Another proposal:
In the German "Lustiges Taschenbuch" a story had been printed over two
issues...every book contains 256 pages, but there were few other stories, I
think...so it would be about 350 to 400 pages!
I don't have them at hand know, so I don't know the titles...it was a series
over centuries of time, I think, and they called the (12) chapters one story...
Bye,
Soeren Schridde <(Email removed)>
Author
Topic: 199608
(341 messages)
Sschridde
Large comics
Message 241 -
1996-08-23 at 23:05:00
Deckerd
Different tastes
Message 242 -
1996-08-24 at 00:04:36
On Aug 22, 11:53pm, markoff wrote:
> Subject: Different tastes
> The apple of my own cartooning eye is
> the 1960s-70s "Super Goof" and "Beagle Boys" comics,
> mostly by Vic Lockman.(Hmm...that's one modern Disney
> author/artist overlooked by the list lately.
> Anyone want to share opinions on him?)
>
Uhm...adequate artist, not so hot as a scripter? A while back,
I had an idea for a one-page Beagle Boy gag and thought of
contacting Lockman about drawing it so we could submit it to
Gladstone on spec. I never did it because I ended up selling
the script for the gag to Egmont, which had one of their guys
draw it. Still, I wouldn't mind attempting the experiment of
working with ol' Vic sometime, and if he and I and Gladstone
all last long enough, maybe I'll give it a whirl.
> BTW, what does "IMHO" mean? I seem to see it on this list alot.
>
Oh, that's Net jargon. "In My Humble Opinion," used for taking
the edge off statements that might sound arrogant or pompous
or dictatorial if left unqualified.
--Dwight Decker
--------------------------------
End of Disney comics Digest V96 Issue #180
******************************************
> Subject: Different tastes
> The apple of my own cartooning eye is
> the 1960s-70s "Super Goof" and "Beagle Boys" comics,
> mostly by Vic Lockman.(Hmm...that's one modern Disney
> author/artist overlooked by the list lately.
> Anyone want to share opinions on him?)
>
Uhm...adequate artist, not so hot as a scripter? A while back,
I had an idea for a one-page Beagle Boy gag and thought of
contacting Lockman about drawing it so we could submit it to
Gladstone on spec. I never did it because I ended up selling
the script for the gag to Egmont, which had one of their guys
draw it. Still, I wouldn't mind attempting the experiment of
working with ol' Vic sometime, and if he and I and Gladstone
all last long enough, maybe I'll give it a whirl.
> BTW, what does "IMHO" mean? I seem to see it on this list alot.
>
Oh, that's Net jargon. "In My Humble Opinion," used for taking
the edge off statements that might sound arrogant or pompous
or dictatorial if left unqualified.
--Dwight Decker
--------------------------------
End of Disney comics Digest V96 Issue #180
******************************************
Harry Fluks
Different tastes
Message 243 -
1996-08-24 at 10:34:35
Jonathan was discussing the worst Disney comics, and, on the same day,
wrote:
> Vic Lockman. (Hmm...that's one modern Disney author/artist
> overlooked by the list lately.
> Anyone want to share opinions on him?)
Well, what a coincidence. I happen to think Vic Lockman is the WORST
Disney comics writer and artist at the moment. (I know, I said that before
on this list, but Jonathan asked...)
As an artist, he depictured Gyro Gearloose without hair (in 2 recent stories).
What a shock! I didn't even recognise the bird at first!
As a writer, he managed to write a recent story that really offended me.
In Gladstone's giant "Uncle Scrooge and the Junior Woodchucks", there's
a story about some JW person who demolished a lot of nature, and
shouldn't have a statue (but he has). So far so good. But what is the morale
in the end of the story? Demolishing the nature is GOOD, for because of
the highways etc. a lot of people can enjoy the nature that's left. In other
words, nature is there for humans to enjoy, and demolishing most of it
is good, for we can even more enjoy what's left. WAAAAH!
I can understand this attitude in a pre-war story. But I can't understand
that Gladstone let this go through in a comic TODAY.
--Harry.
(from Holland, one of the countries with the least percentage of forest
in Europe, and the highest percentage of people to enjoy it)
wrote:
> Vic Lockman. (Hmm...that's one modern Disney author/artist
> overlooked by the list lately.
> Anyone want to share opinions on him?)
Well, what a coincidence. I happen to think Vic Lockman is the WORST
Disney comics writer and artist at the moment. (I know, I said that before
on this list, but Jonathan asked...)
