Keskustelujen arkisto

hi all! Today is my last free day before I have to go back to college. I was
wondering last night while I was reading the latest Disney comic Digest if I
was geting too old for disney comics.... Most of My freinds think that disney
comics are just for little kids. I disagree!! A few years ago, duing my
sophmorre year in high school, I allmost `stoped collecting and reading
disney comics becuase all my freinds told me they were imature... Then USA
Life and Times came out and I fell in love with disney comcis all over
again.... I like How Rosa mixed History in with the ducks. I think he really
did a good job.. The art work is the best art work I had seen in a long
time....
I was so glad when i finnally found this mailing list so I could finally talk
to people who know something about disney comics. Most of my freinds don't
even Have any idea who Carl Barks is.... How old are you guys? Any duck
fans around 20?
Does anybody know if Dona Rosa is Ever going to be in the Midwest-Ilinois,
Wisconson, Iowa,? I would love to meet him and get his autograph and mabe I
might be able to get him to draw me a scrooge.... That would be really
cool.....

I was so glad to here that Walt Disney comics and Stories is now monthly. I
was hopeing for a long time that this would happening. Now we don't have to
wait as long to get our next issue of great comics.........

Hi!

MIKE POHJOLA:
I didn't like Van Horn's art either, in the beginning. But I'm
getting to appriciate him more and more. Some of his latest stories are
very good, I think.

ALL:
Is there really noone out there, who can tell me where to find
comicshops in Paris?

HARRY FLUKS:
No ... Hachette is not part of Egmont. Disney Hachette is a joint
venture between Disney and Hachette, 51% being owned by Disney and 49% by
Hachette. Hachette is in fact the publishing part of Group Largardere and
is one of the main French editors.

Bye!

Arthur de Wolf -- Roosendaal, the Netherlands
email: (Email removed)
homepage: www.pi.net/~wolfman/disney

--------------------------------
End of Disney comics Digest V96 Issue #179
******************************************

DON, MARCO:
>> and a very historically accurate plot that would have
>>delighted a history buff... but I suspected the story itself was boring and
>>repetitive,
>
>repetitive? The world-over search reminded me of the philosopher's stone
>story by Barks. You haven't read repetitive stories, then!

Want to read a repetitive story? Try "Goofy Through History."

WHOEVER WANTS TO HEAR WHAT READERS *DON'T* LIKE, INSTEAD OF LIKE:
Someone was talking about not liking CB stories. The CB story I find worst
of the ones I've read is probably "Hall of the Mermaid Queen." I don't care
for his new paintings all that much either--the Ducks' heads seem
grotesquely big and the pictures in general seem stiff. The worst Rosa story
I've read? Probably "Mythological Menagerie." Worst Van Horn story could be
"The Pauper's Glass." (BTW, I actually am one of WVH's bigger fans.)

DON:
I'm *glad* you used "Voodoo Hoodoo" in "Lo$." When I first read "VH"
("censored," of course, although I didn't know), I disturbed by the fact
that Barks' description of Scrooge's early life was so vivid and intriguing,
even though it was so un-Barksian, that it seemed a shame to let it sink
into oblivion. That's why it was good to see the events of it reconciled in
"Lo$"--yet with the difference that immediately after burning Foola Zoola's
village, Scrooge confirmed to us that he *wasn't* the early "evil
unreedeemed" Scrooge--he did this by vividly remembering his shoe-shiner and
gold-miner days as described the CB stories which went on to glory.

Actually, that brings us to another Rosa subject--I also *like* your Barsian
references. They say to me "This guy actually HAS read Barks' stories, he
knows where and in which story every event happened--he's familiar with
*specific* Scroogisms--he isn't just some facile hireling who comes along
with only a vague idea of how the character Scrooge should act and then just
writes what the Disney Studio tells him to." In fact, after your Barksian
references became developed, other authors' Barksian references started
appearing almost everywhere!

--Jonathan Markoff

Hi Arthur,
I read your request concerning Paris comic shops. I'm afraid I can't be of
much help, but one shop I'd definitely recommend is the FNAC media store,
kind of a department store for books, videos and music. It' HUGE and has a
very large comics section, comic albums that is; no newsstand comics there
as far as I can remember. The prices for books are very reasonable (not so
for CDs), and I'm quite sure you'll find some Disney comics albums there.
Unfortunately I don't have the address here and can't look it up now, but I
can say that it's located virtually underground, not very far from the
Centre Pompidou. But it is widely known in Paris, and a look into the phone
book , the yellow pages or an inquiry at hotel, newsstand etc. should help
you find it.
I hope this helps a bit.
Best regards, Frank Fabian
****************************************************************************
********
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)
****************************************************************************
********

HARRY:
What I meant by being reduced to poverty by Disney's orders to Gladstone to
not return art was that Gladstone, in those days, couldn't afford to pay
high rates and even at those rates, couldn't afford to keep me busy 100% of
my time. I was making over half of my income by (the necessity of) selling
my original art pages to collectors as is a freelance artist's right. Once
they were compelled to keep the art, my income was suddenly reduced
overnight to about $10,000-12,000 per year, and with the mortgages and
family that I had gathered while I was running my construction business
(prior to deciding to do comics), I would have been bancrupt in no time at
that level of income... so I had no choice but to quit. (Not to mention that
I wouldn't want to work under those policies even if I was well paid.)
Fortunately my wife had her job, so we were able to hang on for about a year
until the unexpected chance came up that I could actually work for Egmont. I
had previously gotten in touch with Oberon in trying to fill my spare time
between Gladstone jobs, but they didn't care that much for me, so I knew
that being able to work for Oberon wasn't a possibility. I knew Egmont
(Gutenberghus) was the tops, and it took me a year to build up the
desperation to write to them since I was pretty sure that if Oberon didn't
want me then neither would big Egmont.

