DAN:
>Many people do take their fiction too seriously (Star Trek fans spring
>quickly to mind),
HEY! Watch it, buster!
Wait a minute... your last name is Shane! Be prepared to receive
a bomb at your house 3am next Saturday from our "Trekkies Against People
Named Shane" society!
DAVID:
> Gulp! I'm not sure what story you're referring to, Mike. Do
>you mean one of my first two, both of which Egmont just published?
>But... but... neither "Digging Up Trouble" nor "The Egg Collector"
>included Pete, let alone his girlfriend.
Er... Sorry. Somebody (I think it was Henri) mentioned here the
story in the same context with your name and I might've read the message
a bit carelessly. Anyway, I know about the fat girlfriend but the one
in this story had the body build of Olive Oil and a face to match. She
was a fox (but not very foxy).
DON:
Egmont ISN'T the publisher of Aku Ankka? Wow, that is news! Do you
know how limited the partnership between Egmont and Helsinki Media Comics
is? HMC still can't produce their own stories or anything, can they?
--
Mike - The Finnish Trekkie
Author
Topic: 199604
(244 messages)
Mike Pohjola
Disney comics Digest V96 #80
Message 121 -
1996-04-15 at 19:56:52
Arthur De Wolf
Austria
Message 122 -
1996-04-15 at 20:01:49
Hi!
HARALD:
Thanks a lot for that info on Austrian Disney comics. You wrote:
"... is known for sure of the issues 35/1984 through 33/198; ..."
"198;"?!? Is that a typing error, or are you not sure about the exact year?
What about German "Donald Duck"? Ole told me that THAT was the comic
with the Autrian ads and covers!
Bye!
Arthur de Wolf --- Roosendaal, the Netherlands
email: <(Email removed)> or <(Email removed)>
homepage: http://www.pi.net/~wolfman/disney (still under construction)
"To infinity ... and beyond!"
HARALD:
Thanks a lot for that info on Austrian Disney comics. You wrote:
"... is known for sure of the issues 35/1984 through 33/198; ..."
"198;"?!? Is that a typing error, or are you not sure about the exact year?
What about German "Donald Duck"? Ole told me that THAT was the comic
with the Autrian ads and covers!
Bye!
Arthur de Wolf --- Roosendaal, the Netherlands
email: <(Email removed)> or <(Email removed)>
homepage: http://www.pi.net/~wolfman/disney (still under construction)
"To infinity ... and beyond!"
Harry Fluks
Uncle Scrooge #298
Message 123 -
1996-04-15 at 20:06:05
I want to say a few things about the 1-page gag that
backups the issue U$ 298. I think Gladstone really messed
up the gag.
1. The art is credited to Branca. It doesn't look Branca to me.
2. They changed the text. The original text is much funnier,
in my opinion. In the panel with the locomotive, Scrooge says
"So the glue couldn't hold the locomotive?". In the next panel,
Gyro replies "The glue did, but the ceiling didn't!"
The end gag was that Gyro *did* invent the glue, but he forgot
to invent a way to get the glue out of the tube.
This gag has an interesting history. Originally, it was created in
Holland as part of a series of 52 Gyro gags, put on the back of
the weekly issues in one year. The gags were all written by Evert
Geradts, and drawn by Jose Colomer Fonts.
For some reason, Egmont decided to redraw this gag. There was
no need to, because the original looked even better. They also
redrew some other Dutch gags, so maybe they think that's
cheaper than buying them from Holland?
Oddly enough, the Dutch printed this Egmont version as well.
So what you Americans got is
- wrong credits,
- *not* the original art, and
- *not* the original gag!
--Harry.
backups the issue U$ 298. I think Gladstone really messed
up the gag.
1. The art is credited to Branca. It doesn't look Branca to me.
2. They changed the text. The original text is much funnier,
in my opinion. In the panel with the locomotive, Scrooge says
"So the glue couldn't hold the locomotive?". In the next panel,
Gyro replies "The glue did, but the ceiling didn't!"
The end gag was that Gyro *did* invent the glue, but he forgot
to invent a way to get the glue out of the tube.
This gag has an interesting history. Originally, it was created in
Holland as part of a series of 52 Gyro gags, put on the back of
the weekly issues in one year. The gags were all written by Evert
Geradts, and drawn by Jose Colomer Fonts.
For some reason, Egmont decided to redraw this gag. There was
no need to, because the original looked even better. They also
redrew some other Dutch gags, so maybe they think that's
cheaper than buying them from Holland?
Oddly enough, the Dutch printed this Egmont version as well.
So what you Americans got is
- wrong credits,
- *not* the original art, and
- *not* the original gag!
--Harry.
David A Gerstein
"Sheepish Rancher" baa-ble
Message 124 -
1996-04-15 at 20:57:51
[SPOILERS FOR "THE SHEEPISH RANCHER" AHEAD]
MIKE:
"The Sheepish Rancher" didn't start with Donald being good at
his job because I liked the idea of a dedicated DD failing at first,
then forcing himself NOT to succeed because the job put his sense of
morals on the line. When Donald fails at a job in an average story,
it's because of clumsiness or because some wild idea has gone wrong.
Here, Donald STARTS as a failure, his wildest idea SUCCEEDS (putting
DD in a position to kill the wolf), and then his moral sense keeps him
from acting on that success. And in the end, when the wolf turns out
to be innocent, the restraint Donald forced himself to use is
vindicated. I sort of "reversed" the traditional scenario.
On a lesser note, I didn't set the story at Grandma's farm
because I can't really see Donald having a part-time job there, as he
wanted at the Fleecem Ranch in this story. Also I have a harder time
imagining Grandma putting Donald's job on the line.
[END OF SPOILERS]
RE: your criticism -- you're right, while I may not have
copied gags from other stories, the basic setup here felt rather
familiar (I was myself inspired, for example, by Barks' magnificent
"Mighty Trapper" of WDC 36).
I think in some cases, it's the measure of difference between
a fairly "greenhorn" writer like myself and Barks' mastery of the
form. Barks could make a familiar setting seem new every time the
Ducks ventured back to it (Duckburg's Black Forest, for instance).
