I seem to recall a documentary explaining that Walt Disney went deeply
into debt to produce "Cinderella". If this tale is correct, perhaps it
would help to explain the bizarre appearance of 14th century french mice
on a 20th century american farm at about the time of the film's
release.
RG
"Money doesn't talk, it swears." -Bob Dylan
Author
Topic: 199709
(341 messages)
Rob Gibson
Cinderella
Message 271 -
1997-09-24 at 21:30:30
Markoff
Universes and other celestial bodies
Message 272 -
1997-09-24 at 22:27:50
In Digest V97 #197, DON ROSA wrote:
>...I just feel compelled to say that this is all fun and a matter of
>individual interpretation. But I hope you know that there are some of us...
>at least ONE of us... who considers Barks' Universe quite distinct from any
>other, even from any other Duck stories, even from other Duck stories he
>drew but did not write. ...And also considers all other Disney comic
>character universes quite distinct from every other, such that no character
>from one animated feature could ever exist in the universe of another
>feature... that the very notion is silly and pointlessly complicated. I
>just wanted to make sure there are folks like that. They PREFER each
>Universe separate. Now.... carry on...
Agreed. I feel that there is no logic to the "mapping" of the Disney
"Universes," as Don has said in the past, Disney doesn't see their
characters as being born in 1867 or any other year, having lives, and then
dying in 1967 or any other year, again. To them, all the characters are
simply immortal "actors" to be pulled out for whatever "role" suits Disney's
marketing purposes at the moment. When Mad Madam Mim appeared alongside
Magica DeSpell and the Beagle Boys in 1963 or whatever, this was not an
attempt on Disney's part to "bridge" the "universe" of Donald Duck with that
of T. H. White it was simply a promotional maneuver to boost readers'
awareness of "The Sword in the Stone" movie. By 1970, "The Sword in the
Stone" had worn out it's welcome, and in Duckburg Mim was gone. (From
American comics, at least, although I realize Holland and Denamrk still
produce Mim stories today, as well as with various and sundry other
characters who disappeared west of the Atlantic 40 years ago.)
Same with Gepetto, who comes from a story set in Italy in 1883, but "lived"
in 1960s Duckburg while it was convient for Disney's marketers, regardless
of how insulting it was to the readers' suspension of disbelief. (To
Disney's credit, one of the better Gepetto crossovers, Super Goof in "The
Strange Case of Dr. Cyclocks" from around 1965, at least shows Gepetto
living in his native Italy, although it fails to explain how he would be
still alive when in agreement with Collodi's world he would have been about
130 years old. I also feel the question of how Minnie acquired Figaro from
Gepetto is a waste of space. I have a cat named Figaro (who resembles
Gepetto's Figaro, although my Figaro's face is black, not white), but I know
he isn't Gepetto's Figaro, because I saw him be born in April 23, 1993!
Minnie could have had a similar experience and decided to name her cat
Figaro. (BTW, is Figaro a character from Collodi's original novel, or an
addition by Disney? My knowledge of Pinocchio is limited to Disney's 1940
movie.)
Nevertheless, crossover stories can be very good on occasion (although very
rarely). I view them as Don views Barks' "Island in the Sky"--as enjoyable
stories, but with no "canonical" force. I regard them as "what if"
scenarios, or possibly just strange dreams that Donald had after eating too
much ice cream. Still, I wouldn't encourage that any more be done in the
future--Gus and Jaq at Grandma Duck's farm is my breaking point.
But as Don always says, this is just one person's view.
About the question of how HDL could first appear in 1937 but then be born in
1940, way back in Digest V96 #78, Don wrote simply:
>My comments about when HD&L were born stem from my private notes on the Duck
>Family Tree, and will never enter into one of my stories. I figure Donald
>was born around 1920 and HD&L around 1940. If this doesn't agree with
>something you've seen in a DD animated cartoon or newspaper strip, I never
>intended it should. I treat the comic-book Donald Universe as being
>obviously completely unique from those other media, as with the TV-world of
>"DuckTales".
