One of my friends said to me:
"I don't understand comics. There's a drawing. And then, another
different one. And that's it all the time, and there's letters coming
out of people. I don't get it."
:)
# Cristian Lucas
# From Buenos Aires, Argentina
Author
Topic: 199706
(255 messages)
Cristian Lucas
Opinion
Message 226 -
1997-06-27 at 13:32:22
Marco Barlotti
Of Ducks and Dimes and Italian translators ;-)
Message 227 -
1997-06-27 at 18:18:28
JAKOB:
>
>Is there anyone who can supply me with a xerox of "Of Ducks and Dimes",
>page 5 in *Italian*?
>
>
Why, me of course. Too bad I'm leaving Firenze for a couple of weeks. If you
can wait that long, send me (privately) your snail-mail address...
Marco
http://marcobar.cce.unifi.it
>
>Is there anyone who can supply me with a xerox of "Of Ducks and Dimes",
>page 5 in *Italian*?
>
>
Why, me of course. Too bad I'm leaving Firenze for a couple of weeks. If you
can wait that long, send me (privately) your snail-mail address...
Marco
http://marcobar.cce.unifi.it
Marco Barlotti
Data Base story search
Message 228 -
1997-06-27 at 18:31:33
HARRY:
>(BTW, the search utility on Per's web pages probably still uses the January
>database version.)
>
If that's true, it's only half-true, and I can't guess why. Because, you
see, when I search for <dimensione> in the title I get the story codes as
I-TL-n-x ;-)
Marco
http://marcobar.cce.unifi.it
>(BTW, the search utility on Per's web pages probably still uses the January
>database version.)
>
If that's true, it's only half-true, and I can't guess why. Because, you
see, when I search for <dimensione> in the title I get the story codes as
I-TL-n-x ;-)
Marco
http://marcobar.cce.unifi.it
Gary Leach
Disney comics Digest V97 #132
Message 229 -
1997-06-27 at 22:41:55
Jakob:
>Pardon me for interfering, but what's the *actual* term of your job if not
>"colorist"?
As I stated three times in my posting, most prominently after my name at
the end, my job is "production manager," and it says so in every issue of
every book we've put out for the past several years. When I do the coloring
on something, the credits almost always read "coloring by...," which, to
me, reflects the fact that coloring is only one aspect of the job I do
around here to get these books out, including (and often especially) those
that feature Don's work.
>If someone doesn't have the credits fresh in mind I'd say the
>using of "colorist" to explain whom we are talking about is quite accurate.
>Everyone has and has right to declare their own pride, but I sure hope
>you're not carrying the feared melanie-syndrom...
I know that credits get glossed over, particularly once writer and/or
artist are noted. Hey, that's just the way things are, right? Right...but
that doesn't make it right. It compounds the disdain and discourtesy too
often shown to those of us who labor in the trenches. Practically everyone
on this mailing list talks about Don, and what he does, but does anyone
refer to him only as "the writer/artist"? Since the coloring of a specific
detail of a set of specific stories was the issue here, then why should it
be allowed, out of hand, that "the colorist" remain non-specific?
Especially since it was the very artistic sensibilities of this particular
"colorist" that was being vilified? As for "Melanie-syndrom," how 'bout not
assuming I have the faintest idea what that is, much less whether I carry
it or not? And even if I was carrying it, that wouldn't mean that I'm
necessarily suffering from it.
I know, I know: details. But Jakob, details are the bread and butter, the
very lifeblood, of this mailing list. More nits are picked here in one
paragraph than in an entire Disney licensing agreement.
Sorry to go on about this, but, as with Eirik, you put the boot in. Still,
I recognize that you are a person of taste and discernment, to wit:
>In *my* opinion $crooge would've looked quite dull if his hair hadn't been
>colored. I think it looks good.
> > Does every caucasian person you know have the same
> > color hair?
>
>That's *hair color*. ;-)
"Color hair" is a common phrasing 'round these parts, pahdnah!
> > In regards to the Great Scrooge Hair Scandal itself, here's the scoop:
>
>Very interesting reading! :)
Thanks. Not often that I get a chance...well, two chances at this
point...to roar!
Gary
****************************
"I've got blistahs on my fingahs!" - Ringo Starr
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
>Pardon me for interfering, but what's the *actual* term of your job if not
>"colorist"?
As I stated three times in my posting, most prominently after my name at
the end, my job is "production manager," and it says so in every issue of
every book we've put out for the past several years. When I do the coloring
on something, the credits almost always read "coloring by...," which, to
me, reflects the fact that coloring is only one aspect of the job I do
around here to get these books out, including (and often especially) those
that feature Don's work.
>If someone doesn't have the credits fresh in mind I'd say the
>using of "colorist" to explain whom we are talking about is quite accurate.
>Everyone has and has right to declare their own pride, but I sure hope
>you're not carrying the feared melanie-syndrom...
