"No Dime for Stardom" in US 297 is already uncanonical -- I
pointed out how its 'facts' about Scrooge's life were written in 1991,
before I saw the LO$ or knew much about it. But in the published
version there have also been three changes:
A) First panel of the story. My original dialogue had the
movie titled not "Making It Square" (a fine title), but "The Scrooge
McDuck Story: Success, Fortune, and Boldness!" To which Donald
commented "they forgot greed and stinginess." I liked the gag, but I
have a hunch it was omitted because my title for the film was kinda
... ermmm ... awkward. I know now how I could have improved it, but
I'm too late, >sigh!<
B) Later, when Magica is attacked by the old-lady actress,
the lady originally said, "An amateur actress puts ME out of the way!
ME, a W. A. C. in World War II! . . . This is how we licked the Axis!"
(WHAP! CRUNCH!) I suspect Disney didn't want World War II taken
lightly that way. Is mere reference to war offensive? Is it the
reference to the Axis by name that is wrong?
C) Final panel, Donald followed his "sigh" with "It doesn't
take magic to see you couldn't make a movie about that!" Fairly
meaningless, but it at least ended the story with the characters
reflecting on the situation a little bit more.
At least my previous two (DDA 37 and WDC 602) are just about
as I did them.
MARK: Think you can send me two copies of US 297? I only
heard about these changes secondhand and don't have the comic yet.
And this is the solitary title that the drug stores around here DON'T
carry.
David Gerstein
<(Email removed)>
Author
Topic: 199602
(178 messages)
David A Gerstein
UNCLE SCROOGE 297
Message 31 -
1996-02-06 at 05:41:33
MASSENGALE MELANIE O
Of Gladstone & Disney Comics
Message 32 -
1996-02-06 at 08:34:14
(copious snips)
> Maybe Disney didn't realize going into it
> that it would take more than just the magic of the Disney name
> to make comic books sell in the millions again like they did in
> the '50s, or that Hamilton knew what he was doing in targeting
> the collectors' market with a low-overhead operation --
Exactly. I wonder if Disney did much market research before the fact?
They should have seen that collectors were the bulk of the Gladstone market.
> But if Disney Comics seemed to be advertisements for the Disney
> Afternoon...well, of course. That was the whole point. Promote
> the new stuff rather than just endlessly reprinting the old
> stuff. Nothing sinister about that. It just didn't work.
I disagree. They flushed a quality product down the toilet to produce junk.
There WERE some new offerings, not many, but enough to keep people
interested. Gladstone was promoting significant new talent.
> I wouldn't exactly call it a "coup" when Disney took over from
> Gladstone. Disney owned the characters and Gladstone had a license
> to use them. The license expired in accordance with the agreed-
> upon terms, and Disney chose not to renew it. Perfectly within
> its rights to do so.
Legally, yes. Of course. That's big business. Morally, it stunk. A lot
of disillusioned subscribers, myself included. Disney had no interest in
this loyal customer base, and said as much.
I've done work for all three entities --
> Gladstone I, Disney Comics, and Gladstone II -- and I would
> agree that things would be better if Disney had left well enough
> alone. Gladstone I seemed to be doing better all the time just
> when Disney pulled the rug out from under it, and Gladstone II
> just isn't the same, though I certainly wish it well despite the
> dire circumstances of today's comic-book market.
Agreed that Gladstone needed desperately to make changes; Disney's best
contribution to the product was the introduction of the good quality
paper. Unfortunately, Gladstone can't even give us decent covers now :-)
A pity Disney didn't think it through first, renew the license and at
least do some market research. It's over now and I, like you, wish
Gladstone all the best in its effort to pick up the pieces.
Best regards,
Melanie
> Maybe Disney didn't realize going into it
> that it would take more than just the magic of the Disney name
> to make comic books sell in the millions again like they did in
> the '50s, or that Hamilton knew what he was doing in targeting
> the collectors' market with a low-overhead operation --
Exactly. I wonder if Disney did much market research before the fact?
They should have seen that collectors were the bulk of the Gladstone market.
> But if Disney Comics seemed to be advertisements for the Disney
> Afternoon...well, of course. That was the whole point. Promote
> the new stuff rather than just endlessly reprinting the old
> stuff. Nothing sinister about that. It just didn't work.
I disagree. They flushed a quality product down the toilet to produce junk.
There WERE some new offerings, not many, but enough to keep people
interested. Gladstone was promoting significant new talent.
> I wouldn't exactly call it a "coup" when Disney took over from
> Gladstone. Disney owned the characters and Gladstone had a license
> to use them. The license expired in accordance with the agreed-
> upon terms, and Disney chose not to renew it. Perfectly within
> its rights to do so.
Legally, yes. Of course. That's big business. Morally, it stunk. A lot
of disillusioned subscribers, myself included. Disney had no interest in
this loyal customer base, and said as much.
I've done work for all three entities --
> Gladstone I, Disney Comics, and Gladstone II -- and I would
> agree that things would be better if Disney had left well enough
> alone. Gladstone I seemed to be doing better all the time just
> when Disney pulled the rug out from under it, and Gladstone II
> just isn't the same, though I certainly wish it well despite the
> dire circumstances of today's comic-book market.
Agreed that Gladstone needed desperately to make changes; Disney's best
contribution to the product was the introduction of the good quality
paper. Unfortunately, Gladstone can't even give us decent covers now :-)
A pity Disney didn't think it through first, renew the license and at
least do some market research. It's over now and I, like you, wish
Gladstone all the best in its effort to pick up the pieces.
