Croesus Colors (WDC&S #603):
I'm propably in minority here, but I actually liked the colors
of the third part very much. For example the panel that $crooge
and Co. enter Croesus' 'money bin' was just brilliant! Part of
the credit goes of course to Don Rosa's shadowing. But really
the only panel I had problems with, was the panel where $crooge
blowed up the 'hill'. I think the colors in cheaper Gladstone books
are often too *dark*.
WDC&S sales figures:
Combined *direct market only* orders from Diamond and Capital
are about 6,500. That's pretty low, the cheaper comics are in
8,000-10,000 range. BUT those cheaper comics are distributed
to newsstands. (Is WDC&S distributed to newsstands?)
/Mikko
Author
Topic: 199603
(196 messages)
Mikko Henri Juhani Aittola
Disney comics Digest V96 #66
Message 181 -
1996-03-28 at 09:19:13
Tryg Helseth
More Twine / Heffalump / Half Century Mark
Message 182 -
1996-03-28 at 12:35:03
GAUTE:
>I went to Minnesota to visit my wife who was doing fieldwork in anthropology
>at UMN. I knew CB had lived in Minnesota and wondered if I could track down
>connections.
When were you in Minnesota? Recently? Did you ever come across Carl
Barks former residence, "The Drexel Apartment Hotel?" It is on the south
side of downtown Minneapolis. If you missed it, there are photos of in
in a Walt Disney's Comics and Stories issue from the "Disney Comics"
era. The hotel was "discovered" as Barks former residence by local
comic book fan, Dave Mruz. Dave had told me the room number also, but I
didn't write it down and have forgotten it. :( If you (or anyone) is
interested, I can look up the issue number. (Or perhaps it is already
noted in Harry's database?)
>The trip there was like a pilgrimage to me, just an hour west of MPLS,
>hardly anyone had heard of it. Go today Tryg you won't be disapointed. What
>I'd like to know is wether CB influenced this eccentric man or vice versa!
Good question. I kind of suspect that both worked independently and
neither had heard of the other. But who knows for sure?
>Furthermore in Eau Clair WI there was a Paul Bunyan park, remember the PB
>machine. There PB and his blue ox babe stood outside. I didn't quite get the
>myth, anyone care to tell me.
Paul Bunyan was a giant woodsman that was the focus of many highly
exaggerated tall tales. Allegedly these stories were told by the men at
lumber camps who tried to outdo each other with the most outrageous
story. There is some doubt, though, that these stories originated from
lumber camps. Disney had a short film, "The Legend of Paul Bunyan" that
told the more popular stories of Paul.
>In the "Lemming with a locket" story $ and D travels to Norway, you can see
>the Norwegian words for cheese depicted on a shop and on cheese. CB told
>some Norwegian fans that there was a "Larsen Cheese shop" in Mpls he had
>this info from and that he was fond of Norwegian cheese. I think CB with his
I'll have to read that story again to look at the cheese. Never heard
of "Larsen Cheese" though, and they are not listed in the phone book.
They must have gone out of business or changed their name.
>Perhaps it actually is $crooges ball! It's really worth seeing, we could
>have a Disney comics convention [in Darwin], since Minnesota definitly
>is Donald country.
I'd be sure to visit it then. Actually, you have inspired me to visit
there by this summer, at least. (It will take a while to talk my wife
into it--I may have to go it alone. <g>)
>My christian name is Gaute, Heffalump is just a nick [...] from: clue
>Winnie-the-pooh.
I didn't know that Heffalump was from Winnie-the Pooh. I had wondered about
your nick name choice as I first heard it as part of a nonsense song by The
New Christy Minstrels that went something like:
The Heffalump is fourteen feet
When measured ear to ear
And though he has but three of them
He rightly cannot hear
His nose is pink,
His eyes are green,
His tail a turquoise blue
And may I be a dingo if my story isn't true!
Is that the same Heffalump? ;)
ALL:
Sunday, March 31, will be my 50th birthday. My first memories of
Carl Barks work were from about the age of 5 when my sister would
read his stories to me. Barks was my age when he wrote those stories.
Tryg
---
QMPro 1.51 Flintheart Glomgold! Something familiar about that name!
"I wish they all could be Calisota Ducks!" --the Beach Drakes
Tryg Helseth <(Email removed)> Minneapolis, MN, USA
or <(Email removed)>
>I went to Minnesota to visit my wife who was doing fieldwork in anthropology
>at UMN. I knew CB had lived in Minnesota and wondered if I could track down
>connections.
When were you in Minnesota? Recently? Did you ever come across Carl
Barks former residence, "The Drexel Apartment Hotel?" It is on the south
side of downtown Minneapolis. If you missed it, there are photos of in
in a Walt Disney's Comics and Stories issue from the "Disney Comics"
era. The hotel was "discovered" as Barks former residence by local
comic book fan, Dave Mruz. Dave had told me the room number also, but I
didn't write it down and have forgotten it. :( If you (or anyone) is
interested, I can look up the issue number. (Or perhaps it is already
noted in Harry's database?)
>The trip there was like a pilgrimage to me, just an hour west of MPLS,
>hardly anyone had heard of it. Go today Tryg you won't be disapointed. What
>I'd like to know is wether CB influenced this eccentric man or vice versa!
Good question. I kind of suspect that both worked independently and
neither had heard of the other. But who knows for sure?
>Furthermore in Eau Clair WI there was a Paul Bunyan park, remember the PB
>machine. There PB and his blue ox babe stood outside. I didn't quite get the
>myth, anyone care to tell me.