I know that credits get glossed over, particularly once writer and/or
artist are noted. Hey, that's just the way things are, right? Right...but
that doesn't make it right. It compounds the disdain and discourtesy too
often shown to those of us who labor in the trenches. Practically everyone
on this mailing list talks about Don, and what he does, but does anyone
refer to him only as "the writer/artist"? Since the coloring of a specific
detail of a set of specific stories was the issue here, then why should it
be allowed, out of hand, that "the colorist" remain non-specific?
Especially since it was the very artistic sensibilities of this particular
"colorist" that was being vilified? As for "Melanie-syndrom," how 'bout not
assuming I have the faintest idea what that is, much less whether I carry
it or not? And even if I was carrying it, that wouldn't mean that I'm
necessarily suffering from it.
I know, I know: details. But Jakob, details are the bread and butter, the
very lifeblood, of this mailing list. More nits are picked here in one
paragraph than in an entire Disney licensing agreement.
Sorry to go on about this, but, as with Eirik, you put the boot in. Still,
I recognize that you are a person of taste and discernment, to wit:
>In *my* opinion $crooge would've looked quite dull if his hair hadn't been
>colored. I think it looks good.
> > Does every caucasian person you know have the same
> > color hair?
>
>That's *hair color*. ;-)
"Color hair" is a common phrasing 'round these parts, pahdnah!
> > In regards to the Great Scrooge Hair Scandal itself, here's the scoop:
>
>Very interesting reading! :)
Thanks. Not often that I get a chance...well, two chances at this
point...to roar!
Gary
****************************
"I've got blistahs on my fingahs!" - Ringo Starr
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
Daniel Van Eijmeren
Comments
Message 230 -
1997-06-28 at 00:53:26
CELEBRATION?
Searching in dusty old archives I found this message:
> Date: Mon, 3 Aug 92 23:07:56 +0200
> From: Per Starback <(Email removed)>
> To: (Email removed)
> Subject: Welcome to disney-comics
>
> Quack!
>
> After some local tests with only me as the list member I've added
> those who have said that they would like to become members of a Disney
> Comics mailing lists if I created one.
>
> Here it is! Mail to (Email removed) to get to
> everyone. (That's not many as of now, but following this post I will
> advertise about the list on various places, so hopefully there will
> soon be more members.
> [...]
This means that on 3 August *this very year*, the Disney Comics Mailing
List exists for exactly five years!
THE DUCK WHO NEVER WAS (D93574)
Maybe it has been discussed years ago, but in panel 11.5 Gladstone has
the moneybag of WDC 140 <Gladstone's dime> standing in the background.
He got this money-bag in a story *with* Donald Duck!
About changes in Rosa-stories: The family tree on page 8 was lettered
wrong. Gus' name should be on Scrooge's place and vice versa.
JONATHAN MARKOFF, 16-06-1997:
> GLADSTONE GAZETTE 9 [...] Nearly the same effect was produced by the
> printing of Rosa's original cover for the issue [U$ 300], another
> outpouring of familiar faces and memories. (Although I did not see two
> faces that I think should have been included: Gyro Gearloose and Ms.
> Quackfaster.)
> Zadoc Angell
> South Otselic, NY
Mrs. Quackfaster can be seen somewhere above Scrooge's hat. Gyro and his
helper are indeed missing.
ROB GIBSON, 16-06-1997:
> 4. Gladstone has included previously unpublished Barks work in some of
> their reprints (e.g. Gladstone Album #4 restores several pages missing
> from fc 455 "Back to the Klondike"). I seek a list of restored Barks
> stories and a list of his unpublished panels/pages/stories. Any help
> out there?
There is such a list on Harry's homepages, if I remember well. The
information on why and where the art was altered/cut will be part of
my upcoming Barks web-page "A Guidebook to the Carl Barks Universe"
(still unfinished and it might take some more months, it's just
getting too big).
A lot of Barks' unpublished art has been rediscovered, but there's
also a lot lost (including two ten-pagers).
JONATHAN MARKOFF, 26-06-1997:
> Reading list archives from the past years, I have found various horror
> stories regarding the editors' butchering of Barks, Rosa, and Van Horn
> stories.
List-member Alexander Gruenke is now working on a list of changes in Rosa-
stories. Fortunately, most or all original material still exists.
Which reminds me: Does someone here have the original splash-panel of "Of
Ducks and Dimes [and] Destinies", btw? In the published version (at both
Egmont and Gladstone), the panel was shortened at the lower border.
CHRISTIAN LUCAS, 27-06-1997:
> AU PAYS DES PYGMEES (code WR. U.S. 18.) BTW is there a Don Rosa sequel
> to this story?
Yes, and it's called "War of the Wendigo" (D91192). To keep in the
subject of unpublished art: This 27-page story is banned in the USA.
Maybe we could 'publish' the story by having 27 people 'quote' 1 page
of the story on their web-pages? ;-)
Greetings,
--- Daniel
"Unca Donald has been *smoking* those poppies again!"
