> I was not aware of the fact that Dwight Decker did write stories...
>
There's a great difference between "nothing" and "something,"
but I have to admit that while I'm now in the "something" category,
I'm still not too far above the "nothing" range. I hope to write
more in the future...time and editors willing.
--Dwight Decker
Author
Topic: 199708
(305 messages)
Deckerd
No real subject
Message 256 -
1997-08-26 at 19:02:56
RHODE
Scrooge statues at Disney store
Message 257 -
1997-08-26 at 22:53:18
I know at least one person, Don Rosa, collects Scrooge artifacts so I
thought I'd mention that I saw a Scrooge statue in a Disney store this
weekend. Scrooge is sitting with a pile of money in front of him, throwing
some in the air. It was $175 so I won't be suprising my wife with one.
Mike Rhode
thought I'd mention that I saw a Scrooge statue in a Disney store this
weekend. Scrooge is sitting with a pile of money in front of him, throwing
some in the air. It was $175 so I won't be suprising my wife with one.
Mike Rhode
Cebarat
Disney Comics Digest V97 #180
Message 258 -
1997-08-27 at 01:25:56
DAVID GERSTEIN said:
<<Actually, I don't dare do a story with a character explicitly
called "Idgit the Midget," because I don't imagine it would be allowed to
appear in the modern Gladstone comics.>>
You could just call the character "Idgit," akin to calling Black Pete
"Pete," and rely on the readers to make the mental connection. But seeing
as how Idgit and Dangerous Dan haven't appeared in new stories in this
country for a VERY long time, I imagine that such readers would be
in the minority.
SOEREN SCHRIDDE wrote:
<<Cristopher wrote:
< Actually, I've observed a more general
<trend of "professionals" (academics, lawyers, businesspeople) being
<enamored with the Ducks.
And I really like lawyers to be count equally to the scientzists here
:-))
- By the way, I'm studying law ;-)>>
"Professional people" covers a lot of territory, since there are a lot
of professions. Scientists and academicians seem to be an unusually
high percentage of the Duck-loving "professionals," however.
GARY LEACH asked:
<<Here's a question I'd like to ask anyone who has any thoughts on the
matter: was there ever a point at which, had a couple of things gone just a
little differently, Mickey could have had a shot at gaining as much stature
in comics as the ducks...in the USA, I mean?>>
The logical answer would seem to be the 1930's and early 1940's, when the
Mouse
was still "active" on-screen and the success of Gottfredson's MICKEY MOUSE
strip had established that a market for Mouse comic-book product did
in fact exist. Unfortunately, no "Gottfredson-equivalent" to carry Mickey
into original comic-book stories stepped forth at this time.
Mickey's comic-book career may have been affected by the fact that his
movie career "wound down" considerably earlier than Donald's. When
Mickey was at his peak of popularity, the comic-book industry was just
starting to be born, so a person who would later have become a comic-book
specialist was more likely to be working in animation. Donald had
outstripped
Mickey in popularity by the mid-40's, and, as fate would have it,
that was precisely the time that the market for comic books exploded and
creators (such as Barks) began moving en masse from animation to comic books.
Even had Mickey had more original comic-book material in the old days, the
question still arises: how would the quality level have been maintained
in the face of increasing restrictions on "proper" activities for the
Mouse? Would the "Barks-equivalent" for the Mouse have been able to
work within increasing restrictions as effectively as Barks himself did?
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"ONE MORE 'PRECIOUS FAMILY MOMENT' AND I MAY UP-CHUCK! I QUIT!!" --
Duckworth, "DuckTales" episode "The Bride Wore Stripes"
<<Actually, I don't dare do a story with a character explicitly
called "Idgit the Midget," because I don't imagine it would be allowed to
appear in the modern Gladstone comics.>>
You could just call the character "Idgit," akin to calling Black Pete
"Pete," and rely on the readers to make the mental connection. But seeing
as how Idgit and Dangerous Dan haven't appeared in new stories in this
country for a VERY long time, I imagine that such readers would be
in the minority.
SOEREN SCHRIDDE wrote:
<<Cristopher wrote:
< Actually, I've observed a more general
<trend of "professionals" (academics, lawyers, businesspeople) being
<enamored with the Ducks.
And I really like lawyers to be count equally to the scientzists here
:-))
- By the way, I'm studying law ;-)>>
"Professional people" covers a lot of territory, since there are a lot
of professions. Scientists and academicians seem to be an unusually
high percentage of the Duck-loving "professionals," however.
GARY LEACH asked:
<<Here's a question I'd like to ask anyone who has any thoughts on the
matter: was there ever a point at which, had a couple of things gone just a
little differently, Mickey could have had a shot at gaining as much stature
in comics as the ducks...in the USA, I mean?>>
The logical answer would seem to be the 1930's and early 1940's, when the
Mouse
was still "active" on-screen and the success of Gottfredson's MICKEY MOUSE
strip had established that a market for Mouse comic-book product did
in fact exist. Unfortunately, no "Gottfredson-equivalent" to carry Mickey
into original comic-book stories stepped forth at this time.