I think that says it all.
KRITON KYRIMIS wrote in Digest V97 #206:
>No, but the first Olympics, in 1896, were, and Scrooge would have been
>at just about the right age to participate. I wonder where he was between
>March 25 and April 15 of that year...
Australia, I guess. (He had been there since 1893 and remained there until
leaving for the Yukon sometime late in 1896.)
EIRIK KROGH VISTED, etc:
The Ducks are definitely well-known in the USA, but not as characters!
Disney, while all but not acknowledging the existence of Barks and Rosa's
stories, puts out a ton of merchandise--party hats, T-shirts, toothbrushes,
and greeting cards--all bearing the images of Mickey, Donald, etc. Then of
course there is Disneyland, but that's as far as it goes. Donald Duck
"stories" are beyond most Americans' concept--to them he exists as nothing
more than a park attraction whose picture is on these shirts! And given that
the typical Donald or Mickey merchandise is aimed at children under 10, if
anyone had to think of those stories at all, it would probably be of a
"children's" entertainment on the level of "Sesame Street" or "Casper the
Friendly Ghost"! I remember a letter in MICKEY MOUSE 240 from a parent who
had purchased a Gladstone MM issue for a 4-year-old, and upon finding one of
Gottfredson's milder "crime" stories, "Pluto the Racer," accused Disney of
perverting children's minds by condoning "betting, cheating, drug using"
etc. (I hate to think what would have happened if that letter-writer had
picked up "The Phantom Blot"!) Then-editor (now list member) Byron Erickson
wrote an excellent retort to the letter, which I'm sure he will be glad to
enlighten you on. But while these T-shirts at least spread knowledge of the
names and images of older animation characters, as Chris pointed out, the
Barks characters, despite the heavy exposure on DUCKTALES, are still
virtually unknown. If you mention Donald's uncle Scrooge to the average
American, you'll hear "Scrooge isn't a Disney character! He comes from a
story by Charles Dickens!"
STEVEN ROWE wrote in Digest V97 #204:
> Just got a complaint about my listing the contents of the Acclaim and Disney
> Adventures comics...
to which HARRY FLUKS replied:
>I'm curious about the complaint. Was it about the fact that the comics were
>"non-canonical" (i.e. non-Gladstone)? Or was it about putting an index on
>the list?
>I'm always interested in these contents, since we don't get to see much
>non-Gladstone USA Disney comics here.
I wrote the complaint. I don't have any problem with discussions of these
characters being on the list, although I have no interest in them. But I
don't think the list is the place for indexes--that is, lists of all stories
in an issue, along with their authors, page numbers, etc. That belongs on
Harry's website, the Disney Comics Database. I have frequently sent long,
tedious Gold Key/Whitman indexes, always in private mail, to Harry, for use
there, since I know it would be pointless to clutter this forum with them. I
was merely suggesting that Steve do the same.
DAVID GERSTEIN:
Sometime ago, Byron announced that you would be moving to Denmark around
now. Has this happened yet? Will you have a new e-mail address?
--Jonathan Markoff
"I AM INVINCIBLE! I AM DOOM ITSELF!"
--Don Rosa, "The Life and Times of Scrooge McDuck"
>...I just feel compelled to say that this is all fun and a matter of
>individual interpretation. But I hope you know that there are some of us...
>at least ONE of us... who considers Barks' Universe quite distinct from any
>other, even from any other Duck stories, even from other Duck stories he
>drew but did not write. ...And also considers all other Disney comic
>character universes quite distinct from every other, such that no character
>from one animated feature could ever exist in the universe of another
>feature... that the very notion is silly and pointlessly complicated. I
>just wanted to make sure there are folks like that. They PREFER each
>Universe separate. Now.... carry on...
Agreed. I feel that there is no logic to the "mapping" of the Disney
"Universes," as Don has said in the past, Disney doesn't see their
characters as being born in 1867 or any other year, having lives, and then
dying in 1967 or any other year, again. To them, all the characters are
simply immortal "actors" to be pulled out for whatever "role" suits Disney's
marketing purposes at the moment. When Mad Madam Mim appeared alongside
Magica DeSpell and the Beagle Boys in 1963 or whatever, this was not an
attempt on Disney's part to "bridge" the "universe" of Donald Duck with that
of T. H. White it was simply a promotional maneuver to boost readers'
awareness of "The Sword in the Stone" movie. By 1970, "The Sword in the
Stone" had worn out it's welcome, and in Duckburg Mim was gone. (From
American comics, at least, although I realize Holland and Denamrk still
produce Mim stories today, as well as with various and sundry other
characters who disappeared west of the Atlantic 40 years ago.)
Same with Gepetto, who comes from a story set in Italy in 1883, but "lived"
in 1960s Duckburg while it was convient for Disney's marketers, regardless
of how insulting it was to the readers' suspension of disbelief. (To
Disney's credit, one of the better Gepetto crossovers, Super Goof in "The
Strange Case of Dr. Cyclocks" from around 1965, at least shows Gepetto
living in his native Italy, although it fails to explain how he would be
still alive when in agreement with Collodi's world he would have been about
130 years old. I also feel the question of how Minnie acquired Figaro from
Gepetto is a waste of space. I have a cat named Figaro (who resembles
Gepetto's Figaro, although my Figaro's face is black, not white), but I know
he isn't Gepetto's Figaro, because I saw him be born in April 23, 1993!
Minnie could have had a similar experience and decided to name her cat
Figaro. (BTW, is Figaro a character from Collodi's original novel, or an
addition by Disney? My knowledge of Pinocchio is limited to Disney's 1940
movie.)
Nevertheless, crossover stories can be very good on occasion (although very
rarely). I view them as Don views Barks' "Island in the Sky"--as enjoyable
stories, but with no "canonical" force. I regard them as "what if"
scenarios, or possibly just strange dreams that Donald had after eating too
much ice cream. Still, I wouldn't encourage that any more be done in the
future--Gus and Jaq at Grandma Duck's farm is my breaking point.
But as Don always says, this is just one person's view.
About the question of how HDL could first appear in 1937 but then be born in
1940, way back in Digest V96 #78, Don wrote simply:
>My comments about when HD&L were born stem from my private notes on the Duck
>Family Tree, and will never enter into one of my stories. I figure Donald
>was born around 1920 and HD&L around 1940. If this doesn't agree with
>something you've seen in a DD animated cartoon or newspaper strip, I never
>intended it should. I treat the comic-book Donald Universe as being
>obviously completely unique from those other media, as with the TV-world of
>"DuckTales".
I think that says it all.
KRITON KYRIMIS wrote in Digest V97 #206:
>No, but the first Olympics, in 1896, were, and Scrooge would have been
>at just about the right age to participate. I wonder where he was between
>March 25 and April 15 of that year...
Australia, I guess. (He had been there since 1893 and remained there until
leaving for the Yukon sometime late in 1896.)
EIRIK KROGH VISTED, etc:
The Ducks are definitely well-known in the USA, but not as characters!
Disney, while all but not acknowledging the existence of Barks and Rosa's
stories, puts out a ton of merchandise--party hats, T-shirts, toothbrushes,
and greeting cards--all bearing the images of Mickey, Donald, etc. Then of
course there is Disneyland, but that's as far as it goes. Donald Duck
"stories" are beyond most Americans' concept--to them he exists as nothing
more than a park attraction whose picture is on these shirts! And given that
the typical Donald or Mickey merchandise is aimed at children under 10, if
anyone had to think of those stories at all, it would probably be of a
"children's" entertainment on the level of "Sesame Street" or "Casper the
Friendly Ghost"! I remember a letter in MICKEY MOUSE 240 from a parent who
had purchased a Gladstone MM issue for a 4-year-old, and upon finding one of
Gottfredson's milder "crime" stories, "Pluto the Racer," accused Disney of
perverting children's minds by condoning "betting, cheating, drug using"
etc. (I hate to think what would have happened if that letter-writer had
picked up "The Phantom Blot"!) Then-editor (now list member) Byron Erickson
wrote an excellent retort to the letter, which I'm sure he will be glad to
enlighten you on. But while these T-shirts at least spread knowledge of the
names and images of older animation characters, as Chris pointed out, the
Barks characters, despite the heavy exposure on DUCKTALES, are still
virtually unknown. If you mention Donald's uncle Scrooge to the average
American, you'll hear "Scrooge isn't a Disney character! He comes from a
story by Charles Dickens!"
STEVEN ROWE wrote in Digest V97 #204:
> Just got a complaint about my listing the contents of the Acclaim and Disney
> Adventures comics...
to which HARRY FLUKS replied:
>I'm curious about the complaint. Was it about the fact that the comics were
>"non-canonical" (i.e. non-Gladstone)? Or was it about putting an index on
>the list?
>I'm always interested in these contents, since we don't get to see much
>non-Gladstone USA Disney comics here.
I wrote the complaint. I don't have any problem with discussions of these
characters being on the list, although I have no interest in them. But I
don't think the list is the place for indexes--that is, lists of all stories
in an issue, along with their authors, page numbers, etc. That belongs on
Harry's website, the Disney Comics Database. I have frequently sent long,
tedious Gold Key/Whitman indexes, always in private mail, to Harry, for use
there, since I know it would be pointless to clutter this forum with them. I
was merely suggesting that Steve do the same.
DAVID GERSTEIN:
Sometime ago, Byron announced that you would be moving to Denmark around
now. Has this happened yet? Will you have a new e-mail address?
--Jonathan Markoff
"I AM INVINCIBLE! I AM DOOM ITSELF!"
--Don Rosa, "The Life and Times of Scrooge McDuck"
Tarjei Kidd Olsen
Disney comics Digest V97 #206
Message 273 -
1997-09-24 at 22:48:52
OLE:
>What number was the recent "Inca
>treasure" story?
I'm not sure (I don't buy pocketbooks regularly), but thank's for the help!
Looking through my pocketbook collection I have found out that I'm naturally
missing every single one of the #'s you mentioned, *typical*. I'll check my
local used comics store...
>I don't read Italian either, but I got very good at guessing it. :-)
hehe :-)
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
>What number was the recent "Inca
>treasure" story?
I'm not sure (I don't buy pocketbooks regularly), but thank's for the help!
Looking through my pocketbook collection I have found out that I'm naturally
missing every single one of the #'s you mentioned, *typical*. I'll check my
local used comics store...
>I don't read Italian either, but I got very good at guessing it. :-)
hehe :-)
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
Marco Barlotti
Some rumor... in nowhere
Message 274 -
1997-09-24 at 23:48:48
JOHN LUSTIG:
> It's been reported (and this part is true) that I worked on a story with the
>Carl Barks Studio--developing an idea of Carl's into a script.
[...]
>the story has not been purchased and has certainly not been
>scheduled for publication. I don't think that's very likely to change in the
>next few months.
[...]
>and I really
>don't think it's wise for me to answer further questions about the project.
I understand your discretion. Only, could you just tell us whether that
"idea" was the "somewhere in nowhere" plot that was discussed a lot here
some months ago? Just answer <yes>, <no> or <no comment> and I swear I'll
ask nothing about it any more...
Marco
http://marcobar.cce.unifi.it
> It's been reported (and this part is true) that I worked on a story with the
>Carl Barks Studio--developing an idea of Carl's into a script.
[...]
>the story has not been purchased and has certainly not been
>scheduled for publication. I don't think that's very likely to change in the
>next few months.
[...]
>and I really
>don't think it's wise for me to answer further questions about the project.
I understand your discretion. Only, could you just tell us whether that
"idea" was the "somewhere in nowhere" plot that was discussed a lot here
some months ago? Just answer <yes>, <no> or <no comment> and I swear I'll
ask nothing about it any more...
Marco
http://marcobar.cce.unifi.it
Dave Rawson
Disney comics Digest V97 #206
Message 275 -
1997-09-25 at 00:52:44
> Byron Erickson <(Email removed)>
> Egmont Disney comics in the Scandinavian countries and Germany will
> now carry writer/artist credits.
Thanks to all involved who brought this into being!
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
> Egmont Disney comics in the Scandinavian countries and Germany will
> now carry writer/artist credits.
Thanks to all involved who brought this into being!
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
Brix Lichtenberg
Disney comics Digest V97 #206
Message 276 -
1997-09-25 at 10:43:38
Byron wrote:
> Egmont Disney comics in the Scandinavian countries and Germany will now > carry writer/artist credits. For every story.
YESSS, GREAT NEWS!!! I guess we all kind of expected (and hoped for)
this after Don's teaser, though. Those creators who care for their
stories/art and put a lot of effort in it really deserve the recognition
(and will be encouraged to keep on with it). And more careless creators
won't get away with sub par stuff so easily any more.
Rosy prospects for us fans!
Brix
> Egmont Disney comics in the Scandinavian countries and Germany will now > carry writer/artist credits. For every story.
YESSS, GREAT NEWS!!! I guess we all kind of expected (and hoped for)
this after Don's teaser, though. Those creators who care for their
stories/art and put a lot of effort in it really deserve the recognition
(and will be encouraged to keep on with it). And more careless creators
won't get away with sub par stuff so easily any more.
Rosy prospects for us fans!
Brix
Fluks, H.W.
Some rumor... in nowhere
Message 277 -
1997-09-25 at 11:21:20
Marco asked John Lustig:
>could you just tell us whether that
>"idea" was the "somewhere in nowhere" plot that was discussed a lot here
>some months ago?
Yes, that's what John was talking about. The story "Somewhere in
Nowhere" was based
on ideas by Barks, written by Lustig, and drawn by Pat Block. It is
completely
finished (I have seen it), and was offered to both Egmont and GP
(Holland). Both
companies found the price of the story, as asked by the Barks Studio,
too high, so
they will not buy the story in the near future.
I could tell more stories about this story, but those would fall in the
"gossip" category.
--Harry.
(mailto:(Email removed))
(http://www.pi.net/~fluks4/disney.htm)
"Wie ben ik? Wat doe ik hier? Waar is mijn Roddelflop?"
>could you just tell us whether that
>"idea" was the "somewhere in nowhere" plot that was discussed a lot here
>some months ago?
Yes, that's what John was talking about. The story "Somewhere in
Nowhere" was based
on ideas by Barks, written by Lustig, and drawn by Pat Block. It is
completely
finished (I have seen it), and was offered to both Egmont and GP
(Holland). Both
companies found the price of the story, as asked by the Barks Studio,
too high, so
they will not buy the story in the near future.
I could tell more stories about this story, but those would fall in the
"gossip" category.
--Harry.
(mailto:(Email removed))
(http://www.pi.net/~fluks4/disney.htm)
"Wie ben ik? Wat doe ik hier? Waar is mijn Roddelflop?"
Nils Lid Hjort
The credit policy change
Message 278 -
1997-09-25 at 11:55:52
Byron Erickson wrote:
<<The announcement is quite simply that Egmont Disney comics in the
Scandinavian countries and Germany will now carry writer/artist credits.
... We have not printed creator credits in the past due to complicated
legal reasons ... our creators are very happy ...
