DWIGHT:
I think you're wrong on WDC hitting 5 million, I have from several sources
that the highest printing was 3 038 000 copies and the issue was the
rainmaker story WDC 150 something. Anyway this info must be out there
somewhere, dosn't anyone know?
Regarding Fethry: I can understand that you don't like him nor Moby but I
read these stories when I was little and they made an impact. Actually when
I visited the U.S. I meant to buy copies of Moby, Super Goof, Beagle Boys
and the JW issues that appeared in the late sixties but finding fifties
copies so cheap and accessible I ended up buying hundreds of them instead.
Collecting is dangerous!
That Italian Fethry story you mentioned sounded like the ones Western made
that appeared in the late sixties when the stories evolved round $crooge's
newspaper and the absurd situations that they got mixed up in. Are you sure
your story is not S-coded?
These stories I think can be read on several "levels" and they are still
enjoyable unlike the kid stuff beeing produded know that with rare exeptions
are just for kids.
What's the word out on Bruce Hamilton anyway, he seems to promote his own
interests very much and to hype up the market on CB lithoes.
PER:
I heard on Norwegian radio the Washington correspondant interwiew Barks at
his Baltimore birthday party. One of these silly interwiws telling people
that it wasn't Walt Disney himself that drew the comics etc.
Asked what his favorite story was he mentioned "lost in the Andes" and "The
golden helmet" the latter out of politeness to Norway I think. He said he
drew the stories with Walt in mind if he would approve or not.
It is irritating that somebody completly ignorant get a chance like this
isn't it.
I agree with whoever said that paper quality isn't that important, the cheap
paper in old WDC copies adds to the atmosphere. In fact I have very little
regard for collectors who put their unread copies in plastic bags, it is a
misunderstanding of the medium.
Gaute Kongsnes
Author
Topic: 199604
(244 messages)
Heffalump
Fetry Barks +
Message 61 -
1996-04-10 at 00:30:17
Frank Stajano
Disney comics Digest V96 #75
Message 62 -
1996-04-10 at 02:50:21
TO MIKKO:
<< I've always thought that Marco Rota is just an artist
and does not write the stories himself. Am I right or wrong?>>
He is primarily an artist, but does also sometimes write stories himself.
Among the best ones for which he was both writer and artist are:
Paperino pendolare (Almanacco Topolino 245, May 1977)
(Donald moves to a country house and becomes a commuter)
and
Paperino e l'arrosto della salvezza (Almanacco Topolino 277, January 1980)
the second of the two viking stories, which if I understand correctly is
the one that David recently said he is about to translate (to David, for
what my humble opinion is worth: PLEASE be as faithful as possible to the
original! THAT's the job of the best translators. Don't try to "improve"...
you wouldn't want anyone doing that with your stories would you?)
TO DAVID:
<<I'll keep looking); then I'll add some more information about the
places, etc. so that the story has some authentic flavor that was
missing in the British version I'm working from.>>
I missed the fact that you weren't working from the originals -- I assumed
you could read Italian! Of course you can count on me (or anyone from the
Italian contingent I would assume) to clarify any bits that don't make
sense in the British version...
TO ALL TALKING ABOUT THE DISNEY ENCYCLOPEDIA:
The bulk of the work was done by writer Guido Martina (who BTW was perhaps
Italy's most prolific script writer and Scarpa's favourite) and artist
Giovan Battista Carpi (there is an excellent web page on Carpi, with more
than you ever wanted to know about him, at
http://www.zen.it/~papyrus/luca_boschi/carpi.html; written by Luca Boschi
and Alberto Becattini of "Quartetto toscano" fame).
TO STEVEN:
<< Did you know that Jerry Siegel wrote a Junior Woodchuck story. >>
He wrote many many Disney scripts for Italy during the early 70s, with an
amazing "contrast": some of them were brilliant while some others were real
junk and just didn't make sense. Among the best ones were, for example,
Paperino e la macchina dell'eroismo (TL 878, 1972, art by Cavazzano)
(a special machine emits blue rays that turn Donald into a hero)
Zio Paperone e la grande caccia al cent (TL 882, 1972, art by Cavazzano)
(Scrooge chases a mad scientist who stole his Number One Dime, here
called a "cent")
Zio Paperone e la scorribanda nei secoli (TL 911, 1973, art by Scarpa)
(Scrooge travels in time with Gyro and Donald after "unfreezing" a
Pharaoh)
<< I can't tell writers by their styles, but some can. >>
I can't tell writers by their styles in general, but sometimes I'm reading
a story and I say to myself: -- wait a minute, this expression (or: this
way of using these characters together) sounds awfully similar to the one
in such-and-such other story... and many times I guess right. Of course it
helps to have index books like the excellent ones by Becattini and Fossati,
or indeed an online database like Harry's, to go and look up whether your
guess was correct or not. Without such feedback on your guesses it would be
very hard to progress...
Having said that, there are SOME writers which I know better than others
and that I can recognise, say, more than 3/4 of the time: Siegel is one of
them because his stories are so peculiar. I'm also good on Cimino and
Pezzin. Scarpa too, of course, but he doesn't count because I already KNOW
which stories were written by him. Of course it is much easier (and more
reliable) to do the same thing with artists, and I resonate with your
description.
TO KEN:
this was a very moving post. I had been thinking of the same but only in
very vague terms, as something to sort out one day. I hope your story goes
well so that you too can again look at this as something that's important
but can be relegated to the far-away future.
TO LEONARDO:
I had just posted my first message in a long time and I see you anticipated
me by a few hours on that encyclopedia business... oh well... :-)
To everyone else: let it be known that the real "enciclopedia disney" is
Leonardo himself! He's literally written the book (several books,
actually...)!