As an artist, he depictured Gyro Gearloose without hair (in 2 recent stories).
What a shock! I didn't even recognise the bird at first!
As a writer, he managed to write a recent story that really offended me.
In Gladstone's giant "Uncle Scrooge and the Junior Woodchucks", there's
a story about some JW person who demolished a lot of nature, and
shouldn't have a statue (but he has). So far so good. But what is the morale
in the end of the story? Demolishing the nature is GOOD, for because of
the highways etc. a lot of people can enjoy the nature that's left. In other
words, nature is there for humans to enjoy, and demolishing most of it
is good, for we can even more enjoy what's left. WAAAAH!
I can understand this attitude in a pre-war story. But I can't understand
that Gladstone let this go through in a comic TODAY.
--Harry.
(from Holland, one of the countries with the least percentage of forest
in Europe, and the highest percentage of people to enjoy it)
Harry Fluks
Guardians of the List Library
Message 244 -
1996-08-24 at 10:39:44
DON wrote:
> 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 Woodchucks
> 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
In Holland, the "European" version was printed. But they seem to have used
the Gladstone version in the translation. The text about the JW symbol is
the same in Holland (but put into different balloons since the extra panel
wasn't there).
--Harry.
> 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 Woodchucks
> 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
In Holland, the "European" version was printed. But they seem to have used
the Gladstone version in the translation. The text about the JW symbol is
the same in Holland (but put into different balloons since the extra panel
wasn't there).
--Harry.
Harry Fluks
The Dutch Speak!
Message 245 -
1996-08-24 at 10:53:04
PIETER:
I have been converting your Dutch story list, and a lot of interesting
things are in there. For instance, a lot of Heymans stories are inked
by a person called Colle'. Who's that?
> RUNAWAY BRAIN
> Thanks for your compliments about our great cover. Our editor in chief
> hated it
The cover reminded me of some of the great covers from 1974/1975.
(Really inviting you to read the inside.) And your editor in chief started
his carreer in about 1974...
If you're not overwhelmed with questions yet, here's another one:
There are several 1-page gags with Daisy, drawn by Daan Jippes and
inked by Michel Nadorp. Was this supposed to be part of a project?
For the back of the DD Weekly, perhaps? (Jippes never made 52 of them,
though.)
--Harry.
I have been converting your Dutch story list, and a lot of interesting
things are in there. For instance, a lot of Heymans stories are inked
by a person called Colle'. Who's that?
> RUNAWAY BRAIN
> Thanks for your compliments about our great cover. Our editor in chief
> hated it
The cover reminded me of some of the great covers from 1974/1975.
(Really inviting you to read the inside.) And your editor in chief started
his carreer in about 1974...
If you're not overwhelmed with questions yet, here's another one:
There are several 1-page gags with Daisy, drawn by Daan Jippes and
inked by Michel Nadorp. Was this supposed to be part of a project?
For the back of the DD Weekly, perhaps? (Jippes never made 52 of them,
though.)
--Harry.
Dave Rawson
Creator attribution
Message 246 -
1996-08-24 at 11:23:33
MIKKO asked for creators to discuss non-attribution. I can't speak for
others, but I'm happy to answer questions in regards to myself.
> I also claimed that uncredited work equals slave-work in my book
Well, no one is FORCING us to work for Egmont. I knew attribution wasn't
likely going in. I'm not really sure why they don't allow it, but it's
far from slave labor. I'm happy to work for Egmont.
>Some creators don't want to discuss about it, because there
>is obviously something close to death-penalty in their contracts
>if they ever try to speak their mind about it.
Well, there's nothing in my contract that forbids discussion, but again,
I don't have to work for them. Besides, I get to tease them about not
even allowing a penny's royalty per copy sold.
>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?
The US publishers aren't required by any law I know to attribute. They
just found that over the long run they suffered heavy public relations
debacles by suppressing public recognition of their creators.
>In Finland our publisher gives credits sometimes to Don Rosa
>and Carl Barks (at the beginning of the story), but that's
>really UNFAIR for the rest of the creators.
Hmmmmm... That does seem unfair, but perhaps it's just because Carl and
Don's names help sell the books and my name or others of us don't.
>And to colorists and Egmont-editors (Byron etc.) of those stories.
I think if there are any attributions, anyone who helps create the
storytelling should be attributed. But that's just my personal thinking.
Believe me, the editor has a lot to do with what you finally see.
>Of course the "local" editors never forget to mention THEIR OWN NAMES
>in every comic-book.
Maybe it's a contractual requirement?
