Yeehaaaw! At last! :-D
Check out my new web page at:
--------------------------------------------------
http://www.toptown.com/lockerroom/Jack_Soederbaum/
--------------------------------------------------
It's not very complete, but as the first upload I must say I'm quite
impressed myself! ;-)
Tell me what you think of it!
---
/Jakob
Author
Topic: 199702
(128 messages)
Jakob Soederbaum
The web page is UP!!
Message 46 -
1997-02-07 at 04:06:35
Marco Barlotti
That new Disney talent, Kristian
Message 47 -
1997-02-07 at 12:32:18
I' ve just read (in digest #31) the script of Kristian's story
Gyro Gearloose in: "What if ... a stone could think?"
and I found it simply **great**. But what code is ever <MF-4-96>? Is the art
on-line at some address? Please someone tell me!
OLE:
>Copies of all these will soon be in the snail-mail for Harry and
>Marco.
I can't wait! Thank you VERY VERY much!
I think Kristian is very clever; please
everybody-who's-in-charge-of-something-important help him continue writing
stories!
Marco
Gyro Gearloose in: "What if ... a stone could think?"
and I found it simply **great**. But what code is ever <MF-4-96>? Is the art
on-line at some address? Please someone tell me!
OLE:
>Copies of all these will soon be in the snail-mail for Harry and
>Marco.
I can't wait! Thank you VERY VERY much!
I think Kristian is very clever; please
everybody-who's-in-charge-of-something-important help him continue writing
stories!
Marco
Marco Barlotti
When does the *true* version of a story happen?
Message 48 -
1997-02-07 at 12:52:35
GARY
>When does the actual, irrefutable, unassailable, positively *true* version
>of a story happen?
>
> By the time the public sees the stories, there
>are always aspects of them that, for good or ill, no longer strictly adhere
>to the visions.
>
> Maybe that
>first draft is the *true* version, the vision made manifest, and that all
>else is, for good or ill, "tinkering with the truth." If so, then the
>public never sees the *true* version of anything.
I don't agree at all. I can't say about <stories>, but I have written
"things" (of various nature, ranging from scientific to political) and
almost never the <first draft> could fully express my real thought. The
<vision> is one thing, the "good" way to deliver it to other people is a
wholly different story. In my opinion, EVERY written thing should be read
again, and written again, at least a couple of times. I even do this for my
postings to the ML, and I often am altogether not much satisfied with myself
when I read my messages again on the digest!
Of course, if the story is modified because of <technical> (or, worse,
political) external reasons, THEN the original "vision" is betrayed. This
might or might not result in a "better" story. I guess the solution would be
after all simple enough: if the author accepts the changes not as a "lesser
evil" but as an improvement upon which he agrees, then the changes should be
implemented; in all other situations, the story should be left as the author
wants it to be. But again, "as the author wants it to be" is NOT necessarily
the first draft.
[There lived in Italy from 1785 to 1873 a story-teller named Alessandro
Manzoni. He wrote a book telling the story of "Fermo and Lucia" (that was
the title), two young people who wanted to get married but for various
reasons couldn't manage to. He wrote again the book, and changed the title,
before publishing it, because he (not his publishers!) was not satisfied.
Then a few years afterwards he wrote the book again (changing again the
title) because he was not satisfied yet. And the third version ("I promessi
sposi" / "The betrothed") is -indeed- much better than the second; which is
turn is certainly not worse than the first!]
Marco
>When does the actual, irrefutable, unassailable, positively *true* version
>of a story happen?
>
> By the time the public sees the stories, there
>are always aspects of them that, for good or ill, no longer strictly adhere
>to the visions.
>
> Maybe that
>first draft is the *true* version, the vision made manifest, and that all
>else is, for good or ill, "tinkering with the truth." If so, then the
>public never sees the *true* version of anything.
I don't agree at all. I can't say about <stories>, but I have written
"things" (of various nature, ranging from scientific to political) and
almost never the <first draft> could fully express my real thought. The
<vision> is one thing, the "good" way to deliver it to other people is a
wholly different story. In my opinion, EVERY written thing should be read
again, and written again, at least a couple of times. I even do this for my
postings to the ML, and I often am altogether not much satisfied with myself
when I read my messages again on the digest!
Of course, if the story is modified because of <technical> (or, worse,
political) external reasons, THEN the original "vision" is betrayed. This
might or might not result in a "better" story. I guess the solution would be
after all simple enough: if the author accepts the changes not as a "lesser
evil" but as an improvement upon which he agrees, then the changes should be
implemented; in all other situations, the story should be left as the author
wants it to be. But again, "as the author wants it to be" is NOT necessarily
the first draft.
