Can you tell me what is the purpose of the mailing list?
--------------------------------
End of dcomics Digest V96 Issue #42
***********************************
Author
Topic: 199602
(178 messages)
Ambrose Wong
Help me
Message 151 -
1996-02-24 at 16:52:11
Donald D. Markstein
Junkville Journal
Message 152 -
1996-02-24 at 16:55:33
DON R --
Maybe you could do a story where Bornworthy/Bolivar "returns" and dream
up some silly reason why we haven't seen him lately. You wouldn't have to
mention how long he's been gone -- that way, you'd cover the fact that you said
they have no pets, AND the fact that he's been in recent stories.
In fact, if you do that just in dialog, it wouldn't have to appear
anywhere but in the Gladstone version.
DAN SHANE --
Seems like somewhere in the back of my mind, I did at one time know there
was a Gremlins animated project planned, but I'm sure I never knew it was
supposed to be a feature.
The strip in WDC&S is also a testament to how close it came to being
produced.
MARK MAYERSON --
I doubt the trading cards add significantly enough to Gladstone's cost of
producing an album, to impact the price. But it might add enough to its
perceived value to sell a few more copies in U.S. comics stores, which operate
according to a mentality which is fairly hard to fathom, and that would make it
worth doing.
Quack, Don
Maybe you could do a story where Bornworthy/Bolivar "returns" and dream
up some silly reason why we haven't seen him lately. You wouldn't have to
mention how long he's been gone -- that way, you'd cover the fact that you said
they have no pets, AND the fact that he's been in recent stories.
In fact, if you do that just in dialog, it wouldn't have to appear
anywhere but in the Gladstone version.
DAN SHANE --
Seems like somewhere in the back of my mind, I did at one time know there
was a Gremlins animated project planned, but I'm sure I never knew it was
supposed to be a feature.
The strip in WDC&S is also a testament to how close it came to being
produced.
MARK MAYERSON --
I doubt the trading cards add significantly enough to Gladstone's cost of
producing an album, to impact the price. But it might add enough to its
perceived value to sell a few more copies in U.S. comics stores, which operate
according to a mentality which is fairly hard to fathom, and that would make it
worth doing.
Quack, Don
David A Gerstein
Album thoughts
Message 153 -
1996-02-24 at 17:54:02
MARK:
I'm with you. I REALLY enjoyed collecting the trading cards
that have come with the WDC&S in Color series, but the ones for DDA
just struck me as fairly useless (it's nice to have a special card for
Bombie the Zombie to stick up on my wall, but I have dozens of
pictures of Donald already). I figure the U$A album cards will be
similar. Still, I'm sure there must be people somewhere who enjoy
collecting them. (I don't like being unable to open the album either,
though. Still, I'm told they sell great, so most people must not mind
this. Oh, well.)
Actually, stories that see print in the DDA and U$A albums
won't be seeing print in this country for some time in the regular
comics, because it's felt that once an album has come out, they had
better not make a cheap version of the story available for a good
while or it will thwart the album's sales. That's why there was the
struggle to put out stories that had not previously appeared in
Gladstone's regular comic line ("Bullet Valley," "Klondike," "Poor Old
Man" and now "Tralla La") before the album series got around to them.
What albums in the new series do I plan to get?
Album #3 will contain "The Horseradish Story" for the first
time with computer color, and for some odd reason this one has never
been in a normal comic OR a Gladstone album before. Great story --
there won't be ANYTHING stopping me from picking this one up. I'll
also go for #4 ("Hawaiian Hideaway" for the first time with computer
color) and #7 ("Cibola").
Originally all the U$A albums were to have had two feature
stories for a full set of 35 or so, but that had to be changed when
paper prices went up. It would have meant that there would be a lot
of the albums priced at over $10, and Gladstone has found that albums
over $10 don't sell in normal quantity. (The paper costs meant that
the final DDA and WDC&S albums have had to be priced higher than that,
but Gladstone had already formatted those books when the costs rose.)
In Germany, where paper costs are cheaper, the CBL-albums are
far superior. They're exact reprints of the Gladstone editions in
many cases, but they actually add MORE stuff from the hardback CBL to
round each book out to 60 pages. That means that in the Gyro set, for
example, there's a huge index of all of Gyro's inventions that was in
the hardback set here (and nowhere else).
The Germans also restored the missing cash register to the
last page of "DD's Atom Bomb"... by printing the original panel
ALONGSIDE the end of the Gladstone-colored story along with an article
about Disney-induced censorship in the U. S. And in the U$ one-page
gag albums, they printed the "blinder" gag intended for U$ 19, which
Gladstone inexplicably left out of their own albums (but included in
some 1980s regular comic). In their edition of U$ one-pagers Vol. 2,
they also printed the painted version of "Go Slowly, Sands of Time"
(but bumped a superb article about animated versions of U$ to do it...
ouch! Maybe they plan to print that elsewhere?)
Funny that Gladstone appears to be saving the CHRISTMAS IN
DISNEYLAND "Black Pearls of Tabu Yama" for the U$A set. It's
officially a DD story, even though Scrooge is the hero.
RANDOM NOTE:
I'd heard a random rumor that Diamond Publishing's Steve Geppi
had bought Gladstone. I had never spoken to Mr. Geppi before, but I
called up Diamond and asked him if there was any truth to the tale.
He told me he wished it was true... but nope.
