinavia a week ago or so.
And I just found some interesting ones posted on rec.arts.comics.misc.
In America, super-heros rule the comics scene. I have no quarrel, per se,
with that. After super-heroes in spandex usually comes the licensed books
(such as Topps' immensely popular X-Files and Dark Horse's Star Wars
line.) After that comes all the trash of the recent "Bad Girl" trend.
And the Ducks (and Archie, I'd imagine too) are somewhere behind that. I
never realized how bad it was until I saw these numbers.
[The following numbers are for comics solicited for November, I believe.]
Roughly 170,000 copies are sold of Spawn each month. That is the number
one comic in the nation. That didn't sound too bad to me. Sure, I
remember when it first came out and number 1 issues were selling at a
million a clip. I realize things have calmed down considerably, but...
After that there is a steep drop-off. The fifth-best selling title in
the States is Superman with just around 70,000 copies. The 25th top
seller (Robin, this month) is around 50,000 copies monthly. #50 is
around 36,000. #100 is at around 20,000 copies. #124 was around 15,000
copies. (This title, by the way, won't be put to press due to low numbers.)
None of the Gladstone titles are in the top 150. Not even Uncle $crooge,
which I believe is Gladstone's top-seller.
Meanwhile, in Norway a quarter of the entire population reads Donald Duck
comics alone.
No wonder Gladstone is having all these problems. Sheesh.
-Augie
--------------------------------------------------------------------------
Augie De Blieck Jr. | Help make more VR.5 movies! | Thanks to everyone who
Media Relations | Sign the petition with | helped bring VR.5 back
Virtual Storm | jdobbin at magic.mb.ca | to television!
Author
Topic: 199510
(299 messages)
Augie De Blieck Jr.
Disney-comics digest #830.
Message 286 -
1995-10-30 at 04:36:02
RHODE
Mickey question
Message 287 -
1995-10-30 at 17:01:59
Can anyone help me with tracking down a Mickey story? He was in the French
Foreign Legion. One image I particularly remember is he was crawling
through the sands after his boots had burned through. Does anyone know
what this was and if it was reprinted?
Thanks,
Mike Rhode
Foreign Legion. One image I particularly remember is he was crawling
through the sands after his boots had burned through. Does anyone know
what this was and if it was reprinted?
Thanks,
Mike Rhode
Deckerd
Reply to Stajano
Message 288 -
1995-10-30 at 18:45:35
On Oct 29, 9:06pm, Frank Stajano wrote:
> DWIGHT-810:
>
> >I've done six languages: German, Dutch, French, Danish, Swedish,
> >and Italian into English. It's amazing what you can do with a
> >dictionary...(fortunately, Disney comics aren't exactly rocket
> >science).
>
> I disagree entirely! It's a lot harder to properly translate a
> comic story than a newspaper, a technical article or a random bit
> of prose. Comics are
> full of puns and gags based on linguistics (though this is not the
> specialty of DISNEY comics-- Achille Talon or Asterix would be
> better examples) but also on national traditions, current events
> and so on, which
> would be just lost if the translator were not aware of the customs,
> traditions etc of the country of origin. I'm thinking for example
> of some Italian stories from the 70's and 80's which poked fun at
> popular TV presenters and celebrities. So I think that, if you
> rate yourself as a good translator, you're being way too modest
> with respect to your work when you say that most of it comes out
> of the dictionary...
Well, there are different approaches and different schools of
thought here. Ideally, I think, a translator should produce
_exactly_ what is there, no more, no less, and certainly not
try to "improve" on it. Let the editor worry about whether it's
suitable for his purposes. But you'll note that I said "ideally,"
and the real world is a little different. With Disney comics in
particular, the editors and most of the readers aren't really
interested in an exact rendering of the original story. They
want a good story with entertaining dialogue that matches the
pictures. In theory you could ignore the original text entirely
and write a whole new story based on the artwork. I don't quite
agree with this, since I think the translator should deliver a
close approximation of the original, at least, but the bottom
line is the average American Disney reader probably doesn't care if
a story is satirizing Italian talk show hosts or is making visual
Dutch puns. The story has to make sense and stand on its own as
if it were written in English to begin with.