Paul Bunyan was a giant woodsman that was the focus of many highly
exaggerated tall tales. Allegedly these stories were told by the men at
lumber camps who tried to outdo each other with the most outrageous
story. There is some doubt, though, that these stories originated from
lumber camps. Disney had a short film, "The Legend of Paul Bunyan" that
told the more popular stories of Paul.
>In the "Lemming with a locket" story $ and D travels to Norway, you can see
>the Norwegian words for cheese depicted on a shop and on cheese. CB told
>some Norwegian fans that there was a "Larsen Cheese shop" in Mpls he had
>this info from and that he was fond of Norwegian cheese. I think CB with his
I'll have to read that story again to look at the cheese. Never heard
of "Larsen Cheese" though, and they are not listed in the phone book.
They must have gone out of business or changed their name.
>Perhaps it actually is $crooges ball! It's really worth seeing, we could
>have a Disney comics convention [in Darwin], since Minnesota definitly
>is Donald country.
I'd be sure to visit it then. Actually, you have inspired me to visit
there by this summer, at least. (It will take a while to talk my wife
into it--I may have to go it alone. <g>)
>My christian name is Gaute, Heffalump is just a nick [...] from: clue
>Winnie-the-pooh.
I didn't know that Heffalump was from Winnie-the Pooh. I had wondered about
your nick name choice as I first heard it as part of a nonsense song by The
New Christy Minstrels that went something like:
The Heffalump is fourteen feet
When measured ear to ear
And though he has but three of them
He rightly cannot hear
His nose is pink,
His eyes are green,
His tail a turquoise blue
And may I be a dingo if my story isn't true!
Is that the same Heffalump? ;)
ALL:
Sunday, March 31, will be my 50th birthday. My first memories of
Carl Barks work were from about the age of 5 when my sister would
read his stories to me. Barks was my age when he wrote those stories.
Tryg
---
QMPro 1.51 Flintheart Glomgold! Something familiar about that name!
"I wish they all could be Calisota Ducks!" --the Beach Drakes
Tryg Helseth <(Email removed)> Minneapolis, MN, USA
or <(Email removed)>
Don Rosa
Disney comics Digest V96 #66
Message 183 -
1996-03-28 at 16:16:00
CAREY:
What were the multi-colored chickens supposed to be that I had on page two
of "The Treasury of Croesus"??? That seems like an odd question. Did you see
the first page? Are you saying you know the explanation of the kangaroo
wearing a backwards necktie? Or the toucan wearing a clown hat dragging a
lizard by the tail? Or the beach balls and soapsuds and rockets and
fireworks shooting out of the Bin? Or pig wearing a Groucho disguise with a
number and a venus flytrap glued to its back? Or why Magica is wearing an
apron, a iceskate, a roller skate, a mitten, and carrying a polo mallet? Or
the dozen or two other bizarre things on those two pages? If you understood
the purpose of all those, I hope you'll tell me about it, since I haven't
the slightest idea what any of that meant.
ARTHUR:
How do Byron and I communicate? We send a quick FAX back and forth if we
just have some single fact to direct at each other. But when we talk about a
story it's all by long, but not very frequent, phone (voice) conversations.
We'll normally have only one or two calls per story, and we really don't
discuss all THAT much of the story. It would be very helpful to me if I
could actually sit and have a LONG story-conference with a good editor like
him... but mostly the way it works, in brief, is (and you should be more
careful than to ask me a question that might cause you to be inflicted with
a long answer) that I'll ask him what he next wants. He 'll say, frinstance,
"a 24-page 3-part Uncle $crooge story". I disappear for several weeks , then
FAX or FEDEX him a completed storyboard-script. I never discuss the plot or
subject or anything about it beforehand -- which is a silly way for a
professional to operate! If I discussed it in detail with him beforehand, I
might easilly find out aspects of plots or subjects that he doesn't think he
can approve for some reason, so I risk wasting lots of time ($) doing it
this way. But I still operate more as a fan, and I treat Byron like a fellow
Duckfan, so I don't want him to know anything about the story until he reads
it page by page, just as you would (except the art he's seeing is in b&w and
VERY sloppy). Then he'll usually say, swell, but how about changing this
page here or that page there. So I'll rework those pages and FAX him a new
version of that sequence the next day. Then he says "okay", and I go to work
and he doesn't hear from me for about 3 weeks. Next I send him copies of the
penciled art, and he calls and says whether he thinks any Ducks look
cockeyed, and he'll usually find one or two that do, no more. (Whereas I'll
later decide on my own to change MANY cockeyed Ducks when I ink, and later
still, when I see it in print, I'll wish I redrew lots MORE!) Then I
disappear for another 3 weeks and send him the finished art... then call him
and say "what next?" and the whole process starts over.
That's probably not how it's supposed to be done -- I dunno. I never looked
into the normal way comics are produced since I never intended to do it for
a living (as you know). But that's how Byron and I work. It's all very
simple and doesn't sound at all "glamorous" for stories that are seen by so
many people and seem to get so much attention.
Now, on another matter -- I wish I could say something to cheer you up about
your good ol' dog. I LOVE dogs. I lost two myself from old age just last
year, I'd known them longer than I've known my wife... and that's tough
enough. But your dog seems to have died in a very unfortunate way. I
actually got kinda choked up just reading about it. As soon as I got
off-line, I went down and had a group hug with all three of my bassetts.
