DANIEL:
Thanks for the mail! I am answering on the forum since it
is easier for me and my dad to deal with...(The old story
of me not being online...) I don`t know about that Micro
Duck sequel being reprinted, but while reading through
some of my old comic books I noticed several stories
in which Scrooge (I think) had a costume that looked
almost exactly like the Micro Ducks`. I think there
were at least two... If you could send me a xerox of
that story, I`d greatly appreciate that!!! (Horrible
grammar, I know...)
Good to have you back after your vacation, too.
HARRY:
That script sounds really interesting. Could you tell me
some more about it? The only scripts I`ve ever seen were
Bark`s pencil drawings for the Junior Woodchucks. Is this
one kind of the same, or something totally different?
JOACHIM:
I actually admit that I liked those classic Mickey Mouse
albums, too. But that`s about the only Mickey Mouse stories
I like.
"The old castle`s secret" was the first ever Barks story I
"read". Actually, my uncle read it to me, since I wasn`t
capable of reading yet... I was about five years old, I think.
I thought it was a great story, due to this one and a few others
published in the first "Klassik Album" issues I became a Barks
fan- in about 1987 or 88, I think. I recognized many of his
stories by their greatness, like so many people did in earlier
decades, before I found out about his identity. Although I was
pretty easily scared by the time I first "read" "TOC`sS", I
thought it was thrilling, entertaining AND very FUNNY...
Danny Coenen
Kopernikusstr. 18 Tel. :
(049)2461/56129
D-52428 Juelich
Germany EU e-mail :
(Email removed)
Author
Topic: 199608
(341 messages)
Danny Coenen
Daniel, Harry, Joachim
Message 286 -
1996-08-27 at 10:44:13
Marco Barlotti
Longest Disney comics
Message 287 -
1996-08-27 at 13:47:41
Just to put straight a couple of things.
"The Mystery of the Candlesticks,"is not by Cavazzano (IMHO not even in his
style) but is by G. B. Carpi.
"Duckburg Olympics" (a multi-part Italian story with over 200 pages!) is by
Romano Scarpa (at least the art is), and is the same as
>
>In 1992 the Finnish pocket book series had a book with just one single
>story in it. The length of the story was 250 pages in three row format.
>The code is ?-1708
>
in fact codes range from I-1705 to I-1713.
Marco
"The Mystery of the Candlesticks,"is not by Cavazzano (IMHO not even in his
style) but is by G. B. Carpi.
"Duckburg Olympics" (a multi-part Italian story with over 200 pages!) is by
Romano Scarpa (at least the art is), and is the same as
>
>In 1992 the Finnish pocket book series had a book with just one single
>story in it. The length of the story was 250 pages in three row format.
>The code is ?-1708
>
in fact codes range from I-1705 to I-1713.
Marco
Gerard Van Der Wolf
New Publication?
Message 288 -
1996-08-27 at 17:15:40
Hallo to you all,
Last weekend I was in Germany and as always had to make a stop in a
department store to look (and buy) the latest Disney publications.
Among the stuff I found there was a completely new one, Big Fun Comics. The
publication contains the stories normaly found in magazine format
publications. Actualy this one is a paperback edition (14,8 cm x 21,8 cm).
If anyone is interested I can mail the contents of the publication.
Gerard van der Wolf - Hilversum, The Netherlands
E-Mail: (Email removed)
-----------------------------------------------------------------------------
Gerard van der Wolf TextLitho Training b.v.
Programmer / Teacher P.O. Box 76
6700 AB Lunteren
The Netherlands
Phone +(31) 318 489 000 Fax +(31) 318 489 333 E-Mail (Email removed)
When You Whis Upon A Star
Makes No Difference Who You Are
When You Whis Upon A Star
Your Dreams Come True
From: Pinocchio, 1940
-----------------------------------------------------------------------------
Last weekend I was in Germany and as always had to make a stop in a
department store to look (and buy) the latest Disney publications.
Among the stuff I found there was a completely new one, Big Fun Comics. The
publication contains the stories normaly found in magazine format
publications. Actualy this one is a paperback edition (14,8 cm x 21,8 cm).
If anyone is interested I can mail the contents of the publication.
Gerard van der Wolf - Hilversum, The Netherlands
E-Mail: (Email removed)
-----------------------------------------------------------------------------
Gerard van der Wolf TextLitho Training b.v.