Mickey's comic-book career may have been affected by the fact that his
movie career "wound down" considerably earlier than Donald's. When
Mickey was at his peak of popularity, the comic-book industry was just
starting to be born, so a person who would later have become a comic-book
specialist was more likely to be working in animation. Donald had
outstripped
Mickey in popularity by the mid-40's, and, as fate would have it,
that was precisely the time that the market for comic books exploded and
creators (such as Barks) began moving en masse from animation to comic books.
Even had Mickey had more original comic-book material in the old days, the
question still arises: how would the quality level have been maintained
in the face of increasing restrictions on "proper" activities for the
Mouse? Would the "Barks-equivalent" for the Mouse have been able to
work within increasing restrictions as effectively as Barks himself did?
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"ONE MORE 'PRECIOUS FAMILY MOMENT' AND I MAY UP-CHUCK! I QUIT!!" --
Duckworth, "DuckTales" episode "The Bride Wore Stripes"
Carey M. Furlong
Disney comics Digest V97 #179
Message 259 -
1997-08-27 at 06:26:18
Don Markstein wrote on the 24-Carat Moon:
> Actually, it's quite possible for something to orbit behind the
> Moon, and never be visible from Earth. There are in the Earth-Moon
> system (as in similar systems of orbiting bodies) five points
> (called Libration Points and designated L1 through L5) where a third
> body can orbit without ever changing its position relative to the
> first two. Two of these points (L4 and L5) are in the orbit of the
> Moon, in the positions that form an equilaterial triangle with Earth
> and Moon (you may have heard of the L5 Society, which proposes
> colonizing these points); the other three are in the line that runs
> between the centers of the two. I don't recall offhand which number
> is where, but one is between Earth and Moon, one "behind" Earth as
> seen from the Moon, and one (the one in question) "behind" the Moon
> as seen from Earth. It is in the latter position, obviously, that
> the 24-carat moon was located.
Don, I completely agree. The 24-carat moon was located at the L2
libration point in the Earth/Moon system. You make some excellent
observations about the five libration (or Lagrange) points, that
describe when the motions of bodies in a three body system,
gravitational and centrifugal forces, are in equilibrium.
For true stability, two of the masses would have to be relatively small,
and the third mass extremely large in comparison. In the Jovian system
the L4 and L5 points are very stable because the Sun is much larger than
Jupiter, and Jupiter is much larger than its Trojan asteroids. With the
Earth/Moon/24-Carat Moon system this requirement is only marginally met
(Earth diameter of 7000 miles; Moon diameter of 2100 miles; 24-carat
moon diameter of 500 miles). Regardless, the L2 point is real in the
Earth/Moon system, although much further out and beyond the moon than
was shown in the story. And that was why I felt it would realistically
be visible from Earth. The 24-Carat moon was so large in comparison to
the moon, and would have to have been located so far back of the lunar
disk as seen from Earth, that I feel it would have occasionally been
visible, peeking around the rim, as it were, as the moon sped up and
slowed down along its Earth orbit.
I never had problems with this story when I was young. ;-)
BTW, Gladstone just reprinted "The 24-Carat Moon" in their Uncle Scrooge
Adventures album series, and the coloring is beautifully done, indeed.
The golds of the moon are a rich, multi-hued series of golden yellows.
The collecting card for this book is also very handsome, showing Scrooge
from panel 1 on page 15, as he stands in his space suit on the golden
moon, expounding loquaciously on his ownership. Great job Gladstone!
Great job Susan Daigle-Leach! Book and card are both keepers!
Carey
"This fabulous twenty-four carat moon, for
a handful of dirt! ...Man! That's the
biggest bargain I ever heard of in all
history!" S. McDuck (US24)
Carey Furlong; Hungtington Beach, California;
(Email removed); (Email removed)
> Actually, it's quite possible for something to orbit behind the
> Moon, and never be visible from Earth. There are in the Earth-Moon
> system (as in similar systems of orbiting bodies) five points
> (called Libration Points and designated L1 through L5) where a third
> body can orbit without ever changing its position relative to the
> first two. Two of these points (L4 and L5) are in the orbit of the
> Moon, in the positions that form an equilaterial triangle with Earth
> and Moon (you may have heard of the L5 Society, which proposes
> colonizing these points); the other three are in the line that runs
> between the centers of the two. I don't recall offhand which number
> is where, but one is between Earth and Moon, one "behind" Earth as
> seen from the Moon, and one (the one in question) "behind" the Moon
> as seen from Earth. It is in the latter position, obviously, that
> the 24-carat moon was located.