Dogs are just about the most amazing animals on earth -- they seem to have
been put here just to be our pals. I hope you can get over your loss, and
keep your memories of your great old dog -- but go out as soon as you can
and find one (or two) new dog-pals to fill the void. I wish I could help.
Good luck. (This message probably doesn't need to be public, but I think you
felt better by making your expression of sorrow public, so I thought it
might help you more to see a public response...?)
What were the multi-colored chickens supposed to be that I had on page two
of "The Treasury of Croesus"??? That seems like an odd question. Did you see
the first page? Are you saying you know the explanation of the kangaroo
wearing a backwards necktie? Or the toucan wearing a clown hat dragging a
lizard by the tail? Or the beach balls and soapsuds and rockets and
fireworks shooting out of the Bin? Or pig wearing a Groucho disguise with a
number and a venus flytrap glued to its back? Or why Magica is wearing an
apron, a iceskate, a roller skate, a mitten, and carrying a polo mallet? Or
the dozen or two other bizarre things on those two pages? If you understood
the purpose of all those, I hope you'll tell me about it, since I haven't
the slightest idea what any of that meant.
ARTHUR:
How do Byron and I communicate? We send a quick FAX back and forth if we
just have some single fact to direct at each other. But when we talk about a
story it's all by long, but not very frequent, phone (voice) conversations.
We'll normally have only one or two calls per story, and we really don't
discuss all THAT much of the story. It would be very helpful to me if I
could actually sit and have a LONG story-conference with a good editor like
him... but mostly the way it works, in brief, is (and you should be more
careful than to ask me a question that might cause you to be inflicted with
a long answer) that I'll ask him what he next wants. He 'll say, frinstance,
"a 24-page 3-part Uncle $crooge story". I disappear for several weeks , then
FAX or FEDEX him a completed storyboard-script. I never discuss the plot or
subject or anything about it beforehand -- which is a silly way for a
professional to operate! If I discussed it in detail with him beforehand, I
might easilly find out aspects of plots or subjects that he doesn't think he
can approve for some reason, so I risk wasting lots of time ($) doing it
this way. But I still operate more as a fan, and I treat Byron like a fellow
Duckfan, so I don't want him to know anything about the story until he reads
it page by page, just as you would (except the art he's seeing is in b&w and
VERY sloppy). Then he'll usually say, swell, but how about changing this
page here or that page there. So I'll rework those pages and FAX him a new
version of that sequence the next day. Then he says "okay", and I go to work
and he doesn't hear from me for about 3 weeks. Next I send him copies of the
penciled art, and he calls and says whether he thinks any Ducks look
cockeyed, and he'll usually find one or two that do, no more. (Whereas I'll
later decide on my own to change MANY cockeyed Ducks when I ink, and later
still, when I see it in print, I'll wish I redrew lots MORE!) Then I
disappear for another 3 weeks and send him the finished art... then call him
and say "what next?" and the whole process starts over.
That's probably not how it's supposed to be done -- I dunno. I never looked
into the normal way comics are produced since I never intended to do it for
a living (as you know). But that's how Byron and I work. It's all very
simple and doesn't sound at all "glamorous" for stories that are seen by so
many people and seem to get so much attention.
Now, on another matter -- I wish I could say something to cheer you up about
your good ol' dog. I LOVE dogs. I lost two myself from old age just last
year, I'd known them longer than I've known my wife... and that's tough
enough. But your dog seems to have died in a very unfortunate way. I
actually got kinda choked up just reading about it. As soon as I got
off-line, I went down and had a group hug with all three of my bassetts.
Dogs are just about the most amazing animals on earth -- they seem to have
been put here just to be our pals. I hope you can get over your loss, and
keep your memories of your great old dog -- but go out as soon as you can
and find one (or two) new dog-pals to fill the void. I wish I could help.
Good luck. (This message probably doesn't need to be public, but I think you
felt better by making your expression of sorrow public, so I thought it
might help you more to see a public response...?)
RMorris306
Disney Digest V96 #64-66
Message 184 -
1996-03-28 at 19:42:57
Per Starback wrote:
<<My source for both Worden's version as well as Barks's original is page 476
in CBL, set VI, and there it clearly says "Goosetave". I have no idea why
Worden changed that into Goosetail (and I hadn't noticed it before).>>
I don't know either. He was still "Goosetale" in the original version
Worden ran through CAPA-alpha, but maybe he changed it again. Possibly he
checked with Barks first, but I have no way of knowing.
<<I also think it an unfortunate fact that for example Barrier often doesn't
credit the other writers and artists of stories Barks only wrote or only
drew. I've often found American duck fans so totally uninterested in work by
other Duck artists than Barks, and that it has been Europeans (like Horst
Schroder and Klaus Strzyz for example, not to speak of the Italians!) who
have "discovered" the identities of others, interviewed them, etc.>>
That truly amazes me, especially when that even seems to apply to those
who collaborated with Barks. To some extent, that affected even the Gladstone
people, not so much with the Disney material but with their EC reprints
before the Hamilton (Gladstone) and Cochran (EC) split.
I'm glad to see that at least Hamilton and Gladstone don't think Disney
comics begin and end with Barks (and *maybe* Gottfredson and Murry). In any
case, I also knew Kim Weston from CAPA-alpha, and, even though he was a
friend of Mike Barrier, he at least had more interest (as seen in his index
for Chalker) in other Disney contributors besides Barks. Still another
CAPA-alpha person, Jim Korkis, ended up interviewing several of those people
like Tony Strobl and Jack Hannah.