Programmer / Teacher P.O. Box 76
6700 AB Lunteren
The Netherlands
Phone +(31) 318 489 000 Fax +(31) 318 489 333 E-Mail (Email removed)
When You Whis Upon A Star
Makes No Difference Who You Are
When You Whis Upon A Star
Your Dreams Come True
From: Pinocchio, 1940
-----------------------------------------------------------------------------
Alipio D'Oliveira Coelho
Walt Disney
Message 289 -
1996-08-27 at 17:21:18
I have a few question about W.Disney. It is just for my curiosity:
1. Did he ever done a story for the comics? (not for the
newspapers'strip, but for WDCS).
2. Where was he buried? At LA? Near Disneyland?
--------------------------------
End of Disney comics Digest V96 Issue #183
******************************************
1. Did he ever done a story for the comics? (not for the
newspapers'strip, but for WDCS).
2. Where was he buried? At LA? Near Disneyland?
--------------------------------
End of Disney comics Digest V96 Issue #183
******************************************
RMorris306
Vic Lockman, Plaques and Plates, et al
Message 290 -
1996-08-27 at 20:53:25
Some very interesting commentary these last few Digests, which I'm taking
advantage of one of my very rare free moments to respond to.
I most assuredly wouldn't concur with Harry about Vic Lockman being the
WORST comics writer or artist at the moment. In an industry that gives
artistic assignments, sometimes even fame and hype, to Rob Liefeld, Erik
Larsen, Ron Frenz and innumerable others, and writing assignments (and often
prestigious ones) to people like Ron Marz and Peter Milligan who have
difficulty putting two words together, Lockman positively shines. Even among
Disney writer/artists, Lockman's far from the worst (I've seen some rather
dull stuff during the waning Western days).
I do agree that that story about the Woodchucks was one of Lockman's worst,
though...not so much politicized as one-sided. Barks did some of that same
sort of thing in his Woodchucks stories too...one that comes to mind had the
Woodchucks successfully getting a polluting factory shut down, only to spend
several lethargic weeks as the vitamins that factory had been making became
unavailable. But at least Barks saw both sides of the issue, realizing that
environmental protection and growing economy were both important. I seem to
recall that Barks, like Lockman, was a conservative, but that unlike Lockman
his conservatism was largely economic. He was a country-club Republican who
supported the free market, not unlike Walt Disney himself (after all, that
free market was very good to Disney, and, eventually, to Barks), but I don't
think either Walt or Barks would've given two hoots about abortion, which
seems to be one of Lockman's great (thankfully private) concerns.
And I actually consider some of Lockman's stories, especially involving the
Beagle Boys and/or Scrooge, among my favorites. "Invisible Intruder," silly
or no, is one of my favorite Scrooge stories, incidentally introducing that
shoe-shine box that's since become a Scrooge icon (with which he earned his
#1 dime). Admittedly, Martin O'Hearn has discovered that Barks completely
rewrote the script when he drew it, so that story's probably something like
90% Barks, 10% Lockman in its published form...but I'm not complaining, and
he did give Barks a great plot to build on.
And I did catch that nice bit about the plaque in "His Majesty
McDuck"...demonstrating Scrooge's capacity for generosity even at times he
tries to shrug it off or deny it. It was reminiscent of (and perhaps inspired
by) the sequence in the classic "Back to the Klondike" in which Scrooge tells
Donald he'd tried to save money by stinting on his memory capsules, had
forgotten where his gold was, and hence had inadvertently let Glittering
Goldie stumble on it. But Donald had counted the capsules and concluded that
Scrooge had taken the pill, did know where the gold was, and that Goldie
found it because Scrooge wanted her to find it. Same with the plaque..right,
Don?