MARK:
Next week when U$A 38 comes out, can you send me two copies of
it along with one each of DDM and the new WDG? You'll get good stuff
back, of course. (I *still* haven't got around to sending you
anything in exchange for the copies of #37... but I will!)
And how is the new DDM? How is Byron's new MM story? I'm
really looking forward to having an English copy.
David Gerstein
<(Email removed)>
I'm with you. I REALLY enjoyed collecting the trading cards
that have come with the WDC&S in Color series, but the ones for DDA
just struck me as fairly useless (it's nice to have a special card for
Bombie the Zombie to stick up on my wall, but I have dozens of
pictures of Donald already). I figure the U$A album cards will be
similar. Still, I'm sure there must be people somewhere who enjoy
collecting them. (I don't like being unable to open the album either,
though. Still, I'm told they sell great, so most people must not mind
this. Oh, well.)
Actually, stories that see print in the DDA and U$A albums
won't be seeing print in this country for some time in the regular
comics, because it's felt that once an album has come out, they had
better not make a cheap version of the story available for a good
while or it will thwart the album's sales. That's why there was the
struggle to put out stories that had not previously appeared in
Gladstone's regular comic line ("Bullet Valley," "Klondike," "Poor Old
Man" and now "Tralla La") before the album series got around to them.
What albums in the new series do I plan to get?
Album #3 will contain "The Horseradish Story" for the first
time with computer color, and for some odd reason this one has never
been in a normal comic OR a Gladstone album before. Great story --
there won't be ANYTHING stopping me from picking this one up. I'll
also go for #4 ("Hawaiian Hideaway" for the first time with computer
color) and #7 ("Cibola").
Originally all the U$A albums were to have had two feature
stories for a full set of 35 or so, but that had to be changed when
paper prices went up. It would have meant that there would be a lot
of the albums priced at over $10, and Gladstone has found that albums
over $10 don't sell in normal quantity. (The paper costs meant that
the final DDA and WDC&S albums have had to be priced higher than that,
but Gladstone had already formatted those books when the costs rose.)
In Germany, where paper costs are cheaper, the CBL-albums are
far superior. They're exact reprints of the Gladstone editions in
many cases, but they actually add MORE stuff from the hardback CBL to
round each book out to 60 pages. That means that in the Gyro set, for
example, there's a huge index of all of Gyro's inventions that was in
the hardback set here (and nowhere else).
The Germans also restored the missing cash register to the
last page of "DD's Atom Bomb"... by printing the original panel
ALONGSIDE the end of the Gladstone-colored story along with an article
about Disney-induced censorship in the U. S. And in the U$ one-page
gag albums, they printed the "blinder" gag intended for U$ 19, which
Gladstone inexplicably left out of their own albums (but included in
some 1980s regular comic). In their edition of U$ one-pagers Vol. 2,
they also printed the painted version of "Go Slowly, Sands of Time"
(but bumped a superb article about animated versions of U$ to do it...
ouch! Maybe they plan to print that elsewhere?)
Funny that Gladstone appears to be saving the CHRISTMAS IN
DISNEYLAND "Black Pearls of Tabu Yama" for the U$A set. It's
officially a DD story, even though Scrooge is the hero.
RANDOM NOTE:
I'd heard a random rumor that Diamond Publishing's Steve Geppi
had bought Gladstone. I had never spoken to Mr. Geppi before, but I
called up Diamond and asked him if there was any truth to the tale.
He told me he wished it was true... but nope.
MARK:
Next week when U$A 38 comes out, can you send me two copies of
it along with one each of DDM and the new WDG? You'll get good stuff
back, of course. (I *still* haven't got around to sending you
anything in exchange for the copies of #37... but I will!)
And how is the new DDM? How is Byron's new MM story? I'm
really looking forward to having an English copy.
David Gerstein
<(Email removed)>
Per Starback
...
Message 154 -
1996-02-25 at 12:25:50
Don Rosa wrote:
> And I notice that the opening lines on each Digest about how to send them
> aren't there anymore.
I think I've added them again. Let's see if that helps.
And thanks to Wilmer Rivers for telling me about that Kipling novel.
/Per
> And I notice that the opening lines on each Digest about how to send them
> aren't there anymore.
I think I've added them again. Let's see if that helps.
And thanks to Wilmer Rivers for telling me about that Kipling novel.
/Per
Fabio Gadducci
Hello to you all.
Message 155 -
1996-02-25 at 17:12:10
Hello, boys.
As a start, let me say hello to Jyrki. You wrote:
>FABIO:
>
>I happened to see you briefly in Angouleme. I noticed your name
>tag in the rush and found the name somehow familiar. When i
>remembered who you were, you had already disappeared in the
>crowd and I never saw you again. Next time, perhaps?
Well, I hope to be there again next year. I had a wonderful time: there
were a lot of (mainly) Italian friends of mine, a lot of interesting people
to meet and the exhibitions were great, very well organized.
About Hogarth. He said that he had already completed the first issue, and
wrote the plot for all the four issue of the mini-series. It had to be
published by Dark Horse, but now, who knows?
Per wrote a small list of Scarpa's stories. I'll check the author of ``ZP e
il clavicembalo scrivano'' (a great story, obviously), while let me correct
the Italian of ``ZP e i guardiani truffaldini'', instead of ``ZP e il
guardiani truffaldini''. All right, I'm paranoid...
Then, Moreno asked asbout the Comic Art reprints. He says
> so I would like to get some advice from the list about which
>artist in the following list are "must buy" and which I could live without...
>The non-italian artist reprinted are Paul Murry, Walt Kelly, Ken Hultgren,
>Riley Thompson, Bill Wright, Jack Bradbury, Carl Buettner.
While Mike replied:
>and Mark Mayerson recommends Walt Kelly. This was my first thought, but
>Kelly's
>most famous work is Pogo - which was American political satire in the
>1950s. He
>did do some comic work with furry/funny animals and that would probably
>translate fine, but would Pogo? Does Doonesbury translate to anywhere else in
>the world? Moreno, I'd see what this is before ordering it. I can't see
>satires of Senators Lyndon Johnson and Joseph McCarthy translating,
>although >the art is fine if that's your primary interest.
Well, the price is quite high (12$ for the subscribers of Comic Art; 24 for
the others), but the reprints are great. I think that the translator is for
all the issues Alberto Becattini, and the introductive articles are written
By leoneard Gori, Luca Boschi, etc.. So that I would suggests to buy all of
them, opr at least Paul Murry, Walt Kelly, Jack Bradbury. Btw, there is a
great tradition in translating american comic strips, like Li'l Abner,
Pogo, Doonesbury, and most of the innuendos are quite obvious to us
colonized people... :-)
Dave asked for some information.
>Now I can dig through my cookbooks (pedantic, boring!) or go to the library
>and do research (at least gets me out of the house, but still), OR ***pending
>Per's approval to use this arena for such a purpose***, I can ask you all for
>a list of as many different kinds of pasta as possible AND have some fun. To
>be fair to Per, this is slightly off-topic, but it IS going to be used in a
>Disney Comic, so I'm hoping that counts as not too far afield.
Well, I think it is unfair if me, or any of the Italian people, actually
get into the context. So, let me just correct some of the kind of pasta
that have been mentioned so far:
fettuccine, not fettuccini; linguine, not linguine; cannelloni, not
canelloni; rotini ???.
David wrote about the weird stories by Murry.
> TERJE:
> In a few 1960s stories titled "Mickey Mouse: Super Secret
>Agent" Paul Murry had another artist draw his backgrounds for him, as
>well as the supporting characters besides Mickey and Goofy (who in
>these stories, were human beings). Weird idea. I can't name the
>artist off the top of my head, but I believe Murry drew stories all by
>himself in every other case.
I can get the name of the artist, if someone is interested. The series was
``Mickey and Goofy segret agents'', and the whole concept of having a
different artist doing all the characters except Mickey and Goofy was
strange indeed.
Now, a generic note on "The Decapitated Totem Pole". It is a very long, and
very famous, Italian storie. It is a 9-part, written by Guido Martina and
drawn by Scarpa and Carpi, and it is a long adventure, a kind of mistery
where $crooge is asking for the solution of a riddle, and the one who will
answer will get a huge reward. In the meanwhile, there are a lot of
flashbacks revealing some details of $crooge's past, like the fact that
$crooge and Grandma Duck are actually brothers. It has been a kind of
biography of the Duck clan for a while, here in Italy, since the story was
quite nice and got a lot of attention. I think a wrote a lot more details
about this story a year or so ago. And it actually had a lot of characters,
David, both from the mouse and duck universs, but not Eega Beeva :-) (our
Eta Beta).
Now, Frank Staiano. You wrote, about aN Italian story David asked to check:
>This is page 36 of a 38-page story called "Paperino e l'imperatore
>degli Stati Uniti", written by Renata Rizzo and drawn by Pier Lorenzo
>De Vita, first published in Topolino libretto n. 601, 11th June 1967.
>
>When I saw your excerpt I thought that the style of the dialogue
>suggested Guido Martina (Renata Rizzo is in fact his wife and of
>course they cooperated on many scripts). I couldn't remember the story
>straight away so I started looking in Fossati's index for stories by
>Martina which might ring a bell, but it didn't help. Suddenly,
>however, I remembered the story perfectly, and immediately knew that
>the art was by PL De Vita. I then scanned the index again for
>Martina/De Vita, again without success... So I eventually went to The
>Real Thing and flipped through (you're free not to believe this bit,
>but it's true) 160 comics before finding the right one! Once I had the
>title I went back to Fossati's index once more where I discovered that
>I was slightly off with my Martina guess.
I think that the Fossati's index is wrong in this bit. As far as I know,
the real writer is Guido Martina: for fiscal reason sometimes the stories
were paid his wife, Renata Rizzo, and since the Fossati's index is based on
the paychecks, that's the reason of the mistake. Of course, *I* could be
wrong, but my source is a thrusty one: there was a huge exhibition on Guido
Martina in his hometown last year, and I got this kind of gossip from
there.
And now, again a paid advertising. Some of you expressend an interest in
``Disney Italiani'' and ``Disney nel Mondo''. Please confirm your order, so
that I can send you the stuff.
C-U all, Fabio
--------------------------------
End of dcomics Digest V96 Issue #43
***********************************
As a start, let me say hello to Jyrki. You wrote:
>FABIO:
>
>I happened to see you briefly in Angouleme. I noticed your name
>tag in the rush and found the name somehow familiar. When i
>remembered who you were, you had already disappeared in the
>crowd and I never saw you again. Next time, perhaps?
Well, I hope to be there again next year. I had a wonderful time: there
were a lot of (mainly) Italian friends of mine, a lot of interesting people
to meet and the exhibitions were great, very well organized.
About Hogarth. He said that he had already completed the first issue, and
wrote the plot for all the four issue of the mini-series. It had to be
published by Dark Horse, but now, who knows?
Per wrote a small list of Scarpa's stories. I'll check the author of ``ZP e
il clavicembalo scrivano'' (a great story, obviously), while let me correct
the Italian of ``ZP e i guardiani truffaldini'', instead of ``ZP e il
guardiani truffaldini''. All right, I'm paranoid...
Then, Moreno asked asbout the Comic Art reprints. He says
> so I would like to get some advice from the list about which
>artist in the following list are "must buy" and which I could live without...
>The non-italian artist reprinted are Paul Murry, Walt Kelly, Ken Hultgren,
>Riley Thompson, Bill Wright, Jack Bradbury, Carl Buettner.
While Mike replied:
>and Mark Mayerson recommends Walt Kelly. This was my first thought, but
>Kelly's
>most famous work is Pogo - which was American political satire in the
>1950s. He
>did do some comic work with furry/funny animals and that would probably
>translate fine, but would Pogo? Does Doonesbury translate to anywhere else in
>the world? Moreno, I'd see what this is before ordering it. I can't see
>satires of Senators Lyndon Johnson and Joseph McCarthy translating,
>although >the art is fine if that's your primary interest.
Well, the price is quite high (12$ for the subscribers of Comic Art; 24 for
the others), but the reprints are great. I think that the translator is for
all the issues Alberto Becattini, and the introductive articles are written
By leoneard Gori, Luca Boschi, etc.. So that I would suggests to buy all of
them, opr at least Paul Murry, Walt Kelly, Jack Bradbury. Btw, there is a
great tradition in translating american comic strips, like Li'l Abner,
Pogo, Doonesbury, and most of the innuendos are quite obvious to us
colonized people... :-)
Dave asked for some information.
>Now I can dig through my cookbooks (pedantic, boring!) or go to the library
>and do research (at least gets me out of the house, but still), OR ***pending
>Per's approval to use this arena for such a purpose***, I can ask you all for
>a list of as many different kinds of pasta as possible AND have some fun. To
>be fair to Per, this is slightly off-topic, but it IS going to be used in a
>Disney Comic, so I'm hoping that counts as not too far afield.
Well, I think it is unfair if me, or any of the Italian people, actually
get into the context. So, let me just correct some of the kind of pasta
that have been mentioned so far:
fettuccine, not fettuccini; linguine, not linguine; cannelloni, not
canelloni; rotini ???.
David wrote about the weird stories by Murry.
> TERJE:
> In a few 1960s stories titled "Mickey Mouse: Super Secret
>Agent" Paul Murry had another artist draw his backgrounds for him, as
>well as the supporting characters besides Mickey and Goofy (who in
>these stories, were human beings). Weird idea. I can't name the
>artist off the top of my head, but I believe Murry drew stories all by
>himself in every other case.
I can get the name of the artist, if someone is interested. The series was
``Mickey and Goofy segret agents'', and the whole concept of having a
different artist doing all the characters except Mickey and Goofy was
strange indeed.
Now, a generic note on "The Decapitated Totem Pole". It is a very long, and
very famous, Italian storie. It is a 9-part, written by Guido Martina and
drawn by Scarpa and Carpi, and it is a long adventure, a kind of mistery
where $crooge is asking for the solution of a riddle, and the one who will
answer will get a huge reward. In the meanwhile, there are a lot of
flashbacks revealing some details of $crooge's past, like the fact that
$crooge and Grandma Duck are actually brothers. It has been a kind of
biography of the Duck clan for a while, here in Italy, since the story was
quite nice and got a lot of attention. I think a wrote a lot more details
about this story a year or so ago. And it actually had a lot of characters,
David, both from the mouse and duck universs, but not Eega Beeva :-) (our
Eta Beta).
Now, Frank Staiano. You wrote, about aN Italian story David asked to check:
>This is page 36 of a 38-page story called "Paperino e l'imperatore
>degli Stati Uniti", written by Renata Rizzo and drawn by Pier Lorenzo
>De Vita, first published in Topolino libretto n. 601, 11th June 1967.
>
>When I saw your excerpt I thought that the style of the dialogue
>suggested Guido Martina (Renata Rizzo is in fact his wife and of
>course they cooperated on many scripts). I couldn't remember the story
>straight away so I started looking in Fossati's index for stories by
>Martina which might ring a bell, but it didn't help. Suddenly,
>however, I remembered the story perfectly, and immediately knew that
>the art was by PL De Vita. I then scanned the index again for
>Martina/De Vita, again without success... So I eventually went to The
>Real Thing and flipped through (you're free not to believe this bit,
>but it's true) 160 comics before finding the right one! Once I had the
>title I went back to Fossati's index once more where I discovered that
>I was slightly off with my Martina guess.
I think that the Fossati's index is wrong in this bit. As far as I know,
the real writer is Guido Martina: for fiscal reason sometimes the stories
were paid his wife, Renata Rizzo, and since the Fossati's index is based on
the paychecks, that's the reason of the mistake. Of course, *I* could be
wrong, but my source is a thrusty one: there was a huge exhibition on Guido
Martina in his hometown last year, and I got this kind of gossip from
there.
And now, again a paid advertising. Some of you expressend an interest in
``Disney Italiani'' and ``Disney nel Mondo''. Please confirm your order, so
that I can send you the stuff.
C-U all, Fabio
--------------------------------
End of dcomics Digest V96 Issue #43
***********************************
Steve Crooks
Ducks, Dimes, etc.
Message 156 -
1996-02-25 at 17:50:42
I just finished reading "Of Ducks, Dimes, and Destinies" (Gladstone mail
subscriptions are *very* slow). What a wonderful story! As I read Don's
"Making Of" pages after the story, I was amused to find that it's apparently
okay to talk about and show what is censored in the actual story. There's the
original script showing the lady with the bagpipes and Howard Rockerduck
saying, "I'd like to admire that mighty fine set a' pipes y' got thar!" Do
these text pieces not have to be approved by Disney, or do the goofy censors
think kids won't read text or look at non-colored art?
I also have one question for Don. Do the symbols on the candle have any
special significance, or did you just draw some random symbols?
Great story!
--
--Steve Crooks (Email removed)
composed on 24-FEB-96 7:18 am
subscriptions are *very* slow). What a wonderful story! As I read Don's
"Making Of" pages after the story, I was amused to find that it's apparently
okay to talk about and show what is censored in the actual story. There's the
original script showing the lady with the bagpipes and Howard Rockerduck
saying, "I'd like to admire that mighty fine set a' pipes y' got thar!" Do
these text pieces not have to be approved by Disney, or do the goofy censors
think kids won't read text or look at non-colored art?
I also have one question for Don. Do the symbols on the candle have any
special significance, or did you just draw some random symbols?
Great story!
--
--Steve Crooks (Email removed)
composed on 24-FEB-96 7:18 am
GaryB98294
Returned mail: User unknown
Message 157 -
1996-02-25 at 22:27:20
---------------------
Forwarded message:
From: (Email removed) (Mail Delivery Subsystem)
To: (Email removed)
Date: 96-02-25 15:25:55 EST
This is a MIME-encapsulated message
--PAA17883.825279933/mail04.mail.aol.com
The original message was received at Sun, 25 Feb 1996 15:25:31 -0500
from (Email removed)
----- The following addresses had delivery problems -----
(Email removed) (unrecoverable error)
----- Transcript of session follows -----
... while talking to strindberg.ling.uu.se.:
>>> RCPT To:<(Email removed)>
<<< 550 <(Email removed)>... User unknown: A file or
directory in the path name does not exist.
550 (Email removed) User unknown
----- Original message follows -----
--PAA17883.825279933/mail04.mail.aol.com
Content-Type: message/rfc822
Return-Path: (Email removed)
Received: by mail04.mail.aol.com (8.6.12/8.6.12) id PAA17880 for
(Email removed); Sun, 25 Feb 1996 15:25:31 -0500
Date: Sun, 25 Feb 1996 15:25:31 -0500
From: (Email removed)
Message-ID: <(Email removed)>
To: (Email removed)
Subject: Fwd: Oops, wrong address, my mistake
---------------------
Forwarded message:
From: (Email removed) (Mail Delivery Subsystem)
To: (Email removed)
Date: 96-02-25 15:22:34 EST
This is a MIME-encapsulated message
--PAA16636.825279743/mail04.mail.aol.com
The original message was received at Sun, 25 Feb 1996 15:22:20 -0500
from (Email removed)
----- The following addresses had delivery problems -----
(Email removed) (unrecoverable error)
----- Transcript of session follows -----
... while talking to strindberg.ling.uu.se.:
>>> RCPT To:<(Email removed)>
<<< 550 <(Email removed)>... User unknown: A file or
directory in the path name does not exist.
550 (Email removed) User unknown
----- Original message follows -----
--PAA16636.825279743/mail04.mail.aol.com
Content-Type: message/rfc822
Return-Path: (Email removed)
Received: by mail04.mail.aol.com (8.6.12/8.6.12) id PAA16635 for
(Email removed); Sun, 25 Feb 1996 15:22:20 -0500
Date: Sun, 25 Feb 1996 15:22:20 -0500
From: (Email removed)
Message-ID: <(Email removed)>
To: (Email removed)
Subject: MM Secret agent
MICKEY MOUSE SECRET AGENT
One of my all-time favorite Mickey Mouse series of books was a collaboration
of Paul Murray, who did the Mickey and Goofy figures, and Dan Spiegle, the
great artist who did the rest. Sort of a Roger Rabbit before Roger Rabbit
came along. Spiegle, one of the truly nice guys in comics, did the Hopalong
Cassidy comic strip for year, was a long-time Dell/Gold Key/Western employee
who did everything from Maverick and Tarzan to Disney live file adaptations.
He also did Crossfire with Mark Evanier (the comic, not the CNN argue-fest)
and a series of Blackhawk comics.
GLADSTONE
Can't recall who mention the Gladstone sale rumor, but I heard something
strange like that lately, too. From the cheap covers to selling his original
art possessions in his comics, it looks like Bruce Hamilton is holding the
line on the company. the rumor I heard didn't check out, but I wouldn't be
surprised if it turns out to be true.
ALBUMS
If there is one definite reason I like the Gladstone color albums, it's that
all the Barks work soon will be available in color within arm's reach of my
work station (and couch). I no longer have to through boxes and boxes of
comic books to find what I want (and guess at the issue number, too).
Anything more than $10, though, and my enthusiasm might be dimmed.
Gary Brown. Bradenton, FL
--PAA16636.825279743/mail04.mail.aol.com--
--PAA17883.825279933/mail04.mail.aol.com--
Forwarded message:
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Date: 96-02-25 15:25:55 EST
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... while talking to strindberg.ling.uu.se.:
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directory in the path name does not exist.
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From: (Email removed)
Message-ID: <(Email removed)>
To: (Email removed)
Subject: Fwd: Oops, wrong address, my mistake
---------------------
Forwarded message:
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Date: 96-02-25 15:22:34 EST
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The original message was received at Sun, 25 Feb 1996 15:22:20 -0500
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... while talking to strindberg.ling.uu.se.:
>>> RCPT To:<(Email removed)>
<<< 550 <(Email removed)>... User unknown: A file or
directory in the path name does not exist.
550 (Email removed) User unknown
----- Original message follows -----
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Content-Type: message/rfc822
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Received: by mail04.mail.aol.com (8.6.12/8.6.12) id PAA16635 for
(Email removed); Sun, 25 Feb 1996 15:22:20 -0500
Date: Sun, 25 Feb 1996 15:22:20 -0500
From: (Email removed)
Message-ID: <(Email removed)>
To: (Email removed)
Subject: MM Secret agent
MICKEY MOUSE SECRET AGENT
One of my all-time favorite Mickey Mouse series of books was a collaboration
of Paul Murray, who did the Mickey and Goofy figures, and Dan Spiegle, the
great artist who did the rest. Sort of a Roger Rabbit before Roger Rabbit
came along. Spiegle, one of the truly nice guys in comics, did the Hopalong
Cassidy comic strip for year, was a long-time Dell/Gold Key/Western employee
who did everything from Maverick and Tarzan to Disney live file adaptations.
He also did Crossfire with Mark Evanier (the comic, not the CNN argue-fest)
and a series of Blackhawk comics.
GLADSTONE
Can't recall who mention the Gladstone sale rumor, but I heard something
strange like that lately, too. From the cheap covers to selling his original
art possessions in his comics, it looks like Bruce Hamilton is holding the
line on the company. the rumor I heard didn't check out, but I wouldn't be
surprised if it turns out to be true.
ALBUMS
If there is one definite reason I like the Gladstone color albums, it's that
all the Barks work soon will be available in color within arm's reach of my
work station (and couch). I no longer have to through boxes and boxes of
comic books to find what I want (and guess at the issue number, too).
Anything more than $10, though, and my enthusiasm might be dimmed.
Gary Brown. Bradenton, FL
--PAA16636.825279743/mail04.mail.aol.com--
--PAA17883.825279933/mail04.mail.aol.com--
Harry Fluks
Returned mail: Spiegle unknown (what?)
Message 158 -
1996-02-25 at 22:39:03
GARY:
> MICKEY MOUSE SECRET AGENT [..] was a
> collaboration of Paul Murry, who did the Mickey and Goofy figures,
> and Dan Spiegle, the great artist who did the rest. Sort of a Roger
> Rabbit before Roger Rabbit came along.
Funny you say that, because Spiegle also worked together with
Daan Jippes on the comic version of Roger Rabbit. Jippes did the
story adaptation and the "toon" characters, Spiegle did the "human"
characters and the backgrounds.
--Harry.
> MICKEY MOUSE SECRET AGENT [..] was a
> collaboration of Paul Murry, who did the Mickey and Goofy figures,
> and Dan Spiegle, the great artist who did the rest. Sort of a Roger
> Rabbit before Roger Rabbit came along.
Funny you say that, because Spiegle also worked together with
Daan Jippes on the comic version of Roger Rabbit. Jippes did the
story adaptation and the "toon" characters, Spiegle did the "human"
characters and the backgrounds.
--Harry.
Per Starback
Totem Poles again.
Message 159 -
1996-02-26 at 02:16:13
Fabio wrote:
> Per wrote a small list of Scarpa's stories. [...]
Actually it was RoC, not me.
> Now, a generic note on "The Decapitated Totem Pole". [...]
Could you (or anyone else) please give short one-line descriptions of
the nine parts? I wonder what parts I've seen and in what order they
really should be.
> like the fact that $crooge and Grandma Duck are actually brothers.
^^^^^^^^^^^^ ^^^^^^^^
That's a pretty startling fact! :-)
--
Per Starback, Uppsala, Sweden. email: (Email removed)
"Life is but a gamble! Let flipism chart your ramble!"
> Per wrote a small list of Scarpa's stories. [...]
Actually it was RoC, not me.
> Now, a generic note on "The Decapitated Totem Pole". [...]
Could you (or anyone else) please give short one-line descriptions of
the nine parts? I wonder what parts I've seen and in what order they
really should be.
> like the fact that $crooge and Grandma Duck are actually brothers.
^^^^^^^^^^^^ ^^^^^^^^
That's a pretty startling fact! :-)
--
Per Starback, Uppsala, Sweden. email: (Email removed)
"Life is but a gamble! Let flipism chart your ramble!"
Trygve Vatle
Storycodes
Message 160 -
1996-02-26 at 15:59:20
I have recently found a lot of storys that starts with S and have some
numbers afterwards (5?). What country does these stories come from?
Trygve
Trygve Vatle
Student at the University of Trondheim, Norway
E-mail:(Email removed)
numbers afterwards (5?). What country does these stories come from?
Trygve
Trygve Vatle
Student at the University of Trondheim, Norway
E-mail:(Email removed)
L.Gori
Ri: Comic Art reprints et al.
Message 161 -
1996-02-26 at 17:14:42
Hi all!
First, excuse me for my English.
FABIO wrote:
DS> Then, Moreno asked asbout the Comic Art reprints.
DS> Well, the price is quite high (12$ for the subscribers DS> of Comic
Art; 24 for the others), but the reprints are DS> great. I think that the
translator is for all the issues DS> Alberto Becattini, and the
introductive articles are DS> written By leoneard Gori, Luca Boschi, etc..
No, I want to specify that I took care of almost all ITALIAN reprints
(Scarpa, Bottaro, Carpi), and I wrote almost ALL the introductive articles
for Scarpa, and an half for Carpi and Bottaro. Alberto took care of ALL
the AMERICAN reprints, and wrote ALL the articles (and made the
translations, too).
DS> Now, Frank Staiano. You wrote, about aN Italian story DS> David asked
to check:
DS> >This is page 36 of a 38-page story called "Paperino e DS>
l'imperatore >degli Stati Uniti", written by Renata DS> Rizzo and drawn by
Pier Lorenzo >De Vita, first DS> published in Topolino libretto n. 601,
11th June 1967.
DS> > >When I saw your excerpt I thought that the style of DS> the
dialogue >suggested Guido Martina (Renata Rizzo is DS> in fact his wife
and of >course they cooperated on many DS> scripts).
DS> since the Fossati's index is based DS> on the paychecks, that's the
reason of the mistake. Of DS> course, *I* could be wrong, but my source is
a thrusty DS> one: there was a huge exhibition on Guido Martina in his
DS> hometown last year, and I got this kind of gossip from DS> there.
Yes, what Fabio says is true. Fossati told me that for fiscal reasons,
many Martina's stories were attributed to his wife, but that Renata Rizzo
actually *didn't write* any Disney story! Fossati, for a wile, in the
early '80s, was responsable for the scripts at "Topolino", and was in touch
with Martina.
All the best to all!
--- MMMR v4.50reg * "Mental rating! Ability! Experience! FOOEY!" (F.
Gottfredson, Mickey Mouse and The Pirate Submarine",
1935)
First, excuse me for my English.
FABIO wrote:
DS> Then, Moreno asked asbout the Comic Art reprints.
DS> Well, the price is quite high (12$ for the subscribers DS> of Comic
Art; 24 for the others), but the reprints are DS> great. I think that the
translator is for all the issues DS> Alberto Becattini, and the
introductive articles are DS> written By leoneard Gori, Luca Boschi, etc..
No, I want to specify that I took care of almost all ITALIAN reprints
(Scarpa, Bottaro, Carpi), and I wrote almost ALL the introductive articles
for Scarpa, and an half for Carpi and Bottaro. Alberto took care of ALL
the AMERICAN reprints, and wrote ALL the articles (and made the
translations, too).
DS> Now, Frank Staiano. You wrote, about aN Italian story DS> David asked
to check:
DS> >This is page 36 of a 38-page story called "Paperino e DS>
l'imperatore >degli Stati Uniti", written by Renata DS> Rizzo and drawn by
Pier Lorenzo >De Vita, first DS> published in Topolino libretto n. 601,
11th June 1967.
DS> > >When I saw your excerpt I thought that the style of DS> the
dialogue >suggested Guido Martina (Renata Rizzo is DS> in fact his wife
and of >course they cooperated on many DS> scripts).
DS> since the Fossati's index is based DS> on the paychecks, that's the
reason of the mistake. Of DS> course, *I* could be wrong, but my source is
a thrusty DS> one: there was a huge exhibition on Guido Martina in his
DS> hometown last year, and I got this kind of gossip from DS> there.
Yes, what Fabio says is true. Fossati told me that for fiscal reasons,
many Martina's stories were attributed to his wife, but that Renata Rizzo
actually *didn't write* any Disney story! Fossati, for a wile, in the
early '80s, was responsable for the scripts at "Topolino", and was in touch
with Martina.
All the best to all!
--- MMMR v4.50reg * "Mental rating! Ability! Experience! FOOEY!" (F.
Gottfredson, Mickey Mouse and The Pirate Submarine",
1935)
Harry Fluks
Storycodes, and thanks
Message 162 -
1996-02-26 at 23:01:35
TRYGVE (not Helseth, but Vatle):
> I have recently found a lot of storys that starts with S and have some
> numbers afterwards (5?). What country does these stories come from?
These stories were made for the Disney Studios in America, to be used
"overseas" (outside the USA). In recent years, some of these stories were
also used in the USA. The 5 digits are the year (first 2 digits) plus a
sequence number.
For more information about story codes, see the file "story-codes" on
the Disney comics ftp site (or ask me in private mail).
ALL:
I hereby pass a "thank you" to all who gave information about foreign
reprints of Dutch stories. Dutch writers Frank Jonker and Jan Kruse, and
Dutch artist Mau Heymans found the information very helpful!
--Harry.
"Wie ben ik? Wat doe ik hier? Waar is mijn Roddelflop?"
--------------------------------
End of Disney comics Digest V96 Issue #44
*****************************************
> I have recently found a lot of storys that starts with S and have some
> numbers afterwards (5?). What country does these stories come from?
These stories were made for the Disney Studios in America, to be used
"overseas" (outside the USA). In recent years, some of these stories were
also used in the USA. The 5 digits are the year (first 2 digits) plus a
sequence number.
For more information about story codes, see the file "story-codes" on
the Disney comics ftp site (or ask me in private mail).
ALL:
I hereby pass a "thank you" to all who gave information about foreign
reprints of Dutch stories. Dutch writers Frank Jonker and Jan Kruse, and
Dutch artist Mau Heymans found the information very helpful!
--Harry.
"Wie ben ik? Wat doe ik hier? Waar is mijn Roddelflop?"
--------------------------------
End of Disney comics Digest V96 Issue #44
*****************************************
Faik Seyhan
Disney comics Digest V96 #44
Message 163 -
1996-02-27 at 04:21:12
[Message edited as it contained a copy of the previous digest. /PS ]
Let's see if anybody can help me with this:
During the early fifties (1952-1953) there was a 'Mickey Mouse' Magazine
(not a comic book) published in England, with excellent comic stories of
Mickey. (I am not sure if there was any DD or US) . I remember one story
very well where MM was a time traveller. I wonder if those were by
British Disney-artists.
The Magazine was multi-color, tabloid size, and in the center page there
were other Disney comics, like chip&Dale, Pluto etc. There was no front
cover.
Let's hear from you British Baby-boomers about this one!!
Let's see if anybody can help me with this:
During the early fifties (1952-1953) there was a 'Mickey Mouse' Magazine
(not a comic book) published in England, with excellent comic stories of
Mickey. (I am not sure if there was any DD or US) . I remember one story
very well where MM was a time traveller. I wonder if those were by
British Disney-artists.
The Magazine was multi-color, tabloid size, and in the center page there
were other Disney comics, like chip&Dale, Pluto etc. There was no front
cover.
Let's hear from you British Baby-boomers about this one!!
Don Rosa
Disney comics Digest V96 #44
Message 164 -
1996-02-27 at 08:06:00
STEVE:
The symbols on the Time-Candle in "Of Ducks and Dimes and Destinies"
had no meaning, I don't THINK. Keep in mind that I did that story 5 years ago!
As regards what I write in my text-pieces, I have NO idea what
Gladstone needs to get approved by Disney. And one of the blessings of being
the laborer instead of one of the editors is that I don't hafta bother with
all that stuff -- that's their department and they're welcome to it! But
Gladstone wanted to fill an extra page with "Making of" text, and I
suggested that as an amusing bit. I'd actually forgotten all about it until
I was going back over that original script to write the text-piece, and I
was chuckling about it myself. But perhaps the text piece can be more
adult-oriented because the kiddies and slow grown-ups won't read those parts
and won't have their brains twisted by such odd humor or ideas? But I STILL
say that the stuff in Disney animated features nowadays, like main
characters known for their loud and smelly flatulence, is FAR worse than
anything I could manage to put in a Duck comic. Since I have no contact with
Disney, I can only guess that they figure only the adult viewers will catch
their scatalogical humor, as only adult comic-readers would understand
Howard Rockerduck's reference to the woman's "pipes". I guess. All I can do
is guess when there's no basis for communication.
The symbols on the Time-Candle in "Of Ducks and Dimes and Destinies"
had no meaning, I don't THINK. Keep in mind that I did that story 5 years ago!
As regards what I write in my text-pieces, I have NO idea what
Gladstone needs to get approved by Disney. And one of the blessings of being
the laborer instead of one of the editors is that I don't hafta bother with
all that stuff -- that's their department and they're welcome to it! But
Gladstone wanted to fill an extra page with "Making of" text, and I
suggested that as an amusing bit. I'd actually forgotten all about it until
I was going back over that original script to write the text-piece, and I
was chuckling about it myself. But perhaps the text piece can be more
adult-oriented because the kiddies and slow grown-ups won't read those parts
and won't have their brains twisted by such odd humor or ideas? But I STILL
say that the stuff in Disney animated features nowadays, like main
characters known for their loud and smelly flatulence, is FAR worse than
anything I could manage to put in a Duck comic. Since I have no contact with
Disney, I can only guess that they figure only the adult viewers will catch
their scatalogical humor, as only adult comic-readers would understand
Howard Rockerduck's reference to the woman's "pipes". I guess. All I can do
is guess when there's no basis for communication.
Ole R. Nielsen
Digest #44
Message 165 -
1996-02-27 at 11:19:37
Per has been talking about a totempole story, running in pocketbooks
around Europe, and mentioned one book with references to those, but
excluding the actual storypart itself.
The Danish version (JB #41) was indeed identical, except that the
translator did not make such references.
As to how the pocketbook editions differ from the original Italian
"I Classici di Walt Disney" my research showed that up to the late
#30'es exact reprints were the rule. Later on I could not find any
correspondance. This could be because Fossati's index from IF only
goes as far as 1982, and when the frequency of publication both on
ICWD and Egmont's versions approached monthly, the foreign editors
decided to skip forward and use synchronous publishing.
I still don't have any post-1982 Italian indexes to support this,
so any data would be most welcome.
--Ole 'RoC' Nielsen
around Europe, and mentioned one book with references to those, but
excluding the actual storypart itself.
The Danish version (JB #41) was indeed identical, except that the
translator did not make such references.
As to how the pocketbook editions differ from the original Italian
"I Classici di Walt Disney" my research showed that up to the late
#30'es exact reprints were the rule. Later on I could not find any
correspondance. This could be because Fossati's index from IF only
goes as far as 1982, and when the frequency of publication both on
ICWD and Egmont's versions approached monthly, the foreign editors
decided to skip forward and use synchronous publishing.
I still don't have any post-1982 Italian indexes to support this,
so any data would be most welcome.
--Ole 'RoC' Nielsen