Don Rosa wrote:
<<Wow! GREAT to have you here! I should probably move most of this over to
private mail, but it's good to hear from you again, and know that you're
another old collector, like me, who didn't give it all up in the face of how
it's all changed in the last 20 years, but stuck through it.>>
Thanks! That's what I'll do with some of my non-Disney comments (I
originally had a much longer comment about other fans' lack of interest even
in areas of their own expertise, like ex-Gladstone publishers' lack of
credits on the EC reprints), but I'd like to thank you here for your
excellent stories about the Ducks. I think your background on Flintheart
Glomgold (my personal favorite Scrooge villain, if only because he was in the
first full-length Scrooge story I read), not to mention Rockerduck and his
other rivals, was splendid! It helps to explain an anomaly in recent years as
to his nationality: sometimes he's been shown as South African (as per
Barks), sometimes Scottish, and sometimes even as living in Duckburg. Of
course we know the real reason is all the tension in South Africa over the
years (the last thing Disney wanted was comments about how Glomgold may have
made his money by insuring that Daffy Duck's relatives didn't get to vote!)
but it worked in Barks', and your, '50's milieu. I figure he's a South
African of Scottish descent, but like Scrooge (we also know) he owns property
all over the world, including his money bin in South Africa, a house in
Scotland, and (after his rivalry commenced with Scrooge) yet another house in
Duckburg.
Augie de Bleick, Jr. wrote:
<<Yes, I do believe you [Don] credited Rich Morrissey in your column. The
recent Comics Journal interview had a copy of one of your drawings for the
header of that column, and I'm pretty sure his name was on it.>>
It'd probably be the only way I'd get into CBG these days, considering
that I'm too fond of the hated mainstream to be acceptable these days. Dwight
Decker, I believe, has had similar experiences. It's unfortunate that Gary
Groth's distaste for the mainstream seems to extend even to the older fans
like Dwight, Don and myself who think it could be better, as opposed to
rejecting it altogether in favor of "avant-garde" comics like the ones Groth
and his friends publish.
Arthur de Wolf wrote:
<<Damnit ... I'm not happy at all! My dog died yesterday (because the vet
gave her a wrong medicine) and I'm incredibly sad. I just wanted to let all
you hundreds of people know that Kelly was the sweetest dog in the world! Bye
Kelly! :-( >>
My sincere condolences. How old was she, and what breed? Don, I liked
the picture of your "best friend" in CBG (who, if memory serves, even got
into CAPT. KENTUCKY).
Rich
<<My source for both Worden's version as well as Barks's original is page 476
in CBL, set VI, and there it clearly says "Goosetave". I have no idea why
Worden changed that into Goosetail (and I hadn't noticed it before).>>
I don't know either. He was still "Goosetale" in the original version
Worden ran through CAPA-alpha, but maybe he changed it again. Possibly he
checked with Barks first, but I have no way of knowing.
<<I also think it an unfortunate fact that for example Barrier often doesn't
credit the other writers and artists of stories Barks only wrote or only
drew. I've often found American duck fans so totally uninterested in work by
other Duck artists than Barks, and that it has been Europeans (like Horst
Schroder and Klaus Strzyz for example, not to speak of the Italians!) who
have "discovered" the identities of others, interviewed them, etc.>>
That truly amazes me, especially when that even seems to apply to those
who collaborated with Barks. To some extent, that affected even the Gladstone
people, not so much with the Disney material but with their EC reprints
before the Hamilton (Gladstone) and Cochran (EC) split.
I'm glad to see that at least Hamilton and Gladstone don't think Disney
comics begin and end with Barks (and *maybe* Gottfredson and Murry). In any
case, I also knew Kim Weston from CAPA-alpha, and, even though he was a
friend of Mike Barrier, he at least had more interest (as seen in his index
for Chalker) in other Disney contributors besides Barks. Still another
CAPA-alpha person, Jim Korkis, ended up interviewing several of those people
like Tony Strobl and Jack Hannah.
Don Rosa wrote:
<<Wow! GREAT to have you here! I should probably move most of this over to
private mail, but it's good to hear from you again, and know that you're
another old collector, like me, who didn't give it all up in the face of how
it's all changed in the last 20 years, but stuck through it.>>
Thanks! That's what I'll do with some of my non-Disney comments (I
originally had a much longer comment about other fans' lack of interest even
in areas of their own expertise, like ex-Gladstone publishers' lack of
credits on the EC reprints), but I'd like to thank you here for your
excellent stories about the Ducks. I think your background on Flintheart
Glomgold (my personal favorite Scrooge villain, if only because he was in the
first full-length Scrooge story I read), not to mention Rockerduck and his
other rivals, was splendid! It helps to explain an anomaly in recent years as
to his nationality: sometimes he's been shown as South African (as per
Barks), sometimes Scottish, and sometimes even as living in Duckburg. Of
course we know the real reason is all the tension in South Africa over the
years (the last thing Disney wanted was comments about how Glomgold may have
made his money by insuring that Daffy Duck's relatives didn't get to vote!)
but it worked in Barks', and your, '50's milieu. I figure he's a South
African of Scottish descent, but like Scrooge (we also know) he owns property
all over the world, including his money bin in South Africa, a house in
Scotland, and (after his rivalry commenced with Scrooge) yet another house in
Duckburg.