Don, I completely agree. The 24-carat moon was located at the L2
libration point in the Earth/Moon system. You make some excellent
observations about the five libration (or Lagrange) points, that
describe when the motions of bodies in a three body system,
gravitational and centrifugal forces, are in equilibrium.
For true stability, two of the masses would have to be relatively small,
and the third mass extremely large in comparison. In the Jovian system
the L4 and L5 points are very stable because the Sun is much larger than
Jupiter, and Jupiter is much larger than its Trojan asteroids. With the
Earth/Moon/24-Carat Moon system this requirement is only marginally met
(Earth diameter of 7000 miles; Moon diameter of 2100 miles; 24-carat
moon diameter of 500 miles). Regardless, the L2 point is real in the
Earth/Moon system, although much further out and beyond the moon than
was shown in the story. And that was why I felt it would realistically
be visible from Earth. The 24-Carat moon was so large in comparison to
the moon, and would have to have been located so far back of the lunar
disk as seen from Earth, that I feel it would have occasionally been
visible, peeking around the rim, as it were, as the moon sped up and
slowed down along its Earth orbit.
I never had problems with this story when I was young. ;-)
BTW, Gladstone just reprinted "The 24-Carat Moon" in their Uncle Scrooge
Adventures album series, and the coloring is beautifully done, indeed.
The golds of the moon are a rich, multi-hued series of golden yellows.
The collecting card for this book is also very handsome, showing Scrooge
from panel 1 on page 15, as he stands in his space suit on the golden
moon, expounding loquaciously on his ownership. Great job Gladstone!
Great job Susan Daigle-Leach! Book and card are both keepers!
Carey
"This fabulous twenty-four carat moon, for
a handful of dirt! ...Man! That's the
biggest bargain I ever heard of in all
history!" S. McDuck (US24)
Carey Furlong; Hungtington Beach, California;
(Email removed); (Email removed)
Juergen Gebhardt
Disney comics Digest V97 #180
Message 260 -
1997-08-27 at 10:18:40
SOEREN:
> Can someone confirm that the German name for Dan and Idjit are
> "Der gefaehrliche Gregor und Zwerg Zwetschge"?
> Gregor is tall, with a twisted beard, and Zwetschge is small as
> Mickey, smoking cigars?
Yes, they're the same. In their first appearance in Germany,
"Der Schatz von Umba Lumba" in Micky Maus 46-49/1968,
they are still called "Schnorrnaujust" and "Willi Winz".
Erika Fuchs must have had a bad day, (although their original
names aren't very original either, I would say).
Jeopardizing Juergen the Giant
> Can someone confirm that the German name for Dan and Idjit are
> "Der gefaehrliche Gregor und Zwerg Zwetschge"?
> Gregor is tall, with a twisted beard, and Zwetschge is small as
> Mickey, smoking cigars?
Yes, they're the same. In their first appearance in Germany,
"Der Schatz von Umba Lumba" in Micky Maus 46-49/1968,
they are still called "Schnorrnaujust" and "Willi Winz".
Erika Fuchs must have had a bad day, (although their original
names aren't very original either, I would say).
Jeopardizing Juergen the Giant
Dave Rawson
ECN, EPS and such
Message 261 -
1997-08-27 at 12:24:18
ALL:
While looking for something else, I stumbled across a note from Byron
indicating ECN is the new acronym of Egmont Comic Creation A/S, the
comics division of Egmont. As I dimly recall from another voice
conversation, they chose "N" because ECC was already taken by another
group. :) ECN has been the official acronym since the beginning of this
year and replaced EPS for Egmont Publishing Service A/S.
Hope this helps...
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
--------------------------------
End of Disney comics Digest V97 Issue #181
******************************************
While looking for something else, I stumbled across a note from Byron
indicating ECN is the new acronym of Egmont Comic Creation A/S, the
comics division of Egmont. As I dimly recall from another voice
conversation, they chose "N" because ECC was already taken by another
group. :) ECN has been the official acronym since the beginning of this
year and replaced EPS for Egmont Publishing Service A/S.
Hope this helps...
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
--------------------------------
End of Disney comics Digest V97 Issue #181
******************************************
Dr. Archontis Pantsios
The First International Don Rosa Survey
Message 262 -
1997-08-27 at 13:44:05
FELLOW DUCKFANS:
Here follows my weekly (or so!) reminder on the Rosa survey.
A few general INSTRUCTIONS: Answer as many categories as you wish. In each
category choose at MOST THREE picks.
Send your responses to: (Email removed)
BY SEPTEMBER 15, 1997.
Here's the Questionnaire once again:
INTERNATIONAL SURVEY ON DON ROSA
NAME:
NATIONALITY:
SEX:
AGE:
1) Pick at MOST 3 covers which you consider Rosa's BEST: (*NOTE*: NOT in
order of preference. Simply what you'd consider Don's 3 BEST covers).