Actually, credits were standard practice in the earliest comic books: most
stories from the 1930's (aside from licensed properties like the Disney
characters) are signed by the creators. I suspect it was the increased use of
ghosts in the '40's by creators who'd let others do their work for them
(chances are a Batman story signed by "Bob Kane" isn't actually by him) who
rendered them more or less obsolete. Individual creators, especially those
with editorial power, sometimes signed their stories (Stan Lee at Marvel and
Charles Biro at Lev Gleason), while other editors perversely chose not to
sign their own stories. (Al Feldstein and Harvey Kurtzman at EC, who wrote
many but not all of their own stories, carried only artistic credits...unless
the writer was a prestigious name like Ray Bradbury. And Richard Hughes at
ACG, who also did most of his own writing, credited most of the stories to
nonexistent writers like Shane O'Shea, Zev Zimmer, Kurato Osaki and many
others.) To some extent the pendulum's swung almost too far the other
way...do we really need to have credits for letterers, any more than prose
books have credits for typesetters? But as a comics historian, I can't really
complain.
Occasionally someone still remembers that Pete wears a prosthetic leg...I
remember a Scarpa story reprinted by (the original) Gladstone in which Mickey
and Pete got into a swordfight, and the fight got so fierce that all their
clothes were torn to pieces, as was Pete's artificial leg! (The only apparel
they didn't lose were their gloves; has there ever been a sequence in which
Mickey took his *gloves* off? Actually, yes...in one of Walt's own early
dailies, he did so to go swimming.)
And I have to agree about the slightly disappointing content of Uncle
Scrooge #300. "Nobody's Business" had a great closing gag (though,
historically-minded as I am, I rather regret changing Gladstone's '80's logo
to the current one...but not nearly as much as when DC would run
"reproductions" of the cover of SUPERMAN #1 carrying the 1950 DC logo), but
how many Europeans will get it if and when the story's reprinted there? (I'm
not talking about Europeans on the Digest, of course, but the casual
readers...)
<< I have a few question about W.Disney. It is just for my curiosity:
1. Did he ever done a story for the comics? (not for the
newspapers'strip, but for WDCS).>>
No, though he did write the first few months of Mickey's newspaper
strip.
<<2. Where was he buried? At LA? Near Disneyland? >>
I believe so. There's a persistent rumor in America that he had his body
frozen in hopes of being restored to life with future medical technology
(adding new meaning to the phrase "Disney on Ice"), but there's no substance
to it.
Take care,
Rich Morrissey
advantage of one of my very rare free moments to respond to.
I most assuredly wouldn't concur with Harry about Vic Lockman being the
WORST comics writer or artist at the moment. In an industry that gives
artistic assignments, sometimes even fame and hype, to Rob Liefeld, Erik
Larsen, Ron Frenz and innumerable others, and writing assignments (and often
prestigious ones) to people like Ron Marz and Peter Milligan who have
difficulty putting two words together, Lockman positively shines. Even among
Disney writer/artists, Lockman's far from the worst (I've seen some rather
dull stuff during the waning Western days).
I do agree that that story about the Woodchucks was one of Lockman's worst,
though...not so much politicized as one-sided. Barks did some of that same
sort of thing in his Woodchucks stories too...one that comes to mind had the
Woodchucks successfully getting a polluting factory shut down, only to spend
several lethargic weeks as the vitamins that factory had been making became
unavailable. But at least Barks saw both sides of the issue, realizing that
environmental protection and growing economy were both important. I seem to
recall that Barks, like Lockman, was a conservative, but that unlike Lockman
his conservatism was largely economic. He was a country-club Republican who
supported the free market, not unlike Walt Disney himself (after all, that
free market was very good to Disney, and, eventually, to Barks), but I don't
think either Walt or Barks would've given two hoots about abortion, which
seems to be one of Lockman's great (thankfully private) concerns.
And I actually consider some of Lockman's stories, especially involving the
Beagle Boys and/or Scrooge, among my favorites. "Invisible Intruder," silly
or no, is one of my favorite Scrooge stories, incidentally introducing that
shoe-shine box that's since become a Scrooge icon (with which he earned his
#1 dime). Admittedly, Martin O'Hearn has discovered that Barks completely
rewrote the script when he drew it, so that story's probably something like
90% Barks, 10% Lockman in its published form...but I'm not complaining, and
he did give Barks a great plot to build on.
And I did catch that nice bit about the plaque in "His Majesty
McDuck"...demonstrating Scrooge's capacity for generosity even at times he
tries to shrug it off or deny it. It was reminiscent of (and perhaps inspired
by) the sequence in the classic "Back to the Klondike" in which Scrooge tells
Donald he'd tried to save money by stinting on his memory capsules, had
forgotten where his gold was, and hence had inadvertently let Glittering
Goldie stumble on it. But Donald had counted the capsules and concluded that
Scrooge had taken the pill, did know where the gold was, and that Goldie
found it because Scrooge wanted her to find it. Same with the plaque..right,
Don?