Augie de Bleick, Jr. wrote:
<<Yes, I do believe you [Don] credited Rich Morrissey in your column. The
recent Comics Journal interview had a copy of one of your drawings for the
header of that column, and I'm pretty sure his name was on it.>>
It'd probably be the only way I'd get into CBG these days, considering
that I'm too fond of the hated mainstream to be acceptable these days. Dwight
Decker, I believe, has had similar experiences. It's unfortunate that Gary
Groth's distaste for the mainstream seems to extend even to the older fans
like Dwight, Don and myself who think it could be better, as opposed to
rejecting it altogether in favor of "avant-garde" comics like the ones Groth
and his friends publish.
Arthur de Wolf wrote:
<<Damnit ... I'm not happy at all! My dog died yesterday (because the vet
gave her a wrong medicine) and I'm incredibly sad. I just wanted to let all
you hundreds of people know that Kelly was the sweetest dog in the world! Bye
Kelly! :-( >>
My sincere condolences. How old was she, and what breed? Don, I liked
the picture of your "best friend" in CBG (who, if memory serves, even got
into CAPT. KENTUCKY).
Rich
Carey Furlong - Tdoc
Disney comics Digest V96 #66
Message 185 -
1996-03-28 at 19:43:05
Don wrote:
> What were the multi-colored chickens supposed to be that I had on page two
> of "The Treasury of Croesus"??? That seems like an odd question. Did you see
> the first page? Are you saying you know the explanation of the kangaroo
> wearing a backwards necktie? Or the toucan wearing a clown hat dragging a
> lizard by the tail? Or the beach balls and soapsuds and rockets and
> fireworks shooting out of the Bin? Or pig wearing a Groucho disguise with a
> number and a venus flytrap glued to its back? Or why Magica is wearing an
> apron, a iceskate, a roller skate, a mitten, and carrying a polo mallet? Or
> the dozen or two other bizarre things on those two pages? If you understood
> the purpose of all those, I hope you'll tell me about it, since I haven't
> the slightest idea what any of that meant.
Ohhh, now I get it... I should have paid more "contention"
(Cheech & Chong, 1972). Those multi-colored chickens, and all
the other strange things you mentioned, were the results, the
detritus actually, of Magica's failed magic attack on the money
bin. The ducks were just recovering from the attack and were
sweeping up its rubble. You know, I had figured that out from a
prior reading, way back in November with part one, and had
forgotten it! Apparently, when I reread the entire story in one
sitting I glossed right past some of the enjoyable details.
Sheesh! Maybe there's something to be said for multi-part
stories after all (naw.... I just read it too fast, ...again).
This reminds me of when I was a kid reading Carl Barks stories.
There were many times when I would not understand a joke, or a
phrase, or a saying. But, whatever it was, I always felt the
joke or phrase was logical and added to the story and I would
just keep right on reading. I kept rereading the stories
regularly over the years, and I remember many times in my teens
and early tweenties (sometimes even later!) stumbling upon one
of these old cryptic passages and suddenly understanding what it
meant. And what a revelation it seemed to be.
-
"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 (US 24) ------
---- Carey ----
Carey Furlong, Huntington Beach, CA; (Email removed)
Opinions expressed are mine and not those of EDS
> What were the multi-colored chickens supposed to be that I had on page two
> of "The Treasury of Croesus"??? That seems like an odd question. Did you see
> the first page? Are you saying you know the explanation of the kangaroo
> wearing a backwards necktie? Or the toucan wearing a clown hat dragging a
> lizard by the tail? Or the beach balls and soapsuds and rockets and
> fireworks shooting out of the Bin? Or pig wearing a Groucho disguise with a
> number and a venus flytrap glued to its back? Or why Magica is wearing an
> apron, a iceskate, a roller skate, a mitten, and carrying a polo mallet? Or
> the dozen or two other bizarre things on those two pages? If you understood
> the purpose of all those, I hope you'll tell me about it, since I haven't
> the slightest idea what any of that meant.
Ohhh, now I get it... I should have paid more "contention"
(Cheech & Chong, 1972). Those multi-colored chickens, and all
the other strange things you mentioned, were the results, the
detritus actually, of Magica's failed magic attack on the money
bin. The ducks were just recovering from the attack and were
sweeping up its rubble. You know, I had figured that out from a
prior reading, way back in November with part one, and had
forgotten it! Apparently, when I reread the entire story in one
sitting I glossed right past some of the enjoyable details.
Sheesh! Maybe there's something to be said for multi-part
stories after all (naw.... I just read it too fast, ...again).
This reminds me of when I was a kid reading Carl Barks stories.
There were many times when I would not understand a joke, or a
phrase, or a saying. But, whatever it was, I always felt the
joke or phrase was logical and added to the story and I would
just keep right on reading. I kept rereading the stories
regularly over the years, and I remember many times in my teens
and early tweenties (sometimes even later!) stumbling upon one
of these old cryptic passages and suddenly understanding what it
meant. And what a revelation it seemed to be.
-
"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 (US 24) ------
---- Carey ----
Carey Furlong, Huntington Beach, CA; (Email removed)
Opinions expressed are mine and not those of EDS
Arthur De Wolf
Way of working
Message 186 -
1996-03-28 at 19:45:25
Hi!
DON ROSA:
I sure liked your story about your communication with Byron.
I don't mind getting long answers like that at all! I always thought Byron
had more influence by the realization of your stories!