<lions in the poppy patch> --- Carl Barks
Searching in dusty old archives I found this message:
> Date: Mon, 3 Aug 92 23:07:56 +0200
> From: Per Starback <(Email removed)>
> To: (Email removed)
> Subject: Welcome to disney-comics
>
> Quack!
>
> After some local tests with only me as the list member I've added
> those who have said that they would like to become members of a Disney
> Comics mailing lists if I created one.
>
> Here it is! Mail to (Email removed) to get to
> everyone. (That's not many as of now, but following this post I will
> advertise about the list on various places, so hopefully there will
> soon be more members.
> [...]
This means that on 3 August *this very year*, the Disney Comics Mailing
List exists for exactly five years!
THE DUCK WHO NEVER WAS (D93574)
Maybe it has been discussed years ago, but in panel 11.5 Gladstone has
the moneybag of WDC 140 <Gladstone's dime> standing in the background.
He got this money-bag in a story *with* Donald Duck!
About changes in Rosa-stories: The family tree on page 8 was lettered
wrong. Gus' name should be on Scrooge's place and vice versa.
JONATHAN MARKOFF, 16-06-1997:
> GLADSTONE GAZETTE 9 [...] Nearly the same effect was produced by the
> printing of Rosa's original cover for the issue [U$ 300], another
> outpouring of familiar faces and memories. (Although I did not see two
> faces that I think should have been included: Gyro Gearloose and Ms.
> Quackfaster.)
> Zadoc Angell
> South Otselic, NY
Mrs. Quackfaster can be seen somewhere above Scrooge's hat. Gyro and his
helper are indeed missing.
ROB GIBSON, 16-06-1997:
> 4. Gladstone has included previously unpublished Barks work in some of
> their reprints (e.g. Gladstone Album #4 restores several pages missing
> from fc 455 "Back to the Klondike"). I seek a list of restored Barks
> stories and a list of his unpublished panels/pages/stories. Any help
> out there?
There is such a list on Harry's homepages, if I remember well. The
information on why and where the art was altered/cut will be part of
my upcoming Barks web-page "A Guidebook to the Carl Barks Universe"
(still unfinished and it might take some more months, it's just
getting too big).
A lot of Barks' unpublished art has been rediscovered, but there's
also a lot lost (including two ten-pagers).
JONATHAN MARKOFF, 26-06-1997:
> Reading list archives from the past years, I have found various horror
> stories regarding the editors' butchering of Barks, Rosa, and Van Horn
> stories.
List-member Alexander Gruenke is now working on a list of changes in Rosa-
stories. Fortunately, most or all original material still exists.
Which reminds me: Does someone here have the original splash-panel of "Of
Ducks and Dimes [and] Destinies", btw? In the published version (at both
Egmont and Gladstone), the panel was shortened at the lower border.
CHRISTIAN LUCAS, 27-06-1997:
> AU PAYS DES PYGMEES (code WR. U.S. 18.) BTW is there a Don Rosa sequel
> to this story?
Yes, and it's called "War of the Wendigo" (D91192). To keep in the
subject of unpublished art: This 27-page story is banned in the USA.
Maybe we could 'publish' the story by having 27 people 'quote' 1 page
of the story on their web-pages? ;-)
Greetings,
--- Daniel
"Unca Donald has been *smoking* those poppies again!"
<lions in the poppy patch> --- Carl Barks
Daniel Van Eijmeren
Colors
Message 231 -
1997-06-28 at 01:23:57
SUSAN DAIGLE-LEACH, answering JAKOB SODERBAUM:
J> Pardon me for interfering, but what's the *actual* term of your job if
J> not "colorist"?
S> As I stated three times in my posting, most prominently after my name
S> at the end, my job is "production manager,"
What I fail to see is why "colorist" would be some kind of insult.
It's just a way of talking: Plotter, writer, artist and scripter. Then why
not colorist? (Is there a second meaning to this word that I don't know?)
S> I know that credits get glossed over, particularly once writer and/or
S> artist are noted. Hey, that's just the way things are, right?
No, at least not for me, I'm always glad when I see a story colored
by you.
S> Practically everyone on this mailing list talks about Don, and what
S> he does, but does anyone refer to him only as "the writer/artist"?
How else? If I wouldn't know his name, I'd call him "the artist".
Greetings,
--- Daniel
"Talking about mysteries... I've been looking half an hour for
the sugar. I've been looking half an hour for the sugar!"
"Magical Mystery Tour" (film) --- John Lennon
J> Pardon me for interfering, but what's the *actual* term of your job if
J> not "colorist"?
S> As I stated three times in my posting, most prominently after my name
S> at the end, my job is "production manager,"
What I fail to see is why "colorist" would be some kind of insult.
It's just a way of talking: Plotter, writer, artist and scripter. Then why
not colorist? (Is there a second meaning to this word that I don't know?)
S> I know that credits get glossed over, particularly once writer and/or
S> artist are noted. Hey, that's just the way things are, right?
No, at least not for me, I'm always glad when I see a story colored
by you.
S> Practically everyone on this mailing list talks about Don, and what
S> he does, but does anyone refer to him only as "the writer/artist"?
How else? If I wouldn't know his name, I'd call him "the artist".
Greetings,
--- Daniel
"Talking about mysteries... I've been looking half an hour for
the sugar. I've been looking half an hour for the sugar!"
"Magical Mystery Tour" (film) --- John Lennon
Jakob Soederbaum
Disney comics Digest V97 #132
Message 232 -
1997-06-28 at 03:17:49
(Email removed) wrote:
> On the other hand, I'm on standing order from a comic book store and get them in
> plastic bags for 10% less than cover. Never worry about missing one.
What's the catch?
HARRY:
>> Is there anyone who can supply me with a xerox of "Of Ducks and Dimes",
>> page 5 in *Italian*?
>
> Now you also have to tell us WHY you're interested in that particular page!
I do? OK, I need the 'Rockerduck-flirt' as illustration for my book.
TTYL!
---
/Jakob
> On the other hand, I'm on standing order from a comic book store and get them in
> plastic bags for 10% less than cover. Never worry about missing one.
What's the catch?
HARRY:
>> Is there anyone who can supply me with a xerox of "Of Ducks and Dimes",
>> page 5 in *Italian*?
>
> Now you also have to tell us WHY you're interested in that particular page!
I do? OK, I need the 'Rockerduck-flirt' as illustration for my book.
TTYL!
---
/Jakob
OSSI
Don Rosa
Message 233 -
1997-06-29 at 00:33:00
I just want to know.. : What is the best, absolutely BEST and the greatest
comic, made by Don Rosa???
My opinion is: The best comic of Don Rosa is "Guardians of the Lost Library"
Now.. I want to know YOUR opinion about this..
Of course there is such comics as "Island at the Edge of Time" and
"War of the Wendigo" and "Return to Xanadu".. But the best is G.of the L.L.!!
----- 0$$ ------------------------------
e-mail: (Email removed)
ossi.pietikainen.dcbbs.nullnet.fi
-----------------------------------------
comic, made by Don Rosa???
My opinion is: The best comic of Don Rosa is "Guardians of the Lost Library"
Now.. I want to know YOUR opinion about this..
Of course there is such comics as "Island at the Edge of Time" and
"War of the Wendigo" and "Return to Xanadu".. But the best is G.of the L.L.!!
----- 0$$ ------------------------------
e-mail: (Email removed)
ossi.pietikainen.dcbbs.nullnet.fi
-----------------------------------------
Markoff
Merry Olde England (corrected)
Message 234 -
1997-06-29 at 00:48:44
In Digest V97 #132, I wrote:
>Subject: Merry Olde England
But in the mesage itself (see below):
>Reading list archives from the past years, I have found various horror
>stories regarding the editors' butchering of Barks, Rosa, and Van Horn
>stories. In later digests, though, I have seen evidence that this is no
>longer the case. Can anyone confirm the rumors. and/or tell me info on how
>to order?
I left out the word BRITISH! So, my question is, can anyone tell me if the
British editions print accurate texts in their reprints of American stories?
--Jonathan Markoff
"Forsooth! Off with his head!"
--Don Rosa, "The Once and Future Duck"
>Subject: Merry Olde England
But in the mesage itself (see below):
>Reading list archives from the past years, I have found various horror
>stories regarding the editors' butchering of Barks, Rosa, and Van Horn
>stories. In later digests, though, I have seen evidence that this is no
>longer the case. Can anyone confirm the rumors. and/or tell me info on how
>to order?
I left out the word BRITISH! So, my question is, can anyone tell me if the
British editions print accurate texts in their reprints of American stories?
--Jonathan Markoff
"Forsooth! Off with his head!"
--Don Rosa, "The Once and Future Duck"
Dave Rawson
Disney comics Digest V97 #133
Message 235 -
1997-06-29 at 01:09:08
SUSAN:
> I know that credits get glossed over, particularly once writer and/or
> artist are noted. Hey, that's just the way things are, right?
Yup.
> Right...but that doesn't make it right.
Right.
> It compounds the disdain and discourtesy too often shown to those of
> us who labor in the trenches.
It's interesting. I come from a background of collective creative
endeavors. In theatre, or in sketch comedy, in music videos, or in
television commercials or film features, or even computer programming,
it's always the product of many, many individuals who together hope to
serve the final creation.
But when I came to comics I was harangued and vilified for even
suggesting that the printer, say, was an important part of the
production chain. (I've done lots of production darkroom work over the
years and my work could never be any better than the ability of the
newsprint printer to render it in its final form).
The job of the comic art creator is to induce in the reader the intended
story.
Between inception and reception, however, are a variety of *real world*
individuals and treatments (the creator's articulation, construction and
rendering of their own idea; the editor; the letterer and colorist;
perhaps a translator; publishing and marketing constraints; distribution
channels; the retail community; and even the reader's momentary frame of
reference) which invariably either enhance or detract the creator's
intent. Those creators who understand this, may profit from such
understanding. Those who don't, or who disdain such handling, invariably
suffer to some extent.
Even in the film world that gave birth to the term auteur, such
individuals invariably surround themselves with a troop of highly
professional and creative people in an often lifelong community or
cohesive relationship in order to create a signature film.
The fact that many consumers truly don't understand production processes
hardly makes any of the above untrue, only invisible.
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
> I know that credits get glossed over, particularly once writer and/or
> artist are noted. Hey, that's just the way things are, right?
Yup.
> Right...but that doesn't make it right.
Right.
> It compounds the disdain and discourtesy too often shown to those of
> us who labor in the trenches.
It's interesting. I come from a background of collective creative
endeavors. In theatre, or in sketch comedy, in music videos, or in
television commercials or film features, or even computer programming,
it's always the product of many, many individuals who together hope to
serve the final creation.
But when I came to comics I was harangued and vilified for even
suggesting that the printer, say, was an important part of the
production chain. (I've done lots of production darkroom work over the
years and my work could never be any better than the ability of the
newsprint printer to render it in its final form).
The job of the comic art creator is to induce in the reader the intended
story.
Between inception and reception, however, are a variety of *real world*
individuals and treatments (the creator's articulation, construction and
rendering of their own idea; the editor; the letterer and colorist;
perhaps a translator; publishing and marketing constraints; distribution
channels; the retail community; and even the reader's momentary frame of
reference) which invariably either enhance or detract the creator's
intent. Those creators who understand this, may profit from such
understanding. Those who don't, or who disdain such handling, invariably
suffer to some extent.
Even in the film world that gave birth to the term auteur, such
individuals invariably surround themselves with a troop of highly
professional and creative people in an often lifelong community or
cohesive relationship in order to create a signature film.
The fact that many consumers truly don't understand production processes
hardly makes any of the above untrue, only invisible.
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
Laurent Lehmann
CBG Fan Awards (long !)
Message 236 -
1997-06-29 at 01:37:14
There are three digests I couldn't download using my old AOL account, so
forgive me if someone's posted this already on the list.
Giving credit where credit's due, the complete results were posted on
rac.misc by Sidne Gail Ward, and are available using Dejanews (or asking
me a copy). I've only kept the categories where Disney comics were
mentioned, and I left the winners of each category, so that you might have
an idea of the voters' tastes. Most of the nominees beyond 3rd rank got
between 10 and 20 votes, so it's not really significant, but I thought it
was nice to see Disney comics mentioned among so many super-hero books.
(You'd cry if posted Diamond sales...)
I've also added a few comments.
Favorite Comic Book:
1 Kurt Busiek's Astro City 130
2 Starman 70
3 Preacher 46
[...]
24 Uncle Scrooge Adventures 12
25 Batman & Robin Adventures 11
26 Uncle Scrooge 10
Favorite Writer:
1 Mark Waid 148
2 Kurt Busiek 130
[...]
14 Don Rosa 12
15 John Ostrander 11
Don deserves better. Maybe if more US readers could *find* Gladstones ?
And John Ostrander is IMHO one of the best comics writer of the last
decade...
Favorite Penciller:
1 John Byrne 64
2 Tony Harris 35
3 Frank Miller 35
[...]
13 Don Rosa 16
[...]
19 Pat Block 12
Pat Block ? So close to Don ? I'm dreaming, or it's an homonym ?
Favorite Inker:
1 Terry Austin 54
2 Wade von Grawbadger 36
3 Mark Farmer 35
[...]
19 Pat Block 15
*Him* again ?
Favorite Colorist:
1 Gregory Wright 54
2 Tom McCraw 51
3 Steve Oliff & Olyoptics 40
[...]
12 Susan Daigle-Leach 14
Favorite Letterer:
1 Richard Starkings & Comicraft 154
2 Todd Klein 127
3 John Costanza 52
Just for the record : I don't like Comicraft's work. I don't like their
fonts, I don't like where they put their balloons, I think they've an
horrible design sense (anybody seen the letter columns they designed for
Marvel ?). I think their popularity simply steems from the fact they're
working on Marvel's best-selling titles. And why do they get so much work
? Are they this cheap ?
And Todd Klein is possibly the best letterer ever.
Favorite Reprint Graphic Novel/Album:
1 KBAC: Life in the Big City 55
2 Batman: The Dark Knight Returns 10th Anniversary 46
3 Flash Archives vol. 1 20
[...]
8 The Carl Barks Library 16
[...]
12 Uncle Scrooge Adventures in Color 14
13 Life and Times of Scrooge McDuck 10
Favorite Character:
1 Batman 98
2 Superman 73
3 Starman (Jack Knight) 61
4 Spider-Man 39
5 Uncle Scrooge McDuck 29
Alright ! People like him, but they won't buy his comics ?
Laurent
-------------------------------------------------------
Please note my new address : (Email removed)
--------------------------------
End of Disney comics Digest V97 Issue #133
******************************************
forgive me if someone's posted this already on the list.
Giving credit where credit's due, the complete results were posted on
rac.misc by Sidne Gail Ward, and are available using Dejanews (or asking
me a copy). I've only kept the categories where Disney comics were
mentioned, and I left the winners of each category, so that you might have
an idea of the voters' tastes. Most of the nominees beyond 3rd rank got
between 10 and 20 votes, so it's not really significant, but I thought it
was nice to see Disney comics mentioned among so many super-hero books.
(You'd cry if posted Diamond sales...)
I've also added a few comments.
Favorite Comic Book:
1 Kurt Busiek's Astro City 130
2 Starman 70
3 Preacher 46
[...]
24 Uncle Scrooge Adventures 12
25 Batman & Robin Adventures 11
26 Uncle Scrooge 10
Favorite Writer:
1 Mark Waid 148
2 Kurt Busiek 130
[...]
14 Don Rosa 12
15 John Ostrander 11
Don deserves better. Maybe if more US readers could *find* Gladstones ?
And John Ostrander is IMHO one of the best comics writer of the last
decade...
Favorite Penciller:
1 John Byrne 64
2 Tony Harris 35
3 Frank Miller 35
[...]
13 Don Rosa 16
[...]
19 Pat Block 12
Pat Block ? So close to Don ? I'm dreaming, or it's an homonym ?
Favorite Inker:
1 Terry Austin 54
2 Wade von Grawbadger 36
3 Mark Farmer 35
[...]
19 Pat Block 15
*Him* again ?
Favorite Colorist:
1 Gregory Wright 54
2 Tom McCraw 51
3 Steve Oliff & Olyoptics 40
[...]
12 Susan Daigle-Leach 14
Favorite Letterer:
1 Richard Starkings & Comicraft 154
2 Todd Klein 127
3 John Costanza 52
Just for the record : I don't like Comicraft's work. I don't like their
fonts, I don't like where they put their balloons, I think they've an
horrible design sense (anybody seen the letter columns they designed for
Marvel ?). I think their popularity simply steems from the fact they're
working on Marvel's best-selling titles. And why do they get so much work
? Are they this cheap ?
And Todd Klein is possibly the best letterer ever.
Favorite Reprint Graphic Novel/Album:
1 KBAC: Life in the Big City 55
2 Batman: The Dark Knight Returns 10th Anniversary 46
3 Flash Archives vol. 1 20
[...]
8 The Carl Barks Library 16
[...]
12 Uncle Scrooge Adventures in Color 14
13 Life and Times of Scrooge McDuck 10
Favorite Character:
1 Batman 98
2 Superman 73
3 Starman (Jack Knight) 61
4 Spider-Man 39
5 Uncle Scrooge McDuck 29
Alright ! People like him, but they won't buy his comics ?
Laurent
-------------------------------------------------------
Please note my new address : (Email removed)
--------------------------------
End of Disney comics Digest V97 Issue #133
******************************************
JTorci3511
Disney comics Digest V97 #133
Message 237 -
1997-06-29 at 05:12:34
In Disney comics Digest V97 #133, Laurent Lehmann writes (concerning the
Comics Buyer's Giude Fan Awards):
<< Favorite Character:
1 Batman 98
2 Superman 73
3 Starman (Jack Knight) 61
4 Spider-Man 39
5 Uncle Scrooge McDuck 29
Alright ! People like him, but they won't buy his comics ? >>
Perhaps, like me, they're no longer interested in Gladstone asking them to
continue to purchase the same reprinted stories again and again!
I like the Uncle Scrooge Adventures album series - and continue to buy every
issue, because I feel that the best of Carl Barks should be preserved in such
a quality format. But at least THREE TIMES this year (...and please excuse
me for not looking them up - if anyone is interested, I'll supply details
later) the UNCLE SCROOGE ADVENTURES regular comic book has given us reprints
of stories which have JUST APPEARED IN THE ALBUM SERIES! Just what incentive
is that to continue to purchase the U$A comic series?
There have been more Scrooge stories produced worldwide than I will probably
ever live to see... so why do the same ones continue to come around and
inhabit the precious little comic book space devoted to a character like
Scrooge!
...And don't get me started on how what little space has been devoted to
Mickey Mouse in recent years has been handled. Though my highest compliments
go to "The Return of Phantom Bob" in the most recent WDC&S! More like that
please!
To GLADSTONE: Pease give more issue like the "David Gerstein Issue" of
UNCLE SCROOGE ADVENTURES! That was the most enjoyable issue of the title
I've seen in years! Other American writers work regularly for Egmont.
Let's see some more work from them...instead of the same old, same old!
BTW: as far as Scrooge as "Favorite Character"... I've voted for him nearly
every year, but this year REALLY belonged to KINGDOM COME, ASTRO CITY, and
Batman with such great stories as "Batman/Captain America", "Contagion", and
"Legacy". However, Don Rosa's work which has appeared during 1997 has been
of such a high quality that Don and Scrooge are definite conterders for next
year's awards!
Joe Torcivia.
Comics Buyer's Giude Fan Awards):
<< Favorite Character:
1 Batman 98
2 Superman 73
3 Starman (Jack Knight) 61
4 Spider-Man 39
5 Uncle Scrooge McDuck 29
Alright ! People like him, but they won't buy his comics ? >>
Perhaps, like me, they're no longer interested in Gladstone asking them to
continue to purchase the same reprinted stories again and again!
I like the Uncle Scrooge Adventures album series - and continue to buy every
issue, because I feel that the best of Carl Barks should be preserved in such
a quality format. But at least THREE TIMES this year (...and please excuse
me for not looking them up - if anyone is interested, I'll supply details
later) the UNCLE SCROOGE ADVENTURES regular comic book has given us reprints
of stories which have JUST APPEARED IN THE ALBUM SERIES! Just what incentive
is that to continue to purchase the U$A comic series?
There have been more Scrooge stories produced worldwide than I will probably
ever live to see... so why do the same ones continue to come around and
inhabit the precious little comic book space devoted to a character like
Scrooge!
...And don't get me started on how what little space has been devoted to
Mickey Mouse in recent years has been handled. Though my highest compliments
go to "The Return of Phantom Bob" in the most recent WDC&S! More like that
please!
To GLADSTONE: Pease give more issue like the "David Gerstein Issue" of
UNCLE SCROOGE ADVENTURES! That was the most enjoyable issue of the title
I've seen in years! Other American writers work regularly for Egmont.
Let's see some more work from them...instead of the same old, same old!
BTW: as far as Scrooge as "Favorite Character"... I've voted for him nearly
every year, but this year REALLY belonged to KINGDOM COME, ASTRO CITY, and
Batman with such great stories as "Batman/Captain America", "Contagion", and
"Legacy". However, Don Rosa's work which has appeared during 1997 has been
of such a high quality that Don and Scrooge are definite conterders for next
year's awards!
Joe Torcivia.
Junebug97
unsuscribe
Message 238 -
1997-06-29 at 08:16:54
Sorry
Jakob Soederbaum
Disney comics Digest V97 #133
Message 239 -
1997-06-29 at 08:43:23
CHRISTIAN:
> AU PAYS DES PYGMEES (code WR. U.S. 18.)
[...]
> BTW is there a Don Rosa sequel to this story?
Yes, it's called "War of the Wendigo". It's banned in the US, but I and
Mike S. are about to get it out even though... ;-) (Nope, no questions on
this topic will be answered, we'll let you know)
MARCO:
>> Is there anyone who can supply me with a xerox of "Of Ducks and Dimes",
>> page 5 in *Italian*?
>
> Why, me of course.
Thanks! I'm not in a rush, so you can be out of town a *while*. ;-)
SUSAN (or is it Gary?):
>> Pardon me for interfering, but what's the *actual* term of your job if not
>> "colorist"?
>
> As I stated three times in my posting, most prominently after my name at
> the end, my job is "production manager," and it says so in every issue of
> every book we've put out for the past several years.
I know you're production manager, but it also says 'Colored by: Sue Daigle,
Susan Daigle-Leach, etc.' in the credits for stories back a few years. Ehh,
that is when you *have* colored it. ;-)
> I know, I know: details. But Jakob, details are the bread and butter, the
> very lifeblood, of this mailing list.
I always say the details keeps the world complete.
> Sorry to go on about this, but, as with Eirik, you put the boot in.
I know, I should've kept my beak shut. ;-)
> Still,
> I recognize that you are a person of taste and discernment,
Well, thank you! :)
>> That's *hair color*. ;-)
>
> "Color hair" is a common phrasing 'round these parts, pahdnah!
I suppose that last is a common phrasing around those parts too? ;-)
Now I'm getting annoying, better quit... ;-)
DANIEL breaks in:
> What I fail to see is why "colorist" would be some kind of insult.
Welcome to the league, pal!
>S> I know that credits get glossed over, particularly once writer and/or
>S> artist are noted. Hey, that's just the way things are, right?
>
> No, at least not for me, I'm always glad when I see a story colored
> by you.
Me too, Leach for quality in Disney-coloring! Both of them. And I'm not
saying this just because they're here.
TTYL!
---
/jAkOb
> AU PAYS DES PYGMEES (code WR. U.S. 18.)
[...]
> BTW is there a Don Rosa sequel to this story?
Yes, it's called "War of the Wendigo". It's banned in the US, but I and
Mike S. are about to get it out even though... ;-) (Nope, no questions on
this topic will be answered, we'll let you know)
MARCO:
>> Is there anyone who can supply me with a xerox of "Of Ducks and Dimes",
>> page 5 in *Italian*?
>
> Why, me of course.
Thanks! I'm not in a rush, so you can be out of town a *while*. ;-)
SUSAN (or is it Gary?):
>> Pardon me for interfering, but what's the *actual* term of your job if not
>> "colorist"?
>
> As I stated three times in my posting, most prominently after my name at
> the end, my job is "production manager," and it says so in every issue of
> every book we've put out for the past several years.
I know you're production manager, but it also says 'Colored by: Sue Daigle,
Susan Daigle-Leach, etc.' in the credits for stories back a few years. Ehh,
that is when you *have* colored it. ;-)
> I know, I know: details. But Jakob, details are the bread and butter, the
> very lifeblood, of this mailing list.
I always say the details keeps the world complete.
> Sorry to go on about this, but, as with Eirik, you put the boot in.
I know, I should've kept my beak shut. ;-)
> Still,
> I recognize that you are a person of taste and discernment,
Well, thank you! :)
>> That's *hair color*. ;-)
>
> "Color hair" is a common phrasing 'round these parts, pahdnah!
I suppose that last is a common phrasing around those parts too? ;-)
Now I'm getting annoying, better quit... ;-)
DANIEL breaks in:
> What I fail to see is why "colorist" would be some kind of insult.
Welcome to the league, pal!
>S> I know that credits get glossed over, particularly once writer and/or
>S> artist are noted. Hey, that's just the way things are, right?
>
> No, at least not for me, I'm always glad when I see a story colored
> by you.
Me too, Leach for quality in Disney-coloring! Both of them. And I'm not
saying this just because they're here.
TTYL!
---
/jAkOb
Laurent Lehmann
Of colorists and letters
Message 240 -
1997-06-29 at 15:00:35
SUSAN DAIGLE-LEACH wrote :
> I know that credits get glossed over, particularly once writer and/or
> artist are noted. Hey, that's just the way things are, right? Right...but
> that doesn't make it right. It compounds the disdain and discourtesy too
> often shown to those of us who labor in the trenches.
Susan is right - well, mostly. I know some people say (said ?) that a
letterer or colorist should be, at best, non-obstrusive. How many times
have we seen these locs saying "I didn't notice the lettering/coloring, so
it must be good" ? But the same could be said about the
writing/plotting/scripting/pencilling/inking/whatever : *At worst*, it
should convey the story. After all, not all people working in comics can
be geniuses, so the very least we can expect from them is to be, how
should I put it, "competent professionals".
But colorists and letterers and separators have come a long way since
those days, IMHO. Now almost everybody involved in the making of a comic
gets credits, and reals fans know who they are. Steve Oliff, Todd Klein,
Ken Bruzenak,... were some of the first "behind the scenes" professionals
to really make it in the public (fandom) eye, and as comics awards (for
instance the CBG awards I posted yesterday) show, more and more people
recognize their names, and most of all, their importance, their
distinctive style and qualities.
Your talents are highly specialized, and, I think, more subject to
deadline pressure and low wages. But most of you are doing an excellent
job, and these days when I open a comic-book, I recognize the colorist or
letterer *before* reading the credits, so you must all be doing something
right.
Gone are the days where comics fans who knew they obviously
couldn't draw or ink thought lettering or coloring was an easier,
skillless task. I know : I've scanned some of my favorite comics to get
back to the original B&W lines and try to color them. The results were
pitiful... (Did anybody else try ?)
BTW, I thought young $crooge's brown hair was a very nice touch, despite
what Don and other people thought of it...
Laurent
-------------------------------------------------------
Please note my new address : (Email removed)
> I know that credits get glossed over, particularly once writer and/or
> artist are noted. Hey, that's just the way things are, right? Right...but
> that doesn't make it right. It compounds the disdain and discourtesy too
> often shown to those of us who labor in the trenches.
Susan is right - well, mostly. I know some people say (said ?) that a
letterer or colorist should be, at best, non-obstrusive. How many times
have we seen these locs saying "I didn't notice the lettering/coloring, so
it must be good" ? But the same could be said about the
writing/plotting/scripting/pencilling/inking/whatever : *At worst*, it
should convey the story. After all, not all people working in comics can
be geniuses, so the very least we can expect from them is to be, how
should I put it, "competent professionals".
But colorists and letterers and separators have come a long way since
those days, IMHO. Now almost everybody involved in the making of a comic
gets credits, and reals fans know who they are. Steve Oliff, Todd Klein,
Ken Bruzenak,... were some of the first "behind the scenes" professionals
to really make it in the public (fandom) eye, and as comics awards (for
instance the CBG awards I posted yesterday) show, more and more people
recognize their names, and most of all, their importance, their
distinctive style and qualities.
Your talents are highly specialized, and, I think, more subject to
deadline pressure and low wages. But most of you are doing an excellent
job, and these days when I open a comic-book, I recognize the colorist or
letterer *before* reading the credits, so you must all be doing something
right.
Gone are the days where comics fans who knew they obviously
couldn't draw or ink thought lettering or coloring was an easier,
skillless task. I know : I've scanned some of my favorite comics to get
back to the original B&W lines and try to color them. The results were
pitiful... (Did anybody else try ?)
BTW, I thought young $crooge's brown hair was a very nice touch, despite
what Don and other people thought of it...
Laurent
-------------------------------------------------------
Please note my new address : (Email removed)