2) Pick at MOST 3 OPENING SPLASH PANELS which you consider Rosa's BEST:
3) Pick at MOST 3 INTERIOR SPLASH PANELS which you consider Rosa's BEST:
4) Pick at MOST 3 stories (of any length) which you consider Rosa's WORST:
5) Pick at MOST 3 SHORT stories (2-14 pages long) which you consider Rosa's
BEST:
6) Pick at MOST 3 LONG stories (15 pages or more) which you consider Rosa's
BEST:
7) Pick at MOST 3 "BEST/CLEVEREST" hidden D.U.C.K.s. (in covers OR Splash
panels).
8) COMMENTS:
A lucky respondent shall receive an issue of the Greek KOMIX containing a
Rosa story.
I hope you have fun filling out the above questionnaire,
Archontis
Here follows my weekly (or so!) reminder on the Rosa survey.
A few general INSTRUCTIONS: Answer as many categories as you wish. In each
category choose at MOST THREE picks.
Send your responses to: (Email removed)
BY SEPTEMBER 15, 1997.
Here's the Questionnaire once again:
INTERNATIONAL SURVEY ON DON ROSA
NAME:
NATIONALITY:
SEX:
AGE:
1) Pick at MOST 3 covers which you consider Rosa's BEST: (*NOTE*: NOT in
order of preference. Simply what you'd consider Don's 3 BEST covers).
2) Pick at MOST 3 OPENING SPLASH PANELS which you consider Rosa's BEST:
3) Pick at MOST 3 INTERIOR SPLASH PANELS which you consider Rosa's BEST:
4) Pick at MOST 3 stories (of any length) which you consider Rosa's WORST:
5) Pick at MOST 3 SHORT stories (2-14 pages long) which you consider Rosa's
BEST:
6) Pick at MOST 3 LONG stories (15 pages or more) which you consider Rosa's
BEST:
7) Pick at MOST 3 "BEST/CLEVEREST" hidden D.U.C.K.s. (in covers OR Splash
panels).
8) COMMENTS:
A lucky respondent shall receive an issue of the Greek KOMIX containing a
Rosa story.
I hope you have fun filling out the above questionnaire,
Archontis
Arthur De Wolf
What's a program?
Message 263 -
1997-08-27 at 15:52:39
Hi!
FRANCOIS said:
> What title? I know a DD's 60th birthday album published
> by Dargaud, but with no EGN producktions.
You mean the "Bon Anniversaire Donald 60 Ans" book published by Dargaud?
At least that book is entitled as a "European Graphic Novel" in my sources,
but I don't know more about it.
I'm not sure if "Micky Praesentiert" in Germany really publishes
the EGN-stories produced by ERO (like Juergen said). I think most of them
are printed in the albums, just like the "Dargaud"-albums in France,
"FilmStrip" in Holland and "Ole Disney" in Spain.
> But what is the "That's Donald program"?
The "That's Donald" program is a big merchandise program launched in
the Fall of 1995 by Disney Consumer Products Europe and Middle East.
The program was a huge success across Europe. All Disney divisions
participated; books, home furnishing, toys, gifts and also a
"That's Donald"-Panini Sticker album was produced. The program was
called "Ca c'est Donald", "Io Paperino", "Asi es Donald" and "So o Donald"
in other countries. Products associated with the program could be
recognized with one or all of the six close-up faces of Donald with
usually a yellow/orange background.
They have now developed a "Winnie the Pooh" program. Winnie
the Pooh now has his own brand which will carry across all Disney product
categories. A thorough marketing strategy has been developed. In the
publications-market magazines, retail books and reference series will
begin this Fall in some countries and continue throughout Europe in 1998.
And while Buena Vista Home Entertainment will release a feature-length
video premiere entitled "Winnie the Pooh's Most Grand Adventures" in 1997
(or 1998 in other contries), Disney Interactive will come up with two new
Pooh-titles and 50 television episodes of animated Winnie the Pooh material
will run across television channels across Europe. Also Disneyland Paris
and the Disney Stores will celebrate Winnie the Pooh and toys will
be developed for this program.
So that's what I meant with a "program". Hope it helps.
Bye!
Arthur
http://www.pi.net/~wolfman
FRANCOIS said:
> What title? I know a DD's 60th birthday album published
> by Dargaud, but with no EGN producktions.
You mean the "Bon Anniversaire Donald 60 Ans" book published by Dargaud?
At least that book is entitled as a "European Graphic Novel" in my sources,
but I don't know more about it.
I'm not sure if "Micky Praesentiert" in Germany really publishes
the EGN-stories produced by ERO (like Juergen said). I think most of them
are printed in the albums, just like the "Dargaud"-albums in France,
"FilmStrip" in Holland and "Ole Disney" in Spain.
> But what is the "That's Donald program"?
The "That's Donald" program is a big merchandise program launched in
the Fall of 1995 by Disney Consumer Products Europe and Middle East.