His creative spark was so superb that it overwhelmed thoughts that
"we've seen this kinda thing before"; he knew that more than one
story could handle a given theme in a completely original way, and
proved it. For me, the struggle is to live up to Barks' greatness
there: do something new (which I think I DID do with "The Sheepish
Rancher") without some of the elements of the story making it seem
like a retread.
Jippes is also good at this: his "Master's Touch" (in WDC
520), for instance, used the mastery formula in such a fresh way that
it felt as "new" as a never-before-seen Barks mastery story, rather
than a carbon copy of one of them. It's this quality that I'd like to
attain when doing a story with a familiar setting.
JAKOB SODERBAUM:
Haven't heard from you in weeks! Still out there?
David Gerstein
<(Email removed)>
MIKE:
"The Sheepish Rancher" didn't start with Donald being good at
his job because I liked the idea of a dedicated DD failing at first,
then forcing himself NOT to succeed because the job put his sense of
morals on the line. When Donald fails at a job in an average story,
it's because of clumsiness or because some wild idea has gone wrong.
Here, Donald STARTS as a failure, his wildest idea SUCCEEDS (putting
DD in a position to kill the wolf), and then his moral sense keeps him
from acting on that success. And in the end, when the wolf turns out
to be innocent, the restraint Donald forced himself to use is
vindicated. I sort of "reversed" the traditional scenario.
On a lesser note, I didn't set the story at Grandma's farm
because I can't really see Donald having a part-time job there, as he
wanted at the Fleecem Ranch in this story. Also I have a harder time
imagining Grandma putting Donald's job on the line.
[END OF SPOILERS]
RE: your criticism -- you're right, while I may not have
copied gags from other stories, the basic setup here felt rather
familiar (I was myself inspired, for example, by Barks' magnificent
"Mighty Trapper" of WDC 36).
I think in some cases, it's the measure of difference between
a fairly "greenhorn" writer like myself and Barks' mastery of the
form. Barks could make a familiar setting seem new every time the
Ducks ventured back to it (Duckburg's Black Forest, for instance).
His creative spark was so superb that it overwhelmed thoughts that
"we've seen this kinda thing before"; he knew that more than one
story could handle a given theme in a completely original way, and
proved it. For me, the struggle is to live up to Barks' greatness
there: do something new (which I think I DID do with "The Sheepish
Rancher") without some of the elements of the story making it seem
like a retread.
Jippes is also good at this: his "Master's Touch" (in WDC
520), for instance, used the mastery formula in such a fresh way that
it felt as "new" as a never-before-seen Barks mastery story, rather
than a carbon copy of one of them. It's this quality that I'd like to
attain when doing a story with a familiar setting.
JAKOB SODERBAUM:
Haven't heard from you in weeks! Still out there?
David Gerstein
<(Email removed)>
Harald Havas
Disney comics Digest V96 #80
Message 125 -
1996-04-15 at 22:14:20
DAVID, RICH et al.
Thanks a lot for the info Re: the Goofy history-stories. "Made by the
Walt Disney Studios" - does this imply made in USA? This would
surprise me, as most of the stories (not the one you mentioned
printed in the US) center on VERY European famous people (I mean
Gustave Eiffel? Johannes Gutenberg?!!?)
And to anybody who didn't find the stories that interesting or
un-canon: the use of pictoral possibilities is what makes me
see them as ingenious art, for the rest they are amusing average.
DON
Weeeeelll.... Taliaferro put Donald and the nephews in uniforms and
sent them out hiking as early as 1938. but there is no proof (I have)
that he craeted the "Junior Woodchucks" as such. AT was not big in
CREATING things, but big in USING things to tell amusing, slapstick
stories, be it dogs, penguins or Boy Scouts...
RICH
Charles Hirt (Al's grandfather came to Colorado directly from his
native Baden Baden, Germany in the middle of last century. As for Al
Hirt, I'm not sure I know of him, but my girlfriend is expert in
stuff like this - I'll chek. And "Al" and "Hirt" seems to much like a
coincidence...
Al didn't create Daisy, she was in the movies before ("Don Donald"
and "Mr. Duck Steps Out") but Al brought her in first - anybody
interested in the date? it was a sunday.
And I'm Harald Havas not Harald Strindberg, just for the record.
STEVEN
The matter is complicated: Al claimed, and his widow still does, that
he wrote most of the gasg himself. Other sources (Gottfredson et al.)
claim that Bob Karp was the writer from the start. Actually I believe
Bob wrote most of the gags (at least in plot) and Al added some by
himself or at least suggested them to Bob...
As to Jim Davis and Sangor Shop - I dont even know what this is,
maybe you can help out?
FREDRIK
Sorrily I dont know what car that was - I just know what Al T. drove...
Harald Havas
---Harald Havas (Email removed)
Thanks a lot for the info Re: the Goofy history-stories. "Made by the
Walt Disney Studios" - does this imply made in USA? This would
surprise me, as most of the stories (not the one you mentioned
printed in the US) center on VERY European famous people (I mean
Gustave Eiffel? Johannes Gutenberg?!!?)
And to anybody who didn't find the stories that interesting or
un-canon: the use of pictoral possibilities is what makes me
see them as ingenious art, for the rest they are amusing average.
DON
Weeeeelll.... Taliaferro put Donald and the nephews in uniforms and
sent them out hiking as early as 1938. but there is no proof (I have)
that he craeted the "Junior Woodchucks" as such. AT was not big in
CREATING things, but big in USING things to tell amusing, slapstick
stories, be it dogs, penguins or Boy Scouts...
RICH
Charles Hirt (Al's grandfather came to Colorado directly from his
native Baden Baden, Germany in the middle of last century. As for Al
Hirt, I'm not sure I know of him, but my girlfriend is expert in
stuff like this - I'll chek. And "Al" and "Hirt" seems to much like a
coincidence...
Al didn't create Daisy, she was in the movies before ("Don Donald"
and "Mr. Duck Steps Out") but Al brought her in first - anybody
interested in the date? it was a sunday.
And I'm Harald Havas not Harald Strindberg, just for the record.
STEVEN
The matter is complicated: Al claimed, and his widow still does, that
he wrote most of the gasg himself. Other sources (Gottfredson et al.)
claim that Bob Karp was the writer from the start. Actually I believe
Bob wrote most of the gags (at least in plot) and Al added some by
himself or at least suggested them to Bob...