You said that you never looked into the normal way comics
are produced, but how does your way of working differ from the way Carl
Barks worked? Did he also have contact with someone, like you have with
Byron? Or did Barks always do everything himself, and send the entire inked
story in an envelope? I guess he only got the task to do a story of a
certain amount of pages and then was free to do what he wanted. Is that
right? Ofcourse, he didn't have the luxury of a fax, back then!
And thanks for your kind words about my dog!
Bye!
Arthur
DON ROSA:
I sure liked your story about your communication with Byron.
I don't mind getting long answers like that at all! I always thought Byron
had more influence by the realization of your stories!
You said that you never looked into the normal way comics
are produced, but how does your way of working differ from the way Carl
Barks worked? Did he also have contact with someone, like you have with
Byron? Or did Barks always do everything himself, and send the entire inked
story in an envelope? I guess he only got the task to do a story of a
certain amount of pages and then was free to do what he wanted. Is that
right? Ofcourse, he didn't have the luxury of a fax, back then!
And thanks for your kind words about my dog!
Bye!
Arthur
Deckerd
Disney Digest V96 #64-66
Message 187 -
1996-03-28 at 20:25:05
On Mar 28, 12:42pm, (Email removed) wrote:
> Subject: Re: Disney Digest V96 #64-66
>
> It'd probably be the only way I'd get into (the Comics
> Journal) these days, considering that I'm too fond of
> the hated mainstream to be acceptable these days. Dwight
> Decker, I believe, has had similar experiences. It's
> unfortunate that Gary Groth's distaste for the mainstream
> seems to extend even to the older fans like Dwight, Don and
> myself who think it could be better, as opposed to rejecting
> it altogether in favor of "avant-garde" comics like the ones
> Groth and his friends publish.
>
Well, that's just it. The Journal reflects Gary Groth's taste,
and it's gone from being Model Railroader to the Village Voice.
(Explanation for our foreign friends: the Comics Journal has
evolved from being a hobby magazine to a critical journal of
arts, mostly on the avant-garde fringe.) Fantagraphics published
Amazing Heroes to cover the mainstream beat, but I don't think
their heart was really in it. As the Journal evolved towards
the cutting edge, a lot of the old-timers and mainstream fans
and columnists writing for it dropped away because they had
no interest or expertise in the new territory the Journal was
moving into. Certainly I have little or no interest in most of
the stuff the Journal runs any more, but the way things are
going they could have the last laugh. That is, mainstream
comics will die out and the avant garde stuff on the fringe
will be all that's left (because it doesn't need a mass audience
and its devoted few partisans are enough to support it). Well,
my interests have changed a bit, too, and I'm currently writing
Japanese animation reviews for Animerica. I probably can't write
Disney comic reviews for anybody because of conflict of interest,
but I'm not sure who'd publish them if I could. (Are there any
magazines of the Wizard ilk that print that kind of stuff?)
--Dwight Decker
> Subject: Re: Disney Digest V96 #64-66
>
> It'd probably be the only way I'd get into (the Comics
> Journal) these days, considering that I'm too fond of
> the hated mainstream to be acceptable these days. Dwight
> Decker, I believe, has had similar experiences. It's
> unfortunate that Gary Groth's distaste for the mainstream
> seems to extend even to the older fans like Dwight, Don and
> myself who think it could be better, as opposed to rejecting
> it altogether in favor of "avant-garde" comics like the ones
> Groth and his friends publish.
>
Well, that's just it. The Journal reflects Gary Groth's taste,
and it's gone from being Model Railroader to the Village Voice.
(Explanation for our foreign friends: the Comics Journal has
evolved from being a hobby magazine to a critical journal of
arts, mostly on the avant-garde fringe.) Fantagraphics published
Amazing Heroes to cover the mainstream beat, but I don't think
their heart was really in it. As the Journal evolved towards
the cutting edge, a lot of the old-timers and mainstream fans
and columnists writing for it dropped away because they had
no interest or expertise in the new territory the Journal was
moving into. Certainly I have little or no interest in most of
the stuff the Journal runs any more, but the way things are
going they could have the last laugh. That is, mainstream
comics will die out and the avant garde stuff on the fringe
will be all that's left (because it doesn't need a mass audience
and its devoted few partisans are enough to support it). Well,
my interests have changed a bit, too, and I'm currently writing
Japanese animation reviews for Animerica. I probably can't write
Disney comic reviews for anybody because of conflict of interest,
but I'm not sure who'd publish them if I could. (Are there any
magazines of the Wizard ilk that print that kind of stuff?)
--Dwight Decker
Harry Fluks
Photo
Message 188 -
1996-03-28 at 21:20:07
TRYG (almost seeing Abraham):
> there are photos of [the Hotel Barks stayed]
> in a Walt Disney's Comics and Stories issue from the "Disney Comics"
> era. [..] If you (or anyone) is
> interested, I can look up the issue number. (Or perhaps it is already
> noted in Harry's database?)
The database usually only includes comic stories and illustrations.
Text pages are not listed, unless they contain original artwork.
By the way: I don't remember having seen such a photo in a comic.
--Harry.
> there are photos of [the Hotel Barks stayed]
> in a Walt Disney's Comics and Stories issue from the "Disney Comics"
> era. [..] If you (or anyone) is
> interested, I can look up the issue number. (Or perhaps it is already
> noted in Harry's database?)
The database usually only includes comic stories and illustrations.
Text pages are not listed, unless they contain original artwork.
By the way: I don't remember having seen such a photo in a comic.
--Harry.
Wilmer Rivers
Rosa's comics production methods
Message 189 -
1996-03-29 at 00:26:10
DON ROSA:
You explained how you revise (not just refine) the art work in steps
between the storyboard-script and the final inking. I assume many of
these changes necessitate corresponding revisions to the dialog, too.
How do you make these changes, since you use a story-board script
rather than a typed one? Do you update that, or do the translators
just work from your original storyboard and make changes to the dialog
to reflect the final art?
Wilmer Rivers
You explained how you revise (not just refine) the art work in steps
between the storyboard-script and the final inking. I assume many of
these changes necessitate corresponding revisions to the dialog, too.
How do you make these changes, since you use a story-board script
rather than a typed one? Do you update that, or do the translators
just work from your original storyboard and make changes to the dialog
to reflect the final art?
Wilmer Rivers
Henri Sivonen
Aku Ankka WWW
Message 190 -
1996-03-29 at 19:21:57
Finns and Per:
I'm not sure if this is mentioned in Aku Ankka magazine:
The WWW server of Aku Ankka is at <http://www.akuankka.fi/>.
Per could you add this link to "Other sources" page?
-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
--------------------------------
End of Disney comics Digest V96 Issue #67
*****************************************
I'm not sure if this is mentioned in Aku Ankka magazine:
The WWW server of Aku Ankka is at <http://www.akuankka.fi/>.
Per could you add this link to "Other sources" page?
-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
--------------------------------
End of Disney comics Digest V96 Issue #67
*****************************************
Tryg Helseth
Elusive Drexel found with "Flipism."
Message 191 -
1996-03-30 at 07:51:21
HARRY:
>TRYG (almost seeing Abraham):
I'm not quite sure I understand this reference, would you explain it to me
please? (It doesn't have anything to do with my birthday, does it? <g>)
>> there are photos of [the Hotel Barks stayed] in a Walt Disney's Comics and Stories issue from the "Disney Comics"
>> era. [..] If you (or anyone) is interested, I can look up the issue number.
>By the way: I don't remember having seen such a photo in a comic.
Well I jsut spent about an hour searching for it and, after overlooking it
twice, finally found it! It is in Walt Disney's Comics and Stories number
561 from July 1991. Just past the middle of the book is a two-page spread
called the "Disney Comics Archives" which has samples from Barks work in
the Calgary Eye-Opener. On the first of those two pages in the lower right
hand corner is a photo of the Drexel Hotel submitted by Dave Mruz.
By interesting coincidence, this book reprints Per's favorite story on
"Flipism."
The last time I saw Dave Mruz he told a rather amusing story on how
Frostbite Falls Minnesota became the home of Rocky and Bullwinkle. Since
that is off-topic here, I'll be happy to send a retelling of that story to
anyone interested.
Tryg
"I wish they all could be Calisota Ducks!" --the Beach Drakes
Tryg Helseth <(Email removed)> Minneapolis, MN, USA
or <(Email removed)>
>TRYG (almost seeing Abraham):
I'm not quite sure I understand this reference, would you explain it to me
please? (It doesn't have anything to do with my birthday, does it? <g>)
>> there are photos of [the Hotel Barks stayed] in a Walt Disney's Comics and Stories issue from the "Disney Comics"
>> era. [..] If you (or anyone) is interested, I can look up the issue number.
>By the way: I don't remember having seen such a photo in a comic.
Well I jsut spent about an hour searching for it and, after overlooking it
twice, finally found it! It is in Walt Disney's Comics and Stories number
561 from July 1991. Just past the middle of the book is a two-page spread
called the "Disney Comics Archives" which has samples from Barks work in
the Calgary Eye-Opener. On the first of those two pages in the lower right
hand corner is a photo of the Drexel Hotel submitted by Dave Mruz.
By interesting coincidence, this book reprints Per's favorite story on
"Flipism."
The last time I saw Dave Mruz he told a rather amusing story on how
Frostbite Falls Minnesota became the home of Rocky and Bullwinkle. Since
that is off-topic here, I'll be happy to send a retelling of that story to
anyone interested.
Tryg
"I wish they all could be Calisota Ducks!" --the Beach Drakes
Tryg Helseth <(Email removed)> Minneapolis, MN, USA
or <(Email removed)>
SRoweCanoe
Ken Hultgren
Message 192 -
1996-03-30 at 14:13:13
Mikko said that
>WDC&S sales figures:
> Combined *direct market only* orders from Diamond and Capital
> are about 6,500. That's pretty low, the cheaper comics are in
> 8,000-10,000 range. BUT those cheaper comics are distributed
> to newsstands. (Is WDC&S distributed to newsstands?)
No, WDC&S is not distributed to the newsstand, so the 6,500 is probably
correct. The other figures are distributed to the newstand, so the final
figures would be higher.
Ken Hultgren:
As some ofyou know, Ken Hultgren was a Disnay animator who did some early
Disney comics (how early? 1942.) He had work in WDC&S prior to Barks. While
he stopped doing comics for Dell in 1944, he continued comics for others (off
and on) until the early 1960s.
He probably both wrote and drew his own stories (as he did in the
mid-late 1940s), Al Hubbard started inking his work probably during these
Disney comics, before doing his own pencilling work.
I have recently started finding other non-Disney Dells that Hultgren did
(Andy Panda, et al); Is there someone here who has acess to this non-Disney
Dells that I can ask about Hultgen's work?
>WDC&S sales figures:
> Combined *direct market only* orders from Diamond and Capital
> are about 6,500. That's pretty low, the cheaper comics are in
> 8,000-10,000 range. BUT those cheaper comics are distributed
> to newsstands. (Is WDC&S distributed to newsstands?)
No, WDC&S is not distributed to the newsstand, so the 6,500 is probably
correct. The other figures are distributed to the newstand, so the final
figures would be higher.
Ken Hultgren:
As some ofyou know, Ken Hultgren was a Disnay animator who did some early
Disney comics (how early? 1942.) He had work in WDC&S prior to Barks. While
he stopped doing comics for Dell in 1944, he continued comics for others (off
and on) until the early 1960s.
He probably both wrote and drew his own stories (as he did in the
mid-late 1940s), Al Hubbard started inking his work probably during these
Disney comics, before doing his own pencilling work.
I have recently started finding other non-Disney Dells that Hultgren did
(Andy Panda, et al); Is there someone here who has acess to this non-Disney
Dells that I can ask about Hultgen's work?
Jyrki Vainio
Disney comics Digest V96 #67
Message 193 -
1996-03-30 at 14:21:55
CAREY:
I'm sure glad to hear that I'm not the only one who has the habit
of passing jokes that are not easy to understand and continue to
do so until the gag someday "reveals itself". Ooohboy... Do you
feel that slight grow of pressure inside your forehead when you
realise that the joke was _so_ simple? ;-)
RICH & DWIGHT:
I agree on your comments about the Comics Journal. It seems that
despite the fact they've grown out of being a mere fanzine (and
as they have got a wider circulation) they have still the
attitude of being one. I mean, take a look at some of Gary
Groth's editorials. If they are "the only magazine of comics
critisism" as they claim to be, it seems a bit odd that they
should sometimes present opinions that are _so_ one-sided.
But then again... do we have anything better? (in English)
--- Jyrki Vainio ---
I'm sure glad to hear that I'm not the only one who has the habit
of passing jokes that are not easy to understand and continue to
do so until the gag someday "reveals itself". Ooohboy... Do you
feel that slight grow of pressure inside your forehead when you
realise that the joke was _so_ simple? ;-)
RICH & DWIGHT:
I agree on your comments about the Comics Journal. It seems that
despite the fact they've grown out of being a mere fanzine (and
as they have got a wider circulation) they have still the
attitude of being one. I mean, take a look at some of Gary
Groth's editorials. If they are "the only magazine of comics
critisism" as they claim to be, it seems a bit odd that they
should sometimes present opinions that are _so_ one-sided.
But then again... do we have anything better? (in English)
--- Jyrki Vainio ---
Henri Sivonen
Guided Tour to Web Sites on Disney Comics
Message 194 -
1996-03-30 at 17:55:04
The Guided Tour to Web Sites on Disney Comics is now online.
<http://www.clinet.fi/~henris/dtour.html>
There's not much point announcing it here, because it doesn't offer
anything new to people who already have visited the sites. It includes only
the sites written in English. The tour takes 7 min 50 sec if uninterrupted.
Voluntary testers and improvement suggestions are ofcourse welcome. (The
timing is not good enough.)
The current requirements are:
Macintosh, Netscape 2.0 (2.01 recommended), QuickTime 2.1 and ViewMovie
Plug-in 1.0a8, (1.0a10 recommended).
-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
<http://www.clinet.fi/~henris/dtour.html>
There's not much point announcing it here, because it doesn't offer
anything new to people who already have visited the sites. It includes only
the sites written in English. The tour takes 7 min 50 sec if uninterrupted.
Voluntary testers and improvement suggestions are ofcourse welcome. (The
timing is not good enough.)
The current requirements are:
Macintosh, Netscape 2.0 (2.01 recommended), QuickTime 2.1 and ViewMovie
Plug-in 1.0a8, (1.0a10 recommended).
-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
TWAdair
Disney comics Digest V96 #67
Message 195 -
1996-03-31 at 10:20:11
In a message dated 96-03-29 12:49:00 EST, you write:
>Subj: Disney comics Digest V96 #67
>Date: 96-03-29 12:49:00 EST
>From: (Email removed)
>Reply-to: (Email removed)
>To: (Email removed)
>
>File: disneyco.txt (29305 bytes)
>DL Time (2400 bps): < 3 minutes
>[Only the first 2K of this message is displayed, as it is too long to view
>through AOL. The entire message has been turned into a text attachment,
which
>you can retrieve by selecting Download. Once downloaded, open it with a word
>processor or text editor for reading.]
I tried downloading the file, and after twenty minutes of waiting, I reset
the computer. This is the first time I have had this problem since changing
my address to AOL. Has anyone else had this problem?
Torsten
--------------------------------
End of Disney comics Digest V96 Issue #68
*****************************************
>Subj: Disney comics Digest V96 #67
>Date: 96-03-29 12:49:00 EST
>From: (Email removed)
>Reply-to: (Email removed)
>To: (Email removed)
>
>File: disneyco.txt (29305 bytes)
>DL Time (2400 bps): < 3 minutes
>[Only the first 2K of this message is displayed, as it is too long to view
>through AOL. The entire message has been turned into a text attachment,
which
>you can retrieve by selecting Download. Once downloaded, open it with a word
>processor or text editor for reading.]
I tried downloading the file, and after twenty minutes of waiting, I reset
the computer. This is the first time I have had this problem since changing
my address to AOL. Has anyone else had this problem?
Torsten
--------------------------------
End of Disney comics Digest V96 Issue #68
*****************************************