Actually, credits were standard practice in the earliest comic books: most
stories from the 1930's (aside from licensed properties like the Disney
characters) are signed by the creators. I suspect it was the increased use of
ghosts in the '40's by creators who'd let others do their work for them
(chances are a Batman story signed by "Bob Kane" isn't actually by him) who
rendered them more or less obsolete. Individual creators, especially those
with editorial power, sometimes signed their stories (Stan Lee at Marvel and
Charles Biro at Lev Gleason), while other editors perversely chose not to
sign their own stories. (Al Feldstein and Harvey Kurtzman at EC, who wrote
many but not all of their own stories, carried only artistic credits...unless
the writer was a prestigious name like Ray Bradbury. And Richard Hughes at
ACG, who also did most of his own writing, credited most of the stories to
nonexistent writers like Shane O'Shea, Zev Zimmer, Kurato Osaki and many
others.) To some extent the pendulum's swung almost too far the other
way...do we really need to have credits for letterers, any more than prose
books have credits for typesetters? But as a comics historian, I can't really
complain.
Occasionally someone still remembers that Pete wears a prosthetic leg...I
remember a Scarpa story reprinted by (the original) Gladstone in which Mickey
and Pete got into a swordfight, and the fight got so fierce that all their
clothes were torn to pieces, as was Pete's artificial leg! (The only apparel
they didn't lose were their gloves; has there ever been a sequence in which
Mickey took his *gloves* off? Actually, yes...in one of Walt's own early
dailies, he did so to go swimming.)
And I have to agree about the slightly disappointing content of Uncle
Scrooge #300. "Nobody's Business" had a great closing gag (though,
historically-minded as I am, I rather regret changing Gladstone's '80's logo
to the current one...but not nearly as much as when DC would run
"reproductions" of the cover of SUPERMAN #1 carrying the 1950 DC logo), but
how many Europeans will get it if and when the story's reprinted there? (I'm
not talking about Europeans on the Digest, of course, but the casual
readers...)
<< I have a few question about W.Disney. It is just for my curiosity:
1. Did he ever done a story for the comics? (not for the
newspapers'strip, but for WDCS).>>
No, though he did write the first few months of Mickey's newspaper
strip.
<<2. Where was he buried? At LA? Near Disneyland? >>
I believe so. There's a persistent rumor in America that he had his body
frozen in hopes of being restored to life with future medical technology
(adding new meaning to the phrase "Disney on Ice"), but there's no substance
to it.
Take care,
Rich Morrissey
Deckerd
Vic Lockman, Plaques and Plates, et al
Message 291 -
1996-08-27 at 21:31:57
On Aug 27, 1:53pm, (Email removed) wrote:
> Subject: Vic Lockman, Plaques and Plates, et al
>
I should know better than to argue politics, especially since
Rich and I have argued off and on for about 20 years now, but
as long as we keep it descriptive rather than prescriptive...
> I recall that Barks, like Lockman, was a conservative, but that
unlike Lockman
> his conservatism was largely economic. He was a country-club
Republican
Wait a minute. What do you mean by "country club"? I doubt if
Barks has ever seen the inside of a country club to this day.
The Republican part I'll grant you, since a letter of his has
been printed in which he says as much (the one to Communist
academic David Kunzle), but Republicans come in different
flavors. Barks always seemed to me the sort of man who worked
hard all of his life without ever having much to show for it,
his education largely self-taught or from the school of hard
knocks. Nothing was ever given to him and he was always
suspicious of sharpies and moochers. He's probably as distrustful
of Big Business as of Big Government, coming from the instinctive,
"People Are No Damn Good" and "They're All Out to Rob Me Blind If
I Don't Watch Out" school of thought. Lockman seems more politically
aware and more involved with actual organized conservative politics,
to judge by his pamphlets, whereas Barks would be more inclined
to distrust anything organized and just keep a shotgun by the
door. I'd call Christie Todd Whitman a "country club Republican,"
not Barks.
who
> supported the free market, not unlike Walt Disney himself (after all,
that
> free market was very good to Disney, and, eventually, to Barks), but
I don't
> think either Walt or Barks would've given two hoots about abortion,
which
> seems to be one of Lockman's great (thankfully private) concerns.