FINAL NOTE:
I mentioned a few stories which could benefit from pictures on my "disney
references" web pages but I can't do the scans now (I'm even at home) so I
can't add the URLs here. But I'll probably do them one day, so if you think
you half-recognised one of the above stories but aren't quite sure, stop by
my references page in a couple of weeks' time and you'll probably find a
picture for every story mentioned.
Frank (filologo disneyano) http://www.cam-orl.co.uk/~fms
<< I've always thought that Marco Rota is just an artist
and does not write the stories himself. Am I right or wrong?>>
He is primarily an artist, but does also sometimes write stories himself.
Among the best ones for which he was both writer and artist are:
Paperino pendolare (Almanacco Topolino 245, May 1977)
(Donald moves to a country house and becomes a commuter)
and
Paperino e l'arrosto della salvezza (Almanacco Topolino 277, January 1980)
the second of the two viking stories, which if I understand correctly is
the one that David recently said he is about to translate (to David, for
what my humble opinion is worth: PLEASE be as faithful as possible to the
original! THAT's the job of the best translators. Don't try to "improve"...
you wouldn't want anyone doing that with your stories would you?)
TO DAVID:
<<I'll keep looking); then I'll add some more information about the
places, etc. so that the story has some authentic flavor that was
missing in the British version I'm working from.>>
I missed the fact that you weren't working from the originals -- I assumed
you could read Italian! Of course you can count on me (or anyone from the
Italian contingent I would assume) to clarify any bits that don't make
sense in the British version...
TO ALL TALKING ABOUT THE DISNEY ENCYCLOPEDIA:
The bulk of the work was done by writer Guido Martina (who BTW was perhaps
Italy's most prolific script writer and Scarpa's favourite) and artist
Giovan Battista Carpi (there is an excellent web page on Carpi, with more
than you ever wanted to know about him, at
http://www.zen.it/~papyrus/luca_boschi/carpi.html; written by Luca Boschi
and Alberto Becattini of "Quartetto toscano" fame).
TO STEVEN:
<< Did you know that Jerry Siegel wrote a Junior Woodchuck story. >>
He wrote many many Disney scripts for Italy during the early 70s, with an
amazing "contrast": some of them were brilliant while some others were real
junk and just didn't make sense. Among the best ones were, for example,
Paperino e la macchina dell'eroismo (TL 878, 1972, art by Cavazzano)
(a special machine emits blue rays that turn Donald into a hero)
Zio Paperone e la grande caccia al cent (TL 882, 1972, art by Cavazzano)
(Scrooge chases a mad scientist who stole his Number One Dime, here
called a "cent")
Zio Paperone e la scorribanda nei secoli (TL 911, 1973, art by Scarpa)
(Scrooge travels in time with Gyro and Donald after "unfreezing" a
Pharaoh)
<< I can't tell writers by their styles, but some can. >>
I can't tell writers by their styles in general, but sometimes I'm reading
a story and I say to myself: -- wait a minute, this expression (or: this
way of using these characters together) sounds awfully similar to the one
in such-and-such other story... and many times I guess right. Of course it
helps to have index books like the excellent ones by Becattini and Fossati,
or indeed an online database like Harry's, to go and look up whether your
guess was correct or not. Without such feedback on your guesses it would be
very hard to progress...
Having said that, there are SOME writers which I know better than others
and that I can recognise, say, more than 3/4 of the time: Siegel is one of
them because his stories are so peculiar. I'm also good on Cimino and
Pezzin. Scarpa too, of course, but he doesn't count because I already KNOW
which stories were written by him. Of course it is much easier (and more
reliable) to do the same thing with artists, and I resonate with your
description.
TO KEN:
this was a very moving post. I had been thinking of the same but only in
very vague terms, as something to sort out one day. I hope your story goes
well so that you too can again look at this as something that's important
but can be relegated to the far-away future.
TO LEONARDO:
I had just posted my first message in a long time and I see you anticipated
me by a few hours on that encyclopedia business... oh well... :-)
To everyone else: let it be known that the real "enciclopedia disney" is
Leonardo himself! He's literally written the book (several books,
actually...)!
FINAL NOTE:
I mentioned a few stories which could benefit from pictures on my "disney
references" web pages but I can't do the scans now (I'm even at home) so I
can't add the URLs here. But I'll probably do them one day, so if you think
you half-recognised one of the above stories but aren't quite sure, stop by
my references page in a couple of weeks' time and you'll probably find a
picture for every story mentioned.
Frank (filologo disneyano) http://www.cam-orl.co.uk/~fms
Gaiist
Disney comics Digest V96 #75
Message 63 -
1996-04-10 at 04:53:57
By the way, I'm very paranoid about flashing my full name over the Net.
There's a lot of loonies out there, ya know. Can't it be just Bobby D. for
now????
There's a lot of loonies out there, ya know. Can't it be just Bobby D. for
now????
Gaiist
*??!*!% CONTINUITY
Message 64 -
1996-04-10 at 05:00:09
TO HENRI SIVONEN:
>>Comics are fantasy, but IMHO believable and continuous >>fantasy is much
more interesting reading.
I never had any problem as a kid dealing with inconsistancies in fantasy
comics. When one's delves in fantasy, one must suspend disbelief within the
first page or so. Besides, with the Disney comics, who is really in charge,
anyway? Just because some guy claims that Duckburg didn't exist until 1902
or whatever, every writer after that is not allowed to write a story that
places one of Donald's great-grandparents in Duckburg in the Gay 90s?
>>Comics are fantasy, but IMHO believable and continuous >>fantasy is much
more interesting reading.
I never had any problem as a kid dealing with inconsistancies in fantasy
comics. When one's delves in fantasy, one must suspend disbelief within the
first page or so. Besides, with the Disney comics, who is really in charge,
anyway? Just because some guy claims that Duckburg didn't exist until 1902
or whatever, every writer after that is not allowed to write a story that
places one of Donald's great-grandparents in Duckburg in the Gay 90s?
Mikko Aittola
Disney comics Digest V96 #75
Message 65 -
1996-04-10 at 11:21:02
DAVID:
I never realised that you have written so many Mickey stories
already. Do you already know who will draw them? (Personally,
I'm not a big fan of Esteban's art?)
Have you ever considered collaborating more with Noel Van Horn
at personal level, instead of just sending complete scritps
to Egmont?
Any plans using Mr. Casey?
/Mikko
I never realised that you have written so many Mickey stories
already. Do you already know who will draw them? (Personally,
I'm not a big fan of Esteban's art?)
Have you ever considered collaborating more with Noel Van Horn
at personal level, instead of just sending complete scritps
to Egmont?
Any plans using Mr. Casey?
/Mikko
Harry Fluks
Gaiist
Message 66 -
1996-04-10 at 18:43:21
> By the way, I'm very paranoid about flashing my full name over the Net.
> There's a lot of loonies out there, ya know.
I don't see why someone would post anonymously or under an
assumed name. What do you expect the "Loonies" would do?
Anyway, I hate to talk to people I don't know the name of.
--Harry.
Harry Fluks, Leidschendam, The Netherlands
"Wie ben ik? Wat doe ik hier? Waar is mijn Roddelflop?"
> There's a lot of loonies out there, ya know.
I don't see why someone would post anonymously or under an
assumed name. What do you expect the "Loonies" would do?
Anyway, I hate to talk to people I don't know the name of.
--Harry.
Harry Fluks, Leidschendam, The Netherlands
"Wie ben ik? Wat doe ik hier? Waar is mijn Roddelflop?"
Henri Sivonen
Disney comics Digest V96 #75
Message 67 -
1996-04-10 at 22:26:29
David,
>... the British version I'm working from.
I thought you were working from the Italian version.
Jyrki,
>(Now, what was HIS color then?)
The colors are the standard DuckTales colors. Tupu (=Dewey) has blue cap.
Rich,
> Don't I know it! One of the disappointments of the later Mickey Mouse
>stories was the non-use of what was originally a quite extensive supporting
>cast.
Some of the cast still appears in the Italian production. Some of them even
quite frequently.
-- ___
Henri Sivonen, using the old email software again / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
>... the British version I'm working from.
I thought you were working from the Italian version.
Jyrki,
>(Now, what was HIS color then?)
The colors are the standard DuckTales colors. Tupu (=Dewey) has blue cap.
Rich,
> Don't I know it! One of the disappointments of the later Mickey Mouse
>stories was the non-use of what was originally a quite extensive supporting
>cast.
Some of the cast still appears in the Italian production. Some of them even
quite frequently.
-- ___
Henri Sivonen, using the old email software again / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
LAFFALOT
What Do I Do With My Collection?
Message 68 -
1996-04-11 at 01:16:04
Greetings,
I hate to be morbid, but I've been putting this question off long enough. I
was recently diagnosed with lung cancer, which is treatable with massive
chemotherapy, but I could still die if the treatment doesn't work. My
question is, what do I do with my comic book collection?
I have quite a few OLD comics dating back to the 20's, as well as lots of
signed art portfolios by Barks, Pini, Wrightson, and others. I have The Fine
Art OF Walt Disney's Donald Duck by Carl Barks, the leather and gold bound
edition of Walt Disney's Uncle Scrooge by Carl Barks, the one with the signed
litho. I have lots of old Disney and Archie comics, lots of contemporary
comics, etc. etc.
I have a 3 year old nephew whose college education I'd like to provide for,
but what do people do in their wills to make sure the comics, etc. get to the
right person/place? Is there a museum or foundation that accepts
collections? Any help or insight anyone can give me would be greatly
appreciated.
Thanks in advance,
Ken Gordon
(Email removed)
--------------------------------
End of Disney comics Digest V96 Issue #76
*****************************************
I hate to be morbid, but I've been putting this question off long enough. I
was recently diagnosed with lung cancer, which is treatable with massive
chemotherapy, but I could still die if the treatment doesn't work. My
question is, what do I do with my comic book collection?
I have quite a few OLD comics dating back to the 20's, as well as lots of
signed art portfolios by Barks, Pini, Wrightson, and others. I have The Fine
Art OF Walt Disney's Donald Duck by Carl Barks, the leather and gold bound
edition of Walt Disney's Uncle Scrooge by Carl Barks, the one with the signed
litho. I have lots of old Disney and Archie comics, lots of contemporary
comics, etc. etc.
I have a 3 year old nephew whose college education I'd like to provide for,
but what do people do in their wills to make sure the comics, etc. get to the
right person/place? Is there a museum or foundation that accepts
collections? Any help or insight anyone can give me would be greatly
appreciated.
Thanks in advance,
Ken Gordon
(Email removed)
--------------------------------
End of Disney comics Digest V96 Issue #76
*****************************************
Deckerd
Disney comics Digest V96 #74
Message 69 -
1996-04-11 at 05:41:59
On Apr 8, 7:20pm, Mikko Aittola wrote:
> Subject: Re: Disney comics Digest V96 #74
>
> I've always thought that Marco Rota is just an artist
> and does not write the stories himself. Am I right or wrong?
>
Wrong. I've translated some of his scripts into English from
Italian for Egmont. At that stage, they're a typewritten
script plus sketched panel breakdowns. He does the finished
art after the editors have a look at the script. The thing
that amazed me was that artists normally hate covering their
pretty pictures with a lot of words -- but Rota writes
scripts with 12-panel pages and lots of words. And it all
works when he does the finished art. He must know what he's
doing. Of course, Rota may also illustrate scripts written
by other writers now and then, besides writing his own. This
is just to confirm that I have seen scripts he's written and
later illustrated.
--Dwight Decker
> Subject: Re: Disney comics Digest V96 #74
>
> I've always thought that Marco Rota is just an artist
> and does not write the stories himself. Am I right or wrong?
>
Wrong. I've translated some of his scripts into English from
Italian for Egmont. At that stage, they're a typewritten
script plus sketched panel breakdowns. He does the finished
art after the editors have a look at the script. The thing
that amazed me was that artists normally hate covering their
pretty pictures with a lot of words -- but Rota writes
scripts with 12-panel pages and lots of words. And it all
works when he does the finished art. He must know what he's
doing. Of course, Rota may also illustrate scripts written
by other writers now and then, besides writing his own. This
is just to confirm that I have seen scripts he's written and
later illustrated.
--Dwight Decker
Don Rosa
Disney comics Digest V96 #76
Message 70 -
1996-04-11 at 06:40:00
FRANK:
I wish I had gotten that info on the Duck stories written by Jerry Siegel
from you sooner. They were calling me from THE COMICS JOURNAL wanting
detailed information on Siegel's Duck career, and I was very anxious to see
the addition of some lengthier comments regarding the Ducks into Siegel's
obituary. Sorry I didn't think to ask you!
"bobby d.", a.k.a. "robert d.":
Obviously, I'm the "some guy" who decided that Duckburg was established in
1902 -- but at no time have I or anyone else, professional or
non-professional, ever insisted that any other writer be required to adhere
to my particular version of Duckburg, or that any reader be required to
approve of my or any other Duck stories. I also find it amusing to see one
person who reads Donald Duck comic books telling other people who read the
same stuff with a slightly different slant to "get a life". Heh heh. If this
doesn't approach the definition of a "loony", it at least crosses over into
simple boorishness. But like Harry, I think anonymous opinions written by
people unwilling to put their names on their messages are not worth the
paper they're printed on or the electrons they're transmitted by... so, I
won't bother to comment further on any anonymous postings. I'm glad that
everyone else on this Mailing List has always been proud to be seen here.
I wish I had gotten that info on the Duck stories written by Jerry Siegel
from you sooner. They were calling me from THE COMICS JOURNAL wanting
detailed information on Siegel's Duck career, and I was very anxious to see
the addition of some lengthier comments regarding the Ducks into Siegel's
obituary. Sorry I didn't think to ask you!
"bobby d.", a.k.a. "robert d.":
Obviously, I'm the "some guy" who decided that Duckburg was established in
1902 -- but at no time have I or anyone else, professional or
non-professional, ever insisted that any other writer be required to adhere
to my particular version of Duckburg, or that any reader be required to
approve of my or any other Duck stories. I also find it amusing to see one
person who reads Donald Duck comic books telling other people who read the
same stuff with a slightly different slant to "get a life". Heh heh. If this
doesn't approach the definition of a "loony", it at least crosses over into
simple boorishness. But like Harry, I think anonymous opinions written by
people unwilling to put their names on their messages are not worth the
paper they're printed on or the electrons they're transmitted by... so, I
won't bother to comment further on any anonymous postings. I'm glad that
everyone else on this Mailing List has always been proud to be seen here.
Ole R. Nielsen
Mostly to David today
Message 71 -
1996-04-11 at 10:21:16
Sorry, I've been vacationing and again I'll be replying to many digests.
David G:
> [Noel Van Horn's "The Gohitherdither Diggers" (D 93497, 8 p.)] is MY
> FIRST MICKEY STORY! It's actually called "Digging Up Trouble" and I'm
> glad you thought it was one of the good Mickey stories... what did you
> think of having Horace as the co-star again?
I'm glad too! I was getting a little uncomfortable slagging your Donald
stories, when I *know* you're really a funny guy. As it's also the first
of your Mickey stories to appear, I assume it's the old story about nobody
being able to do both Donald AND Mickey well. Not that Don has really tried,
but Barks certainly had no luck. And you won't be offended if I call you
a Mickey Mouse writer, I trust. ;)
With regards to Horace, I have no nostalgic enthusiasm for him, since I
only recently got to read some of Gottfredson's classic pre-war stories.
He never did appear much in Murry's stories, but sometimes Italian writers
use him, especially in Gottfredson inspired works. In Danish he only works
as 'another guy' along with Goofy and Clarabelle, hardly characterized.
But trust me; I'm working on it: I just bought "The Good Ol' Mickey Mouse"
book for 30$ containing almost all the daily strips from 1930-32.
That's what I call 'digging up gold'. ;)
> But WHEN did Egmont print it? How could I have missed it?
I assume you get the Danish edition - or the Norwegian, which are (as
I've stated on numerous occasions) completely parallel. But Swedish editors
seem to be working for their pay, and mix their own coctail of the Egmont
ingredients. For a few examples: though the Swedes have to go without the
supplementary issues, they used the double issue #15/16 to put "Toy Story"
in the back, upside down, where the Danish had it on the side.
Also in issue #12 an odd, old Dutch story, H 74us10, appeared. I still
haven't seen it in Danish, and maybe never will. Remember before Norway
took over editing the Danish version, the Jippes balloon-race story was
published in Norway only, and *still* hasn't appeared in Denmark.
If an up-to-date Swedish index for the 90'es is available, it would be
interesting to run a comparison to the Danish, and see what stories, if
any, haven't made it across the Oresund. I just let my Swedish subscrip-
tion run out, but maybe there's reason to reconsider...
Anyway, to answer your first question last, it was in Swedish Kalle Anka
#12 too. Check the Anders And Ekstras too, I'm lagging behind there.
The correct titles you listed *were*, with respect to your stories, known
to me, but all but one of the others were guesswork, so I decided to make
up names for them *all*. A lot of fans on this list dream of joining the
ranks of you creators, I'm just an editor wanna-be. ;)
Ouch, this is what happens when you start answering mail before you've
read it all: apparently Finnish Akku Anka had it in #12 too, but I swear
it hasn't been in Danish up to #14, unless of course it's been relegated
to the Ekstra. And I liked your "Two-in-one" even if it was a duck story...
> Any time now my SECOND Mickey story will also appear -- this
> is D94110, "The Egg Collector" featuring Mickey together with Butch.
You're mixing up the codes: '110 is your Wolf story. "The egg collector"
is D 94108 and appears in Swedish KA #15/16.
If it's considered an Easter story it missed it's Danish 'launch window'.
I remember seing Butch, but can't place him. Cousin Mortimer (that's not
his name, I'm afraid) I recognize from a Gottfredson story c. 1934.
> I liked this story very much when I did it, and I'll be excited to see
> what you think. (Esteban's art for it uses a 1970s MM, though, so it
> wasn't quite up to Noel Van Horn's greatness IMHO.)
It was a bit longwinded for it's 8 pages. Throwing Mickey into the water
no less than *five* times is overdoing it. Three is the correct number. ;)
Again this story shows how strongly you are influenced by the cartoons;
there's a lot more of, say, "The Moose Hunters" in it than Gottfredsons
adventures, but it doesn't have the stringent 'a gag every four panels'
quality from the dailies, at least not in Swedish. The visual gags are
lacking in Estebans execution. I can't wait for a true Gerstein/Ferioli
story. In English, please!
The quote "If you want to get ahead of Mickey Mouse, you have go get
up pretty early in the morning" reminds me of your signature a while ago.
Was this original or an old Gottfredson qoute you've slipped in?
Onto another subject: 'Walstaen'.
Funny you are not aware of it, David, but the word appears to be mis-
spelled from 'Walstein'. At least that's how I pronounce my 'first'
last name, Reichstein, which is obviously Germanic in origin.
So to me the name Walstaen is not very Celtic and shouldn't be used.
An interesting connection to make from Rota's Arnoldo Wild Duck is to
the Life of Scrooge! From Don's text on Dan Shane's Homepage it appears
he has researched Scottish history too, and the rejected first draft
of chapter one has seven pages dealing with the history of the clan
MacDuich. (I just hit the surf for the first time ever yesterday, look...
my hair's still static! ;)
How about incorporating some of those unused ideas into Rota's story,
maybe even let Don do a few introductory pages, linking the clan MacDuich
to Rota's viking universe? The fans *love* a cross-over! :)
Mikko:
> Michael Gilbert did another good use of [Horace] on his 'hiccups'
> story. (Also drawn by Noel Van Horn.)
How do *you* know Michael Gilbert wrote this? (I know David and Harry
have the Junior Woodchucks Guidebook, so their info don't surprise me.)
> BTW, in Aku Ankka 13-14/96 was a new Mickey-adventure drawn
> by Ferioli. (D94133 - 'Swamp-Orchid') [...]
> And Goofy turned (almost) into Invisible Gir...um...Boy,
> just like Mickey turned into Mister Fantastic on 'Plastic-Mickey'.
Now, there's a hint I can dig! Michael Gilbert is, as his wife revealed
here a while ago, a fan of DC's Plastic Man (not Marvel's Mr. Richards),
but it seems likely that this is also one of Michael's stories, related
to a (to me) unknown DC super hero.
Dwight D:
> On a different subject: I'm on the Anders And comp list, and
What is it, and how do I get there? I'm Danish, so I ought to...
> "Now when you look at me, you can see what you're
> looking at!" It's interesting that the line works in Danish
> because as in English, there are two different words for the
> act of seeing (kig/se in Danish, look/see in English).
You could say there is a difference in perspective (no pun).
You have to look at something, before you can see it, where looking
is strictly a matter of using your eyes, and seeing requires mental
abilities. Like the difference between detecting/acknowledging the
existence of something and recognizing/comprehending it. Very Zen.
Mike P:
> Could you give me a list of people who both draw and write Disney
> comics stories? I know Carl Bakrs, Don Rosa, Marco Rota and William Van Horn,
> but that's about it. How many are there?
Harry:
> I did a "query" on the Database for people who both wrote and drew a
> substantial amount of Disney stories. Here's the result.
> ([Writ-34] means: there are 34 stories or covers in the database, written by
> the person. Covers are also counted as Cov-x.)
>
> ----
> BGy Bob Gregory [Writ-31, Art-89, Ink-1, Cov-2]
[...]
> VRe Volker Reiche [Writ-7, Art-6]
> WH William Van Horn [Writ-59, Art-83, Cov-92]
> WK Walt Kelly [Writ-10, Art-21, Cov-98]
> ----
Harry's list may seem vey authoritative with all the statistics, but the
numbers signify how many scripts and finished stories are credited to each,
*not* how many stories they *both* wrote and drew, which is what you meant(?).
Those numbers also grow almost every day as someone, like me, indexes another
bunch of pocketbooks.
Speaking of pocketbooks, I'm surprised only to see one Italian, Scarpa,
on the list (not even Rota), but it must be the high volume criteria.
I bet you put Volker Reiche in by hand, eh Harry?
In Fossati's index the creator list has the following people noted as
'scrittori e designatori' for Topolino:
Luciano Bottaro, Onofrio Bramante, Antonio Burattini, Giovan Battista Carpi,
Giulio Chierchini, Massimo de Vita, Guglielmo Guastaveglia, Federico Pedrocchi,
Guido Scala, Romano Scarpa, Giove Toppi, and Gaetano Vitelli (but not Marco
Rota or Freddy Milton).
All these artists have at one time or another written a story by them-
selves, but mostly they have professional writers to do the work; Disney
is an assembly line industry more than a publishing house. Egmont is
probably the most efficient in that respect, though they have started
taking in free-lancers mostly from overseas, but even Danish pocketbook
artist Flemming Andersen sometimes does his own scripts.
The inspired geniouses who *always* do *all* their stories from first
plot to finished inks are few and far between. I can only think of two,
and both have on occasion drawn written pre-fab stories.
-- Ole 'Raechstaen' Nielsen
"In 899 it was the clan MacDuich who helped Viking invaders defeat
the fierce Picts... Thus, the MacDuichs and the Scandinavians have
been *special* friends ever since!"
Kltpzyxm.
David G:
> [Noel Van Horn's "The Gohitherdither Diggers" (D 93497, 8 p.)] is MY
> FIRST MICKEY STORY! It's actually called "Digging Up Trouble" and I'm
> glad you thought it was one of the good Mickey stories... what did you
> think of having Horace as the co-star again?
I'm glad too! I was getting a little uncomfortable slagging your Donald
stories, when I *know* you're really a funny guy. As it's also the first
of your Mickey stories to appear, I assume it's the old story about nobody
being able to do both Donald AND Mickey well. Not that Don has really tried,
but Barks certainly had no luck. And you won't be offended if I call you
a Mickey Mouse writer, I trust. ;)
With regards to Horace, I have no nostalgic enthusiasm for him, since I
only recently got to read some of Gottfredson's classic pre-war stories.
He never did appear much in Murry's stories, but sometimes Italian writers
use him, especially in Gottfredson inspired works. In Danish he only works
as 'another guy' along with Goofy and Clarabelle, hardly characterized.
But trust me; I'm working on it: I just bought "The Good Ol' Mickey Mouse"
book for 30$ containing almost all the daily strips from 1930-32.
That's what I call 'digging up gold'. ;)
> But WHEN did Egmont print it? How could I have missed it?
I assume you get the Danish edition - or the Norwegian, which are (as
I've stated on numerous occasions) completely parallel. But Swedish editors
seem to be working for their pay, and mix their own coctail of the Egmont
ingredients. For a few examples: though the Swedes have to go without the
supplementary issues, they used the double issue #15/16 to put "Toy Story"
in the back, upside down, where the Danish had it on the side.
Also in issue #12 an odd, old Dutch story, H 74us10, appeared. I still
haven't seen it in Danish, and maybe never will. Remember before Norway
took over editing the Danish version, the Jippes balloon-race story was
published in Norway only, and *still* hasn't appeared in Denmark.
If an up-to-date Swedish index for the 90'es is available, it would be
interesting to run a comparison to the Danish, and see what stories, if
any, haven't made it across the Oresund. I just let my Swedish subscrip-
tion run out, but maybe there's reason to reconsider...
Anyway, to answer your first question last, it was in Swedish Kalle Anka
#12 too. Check the Anders And Ekstras too, I'm lagging behind there.
The correct titles you listed *were*, with respect to your stories, known
to me, but all but one of the others were guesswork, so I decided to make
up names for them *all*. A lot of fans on this list dream of joining the
ranks of you creators, I'm just an editor wanna-be. ;)
Ouch, this is what happens when you start answering mail before you've
read it all: apparently Finnish Akku Anka had it in #12 too, but I swear
it hasn't been in Danish up to #14, unless of course it's been relegated
to the Ekstra. And I liked your "Two-in-one" even if it was a duck story...
> Any time now my SECOND Mickey story will also appear -- this
> is D94110, "The Egg Collector" featuring Mickey together with Butch.
You're mixing up the codes: '110 is your Wolf story. "The egg collector"
is D 94108 and appears in Swedish KA #15/16.
If it's considered an Easter story it missed it's Danish 'launch window'.
I remember seing Butch, but can't place him. Cousin Mortimer (that's not
his name, I'm afraid) I recognize from a Gottfredson story c. 1934.
> I liked this story very much when I did it, and I'll be excited to see
> what you think. (Esteban's art for it uses a 1970s MM, though, so it
> wasn't quite up to Noel Van Horn's greatness IMHO.)
It was a bit longwinded for it's 8 pages. Throwing Mickey into the water
no less than *five* times is overdoing it. Three is the correct number. ;)
Again this story shows how strongly you are influenced by the cartoons;
there's a lot more of, say, "The Moose Hunters" in it than Gottfredsons
adventures, but it doesn't have the stringent 'a gag every four panels'
quality from the dailies, at least not in Swedish. The visual gags are
lacking in Estebans execution. I can't wait for a true Gerstein/Ferioli
story. In English, please!
The quote "If you want to get ahead of Mickey Mouse, you have go get
up pretty early in the morning" reminds me of your signature a while ago.
Was this original or an old Gottfredson qoute you've slipped in?
Onto another subject: 'Walstaen'.
Funny you are not aware of it, David, but the word appears to be mis-
spelled from 'Walstein'. At least that's how I pronounce my 'first'
last name, Reichstein, which is obviously Germanic in origin.
So to me the name Walstaen is not very Celtic and shouldn't be used.
An interesting connection to make from Rota's Arnoldo Wild Duck is to
the Life of Scrooge! From Don's text on Dan Shane's Homepage it appears
he has researched Scottish history too, and the rejected first draft
of chapter one has seven pages dealing with the history of the clan
MacDuich. (I just hit the surf for the first time ever yesterday, look...
my hair's still static! ;)
How about incorporating some of those unused ideas into Rota's story,
maybe even let Don do a few introductory pages, linking the clan MacDuich
to Rota's viking universe? The fans *love* a cross-over! :)
Mikko:
> Michael Gilbert did another good use of [Horace] on his 'hiccups'
> story. (Also drawn by Noel Van Horn.)
How do *you* know Michael Gilbert wrote this? (I know David and Harry
have the Junior Woodchucks Guidebook, so their info don't surprise me.)
> BTW, in Aku Ankka 13-14/96 was a new Mickey-adventure drawn
> by Ferioli. (D94133 - 'Swamp-Orchid') [...]
> And Goofy turned (almost) into Invisible Gir...um...Boy,
> just like Mickey turned into Mister Fantastic on 'Plastic-Mickey'.
Now, there's a hint I can dig! Michael Gilbert is, as his wife revealed
here a while ago, a fan of DC's Plastic Man (not Marvel's Mr. Richards),
but it seems likely that this is also one of Michael's stories, related
to a (to me) unknown DC super hero.
Dwight D:
> On a different subject: I'm on the Anders And comp list, and
What is it, and how do I get there? I'm Danish, so I ought to...
> "Now when you look at me, you can see what you're
> looking at!" It's interesting that the line works in Danish
> because as in English, there are two different words for the
> act of seeing (kig/se in Danish, look/see in English).
You could say there is a difference in perspective (no pun).
You have to look at something, before you can see it, where looking
is strictly a matter of using your eyes, and seeing requires mental
abilities. Like the difference between detecting/acknowledging the
existence of something and recognizing/comprehending it. Very Zen.
Mike P:
> Could you give me a list of people who both draw and write Disney
> comics stories? I know Carl Bakrs, Don Rosa, Marco Rota and William Van Horn,
> but that's about it. How many are there?
Harry:
> I did a "query" on the Database for people who both wrote and drew a
> substantial amount of Disney stories. Here's the result.
> ([Writ-34] means: there are 34 stories or covers in the database, written by
> the person. Covers are also counted as Cov-x.)
>
> ----
> BGy Bob Gregory [Writ-31, Art-89, Ink-1, Cov-2]
[...]
> VRe Volker Reiche [Writ-7, Art-6]
> WH William Van Horn [Writ-59, Art-83, Cov-92]
> WK Walt Kelly [Writ-10, Art-21, Cov-98]
> ----
Harry's list may seem vey authoritative with all the statistics, but the
numbers signify how many scripts and finished stories are credited to each,
*not* how many stories they *both* wrote and drew, which is what you meant(?).
Those numbers also grow almost every day as someone, like me, indexes another
bunch of pocketbooks.
Speaking of pocketbooks, I'm surprised only to see one Italian, Scarpa,
on the list (not even Rota), but it must be the high volume criteria.
I bet you put Volker Reiche in by hand, eh Harry?
In Fossati's index the creator list has the following people noted as
'scrittori e designatori' for Topolino:
Luciano Bottaro, Onofrio Bramante, Antonio Burattini, Giovan Battista Carpi,
Giulio Chierchini, Massimo de Vita, Guglielmo Guastaveglia, Federico Pedrocchi,
Guido Scala, Romano Scarpa, Giove Toppi, and Gaetano Vitelli (but not Marco
Rota or Freddy Milton).
All these artists have at one time or another written a story by them-
selves, but mostly they have professional writers to do the work; Disney
is an assembly line industry more than a publishing house. Egmont is
probably the most efficient in that respect, though they have started
taking in free-lancers mostly from overseas, but even Danish pocketbook
artist Flemming Andersen sometimes does his own scripts.
The inspired geniouses who *always* do *all* their stories from first
plot to finished inks are few and far between. I can only think of two,
and both have on occasion drawn written pre-fab stories.
-- Ole 'Raechstaen' Nielsen
"In 899 it was the clan MacDuich who helped Viking invaders defeat
the fierce Picts... Thus, the MacDuichs and the Scandinavians have
been *special* friends ever since!"
Kltpzyxm.
Per Starback
Mostly to David today
Message 72 -
1996-04-11 at 15:07:38
Sorry for the repetitions of Ole's long post. It was not Ole's fault,
but mine. (Digest readers won't notice because I'll delete the
superfluous copies from the digest.)
--
Per Starback <(Email removed)> http://www.update.uu.se/~starback
"Life is but a gamble! Let flipism chart your ramble!"
but mine. (Digest readers won't notice because I'll delete the
superfluous copies from the digest.)
--
Per Starback <(Email removed)> http://www.update.uu.se/~starback
"Life is but a gamble! Let flipism chart your ramble!"
A8201960
Disney comics Digest V96 #76
Message 73 -
1996-04-11 at 15:09:30
GAUTE and ALL
You referred to a less than professional Barks Interview last time.
Well, me and some collegues (all German or Austrian comics
journalists) had the opportunity two years ago to meet Mr. Barks
during his stay in Munich. The interview or rather press talk we had
has been printed in COMIC FORUM Nr.65 (obtainaible from COMIC FORUM,
A-1070 Vienna, Austria) and will be included in my forthcomig book on
Gottfredson, Taliaferro and Barks which will appear in june.
Unfortunately all this is German, so understanding will be
restricted to German-speakers (and north-european people with
creative imagination). Barks made some funny and rather unusual
remarks about life and comics (and Hal Fosters drinking problem). I
have the interview in my computer and could e-mail it to a limited
number of people - it's rather long - or post it some place, in
German of course...
I also could sample bits and pieces in the original and post them
here. Interest?
Harald Havas
---Harald Havas (Email removed)
You referred to a less than professional Barks Interview last time.
Well, me and some collegues (all German or Austrian comics
journalists) had the opportunity two years ago to meet Mr. Barks
during his stay in Munich. The interview or rather press talk we had
has been printed in COMIC FORUM Nr.65 (obtainaible from COMIC FORUM,
A-1070 Vienna, Austria) and will be included in my forthcomig book on
Gottfredson, Taliaferro and Barks which will appear in june.
Unfortunately all this is German, so understanding will be
restricted to German-speakers (and north-european people with
creative imagination). Barks made some funny and rather unusual
remarks about life and comics (and Hal Fosters drinking problem). I
have the interview in my computer and could e-mail it to a limited
number of people - it's rather long - or post it some place, in
German of course...
I also could sample bits and pieces in the original and post them
here. Interest?
Harald Havas
---Harald Havas (Email removed)
Henri Sivonen
Digest V96 #76 & #56 (Winnie the Pooh by Wallu)
Message 74 -
1996-04-11 at 16:48:18
Jyrki,
>As you asked about sending e-mail to Wallu, you probably also
>_know_ his address. Well, go ahead!
Quite some time ago we had conversation on Wallu's Winnie the Pooh stories.
The following is based on a message I got from Wallu:
Wallu drew and wrote during 1986 -88 eleven Winnie the Pooh stories for
the Finnish Winnie the Pooh and Winnie the Pooh activity magazines. As he
recalls 5 for the main magazine and 6 for the activity magazine. You can
recognize the stories he drew by the code in the first panel SF-01... etc.
As far as he knows they aren't published outside Finland.
In addition he drew a couple of competition illustrations and some vignette
picture for the activity magazine. He also wrote and drew one story for
Denmark, but as far as he knows it was never published. His drawing style
didn't fit in the so called new Disney style that time. (The Danes thought
his drawings were oldish American...)
Wallu's stories for the Winnie the Pooh magazine were 5-8 pagers, the
stories for the activity magazine were always four pagers.
And about Redneck: Introducing material has been translated to English, but
not published.
Robert D,
>I never had any problem as a kid dealing with inconsistancies in fantasy
>comics.
I have to say it confused me as a little kid when I saw Donald getting deaf
and in the next story he had his hearing back again. Of course this was
just a gag.
>When one's delves in fantasy, one must suspend disbelief within the first
>page >or so.
Yes, but comics can still have their *own* world.
>Besides, with the Disney comics, who is really in charge, anyway?
That's the major problem with Disney comics.
David and Frank,
>PLEASE be as faithful as possible to the
>original! THAT's the job of the best translators. Don't try to "improve"...
>you wouldn't want anyone doing that with your stories would you?)
My point exactly. When translating form British to American rather than
from Italian the risk is even greater.
-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
>As you asked about sending e-mail to Wallu, you probably also
>_know_ his address. Well, go ahead!
Quite some time ago we had conversation on Wallu's Winnie the Pooh stories.
The following is based on a message I got from Wallu:
Wallu drew and wrote during 1986 -88 eleven Winnie the Pooh stories for
the Finnish Winnie the Pooh and Winnie the Pooh activity magazines. As he
recalls 5 for the main magazine and 6 for the activity magazine. You can
recognize the stories he drew by the code in the first panel SF-01... etc.
As far as he knows they aren't published outside Finland.
In addition he drew a couple of competition illustrations and some vignette
picture for the activity magazine. He also wrote and drew one story for
Denmark, but as far as he knows it was never published. His drawing style
didn't fit in the so called new Disney style that time. (The Danes thought
his drawings were oldish American...)
Wallu's stories for the Winnie the Pooh magazine were 5-8 pagers, the
stories for the activity magazine were always four pagers.
And about Redneck: Introducing material has been translated to English, but
not published.
Robert D,
>I never had any problem as a kid dealing with inconsistancies in fantasy
>comics.
I have to say it confused me as a little kid when I saw Donald getting deaf
and in the next story he had his hearing back again. Of course this was
just a gag.
>When one's delves in fantasy, one must suspend disbelief within the first
>page >or so.
Yes, but comics can still have their *own* world.
>Besides, with the Disney comics, who is really in charge, anyway?
That's the major problem with Disney comics.
David and Frank,
>PLEASE be as faithful as possible to the
>original! THAT's the job of the best translators. Don't try to "improve"...
>you wouldn't want anyone doing that with your stories would you?)
My point exactly. When translating form British to American rather than
from Italian the risk is even greater.
-- ___
Henri Sivonen / \
(Email removed) WWW (renewed): | h_|
Fax: +358-0-479387 http://www.clinet.fi/~henris \__
RHODE
Italian story in Egypt
Message 75 -
1996-04-11 at 18:12:19
Hello all,
Frank mentions:
Zio Paperone e la scorribanda nei secoli (TL 911, 1973, art by Scarpa)
(Scrooge travels in time with Gyro and Donald after "unfreezing" a
Pharaoh)
Has this ever been published in English? As some of you might recall, I was
working on a paper on Ancient Egypt In The Comics, which is now going to be a
bibliography, and I'd like to cite this article and it's English version. Can
anyone give me a translation of the title into English and it TL, Toppolino?
Thanks,
Mike
PS If I ever finish the biblio, I'll let the list know for those who want it.
Frank mentions:
Zio Paperone e la scorribanda nei secoli (TL 911, 1973, art by Scarpa)
(Scrooge travels in time with Gyro and Donald after "unfreezing" a
Pharaoh)
Has this ever been published in English? As some of you might recall, I was
working on a paper on Ancient Egypt In The Comics, which is now going to be a
bibliography, and I'd like to cite this article and it's English version. Can
anyone give me a translation of the title into English and it TL, Toppolino?
Thanks,
Mike
PS If I ever finish the biblio, I'll let the list know for those who want it.