Best regards,
Melanie
Cdoberman
DDA #37
Message 33 -
1996-02-06 at 08:41:02
Donald Duck Adventures #37 is genuinely good. "Three Little Cupids" is my
favorite Pat Block story ever. I've never hid my negative feelings about the
Block/Fernandez team, but now with Shelly as his new collaborator, things
have changed. No longer does his story get bogged down with pointless,
irrelevant, illogical side tracks. This time the story is straight forward,
with appropriate forshadowing and simple subplots that color the story,
rather than confuse it (e.g., grandma coming along and falling for the
captain). I even found his bulgey art charming now that the story made
sense.
"His Master's Voice" was even better. Although the plot reminded me of
something from Gilligan's Island, it was still quite funny. The script,
David, was very entertaining. Question: When the credits list "The Egmont
Group" as writing the Story, what does that mean? Does it mean Gladstone
doesn't know who wrote it, but that it was written for Egmont?
Anyway, a fun issue to read.
-- Wes
--------------------------------
End of dcomics Digest V96 Issue #28
***********************************
favorite Pat Block story ever. I've never hid my negative feelings about the
Block/Fernandez team, but now with Shelly as his new collaborator, things
have changed. No longer does his story get bogged down with pointless,
irrelevant, illogical side tracks. This time the story is straight forward,
with appropriate forshadowing and simple subplots that color the story,
rather than confuse it (e.g., grandma coming along and falling for the
captain). I even found his bulgey art charming now that the story made
sense.
"His Master's Voice" was even better. Although the plot reminded me of
something from Gilligan's Island, it was still quite funny. The script,
David, was very entertaining. Question: When the credits list "The Egmont
Group" as writing the Story, what does that mean? Does it mean Gladstone
doesn't know who wrote it, but that it was written for Egmont?
Anyway, a fun issue to read.
-- Wes
--------------------------------
End of dcomics Digest V96 Issue #28
***********************************
Donald D. Markstein
Junkville Journal
Message 34 -
1996-02-06 at 15:00:31
DON R --
I use my full name with middle initial as a byline in Disney comics, but
elsewhere it's just "Don". When I was a kid, the old "what's the D stand for,
Duck?" used to bother me, but now, at least in that venue, it seems somehow
appropriate. (It's my middle initial, even more than my lifelong affection for
the work of Carl Barks, that led to the Duck being my totem.)
However, I've always been addressed as "Don". I don't know how we're
going to distinguish between us here. Just about anything is okay (K Don and Don
D?). I'll answer to "Donald", but the last person who called me that on a
regular basis was a girlfriend whom I haven't thought of in the past 15-20 years
or so without snarling.
We could go on a first-come basis. I've been using it for just under 49
years...
If we were observing strict continuity, of course, the location of the
Money Bin would be variable. In the "little men with their big machines" story,
as you'll recall, he wound up putting it on gigantic caterpillar treads.
The miner whose shoes he cleaned is, of course, THE miner that he got his
first dime from. My question is, do we know for sure that he did that sort of
work regularly?
DWIGHT --
My memory on thiis is kind of fuzzy too, but I do seem to recall Scrooge
mentioning at least once in a Barks story that he had ancillary money bins.
AUGIE DE BLIECK --
You haven't read the "Trala La" story? Yow! I thought it had been
reprinted fairly recently. You'll love it. It was one of my own first glimpses
at the character.
Are they miscrediting me again? I wrote the American script for the
"Trojan Horse" story. #&^%@!!
PER --
I seem to have gotten an incomplete copy of v96#26. It ends in the middle
of Augie's last contrib (at least, I assume it's the middle), leaving out the
last two items listed in the contents. Since it was followed by several days
with no newsletter at all, I assume it must have been a problem with your
e-mail. Are others missing that material?
DAVID --
You like the Bucky script with Roach O'Rook best? That was the first one
I wrote. I was planning on using him (as well as Midas Goldbug, from the
Thanksgiving story) as a continuing character, his schtick being that he burns
for revenge against Bucky, but is so incompetent that he never even manages to
get Bucky to know he exists. My own favorite is the ant highway story, and my
favorite line in it is "Please, my queen, I've nought to hide, but what he asks
is classified."
I guess it's impolite, tho, to discuss stories that only you and I have
read. I am DEFINITELY going to push to have the very talented Noel van Horn draw
them for Gladstone.
It's hard to believe a story that makes Daisy Duck likeable truly
captures her character. She's always been a caricature of a shrew.
DANIEL VAN EIJMEREN --
"Maybe the other Beagles decided to try a prune from that one Beagle and
started to like it, too?"
Then they've softened considerably. Time was, they'd hit him over the
head just for MENTIONING prunes.
If you want to criticize Van Horn for not being as good on a Barks script
as Barks himself, I'm with you! But he's still very, very good -- it's just that
one of the best comics writers ever, who is also one of the best comics artists
ever, drawing his own script, is an impossible standard to meet.
JYRKI VAINIO --
It's quite true that early comic books were a "leper colony" compared
with newspaper strips. But that was before even **I** was born. Things have
changed considerably.
Quack, Don Markstein
(Email removed)
I use my full name with middle initial as a byline in Disney comics, but
elsewhere it's just "Don". When I was a kid, the old "what's the D stand for,
Duck?" used to bother me, but now, at least in that venue, it seems somehow
appropriate. (It's my middle initial, even more than my lifelong affection for
the work of Carl Barks, that led to the Duck being my totem.)
However, I've always been addressed as "Don". I don't know how we're
going to distinguish between us here. Just about anything is okay (K Don and Don
D?). I'll answer to "Donald", but the last person who called me that on a
regular basis was a girlfriend whom I haven't thought of in the past 15-20 years
or so without snarling.
We could go on a first-come basis. I've been using it for just under 49
years...
If we were observing strict continuity, of course, the location of the
Money Bin would be variable. In the "little men with their big machines" story,
as you'll recall, he wound up putting it on gigantic caterpillar treads.
The miner whose shoes he cleaned is, of course, THE miner that he got his
first dime from. My question is, do we know for sure that he did that sort of
work regularly?
DWIGHT --
My memory on thiis is kind of fuzzy too, but I do seem to recall Scrooge
mentioning at least once in a Barks story that he had ancillary money bins.
AUGIE DE BLIECK --
You haven't read the "Trala La" story? Yow! I thought it had been
reprinted fairly recently. You'll love it. It was one of my own first glimpses
at the character.
Are they miscrediting me again? I wrote the American script for the
"Trojan Horse" story. #&^%@!!
PER --
I seem to have gotten an incomplete copy of v96#26. It ends in the middle
of Augie's last contrib (at least, I assume it's the middle), leaving out the
last two items listed in the contents. Since it was followed by several days
with no newsletter at all, I assume it must have been a problem with your
e-mail. Are others missing that material?
DAVID --
You like the Bucky script with Roach O'Rook best? That was the first one
I wrote. I was planning on using him (as well as Midas Goldbug, from the
Thanksgiving story) as a continuing character, his schtick being that he burns
for revenge against Bucky, but is so incompetent that he never even manages to
get Bucky to know he exists. My own favorite is the ant highway story, and my
favorite line in it is "Please, my queen, I've nought to hide, but what he asks
is classified."
I guess it's impolite, tho, to discuss stories that only you and I have
read. I am DEFINITELY going to push to have the very talented Noel van Horn draw
them for Gladstone.
It's hard to believe a story that makes Daisy Duck likeable truly
captures her character. She's always been a caricature of a shrew.
DANIEL VAN EIJMEREN --
"Maybe the other Beagles decided to try a prune from that one Beagle and
started to like it, too?"
Then they've softened considerably. Time was, they'd hit him over the
head just for MENTIONING prunes.
If you want to criticize Van Horn for not being as good on a Barks script
as Barks himself, I'm with you! But he's still very, very good -- it's just that
one of the best comics writers ever, who is also one of the best comics artists
ever, drawing his own script, is an impossible standard to meet.
JYRKI VAINIO --
It's quite true that early comic books were a "leper colony" compared
with newspaper strips. But that was before even **I** was born. Things have
changed considerably.
Quack, Don Markstein
(Email removed)
Andruchi
Disney comics Digest V96 #27
Message 35 -
1996-02-06 at 16:52:41
unsubscribe
David A Gerstein
Disney comics Digest V96 #28
Message 36 -
1996-02-06 at 17:32:36
CHRISTER liked my "Double-Dealt Deal"
"...[because] I didn't get to know the whole story after the
first three panels." Actually, I felt that had I been a more
experienced writer, I'd have explained my (fairly complicated) plot a
little more briskly. Reading the story now, I think it took just a
tad bit long to get going.
In my version, HDL said they'd done their homework "ages ago,"
which is just a funny exaggeration IMHO. Donald would like to vent
his frustration after a terrible day of work, but can't find anything
the nephews have done wrong to blame on them... ;-)
JAMES:
My favorite Gottfredson stories reprinted in recent years
include "The Mail Pilot" (in MM IN COLOR), "Island in the Sky" (WDC&S
582-83), "Monarch of Medioka" (GGI 7 and WDC&S 593-99),
"Editor-in-Grief" (MM 222-23), "The Bat Bandit of Inferno Gulch" (MM
229-30), and "The Bar-None Ranch" (GGI 3). But almost EVERY Mickey
story Gladstone reprinted in their MM comic, 1986-90, is excellent.
(And there are some good ones that aren't banned which Gladstone
hasn't gotten around to yet.)
MARCO:
In the original "Lentils from Babylon", the Beagle Boys
weren't buying the lentils directly back from Paylesh, but waiting
until Paylesh had sold them to Howduyustan, who'd sold them to Bumpay,
who'd sold them to Hoopadoola, who'd sold them to Tangkor Wat -- and
the rate of exchange meant that in each country, the lentils' value
was lowered so that the Beagles could then buy them back not only
cheaply but at ROCK-BOTTOM prices.
But the rate of exchange doesn't really work that way, so I
replaced the dialogue discussing the Ducks' trips from one country to
the other with text about how they could get the Beagles in jail for
swindling Paylesh's government (which was never explained in the
original, although my explanation was fairly unexciting... I'll never
call this my favorite among my translations).
OLE:
I don't know if Gladstone plans to reprint Scarpa in albums
one day, I'm only speculating -- because Gladstone is printing Van
Horn albums next year, and according to what they've told me Scarpa
sells as well as Van Horn.
[Ole didn't like my "Double-Dealt Deal"]
Maybe my "Moe" (Abbott McGoon) was a little more active than
you remember. But Anders Engwall, a Moe-expert who worked with me on
planning the story, seemed to think my tale was in-character.
As for the translation being poor, I can't really help that.
But I was very pleased with my original dialogue, so they must have
really wrecked it. In my original Donald called McGoon "Robinson
Crusoe," "Methuselah," and "Fuzzy-Face" at various times, and there
was wordplay aplenty -- so please don't blame me for an inadequate
translation, guys. I did my best.