As to Jim Davis and Sangor Shop - I dont even know what this is,
maybe you can help out?
FREDRIK
Sorrily I dont know what car that was - I just know what Al T. drove...
Harald Havas
---Harald Havas (Email removed)
Harry Fluks
Reply to Harald
Message 126 -
1996-04-15 at 22:25:12
Harald:
Yes, Dussel is Fethry's german name.
> Re: the Goofy history-stories. "Made by the
> Walt Disney Studios" - does this imply made in USA?
The writers are American (I think), and the artists, from the
Jaime Diaz Studio, are from Argentina (mainly).
We know the names of the writers of some of the stories:
Carl Fallberg, Greg Crosby, Cal Howard.
> This would surprise me, as most of the stories (not the one you
> mentioned printed in the US) center on VERY European famous
> people (I mean Gustave Eiffel? Johannes Gutenberg?!!?)
Well, the stories were meant for the "overseas" market from the beginning.
I think "overseas" mainly means Europe.
(By the way, Eiffel constructed the statue of Liberty. So some Americans
should know him...)
I'm working on a new version of the Disney comics Database. This version
will contain an index file which lists all Goofy-history stories. At the moment,
we know of the existence of 31 stories.
> The matter is complicated: Al claimed, and his widow still does, that
> he wrote most of the gags himself. Other sources (Gottfredson et al.)
> claim that Bob Karp was the writer from the start.
Aren't there some records that can show who got *paid* for what?
(I know this doesn't necessarily mean that the person did the work
he/she got paid for, but it might be a hint..)
--Harry
Yes, Dussel is Fethry's german name.
> Re: the Goofy history-stories. "Made by the
> Walt Disney Studios" - does this imply made in USA?
The writers are American (I think), and the artists, from the
Jaime Diaz Studio, are from Argentina (mainly).
We know the names of the writers of some of the stories:
Carl Fallberg, Greg Crosby, Cal Howard.
> This would surprise me, as most of the stories (not the one you
> mentioned printed in the US) center on VERY European famous
> people (I mean Gustave Eiffel? Johannes Gutenberg?!!?)
Well, the stories were meant for the "overseas" market from the beginning.
I think "overseas" mainly means Europe.
(By the way, Eiffel constructed the statue of Liberty. So some Americans
should know him...)
I'm working on a new version of the Disney comics Database. This version
will contain an index file which lists all Goofy-history stories. At the moment,
we know of the existence of 31 stories.
> The matter is complicated: Al claimed, and his widow still does, that
> he wrote most of the gags himself. Other sources (Gottfredson et al.)
> claim that Bob Karp was the writer from the start.
Aren't there some records that can show who got *paid* for what?
(I know this doesn't necessarily mean that the person did the work
he/she got paid for, but it might be a hint..)
--Harry
Wilmer Rivers
Calisota Yankee story
Message 127 -
1996-04-16 at 04:48:20
DON ROSA:
You say you have to change the ending of "The Once and Future Duck":
> King Arthur makes mention of something like "on this 29th day of June
> in the year of Our Lord" and then he would give the actual current
> year... the MODERN day year.
which creates a problem because, for you, the MODERN-day year is 1954,
and the readers wouldn't understand it if the year weren't 1996. How
about having Arthur just say something like "on this 29th day of June
in the year 1586 [or whatever] since the departure of the Romans..."
This would allow you to show that this is a parallel world in which
time has marched on, but history hasn't, since the start of the Dark
Ages. This would be a reasonable calendar system for this other world's
Arthur to use, since on our world at least, he lived 50 years or so
before St. Colombo brought Christianity (and thence the "modern" system
of dates) to England. More importantly for your purposes, although the
story's readers will compute "post-Roman 1586" to be AD 1996, you can
take it to be AD 1954 if you want, since who knows exactly when the
Romans departed Britain in this parallel world. (After all, King
Arthur's reign is over 14 centuries too "late" in that world, so the
Romans' departure easily could have been 42 years too "early" there!)
If that bothers you, you could have Arthur say "on this 29th day of June
in the year 1546 [or whatever] of the struggle with the Saxons..."
since there is easily 42 years' worth of ambiguity in that date. The
important thing is that it's not necessary to express the "current" date
as 1954 or 1996 in order to explain the plot device; Arthur proclaims
a date in his own calendar system which the Ducks immediately preceive
as indicating that history is different where they are than it was back
home. "Unca Donald! Did you hear that? The King says it's been 1586
years since the Romans left Britain [or the Britons have been fighting
the Saxons for 1546 years], so we can't be in the 6th Century after all!
We're still in the 20th Century, but in a different world with a diff-
erent history, where they're still in the Dark Ages!"
Of course, the Ducks should have figured that out right away, since in
this world the Briton King Arthur doesn't speak a Celtic language (as he
did in "our" world), but instead he speaks English, which was actually
the language of the hated Anglo-Saxon invaders against whom Arthur waged
most of his battles.
This is, of course, assuming that there was in fact a Briton King who
inspired the Arthurian legends. Modern historians tend to take the
early histories of England (such as Bede's) with considerably more than
a grain of salt. Certainly some of the Arthurian legends have other
sources; for instance, some scholars link them to a Roman officer,
Arturius, who served in Britain after having served along the Danube.
They base that conclusion on the similarity of the stories to legends
in Eastern Europe; they reason that these stories traveled to Britain
along with the mercenary troops whom Arturius brought there from their
Romanian or Bulgarian homeland. Who knows.
Speaking of modern historical scepticism, the lady at the British
Library is making headlines again with her claims that Marco Polo never
traveled to China but instead hung out in Constantinople, listening to
stories of other travelers. She bases this claim on certain curious
omissions in Polo's account, such as the fact that the Chinese had a
Great Wall, their system of writing, how they bound their feet, and
other details that have caught the attention of most other Europeans
travelling there. She also claims that Polo didn't being pasta back
from China; it was invented by the Persians, and Middle Eastern
merchants took it to both Italy and China. She's not very popular in
Venice, according to the papers.
Wilmer Rivers
You say you have to change the ending of "The Once and Future Duck":
> King Arthur makes mention of something like "on this 29th day of June
> in the year of Our Lord" and then he would give the actual current
> year... the MODERN day year.
which creates a problem because, for you, the MODERN-day year is 1954,
and the readers wouldn't understand it if the year weren't 1996. How
about having Arthur just say something like "on this 29th day of June
in the year 1586 [or whatever] since the departure of the Romans..."
This would allow you to show that this is a parallel world in which
time has marched on, but history hasn't, since the start of the Dark
Ages. This would be a reasonable calendar system for this other world's
Arthur to use, since on our world at least, he lived 50 years or so
before St. Colombo brought Christianity (and thence the "modern" system
of dates) to England. More importantly for your purposes, although the
story's readers will compute "post-Roman 1586" to be AD 1996, you can
take it to be AD 1954 if you want, since who knows exactly when the
Romans departed Britain in this parallel world. (After all, King
Arthur's reign is over 14 centuries too "late" in that world, so the
Romans' departure easily could have been 42 years too "early" there!)
If that bothers you, you could have Arthur say "on this 29th day of June
in the year 1546 [or whatever] of the struggle with the Saxons..."
since there is easily 42 years' worth of ambiguity in that date. The
important thing is that it's not necessary to express the "current" date
as 1954 or 1996 in order to explain the plot device; Arthur proclaims
a date in his own calendar system which the Ducks immediately preceive
as indicating that history is different where they are than it was back
home. "Unca Donald! Did you hear that? The King says it's been 1586
years since the Romans left Britain [or the Britons have been fighting
the Saxons for 1546 years], so we can't be in the 6th Century after all!
We're still in the 20th Century, but in a different world with a diff-
erent history, where they're still in the Dark Ages!"
Of course, the Ducks should have figured that out right away, since in
this world the Briton King Arthur doesn't speak a Celtic language (as he
did in "our" world), but instead he speaks English, which was actually
the language of the hated Anglo-Saxon invaders against whom Arthur waged
most of his battles.
This is, of course, assuming that there was in fact a Briton King who
inspired the Arthurian legends. Modern historians tend to take the
early histories of England (such as Bede's) with considerably more than
a grain of salt. Certainly some of the Arthurian legends have other
sources; for instance, some scholars link them to a Roman officer,
Arturius, who served in Britain after having served along the Danube.
They base that conclusion on the similarity of the stories to legends
in Eastern Europe; they reason that these stories traveled to Britain
along with the mercenary troops whom Arturius brought there from their
Romanian or Bulgarian homeland. Who knows.
Speaking of modern historical scepticism, the lady at the British
Library is making headlines again with her claims that Marco Polo never
traveled to China but instead hung out in Constantinople, listening to
stories of other travelers. She bases this claim on certain curious
omissions in Polo's account, such as the fact that the Chinese had a
Great Wall, their system of writing, how they bound their feet, and
other details that have caught the attention of most other Europeans
travelling there. She also claims that Polo didn't being pasta back
from China; it was invented by the Persians, and Middle Eastern
merchants took it to both Italy and China. She's not very popular in
Venice, according to the papers.
Wilmer Rivers
Frank Fabian
New German book about Erika Fuchs
Message 128 -
1996-04-16 at 10:48:10
Hi fellow list members,
it might interest some of you, especially those who speak German, that there
was recently published a book about Erika Fuchs, the woman who for decades
translated lots of American Disney comics into German for Ehapa, among them
almost all of the Barksian oeuvre, and who is still at work translating the
remainder of Bark' stories that have not appeared over here yet, although
she's in quite advanced years nowadays (only about six years younger than
Barks himself). The book is very nicely done, with numerous photographs and
illustrations. It does give, of course, some biographical information, and
features an interview with Mrs Fuchs as well (done ten years ago, but still
interesting). But it also focuses to a large extent on her actual work,
giving examples of rhetorical figures and classical quotes used and
collecting some of the favourite quotes of her translations, which
surprisingly often have entered the German language used today. An
interesting bit of info I found is how the well-known "Screaming Cowboy"
song was translated into several European version; I wouldn't have suspected
that in Denmark the cowboy was transformed into a seaman.
The book shows very clearly why her German translations are valued very
highly and thought by quite a number of German fans to enhance the stories
considerably, to the point of being disaapointed a bit when reading the
English originals for the first time (though certainly not all might think
this).
If anyone is interested in the book, here's some bibliographical data:
Klaus Bohn:
Das Erika-Fuchs-Buch : Disneys deutsche Uebersetzerin von Donald Duck und
Micky Maus ; ein modernes Mosaik
Lueneburg : Verlag Dreidreizehn, 1996. - 189 pp. : illustrated
ISBN 3-929746-10-7 ; Price: DM 29,80
The publisher' s address is: Dreidreizehn, Moorweg 49, D-21337 Lueneburg;
Phone: (Germany) 04131/ 52305; Fax: 04131/82251.
In case you didn't already guess it, the book is completely in German, with
the exception of some quotes from the American stories.
And that's the end of this (unpaid) advertisment.
Best regards, Frank
*********************************************************************
Wuerttembergische Landesbibliothek Frank Fabian
Konrad-Adenauer Str. 8 Tel.: 49-711-212 4383
Abt. Katalogisierung Periodika (KaP) Fax.: 49-711-212 4437
70173 Stuttgart mail:(Email removed)
*********************************************************************
it might interest some of you, especially those who speak German, that there
was recently published a book about Erika Fuchs, the woman who for decades
translated lots of American Disney comics into German for Ehapa, among them
almost all of the Barksian oeuvre, and who is still at work translating the
remainder of Bark' stories that have not appeared over here yet, although
she's in quite advanced years nowadays (only about six years younger than
Barks himself). The book is very nicely done, with numerous photographs and
illustrations. It does give, of course, some biographical information, and
features an interview with Mrs Fuchs as well (done ten years ago, but still
interesting). But it also focuses to a large extent on her actual work,
giving examples of rhetorical figures and classical quotes used and
collecting some of the favourite quotes of her translations, which
surprisingly often have entered the German language used today. An
interesting bit of info I found is how the well-known "Screaming Cowboy"
song was translated into several European version; I wouldn't have suspected
that in Denmark the cowboy was transformed into a seaman.
The book shows very clearly why her German translations are valued very
highly and thought by quite a number of German fans to enhance the stories
considerably, to the point of being disaapointed a bit when reading the
English originals for the first time (though certainly not all might think
this).
If anyone is interested in the book, here's some bibliographical data:
Klaus Bohn:
Das Erika-Fuchs-Buch : Disneys deutsche Uebersetzerin von Donald Duck und
Micky Maus ; ein modernes Mosaik
Lueneburg : Verlag Dreidreizehn, 1996. - 189 pp. : illustrated
ISBN 3-929746-10-7 ; Price: DM 29,80
The publisher' s address is: Dreidreizehn, Moorweg 49, D-21337 Lueneburg;
Phone: (Germany) 04131/ 52305; Fax: 04131/82251.
In case you didn't already guess it, the book is completely in German, with
the exception of some quotes from the American stories.
And that's the end of this (unpaid) advertisment.
Best regards, Frank
*********************************************************************
Wuerttembergische Landesbibliothek Frank Fabian
Konrad-Adenauer Str. 8 Tel.: 49-711-212 4383
Abt. Katalogisierung Periodika (KaP) Fax.: 49-711-212 4437
70173 Stuttgart mail:(Email removed)
*********************************************************************
Jørgen Andreas Bangor
Moby Duck
Message 129 -
1996-04-17 at 02:15:01
Vidar:
| I agree about Fethry, but don't you say a bad word about Moby Duck!!! :)
Have you ever seen him actually kill a whale?
Jorgen (who think Super Goof should be mothballed to)
| I agree about Fethry, but don't you say a bad word about Moby Duck!!! :)
Have you ever seen him actually kill a whale?
Jorgen (who think Super Goof should be mothballed to)
Gaiist
DDA 38
Message 130 -
1996-04-17 at 02:29:37
Okay, you guys win. I had no idea I would stir up such a hornet's nest by
using my last initial instead of a full surname. So from now on it's
Robert, uh, Delightful. Yeah, that's it...Delightful. Happy?
I have to admit that, after nine years, William Van Horn has finally won me
over. His latest effort, "The Hauntland Treasure", while hardly a
masterpiece, is certainly an absorbing, professional effort. For the first
time he seems to be relying less on hackneyed, contrived sight gags and more
on logical plot development. The story leaps into action, and every panel
and word contributes something; unlike in the European rubbish, there is no
padding. His graphic skills have also improved...great use of light and dark,
smooth transitions from panel to panel with Barksian visual pointers
following the flow of action, something to catch the eye on every page. As
far as the ducks themselves, he seems to getting away from slavish imitation
of Barks and developing his own style. Fine job, Bill.
I wonder if it's just a coincidence that this story is the first he's done
for Gladstone in ages...that it wasn't filtered through
Eggmont or whatever the place is called?
By another coincidence, I happened to have Gladstone's first color reprint of
"Mystery of The Swamp"---the other "swamp" story--on my dresser. The backup
story is an amateurish early Van Horn four-pager, "Tents, Anyone?" ALSO about
camping. Ugh! I guess patience really does pay off!!
Robert Delightful
--------------------------------
End of Disney comics Digest V96 Issue #81
*****************************************
using my last initial instead of a full surname. So from now on it's
Robert, uh, Delightful. Yeah, that's it...Delightful. Happy?
I have to admit that, after nine years, William Van Horn has finally won me
over. His latest effort, "The Hauntland Treasure", while hardly a
masterpiece, is certainly an absorbing, professional effort. For the first
time he seems to be relying less on hackneyed, contrived sight gags and more
on logical plot development. The story leaps into action, and every panel
and word contributes something; unlike in the European rubbish, there is no
padding. His graphic skills have also improved...great use of light and dark,
smooth transitions from panel to panel with Barksian visual pointers
following the flow of action, something to catch the eye on every page. As
far as the ducks themselves, he seems to getting away from slavish imitation
of Barks and developing his own style. Fine job, Bill.
I wonder if it's just a coincidence that this story is the first he's done
for Gladstone in ages...that it wasn't filtered through
Eggmont or whatever the place is called?
By another coincidence, I happened to have Gladstone's first color reprint of
"Mystery of The Swamp"---the other "swamp" story--on my dresser. The backup
story is an amateurish early Van Horn four-pager, "Tents, Anyone?" ALSO about
camping. Ugh! I guess patience really does pay off!!
Robert Delightful
--------------------------------
End of Disney comics Digest V96 Issue #81
*****************************************
Deckerd
The Fourth Nephew
Message 131 -
1996-04-17 at 02:44:29
Maybe this has already been discussed -- my mail from
this ML was disrupted a couple of times -- but I just
got this week's Comics Buyer's Guide, and there's an
odd item. Submitted by the Carl Barks Studio, the piece
talks about the occasional accidental inclusion of a
fourth nephew in European-drawn Duck comics, and claims
that the artists/editors/writers have named the surplus
nephew "Barks." That's right: Huey, Dewey, Louie, and Barks.
Is this true?! When I dropped in on the editors at Egmont
in November, the name I heard was "Phooey," reportedly
contributed by Bob Foster when he still worked there.
Actually, the impression I got was that the fourth nephew
was kind of an embarrassment -- sorta funny in a way, but
not to be encouraged. Going so far as to give him an
official name, particularly one that breaks the pattern
and makes no real sense, seems a little strange to me.
"Phooey" seems like a better name -- it fits the pattern
and expresses the feeling when an editor spots him in
print too late to do anything about it. Anybody know
anything about this?
--Dwight Decker
this ML was disrupted a couple of times -- but I just
got this week's Comics Buyer's Guide, and there's an
odd item. Submitted by the Carl Barks Studio, the piece
talks about the occasional accidental inclusion of a
fourth nephew in European-drawn Duck comics, and claims
that the artists/editors/writers have named the surplus
nephew "Barks." That's right: Huey, Dewey, Louie, and Barks.
Is this true?! When I dropped in on the editors at Egmont
in November, the name I heard was "Phooey," reportedly
contributed by Bob Foster when he still worked there.
Actually, the impression I got was that the fourth nephew
was kind of an embarrassment -- sorta funny in a way, but
not to be encouraged. Going so far as to give him an
official name, particularly one that breaks the pattern
and makes no real sense, seems a little strange to me.
"Phooey" seems like a better name -- it fits the pattern
and expresses the feeling when an editor spots him in
print too late to do anything about it. Anybody know
anything about this?
--Dwight Decker
David A Gerstein
Uncle Scrooge #298
Message 132 -
1996-04-17 at 04:16:54
HARRY:
If Gyro couldn't get his glue out of the tube, one is only
left to wonder how he glued the other objects that he shows to
Scrooge. Presumably the glue was in some other container before, but
that brings up the question of how it was ever transported from one
container to another, given how strong it was. I laughed loudly upon
reading the revised gag. Ignorance is, I guess, bliss.
I don't think it's by Branca either BTW. Both Gladstone and
Disney have occasionally credited non-Branca art to Branca in the past
(for example the lengthy lead story in U$ 260, published by Disney,
and Vicar's story in U$ 281). The ad for U$ 299 in PREVIEWS credited
the cover to Branca although it looked drawn by Colomer (it shows U$
playing tiddly-winks with huge gold coins), although maybe Gladstone
will fix this by the time it's published since I told them of the
mistake last week.
David Gerstein
<(Email removed)>
"The only way for anyone to get AHEAD of Mickey Mouse is to
run in front of him!"
If Gyro couldn't get his glue out of the tube, one is only
left to wonder how he glued the other objects that he shows to
Scrooge. Presumably the glue was in some other container before, but
that brings up the question of how it was ever transported from one
container to another, given how strong it was. I laughed loudly upon
reading the revised gag. Ignorance is, I guess, bliss.
I don't think it's by Branca either BTW. Both Gladstone and
Disney have occasionally credited non-Branca art to Branca in the past
(for example the lengthy lead story in U$ 260, published by Disney,
and Vicar's story in U$ 281). The ad for U$ 299 in PREVIEWS credited
the cover to Branca although it looked drawn by Colomer (it shows U$
playing tiddly-winks with huge gold coins), although maybe Gladstone
will fix this by the time it's published since I told them of the
mistake last week.
David Gerstein
<(Email removed)>
"The only way for anyone to get AHEAD of Mickey Mouse is to
run in front of him!"
LAURA D. SHARPE
Disney comics Digest V96 #81
Message 133 -
1996-04-17 at 07:36:41
Please cancel my subscription to Disney Comics.
Unsubscribe (Email removed)
Thank you
Unsubscribe (Email removed)
Thank you
Ole R. Nielsen
From Ole Arr
Message 134 -
1996-04-17 at 10:27:14
True to the maxim of modern advertisment - volume and repetition is hard to
ignore - my unintentionally re-re-repeated mail of last Thursday has sparked
a lot of replies. True to this forum's nature all of these have been interested
(and interesting) questions; not one about my mental capabilities, maternal
offspring or sexual habits. :) Thanks guys.
Trygve (and Harry):
> Since when have the Norwegian and the Danish editions of DD/AA been the same?
Danish "Anders And & Co." #36/1994 was the first to comply 100% with the Nor-
wegian edition. Only the issue before the size was increased with four pages
to 48, and the title was, though the font remained unchanged, enlarged to take
up two lines. Except for the various versions of the "Walt Disney's" signature
(which was, I notice now, instead shrunk) it had been the same since 1949.
This lack of respect for tradition is the curse of the post-historic '90es.
(I believe Superman writer Nietzsche did a story about that...)
Harry:
> In our database, we have most of the USA comics and albums
> indexed. Only a few (recent) things are missing:
As you know, I've got an itchy index finger. :) I can do all but the albums.
> Also, would someone please send me an updated Norwegian
> Don Rosa index?
Why bother (per above), unless you need the titles?
Don:
> I just heard from the Swedish
> translator (the great Duck fan, Stefan Dios) that they found that they were
> putting two parts of my 3-part "The Once and Future Duck" into one
> double-issue of KALLE ANKA
...which leads me to the assumption that it will appear here in a few weeks.
Swedish double issues appear when the next publishing date is a holiday or hur?
Glad to see the editors take advantage of that quirk, though IMHO they should
have collected all three parts, now they were at it.
David:
> I have been given the task
> of doing Mickey comedies as well as adventures, and I determined that
> the best way to do them was to apply some of the stylings of those
> early Sundays.
It just occurs to me that we still haven't seen any of your adventure stories.
On several occasions stories I would have credited to you turned out to be
by Byron Ericson, who spins a great yarn IMHO. I look forward to seeing how
you handle that in for instance "Return to Morgan's Island".
> So I am working under the Gottfredson influence; you
> just may not know the source material so well. Do you have anything
> in your country like the Dutch albums collecting FG Sundays?
Actually I said your inspiration seemed to come from animation, which is
natural for gag-stories. Though I admit to being fairly ignorant about the
Gottfredson stories I much prefer his longer adventures, like they appeared
in the last issues of Gladstone's MM title. I love the one-page gags from
around 1950, but I ascribe those to Manuel Gonzales.
Mike Barrier's "Stop the Presses" appeared in Anders And #29, 1995, and
it was a hoot! Even the translation was sparkling and Vicar was slightly
less boring than usual. Of course the knowledge that an authority like
Barrier wrote it, makes it's likeness to Barks more obvious. Thanks for
the reference, it was worth reading again. And I even remember reading it
before, which isn't always the case with Vicar's lead stories.
Mike:
Ole> I can only think of two [writing artists]
> I personally can't think of any 'pure' artist-writer in that sense.
Wake up, Mike: your next question in the letter was to the second!
You even guessed that it was him I quoted in my signature, and asked if
it was based on the works of the first. You both script and draw too?
I guess I'll have to make it three then. :)
Mikko:
> Then I got Email response from Janet Gilbert stating that [the Hiccups
> story] was written by Michael (obviously Janet has the Guidebook too... ;) ).
There may be a more obvious explanation methinks...
> I propably forgot to post that info to here.
Well, don't let it happen again. :)
Arhur:
> Oh yeah ... I forgot: the form on my website doesn't work. [...]
> Anyway... if someone ever tried to fill in the form, please let me know!
You missed it last week, when I visited your site as the first ever!
Obviously I was a little extatic, and hardly objective in my judgement:
after three years of ascii on this list, the wallpaper alone blew my mind!
Also I'm very interested in alien-tongued Disney's. If you have a way of
collecting all the pages and mailing them to me, I'd be glad to add and
correct: it took me a couple of hours to copy a few country files to floppy,
and I found several slightly incorrect informations.
Rich:
Ole> nobody being able to do both Donald AND Mickey well.
> Romano Scarpa seems to have done both characters well, from what little
> I've seen of his stories.
I didn't care much for his later duck stories, but now that we've seen some
of his early ones, like "McDuck Foundation" and "Colossus of the Nile", I'll
admit that they are up to par with his brilliant Mickeys.
Ole> I just bought "The Good Ol' Mickey Mouse" book for 30$ containing
Ole> almost all the daily strips from 1930-32.
Ole> That's what I call 'digging up gold'
> I definitely want that, but only if it's in English. Like all too many
> Americans, I'm functionally illiterate in every language but English,
Sorry to report that it's a Danish version, so even if I could find another
(the reference to gold also hinted at it's general availability) you wouldn't
want it. It has probably been published in German and other languages too,
like the other Mondadori books, as we often call them.
Abbeville published a very few, of which I happen to have the MM, but surely
not 20, which is the total number in Danish.
> Like all too many Americans, I'm functionally illiterate in every language
> but English,
Dwight Decker is one of the few Americans I know of who admits to knowing
more than his own language, and just like him I like to believe I can figure
out a handful or two with a dictionary and a vivid imagination.
But German gives me a headache. :)
Thank you for the background on early American indy comics. I'm especially
interested to hear a little about Phil Foglio's Plastic Man. Being a bit of
a card collector/player too, I enjoy Phil's art and stories: I've read part
one of Myth and just bought Buck Godot #6. The ever-growing card game industry
may become the kiss of life for comic bookdom with card artists doing comics,
and comic book artists illustrating cards. Bill Sienkiewicz is about to make
his debut for Magic the Gathering, and a tie-in comic book for Acclaim.
That's it for now, I hope I didn't forget anyone.
I trust I can leave it to you others to supply the zillion comments and
questions to Harald. 30 Goofy Histories? Barks plagiarizing Taliaferro??
--Ole 'Re-re-reichstein' Nielsen <(Email removed)>
"Quality went out of business in 1956" [Rich Morrissey]
ignore - my unintentionally re-re-repeated mail of last Thursday has sparked
a lot of replies. True to this forum's nature all of these have been interested
(and interesting) questions; not one about my mental capabilities, maternal
offspring or sexual habits. :) Thanks guys.
Trygve (and Harry):
> Since when have the Norwegian and the Danish editions of DD/AA been the same?
Danish "Anders And & Co." #36/1994 was the first to comply 100% with the Nor-
wegian edition. Only the issue before the size was increased with four pages
to 48, and the title was, though the font remained unchanged, enlarged to take
up two lines. Except for the various versions of the "Walt Disney's" signature
(which was, I notice now, instead shrunk) it had been the same since 1949.
This lack of respect for tradition is the curse of the post-historic '90es.
(I believe Superman writer Nietzsche did a story about that...)
Harry:
> In our database, we have most of the USA comics and albums
> indexed. Only a few (recent) things are missing:
As you know, I've got an itchy index finger. :) I can do all but the albums.
> Also, would someone please send me an updated Norwegian
> Don Rosa index?
Why bother (per above), unless you need the titles?
Don:
> I just heard from the Swedish
> translator (the great Duck fan, Stefan Dios) that they found that they were
> putting two parts of my 3-part "The Once and Future Duck" into one
> double-issue of KALLE ANKA
...which leads me to the assumption that it will appear here in a few weeks.
Swedish double issues appear when the next publishing date is a holiday or hur?
Glad to see the editors take advantage of that quirk, though IMHO they should
have collected all three parts, now they were at it.
David:
> I have been given the task
> of doing Mickey comedies as well as adventures, and I determined that
> the best way to do them was to apply some of the stylings of those
> early Sundays.
It just occurs to me that we still haven't seen any of your adventure stories.
On several occasions stories I would have credited to you turned out to be
by Byron Ericson, who spins a great yarn IMHO. I look forward to seeing how
you handle that in for instance "Return to Morgan's Island".
> So I am working under the Gottfredson influence; you
> just may not know the source material so well. Do you have anything
> in your country like the Dutch albums collecting FG Sundays?
Actually I said your inspiration seemed to come from animation, which is
natural for gag-stories. Though I admit to being fairly ignorant about the
Gottfredson stories I much prefer his longer adventures, like they appeared
in the last issues of Gladstone's MM title. I love the one-page gags from
around 1950, but I ascribe those to Manuel Gonzales.
Mike Barrier's "Stop the Presses" appeared in Anders And #29, 1995, and
it was a hoot! Even the translation was sparkling and Vicar was slightly
less boring than usual. Of course the knowledge that an authority like
Barrier wrote it, makes it's likeness to Barks more obvious. Thanks for
the reference, it was worth reading again. And I even remember reading it
before, which isn't always the case with Vicar's lead stories.
Mike:
Ole> I can only think of two [writing artists]
> I personally can't think of any 'pure' artist-writer in that sense.
Wake up, Mike: your next question in the letter was to the second!
You even guessed that it was him I quoted in my signature, and asked if
it was based on the works of the first. You both script and draw too?
I guess I'll have to make it three then. :)
Mikko:
> Then I got Email response from Janet Gilbert stating that [the Hiccups
> story] was written by Michael (obviously Janet has the Guidebook too... ;) ).
There may be a more obvious explanation methinks...
> I propably forgot to post that info to here.
Well, don't let it happen again. :)
Arhur:
> Oh yeah ... I forgot: the form on my website doesn't work. [...]
> Anyway... if someone ever tried to fill in the form, please let me know!
You missed it last week, when I visited your site as the first ever!
Obviously I was a little extatic, and hardly objective in my judgement:
after three years of ascii on this list, the wallpaper alone blew my mind!
Also I'm very interested in alien-tongued Disney's. If you have a way of
collecting all the pages and mailing them to me, I'd be glad to add and
correct: it took me a couple of hours to copy a few country files to floppy,
and I found several slightly incorrect informations.
Rich:
Ole> nobody being able to do both Donald AND Mickey well.
> Romano Scarpa seems to have done both characters well, from what little
> I've seen of his stories.
I didn't care much for his later duck stories, but now that we've seen some
of his early ones, like "McDuck Foundation" and "Colossus of the Nile", I'll
admit that they are up to par with his brilliant Mickeys.
Ole> I just bought "The Good Ol' Mickey Mouse" book for 30$ containing
Ole> almost all the daily strips from 1930-32.
Ole> That's what I call 'digging up gold'
> I definitely want that, but only if it's in English. Like all too many
> Americans, I'm functionally illiterate in every language but English,
Sorry to report that it's a Danish version, so even if I could find another
(the reference to gold also hinted at it's general availability) you wouldn't
want it. It has probably been published in German and other languages too,
like the other Mondadori books, as we often call them.
Abbeville published a very few, of which I happen to have the MM, but surely
not 20, which is the total number in Danish.
> Like all too many Americans, I'm functionally illiterate in every language
> but English,
Dwight Decker is one of the few Americans I know of who admits to knowing
more than his own language, and just like him I like to believe I can figure
out a handful or two with a dictionary and a vivid imagination.
But German gives me a headache. :)
Thank you for the background on early American indy comics. I'm especially
interested to hear a little about Phil Foglio's Plastic Man. Being a bit of
a card collector/player too, I enjoy Phil's art and stories: I've read part
one of Myth and just bought Buck Godot #6. The ever-growing card game industry
may become the kiss of life for comic bookdom with card artists doing comics,
and comic book artists illustrating cards. Bill Sienkiewicz is about to make
his debut for Magic the Gathering, and a tie-in comic book for Acclaim.
That's it for now, I hope I didn't forget anyone.
I trust I can leave it to you others to supply the zillion comments and
questions to Harald. 30 Goofy Histories? Barks plagiarizing Taliaferro??
--Ole 'Re-re-reichstein' Nielsen <(Email removed)>
"Quality went out of business in 1956" [Rich Morrissey]
Don Rosa
Disney comics Digest V96 #81
Message 135 -
1996-04-17 at 14:49:00
WILMER:
Well, shucks! I should have called on you to help with that King Arthur
story, like we did on the "Universal Solvent" thing! Your way of naming the
"current year" would have worked FINE for me. And it would have been less
contrived than the explanations I still had to go through to explain how
Gyro figured that a power burst at Stonehenge at a particular instant would
send them "back to the future" the exact amount of time it had sent them
into the past (this involved solstices and so forth). The only problem with
your idea is that it probably would have lead to my editor saying that it
would be a LOT easier to simply say "1996", and then I'd have backed myself
into a real corner. Also, using my original notion of parallel universes
would still have been too SFy for a Duck story for my tastes, but this story
is already so SFy (in more ways than I've yet described), that that would be
splitting hairs.
As for the language used in the story, I actually got some library books on
"olde English" and had planned on trying to write the dialogue like
something out of an original edition of BEOWULF... until I saw what BEOWULF
looked like in its original language! I never knew that language was
completely "unreadable" to modern eyes, and I had to abandon that notion
right off. But... the problem of language is the first "literary license" we
must bow to for convenience, otherwise a HUGE number of great stories could
never have been told in many media!
But... it's all too late, anyhoo. The story's done and finished and about to
be printed. But you would have been QUITE a help. I have OFTEN thought I
should look for lurking experts on this List for any story idea I have...
but I've always feared that people would think I was talking too much about
my own work, so I usually just answer questions on here, rather than posing
my own or holding forth on some personal work-in-progress. But this time I
certainly should have asked for ideas. I should have learned that lesson
already, based on how much you helped with that center-of-the-earth story.
Oh, well...
MIKE:
I naturally have no idea as to how "limited" a partnership there is between
Egmont and HMC. All I can tell you is that AKU ANKKA is not an Egmont
publication. I was surprised when I learned that, myself, since it seemed
like I was always told that was true, but I guess I simply assumed it. I
think the way it works is that, like all Disney licensees, HMC is allowed to
use any material created by any other Disney licensee, but they have a more
direct pipeline to Egmont material, and see it prior to publication... and
usually use the contents for the standard current Egmont weekly. This is
different from, say, Oberon, who can use Egmont material, but who doesn't
see that material until it's published. Clear as mud?
Well, shucks! I should have called on you to help with that King Arthur
story, like we did on the "Universal Solvent" thing! Your way of naming the
"current year" would have worked FINE for me. And it would have been less
contrived than the explanations I still had to go through to explain how
Gyro figured that a power burst at Stonehenge at a particular instant would
send them "back to the future" the exact amount of time it had sent them
into the past (this involved solstices and so forth). The only problem with
your idea is that it probably would have lead to my editor saying that it
would be a LOT easier to simply say "1996", and then I'd have backed myself
into a real corner. Also, using my original notion of parallel universes
would still have been too SFy for a Duck story for my tastes, but this story
is already so SFy (in more ways than I've yet described), that that would be
splitting hairs.
As for the language used in the story, I actually got some library books on
"olde English" and had planned on trying to write the dialogue like
something out of an original edition of BEOWULF... until I saw what BEOWULF
looked like in its original language! I never knew that language was
completely "unreadable" to modern eyes, and I had to abandon that notion
right off. But... the problem of language is the first "literary license" we
must bow to for convenience, otherwise a HUGE number of great stories could
never have been told in many media!
But... it's all too late, anyhoo. The story's done and finished and about to
be printed. But you would have been QUITE a help. I have OFTEN thought I
should look for lurking experts on this List for any story idea I have...
but I've always feared that people would think I was talking too much about
my own work, so I usually just answer questions on here, rather than posing
my own or holding forth on some personal work-in-progress. But this time I
certainly should have asked for ideas. I should have learned that lesson
already, based on how much you helped with that center-of-the-earth story.
Oh, well...
MIKE:
I naturally have no idea as to how "limited" a partnership there is between
Egmont and HMC. All I can tell you is that AKU ANKKA is not an Egmont
publication. I was surprised when I learned that, myself, since it seemed
like I was always told that was true, but I guess I simply assumed it. I
think the way it works is that, like all Disney licensees, HMC is allowed to
use any material created by any other Disney licensee, but they have a more
direct pipeline to Egmont material, and see it prior to publication... and
usually use the contents for the standard current Egmont weekly. This is
different from, say, Oberon, who can use Egmont material, but who doesn't
see that material until it's published. Clear as mud?