Keskustelujen arkisto

MATTIAS:
It's not a question of what you read in a Disney comic from
Gladstone or Egmont or anyone else that they "let" me put into a Disney
comic. I put what I put into my script. Nobody has any control over that --
it's completely up to me. What the Egmont editor decides to include in the
official script and what each individual sub-editor decides to USE out of
that script is their decision. Yes, I used "That bleedin' Dime" as dialogue
in "Of Ducks and Dimes and Destinies", and I've used "bleeding" in other of
my scripts. But, again, it's up to each individual editor to decide whether
to use that word, or any other words in that balloon, or any of my other
dialogue in the whole script... they might toss the whole script out and
write one of their own -- it's all up to them. As you saw, even though they
used my "bleedin'" dialogue, Gladstone (or somebody) chose to change the
title of the story by leaving out an important word.
Me, I was surprised that they left "bleedin'" in the dialogue
myself, especially at Gladstone since that's the one time that the stories
go through a Disney approval system before they see print. Surely they know
what a strong swear word that is in Britain... but it's not so in America. I
s'pose.

ANYONE:
I was "surfing the net" last night, and I came across an on-line Yukon
Territory newspaper, THE YUKON NEWS, which I assume is a tourism promotion
of some sort. But in an issue from last October there was a most strange
article! It spoke of two guys named Ed Bergen and Rob Scheere who were being
interviewed about a new tour company they were forming for fans of Uncle
$crooge. This company would arrange trips for $crooge fans to hike up from
Skagway, through the Chillkoot Pass and all the way to Dawson City (!). It
spoke of a story titled "Hearts of the Yukon" which was the first (?) of a
12-part (?) series being done by Disney (?!) to promote $crooge's connection
with Dawson. The two men and the bed and breakfast owner where they were
staying while scouting for future tour sites stated that they were receiving
such an astounding deluge of interest from $crooge fans in America and
Europe that they didn't know how they could ever handle the crowds of Duck
fans from around the world who would be wanting to take this tour. And they
said that these comics fans could easilly afford the expensive tour because
we typically spend $3000 on $crooge lithographs and $7,500 on $crooge
figurines. The article also said that these two fellows were huge $crooge
fans and personal friends of Carl Barks themselves, and one day during a
visit with Bergen, Scheere asked Bergen how $crooge made his millions. Since
Bergen didn't know (?!) he made a trip to the library (?) and found out it
was in the Yukon, which gave the two the idea for the tour company.
Has anyone here ever heard of either of these two men? Or heard a
single thing about this fabulously successful tour company for $crooge
comics fans? Nobody knows better than me how newspaper reporters can
sometimes get their facts outlandishly twisted, or make up their own facts,
or print stuff that's just plain false... so it's impossible to say if any
part of this story is accurate. It does seem to me that I've heard of this
idea somewhere -- perhaps it was in Blum's text piece that accompanied my
"Hearts of the Yukon" story -- but that doesn't prove its accuracy. Has
anyone ever heard anything about any part of all this?!

Hi Roche!

What's the use of sending an entire digest back to the club? If you
would have taken just one little look on the message you forwarded,
you would have seen this:

> [To unsubscribe, send a message to <(Email removed)>
> with the subject "unsubscribe".

If you follow that advice, it's easier for us *and* for you.

Greetings,

--- Daniel

--------------------------------
End of Disney comics Digest V96 Issue #47
*****************************************

Hi Per!

I hope I've sent this to the right address (request). I only wanted to
say the following: First of all I'd like to thank you for having a link
to my homepage on your Disney-comics website. I appreciate that, but
the only problem is that my name is incorrect. It says: "Arthur Wolfman's
Disney comics homepage". That should be: "Arthur de Wolf's Disney comics
homepage", as my name is 'Arthur de Wolf' and NOT 'Arthur Wolfman'.
Could you please change that?

Thanks!

Arthur (de Wolf) ;-)

MIKE:
Noel Van Horn is William Van Horn's son. His art shows much
influence from both his father and MM Sunday page artist Manuel
Gonzales (who is apparently his personal favorite).
Which reminds me... what Mickey stories has Egmont printed
lately. They may print one of mine anytime now!

David Gerstein
<(Email removed)>
"Have a chestnut, boys! ... OW!"