Though one could argue that by the time the free market was
good to Barks, he was in his 70s and 80s, and he was lucky to
live long enough to enjoy it. The comparison with Disney seems
a bit far-fetched.
> Actually, credits were standard practice in the earliest comic
books: most
> stories from the 1930's (aside from licensed properties like the
Disney
> characters) are signed by the creators. I suspect it was the
increased use of
> ghosts in the '40's by creators who'd let others do their work for
them
> (chances are a Batman story signed by "Bob Kane" isn't actually by
him) who
> rendered them more or less obsolete. Individual creators, especially
those
> with editorial power, sometimes signed their stories (Stan Lee at
Marvel and
> Charles Biro at Lev Gleason), while other editors perversely chose
not to
> sign their own stories. (Al Feldstein and Harvey Kurtzman at EC, who
wrote
> many but not all of their own stories, carried only artistic
credits...unless
> the writer was a prestigious name like Ray Bradbury. And Richard
Hughes at
> ACG, who also did most of his own writing, credited most of the
stories to
> nonexistent writers like Shane O'Shea, Zev Zimmer, Kurato Osaki and
many
> others.) To some extent the pendulum's swung almost too far the other
> way...do we really need to have credits for letterers, any more than
prose
> books have credits for typesetters? But as a comics historian, I
can't really
> complain.
I still think it was Stan Lee who made credits systematic
and more or less complete. Before Lee, artists might sign
their work, writers with editorial control (like Lee) might
sign a story, but it was never regular or detailed. Richard
Hughes might have been the Lief Erikson of comic-book credits,
but Stan Lee was the Columbus who made it stick.
--Dwight Decker
> Subject: Vic Lockman, Plaques and Plates, et al
>
I should know better than to argue politics, especially since
Rich and I have argued off and on for about 20 years now, but
as long as we keep it descriptive rather than prescriptive...
> I recall that Barks, like Lockman, was a conservative, but that
unlike Lockman
> his conservatism was largely economic. He was a country-club
Republican
Wait a minute. What do you mean by "country club"? I doubt if
Barks has ever seen the inside of a country club to this day.
The Republican part I'll grant you, since a letter of his has
been printed in which he says as much (the one to Communist
academic David Kunzle), but Republicans come in different
flavors. Barks always seemed to me the sort of man who worked
hard all of his life without ever having much to show for it,
his education largely self-taught or from the school of hard
knocks. Nothing was ever given to him and he was always
suspicious of sharpies and moochers. He's probably as distrustful
of Big Business as of Big Government, coming from the instinctive,
"People Are No Damn Good" and "They're All Out to Rob Me Blind If
I Don't Watch Out" school of thought. Lockman seems more politically
aware and more involved with actual organized conservative politics,
to judge by his pamphlets, whereas Barks would be more inclined
to distrust anything organized and just keep a shotgun by the
door. I'd call Christie Todd Whitman a "country club Republican,"
not Barks.
who
> supported the free market, not unlike Walt Disney himself (after all,
that
> free market was very good to Disney, and, eventually, to Barks), but
I don't
> think either Walt or Barks would've given two hoots about abortion,
which
> seems to be one of Lockman's great (thankfully private) concerns.
Though one could argue that by the time the free market was
good to Barks, he was in his 70s and 80s, and he was lucky to
live long enough to enjoy it. The comparison with Disney seems
a bit far-fetched.
> Actually, credits were standard practice in the earliest comic
books: most
> stories from the 1930's (aside from licensed properties like the
Disney
> characters) are signed by the creators. I suspect it was the
increased use of
> ghosts in the '40's by creators who'd let others do their work for
them
> (chances are a Batman story signed by "Bob Kane" isn't actually by
him) who
> rendered them more or less obsolete. Individual creators, especially
those
> with editorial power, sometimes signed their stories (Stan Lee at
Marvel and
> Charles Biro at Lev Gleason), while other editors perversely chose
not to
> sign their own stories. (Al Feldstein and Harvey Kurtzman at EC, who
wrote
> many but not all of their own stories, carried only artistic
credits...unless
> the writer was a prestigious name like Ray Bradbury. And Richard
Hughes at
> ACG, who also did most of his own writing, credited most of the
stories to
> nonexistent writers like Shane O'Shea, Zev Zimmer, Kurato Osaki and
many
> others.) To some extent the pendulum's swung almost too far the other
> way...do we really need to have credits for letterers, any more than
prose
> books have credits for typesetters? But as a comics historian, I
can't really
> complain.