Non-Disney jobs I've done require much closer attention to nuance
and levels of language. The example of Asterix in particular
has me a little spooked, always worried about missing puns or
topical references. I'm getting a little shameless about pestering
foreign friends and correspondents for clarification of doubtful
names and phrasings. And not everything translates exactly. A key
moment in a story might be when a character stops calling another
character "vous" and starts using "tu." English doesn't have the
formal and informal forms of "you." The worst, though, are the
visual puns, where you can't just write your way out of a jam
by substituting some arbitrary English wordplay for something
that was untranslatable in the original, but actually have to
come up with something that matches the pictures...
> That wonderful story ("Zio Paperone e il deposito oceanico")...
> I was amazed at the idea that Scrooge had so much money that he
> actually had A NUMBER of money bins! And that to put all that
> money in one single bin would have forced him to build one so big
> as to have a horizon!
I kind of saw the story as taking the idea of Scrooge's money
behaving like water (so he could swim in it) to its ultimate
absurdity.
> That sense of immensity (as in the opening
> chapter of Asimov's "Foundation", where the spaceport was so big
> that clouds formed inside the building)
I read someplace that the Vehicle Assembly Building at Kennedy
Space Center in Florida is so large that special climate control
equipment had to be installed to prevent just that from happening.
Thunderstorms inside the building were apparently a distinct
possibility. So buildings large enough to have their own weather
inside aren't quite outside the range of present capabilities.
> and of "breaking the rules"
> (because I was sure that "in reality" Scrooge only had one
> comparatively small money bin), together with the beautiful art,
> always made that story special for me.
It was a special story for me, too. I translated it for Disney
Comics and the check bought me my present VCR. I was always
curious about what the readers would think of the story, but
unfortunately Disney Comics' letter columns got a little irregular
around then and about the only direct response I can recall was
from a fundamentalist Christian lady complaining that the story
was Satanistic or something because it had a "witch" in it (Magica).
Oh well...
--Dwight Decker
> DWIGHT-810:
>
> >I've done six languages: German, Dutch, French, Danish, Swedish,
> >and Italian into English. It's amazing what you can do with a
> >dictionary...(fortunately, Disney comics aren't exactly rocket
> >science).
>
> I disagree entirely! It's a lot harder to properly translate a
> comic story than a newspaper, a technical article or a random bit
> of prose. Comics are
> full of puns and gags based on linguistics (though this is not the
> specialty of DISNEY comics-- Achille Talon or Asterix would be
> better examples) but also on national traditions, current events
> and so on, which
> would be just lost if the translator were not aware of the customs,
> traditions etc of the country of origin. I'm thinking for example
> of some Italian stories from the 70's and 80's which poked fun at
> popular TV presenters and celebrities. So I think that, if you
> rate yourself as a good translator, you're being way too modest
> with respect to your work when you say that most of it comes out
> of the dictionary...
Well, there are different approaches and different schools of
thought here. Ideally, I think, a translator should produce
_exactly_ what is there, no more, no less, and certainly not
try to "improve" on it. Let the editor worry about whether it's
suitable for his purposes. But you'll note that I said "ideally,"
and the real world is a little different. With Disney comics in
particular, the editors and most of the readers aren't really
interested in an exact rendering of the original story. They
want a good story with entertaining dialogue that matches the
pictures. In theory you could ignore the original text entirely
and write a whole new story based on the artwork. I don't quite
agree with this, since I think the translator should deliver a
close approximation of the original, at least, but the bottom
line is the average American Disney reader probably doesn't care if
a story is satirizing Italian talk show hosts or is making visual
Dutch puns. The story has to make sense and stand on its own as
if it were written in English to begin with.