The program was a huge success across Europe. All Disney divisions
participated; books, home furnishing, toys, gifts and also a
"That's Donald"-Panini Sticker album was produced. The program was
called "Ca c'est Donald", "Io Paperino", "Asi es Donald" and "So o Donald"
in other countries. Products associated with the program could be
recognized with one or all of the six close-up faces of Donald with
usually a yellow/orange background.
They have now developed a "Winnie the Pooh" program. Winnie
the Pooh now has his own brand which will carry across all Disney product
categories. A thorough marketing strategy has been developed. In the
publications-market magazines, retail books and reference series will
begin this Fall in some countries and continue throughout Europe in 1998.
And while Buena Vista Home Entertainment will release a feature-length
video premiere entitled "Winnie the Pooh's Most Grand Adventures" in 1997
(or 1998 in other contries), Disney Interactive will come up with two new
Pooh-titles and 50 television episodes of animated Winnie the Pooh material
will run across television channels across Europe. Also Disneyland Paris
and the Disney Stores will celebrate Winnie the Pooh and toys will
be developed for this program.
So that's what I meant with a "program". Hope it helps.
Bye!
Arthur
http://www.pi.net/~wolfman
Harry Fluks
A broken lamp
Message 264 -
1997-08-27 at 17:19:09
Anders Engwall and I had a discussion about a cover that *looks* like
it's Barks, but is credited to Tony Strobl.
It's the cover of WDC 348, reprinted in Sweden in KA 34, 1970.
In the following, A> indicates Anders, and H> is me.
A> The cover contains a broken lamp. And a baseball bat and ball
A> lying on the floor next to it. And HDL sitting next to it doing
A> the "see nothing, hear nothing, say nothing" routine. And an
A> angry-looking DD.
A> Sure looks like it's by Barks...
A> As a trivia point, I just *knew* I'd seen a similar cover
A> somewhere else, and finally I found it. KA 66-46 not only has
A> a broken lamp, but it also has HDL of which one hides a ball
A> behind his back, another holds the broken lamp foot behind his
A> back and the third duckling standing on a table with the lampshade
A> on his head. All of them hoping that the angry-looking DD won't
A> notice. And whaddya know - it looks like it's drawn by Tony
A> Strobl! I even thought it might have been a mix-up here, until I
A> realised that WDC 348 wasn't published until way after 1966.
A> Oh well...
H> I have seen a similar cover in Holland. If I remember right, it was
H> redrawn. It certainly wasn't Strobl!
H> I remember a Barks cover where HDL imitate the 3 monkeys
H> (WDC 321, in Sweden on KA 68-08)! In this case, Donald is about
H> to fall in a pit.
A> I recalled that too, but HDL do look different here -- quite
A> different facial expressions and they are standing, not
A> sitting as on 70-34.
Does anyone have any ideas on the subject? Why does the WDC 348 cover look
so Barksy? And what's the origin of the Strobl cover on KA 66-46?
--Harry.
it's Barks, but is credited to Tony Strobl.
It's the cover of WDC 348, reprinted in Sweden in KA 34, 1970.
In the following, A> indicates Anders, and H> is me.
A> The cover contains a broken lamp. And a baseball bat and ball
A> lying on the floor next to it. And HDL sitting next to it doing
A> the "see nothing, hear nothing, say nothing" routine. And an
A> angry-looking DD.
A> Sure looks like it's by Barks...
A> As a trivia point, I just *knew* I'd seen a similar cover
A> somewhere else, and finally I found it. KA 66-46 not only has
A> a broken lamp, but it also has HDL of which one hides a ball
A> behind his back, another holds the broken lamp foot behind his
A> back and the third duckling standing on a table with the lampshade
A> on his head. All of them hoping that the angry-looking DD won't
A> notice. And whaddya know - it looks like it's drawn by Tony
A> Strobl! I even thought it might have been a mix-up here, until I
A> realised that WDC 348 wasn't published until way after 1966.
A> Oh well...
H> I have seen a similar cover in Holland. If I remember right, it was
H> redrawn. It certainly wasn't Strobl!
H> I remember a Barks cover where HDL imitate the 3 monkeys
H> (WDC 321, in Sweden on KA 68-08)! In this case, Donald is about
H> to fall in a pit.
A> I recalled that too, but HDL do look different here -- quite
A> different facial expressions and they are standing, not
A> sitting as on 70-34.
Does anyone have any ideas on the subject? Why does the WDC 348 cover look
so Barksy? And what's the origin of the Strobl cover on KA 66-46?
--Harry.
Donald D. Markstein
Junkville Journal
Message 265 -
1997-08-27 at 19:42:57
I HATE it when the formatting of my messages is scrambled! Ever =
since CompuServe went over to this new "transparent" e-mail =
format, I've had trouble with that. I'm trying various strategems =
to make it look like normal text, but the last one didn't work. =
Let's see if this one does...