I still think it was Stan Lee who made credits systematic
and more or less complete. Before Lee, artists might sign
their work, writers with editorial control (like Lee) might
sign a story, but it was never regular or detailed. Richard
Hughes might have been the Lief Erikson of comic-book credits,
but Stan Lee was the Columbus who made it stick.
--Dwight Decker
Arthur De Wolf
Several comments
Message 292 -
1996-08-27 at 22:33:57
Hi!
GERARD VAN DER WOLF:
Nice to see you finally write something to the list!
> as Harry de Wolf writes in his message
Who??!!??!!
> Among the stuff I found there was a completely new one,
> Big Fun Comics.
I really like this new comicbook. The paper, and especially the cover-
paper are just perfect. The coloring also looks very nice. Lots of
good quality Egmont-stories, while one would normally expect to see
low-budget Italian stories in such paperback editions. It's just a
little bit smaller than a normal comic, while it has over 400 pages!
There's even a very nice Marco Rota story, that I had never seen before!
This story is coded D90243 and it seems to be part of more
time-travel stories, because there's also a story in the same book,
coded D89053, drawn by another artist, that has exactly the same
opening-text and exactly the same time-machine. Both stories begin with:
"While visiting Gyro Gearloose, Donald and his nephews have
activated an old timemachine. One stupid thing is that the steering
control is broken which causes serious problems, so that they cannot
easily find their way home ..."
Can anyone tell me more about this time-travel series with
several stories drawn by various artists? Was it some kind of project
and how many stories were made?
HARRY FLUKS:
> "I think you should" give them a break. OK?
Okay! Maybe my view at the monthly Donald Duck Extra seemed a little
negative, but I really like the magazine, beside all those negative
points!
DANIEL VAN EIJMEREN:
> I really like that new look of "Mickey" in Runaway Brain,
> can't he stay this way forever? Please? ;-)
I've now read the second part of that story, and it's getting even more
horrifying. Transplanting the brains from a monster to Mickey after
which the doctor burns to death! Brrr ... this is really the weirdest
Mickey-story I've ever seen. I DO like it very much, though. The art
looks terrific and it's been a long time since I actually wanted to
wait another week for a new part of a story.
DIDIER GHEZ:
Have you subscribed yourself to the list yet?
Bye!
Arthur de Wolf -- Roosendaal, the Netherlands
email: (Email removed)
homepage: www.pi.net/~wolfman/disney
GERARD VAN DER WOLF:
Nice to see you finally write something to the list!
> as Harry de Wolf writes in his message
Who??!!??!!
> Among the stuff I found there was a completely new one,
> Big Fun Comics.
I really like this new comicbook. The paper, and especially the cover-
paper are just perfect. The coloring also looks very nice. Lots of
good quality Egmont-stories, while one would normally expect to see
low-budget Italian stories in such paperback editions. It's just a
little bit smaller than a normal comic, while it has over 400 pages!
There's even a very nice Marco Rota story, that I had never seen before!
This story is coded D90243 and it seems to be part of more
time-travel stories, because there's also a story in the same book,
coded D89053, drawn by another artist, that has exactly the same
opening-text and exactly the same time-machine. Both stories begin with:
"While visiting Gyro Gearloose, Donald and his nephews have
activated an old timemachine. One stupid thing is that the steering
control is broken which causes serious problems, so that they cannot
easily find their way home ..."
Can anyone tell me more about this time-travel series with
several stories drawn by various artists? Was it some kind of project
and how many stories were made?
HARRY FLUKS:
> "I think you should" give them a break. OK?
Okay! Maybe my view at the monthly Donald Duck Extra seemed a little
negative, but I really like the magazine, beside all those negative
points!
DANIEL VAN EIJMEREN:
> I really like that new look of "Mickey" in Runaway Brain,
> can't he stay this way forever? Please? ;-)
I've now read the second part of that story, and it's getting even more
horrifying. Transplanting the brains from a monster to Mickey after
which the doctor burns to death! Brrr ... this is really the weirdest
Mickey-story I've ever seen. I DO like it very much, though. The art
looks terrific and it's been a long time since I actually wanted to
wait another week for a new part of a story.
DIDIER GHEZ:
Have you subscribed yourself to the list yet?
Bye!
Arthur de Wolf -- Roosendaal, the Netherlands
email: (Email removed)
homepage: www.pi.net/~wolfman/disney
Dave Rawson
Attributions, publications, contributions, citations & translations
Message 293 -
1996-08-27 at 23:19:14
Mikko Aittola:
MA> How could they know your name wouldn't sell? They have never printed
MA> your name in anywhere, so over 99% of the readers don't even know
you
MA> write some of the stories.
Well, you've got me there, chicken-and-the-eggwise...
Don Rosa:
Don> The only visits I've made to Copenhagen were to the branch that I
Don> work for, which is quite another thing than the Danish branch that
Don> actually publishes the comics.
Don, this snagged my curiosity. I was under the impression that Egmont
WAS the publisher of Danish comics. What is the actual arrangement?
Karl-Erik Tallmo:
K-ET> I pay for contributions!
Well, there are many fine folks here quite qualified to contribute. I
expect you'll hear from them shortly...
Gary Leach:
GL> The story (it was in DD&MM #7) was provided to us with the
GL> information that Dave Rawson was the author, no mention made of Pat.
MA> How could they know your name wouldn't sell? They have never printed
MA> your name in anywhere, so over 99% of the readers don't even know
you
MA> write some of the stories.
Well, you've got me there, chicken-and-the-eggwise...
Don Rosa:
Don> The only visits I've made to Copenhagen were to the branch that I
Don> work for, which is quite another thing than the Danish branch that
Don> actually publishes the comics.
Don, this snagged my curiosity. I was under the impression that Egmont
WAS the publisher of Danish comics. What is the actual arrangement?
Karl-Erik Tallmo:
K-ET> I pay for contributions!
Well, there are many fine folks here quite qualified to contribute. I
expect you'll hear from them shortly...
Gary Leach:
GL> The story (it was in DD&MM #7) was provided to us with the
GL> information that Dave Rawson was the author, no mention made of Pat.
Harry Fluks
Espanol
Message 294 -
1996-08-28 at 01:18:21
> Bueno, bueno, bueno... todos deberian hacer como Alipio de Barsil...
Huh?
> con los sentimientos en comun que tenemos al gustranos Disney.
It seems to be about Disney, but what?
> Pato Donald y Mickey en espanol, fantastico!
Hm.. Donald and Mickey?
> Saludos amigos!!!
Ah, so THAT's what he's talking about! But Mickey wasn't in that movie
at all... 8-)
> Bye friends... and don't remember to write some post in spanish....
OK, I won't... 8-)
FYI: on this mailing list we use English only. (Apart from American now
and then... 8-)
--Harry.
Huh?
> con los sentimientos en comun que tenemos al gustranos Disney.
It seems to be about Disney, but what?
> Pato Donald y Mickey en espanol, fantastico!
Hm.. Donald and Mickey?
> Saludos amigos!!!
Ah, so THAT's what he's talking about! But Mickey wasn't in that movie
at all... 8-)
> Bye friends... and don't remember to write some post in spanish....
OK, I won't... 8-)
FYI: on this mailing list we use English only. (Apart from American now
and then... 8-)
--Harry.
Harry Fluks
Lockman
Message 295 -
1996-08-28 at 01:22:38
RICH said:
> I most assuredly wouldn't concur with Harry about Vic Lockman being the
> WORST comics writer or artist at the moment.
Well, you mention non-Disney writers that are worse, and non-current
(Western) writers that are worse. But I think Lockman is the worst *current*
*Disney* comics creator. At least, I think Giuseppe Perego and Jim Fletcher
aren't making Disney comics anymore these days.
--Harry.
> I most assuredly wouldn't concur with Harry about Vic Lockman being the
> WORST comics writer or artist at the moment.
Well, you mention non-Disney writers that are worse, and non-current
(Western) writers that are worse. But I think Lockman is the worst *current*
*Disney* comics creator. At least, I think Giuseppe Perego and Jim Fletcher
aren't making Disney comics anymore these days.
