DON M.:
> Of course, the Warner cartoons remain truly funny even after all this
> time; whereas I suspect, from the few snatches I've seen, the Disneys might
> have been mostly jingoistic. Maybe Disney has buried them because it's
> embarrassed at how badly they've aged.
I have seen the full version of "Der Fuehrer's Face", and it's very funny,
even today. When TV stations broadcast series like 'Allo 'Allo, I see no problem
for Disney to put their war cartoons in the open.
--Harry.
('Allo 'Allo is a British comedy series about occupied France in WW2.)
Author
Topic: 199709
(341 messages)
Harry Fluks
Das Gesicht des Fuehrers
Message 1 -
1997-09-01 at 00:34:36
Brix Lichtenberg
Babbling praises
Message 2 -
1997-09-01 at 06:57:50
Hi folks,
my name is Brix Lichtenberg and I'm new on the list. I think now's the
time to put a use to my school-taught and comics-derived English and
tell you how much I appreciate this mailing list.
PER:
> On 4 Aug 92 Per wrote:
> I hope that creating this mailing list was a good idea.
Per, creating this mailing list was a GREAT idea! (Well, you'll know now
anyway). I lurked for the past two weeks and immensely enjoyed the
digests. I even downloaded the complete archived digests and started
reading them (that makes me kind of hardcore, I guess).
I'm totally enthusiastic about being able to read about the opinions and
benefiting by the knowledge of Disney creators, pros, fans and experts
like Don Rosa, Don Markstein, David Gerstein, Byron Erickson (and many
more) and sharing the privilege to have the possibility to talk to them.
Well, I should stop to fill the digest with babbling praises. Yet two
short ones:
DON R.:
Thanks so much for so many memorable stories. You (along with the
Gladstone reprints of Daan Jippes' work) brought me back to reading and
enjoying Disney comics again. I stopped collecting and reading Disney
around 1983/1984 because the Disney comics published in Germany had
become so dull. All the "good old stuff" had already been reprinted
twice or more and it seemed to me nothing interesting was to come. Boy,
can I be wrong! I really enjoyed your comments in Gladstone's Lo$ (your
website with Dan is even better) and your contributions to this list.
It's so much more fun to read a comic story when you know the background
of the story and the intentions of the writer.
ARTHUR:
Your website knocked me off my feet. I didn't know where to start to
look at. Brilliant stuff.
Since I don't have anything significant yet to add to the vast knowledge
assembled on this list just some (more or less technical) questions:
HARRY AND GERMAN INDEXERS:
First, the Disney comics database is a great piece of work! Thanks so
much! (Ouch, I'm babbling praises again). Having been able to recognize
just a few of the classic Disney artists (Barks, Murry, Scarpa,
Cavazzano, Gottfredson, ...) it always annoyed me not to know who
created the stories I liked or disliked.
I'm a big fan of Romano Scarpa (next to Barks and Don). I completely
agree with those who mentioned earlier on this list that Scarpa wrote
some Mickey (and Ducks) stories ranking in the same class as Barks' and
Gottfredson's. Those stories, a lot of them reprinted in Germany's LT,
were the main reason why Mickey never occurred to me as a boring
character.
So, does anybody have a list of Scarpa material reprinted in German
comics? The DCD seems to be rather incomplete in this respect.
In my edition of "Der Buecherdonald" I read that a Donaldist called
Boemund von Hunoltstein indexed nearly ALL of German Disney comics with
pages, titles, heroes, artists and reprints and contributed his lists to
the D.O.N.A.L.D. archives. Are those already part of the DCD? If not,
any chance it can be made accessible to the list and the DCB? There sure
are some Donaldists on this list, aren't they?
PER (again):
Is it possible to put compressed versions of the database on the FTP
site, too? I like the idea of browsing the DCD offline. Actually I
already downloaded the internal files. But it took long and compressed
files would be far more convenient for future versions.
ALL:
Ah, yes. A question about the Phantom Blot came to my mind. When did he
divide into two characters (or didn't he?). I recall him being unmasked
just twice, in the original story by Gottfredson (Surely banned by
Disney because of its violence. BTW I'm interested in a list of the
banned stories, too.) and in the "sequel" by Scarpa. In German Disney
comics (of Italian origin, I think) he appeared again as very clever
villain (German name "Plattnase", translates "Flatnose" or something
like that), sometimes working with Pete but without his mask. The Murry
stories with the (ghostlike and unmaskable) Phantom Blot and those of
his imitators often were published at the same time so there was the
impression of two individual characters.
Well, that's all for now. Back to lurking (there're plenty of old
digests left to read).
Bye,
Brix
--
Them? Oh ... uh ... they're my ... uhhh ... my three nephews! (..if
Donald Duck can get away with a ridiculous story like that, why can't
I??) - Maxwell the Magic Cat
my name is Brix Lichtenberg and I'm new on the list. I think now's the
time to put a use to my school-taught and comics-derived English and
tell you how much I appreciate this mailing list.
PER:
> On 4 Aug 92 Per wrote:
> I hope that creating this mailing list was a good idea.
Per, creating this mailing list was a GREAT idea! (Well, you'll know now
anyway). I lurked for the past two weeks and immensely enjoyed the
digests. I even downloaded the complete archived digests and started
reading them (that makes me kind of hardcore, I guess).
I'm totally enthusiastic about being able to read about the opinions and
benefiting by the knowledge of Disney creators, pros, fans and experts
like Don Rosa, Don Markstein, David Gerstein, Byron Erickson (and many
more) and sharing the privilege to have the possibility to talk to them.
Well, I should stop to fill the digest with babbling praises. Yet two
short ones:
DON R.:
Thanks so much for so many memorable stories. You (along with the
Gladstone reprints of Daan Jippes' work) brought me back to reading and
enjoying Disney comics again. I stopped collecting and reading Disney
around 1983/1984 because the Disney comics published in Germany had
become so dull. All the "good old stuff" had already been reprinted
twice or more and it seemed to me nothing interesting was to come. Boy,
can I be wrong! I really enjoyed your comments in Gladstone's Lo$ (your
website with Dan is even better) and your contributions to this list.
It's so much more fun to read a comic story when you know the background
of the story and the intentions of the writer.
ARTHUR:
Your website knocked me off my feet. I didn't know where to start to
look at. Brilliant stuff.
Since I don't have anything significant yet to add to the vast knowledge
assembled on this list just some (more or less technical) questions:
HARRY AND GERMAN INDEXERS:
First, the Disney comics database is a great piece of work! Thanks so
much! (Ouch, I'm babbling praises again). Having been able to recognize
just a few of the classic Disney artists (Barks, Murry, Scarpa,
Cavazzano, Gottfredson, ...) it always annoyed me not to know who
created the stories I liked or disliked.
I'm a big fan of Romano Scarpa (next to Barks and Don). I completely
agree with those who mentioned earlier on this list that Scarpa wrote
some Mickey (and Ducks) stories ranking in the same class as Barks' and
Gottfredson's. Those stories, a lot of them reprinted in Germany's LT,
were the main reason why Mickey never occurred to me as a boring
character.
So, does anybody have a list of Scarpa material reprinted in German
comics? The DCD seems to be rather incomplete in this respect.
In my edition of "Der Buecherdonald" I read that a Donaldist called
Boemund von Hunoltstein indexed nearly ALL of German Disney comics with
pages, titles, heroes, artists and reprints and contributed his lists to
the D.O.N.A.L.D. archives. Are those already part of the DCD? If not,
any chance it can be made accessible to the list and the DCB? There sure
are some Donaldists on this list, aren't they?
PER (again):
Is it possible to put compressed versions of the database on the FTP
site, too? I like the idea of browsing the DCD offline. Actually I
already downloaded the internal files. But it took long and compressed
files would be far more convenient for future versions.
ALL:
Ah, yes. A question about the Phantom Blot came to my mind. When did he
divide into two characters (or didn't he?). I recall him being unmasked
just twice, in the original story by Gottfredson (Surely banned by
Disney because of its violence. BTW I'm interested in a list of the
banned stories, too.) and in the "sequel" by Scarpa. In German Disney
comics (of Italian origin, I think) he appeared again as very clever
villain (German name "Plattnase", translates "Flatnose" or something
like that), sometimes working with Pete but without his mask. The Murry
stories with the (ghostlike and unmaskable) Phantom Blot and those of
his imitators often were published at the same time so there was the
impression of two individual characters.
Well, that's all for now. Back to lurking (there're plenty of old
digests left to read).
Bye,
Brix
--
Them? Oh ... uh ... they're my ... uhhh ... my three nephews! (..if
Donald Duck can get away with a ridiculous story like that, why can't
I??) - Maxwell the Magic Cat
Don Rosa
Disney comics Digest V97 #185
Message 3 -
1997-09-01 at 07:01:15
JO:
> >What made you think I wasn't here all along?
> Maybe that you didn't respond to Didier's question (now I know why) and
> because someone wrote that you was working fulltime with your
Europe-tour.
I think they were just joking about me being busy full-time preparing for
my late-October Europe-tour! What a thought! Actually, I don't do ANY
preparing for those trips. I just pack up and go and allow my hosts to do
all the preparing -- it's their show... I just go where they point me.
> Do you know when Egmont (in Norway) are printing these stories :
> US T:The Last Lords of El Dorado
> Gladstone Gander 50th Anniversary story
> HDL T:W.H.A.D.A.L.O.T.T.A.J.A.R.G.O.N.>
> And how long will it take before Gladstone are printing your stories
Sorry... I have no connection with the divisions of Egmont who decide when
my stories are to be used. As for Gladstone's reprintings, all I know is
that will be sometime after Egmont's usage. Sorry.
> >Then I expect to do a new "Lo$" chapter.
> What will it be about ?
About 24 pages.
(Actually I have a long list of possible ideas. I'll pick one when the time
comes.)
THOMAS:
>a guy named Aleksi Stenberg wrote me a message saying that he
> thought (he wasn't sure at all) that the dedication in The Master
> Landscapist splash panel is actually Donald's last name on the car.
> I don't think it's the dedication, but what do you all think?
I'll tell you what *I* think, if I can offer an opinion. I was surprised,
myself, when I first saw that story in print because I could have SWORN
that I put the dedication in the flower that the bee is buzzing about in
that splash-panel... but it's not there. Similarly, I felt sure I recalled
putting the dedication in the splash-panel of "The Duck Who Fell to Earth",
but it's nowhere to be seen there, either. Same with one or two other
stories. My only explanation is that I had pencilled the letters in, but
when I came to the inking stage weeks later, I had hidden the letters so
well that I didn't notice them and forgot to ink them.
KRITON:
Did I miss a question to me? Would I ever do a Mickey story in the
Gottfredson style? No, I simply have no reason to. My reasons for doing
Donald and $crooge stories is not to make huge piles of dough or to create
comics that gain me great attention with the public or the comic industry
-- neither of those things ever happen with Disney comics. The only reason
I have for doing Donald and $crooge comics is to live out some sorta
childhood
dream of my own. And since I never particularly liked Mickey Mouse when I
was a kid (or any other Disney or "funny-animal" comics, if such they are),
then there's no reason why I would ever stop doing Ducks even long enough
to do one Mouse story. Surely this is, if Gottfredson fans think so,
because I was never exposed to his stories until too late in life (not
until Gladstone's reprintings in the late 80s), but that's the way it is.
> >What made you think I wasn't here all along?
> Maybe that you didn't respond to Didier's question (now I know why) and
> because someone wrote that you was working fulltime with your
Europe-tour.
I think they were just joking about me being busy full-time preparing for
my late-October Europe-tour! What a thought! Actually, I don't do ANY
preparing for those trips. I just pack up and go and allow my hosts to do
all the preparing -- it's their show... I just go where they point me.
> Do you know when Egmont (in Norway) are printing these stories :
> US T:The Last Lords of El Dorado
> Gladstone Gander 50th Anniversary story
> HDL T:W.H.A.D.A.L.O.T.T.A.J.A.R.G.O.N.>
> And how long will it take before Gladstone are printing your stories
Sorry... I have no connection with the divisions of Egmont who decide when
my stories are to be used. As for Gladstone's reprintings, all I know is
that will be sometime after Egmont's usage. Sorry.
> >Then I expect to do a new "Lo$" chapter.
> What will it be about ?
About 24 pages.
(Actually I have a long list of possible ideas. I'll pick one when the time
comes.)
THOMAS:
>a guy named Aleksi Stenberg wrote me a message saying that he
> thought (he wasn't sure at all) that the dedication in The Master
> Landscapist splash panel is actually Donald's last name on the car.
> I don't think it's the dedication, but what do you all think?
I'll tell you what *I* think, if I can offer an opinion. I was surprised,
myself, when I first saw that story in print because I could have SWORN
that I put the dedication in the flower that the bee is buzzing about in
that splash-panel... but it's not there. Similarly, I felt sure I recalled
putting the dedication in the splash-panel of "The Duck Who Fell to Earth",
but it's nowhere to be seen there, either. Same with one or two other
stories. My only explanation is that I had pencilled the letters in, but
when I came to the inking stage weeks later, I had hidden the letters so
well that I didn't notice them and forgot to ink them.
KRITON:
Did I miss a question to me? Would I ever do a Mickey story in the
Gottfredson style? No, I simply have no reason to. My reasons for doing
Donald and $crooge stories is not to make huge piles of dough or to create
comics that gain me great attention with the public or the comic industry
-- neither of those things ever happen with Disney comics. The only reason
I have for doing Donald and $crooge comics is to live out some sorta
childhood
dream of my own. And since I never particularly liked Mickey Mouse when I
was a kid (or any other Disney or "funny-animal" comics, if such they are),
then there's no reason why I would ever stop doing Ducks even long enough
to do one Mouse story. Surely this is, if Gottfredson fans think so,
because I was never exposed to his stories until too late in life (not
until Gladstone's reprintings in the late 80s), but that's the way it is.
ANTTI HYVARINEN
Don Rosa
Message 4 -
1997-09-01 at 15:09:39
Hi, I`m Antti Hyvärinen from Finland. Don, I`m your big fan and I have
almost your every story what have published in Finland.
DON:
I would like to know that, are you going to do story what would have to
do anything with Finland? Do you know what I mean? Like that ducks
would come to Finland or something like that.
And the next question is, what was the date when you are coming to
Helsinki?
-Antti-
almost your every story what have published in Finland.
DON:
I would like to know that, are you going to do story what would have to
do anything with Finland? Do you know what I mean? Like that ducks
would come to Finland or something like that.
And the next question is, what was the date when you are coming to
Helsinki?
-Antti-
Nils Helge Karstad
Story Index
Message 5 -
1997-09-01 at 16:55:31
ALL:
I'm starting to get interested in Scarpa and Gottfredson stories (everybody
writes about them), so i wonder if anybody has an index of Scarpa and/or
Gottfredson stories printed in Norway ?????
I would also been interested if someone had an index over David Gerstein
materiel printed in Norway.
Jo
--------------------------------------------
Mail-adress:
(Email removed)
--------------------------------------------
I'm starting to get interested in Scarpa and Gottfredson stories (everybody
writes about them), so i wonder if anybody has an index of Scarpa and/or
Gottfredson stories printed in Norway ?????
I would also been interested if someone had an index over David Gerstein
materiel printed in Norway.
Jo
--------------------------------------------
Mail-adress:
(Email removed)
--------------------------------------------
Cebarat
Disney Comics Digest V97 #184
Message 6 -
1997-09-01 at 17:45:42
FREDRIK SANDSTROM asked:
<<Has any Disney comics creator written gags similar to the
prof. Tournesol (Calculus is his English name I believe) gags about
his bad hearing? Some of them are really funny, but I'm sure they
wouldn't pass the Disney censors, would they?>>
Not the modern versions, anyway. About the only standard TINTIN gags
that might pass the censors today would be the slapstick gags involving
the inept Thomson/Thompson twins -- and even then, they might blanch
at the amount of physical abuse the twins received.
MICHAEL MANKUS wanted to know:
<<Does anyone know of a newspaper from the 30s or 40s that carried the
daily MM comic strip?>>
I don't know how much it helps you, but one of the two daily papers in
Wilmington, DE -- either the MORNING NEWS or the JOURNAL EVERY EVENING
(yes, that really was its name) -- carried the MM daily strip during
Gottfredson's golden years (late 30's - early 40's). This carried through
to at least the era of "The World of Tomorrow" (1944).
In response to DONALD MARKSTEIN's query about the "truth" of Scrooge's
accent -- After "DuckTales," it is impossible for me NOT to hear Scrooge
speaking with Alan Young's voice in a Scottish accent. This would be true
even if I didn't approve of the accent as a "proper" representation of
the way Scrooge speaks. Luckily, I fully approve!
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"THEY BROKE THE MOLD WI' HIM, THEY DID! I HAVE A WEE CHANCE O' FILLIN' THOSE
SPATS!" -- Fenton, trying to imitate Scrooge, "DuckTales" episode
"Blue Collar Scrooge"
<<Has any Disney comics creator written gags similar to the
prof. Tournesol (Calculus is his English name I believe) gags about
his bad hearing? Some of them are really funny, but I'm sure they
wouldn't pass the Disney censors, would they?>>
Not the modern versions, anyway. About the only standard TINTIN gags
that might pass the censors today would be the slapstick gags involving
the inept Thomson/Thompson twins -- and even then, they might blanch
at the amount of physical abuse the twins received.
MICHAEL MANKUS wanted to know:
<<Does anyone know of a newspaper from the 30s or 40s that carried the
daily MM comic strip?>>
I don't know how much it helps you, but one of the two daily papers in
Wilmington, DE -- either the MORNING NEWS or the JOURNAL EVERY EVENING
(yes, that really was its name) -- carried the MM daily strip during
Gottfredson's golden years (late 30's - early 40's). This carried through
to at least the era of "The World of Tomorrow" (1944).
In response to DONALD MARKSTEIN's query about the "truth" of Scrooge's
accent -- After "DuckTales," it is impossible for me NOT to hear Scrooge
speaking with Alan Young's voice in a Scottish accent. This would be true
even if I didn't approve of the accent as a "proper" representation of
the way Scrooge speaks. Luckily, I fully approve!
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"THEY BROKE THE MOLD WI' HIM, THEY DID! I HAVE A WEE CHANCE O' FILLIN' THOSE
SPATS!" -- Fenton, trying to imitate Scrooge, "DuckTales" episode
"Blue Collar Scrooge"
The Little Green Guy
Disney comics Digest V97 #185
Message 7 -
1997-09-01 at 18:10:59
Hello to all!
I've been lurking around for the past year now. Just saw that there will
be two new U$ titles coming out. Can anyone fill me in on what's gonna
be published in them? Will it be more reprints or original works, especially
from Don?
Jack IP
/=======================================================================\
+ (Email removed) +
\=======================================================================/
I've been lurking around for the past year now. Just saw that there will
be two new U$ titles coming out. Can anyone fill me in on what's gonna
be published in them? Will it be more reprints or original works, especially
from Don?
Jack IP
/=======================================================================\
+ (Email removed) +
\=======================================================================/
Mike Schneiderath
German Rosa Album #14 has a new Rosa Cover
Message 8 -
1997-09-01 at 19:14:33
Hello everyone,
I just saw an image of the new Rosa Album that is scheduled for this month
(should be out today). And it has a new drawn Cover from Don Rosa. The
cover is for the "The Duck that fell to earth"-story and shows Donald and
scrooge in Spacessuits in orbit.
I keep you online when I got my copy!
a visual image can be found at the ehapa news page at:
http://www.ehapa.de/novitaeten/index.html
Mike out!
I just saw an image of the new Rosa Album that is scheduled for this month
(should be out today). And it has a new drawn Cover from Don Rosa. The
cover is for the "The Duck that fell to earth"-story and shows Donald and
scrooge in Spacessuits in orbit.
I keep you online when I got my copy!
a visual image can be found at the ehapa news page at:
http://www.ehapa.de/novitaeten/index.html
Mike out!
Arthur De Wolf
babbling praises
Message 9 -
1997-09-01 at 20:02:30
Hi!
BRIX:
> Your website knocked me off my feet. I didn't know where to
> start to look at. Brilliant stuff.
Thanks a lot. I spend quite a lot of hours in working on the site, and it's
emails like yours that keep me going.
Bye!
Arthur
http://www.pi.net/~wolfman
BRIX:
> Your website knocked me off my feet. I didn't know where to
> start to look at. Brilliant stuff.
Thanks a lot. I spend quite a lot of hours in working on the site, and it's
emails like yours that keep me going.
Bye!
Arthur
http://www.pi.net/~wolfman
Harry Fluks
Database (Scarpa etc. in Germany and Norway)
Message 10 -
1997-09-01 at 22:09:38
BRIX:
> does anybody have a list of Scarpa material reprinted in German
> comics? The DCD seems to be rather incomplete in this respect.
Alexander Gruenke and Gilbert Roser are continuously updating the
German part of the DcD. In a few months, I think the German
Scarpa data will be more complete.
In the mean time: there is a German Scarpa index, published
in Der Donaldist 100/101 (wasn't it?), by Kurt Appel.
> In my edition of "Der Buecherdonald" I read that a Donaldist called
> Boemund von Hunoltstein indexed nearly ALL of German Disney comics with
> pages, titles, heroes, artists and reprints and contributed his lists to
> the D.O.N.A.L.D. archives. Are those already part of the DCD?
No, but I'd love to include it!
> Is it possible to put compressed versions of the database on the FTP
> site, too?
I think Per has a separate ftp directory where the files are in PKZIPped
form.
JO:
> i wonder if anybody has an index of Scarpa and/or
> Gottfredson stories printed in Norway ?????
Currently, we have very little explicit data about Norway. But in the past
few years, the Norwegian publications were completely parallel to the
Danish ones. And we *do* have extensive Danish information in the DcD!
So look at the Scarpa page for Danish reprints, and you've found the Norwegian
reprints too. (This also hold for the Gerstein index.)
--Harry.
> does anybody have a list of Scarpa material reprinted in German
> comics? The DCD seems to be rather incomplete in this respect.
Alexander Gruenke and Gilbert Roser are continuously updating the
German part of the DcD. In a few months, I think the German
Scarpa data will be more complete.
In the mean time: there is a German Scarpa index, published
in Der Donaldist 100/101 (wasn't it?), by Kurt Appel.
> In my edition of "Der Buecherdonald" I read that a Donaldist called
> Boemund von Hunoltstein indexed nearly ALL of German Disney comics with
> pages, titles, heroes, artists and reprints and contributed his lists to
> the D.O.N.A.L.D. archives. Are those already part of the DCD?
No, but I'd love to include it!
> Is it possible to put compressed versions of the database on the FTP
> site, too?
I think Per has a separate ftp directory where the files are in PKZIPped
form.
JO:
> i wonder if anybody has an index of Scarpa and/or
> Gottfredson stories printed in Norway ?????
Currently, we have very little explicit data about Norway. But in the past
few years, the Norwegian publications were completely parallel to the
Danish ones. And we *do* have extensive Danish information in the DcD!
So look at the Scarpa page for Danish reprints, and you've found the Norwegian
reprints too. (This also hold for the Gerstein index.)
--Harry.
Michael Mankus
War of the Wendigo
Message 11 -
1997-09-01 at 22:46:16
I have been to :
http://marcobar.cce.unifi.it/comics/Censorship.html
where I have found an english translation of War of the Wendigo. Now, of
course, I am searching for a copy of the art that goes with it. Would it
be too much to ask if there is a website where the story has been scanned
in? (even in a foreign language). I have found varoius panels at Grimble
Grumble's homepage and at Don Rosa's DUCKHunt. While I'm asking for
websites, does anybody know of websites that reprint any good stories? The
Gladstone site has Rival Boatmen and Grimble has Atom Bomb.
And to Christopher E. Barat, thank you, I will have my library try the
Delaware papers for the Daily Mickey Mouse strip in the 30s. I'm still
open for any other papers, though, in case these can't be found.
Michael
http://marcobar.cce.unifi.it/comics/Censorship.html
where I have found an english translation of War of the Wendigo. Now, of
course, I am searching for a copy of the art that goes with it. Would it
be too much to ask if there is a website where the story has been scanned
in? (even in a foreign language). I have found varoius panels at Grimble
Grumble's homepage and at Don Rosa's DUCKHunt. While I'm asking for
websites, does anybody know of websites that reprint any good stories? The
Gladstone site has Rival Boatmen and Grimble has Atom Bomb.
And to Christopher E. Barat, thank you, I will have my library try the
Delaware papers for the Daily Mickey Mouse strip in the 30s. I'm still
open for any other papers, though, in case these can't be found.
Michael
Juergen Gebhardt
Disney comics Digest V97 #185
Message 12 -
1997-09-01 at 23:19:24
BRIX:
> So, does anybody have a list of Scarpa material reprinted in German
> comics? The DCD seems to be rather incomplete in this respect.
There's a slightly incomplete index of the German and American
Scarpa publications at the end of a very nice article on Scarpa
by Kurt Appel in DER DONALDIST 101 (which is the flipside of
DER DONALDIST 100, a double-sized [and double-priced] anniversary
issue with color covers by Don Rosa [which looks as if it took
100 hours to draw!] and Jan Gulbransson.
> In my edition of "Der Buecherdonald" I read that a Donaldist called
> Boemund von Hunoltstein indexed nearly ALL of German Disney comics with
> pages, titles, heroes, artists and reprints and contributed his lists to
> the D.O.N.A.L.D. archives. Are those already part of the DCD? If not,
> any chance it can be made accessible to the list and the DCB? There sure
> are some Donaldists on this list, aren't they?
I talked to Boemund at the last congress of the German Donaldists
in Leipzig about this mailing list and the database. But he doesn't
have a personal computer and, being the last member of an impoverished
Bajuvarian clan, he seemed quite content without one.
> Ah, yes. A question about the Phantom Blot came to my mind. When did he
> divide into two characters (or didn't he?). I recall him being unmasked
> just twice, in the original story by Gottfredson (Surely banned by
> Disney because of its violence. BTW I'm interested in a list of the
> banned stories, too.) and in the "sequel" by Scarpa. In German Disney
> comics (of Italian origin, I think) he appeared again as very clever
> villain (German name "Plattnase", translates "Flatnose" or something
> like that), sometimes working with Pete but without his mask.
Apparently the German translators treated Plattnase as a new character,
seperate from the Phantom Blot, because they had never seen the original
Gottfredson story with the unmasking scene. Or maybe they didn't want
to confuse the readers. The first story with Plattnase in 1968
("Das fidele Gefaengnis", LUSTIGE TASCHEBUECHER #2) had him appear
without costume throughout the story. If they had referred to him
as the Phantom Blot, I would sure have been very perplexed as
an eight year old. At that time I never imagined there *was* someone
under the costume. Although I dimly remember that a friend showed
me part of a Paul Murry serial which showed a hynotized Goofy
under the black hood; and I was very disturbed by this. 8-)
Juergen
(another Atoemchen fan)
> So, does anybody have a list of Scarpa material reprinted in German
> comics? The DCD seems to be rather incomplete in this respect.
There's a slightly incomplete index of the German and American
Scarpa publications at the end of a very nice article on Scarpa
by Kurt Appel in DER DONALDIST 101 (which is the flipside of
DER DONALDIST 100, a double-sized [and double-priced] anniversary
issue with color covers by Don Rosa [which looks as if it took
100 hours to draw!] and Jan Gulbransson.
> In my edition of "Der Buecherdonald" I read that a Donaldist called
> Boemund von Hunoltstein indexed nearly ALL of German Disney comics with
> pages, titles, heroes, artists and reprints and contributed his lists to
> the D.O.N.A.L.D. archives. Are those already part of the DCD? If not,
> any chance it can be made accessible to the list and the DCB? There sure
> are some Donaldists on this list, aren't they?
I talked to Boemund at the last congress of the German Donaldists
in Leipzig about this mailing list and the database. But he doesn't
have a personal computer and, being the last member of an impoverished
Bajuvarian clan, he seemed quite content without one.
> Ah, yes. A question about the Phantom Blot came to my mind. When did he
> divide into two characters (or didn't he?). I recall him being unmasked
> just twice, in the original story by Gottfredson (Surely banned by
> Disney because of its violence. BTW I'm interested in a list of the
> banned stories, too.) and in the "sequel" by Scarpa. In German Disney
> comics (of Italian origin, I think) he appeared again as very clever
> villain (German name "Plattnase", translates "Flatnose" or something
> like that), sometimes working with Pete but without his mask.
Apparently the German translators treated Plattnase as a new character,
seperate from the Phantom Blot, because they had never seen the original
Gottfredson story with the unmasking scene. Or maybe they didn't want
to confuse the readers. The first story with Plattnase in 1968
("Das fidele Gefaengnis", LUSTIGE TASCHEBUECHER #2) had him appear
without costume throughout the story. If they had referred to him
as the Phantom Blot, I would sure have been very perplexed as
an eight year old. At that time I never imagined there *was* someone
under the costume. Although I dimly remember that a friend showed
me part of a Paul Murry serial which showed a hynotized Goofy
under the black hood; and I was very disturbed by this. 8-)
Juergen
(another Atoemchen fan)
Cebarat
Disney comics Digest V97 #185
Message 13 -
1997-09-02 at 01:33:50
In response to DAVID GERSTEIN's comment,
> Joe Torcivia has told me that Paul Murry approached his work as
> a job, without a lot of fondness for the character when work hours
> were through. This undoubtedly colors his treatment of the
> material. IMHO, he certainly seemed to be enjoying it through
> around 1960 (and again later on, with the Phantom Blot series if
> nothing else). Stories like "The Vanishing Railroad" have a really
> dynamic feel that suggests the artist enjoying himself.
MERLIN HAAS responded:
<<I have to wonder a bit when Murry talks about comics being "just a
job." You can't look at stories like "Idol of Moaning Island" in
WDC&S, with their intricate shading and backgrounds and think that the
artist isn't taking pride in his work. It would have been too easy to
have just churned out simple art, as Murry did toward the end of his
career. I suspect part of the problem is that Murry's contact with
fandom came so late, when his enthusisum had faded and when he *was*
just looking at comics as a job.>>
One must also consider the possible effect that the growth of Barks fandom
had on Murry's attitude toward being contacted by fans. From all accounts,
Murry appears to have been a man who valued his privacy. Stories (with
possible exaggerations thrown in) about fans contacting Barks for all sorts
of reasons may have gotten to Murry by the time he retired. His very abrupt
answers to interviewers' questions (especially in the Klaus Strzyz (sp?)
interview) may have been a way of giving the broad hint that he really didn't
have all that much to say about his work and would prefer to be left alone.
The Murry quote, "I do the best I can and let it go at that," reminds me
quite a bit of some convention comments I've heard from Golden Age and Silver
Age superhero creators when fans have questioned them about some aspect of
their work. Working conditions for cartoonists in the Golden and Silver Ages
were far different than they are today. Artists and writers were less "free
agents" and more the "employees" of one company or another. It's natural, I
suppose, that they regarded what they did as more of a "job". Didn't Barks
himself say that he simply tried to give the kids their full 10/12 cents'
worth?
Murry's sense of craftsmanship, especially during his peak years, was
uncommonly high. He did a lot of detail work that was not necessary, and he
also did his own lettering. In light of the fact that he, like Barks, was a
product of the exacting Disney Studio system, he may have regarded such work
as necessary to complete a "job" to his satisfaction. You can definitely see
the interest leaking out of his work as time passes, however.
DONALD D. MARKSTEIN commented, regarding the Warners and Disney World War II
cartoons:
<<Of course, the Warner cartoons remain truly funny even after all this
time; whereas I suspect, from the few snatches I've seen, the Disneys might
have been mostly jingoistic. Maybe Disney has buried them because it's
embarrassed at how badly they've aged.>>
In the case of "Victory Through Air Power," aside from politically incorrect
bits such as the "comical" air duel between cartoony French and German fliers
and a savage American Eagle attacking an octopus representing
Pacific-girdling Japan, the theory that underlay the movie has been
discredited by experience. Most military authorities agree that the type of
bombing advocated by De Seversky is not an effective strategy. I guess this
would fall under the heading of "aging"...
Warners' wartime shorts contain a lot of "jingoistic" bits too (and BTW, what
exactly does that word mean anymore? To some people, it means ANYTHING with
a pro-American viewpoint.), but the secret of their longevity is that they
are liberally laced with humor and the irreverent Warners approach. Hitler
getting beaten up by "gremlins" or Bugs Bunny and Goering doing the Wagner
bit are still amusing regardless of how badly they've dated. When Warners
did misfire with shorts like "Bugs Bunny Nips the Nips," humor was sacrificed
or blighted in the name of unsubtle propaganda.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"CELEBRATING LABOR DAY IS A FORM OF WORK!" -- Gladstone Gander, who didn't
actually say it, but OUGHT to have said it!!
> Joe Torcivia has told me that Paul Murry approached his work as
> a job, without a lot of fondness for the character when work hours
> were through. This undoubtedly colors his treatment of the
> material. IMHO, he certainly seemed to be enjoying it through
> around 1960 (and again later on, with the Phantom Blot series if
> nothing else). Stories like "The Vanishing Railroad" have a really
> dynamic feel that suggests the artist enjoying himself.
MERLIN HAAS responded:
<<I have to wonder a bit when Murry talks about comics being "just a
job." You can't look at stories like "Idol of Moaning Island" in
WDC&S, with their intricate shading and backgrounds and think that the
artist isn't taking pride in his work. It would have been too easy to
have just churned out simple art, as Murry did toward the end of his
career. I suspect part of the problem is that Murry's contact with
fandom came so late, when his enthusisum had faded and when he *was*
just looking at comics as a job.>>
One must also consider the possible effect that the growth of Barks fandom
had on Murry's attitude toward being contacted by fans. From all accounts,
Murry appears to have been a man who valued his privacy. Stories (with
possible exaggerations thrown in) about fans contacting Barks for all sorts
of reasons may have gotten to Murry by the time he retired. His very abrupt
answers to interviewers' questions (especially in the Klaus Strzyz (sp?)
interview) may have been a way of giving the broad hint that he really didn't
have all that much to say about his work and would prefer to be left alone.
The Murry quote, "I do the best I can and let it go at that," reminds me
quite a bit of some convention comments I've heard from Golden Age and Silver
Age superhero creators when fans have questioned them about some aspect of
their work. Working conditions for cartoonists in the Golden and Silver Ages
were far different than they are today. Artists and writers were less "free
agents" and more the "employees" of one company or another. It's natural, I
suppose, that they regarded what they did as more of a "job". Didn't Barks
himself say that he simply tried to give the kids their full 10/12 cents'
worth?
Murry's sense of craftsmanship, especially during his peak years, was
uncommonly high. He did a lot of detail work that was not necessary, and he
also did his own lettering. In light of the fact that he, like Barks, was a
product of the exacting Disney Studio system, he may have regarded such work
as necessary to complete a "job" to his satisfaction. You can definitely see
the interest leaking out of his work as time passes, however.
DONALD D. MARKSTEIN commented, regarding the Warners and Disney World War II
cartoons:
<<Of course, the Warner cartoons remain truly funny even after all this
time; whereas I suspect, from the few snatches I've seen, the Disneys might
have been mostly jingoistic. Maybe Disney has buried them because it's
embarrassed at how badly they've aged.>>
In the case of "Victory Through Air Power," aside from politically incorrect
bits such as the "comical" air duel between cartoony French and German fliers
and a savage American Eagle attacking an octopus representing
Pacific-girdling Japan, the theory that underlay the movie has been
discredited by experience. Most military authorities agree that the type of
bombing advocated by De Seversky is not an effective strategy. I guess this
would fall under the heading of "aging"...
Warners' wartime shorts contain a lot of "jingoistic" bits too (and BTW, what
exactly does that word mean anymore? To some people, it means ANYTHING with
a pro-American viewpoint.), but the secret of their longevity is that they
are liberally laced with humor and the irreverent Warners approach. Hitler
getting beaten up by "gremlins" or Bugs Bunny and Goering doing the Wagner
bit are still amusing regardless of how badly they've dated. When Warners
did misfire with shorts like "Bugs Bunny Nips the Nips," humor was sacrificed
or blighted in the name of unsubtle propaganda.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"CELEBRATING LABOR DAY IS A FORM OF WORK!" -- Gladstone Gander, who didn't
actually say it, but OUGHT to have said it!!
Userpro
Dona Rosa hero
Message 14 -
1997-09-02 at 05:05:13
Dona Rosa I love your work. It is really great and I think you are the next
Barks. I love how you mix really history into your stories which makes them
even more belveible. I hope to be a history or education teacher when I
finsh college and I am going to use YOUR comics to teach the children how to
read. I love your work and wish I had the same drawing abilities you did. I
would be happy if I was half as good as you.. will you send me an autograph?
I understand if you can't because you are too busy with work. My address is
Mike Prochaska
3331 Elmdale rd.
glenview, il 60025
--------------------------------
End of Disney comics Digest V97 Issue #186
******************************************
Barks. I love how you mix really history into your stories which makes them
even more belveible. I hope to be a history or education teacher when I
finsh college and I am going to use YOUR comics to teach the children how to
read. I love your work and wish I had the same drawing abilities you did. I
would be happy if I was half as good as you.. will you send me an autograph?
I understand if you can't because you are too busy with work. My address is
Mike Prochaska
3331 Elmdale rd.
glenview, il 60025
--------------------------------
End of Disney comics Digest V97 Issue #186
******************************************
Ota
Re:Banned Wartime Toons ( Disney comics Digest V97 #185 )
Message 15 -
1997-09-02 at 07:33:11
Donald D. Markstein answered in #185 my request for info about banned material.
About Der Fuehrer's Face: I'm almost sure I watched that toon (complete) when was a
child in the Disneyland show (sixties). But recently it disappeared completely from
the anthologies. Even if the toon is not worth, I would like to see it again.
I'm sure it's banned because I have a tape with Oscar-winner Disney toons and it
stops the year before Der Fuehrer's face. Even it having winning an Oscar, they've
not included it in the anthology.
As for certain Disney productions from the wartime, I think they disappeared just
because Disney hasn't renewed the copyright!
That Donald toon about tax-paying for instance. Disney produced it to colaborate
with the I.R.S. and the toon was exhibited in every theater in that period, and
records say the public response was sucessful (more people paid taxes). Anyway, the
real owner of that toon was the IRS!
I've found that cartoon in a tape released by an independent tape factory, The tape
had that one and other studios copyright-free toons. I'm sure it was copyright-free,
or they wouldn't risk to include it in it, because everyone knows how powerful are
the Disney lawyers.
As for war toons. Well, WWarII is over more than 50 years ago and most stuff has not
interest to general public today. That's why such material is no more included in
anthologies.
Turner International owned the pre-1948 Warner toons. They were all bought in a big
package in 1956 by an American TV independent distributor along with most Warner
live-action movies. Recently, as Warner and Turner are now the same company, the
pre-1948 and post-1948 Looney Tunes &Merrie Melodies libraries are together again,
but for 40 years Warner had no more rights over their pre-1948 releases.
The pre-1948 Warner toons are exhibited in the Cartoon Network, but some toons were
banned. The banned stuff included some wartime toons as Warner's "Herr Meets Hare"
and today politically uncorret ones like Coal Black and the Sebben Dwarfs or Tex
Avery's MGM release "Uncle Tom's Cabin".
The wartime material was banned since the former enemies (Germany and Japan) now are
friends of the USA. Most of these toons ridicularize german and japanese people, so
the powes-that-be found that it would be unfair to exhibit them, and they were
skipped. Although all Tex Avery toons are rerun to exhaustion, his first MGM
release, "The Blitz Wolf" (a Hitler spoof) was exhibited, to my knowledge, only in
an Oscar-wining special in the Cartoon Network made with oscar-winning toons that
make part of the Turner inventory. Normally that toon is skipped.
Please also note that, although the 'Bugs Bunny Nis thje Nips' toon in banned from
television, it can be found in one of the pre-48 warners Turner video-laser
antologies. I've seen it recently and woww! It's real fun!!!
Well. All this discussion started when two lists ago I asked if someone had some
info about banned material and the reason because they were banned. I still want it.
Donald D. Markstein also said that there's a Warner wartime anthology somewhere.
Please someone tell me how to find it, and also books about the subject (wartime
toons)!
Thanks in advance
Ota
(Email removed)
About Der Fuehrer's Face: I'm almost sure I watched that toon (complete) when was a
child in the Disneyland show (sixties). But recently it disappeared completely from
the anthologies. Even if the toon is not worth, I would like to see it again.
I'm sure it's banned because I have a tape with Oscar-winner Disney toons and it
stops the year before Der Fuehrer's face. Even it having winning an Oscar, they've
not included it in the anthology.
As for certain Disney productions from the wartime, I think they disappeared just
because Disney hasn't renewed the copyright!
That Donald toon about tax-paying for instance. Disney produced it to colaborate
with the I.R.S. and the toon was exhibited in every theater in that period, and
records say the public response was sucessful (more people paid taxes). Anyway, the
real owner of that toon was the IRS!
I've found that cartoon in a tape released by an independent tape factory, The tape
had that one and other studios copyright-free toons. I'm sure it was copyright-free,
or they wouldn't risk to include it in it, because everyone knows how powerful are
the Disney lawyers.
As for war toons. Well, WWarII is over more than 50 years ago and most stuff has not
interest to general public today. That's why such material is no more included in
anthologies.
Turner International owned the pre-1948 Warner toons. They were all bought in a big
package in 1956 by an American TV independent distributor along with most Warner
live-action movies. Recently, as Warner and Turner are now the same company, the
pre-1948 and post-1948 Looney Tunes &Merrie Melodies libraries are together again,
but for 40 years Warner had no more rights over their pre-1948 releases.
The pre-1948 Warner toons are exhibited in the Cartoon Network, but some toons were
banned. The banned stuff included some wartime toons as Warner's "Herr Meets Hare"
and today politically uncorret ones like Coal Black and the Sebben Dwarfs or Tex
Avery's MGM release "Uncle Tom's Cabin".
The wartime material was banned since the former enemies (Germany and Japan) now are
friends of the USA. Most of these toons ridicularize german and japanese people, so
the powes-that-be found that it would be unfair to exhibit them, and they were
skipped. Although all Tex Avery toons are rerun to exhaustion, his first MGM
release, "The Blitz Wolf" (a Hitler spoof) was exhibited, to my knowledge, only in
an Oscar-wining special in the Cartoon Network made with oscar-winning toons that
make part of the Turner inventory. Normally that toon is skipped.
Please also note that, although the 'Bugs Bunny Nis thje Nips' toon in banned from
television, it can be found in one of the pre-48 warners Turner video-laser
antologies. I've seen it recently and woww! It's real fun!!!
Well. All this discussion started when two lists ago I asked if someone had some
info about banned material and the reason because they were banned. I still want it.
Donald D. Markstein also said that there's a Warner wartime anthology somewhere.
Please someone tell me how to find it, and also books about the subject (wartime
toons)!
Thanks in advance
Ota
(Email removed)