Non-Disney jobs I've done require much closer attention to nuance
and levels of language. The example of Asterix in particular
has me a little spooked, always worried about missing puns or
topical references. I'm getting a little shameless about pestering
foreign friends and correspondents for clarification of doubtful
names and phrasings. And not everything translates exactly. A key
moment in a story might be when a character stops calling another
character "vous" and starts using "tu." English doesn't have the
formal and informal forms of "you." The worst, though, are the
visual puns, where you can't just write your way out of a jam
by substituting some arbitrary English wordplay for something
that was untranslatable in the original, but actually have to
come up with something that matches the pictures...
> That wonderful story ("Zio Paperone e il deposito oceanico")...
> I was amazed at the idea that Scrooge had so much money that he
> actually had A NUMBER of money bins! And that to put all that
> money in one single bin would have forced him to build one so big
> as to have a horizon!
I kind of saw the story as taking the idea of Scrooge's money
behaving like water (so he could swim in it) to its ultimate
absurdity.
> That sense of immensity (as in the opening
> chapter of Asimov's "Foundation", where the spaceport was so big
> that clouds formed inside the building)
I read someplace that the Vehicle Assembly Building at Kennedy
Space Center in Florida is so large that special climate control
equipment had to be installed to prevent just that from happening.
Thunderstorms inside the building were apparently a distinct
possibility. So buildings large enough to have their own weather
inside aren't quite outside the range of present capabilities.
> and of "breaking the rules"
> (because I was sure that "in reality" Scrooge only had one
> comparatively small money bin), together with the beautiful art,
> always made that story special for me.
It was a special story for me, too. I translated it for Disney
Comics and the check bought me my present VCR. I was always
curious about what the readers would think of the story, but
unfortunately Disney Comics' letter columns got a little irregular
around then and about the only direct response I can recall was
from a fundamentalist Christian lady complaining that the story
was Satanistic or something because it had a "witch" in it (Magica).
Oh well...
--Dwight Decker
David A Gerstein
CBL, Fleetway, MM-identification, etc.
Message 289 -
1995-10-30 at 19:08:37
FRANK:
> Ok, so why can't I buy these Gladstones from Fleetway, whoever they
> are? :-) Or are you maybe saying that Fleetway are _publishers_ who've
> secured a no-competition licence...
That's right. They publish their own lineup of Disney comics:
MICKEY AND FRIENDS, LITTLE MERMAID (Egmont TLM stories as in the
German monthly), and DISNEY AND ME (a very childish mixture of text
stories and Italian one- and two-page gags). These comics are not
very good or successful IMHO, although the MM is the only English
source for a lot of Egmont weekly material.
Regarding the CBL, I said:
>> Later Gladstone convinced them to turn-around, but figured
>> that if they printed the whole works in a NEW format, they could then
>> sell it to a lot of people who already had the bw CBL, too.
And here you got me:
> Aha! So it's still Gladstone's fault after all, at least in part...
> They could have reprinted the CBL but didn't.
I don't know about that. They may have only been able to get
Disney to endorse the project in softback, or color, form. I think
Gladstone might ALSO reprint the hardback CBL were they able to get
the license again, and John has noted this when talking to me. I was
just trying to point out one reason why it occurred to Gladstone to do
this color album-version.
MIKE remembered a Mickey story where
"He was in the French Foreign Legion. One image I
particularly remember is he was crawling through the sands after his
boots had burned through..."
This story is a Gottfredson 1936 story called, appropriately
enough, "Mickey Mouse Joins the Foreign Legion." In many ways it is
an excellent story -- it's my favorite conflict between MM and Pete,
and MM is particularly engaging himself. But a black caricature
appears in two strips, and some incidental Arab characters have big
noses that Disney thought would offend people in a reprint (and maybe
they would; remember the flak over "Aladdin".) Theoretically, the
story could be reprinted with a minor art alteration.