DAVID --
If it was ever stated explicitly that "Grampy" was =
actually Betty Boop's grandfather, it went right by me. Of course, =
I only have a little over half the Boop cartoons on videotape, and =
even if I happen to have the one where it was mentioned (if indeed =
it was mentioned), I'm not so observant that I can state =
unequivocally that it never happened. Anywho, I just had an =
impression he was a nice old guy that she liked to hang out with.
I heard the Netherlands folks stopped doing new Bucky Bug =
stories two or three years ago. Did they start again? Or was my =
info that they'd stopped incorrect? In any case, what I meant by =
"If I have anything to say about it" referred mostly to my writing =
English-language scripts for those Dutch stories -- which I've =
been lobbying for over the past couple of years, and which is =
finally starting to happen! Look for new-to-Americans Bucky Bug =
stories, 3-4 pages each, to start appearing in WDC&S early next =
year. One script has already been turned in, and John Clark has =
given me a tentative go-ahead on five more.
As for "I'd call them fake -- they never RHYME, for =
goodness sake!" -- maybe not in their native language, but MY =
versions do.
DAVE --
"I think folks mostly want to hear from Don."
You're too kind.
Oh, wait! You mean the OTHER Don, don't you?
GARY --
I think a large factor in Mickey never having achieved a =
great U.S. following has to do with the perceived indistinctness =
of his character. Is he (to the general public) a mischievous =
little imp, a two-fisted adventurer, or a staid suburbanite? =
Donald Duck developed a distinct personality early on, which is =
why he quickly eclipsed Mickey in cartoons, then went on to =
all-but-eradicate him from U.S. comics.
Quack, Don=
since CompuServe went over to this new "transparent" e-mail =
format, I've had trouble with that. I'm trying various strategems =
to make it look like normal text, but the last one didn't work. =
Let's see if this one does...
DAVID --
If it was ever stated explicitly that "Grampy" was =
actually Betty Boop's grandfather, it went right by me. Of course, =
I only have a little over half the Boop cartoons on videotape, and =
even if I happen to have the one where it was mentioned (if indeed =
it was mentioned), I'm not so observant that I can state =
unequivocally that it never happened. Anywho, I just had an =
impression he was a nice old guy that she liked to hang out with.
I heard the Netherlands folks stopped doing new Bucky Bug =
stories two or three years ago. Did they start again? Or was my =
info that they'd stopped incorrect? In any case, what I meant by =
"If I have anything to say about it" referred mostly to my writing =
English-language scripts for those Dutch stories -- which I've =
been lobbying for over the past couple of years, and which is =
finally starting to happen! Look for new-to-Americans Bucky Bug =
stories, 3-4 pages each, to start appearing in WDC&S early next =
year. One script has already been turned in, and John Clark has =
given me a tentative go-ahead on five more.
As for "I'd call them fake -- they never RHYME, for =
goodness sake!" -- maybe not in their native language, but MY =
versions do.
DAVE --
"I think folks mostly want to hear from Don."
You're too kind.
Oh, wait! You mean the OTHER Don, don't you?
GARY --
I think a large factor in Mickey never having achieved a =
great U.S. following has to do with the perceived indistinctness =
of his character. Is he (to the general public) a mischievous =
little imp, a two-fisted adventurer, or a staid suburbanite? =
Donald Duck developed a distinct personality early on, which is =
why he quickly eclipsed Mickey in cartoons, then went on to =
all-but-eradicate him from U.S. comics.
Quack, Don=
Bhc
Disney comics Digest V97 #181
Message 266 -
1997-08-27 at 23:03:53
Rich:
>You knew I'd respond to this one ;-)
I would have been {:-O had you not! But I thank you for doing so, naytheless.
>A television cartoon series featuring Mickey & Co. wouldn't hurt, and
>would probably attract a whole new audience to Mickey comics as well.
Probably would. But after the turmoil created within Disney by the
production of "The Runaway Brain," I'd hate to think of the havoc that
would be unleashed by a whole series of new Mickey cartoons! Doesn't mean
they shouldn't try, of course...
Francois:
>But Susan Daigle-Leach is not a penciler/inker, nor a
>writer? (I've nothing against colorists, though...).
Not that this is necessarily of particular interest to anyone except us
Gladstone grunts, but Susan is a trained illustrator, and quite facile with
pencil and inks...just not, as she'll be the first to tell you, with Disney
ducks. Not to sit down and draw a story, anyway.
Actually, Susan, John Clark, and I are all pretty good at drawing *parts*
of Disney ducks. Kinda comes with the territory, sooner or later.
Christopher:
Thanks for responding!
>Even had Mickey had more original comic-book material in the old days, the
>question still arises: how would the quality level have been maintained
>in the face of increasing restrictions on "proper" activities for the
>Mouse? Would the "Barks-equivalent" for the Mouse have been able to
>work within increasing restrictions as effectively as Barks himself did?
One would hope that this "Barks equivalent" would have found a way.