Mike P,

> Are William and Noel VanHorn the same person?

AFAIK William is Noel's father.

--
Henri Sivonen
(Email removed) WWW:
Fax: +358-0-479387 http://www.clinet.fi/~henris

Hi Friends!
In our web site (http://www.alpcom.it/fumetti/), in our "Virtual Comic Art
Museum" (http://www.alpcom.it/fumetti/musvir.htm), we are working at the
Carl Barks Gallery, in which there is the complete cronology of his stories
published in Italy (that is, I suppose, all), by Franco Fossati, at
http://www.alpcom.it/fumetti/mvbarks.htm
Works in Progress...
Bye!

Gianfranco Goria, cartoonist and comics divulger: (Email removed)
president of Anonima Fumetti - Italian cartoonists society: (Email removed)
http://www.alpcom.it/fumetti/

JYRKI:
I don't know about anyone else, but Egmont does have a
personality guide for the three "leading" Beagle Boys.

176-167 is the smarter and generally tougher leader of the
band. Has some genuinely smart ideas at times. No patience with the
others, either.
176-671 is the dumber one who often tends to foul up the
plans, but he's also a bit of a savant -- he's very good at certain
things. Think to the story "Perilous Portrait" (published by
Gladstone around 1989, although I'm not sure exactly when), in which
he turned out to be an excellent painter. But the occasional
expertise fouls up the plans even more -- he insisted on staying
behind to finish his painting of the stolen jewels...
176-761 is the epicure of the gang with a special liking for
prunes ("But I LIKE prunes!"). His greed is always his Achilles'
heel. In some Barks stories it's implied that he's the only one who
likes prunes, but in others they all like them... anyway, 761 likes
them the most.

Others have different concepts of how the Beagles should be.
Romano Scarpa's Beagles seem to all be as smart as Egmont's 167; look
to "The Lentils from Babylon" in which they have a very brainy,
sophisticated scheme going. Same goes for the current "Colossus of
the Nile".
Vic Lockman, is typical of Whitman writers in that his
Beagles generally act all about the same (like Egmont's 176-671) and
only "special" members of the gang, who also have actual names
("Einstein Beagle," "Supersensitive-176"), get more individual
personalities. The only problem with this approach is that I just
don't happen to like the idea of naming the Beagles.
DuckTales had a leading trio who were very like Egmont's
Beagles, but felt that for them to be identifiable on screen, they'd
have to look different from one another as well as having names. So
176-167 = Bigtime Beagle, 176-761 = Burger Beagle, and 176-671 =
Bankjob Beagle. I REALLY didn't like this approach... but to each
their own, I guess. I've seen S-coded stories in which the Beagles
all look the same, but these (DuckTales) names are used, an
interesting mix of approaches.
Don Rosa's Beagle Boys (do you mind my trying to describe them
here, Don?) strike me as being based on the Barks stories from right
around 1954-55, in which they are a little meaner than both earlier
and later. They seem fairly threatening in Don's stories because they
are real thugs, not just because they are smart (as in Scarpa) or
because they are determined (as in earlier and later Barks).

I use Egmont's Beagles fairly religiously, simply because I
like having individual personalities for the leading three but don't
like using names or different appearances... it's just too
non-Barksian. I also like making the Beagles a little bit
sympathetic. They aren't the Beagle BOYS for nothing -- they strike
me as generally likable delinquent types (if well past their teenage
years; just how old are they supposed to be? In their thirties?) who
are villains mainly by virtue of being opposed to Scrooge. In some
ways, the aspects of the Egmont trio are remarkably like Donald's
personality traits. Unlikable villains who try and try again, never
succeeding, get tiresome after a while. We know they're going to
fail in the end, so we aren't motivated to read the story by the
feeling that the Ducks are under serious threat (i. e. how will they
get out of it, and such). Instead, I like to make the Beagles into
colorful characters so that we'll enjoy seeing them in action.
Don't get me wrong, I don't mean to make the Beagle Boys into
pathetic wusses. And I do find a way to make them a little more
threatening at times. But I do like making the Beagle Boys likable or
at least sympathetic in some ways.

David Gerstein
<(Email removed)>

P. S. None of my own B-boys stories have seen print yet, so
don't try to find them... it's hopeless!