[There lived in Italy from 1785 to 1873 a story-teller named Alessandro
Manzoni. He wrote a book telling the story of "Fermo and Lucia" (that was
the title), two young people who wanted to get married but for various
reasons couldn't manage to. He wrote again the book, and changed the title,
before publishing it, because he (not his publishers!) was not satisfied.
Then a few years afterwards he wrote the book again (changing again the
title) because he was not satisfied yet. And the third version ("I promessi
sposi" / "The betrothed") is -indeed- much better than the second; which is
turn is certainly not worse than the first!]
Marco
Per Starback
banning, redrawing: questions (short answer)
Message 49 -
1997-02-07 at 15:08:59
Daniel wrote:
> Yes, there is a list on changes in the Carl Barks Library. An old version
> is available on Per's web-pages, a more updated version can be found in
> Digest V96 #258 (22 November 1996) and soon this version will be updated
> with all the comments/additions it got here.
Sorry for the long delay. Now I've updated the page up to your
November changes.
> At this moment there's - as far as I know - no such list of other
> publications (like Gladstone comics/albums). I'm also working on that.
Aren't the versions in the old B&W Library and the color albums so
often the same, that it would be practical to list them together,
noting especially when there are differences?
--------------------------------
End of Disney comics Digest V97 Issue #32
*****************************************
> Yes, there is a list on changes in the Carl Barks Library. An old version
> is available on Per's web-pages, a more updated version can be found in
> Digest V96 #258 (22 November 1996) and soon this version will be updated
> with all the comments/additions it got here.
Sorry for the long delay. Now I've updated the page up to your
November changes.
> At this moment there's - as far as I know - no such list of other
> publications (like Gladstone comics/albums). I'm also working on that.
Aren't the versions in the old B&W Library and the color albums so
often the same, that it would be practical to list them together,
noting especially when there are differences?
--------------------------------
End of Disney comics Digest V97 Issue #32
*****************************************
Ole R. Nielsen
Chris Colon
Message 50 -
1997-02-07 at 15:54:06
I'm reading a SF about Christopher Columbus by Orson
Scott Card, which has a few similarities with Don's "Lost
Charts" story, though I don't think there is a connection.
Of course I have become interested in getting to know
a little more about his life and times, and wonder if any of
our resident Columbus experts could recommend some litterature?
Most of what I know about him comes from comic books and movies,
so it would be nice to get the facts straight to appreciate the
inventiveness of the fiction writers.
-- Ole
Scott Card, which has a few similarities with Don's "Lost
Charts" story, though I don't think there is a connection.
Of course I have become interested in getting to know
a little more about his life and times, and wonder if any of
our resident Columbus experts could recommend some litterature?
Most of what I know about him comes from comic books and movies,
so it would be nice to get the facts straight to appreciate the
inventiveness of the fiction writers.
-- Ole
Daniel Van Eijmeren
Questions for Don / Per
Message 51 -
1997-02-08 at 16:05:38
DON:
For some time I have these two questions and now I finally want to ask
them:
1. Your stories take place in the Barks universe of the mid-50's. Does
this mean that you ignore what happened after this period? In other
words: Can we expect the Ducks referring to Barks 60's adventures with
the Micro Ducks or the valley of the faceless people, to name just
some examples?
2. In your universe Scrooge has died in 1967, but what do you think of
his adventures in the script-only JW-stories? Why didn't you have
Scrooge dying in 1975, right after the finishing of Barks' script
for "Go Slowly, Sands of Time"? This has, until recently, always been
Barks' real last story and the theme has a lot to do with Scrooge
being in his last years.
BTW. In you story "Once and Future Duck" you have Donald shouting
"Hi-fedelity stereo!" Did this term already exist in the mid-50's?
Or are you now going to say that Duckburg was far further in it's
technology than the rest of the world? Or maybe there was a short time
travel to the future in between two panels somewhere in the story? ;-)
PER STARBACK, 07-02-1997:
>> [a list on changes in the Carl Barks Library] At this moment there's
>> - as far as I know - no such list of other publications (like Gladstone
>> comics/albums). I'm also working on that.
> Aren't the versions in the old B&W Library and the color albums so often
> the same, that it would be practical to list them together, noting
> especially when there are differences?
I even want to go further: I will also compile a list of changes in the
*comics*. David once sent a letter in which he noted some 'comic-only'
changes and I think they're interesting enough to be included. What do
you think?
Greetings,
--- Daniel
"Hooray! I'm cured! My mind doesn't hurt anymore!"
The Mad Musician, OG 11 --- Carl Barks
For some time I have these two questions and now I finally want to ask
them:
1. Your stories take place in the Barks universe of the mid-50's. Does
this mean that you ignore what happened after this period? In other
words: Can we expect the Ducks referring to Barks 60's adventures with
the Micro Ducks or the valley of the faceless people, to name just
some examples?
2. In your universe Scrooge has died in 1967, but what do you think of
his adventures in the script-only JW-stories? Why didn't you have
Scrooge dying in 1975, right after the finishing of Barks' script
for "Go Slowly, Sands of Time"? This has, until recently, always been
Barks' real last story and the theme has a lot to do with Scrooge
being in his last years.
BTW. In you story "Once and Future Duck" you have Donald shouting
"Hi-fedelity stereo!" Did this term already exist in the mid-50's?
Or are you now going to say that Duckburg was far further in it's
technology than the rest of the world? Or maybe there was a short time
travel to the future in between two panels somewhere in the story? ;-)
PER STARBACK, 07-02-1997:
>> [a list on changes in the Carl Barks Library] At this moment there's
>> - as far as I know - no such list of other publications (like Gladstone
>> comics/albums). I'm also working on that.
> Aren't the versions in the old B&W Library and the color albums so often
> the same, that it would be practical to list them together, noting
> especially when there are differences?
I even want to go further: I will also compile a list of changes in the
*comics*. David once sent a letter in which he noted some 'comic-only'
changes and I think they're interesting enough to be included. What do
you think?
Greetings,
--- Daniel
"Hooray! I'm cured! My mind doesn't hurt anymore!"
The Mad Musician, OG 11 --- Carl Barks
Daniel Van Eijmeren
Another question to Don
Message 52 -
1997-02-08 at 22:37:35
DON:
I wrote about two questions in my previous letter, while it in fact were
three. I now remember this third one:
3. If one day you decide to reprint your Pertwillaby-stories, would
Disney allow such a reprint? Most of the stories are now transformed
into Duck-versions owned by Disney, so this made me wonder if a reprint
would be possible even if you are willing to do it.
In other words: Are these stories still your property now, or do
they now also belong to Disney?
Greetings,
--- Daniel
"Hooray! I'm cured! My mind doesn't hurt anymore!"
The Mad Musician, OG 11 --- Carl Barks
I wrote about two questions in my previous letter, while it in fact were
three. I now remember this third one:
3. If one day you decide to reprint your Pertwillaby-stories, would
Disney allow such a reprint? Most of the stories are now transformed
into Duck-versions owned by Disney, so this made me wonder if a reprint
would be possible even if you are willing to do it.
In other words: Are these stories still your property now, or do
they now also belong to Disney?
Greetings,
--- Daniel
"Hooray! I'm cured! My mind doesn't hurt anymore!"
The Mad Musician, OG 11 --- Carl Barks
Jan Lund Thomsen
Kristians Comics & Stories #4 (aka: Digest V97 #32 )
Message 53 -
1997-02-09 at 04:13:58
HARRY:
>Thanks for the translation!
Glad to be of service. Read on for more info on the subject of translations.
>Though some of the inside- and mathematicians jokes would be lost, the stories I have
>seen would be fit for a regular Disney comic. Homages to non-Disney material is no
>problem, I think. There are quite a few Dutch Disney stories that did the same (have you
>ever seen Tintin's captain Haddock in a Disney comic? In Holland, we have).
Well, Donald does loose his head in one of the stories - quite literally, even.
Captain Haddock in a duck comic? Talk about a crossover. :)
DANIEL v.E.:
>Sorry for getting so shamefully off-topic, but does this mean that the
>SYD is a reference to Pink Floyd founder member Syd Barrett?
Could be. :) And there might even be more to it than that. You'll just have to
wait for the translated edition. I mean, it wouldn't be any fun if Don just
told us where he hides those D.U.C.K.'s, now would it? :)
MARCO:
>I' ve just read (in digest #31) the script of Kristian's story
> Gyro Gearloose in: "What if ... a stone could think?"
>and I found it simply **great**.
If you think that one is funny, just wait for the next one.
>But what code is ever <MF-4-96>? Is the art
>on-line at some address? Please someone tell me!
The "MF" in MF-4-96 refers to the university magazine that publishes Kristians
duck stories - in other words: it's not a 'real' code. The artwork is not
available online as of this writing. I hope to get it scanned as soon as
possible.
ALL:
I am currently translating "Mesterdatalogen" (aka "Donald Duck, Computer
Scientist"). The first draft was completed a few minutes ago. I'll need to
clear up a few things with Kristian before publication, though. Expect to see a
complete translation before the end of the month.
-----------------------------------------------------------------------------
Jan Lund Thomsen (aka Qed/Triangle 3532) Lystrup, Denmark
C64/RPG/INWO/Warner Bros/Disney/Anthro/Comics-addict and all-around nice guy.
--- Email: (Email removed) ---- WWW: http://www.pip.dknet.dk/%7Epip781/ ---
>Thanks for the translation!
Glad to be of service. Read on for more info on the subject of translations.
>Though some of the inside- and mathematicians jokes would be lost, the stories I have
>seen would be fit for a regular Disney comic. Homages to non-Disney material is no
>problem, I think. There are quite a few Dutch Disney stories that did the same (have you
>ever seen Tintin's captain Haddock in a Disney comic? In Holland, we have).
Well, Donald does loose his head in one of the stories - quite literally, even.
Captain Haddock in a duck comic? Talk about a crossover. :)
DANIEL v.E.:
>Sorry for getting so shamefully off-topic, but does this mean that the
>SYD is a reference to Pink Floyd founder member Syd Barrett?
Could be. :) And there might even be more to it than that. You'll just have to
wait for the translated edition. I mean, it wouldn't be any fun if Don just
told us where he hides those D.U.C.K.'s, now would it? :)
MARCO:
>I' ve just read (in digest #31) the script of Kristian's story
> Gyro Gearloose in: "What if ... a stone could think?"
>and I found it simply **great**.
If you think that one is funny, just wait for the next one.
>But what code is ever <MF-4-96>? Is the art
>on-line at some address? Please someone tell me!
The "MF" in MF-4-96 refers to the university magazine that publishes Kristians
duck stories - in other words: it's not a 'real' code. The artwork is not
available online as of this writing. I hope to get it scanned as soon as
possible.
ALL:
I am currently translating "Mesterdatalogen" (aka "Donald Duck, Computer
Scientist"). The first draft was completed a few minutes ago. I'll need to
clear up a few things with Kristian before publication, though. Expect to see a
complete translation before the end of the month.
-----------------------------------------------------------------------------
Jan Lund Thomsen (aka Qed/Triangle 3532) Lystrup, Denmark
C64/RPG/INWO/Warner Bros/Disney/Anthro/Comics-addict and all-around nice guy.
--- Email: (Email removed) ---- WWW: http://www.pip.dknet.dk/%7Epip781/ ---
Guido Tiberga
Disney comics Digest V97 #32
Message 54 -
1997-02-09 at 13:25:50
At 06.00 08/02/97 +0100, you wrote:
>GERRY:
>
>> Didier asks about a new 28 page comic from Carl Barks. I talked to him this
>> morning and can assure you that he has not written a new comic. He does
>> admit talking about a scenerio that goes along with that title, but as far
>> as writing a new comic of DD, the answer if NO.
>
>I don't understand what you're saying here. Barks is "talking about" a
scenario?
>This means he wrote one, or is writing one, or will write one?
>And what's the difference between writing a scenario and writing a DD comic?
>
>--Harry.
Excuse me for my bad English. I'm an italian journalist, very fond of Disney
comics, and I've recently written a short article about new Barks story on
the front page of La Stampa daily paper. A collegue of mine, Fabio Pozzo,
had an interview (a phone interview from Rapallo, Italy) with Carl Barks.
And Barks himself confirmed: he has written the scenario of "Somewhere in
nowhere". The story, 28 pages drawn by Pat Block (who is he? can you give me
some more information about him? Barks said he's an american artist, 45, who
used his own style), will be published in Europe by Egmont in July 1997. The
story tells about a Donald's trip in Alaska that, "for many reasons",
doesn't arrive anywhere. The articles (Pozzo's interwiew and and my report)
were published on thusday february 6th. I don't know personally Fabio Pozzo
(we work in two different town) but I have no reason to doubt his interview:
he said me Barks have friends in Rapallo (italian Disney cartoonists Chendi
and Bottaro live there, and Barks himself went in Rapallo during his
european tour in 1994. One of these (I don't know who) helped him to call
Barks. That's all... Arrivederci!
Guido Tiberga
Via Villa della Regina, 4
10131 Torino
>GERRY:
>
>> Didier asks about a new 28 page comic from Carl Barks. I talked to him this
>> morning and can assure you that he has not written a new comic. He does
>> admit talking about a scenerio that goes along with that title, but as far
>> as writing a new comic of DD, the answer if NO.
>
>I don't understand what you're saying here. Barks is "talking about" a
scenario?
>This means he wrote one, or is writing one, or will write one?
>And what's the difference between writing a scenario and writing a DD comic?
>
>--Harry.
Excuse me for my bad English. I'm an italian journalist, very fond of Disney
comics, and I've recently written a short article about new Barks story on
the front page of La Stampa daily paper. A collegue of mine, Fabio Pozzo,
had an interview (a phone interview from Rapallo, Italy) with Carl Barks.
And Barks himself confirmed: he has written the scenario of "Somewhere in
nowhere". The story, 28 pages drawn by Pat Block (who is he? can you give me
some more information about him? Barks said he's an american artist, 45, who
used his own style), will be published in Europe by Egmont in July 1997. The
story tells about a Donald's trip in Alaska that, "for many reasons",
doesn't arrive anywhere. The articles (Pozzo's interwiew and and my report)
were published on thusday february 6th. I don't know personally Fabio Pozzo
(we work in two different town) but I have no reason to doubt his interview:
he said me Barks have friends in Rapallo (italian Disney cartoonists Chendi
and Bottaro live there, and Barks himself went in Rapallo during his
european tour in 1994. One of these (I don't know who) helped him to call
Barks. That's all... Arrivederci!
Guido Tiberga
Via Villa della Regina, 4
10131 Torino
Don Rosa
Disney comics Digest V97 #32
Message 55 -
1997-02-09 at 19:57:55
OLE:
No, I've never heard of the Columbus book/story you mention.
I can recommend a few good books about Chris, and I'm sure there are lots
more. One dandy one I listened to as an audio-book while drawing a year or
so ago is called ADMIRAL OF THE OCEAN SEA. And here on my own book shelf I
have a really good history/picture book (being a visual sort, I like picture
books with lotsa maps and charts and neat stuff) titled COLUMBUS AND THE AGE
OF DISCOVERY by Zvi Dor-Ner, published in 1992 in conjunction with a PBS TV
series based on the book.
Chris has got to be one of the most interesting people in history, as I've
stated here before. He was a true half-genius, half-nut with all the luck of
Gladstone Gander and all the screw-up ability and myriad job experiences of
Donald. And he lived adventures that have never been successfully put on TV
or in movies mainly because they cover so MANY years. And are also hard to
believe. For instance, on his last voyage to America (when he actually
finally reached the mainland) he was shipwrecked, captured by Indians, and
about to be executed, when he predicted an eclipse of the sun and so awed
the natives with this godlike ability that they released him. And he had
probably never seen a copy of A CONNECTICUT YANKEE IN KING ARTHUR'S COURT,
or even the Bing Crosby or Will Rogers movies for that matter. I plan to do
more stories based on his adventures -- I already have the notes for them,
but need to space my Columbus stories out a bit!
Speaking of that Gladstone printing of "The Lost Charts of Columbus",
however, I must express my disappointment at the lettering job on that one!
As much as I look forward to when Gladstone uses my stories (so I can
finally read 'em), I was sick when I saw how they computer-lettered it with
such inexplicably GARGANTUAN lettering. I make all my balloons extra large
to accomodate the most bizarre foreign languages -- and when Todd Klein
letters my stories, he has to REDUCE the size of my giant balloons since he
uses proper size lettering. But this Gladstone printing of "Lost Charts" has
many of the balloons actually enlarged and words broken in odd places, all
so they could fit in lettering that's MUCH too big. Why didn't they stop
after the first page and start over? It would have been much easier NOT to
have to enlarge all those balloons. Why is the lettering so much larger than
the lettering in the gag-pages that appear after my story?
Oh, well -- too late now.
--------------------------------
End of Disney comics Digest V97 Issue #33
*****************************************
No, I've never heard of the Columbus book/story you mention.
I can recommend a few good books about Chris, and I'm sure there are lots
more. One dandy one I listened to as an audio-book while drawing a year or
so ago is called ADMIRAL OF THE OCEAN SEA. And here on my own book shelf I
have a really good history/picture book (being a visual sort, I like picture
books with lotsa maps and charts and neat stuff) titled COLUMBUS AND THE AGE
OF DISCOVERY by Zvi Dor-Ner, published in 1992 in conjunction with a PBS TV
series based on the book.
Chris has got to be one of the most interesting people in history, as I've
stated here before. He was a true half-genius, half-nut with all the luck of
Gladstone Gander and all the screw-up ability and myriad job experiences of
Donald. And he lived adventures that have never been successfully put on TV
or in movies mainly because they cover so MANY years. And are also hard to
believe. For instance, on his last voyage to America (when he actually
finally reached the mainland) he was shipwrecked, captured by Indians, and
about to be executed, when he predicted an eclipse of the sun and so awed
the natives with this godlike ability that they released him. And he had
probably never seen a copy of A CONNECTICUT YANKEE IN KING ARTHUR'S COURT,
or even the Bing Crosby or Will Rogers movies for that matter. I plan to do
more stories based on his adventures -- I already have the notes for them,
but need to space my Columbus stories out a bit!
Speaking of that Gladstone printing of "The Lost Charts of Columbus",
however, I must express my disappointment at the lettering job on that one!
As much as I look forward to when Gladstone uses my stories (so I can
finally read 'em), I was sick when I saw how they computer-lettered it with
such inexplicably GARGANTUAN lettering. I make all my balloons extra large
to accomodate the most bizarre foreign languages -- and when Todd Klein
letters my stories, he has to REDUCE the size of my giant balloons since he
uses proper size lettering. But this Gladstone printing of "Lost Charts" has
many of the balloons actually enlarged and words broken in odd places, all
so they could fit in lettering that's MUCH too big. Why didn't they stop
after the first page and start over? It would have been much easier NOT to
have to enlarge all those balloons. Why is the lettering so much larger than
the lettering in the gag-pages that appear after my story?
Oh, well -- too late now.
--------------------------------
End of Disney comics Digest V97 Issue #33
*****************************************
Don Rosa
Disney comics Digest V97 #33
Message 56 -
1997-02-10 at 16:03:10
DANIEL:
I HATE to repost portions of old messages, but here goes:
>For some time I have these two questions and now I finally want to ask
>them:
>1. Your stories take place in the Barks universe of the mid-50's. Does
> this mean that you ignore what happened after this period? In other
> words: Can we expect the Ducks referring to Barks 60's adventures with
> the Micro Ducks or the valley of the faceless people, to name just
> some examples?
For me to describe my attitude toward the time frame of my stories or Barks'
stories makes it seem like a much more "concrete" theory or attitude than it
really is. But I'll try to put it into words for you. I see ALL of Barks'
stories as taking place sometime in "the fifties"... even the ones that were
printed in Gold Keys as late as 1966. So, I might make a reference to
something in a 60s Barks story even though my stories take place sometime in
"the fifties". If you need for my view of this to make more sense than that,
then you're even more anal-retentive than I am, and that means you must have
a terminal case.
>2. In your universe Scrooge has died in 1967, but what do you think of
> his adventures in the script-only JW-stories? Why didn't you have
> Scrooge dying in 1975, right after the finishing of Barks' script
> for "Go Slowly, Sands of Time"? This has, until recently, always been
> Barks' real last story and the theme has a lot to do with Scrooge
> being in his last years.
I ignore anything Barks did with these characters after 1967, and I
absolutely ignore anything he's done with them for the "collectibles"
market. I look upon that work as "fiction based on" his days of when he was
actually writing and drawing true stories for Dell or Gold Key... sorta the
same way I view my own Duck stories... it's "fan fiction".
>BTW. In you story "Once and Future Duck" you have Donald shouting
>"Hi-fedelity stereo!" Did this term already exist in the mid-50's?
You bet it was! HiFi stereo. I haven't heard the term "HiFi" used in
decades. I had LOTS of modern tech things that Donald might have been
yelling in those scene, but I was careful to make sure I only used "fifties
or before" terms. Actually, you haven't even SEEN the scene you're referring
to. Most of that scene appears in the one-part version of that story that no
one has published yet (and might never).
>Or are you now going to say that Duckburg was far further in it's
>technology than the rest of the world?
NEVER! If Donald is the average man, Duckburg MUST be the average city. I
can't consider any other viewpoint.
>3. If one day you decide to reprint your Pertwillaby-stories, would
> Disney allow such a reprint? Most of the stories are now transformed
> into Duck-versions owned by Disney, so this made me wonder if a reprint
> would be possible even if you are willing to do it.
> In other words: Are these stories still your property now, or do
> they now also belong to Disney?
These stories were published numerous times by numerous publishers 10-20
years before the versions I did for Disney. The danger might be that I would
sue Disney for using versions, but since *I'm* the one that did those
versions FOR Disney, I'd hafta sue myself... and things might start getting
messy from that point.
I HATE to repost portions of old messages, but here goes:
>For some time I have these two questions and now I finally want to ask
>them:
>1. Your stories take place in the Barks universe of the mid-50's. Does
> this mean that you ignore what happened after this period? In other
> words: Can we expect the Ducks referring to Barks 60's adventures with
> the Micro Ducks or the valley of the faceless people, to name just
> some examples?
For me to describe my attitude toward the time frame of my stories or Barks'
stories makes it seem like a much more "concrete" theory or attitude than it
really is. But I'll try to put it into words for you. I see ALL of Barks'
stories as taking place sometime in "the fifties"... even the ones that were
printed in Gold Keys as late as 1966. So, I might make a reference to
something in a 60s Barks story even though my stories take place sometime in
"the fifties". If you need for my view of this to make more sense than that,
then you're even more anal-retentive than I am, and that means you must have
a terminal case.
>2. In your universe Scrooge has died in 1967, but what do you think of
> his adventures in the script-only JW-stories? Why didn't you have
> Scrooge dying in 1975, right after the finishing of Barks' script
> for "Go Slowly, Sands of Time"? This has, until recently, always been
> Barks' real last story and the theme has a lot to do with Scrooge
> being in his last years.
I ignore anything Barks did with these characters after 1967, and I
absolutely ignore anything he's done with them for the "collectibles"
market. I look upon that work as "fiction based on" his days of when he was
actually writing and drawing true stories for Dell or Gold Key... sorta the
same way I view my own Duck stories... it's "fan fiction".
>BTW. In you story "Once and Future Duck" you have Donald shouting
>"Hi-fedelity stereo!" Did this term already exist in the mid-50's?
You bet it was! HiFi stereo. I haven't heard the term "HiFi" used in
decades. I had LOTS of modern tech things that Donald might have been
yelling in those scene, but I was careful to make sure I only used "fifties
or before" terms. Actually, you haven't even SEEN the scene you're referring
to. Most of that scene appears in the one-part version of that story that no
one has published yet (and might never).
>Or are you now going to say that Duckburg was far further in it's
>technology than the rest of the world?
NEVER! If Donald is the average man, Duckburg MUST be the average city. I
can't consider any other viewpoint.
>3. If one day you decide to reprint your Pertwillaby-stories, would
> Disney allow such a reprint? Most of the stories are now transformed
> into Duck-versions owned by Disney, so this made me wonder if a reprint
> would be possible even if you are willing to do it.
> In other words: Are these stories still your property now, or do
> they now also belong to Disney?
These stories were published numerous times by numerous publishers 10-20
years before the versions I did for Disney. The danger might be that I would
sue Disney for using versions, but since *I'm* the one that did those
versions FOR Disney, I'd hafta sue myself... and things might start getting
messy from that point.
Michael Naiman
U$ #179-WDC&S #480
Message 57 -
1997-02-10 at 21:21:59
ALL:
I have VF/NM copies of Uncle Scrooge #179 and WDC&S #480.
Because of the large demand on these issues, if I sell them to one friend
and not the other I'm going to be in someone's dog house.
What are they worth..I don't know...
Overstreet says one thing but we all know otherwise.
Soooooo...here's what I'm going to do.
On Saturday February 22, 1997, starting at 12 noon Pacific Standard Time
I'm going to have a phone auction.
Each issue will be sold separately.
You can e-mail your bids
For further info, e-mail me directly and I'll fill you in!
Tell your friends, relatives, and pets!
I have VF/NM copies of Uncle Scrooge #179 and WDC&S #480.
Because of the large demand on these issues, if I sell them to one friend
and not the other I'm going to be in someone's dog house.
What are they worth..I don't know...
Overstreet says one thing but we all know otherwise.
Soooooo...here's what I'm going to do.
On Saturday February 22, 1997, starting at 12 noon Pacific Standard Time
I'm going to have a phone auction.
Each issue will be sold separately.
You can e-mail your bids
For further info, e-mail me directly and I'll fill you in!
Tell your friends, relatives, and pets!
Daniel Van Eijmeren
Bongo on the Congo / Golden Roofs
Message 58 -
1997-02-11 at 17:16:32
GARY LEACH wrote to me:
>> Of all the censoring in the CBL, I think I find this one the most
>> childish. Maybe censoring can be omitted by coloring the Qwaks Qwaks
>> white?
> Would it make any difference to you to know it was Carl Barks himself,
> at our request, who did the redrawing on that panel, punk hairdos and
> everything?
Only a little. An alternate version doesn't replace the original version
for me, because I want to have *both* then. ;-)
Very interesting that Barks himself did it, are there more cases like
that in the Carl Barks Library?