However, from what you and Rich have brought up, I'm not sure a "Barks
equivalent" would have been enough. Someone (or several someones) with
vision and talent greater than Barks may have been required to bring Mickey
up to snuff!
Carey:
Re your accolades on our "24-Carat Moon" album & trading card:
Susan sez: "Aw, gee...thanks!"
Gary
****************************
"Ee!" - Tiffany Case (as two flaming shish kebabs unpleasantly
approach...)
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
>You knew I'd respond to this one ;-)
I would have been {:-O had you not! But I thank you for doing so, naytheless.
>A television cartoon series featuring Mickey & Co. wouldn't hurt, and
>would probably attract a whole new audience to Mickey comics as well.
Probably would. But after the turmoil created within Disney by the
production of "The Runaway Brain," I'd hate to think of the havoc that
would be unleashed by a whole series of new Mickey cartoons! Doesn't mean
they shouldn't try, of course...
Francois:
>But Susan Daigle-Leach is not a penciler/inker, nor a
>writer? (I've nothing against colorists, though...).
Not that this is necessarily of particular interest to anyone except us
Gladstone grunts, but Susan is a trained illustrator, and quite facile with
pencil and inks...just not, as she'll be the first to tell you, with Disney
ducks. Not to sit down and draw a story, anyway.
Actually, Susan, John Clark, and I are all pretty good at drawing *parts*
of Disney ducks. Kinda comes with the territory, sooner or later.
Christopher:
Thanks for responding!
>Even had Mickey had more original comic-book material in the old days, the
>question still arises: how would the quality level have been maintained
>in the face of increasing restrictions on "proper" activities for the
>Mouse? Would the "Barks-equivalent" for the Mouse have been able to
>work within increasing restrictions as effectively as Barks himself did?
One would hope that this "Barks equivalent" would have found a way.
However, from what you and Rich have brought up, I'm not sure a "Barks
equivalent" would have been enough. Someone (or several someones) with
vision and talent greater than Barks may have been required to bring Mickey
up to snuff!
Carey:
Re your accolades on our "24-Carat Moon" album & trading card:
Susan sez: "Aw, gee...thanks!"
Gary
****************************
"Ee!" - Tiffany Case (as two flaming shish kebabs unpleasantly
approach...)
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
Per Starback
Introducktion
Message 267 -
1997-08-28 at 01:52:08
Francois> And no stories in the DcD are credited to Shaun Craill...
Shaun> I got a message from Harry today to say that the details should now be
Shaun> entered.
But then it will take some time until a new version of the DcD is
released. Meanwhile that information is available on the creator page
on Shaun at
<http://www.update.uu.se/~starback/disney-comics/creators/shaun-craill.html>
and has been there since August 14.
Shaun> I got a message from Harry today to say that the details should now be
Shaun> entered.
But then it will take some time until a new version of the DcD is
released. Meanwhile that information is available on the creator page
on Shaun at
<http://www.update.uu.se/~starback/disney-comics/creators/shaun-craill.html>
and has been there since August 14.
Shaun Craill
Re ECN
Message 268 -
1997-08-28 at 02:03:19
>> I must plead my ignorance and ask, what does the abbreviation ECN
>> stand for?
>You know, I'm sorry, but I must plead ignorance as well. No key was
>given (proving my earlier point) so I could only guess something like
>Egmont Comics Network or some such. Likely a few other folks here can
>help us out on this.
I might be wrong on this, but I thought it stood for *Egmont Collection
Number* and is used to identify all stories appearing in any particular
numbered weekly comic for the purposes of naming computer files for
translations, colouring and such like.
regards
Shaun.
>> stand for?
>You know, I'm sorry, but I must plead ignorance as well. No key was
>given (proving my earlier point) so I could only guess something like
>Egmont Comics Network or some such. Likely a few other folks here can
>help us out on this.
I might be wrong on this, but I thought it stood for *Egmont Collection
Number* and is used to identify all stories appearing in any particular
numbered weekly comic for the purposes of naming computer files for
translations, colouring and such like.
regards
Shaun.
Juergen Gebhardt
Disney comics Digest V97 #181
Message 269 -
1997-08-28 at 02:31:02
RICH:
> So IMHO, I blame it on too many long involved tales at the start (which are
> great for the devoted fan like me, but lousy when many folks just want a
> quick fix of their favorite hi-jinx), and a lack of a strong personality (like
> Donald's irascibilty), and a lack of colorful relatives who constantly make
> his life....interesting, and most of all, as you alluded, a lack of a devoted
> writer to carry on in Gottfredson's footsteps (though things are changing).
You have raised some interesting points, Rich. But I don't think
that the lack of relatives is a reason for Mickey's diminishing
popularity as a comic book hero. Take for example the adventures of
Tintin which are very popular in Europe. They were first published
in serialized form in a Belgian newspaper starting in 1929, around
the same time that the Mickey Mouse daily strip began.