--Harry.
Hugodiaz
Gracias Alipio!
Message 296 -
1996-08-28 at 01:31:07
Bueno, bueno, bueno... todos deberian hacer como Alipio de Barsil... si
hay mas personas que sepan espanol... dije TO SPEAK SPANISH!!!!.... no
duden en escribr en ese idioma a la lista, porque ... somos muchos mas
que dos!!!
Necesitariamos la ayuda de Giro Sin Tornillos para ver como construir un
puene que nos comunique con el mundo, si bien no por el idioma, al menos
con los sentimientos en comun que tenemos al gustranos Disney.
Personalmente no cuento con material viejo de revistas , pero si alguien
esta interesado en intercambiar revistas de Disney, especialmente del
Pato Donald y Mickey en espanol, fantastico!, acepto revistas en ingles
de USA.
Saludos amigos!!! y Gracias.
Bye friends... and don't remember to write some post in spanish....
hay mas personas que sepan espanol... dije TO SPEAK SPANISH!!!!.... no
duden en escribr en ese idioma a la lista, porque ... somos muchos mas
que dos!!!
Necesitariamos la ayuda de Giro Sin Tornillos para ver como construir un
puene que nos comunique con el mundo, si bien no por el idioma, al menos
con los sentimientos en comun que tenemos al gustranos Disney.
Personalmente no cuento con material viejo de revistas , pero si alguien
esta interesado en intercambiar revistas de Disney, especialmente del
Pato Donald y Mickey en espanol, fantastico!, acepto revistas en ingles
de USA.
Saludos amigos!!! y Gracias.
Bye friends... and don't remember to write some post in spanish....
Wilmer Rivers
Credits for letterers
Message 297 -
1996-08-28 at 01:51:54
Rich Morrissey writes:
> To some extent the pendulum's swung almost too far the other
> way...do we really need to have credits for letterers, any more than prose
> books have credits for typesetters?
I would say so. Look at the next-to-last (?) comic in Sandman (the one
set in the Chinese desert). The lettering is not only as important as
the art, it is **part** of the art, thanks to the caligraphy talent of
someone we all know around here. :)
And the converse if true - a lousy lettering job can **ruin** the
pleasure of reading a good story by making you struggle to decipher
the text. We should know whom to blame!
Actually, I don't mind having information about the typesetting of
a book, either. That's a real craft, and maybe even an art, and I
like to know who contributed to the overall visual impression of
the text at which I'm looking as well as who wrote it.
Wilmer Rivers
> To some extent the pendulum's swung almost too far the other
> way...do we really need to have credits for letterers, any more than prose
> books have credits for typesetters?
I would say so. Look at the next-to-last (?) comic in Sandman (the one
set in the Chinese desert). The lettering is not only as important as
the art, it is **part** of the art, thanks to the caligraphy talent of
someone we all know around here. :)
And the converse if true - a lousy lettering job can **ruin** the
pleasure of reading a good story by making you struggle to decipher
the text. We should know whom to blame!
Actually, I don't mind having information about the typesetting of
a book, either. That's a real craft, and maybe even an art, and I
like to know who contributed to the overall visual impression of
the text at which I'm looking as well as who wrote it.
Wilmer Rivers
Mauricci
Castellano!!!
Message 298 -
1996-08-28 at 02:38:40
Quiero contactarme con personas que sepan castellano, POR FAVOR!!!!
chau espero anciosos
Mauro
chau espero anciosos
Mauro
Mauricci
Argentina
Message 299 -
1996-08-28 at 02:50:42
Frank Fabian:
Hello! I`m again. I`m here
I`m Mauro.
I see you
Bye Bye
Pieter van Cleef:
Hello! I`m again. I`m here
I`m Mauro.
I see you
Bye Bye
Hello! I`m again. I`m here
I`m Mauro.
I see you
Bye Bye
Pieter van Cleef:
Hello! I`m again. I`m here
I`m Mauro.
I see you
Bye Bye
John Anthony Kazos Jr.
Anyone out there?
Message 300 -
1996-08-28 at 03:26:52
Are there any Rescue Ranger fans out there? Comics, television, etc. all count.
Thanks.
Thanks.