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
http://users.aol.com/dcrawson/home.htm
others, but I'm happy to answer questions in regards to myself.
> I also claimed that uncredited work equals slave-work in my book
Well, no one is FORCING us to work for Egmont. I knew attribution wasn't
likely going in. I'm not really sure why they don't allow it, but it's
far from slave labor. I'm happy to work for Egmont.
>Some creators don't want to discuss about it, because there
>is obviously something close to death-penalty in their contracts
>if they ever try to speak their mind about it.
Well, there's nothing in my contract that forbids discussion, but again,
I don't have to work for them. Besides, I get to tease them about not
even allowing a penny's royalty per copy sold.
>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?
The US publishers aren't required by any law I know to attribute. They
just found that over the long run they suffered heavy public relations
debacles by suppressing public recognition of their creators.
>In Finland our publisher gives credits sometimes to Don Rosa
>and Carl Barks (at the beginning of the story), but that's
>really UNFAIR for the rest of the creators.
Hmmmmm... That does seem unfair, but perhaps it's just because Carl and
Don's names help sell the books and my name or others of us don't.
>And to colorists and Egmont-editors (Byron etc.) of those stories.
I think if there are any attributions, anyone who helps create the
storytelling should be attributed. But that's just my personal thinking.
Believe me, the editor has a lot to do with what you finally see.
>Of course the "local" editors never forget to mention THEIR OWN NAMES
>in every comic-book.
Maybe it's a contractual requirement?
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
http://users.aol.com/dcrawson/home.htm
SRoweCanoe
Disney comics Digest V96 #180
Message 247 -
1996-08-24 at 15:33:18
In a message dated 96-08-24 00:08:07 EDT, you write:
<< 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
>>
I agree with Dwight; as recently as two years ago, the FELIX company did not
print credits (probably not the reason they stoped printing). A nit picking
correction; I believe Stan Lee started including credits as a result of
Richard Hughes doing credits at ACG, starting c1958. (hey, both Richard and
Stan had prople who used pen names on their material).
Steven Rowe
<< 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
>>
I agree with Dwight; as recently as two years ago, the FELIX company did not
print credits (probably not the reason they stoped printing). A nit picking
correction; I believe Stan Lee started including credits as a result of
Richard Hughes doing credits at ACG, starting c1958. (hey, both Richard and
Stan had prople who used pen names on their material).
Steven Rowe
Don Rosa
Disney comics Digest V96 #180
Message 248 -
1996-08-24 at 16:25:35
JOACHIM:
In Erlangen I sat next to Ulrich for only a few minutes -- I think I was
just killing a moment between interviews. I never had a chance to talk to
him at any length. We'd been planning some "quality time" together, but once
I get to those European conventions and see the lines of Duckfans waiting
hours on end at the Ehapa booth, I don't see any opportunity left to do
anything but be there for them. So, no, I didn't see his "Runaway Brain"
copies if he had them there.
HOLLAND:
Is there a chance that the editor of the monthly will join our group? The
weekly is "off limits" to my stuff.
MIKKO:
There's no law in America requiring comics credits to be published. But I'm
constantly being told that there are such laws in Europe / Scandanavia. But
good luck with getting your question as to why credits aren't published
answered. I've worked for European Disney publishers for 7 years, and *I*
still don't know the answer.
In Erlangen I sat next to Ulrich for only a few minutes -- I think I was
just killing a moment between interviews. I never had a chance to talk to
him at any length. We'd been planning some "quality time" together, but once
I get to those European conventions and see the lines of Duckfans waiting
hours on end at the Ehapa booth, I don't see any opportunity left to do
anything but be there for them. So, no, I didn't see his "Runaway Brain"
copies if he had them there.
HOLLAND:
Is there a chance that the editor of the monthly will join our group? The
weekly is "off limits" to my stuff.
MIKKO:
There's no law in America requiring comics credits to be published. But I'm
constantly being told that there are such laws in Europe / Scandanavia. But
good luck with getting your question as to why credits aren't published
answered. I've worked for European Disney publishers for 7 years, and *I*
still don't know the answer.
Cord Wiljes
Different Tastes, Gottfredson
Message 249 -
1996-08-24 at 18:53:50
ERIC:
The richness of detail in Barks' paintings, which you pointed out,
is just what I don't like about them. It is impressive - I won't argue
that. But, like Don puts it, referring to his own work: Often it is
"needless and irritating".
The paintings which I like very much are in fact all designed from original
comic books covers (Sailing the Spanish Main, Sheriff of Bullet Valley).
About the only "detailed" one I really enjoy is "Dam Disaster at Money
Lake" because of its wonderful perspective and dynamics.
But I just can't bear those money bin scenes with every coin and jewel
drawn.It just looks flat to me - but then I never saw on original and
only a few of the high end (high price) investors prints.
Glad that you too like Van Horn's work. I want to back your observation
that his special talent (or result of hard work) are the Ducks faces:
You can look into their souls! Just try to do that with one of the
cardboard figures from most current superhero comics.
JONATHAN:
Sorry for the net-slang IMHO="In my humble opinion". I promise it won't
happen again.
And as I am a Donaldist I take the step of outing myself: I LOVE
Gottfredson's Mickey stories. I bought the series "Mickeys Klassiker"
which appeared in Germany ten years ago and unfortunately had to fold
its wings after 7 volumes (if memory serves). I bought the limited
edition of "Mickey in Color" for the first money I earned.
And recently I got hold of the two "Uncensored Mouse" issues.
There was a very extensive special issue of the "Der Donaldist" on
Gottfredson two years ago. If anybody is interested I still might
get copies.
BTW (oups!) Gottfredson's watercolors are more to my tastes than
oil-paintings.
All:
In Germany we have a HC reprint series of Donald stories by Al Taliaferro
(4 vols up to now). So the succesion of artists getting their credits
on the cover (at least for Germany) is: Barks, Rosa, Taliaferro,
Van Horn. Who is next? Romano Scarpa is in the discussion, I believe.
The richness of detail in Barks' paintings, which you pointed out,
is just what I don't like about them. It is impressive - I won't argue
that. But, like Don puts it, referring to his own work: Often it is
"needless and irritating".
The paintings which I like very much are in fact all designed from original
comic books covers (Sailing the Spanish Main, Sheriff of Bullet Valley).
About the only "detailed" one I really enjoy is "Dam Disaster at Money
Lake" because of its wonderful perspective and dynamics.
But I just can't bear those money bin scenes with every coin and jewel
drawn.It just looks flat to me - but then I never saw on original and
only a few of the high end (high price) investors prints.
Glad that you too like Van Horn's work. I want to back your observation
that his special talent (or result of hard work) are the Ducks faces:
You can look into their souls! Just try to do that with one of the
cardboard figures from most current superhero comics.
JONATHAN:
Sorry for the net-slang IMHO="In my humble opinion". I promise it won't
happen again.
And as I am a Donaldist I take the step of outing myself: I LOVE
Gottfredson's Mickey stories. I bought the series "Mickeys Klassiker"
which appeared in Germany ten years ago and unfortunately had to fold
its wings after 7 volumes (if memory serves). I bought the limited
edition of "Mickey in Color" for the first money I earned.
And recently I got hold of the two "Uncensored Mouse" issues.
There was a very extensive special issue of the "Der Donaldist" on
Gottfredson two years ago. If anybody is interested I still might
get copies.
BTW (oups!) Gottfredson's watercolors are more to my tastes than
oil-paintings.
All:
In Germany we have a HC reprint series of Donald stories by Al Taliaferro
(4 vols up to now). So the succesion of artists getting their credits
on the cover (at least for Germany) is: Barks, Rosa, Taliaferro,
Van Horn. Who is next? Romano Scarpa is in the discussion, I believe.
Arthur De Wolf
The Dutch speak again!
Message 250 -
1996-08-24 at 22:54:44
Hi!
DON ROSA:
Yep! I'm going to Paris next weekend. Only four days, though, of
which two will be spent in Disneyland. The other remaining days, I'll see
if I can find any Disney comics. I guess your stories are only printed in
"Picsou Magazine"? I thought you knew someone in France, whom always
sent you those magazines? You said that you already had some. Could you
please tell me what issues of Picsou you DO have. I'd hate to bring
comics for you, you already had, while I left others you didn't have.
I'll also probably meet Didier Ghez in Paris. He told me, btw, that
there's a big chance, he'll be on-line in September.
JOHN KAZOS:
"Chip 'n' Dale Rescue Rangers" was a series published by Disney
Comics from June 1990 till November 1991. There were 19 issues in total.
Bye!