The family life of Tintin was never mentioned. His personality
is very similar to Mickey's (or even blander, he hasn't even a girl
friend). But his supporting cast is one of the funniest in the
medium. But you maybe right, I can't imagine someone like the
constantly cursing, alcoholic Captain Haddock or the gags about
the almost deaf Prof. Tournesol in a Disney or in any American comic
book aimed at children.
But the biggest advantage that Tintin has over Gottfredson's Mickey Mouse
is that all his adventures since the 1930s were collected in albums
and are still available to new generations of readers. Some of the older
episodes were deemed too crude or too racist and were redrawn.
But you can still buy the older versions in more expensive collector's
editions.
FRANCOIS:
> >... MICKY MAUS PRAESENTIERT, which is not an album but a comic book series.
>
> Is this the usual way to print them for Egmont? It must be quite "big"
> comic book series, as some stories have more than 40 pages.
Yes, they are comic book size, but the page count of the latest issue
(number 22, "50 Jahre Onkel Dagobert") for example is 108 (and still
saddle-stitched not perfect-bound).
> And, by the way, any credits in the "Micky Maus Praesentiert"?
No credits are given. (At least that's what I remember from looking
at them at the newsstand; I haven't bought any of the movie
adaptations. Please correct me, anyone, if I am wrong!)
Juergen
> So IMHO, I blame it on too many long involved tales at the start (which are
> great for the devoted fan like me, but lousy when many folks just want a
> quick fix of their favorite hi-jinx), and a lack of a strong personality (like
> Donald's irascibilty), and a lack of colorful relatives who constantly make
> his life....interesting, and most of all, as you alluded, a lack of a devoted
> writer to carry on in Gottfredson's footsteps (though things are changing).
You have raised some interesting points, Rich. But I don't think
that the lack of relatives is a reason for Mickey's diminishing
popularity as a comic book hero. Take for example the adventures of
Tintin which are very popular in Europe. They were first published
in serialized form in a Belgian newspaper starting in 1929, around
the same time that the Mickey Mouse daily strip began.
The family life of Tintin was never mentioned. His personality
is very similar to Mickey's (or even blander, he hasn't even a girl
friend). But his supporting cast is one of the funniest in the
medium. But you maybe right, I can't imagine someone like the
constantly cursing, alcoholic Captain Haddock or the gags about
the almost deaf Prof. Tournesol in a Disney or in any American comic
book aimed at children.
But the biggest advantage that Tintin has over Gottfredson's Mickey Mouse
is that all his adventures since the 1930s were collected in albums
and are still available to new generations of readers. Some of the older
episodes were deemed too crude or too racist and were redrawn.
But you can still buy the older versions in more expensive collector's
editions.
FRANCOIS:
> >... MICKY MAUS PRAESENTIERT, which is not an album but a comic book series.
>
> Is this the usual way to print them for Egmont? It must be quite "big"
> comic book series, as some stories have more than 40 pages.
Yes, they are comic book size, but the page count of the latest issue
(number 22, "50 Jahre Onkel Dagobert") for example is 108 (and still
saddle-stitched not perfect-bound).
> And, by the way, any credits in the "Micky Maus Praesentiert"?
No credits are given. (At least that's what I remember from looking
at them at the newsstand; I haven't bought any of the movie
adaptations. Please correct me, anyone, if I am wrong!)
Juergen
Dave Rawson
Disney comics Digest V97 #181
Message 270 -
1997-08-28 at 06:31:28
Francois Willot <(Email removed)>:
> >GRANDMA GOES TO TOWN, D96397, drawn by Marsal
>
> We thought (I and Harry) that Marsal is "Marcal Abella".
Marsal is Spanish I believe. Is that the same with Marcal?
> And you're right, Marsal is one of the best artists at Egmont. Not a
> "star" like Branca or Vicar, but a quite valid penciller. [If he's
> really Abella, as I think]
Well, I thought the inking was superb. I believe even the members of
this list might like his art.
> He worked for France in the 80s and was one of the Comicup artists,
> just like Ferioli, Bernado... All the great artists are "swiped" by
> Egmont...
Hmm. Kinda like the Pope did to the Medici in the Florentine
Renaissance?
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
> >GRANDMA GOES TO TOWN, D96397, drawn by Marsal
>
> We thought (I and Harry) that Marsal is "Marcal Abella".
Marsal is Spanish I believe. Is that the same with Marcal?
> And you're right, Marsal is one of the best artists at Egmont. Not a
> "star" like Branca or Vicar, but a quite valid penciller. [If he's
> really Abella, as I think]
Well, I thought the inking was superb. I believe even the members of
this list might like his art.
> He worked for France in the 80s and was one of the Comicup artists,
> just like Ferioli, Bernado... All the great artists are "swiped" by
> Egmont...
Hmm. Kinda like the Pope did to the Medici in the Florentine
Renaissance?
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm