Keskustelujen arkisto

Hi!

DWIGHT, FRANK, HARALD and GILBERT:
Thank you all for the information about Austrian and German
Disney comics. I think I have enough info for my homepage now!

HARALD HAVAS:
You said: "My girfriend recently returned from a trip to Burma and
brought me some original Burmese comic-books."
Disney comics from Burma?!? Cool! Can you give me some more
information about them? (Title, publisher, size, pages, stories).

Bye!

Arthur de Wolf --- Roosendaal, the Netherlands
email: <(Email removed)> or <(Email removed)>
homepage: http://www.pi.net/~wolfman/disney (still under construction)
"It is a simple task to make things complex,
but a complex task to make them simple."

Don Rosa:
At first I was worried when I heard (from Mike Tiefenbacher, I think) that
you planed to keep all your stories in the 1950s never to use macs or
windows, no VCR timer jokes, no large screen tvs. On the other hand, I guess
that this gives your stories a certain timelessness. No kids have to feel
left out that Huey Dewey and Louie have large screen TVs and all they have is
a 27 incher.
And of course, It's fun for you.

Just serindipity that Rich M and I joined at the same time (we are both
members of apa-I however).

Harald wrote:As to Jim Davis and Sangor Shop - I dont even know what this is,

maybe you can help out?>>
Boy talk about giving me a straight line. The Sangor Shop is my favorite
comic book subject. But I'll refrain myself. and keep it short. Ben Sangor
and Richard Hughes ran a comic book shop (packager of comics) from 1942 to
circa 1950. In 1943, Jim Davis moved to Los Angles and begain to work as
west coast shop editor, while doing animation work in the daytime.
He used guys like Ken Hultgren, Bob Karp, Lynn Karp. Hubie Karp, Al T. ,
Howard Swift, , LLoyd Turner, Cal Howard, Don Arr (Christensen), Al Hubbrd,
and many future Disney artists. (the 1942-1944 Sangor Shop used Fleischer/
Famous animators from Florida and NY). Good stuff, and most often signed.

VIDAR:
As I thought chapter 12 made clear, $crooge McDuck was the most famous
resident of Duckburg and everyone in town knew of him and had heard about
him and doubtlessly heard and read his quotes all their lives. Few people
knew of his early life since he was secretive about that, as suggested by
the very first page of that "Lo$" series. Even though Donald had never met
his famous Uncle since that one moment in 1930, he had probably heard him
interviewed on the radio or quoted in the paper all his life. Or perhaps he
just heard others repeat that quote you mention, since as my script says, DD
is complaining that the he's tired of the interviewer repeating that line,
not necessarilly $crooge. (And, as always, remember that this is all in what
is only MY personal view of the Duck Universe.)

AARON:
That Danbury Press JUNIOR WOODCHUCKS GUIDEBOOK is listed in the new
Overstreet comic book price guide??? That's completely inappropriate! It's a
tiny kiddie encyclopedia/fact-book with illustrations of Disney characters.
It's not a "comic book" in any way, shape or form. True, there are a few
other Disney storybooks listed in that comic-book guide, but only when they
have art by Barks and would therefore have special interest for comic fans.
But if that JR.WC GUIDE is listed, so should about 795,000 other illustrated
children's books. That Danbury Press alone has published many dozens of
other Disney children's books just like the one you mention. It belongs in a
listing of children's picture-books, or Disney books... but not a listing of
comic-books, or even Disney comic-books. Very odd.

Harald and Arthur,

>My girfriend recently returned from a trip to Burma and brought me some
>>original Burmese comic-books.

Can these be considered as *Disney* comics? The publisher doen't seem to
care when the licence period ends (nor when it begins). That's a big
problem.

Steven,
>never to use macs or windows, no VCR timer jokes, no large screen tvs.

It's *very* rare to see such devices drawn right in comics. Many Disney
(and other) artists tend to draw computers and video games full of lights
and with awful design. Also stories made two years ago with HDL playing
shoot-em-up video games look very old fashioned. In those cases I think
it's better to hide them.

BTW, Should Apple and Microsoft pay advertising fees to Disney if product
placement found it's way to comics?

-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__

AARON A.