But Disney also felt it was an insult to the greatness of this
story to change anything about it, so Gladstone couldn't just alter
the noses and print it.
Originally Gladstone was told they could make the changes, so
they had Daan Jippes draw two covers for its two halves. The ruling
was changed after those covers had been completed, so Gladstone
printed the covers alone in, I think, MM 256 (in a column called "The
Gladstone that Never Was").
The story does appear relatively unscathed in the 1978
Abbeville Press MICKEY MOUSE BEST COMICS volume. It's relettered like
the others in the book, but unlike many of them, its text is almost
identical to the original. The book was reprinted again in 1986 (with
a new, yellow paper cover), and that edition is still pretty easy to
hunt down.
David Gerstein
"I s'pose Pete thought this 'd be the end o' me! An' all I
can say is... he was RIGHT!"
<96dag at williams.edu>
> Ok, so why can't I buy these Gladstones from Fleetway, whoever they
> are? :-) Or are you maybe saying that Fleetway are _publishers_ who've
> secured a no-competition licence...
That's right. They publish their own lineup of Disney comics:
MICKEY AND FRIENDS, LITTLE MERMAID (Egmont TLM stories as in the
German monthly), and DISNEY AND ME (a very childish mixture of text
stories and Italian one- and two-page gags). These comics are not
very good or successful IMHO, although the MM is the only English
source for a lot of Egmont weekly material.
Regarding the CBL, I said:
>> Later Gladstone convinced them to turn-around, but figured
>> that if they printed the whole works in a NEW format, they could then
>> sell it to a lot of people who already had the bw CBL, too.
And here you got me:
> Aha! So it's still Gladstone's fault after all, at least in part...
> They could have reprinted the CBL but didn't.
I don't know about that. They may have only been able to get
Disney to endorse the project in softback, or color, form. I think
Gladstone might ALSO reprint the hardback CBL were they able to get
the license again, and John has noted this when talking to me. I was
just trying to point out one reason why it occurred to Gladstone to do
this color album-version.
MIKE remembered a Mickey story where
"He was in the French Foreign Legion. One image I
particularly remember is he was crawling through the sands after his
boots had burned through..."
This story is a Gottfredson 1936 story called, appropriately
enough, "Mickey Mouse Joins the Foreign Legion." In many ways it is
an excellent story -- it's my favorite conflict between MM and Pete,
and MM is particularly engaging himself. But a black caricature
appears in two strips, and some incidental Arab characters have big
noses that Disney thought would offend people in a reprint (and maybe
they would; remember the flak over "Aladdin".) Theoretically, the
story could be reprinted with a minor art alteration.
But Disney also felt it was an insult to the greatness of this
story to change anything about it, so Gladstone couldn't just alter
the noses and print it.
Originally Gladstone was told they could make the changes, so
they had Daan Jippes draw two covers for its two halves. The ruling
was changed after those covers had been completed, so Gladstone
printed the covers alone in, I think, MM 256 (in a column called "The
Gladstone that Never Was").
The story does appear relatively unscathed in the 1978
Abbeville Press MICKEY MOUSE BEST COMICS volume. It's relettered like
the others in the book, but unlike many of them, its text is almost
identical to the original. The book was reprinted again in 1986 (with
a new, yellow paper cover), and that edition is still pretty easy to
hunt down.
David Gerstein
"I s'pose Pete thought this 'd be the end o' me! An' all I
can say is... he was RIGHT!"
<96dag at williams.edu>
Per Starback
Back in Time for "Back in Time for a Dime"
Message 290 -
1995-10-30 at 19:39:33
Harry (about the story in DTM in the Don Rosa index):
> I thought so as well, and I also checked, and was also amazed. I looked
> up earlier versions of that Rosa index and there it said "September
> 1990". Something must have gone wrong.
I've went back in time myself, or at least reread some old messages
because of this. This is the story:
First it said "DTM Sep/90". (I got that from an index I got on paper
from Stefan Dios.) Then some time someone confused that story
with a story in DuckTales (which isn't the same as DuckTales
Magazine), and replaced "Sep/90" and added erroneous information about
the story. In April last year you (Harry) noticed this, removed the
erroneous info, and wrote only "DTM ...".
Now John wrote it was spring 90 instead of September. I still haven't
seen that book and am still confused.
-- "
Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
> I thought so as well, and I also checked, and was also amazed. I looked
> up earlier versions of that Rosa index and there it said "September
> 1990". Something must have gone wrong.
I've went back in time myself, or at least reread some old messages
because of this. This is the story:
First it said "DTM Sep/90". (I got that from an index I got on paper
from Stefan Dios.) Then some time someone confused that story
with a story in DuckTales (which isn't the same as DuckTales
Magazine), and replaced "Sep/90" and added erroneous information about
the story. In April last year you (Harry) noticed this, removed the
erroneous info, and wrote only "DTM ...".
Now John wrote it was spring 90 instead of September. I still haven't
seen that book and am still confused.
-- "
Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se
"Life is but a gamble! Let flipism chart your ramble!"
Deckerd
Decker Raids Europe
Message 291 -
1995-10-30 at 19:43:37
Attention Disney fans in Holland, Germany, Denmark,
and (possibly) Sweden: Be on the lookout for a crazy
American coming to your country November 15 to 28.
I intend to buy lots of comics, videos, books, and
CDs, so your country's economic chart may show a
sharp upturn for the month of November. I'm planning
to drop by the Egmont offices in Copenhagen (I just
sold them a story and got the go-ahead for another)
to chat with my editor; I had hoped to talk with
head comics editor Byron Erickson, as well, but
unfortunately he will be in Japan that week. (I
owe Byron a _lot_ -- he gave me my start in comics
translation when he was at Gladstone years ago.)
Since I won't be traveling alone this trip, my time
won't be entirely my own, so it doesn't look like
I'll be able to look up many local fans, but Harry Fluks
and I have been talking about a possible meeting.
(Harry: The question has been raised whether the
Kostuummuseum in Den Haag, described in a 1984
Holland tourists' guide but not in the 1995 edition,
is still in existence.) I have a few questions, like
whether Pocahontas will be in the theaters, is there
a Little Mermaid soundtrack CD still available in
Dutch and or Swedish versions, has the Valhalla #10
album appeared in Danish comics shops, but I'm sure
I'll find out when I'm there.
--Dwight Decker
and (possibly) Sweden: Be on the lookout for a crazy
American coming to your country November 15 to 28.
I intend to buy lots of comics, videos, books, and
CDs, so your country's economic chart may show a
sharp upturn for the month of November. I'm planning
to drop by the Egmont offices in Copenhagen (I just
sold them a story and got the go-ahead for another)
to chat with my editor; I had hoped to talk with
head comics editor Byron Erickson, as well, but
unfortunately he will be in Japan that week. (I
owe Byron a _lot_ -- he gave me my start in comics
translation when he was at Gladstone years ago.)
Since I won't be traveling alone this trip, my time
won't be entirely my own, so it doesn't look like
I'll be able to look up many local fans, but Harry Fluks
and I have been talking about a possible meeting.
(Harry: The question has been raised whether the
Kostuummuseum in Den Haag, described in a 1984
Holland tourists' guide but not in the 1995 edition,
is still in existence.) I have a few questions, like
whether Pocahontas will be in the theaters, is there
a Little Mermaid soundtrack CD still available in
Dutch and or Swedish versions, has the Valhalla #10
album appeared in Danish comics shops, but I'm sure
I'll find out when I'm there.
--Dwight Decker
Egil Pettersen
No subject
Message 292 -
1995-10-31 at 04:00:38
Jack:
The "Lost Charts of Columbus" had a special Don Rosa-cover in Norway
and Denmark. It came in DD weekly 42/95 and Anders And weekly 42/95,
and was done for those two magazines in the first place. Let us hope
your editors will publish them as well!
Erik
address egil at telepost.no
The "Lost Charts of Columbus" had a special Don Rosa-cover in Norway
and Denmark. It came in DD weekly 42/95 and Anders And weekly 42/95,
and was done for those two magazines in the first place. Let us hope
your editors will publish them as well!
Erik
address egil at telepost.no
RobertInNJ
Mickey question
Message 293 -
1995-10-31 at 05:50:28
unsubscribe
KERSTIN S.DERBAUM
Answer to Erik
Message 294 -
1995-10-31 at 14:32:52
--- Inkommet fr}n VD.POL2 031-667632 95-10-31 13:31
-> IN=disney-comics(a)Minsk.DoCS.UU.SE
Hiya!
Are you ignoring my latest long letter, or are you just trying to asnwer
it? ;-)
I hope it wasn't *too* long for you to *answer*! Well, at least I've got
*one* answer. Thanks a lot, Erik!
ERIK:
> The "Lost Charts of Columbus" had a special Don Rosa-cover in Norway
> and Denmark. It came in DD weekly 42/95 and Anders And weekly 42/95,
> and was done for those two magazines in the first place. Let us hope
> your editors will publish them as well!
Yeah, I'm hoping. But I don't think they ever will. There have been 3
Rosa-covers published in Sweden so far, the first one was Don's "RtX",
which was published mirrored. The second one was "RtPA" which didn't have
any background, just the Ducks and three of the cube hens. The third and
last cover they published was the one for "TSotS". But all these were
published *years* ago! I don't think they will publish a Rosa-cover again,
but maybe they will if "TLCoC" will be published in an Kalle Anka Extra-
issue...
---
Jack Soderbaum
-------------------------------------------------
"I have only one soda left, senor... But I think
it has been FLAT since the Great War!
Ever since World War TWO?!
CARAMBA! There was ANOTHER one?
--------------------------------
VD-POL2 at MEMO.VOLVO.SE
-> IN=disney-comics(a)Minsk.DoCS.UU.SE
Hiya!
Are you ignoring my latest long letter, or are you just trying to asnwer
it? ;-)
I hope it wasn't *too* long for you to *answer*! Well, at least I've got
*one* answer. Thanks a lot, Erik!
ERIK:
> The "Lost Charts of Columbus" had a special Don Rosa-cover in Norway
> and Denmark. It came in DD weekly 42/95 and Anders And weekly 42/95,
> and was done for those two magazines in the first place. Let us hope
> your editors will publish them as well!
Yeah, I'm hoping. But I don't think they ever will. There have been 3
Rosa-covers published in Sweden so far, the first one was Don's "RtX",
which was published mirrored. The second one was "RtPA" which didn't have
any background, just the Ducks and three of the cube hens. The third and
last cover they published was the one for "TSotS". But all these were
published *years* ago! I don't think they will publish a Rosa-cover again,
but maybe they will if "TLCoC" will be published in an Kalle Anka Extra-
issue...
---
Jack Soderbaum
-------------------------------------------------
"I have only one soda left, senor... But I think
it has been FLAT since the Great War!
Ever since World War TWO?!
CARAMBA! There was ANOTHER one?
--------------------------------
VD-POL2 at MEMO.VOLVO.SE
Daniele Corvin (sar)
Unsubsribe
Message 295 -
1995-10-31 at 19:59:16
signoff disney comics and cartoons corvin
Mike Pohjola
Disney-comics digest #826.
Message 296 -
1995-10-31 at 21:22:28
Whee... Some ten days ago when I tried to switch on my computer in just wouldn't
start. I tried again and it practically exploded in my hands. So pardon the
lateness of the reply.
ALL:
Are the old All-American-Goodguy Lance Pertwillaby stories still
available somewhere? Where? If not commercially, then could somebody send me
xeroxes of the stuff?
As some of you might or might not remember, I decided to become a
Disney comics writer and I've got three stories finished (or would have but the
computer broke and the one I'm using ain't mine and I didn't have any copies
so I'll just have to wait 'til it's ok again). My question is: How does Egmont
choose the artists for the scripts they recieve? If mr X would write the best
script ever excisted, would they ask Don Rosa or Carl Barks or Leonardo Da Vinci
to draw it or would it nevertheless be given to some unknown Portugese artist?
Could somebody help me with the stories before I said them? You know, like
check the English and tell me if they're no good etc.
HARRY:
>Being a (computer) mathematician, I would say the most logical number
>between 8 and 9 would be 8.5.
Ah, but how then could one do yet another story in the middle? Should
it be 8.25 or should it be 8.33 and the original 8.5 be changed to 8.66?
You want Finnish data for the Database? Just tell me what to write and
I'll do it. I have practically all information you could possibly need.
LASSE:
> Modern Italian Disney is often:
> a) socio-realistic (somewhat italocentric)
> b) space-opera (*VERY* unscientific)
> c) time-travel (MM and prof. Einmug)
> d) ethnographical (Wild West, Backwardistan)
> e) parodic (world litterature classics)
Those are Italian?! Yack! I hate them! The science fiction with little
fiction and even less science. The idiot time-travel stories where they go to
the past after a pizza receipt. All those yucky stories with a plot worse than
world should ever know!-( If I don't get any stories published by Egmont, I
know where to send them...:)
--
Mike - The Finnish Trekkie
start. I tried again and it practically exploded in my hands. So pardon the
lateness of the reply.
ALL:
Are the old All-American-Goodguy Lance Pertwillaby stories still
available somewhere? Where? If not commercially, then could somebody send me
xeroxes of the stuff?
As some of you might or might not remember, I decided to become a
Disney comics writer and I've got three stories finished (or would have but the
computer broke and the one I'm using ain't mine and I didn't have any copies
so I'll just have to wait 'til it's ok again). My question is: How does Egmont
choose the artists for the scripts they recieve? If mr X would write the best
script ever excisted, would they ask Don Rosa or Carl Barks or Leonardo Da Vinci
to draw it or would it nevertheless be given to some unknown Portugese artist?
Could somebody help me with the stories before I said them? You know, like
check the English and tell me if they're no good etc.
HARRY:
>Being a (computer) mathematician, I would say the most logical number
>between 8 and 9 would be 8.5.
Ah, but how then could one do yet another story in the middle? Should
it be 8.25 or should it be 8.33 and the original 8.5 be changed to 8.66?
You want Finnish data for the Database? Just tell me what to write and
I'll do it. I have practically all information you could possibly need.
LASSE:
> Modern Italian Disney is often:
> a) socio-realistic (somewhat italocentric)
> b) space-opera (*VERY* unscientific)
> c) time-travel (MM and prof. Einmug)
> d) ethnographical (Wild West, Backwardistan)
> e) parodic (world litterature classics)
Those are Italian?! Yack! I hate them! The science fiction with little
fiction and even less science. The idiot time-travel stories where they go to
the past after a pizza receipt. All those yucky stories with a plot worse than
world should ever know!-( If I don't get any stories published by Egmont, I
know where to send them...:)
--
Mike - The Finnish Trekkie
H.W. Fluks
Disney-comics digest #830.
Message 297 -
1995-10-31 at 21:46:00
JAKOB:
(So you _are_ back from Cyprus, then! Welcome back!)
I have a new theory. Well, it's not a theory, but a fact. Scrooge McDuck
is the father of Huey, Dewey and Louie! Noone else can be, so it must be
him. I have researched it. They call him uncle all the time, but that
is no evidence. And in Farbackistan HDL call Scrooge "pappa", which means
"father". The Farbackistani word for uncle is also "pappa", but I decided
to ignore that.