Will you try to get the story through uncensored in the Carl Barks
Library in Color album?
Last week I read here that panels 7.2 and 7.3 of "City of the Golden
Roofs" are slightly changed, they have the lines in the pavement removed.
Why was this done? I know I'm nitpicking now, but is there a change that
these panels will be original in the Carl Barks Library in Color?
Greetings,
--- Daniel
"Hooray! I'm cured! My mind doesn't hurt anymore!"
The Mad Musician, OG 11 --- Carl Barks
>> Of all the censoring in the CBL, I think I find this one the most
>> childish. Maybe censoring can be omitted by coloring the Qwaks Qwaks
>> white?
> Would it make any difference to you to know it was Carl Barks himself,
> at our request, who did the redrawing on that panel, punk hairdos and
> everything?
Only a little. An alternate version doesn't replace the original version
for me, because I want to have *both* then. ;-)
Very interesting that Barks himself did it, are there more cases like
that in the Carl Barks Library?
Will you try to get the story through uncensored in the Carl Barks
Library in Color album?
Last week I read here that panels 7.2 and 7.3 of "City of the Golden
Roofs" are slightly changed, they have the lines in the pavement removed.
Why was this done? I know I'm nitpicking now, but is there a change that
these panels will be original in the Carl Barks Library in Color?
Greetings,
--- Daniel
"Hooray! I'm cured! My mind doesn't hurt anymore!"
The Mad Musician, OG 11 --- Carl Barks
Gary Leach
Disney comics Digest V97 #32
Message 59 -
1997-02-11 at 17:40:08
MARCO:
Thanks for responding to my long-winded query. I don't hold to the "first
draft is the final draft" business either, but sometimes it seems that you
can't settle the issue of what is the "true" version unless you fall back
on something that unrealistic.
DANIEL:
>Of all the censoring in the CBL,
>I think I find this one the most childish. Maybe censoring can be omitted
>by coloring the Qwaks Qwaks white?
Would it make any difference to you to know it was Carl Barks himself, at
our request, who did the redrawing on that panel, punk hairdos and
everything?
Gary
****************************
"It's nailed in cement!"
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
--------------------------------
End of Disney comics Digest V97 Issue #34
*****************************************
Thanks for responding to my long-winded query. I don't hold to the "first
draft is the final draft" business either, but sometimes it seems that you
can't settle the issue of what is the "true" version unless you fall back
on something that unrealistic.
DANIEL:
>Of all the censoring in the CBL,
>I think I find this one the most childish. Maybe censoring can be omitted
>by coloring the Qwaks Qwaks white?
Would it make any difference to you to know it was Carl Barks himself, at
our request, who did the redrawing on that panel, punk hairdos and
everything?
Gary
****************************
"It's nailed in cement!"
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
--------------------------------
End of Disney comics Digest V97 Issue #34
*****************************************
Geir J. Netland
Regarding "Hi-Fi" etc...
Message 60 -
1997-02-11 at 19:11:56
Daniel:
The term "Hi-Fi" was even used by Barks in the Gyro-story: "The Cat box"
(U$ 15, September 1956, page 3, last panel)
I guess that proves that Donald could use the term even in the "Rosa
universe"
Don: (or anyone else who might know the answer)
In Donald Duck #300 there was a drawing done by you. (Donald and his
"older-ego") Did you draw it for that comic-book, or has it been
published elsewhere?
---------------
Geir J. Netland
---------------
----------------------------------------
| So, you're *scared*, eh? Well |
| these *roosters* aren't chicken! |
| Er...um...Sure they're *chicken* |
| but not *chicken* chickens! |
| -------------------------------- |
|(From Rosa's "Return To Plain Awful")|
----------------------------------------
http://www.misjonshs.no/~geinet/
The term "Hi-Fi" was even used by Barks in the Gyro-story: "The Cat box"
(U$ 15, September 1956, page 3, last panel)
I guess that proves that Donald could use the term even in the "Rosa
universe"
Don: (or anyone else who might know the answer)
In Donald Duck #300 there was a drawing done by you. (Donald and his
"older-ego") Did you draw it for that comic-book, or has it been
published elsewhere?
---------------
Geir J. Netland
---------------
----------------------------------------
| So, you're *scared*, eh? Well |
| these *roosters* aren't chicken! |
| Er...um...Sure they're *chicken* |
| but not *chicken* chickens! |
| -------------------------------- |
|(From Rosa's "Return To Plain Awful")|
----------------------------------------
http://www.misjonshs.no/~geinet/