Your inquiry re: JW Guide--This was a premium you could receive after
ordering the complete set of Disney's Wonderful World of Knowledge
encyclopedias. See my article in Comic Book Marketplace "Collecting Junior
Woodchucks" (#27 September 1995)

Somebody:
Would anyone of you who's got the Rosa Duck-Tales story "Back in time
for a Dime" mail me? Please!!!!

---------------
Geir J. Netland
---------------
------------------------------------
| So, you're *scared*, eh? Well |
| these *roosters* aren't chicken! |
| Er...um...Sure they're *chicken* |
| but not *chicken* chickens! |
------------------------------------
http://www.misjonshs.no:80/~geinet

<(Email removed)>
with the subject "unsubscribe". Please do just that -Unsubscribe me. Thank
you.
(Email removed)

Sorry about letting these things pile up for a month, but I've been
excessively busy. I didn't realize how long it had been until I started wading
through them. I'll skip most of the older stuff, but one or two items of the
ancient stuff still call for reply.

HARRY:
"You mean it's unique to the world that New Orleans is on both sides of a
river?"
No, I wrote unclearly. It's unique that New Orleans is on both sides of
THE river in question, the Mississippi. Other cities have suburbs across the
river, but only New Orleans has sections of the city itself on both sides.
Actually, you can end sentences with prepositions all you want in English
(as of course you know). The idea that you can't comes from the days when
language snobs thought it was possible to cram English into the grammatical
structure of Latin. In fact, that's where the name "preposition" comes from in
the first place -- they don't REALLY have to be positioned before their objects.
(One of my favorite illustrations of the point involves a kid whose father
brings the wrong book upstairs for bedtime reading -- "What did you bring that
book I didn't want to be read to out of up for?" A perfectly good English
sentence, the last FIVE words of which are prepositions.)

HEFFALUMP:
I was working as a newspaper reporter in 1969, when a filler item about
that huge ball of string in Minnesota came in from some obscure syndicate. I put
it aside, and somewhere, I still have the photo.

DON R.:
"In the old days, ALL Americans were Disney comics fans, just like it still is
with Europeans."
That's not the way I remember it. There would be an occasional mention of
Disney comics in U.S. fanzines in the early 1960s, and I did learn the name of
Carl Barks from the letter column of ALTER EGO, but mostly it was superheroes.
As late as 1966, a dealer's list offered piles of funny animal comics just for
postage.
I think that might have been a turning point, tho, because that ad got
such response that by the time my order got in, they were all gone and I was
offered WDC&S #1 for $50 (I turned it down, thinking no comic could ever be
worth so much). Toward the late '60s and early '70s, it became hip and cool to
like Barks, but other Disney writers and artists were virtually ignored. (The
only reason my poor, meager collection isn't even poorer and meagerer is because
I was collecting Barks BEFORE it became hip and cool.)
In the "Once and Future" story -- One way of indicating that no time
travel had taken place might have been to relate it to some outside temporal
indicator, like astronomy. Possibly the Nephews could be making some
observations at the beginning of the story, and the great revelation could come
when they realize that an event they expected, which could not have happened at
the time of Arthur, is happening "now". I don't know how that would have fit
into your story structure, but it's a thought.
Talk about your work all you want. If anybody ever gets bored with it,
which I doubt, I'm sure he'll say something.

TRYG:
Actually, the Paul Bunyan "legend" goes back only to the 1920s, when he
was a character in a series of advertisements. (I forget what product.) The
"tall tales" about him aren't authentic examples of this American folklore
genre, but actually contained an advertising message. Somehow, the commercial
connection was forgotten -- by the 1950s, when I was in school, he was widely
believed to be an actual example of American folklore. (Another character with a
similar history is Rudolph the Red-Nosed Reindeer, who was created in 1939 to
advertise Macy's Department Store.)

AUGIE:
"Ask Peter David about Carol Kalish and Gary Groth someday."
Better than asking Peter David about Gary Groth and Carol Kalish, would
be to check out the notorious Carol Kalish editorial itself, which can be
downloaded from CompuServe's Comics Publishers Forum. It's been an "annual
blister" there for so long, the Fantagraphics guys finally wised up and made the
original accessible, so nobody would have to pay attention to the lurid stories
about it. Funny, it never seems to come up in conversation there anymore.
Gary Groth and Peter David are about as reliable a source of information
about each other as Al Capp and Ham Fisher.

RICH:
Welcome to the group, Rich (even tho you've been here several weeks now
-- just catching up, that's all).
Re: circulation of WDC&S in the '50s, vs. certain recent sales spikes in
overly-hyped Marvels. If you count circulation not by how many copies are sold,
but by how many people buy copies, the WDC&S circulation is many multiples of
those modern anomalies. If you don't count the cartons stashed away in hopes of
some miraculous increase in value, those Marvels actually look kind of anemic.
I was aware of Peg-Leg, Black, Sneaky and Big Bad, but Dirty Pete is a
new one on me. When did this fifth Pete Brother join the family?
I believe Jose Carioca is still appearing in new stories in the
Netherlands -- along with Li'l Bad Wolf, Little Hiawatha, and many other
denizens of the WDC&S middle pages from the 1940s and '50s.
I'm pretty sure Jack Chalker got that bit about the Nephews' fuzzy aging
rates being due to their encounter with the Fountain of Youth from me. I
remember a conversation we had at a science fiction convention back when his
Scrooge biography was still in the works. Of course, Don R still insists on
putting all his stories into a narrow time frame, so it's a good thing we're not
trying to fit it all into something as restrictive as a superhero universe.
Since Gold Key's Beagle Boys/Mad Madame Mim stories have them as
contemporaries, I don't think canonicity of THE SWORD IN THE STONE is really a
question. Or rather, it's far too awful a can of worms to figure out at all, so
why worry about it?
By the way, how does one subscribe to the Ozzy Digest?

BOBBIE D (or whatever):
What are you afraid of? That someone who finds out your True Name will be
able to exert some sort of magical power over you? I'm fairly sparing about
giving out the exact location of the door you can knock on and find me behind
it, or the number you can dial to disturb me at my work, but since my belief in
magic is very heavily qualified, I've never worried about giving out my name. In
the 35 years or so since it first started appearing here and there in the comics
community -- in print or on line -- nobody has managed to harm me just by
knowing my name.
Death threats. Gawd. I've heard lurid stories about the mental deficients
who come out of AOL, but this takes the cake. Did your alleged Death Threatener
happen to mention a mechanism by which he would carry out his nefarious schemes,
using your name, which would not work without it?

HARALD:
Fred Quimby didn't actually make Tom & Jerry cartoons. He just got his
name on a lot of them. According to reports, he didn't even understand what was
funny about them.
Be that as it may, Leonard Maltin's OF MICE AND MAGIC has an excellent
list of theatrical cartoons from all the major U.S. studios, including the Tom &
Jerrys.
Those Mickey/Goofy history stories, the ones Gladstone has been running
for the past couple of years, are just enormously clever and well done, but a
little TOO clever to work well as STORIES. I'm glad to have them as oddball
items that a lot of very talented work went into, but I'm not clamoring to have
more produced.
By the way, how does one get hold of a copy of your database, and what
software is needed to use it?

MIKE POHJOLA:
I think people mostly just find Mr. D's manner irritating. The fact that
he claims to be superstitious about giving out his name is just icing on the
cake. One wonders if he'd still act like a supercilious jerk if we knew as much
about him as he knows about us.

DWIGHT:
I was wondering about that CBG item myself. I'd heard the little-seen
Fourth Nephew's name as Phooey too. I thought perhaps naming him "Barks", while
a cute tribute and all, might be a little self-serving, considering the item
seems to have come from the Carl Barks Studio. (Speaking of which, who are those
guys who run the "Carl Barks Studio"? Seems like I never heard of them before,
and continue not to hear of them in other contexts.)

ALL:
I just talked with John Clark at Gladstone, and he says their Disney license,
which was to expire at the end of this month, has been extended for two months
while they continue to hash out the details of the new one, if any. And so, the
nerve-wracking ordeal continues...

Well, I finally got through them all! I hope I never let them pile up like this
again!

Quack,
Don Markstein

--------------------------------
End of Disney comics Digest V96 Issue #84
*****************************************