I put the dog (Hannibal, in English) into the story just so
Moe would be "complete". As it happened, Moe ended up as someone
else, and only Hannibal remained as he should have looked.
DON:
I should have known you wouldn't have covered a nephew's face
with a word balloon. But Gladstone's computer lettering in your
stories is no larger than in the other stories they computer-letter.
If you want them to make it smaller, tell them. As of right now,
maybe they figure that smaller lettering would be hard to read?
Disney's aversion to anything remotely "racy" is inexplicable
in light of their recent feature films -- not that they really are
putting "sex" in clouds of dust, or other such baloney, but that their
characters are clearly drawn to be attractive and (in the case of
Esmerelda in "Hunchback") more than a little suggestive. The thing is
that in the LO$ they seemed to have removed restrictions, for your
stories, as to "more mature content" (as it were). Now suddenly those
restrictions are back, and we've got a situation where Donald can't
even appear to be interested in the opposite sex and can't sing a tune
about a tattooed lady (huh? It's not like she's a striptease artist!)
Barks knew how mature his readers were and his stories have always
been published with his characters' libidos intact. We aren't talking
about something inappropriate for kids -- we're talking about
the amount of hormones that you'll find in Archie!
BTW, I think that Disney must have changed the title of ODaDaD
for having what they viewed as improper grammar. They change all my
"whoevers" to "whomevers," for example. They probably missed the
literary allusion (they don't know their Carroll -- they changed my
"Oh, frabjous day" in another story).
Now that you've noticed the ducks' pupils in this story,
compare them with those in ODaDaD, where I find the Ducks to be about
your best (although your style as a whole has matured and gotten
better since then). See what I mean?
In reference to Gilbert and Sullivan, you made some comment
about my doing the Pinafore parody which in fact Don Markstein was
talking about writing.
DWIGHT:
"The collectors were the only ones interested in Disney comic
books [when Disney took over in 1990]."
Nope, I knew a lot of KIDS who stopped buying the books then.
Actually Gladstone's license situation isn't quite as you had
it. Gladstone's license which ended in 1990 was renewable _by
Gladstone_ -- officially, Gladstone was supposed to be able to renew
that license without any action from Disney, if Gladstone figured it
was financially "worth it." And of course, it WAS worth it. Disney
finally told Gladstone that they wouldn't allow them to renew their
renewable contract.
WES:
That's right -- an "Egmont Group" story just signifies that
Egmont didn't tell Gladstone who'd written the story. That has
happened more often lately, sad to say. Often Egmont will only tell
Gladstone the artist, sometimes nothing at all (in which case
Gladstone can usually guess the artist).
Glad you liked "His Master's Voice". That was one of my
favorite Egmont stories of all time! I bet Don hates it, though,
since it shows Scrooge living in the mansion from OS 178. Notice how
stingy Scrooge is in the management of the mansion, running it at
absolute bottom dollar and keeping it only to impress business
contacts; IMHO, that's my Duck "reality".
I really liked the color in the story, although the sliced
squiggs (on page 1) should have been blue like sardines, not pink like
salmon (I think... maybe I'm wrong?) Excellent HAND-lettering,
something we don't see a lot of anymore. In all, a quality job.
David Gerstein
<(Email removed)>
"Have a chestnut, boys! ... OW!"
"...[because] I didn't get to know the whole story after the
first three panels." Actually, I felt that had I been a more
experienced writer, I'd have explained my (fairly complicated) plot a
little more briskly. Reading the story now, I think it took just a
tad bit long to get going.
In my version, HDL said they'd done their homework "ages ago,"
which is just a funny exaggeration IMHO. Donald would like to vent
his frustration after a terrible day of work, but can't find anything
the nephews have done wrong to blame on them... ;-)
JAMES:
My favorite Gottfredson stories reprinted in recent years
include "The Mail Pilot" (in MM IN COLOR), "Island in the Sky" (WDC&S
582-83), "Monarch of Medioka" (GGI 7 and WDC&S 593-99),
"Editor-in-Grief" (MM 222-23), "The Bat Bandit of Inferno Gulch" (MM
229-30), and "The Bar-None Ranch" (GGI 3). But almost EVERY Mickey
story Gladstone reprinted in their MM comic, 1986-90, is excellent.
(And there are some good ones that aren't banned which Gladstone
hasn't gotten around to yet.)
MARCO:
In the original "Lentils from Babylon", the Beagle Boys
weren't buying the lentils directly back from Paylesh, but waiting
until Paylesh had sold them to Howduyustan, who'd sold them to Bumpay,
who'd sold them to Hoopadoola, who'd sold them to Tangkor Wat -- and
the rate of exchange meant that in each country, the lentils' value
was lowered so that the Beagles could then buy them back not only
cheaply but at ROCK-BOTTOM prices.
But the rate of exchange doesn't really work that way, so I
replaced the dialogue discussing the Ducks' trips from one country to
the other with text about how they could get the Beagles in jail for
swindling Paylesh's government (which was never explained in the
original, although my explanation was fairly unexciting... I'll never
call this my favorite among my translations).
OLE:
I don't know if Gladstone plans to reprint Scarpa in albums
one day, I'm only speculating -- because Gladstone is printing Van
Horn albums next year, and according to what they've told me Scarpa
sells as well as Van Horn.
[Ole didn't like my "Double-Dealt Deal"]
Maybe my "Moe" (Abbott McGoon) was a little more active than
you remember. But Anders Engwall, a Moe-expert who worked with me on
planning the story, seemed to think my tale was in-character.
As for the translation being poor, I can't really help that.
But I was very pleased with my original dialogue, so they must have
really wrecked it. In my original Donald called McGoon "Robinson
Crusoe," "Methuselah," and "Fuzzy-Face" at various times, and there
was wordplay aplenty -- so please don't blame me for an inadequate
translation, guys. I did my best.
I put the dog (Hannibal, in English) into the story just so
Moe would be "complete". As it happened, Moe ended up as someone
else, and only Hannibal remained as he should have looked.
DON:
I should have known you wouldn't have covered a nephew's face
with a word balloon. But Gladstone's computer lettering in your
stories is no larger than in the other stories they computer-letter.
If you want them to make it smaller, tell them. As of right now,
maybe they figure that smaller lettering would be hard to read?
Disney's aversion to anything remotely "racy" is inexplicable
in light of their recent feature films -- not that they really are
putting "sex" in clouds of dust, or other such baloney, but that their
characters are clearly drawn to be attractive and (in the case of
Esmerelda in "Hunchback") more than a little suggestive. The thing is
that in the LO$ they seemed to have removed restrictions, for your
stories, as to "more mature content" (as it were). Now suddenly those
restrictions are back, and we've got a situation where Donald can't
even appear to be interested in the opposite sex and can't sing a tune
about a tattooed lady (huh? It's not like she's a striptease artist!)
Barks knew how mature his readers were and his stories have always
been published with his characters' libidos intact. We aren't talking
about something inappropriate for kids -- we're talking about
the amount of hormones that you'll find in Archie!
BTW, I think that Disney must have changed the title of ODaDaD
for having what they viewed as improper grammar. They change all my
"whoevers" to "whomevers," for example. They probably missed the
literary allusion (they don't know their Carroll -- they changed my
"Oh, frabjous day" in another story).
Now that you've noticed the ducks' pupils in this story,
compare them with those in ODaDaD, where I find the Ducks to be about
your best (although your style as a whole has matured and gotten
better since then). See what I mean?
In reference to Gilbert and Sullivan, you made some comment
about my doing the Pinafore parody which in fact Don Markstein was
talking about writing.
DWIGHT:
"The collectors were the only ones interested in Disney comic
books [when Disney took over in 1990]."
Nope, I knew a lot of KIDS who stopped buying the books then.
Actually Gladstone's license situation isn't quite as you had
it. Gladstone's license which ended in 1990 was renewable _by
Gladstone_ -- officially, Gladstone was supposed to be able to renew
that license without any action from Disney, if Gladstone figured it
was financially "worth it." And of course, it WAS worth it. Disney
finally told Gladstone that they wouldn't allow them to renew their
renewable contract.
WES:
That's right -- an "Egmont Group" story just signifies that
Egmont didn't tell Gladstone who'd written the story. That has
happened more often lately, sad to say. Often Egmont will only tell
Gladstone the artist, sometimes nothing at all (in which case
Gladstone can usually guess the artist).
Glad you liked "His Master's Voice". That was one of my
favorite Egmont stories of all time! I bet Don hates it, though,
since it shows Scrooge living in the mansion from OS 178. Notice how
stingy Scrooge is in the management of the mansion, running it at
absolute bottom dollar and keeping it only to impress business
contacts; IMHO, that's my Duck "reality".
I really liked the color in the story, although the sliced
squiggs (on page 1) should have been blue like sardines, not pink like
salmon (I think... maybe I'm wrong?) Excellent HAND-lettering,
something we don't see a lot of anymore. In all, a quality job.
David Gerstein
<(Email removed)>
"Have a chestnut, boys! ... OW!"
Carey Furlong - Tdoc
Bin locations
Message 37 -
1996-02-06 at 17:53:17
> >Don actually explained the bin location problem in "The Pied
> >Piper of Duckburg" (an incomplete Barks story completed by Don).
>
> In what Gladstone issue is this re-printed? It sounds familiar, and might
> actually be where I got the impression of two bins in the first place.
"The Pied Piper of Duckburg" appeared in Uncle Scrooge Adventures 21, and
was later reprinted in volume 2 of The Carl Barks Library of Gyro
Gearloose Comics and Fillers in Color (LICGY).
In the ftp database there is a note stating that both Barks and Rosa
wrote the story, with Barks having penciled the first three pages in
the 50's and Don Rosa completing the art and plot.
There is another note that I have not been able to figure out:
"see CX OS 59"
OS, of course, means "one shot," and seems to be a reference to one
of the one shot Gyro's of 1959. But what does CX mean? Cross-reference?
Cross-reference to what?
BTW, the Disney Comics database is extremely valuable to me, and I
*really* appreciate all of the work the contributors put into it. It
was just updated and I have since downloaded the entire Western and
Gladstone sections, formated it to 80 columns and printed the whole thing
on 2-sided paper. I then assemble it into a single large volume, which
this time is over an inch thick. It is an invaluable reference source.
Thanks again, guys, for the Disney Comics Database. Before I found it,
I was afraid I was going to have try to build my own database, which I
am sure would have been far inferior to the one maintained here.
Till next time,
Carey
- "This fabulous twenty-four carat moon, for
a handful of dirt!... Man! That's the biggest
bargain I ever heard of in all history!"
---------------------- Scrooge McDuck -------
---- Carey ----
Carey Furlong, Huntington Beach, CA; Primary e-mail: (Email removed)
Secondary email: (Email removed); Prodigy TXST34A;
Compu$erve 70531,2753; Opinions expressed are mine and not those of EDS
> >Piper of Duckburg" (an incomplete Barks story completed by Don).
>
> In what Gladstone issue is this re-printed? It sounds familiar, and might
> actually be where I got the impression of two bins in the first place.
"The Pied Piper of Duckburg" appeared in Uncle Scrooge Adventures 21, and
was later reprinted in volume 2 of The Carl Barks Library of Gyro
Gearloose Comics and Fillers in Color (LICGY).
In the ftp database there is a note stating that both Barks and Rosa
wrote the story, with Barks having penciled the first three pages in
the 50's and Don Rosa completing the art and plot.
There is another note that I have not been able to figure out:
"see CX OS 59"
OS, of course, means "one shot," and seems to be a reference to one
of the one shot Gyro's of 1959. But what does CX mean? Cross-reference?
Cross-reference to what?
BTW, the Disney Comics database is extremely valuable to me, and I
*really* appreciate all of the work the contributors put into it. It
was just updated and I have since downloaded the entire Western and
Gladstone sections, formated it to 80 columns and printed the whole thing
on 2-sided paper. I then assemble it into a single large volume, which
this time is over an inch thick. It is an invaluable reference source.
Thanks again, guys, for the Disney Comics Database. Before I found it,
I was afraid I was going to have try to build my own database, which I
am sure would have been far inferior to the one maintained here.
Till next time,
Carey
- "This fabulous twenty-four carat moon, for
a handful of dirt!... Man! That's the biggest
bargain I ever heard of in all history!"
---------------------- Scrooge McDuck -------
---- Carey ----
Carey Furlong, Huntington Beach, CA; Primary e-mail: (Email removed)
Secondary email: (Email removed); Prodigy TXST34A;
Compu$erve 70531,2753; Opinions expressed are mine and not those of EDS
Henri Sivonen
Disney comics Digest V96 #28
Message 38 -
1996-02-06 at 19:06:32
RoC,
> Remember most readers in Europe *are* children, whereas the
>American readership is 2, 3 or even 5 times older, and usually even
>historically and culturally aware as opposed to the MTV generation.
I think that approach is terribly wrong. In my opinion something shouldn't
be simplified because of young audience. How can children ever become
historically and culturally aware in that case?
BTW the translators in Finland don't try to simplify the language, just the
opposite.
--
Henri Sivonen
(Email removed) WWW:
Fax: +358-0-479387 http://www.clinet.fi/~henris
> Remember most readers in Europe *are* children, whereas the
>American readership is 2, 3 or even 5 times older, and usually even
>historically and culturally aware as opposed to the MTV generation.
I think that approach is terribly wrong. In my opinion something shouldn't
be simplified because of young audience. How can children ever become
historically and culturally aware in that case?
BTW the translators in Finland don't try to simplify the language, just the
opposite.
--
Henri Sivonen
(Email removed) WWW:
Fax: +358-0-479387 http://www.clinet.fi/~henris
Dixon H Chandler
LOOKing for Barks books, trading cards
Message 39 -
1996-02-06 at 19:29:38
I'm no longer a member of the Disney Ducks list, so please send private
e-mail if you want to get in touch with me ((Email removed)).
I'm trying to locate copies of the following volumes of the Carl Barks
Library In Color:
Walt Disney's Comics & Stories 05
Uncle Scrooge One Pagers 01
Apparently these are out of print from Gladstone.
Can anybody help?
Thanks,
-dc
--
"After all, what the hell?" --Dan Turner (Email removed)
e-mail if you want to get in touch with me ((Email removed)).
I'm trying to locate copies of the following volumes of the Carl Barks
Library In Color:
Walt Disney's Comics & Stories 05
Uncle Scrooge One Pagers 01
Apparently these are out of print from Gladstone.
Can anybody help?
Thanks,
-dc
--
"After all, what the hell?" --Dan Turner (Email removed)
Dixon H Chandler
Extra Barks trading cards?
Message 40 -
1996-02-06 at 19:31:30
Surely I'm not the only one with extra Carl Barks trading cards?
Anybody have any to trade? I'm no longer a member of the Disney Ducks
list, so please send private e-mail to: (Email removed)
Thanks,
-dc
----------------------------------------------------------------------------
"After all, what the hell?" --Dan Turner (Email removed)
Anybody have any to trade? I'm no longer a member of the Disney Ducks
list, so please send private e-mail to: (Email removed)
Thanks,
-dc
----------------------------------------------------------------------------
"After all, what the hell?" --Dan Turner (Email removed)
Per Starback
Admin stuff, as usual
Message 41 -
1996-02-06 at 20:11:55
Cord Wiljes wondered why everyone else is sending their list messages
to another address than he is. Because you somehow didn't notice when
the list's address got changed. I'll send detailed instructions to
you in private mail.
Don Markstein said that his copy of v96#26 wasn't complete but was cut
somewhere in Augie's last message there. I think that one got sent
out complete and that there was some problem at your end this time,
but because of the problems lately I wouldn't bet on it, and I'd like
to hear if anyone else got it the same way.
Anyway, the way to retrieve it again from the server is to send mail
To: (Email removed)
Subject: archive
get volume96/26
exactly as shown. (For instance not with "archives" or "Archive"
or anything else instead of "archive".)
--
Per the Administrator
to another address than he is. Because you somehow didn't notice when
the list's address got changed. I'll send detailed instructions to
you in private mail.
Don Markstein said that his copy of v96#26 wasn't complete but was cut
somewhere in Augie's last message there. I think that one got sent
out complete and that there was some problem at your end this time,
but because of the problems lately I wouldn't bet on it, and I'd like
to hear if anyone else got it the same way.
Anyway, the way to retrieve it again from the server is to send mail
To: (Email removed)
Subject: archive
get volume96/26
exactly as shown. (For instance not with "archives" or "Archive"
or anything else instead of "archive".)
--
Per the Administrator
Ville Saari
Bin locations
Message 42 -
1996-02-06 at 21:02:27
> >Don actually explained the bin location problem in "The Pied
> >Piper of Duckburg" (an incomplete Barks story completed by Don).
>
> In what Gladstone issue is this re-printed? It sounds familiar, and might
> actually be where I got the impression of two bins in the first place.
I don't know. I read it from the Carl Barks Library set 6 volume 2 page 379.
--
Ville Saari EMail: (Email removed)
Tallbergin puistotie 7 B 21 Phone: +358 0 682 2226
00200 Helsinki
FINLAND /dev/null: write failed, file system is full
> >Piper of Duckburg" (an incomplete Barks story completed by Don).
>
> In what Gladstone issue is this re-printed? It sounds familiar, and might
> actually be where I got the impression of two bins in the first place.
I don't know. I read it from the Carl Barks Library set 6 volume 2 page 379.
--
Ville Saari EMail: (Email removed)
Tallbergin puistotie 7 B 21 Phone: +358 0 682 2226
00200 Helsinki
FINLAND /dev/null: write failed, file system is full
Don Rosa
Disney comics Digest V96 #28
Message 43 -
1996-02-07 at 00:25:00
WES:
I don't know if the explanation was given in the first chapter of
the Croesus story... I'd hafta look. I know it was in my original script,
but I don't sit and compare the final version with my original script,
unless something strikes me as blatantly fishy. But anyway, $crooge had to
build all the columns from the ground up to see where each of those 127 top
sections should be. I made it clear (in MY script) that he carefully matched
column drum to drum to have every drum in its original position. Silly idea?
Sure! But that was the explanation that SHOULD be there somewhere.
RoC:
I was asking about KRITIK because someone sent me a copy of a #109
(I think it was... it's over in my studio) which had a cover feature article
about the Ducks. There was a long article on Barks and a shorter one on me.
I was wondering where this was sold or where more could be obtained. They
never even got one at Egmont, and I wouldn't have known about it except a
correspondent mentioned it with the assumption that I surely knew all about
it... which I didn't. This is like I was saying... how weird it is to find
books and magazines and newspapers around the dang world writing articles
mentioning you or all about you, and you don't even find out about it except
by chance a year or two later!
HELLO SWEDEN:
I see on the backs of the KALLE ANKAs that I'm getting that your
McDonald's are selling/giving away some Disney toys. There's a Donald and a
Daisy... related to Disneyland Paris somehow. Maybe they have them in all
Scandanavian McDonald's? Can anyone get those for me???? Hm? Hm? Hm?
TODD:
I don't guess I'm a Tom Lehrer fan since the name don't ring a bell.
Who he?
(And GOSH I wish you'd lettered that Croesus story! ...sob)
MELANIE:
Gladstone didn't lose its license until the beginning of 1990.
DUCKTALES was out of production a year or two BEFORE that. I think it was on
TV in 1987 and 1988, and then reruns after that.
And I can think of lots of things that Disney should or shunta' done
in those comics (like for starters, not taking them from Gladstone!)... but
it's perfectly natural that they should try to use them as ads for their TV
series. That may have been one of their main intentions, just as DISNEY
ADVENTURES still does. I'm not saying it made good comics... it's just the
logical thing for a corporation to want to do.
As for DUCKDAZE, I was called several years ago by story-editor Jymn
Magon, a really swell kinda guy with whom I briefly worked on TAILSPIN, to
consult on the groundwork for the series... particularly, he wanted me to do
something about writing a "bible" for the Duck personalities or something. I
thanked him but I declined -- I really didn't want to get involved since I
figured the resulting series would simply irritate me.
I don't know if the explanation was given in the first chapter of
the Croesus story... I'd hafta look. I know it was in my original script,
but I don't sit and compare the final version with my original script,
unless something strikes me as blatantly fishy. But anyway, $crooge had to
build all the columns from the ground up to see where each of those 127 top
sections should be. I made it clear (in MY script) that he carefully matched
column drum to drum to have every drum in its original position. Silly idea?
Sure! But that was the explanation that SHOULD be there somewhere.
RoC:
I was asking about KRITIK because someone sent me a copy of a #109
(I think it was... it's over in my studio) which had a cover feature article
about the Ducks. There was a long article on Barks and a shorter one on me.
I was wondering where this was sold or where more could be obtained. They
never even got one at Egmont, and I wouldn't have known about it except a
correspondent mentioned it with the assumption that I surely knew all about
it... which I didn't. This is like I was saying... how weird it is to find
books and magazines and newspapers around the dang world writing articles
mentioning you or all about you, and you don't even find out about it except
by chance a year or two later!
HELLO SWEDEN:
I see on the backs of the KALLE ANKAs that I'm getting that your
McDonald's are selling/giving away some Disney toys. There's a Donald and a
Daisy... related to Disneyland Paris somehow. Maybe they have them in all
Scandanavian McDonald's? Can anyone get those for me???? Hm? Hm? Hm?
TODD:
I don't guess I'm a Tom Lehrer fan since the name don't ring a bell.
Who he?
(And GOSH I wish you'd lettered that Croesus story! ...sob)
MELANIE:
Gladstone didn't lose its license until the beginning of 1990.
DUCKTALES was out of production a year or two BEFORE that. I think it was on
TV in 1987 and 1988, and then reruns after that.
And I can think of lots of things that Disney should or shunta' done
in those comics (like for starters, not taking them from Gladstone!)... but
it's perfectly natural that they should try to use them as ads for their TV
series. That may have been one of their main intentions, just as DISNEY
ADVENTURES still does. I'm not saying it made good comics... it's just the
logical thing for a corporation to want to do.
As for DUCKDAZE, I was called several years ago by story-editor Jymn
Magon, a really swell kinda guy with whom I briefly worked on TAILSPIN, to
consult on the groundwork for the series... particularly, he wanted me to do
something about writing a "bible" for the Duck personalities or something. I
thanked him but I declined -- I really didn't want to get involved since I
figured the resulting series would simply irritate me.
Eric Chun
Mickey Mouse
Message 44 -
1996-02-07 at 04:14:34
Hi!
> Are there any other Walsh--Gottfredson stories you would recommend?
Try reading the Floyd Gottfredson Mickey Mouse stories from the early
Gladstones. Those are incredibly great too! These Mickey Mouse issues
contained complete stories taken from daily comic strips. Each story
spanned about three issues, so you'll need to take a look at the covers
to see how many issues you need to buy for each story.
The story and artwork (in my humble opinion) are top-notch!
Eric
(Email removed)
> Are there any other Walsh--Gottfredson stories you would recommend?
Try reading the Floyd Gottfredson Mickey Mouse stories from the early
Gladstones. Those are incredibly great too! These Mickey Mouse issues
contained complete stories taken from daily comic strips. Each story
spanned about three issues, so you'll need to take a look at the covers
to see how many issues you need to buy for each story.
The story and artwork (in my humble opinion) are top-notch!
Eric
(Email removed)
Dave Rawson
02:Disney comics Digest V96 #28
Message 45 -
1996-02-07 at 11:17:02
DON R.
d> "Of Ducks and Dimes and Destinies" [...] they changed the title to "Of
d> Ducks, Dimes and Destinies"
->awk<- ->hok<- ->ptui<-
Excuse me. I had somethin' stuck in my craw.
It's funny but it's the little things like that that break my heart because
they are so obviously trivial to almost anyone except the creator who
carefully choose those words over all others because they satisfied the
ineffable instinct.
The meter of the first is classic and lyric. The meter of the second is
pedestrian, and the punctuation horribly correct in a high school teacher
kind of way. Creative writing does not use business English.
Aaarrrgghhh
d> losing my Lewis Carroll flavor. I guess they figured too few readers
d> would catch the reference?
I don't think that's it. (Pardon the following rhetorical questions. I'm
certainly not arguing with =you=.) Supposing =no one= caught the reference?
So what? Does the phrase suffer thereby? How does eliminating the
"redundant" conjunction improve anything except adherence to rigid
punctuation rules at the costly expense of the sensibility of the author?
Were those two extra characters at =such= a price that they couldn't remain
out of respect for the author's wishes?
->gak<-
Oh, and on the same note, but adding to previous comments. I found the
British translation from our original script (written in English) for TOUR
DE JOUR to be very bland by comparison, the jokes often weakened. By
example, they changed the title to ON HOLIDAY. It only worsened from there.
Thank you for allowing me this rant. I feel a bit better now. I return to
inveterate lurker.
... "In a Republic, ignorance is a crime" - Horrace Mann
* Evaluation copy of Silver Xpress. Day # 55
--- via Silver Xpress V4.01 [NR]
--------------------------------
End of dcomics Digest V96 Issue #29
***********************************
d> "Of Ducks and Dimes and Destinies" [...] they changed the title to "Of
d> Ducks, Dimes and Destinies"
->awk<- ->hok<- ->ptui<-
Excuse me. I had somethin' stuck in my craw.
It's funny but it's the little things like that that break my heart because
they are so obviously trivial to almost anyone except the creator who
carefully choose those words over all others because they satisfied the
ineffable instinct.
The meter of the first is classic and lyric. The meter of the second is
pedestrian, and the punctuation horribly correct in a high school teacher
kind of way. Creative writing does not use business English.
Aaarrrgghhh
d> losing my Lewis Carroll flavor. I guess they figured too few readers
d> would catch the reference?
I don't think that's it. (Pardon the following rhetorical questions. I'm
certainly not arguing with =you=.) Supposing =no one= caught the reference?
So what? Does the phrase suffer thereby? How does eliminating the
"redundant" conjunction improve anything except adherence to rigid
punctuation rules at the costly expense of the sensibility of the author?
Were those two extra characters at =such= a price that they couldn't remain
out of respect for the author's wishes?
->gak<-
Oh, and on the same note, but adding to previous comments. I found the
British translation from our original script (written in English) for TOUR
DE JOUR to be very bland by comparison, the jokes often weakened. By
example, they changed the title to ON HOLIDAY. It only worsened from there.
Thank you for allowing me this rant. I feel a bit better now. I return to
inveterate lurker.
... "In a Republic, ignorance is a crime" - Horrace Mann
* Evaluation copy of Silver Xpress. Day # 55
--- via Silver Xpress V4.01 [NR]
--------------------------------
End of dcomics Digest V96 Issue #29
***********************************