Arthur de Wolf -- Roosendaal, the Netherlands
email: (Email removed)
homepage: www.pi.net/~wolfman/disney
DON ROSA:
Yep! I'm going to Paris next weekend. Only four days, though, of
which two will be spent in Disneyland. The other remaining days, I'll see
if I can find any Disney comics. I guess your stories are only printed in
"Picsou Magazine"? I thought you knew someone in France, whom always
sent you those magazines? You said that you already had some. Could you
please tell me what issues of Picsou you DO have. I'd hate to bring
comics for you, you already had, while I left others you didn't have.
I'll also probably meet Didier Ghez in Paris. He told me, btw, that
there's a big chance, he'll be on-line in September.
JOHN KAZOS:
"Chip 'n' Dale Rescue Rangers" was a series published by Disney
Comics from June 1990 till November 1991. There were 19 issues in total.
Bye!
Arthur de Wolf -- Roosendaal, the Netherlands
email: (Email removed)
homepage: www.pi.net/~wolfman/disney
SRoweCanoe
Disney comics Digest V96 #176
Message 251 -
1996-08-25 at 03:57:31
Mark Evanier tells me that my guess for the inker on the reprint in US299 is
wrong. He's not sure who did ink it. He confirms that he did not wrote it.
wrong. He's not sure who did ink it. He confirms that he did not wrote it.
SRoweCanoe
Lockman
Message 252 -
1996-08-25 at 03:57:41
In a message dated 96-08-24 00:08:07 EDT, Johathan Markoff writes:
<< The apple of my own cartooning eye is
the 1960s-70s "Super Goof" and "Beagle Boys" comics, mostly by Vic Lockman.
(Hmm...that's one modern Disney author/artist overlooked by the list lately.
Anyone want to share opinions on him?)>>
Well first of all, as far as I know (looking at my own files and not the
Disney database) he never drew Super Goof or the Beagle Boys. He did write
alot though. I enjoy some of his stuff (Until the series ended this past
winter, he was doing the giveaway Shoney Bear comic for Shoney's restaurant.)
He's also done alot of religious and extremely conservative comic tracts
(Dwight did an article on some of these a while back).
Didn't Barks have some nice things to say about him?
Steven Rowe
<< The apple of my own cartooning eye is
the 1960s-70s "Super Goof" and "Beagle Boys" comics, mostly by Vic Lockman.
(Hmm...that's one modern Disney author/artist overlooked by the list lately.
Anyone want to share opinions on him?)>>
Well first of all, as far as I know (looking at my own files and not the
Disney database) he never drew Super Goof or the Beagle Boys. He did write
alot though. I enjoy some of his stuff (Until the series ended this past
winter, he was doing the giveaway Shoney Bear comic for Shoney's restaurant.)
He's also done alot of religious and extremely conservative comic tracts
(Dwight did an article on some of these a while back).
Didn't Barks have some nice things to say about him?
Steven Rowe
Eric Chun
Disney comics Digest V96 #180
Message 253 -
1996-08-25 at 06:14:25
>> BTW, what does "IMHO" mean? I seem to see it on this list alot.
> Oh, that's Net jargon. "In My Humble Opinion," used for taking
> the edge off statements that might sound arrogant or pompous
> or dictatorial if left unqualified.
If anyone is interested, I have a list of email abbreviations that
I can send to you. It's about 120 lines long.
Eric :)
> Oh, that's Net jargon. "In My Humble Opinion," used for taking
> the edge off statements that might sound arrogant or pompous
> or dictatorial if left unqualified.
If anyone is interested, I have a list of email abbreviations that
I can send to you. It's about 120 lines long.
Eric :)
Harry Fluks
AW: Chip 'n' Dale's Rescue Rangers Comics
Message 254 -
1996-08-25 at 11:25:32
J.A. KAZOS:
> Chip 'n' Dale's Rescue Rangers Comics
> Would anyone happen to know how many comics were published before
> the comic quit?
19. All indexed in the Disney comics Database.
--Harry.
--------------------------------
End of Disney comics Digest V96 Issue #181
******************************************
> Chip 'n' Dale's Rescue Rangers Comics
> Would anyone happen to know how many comics were published before
> the comic quit?
19. All indexed in the Disney comics Database.
--Harry.
--------------------------------
End of Disney comics Digest V96 Issue #181
******************************************
Markoff
Tree
Message 255 -
1996-08-25 at 15:07:24
DON:
>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.
So it was Daphne+Goosetave were GLG's parents with Matilda just out on limb,
like yours?
BTW, CB's first Tree isn't on-line, just a description in detail.
>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.
So it was Daphne+Goosetave were GLG's parents with Matilda just out on limb,
like yours?
BTW, CB's first Tree isn't on-line, just a description in detail.