If you deny Scrooge being HDL's father, then you are saying that everything
else in the Duck-universe is not true either.
I have seen Scrooge being HDL's father in a story I just wrote.
It's a roleplay, but that is even a better argument for "real life" as well.
--x--
I said:
>> Thanks for the translation. But this article didn't contain anything
>> we did not already know.
You replied:
> Well, at least Daniel didn't know about it. And I translated the article
> for his sake. He wanted to know. Maybe I shouldn't have done that?
I said "thanks", meaning "I appreciate that you translated and uploaded
the article". My comments about the contents of the article are not directed
to you, since you didn't write it yourself.
--Harry.
(So you _are_ back from Cyprus, then! Welcome back!)
I have a new theory. Well, it's not a theory, but a fact. Scrooge McDuck
is the father of Huey, Dewey and Louie! Noone else can be, so it must be
him. I have researched it. They call him uncle all the time, but that
is no evidence. And in Farbackistan HDL call Scrooge "pappa", which means
"father". The Farbackistani word for uncle is also "pappa", but I decided
to ignore that.
If you deny Scrooge being HDL's father, then you are saying that everything
else in the Duck-universe is not true either.
I have seen Scrooge being HDL's father in a story I just wrote.
It's a roleplay, but that is even a better argument for "real life" as well.
--x--
I said:
>> Thanks for the translation. But this article didn't contain anything
>> we did not already know.
You replied:
> Well, at least Daniel didn't know about it. And I translated the article
> for his sake. He wanted to know. Maybe I shouldn't have done that?
I said "thanks", meaning "I appreciate that you translated and uploaded
the article". My comments about the contents of the article are not directed
to you, since you didn't write it yourself.
--Harry.
H.W. Fluks
Database
Message 298 -
1995-10-31 at 21:50:14
FRANK:
> I haven't tried your database yet... shame on me!
Just wait a few more days... I'll send Per a new version soon, including
a completely new Danish index by Ole "RoC" Reichstein. He indexed a lot
of Italian stories, including all credits!
Also, as I said a few weeks ago, the new Database version will contain
an improved Swedish index, plus index files of all active members of this
list (ehm..., we don't include letterers yet, so there's no "Klein" file).
Somewhere this week...
--Harry.
> I haven't tried your database yet... shame on me!
Just wait a few more days... I'll send Per a new version soon, including
a completely new Danish index by Ole "RoC" Reichstein. He indexed a lot
of Italian stories, including all credits!
Also, as I said a few weeks ago, the new Database version will contain
an improved Swedish index, plus index files of all active members of this
list (ehm..., we don't include letterers yet, so there's no "Klein" file).
Somewhere this week...
--Harry.
H.W. Fluks
Back in time to digest #832.
Message 299 -
1995-10-31 at 21:55:14
PER (about the story in DTM in the Don Rosa index):
> First it said "DTM Sep/90". (I got that from an index I got on paper
> from Stefan Dios.) [..]
> Now John wrote it was spring 90 instead of September. I still haven't
> seen that book and am still confused.
I think "spring" is shortened as "sp" somewhere, which Dio"s (or you)
misread and interpreted as "sep". The DTM was issued 4 times a year
(we also know of "summer" and "fall" editions), so a "September" issue
is quite unlikely.
--Harry.
> First it said "DTM Sep/90". (I got that from an index I got on paper
> from Stefan Dios.) [..]
> Now John wrote it was spring 90 instead of September. I still haven't
> seen that book and am still confused.
I think "spring" is shortened as "sp" somewhere, which Dio"s (or you)
misread and interpreted as "sep". The DTM was issued 4 times a year
(we also know of "summer" and "fall" editions), so a "September" issue
is quite unlikely.
--Harry.