ARTHUR:
Going to France??? If you get a chance, could you look for some issues of
PICSOU for me? I am still having great trouble obtaining issues with my
stories reprinted. I think episodes of the "Lo$" are in PICSOU #285, 287,
289, and other stories might be in other issues. I managed to get issues
with my stuff prior to #285. Hope you can help.

JONATHAN:
??? What did you need further described about the Family Trees I was
discussing? You've seen mine, and you've seen Barks' old one (I think it's
linked into Per's Disney pages here). The new one Barks sent was the same as
his old one except for the part where Gladstone's parents die of overeating
at a free picnic.

WILMER:
I didn't put the Rocketeer suit in Gyro's "abandonned projects" box as a
dig. I LOVED that move (and the comic)!!! I don't know if Disney made enough
money off it to suit them or not -- that's not my interest. It was a
tremendously successful movie as far as I was concerned! I may have just
been rewatching my laser disc of it when I drew that story and it leapt to
my mind when I was thinking up background clutter. Besides, I don't know if
Disney would have not liked seeing that stuff used in the comic -- I really
doubt that they would recognize those items.

MARCO:
The ending of "Guardians of the Lost Library" that was only used by
Gladstone was the part that involved the symbol for the Library (the Ibis)
turning out to be the the same as the symbol for the Junior Woodchuck of the
World (the 'J' with the 'W's on each side). I did special art for Gladstone
to add that bit back into the story (as it appeared in my original script).
I also made a correction in the story moving some other art about -- that
correction involved having Marco Polo add the library of Cathay into the
Great Library when it was in Venice rather than when it was in
Constantinople (50 years before he was born!). Did your Italian printing
have that change? And the Woodchuck symbol bit? Perhaps it did, which would
be very nice! I know that the Italian publisher takes great care in choosing
the best versions of those stories to print, such as when they used
Gladstone's expanded 12th "Lo$" chapter rather than the Egmont version. I
wish other publishers would take such care in their choices, but I still
can't even get other publishers to bother to get the single extra page of
art that would enable them to turn awkward 3-part stories into nice
single-part stories.

DON, BYRON:

> would give a child a nightmare sort of rattles me.

There was a similar reaction by me when I was told about this nightmare
story. But meanwhile I thought about this topic and remembered something
when I was a seven year old child. I remember very good the first time I red
Barks "The Old Castles Secret". It was gripping and VERY thrilling. And it
was horrible. But it wasn't any funny!
I remember when reading the part HDL came through the secret passage into
the dungeon. Then the ghost persued HDL. This was very horrible. I had been
sitting at the kitchen table. While reading this, my mother says something
to me. I got very frightened. So much I crumpled the comic book! And it gave
me - no, not nightmares - but two or three bad dreams. And all the other
Barks adventure stories I've red as a child had been thrilling, but normally
NOT funny.

So I think there is a very different result of such a story, depending on
age and experience of the reader. A grownup looks in another way to such a
tory then a child. When reading "The Once and Future Duck", a mature reader
knows, that Donald never would be beheaded. But perhaps a child would not.

I've been reading Asterix at the same age. But this worked in a different
way. That WAS funny all the time. The stories operate in another way.

>I just aim at writing a Duck adventure that *I* might
>enjoy reading,

That' s okay. And I am very happy you are doing this and you doing it in
your style because you're my top favorite comic artist yet. But the point
is: are Don Rosas Comics and Stories (the Duck version) or some other Disney
comics really qualified for children? I don't have children so I don't have
actual experience in what frightens children.
BTW: I couldn't understand the nomination for you in Erlangen in category
'child comicbook'.

And things like modern animated features or other modern 'children' stuff
are a topic for its own. The children want to see them, but the parents had
to deal with the consequences.

DON:
You've sitting besides Ulrich. Did you saw the copies from "Runaway Brain"
in Erlangen?

BYRON:

> It *IS* great. But horrible too. The former president of the German
> Duck fanclub DONALDISTEN had been more shocked as I. She had been a
> little bit furious because she' s afraid to give stories like this to
> her children.

Furious? - Sorry, that was the wrong expression. It should be 'angry'.
(too few english exercise in recent time)
Joachim Butz
Ruggerstr. 27
70569 Stuttgart
GERMANY

On Aug 23, 2:43pm, Mikko Henri Juhani Aittola wrote:
> Subject: credits, WVH, page size
>
> I think, in the US, we only see the credits because of their law
> that requires it. I hate overgrown bureaucracy, but maybe we need
> that kind of law in other countries too?
>
Is there such a law? Credits in US comics used to be very
spotty and infrequent. Artists sometimes signed their work,
while writers were generally anonymous. That almost all
comic books have credits now is probably due to Stan Lee
instituting them at Marvel in the early '60s and other
companies gradually followed suit. There are a number of
reasons encouraging the practice -- creators demanding it,
comic-book circulations shrinking from a mass market that
largely didn't care to a fan market that did, creators
becoming stars in their own right (and thus marketable) --
but I don't think there's an actual _law_ requiring credits.

--Dwight Decker