They deserve the recognition.>>
Good and agreed. But do the creators get _more_ out of this than mere
recognition? For example, I understand that up to now a writer or an artist
does not get additional royalty at all if Story X turns out to be a big and
frequently reprinted success story. Ariters/artists/colour makers/... are paid
once and for ever, I understand, for each story they contribute to, under the
current system. Can/will this change now?
Perhaps this crosses over into Byron E's
<<... (don't ask -- I won't answer) ...>>
terrain, in which case I should perhaps apologise. But any additional
information, from Erickson or others, about what this "official crediting
system" leads to will be of interest.
I am also reminded of the fact that such artist acknowledgements _were_ given,
at least partially so, for a perhaps brief period of time some ten years ago,
in the Norwegian (and, I guess, the Swedish and the Danish) weekly Donald Duck
magazines. I understand list member/reader Erik Hoerthe somehow contributed
to this.
Nils Lid Hjort
<<The announcement is quite simply that Egmont Disney comics in the
Scandinavian countries and Germany will now carry writer/artist credits.
... We have not printed creator credits in the past due to complicated
legal reasons ... our creators are very happy ...
They deserve the recognition.>>
Good and agreed. But do the creators get _more_ out of this than mere
recognition? For example, I understand that up to now a writer or an artist
does not get additional royalty at all if Story X turns out to be a big and
frequently reprinted success story. Ariters/artists/colour makers/... are paid
once and for ever, I understand, for each story they contribute to, under the
current system. Can/will this change now?
Perhaps this crosses over into Byron E's
<<... (don't ask -- I won't answer) ...>>
terrain, in which case I should perhaps apologise. But any additional
information, from Erickson or others, about what this "official crediting
system" leads to will be of interest.
I am also reminded of the fact that such artist acknowledgements _were_ given,
at least partially so, for a perhaps brief period of time some ten years ago,
in the Norwegian (and, I guess, the Swedish and the Danish) weekly Donald Duck
magazines. I understand list member/reader Erik Hoerthe somehow contributed
to this.
Nils Lid Hjort
Dr. Archontis Pantsios
Rosa on Rosa
Message 279 -
1997-09-25 at 18:03:18
FELLOW DUCKFANS:
I asked Don Rosa to fill out the "ROSA SURVEY" and I'm sending to the List
his own picks. Hopefully tomorrow I'll find some time to send PART I of the
Survey's results!
Here follow Don's own favorites:
>> INTERNATIONAL SURVEY ON DON ROSA
>> 1) Pick at MOST 3 covers which you consider Rosa's BEST:
>I can't figure out how to limit myself to 3! I put lots of work into covers
>and I like lots for different reasons! Here are the ones I jotted down on
>my pad... you can use only the 3 that are mentioned by the most other
>people?
>"Hearts of the Yukon"
>cover of DONALD AND $CROOGE trade-paperback
>"The King of the Klondike"
>"Guardians of the Lost Library"
>"The Terror of the Transvaal"
>"The Dreamtime Duck of the Never Never"
>"Treasure Under Glass"
>"The Raider of the Copper Hill"
>Gladstone album reprinting Barks' "Hawaiian Hideaway"
>
>> 2) Pick at MOST 3 OPENING SPLASH PANELS which you consider Rosa's BEST:
>This is easier since splash panels usually deal with very mundane scenes in
>which nothing special is happening yet.
>"The Attack of the Hideous Space-Varmints"
>"The Treasury of Croesus"
>"The Richest Duck in the World"
>
>> 3) Pick at MOST 3 INTERIOR SPLASH PANELS which you consider Rosa's BEST:
>Ooo. Another tuffie. Oh... I don't think I have enough time to answer this
>well. Those in:
>"The Son of the Sun"
>"The Terror of the Transvaal"
>"The Last of the Clan McDuck"
>
>> 4) Pick at MOST 3 stories (of any length) which you consider Rosa's
>WORST:
>Of those that I wrote myself:
>"An Eye for Detail"
>"From Duckburg to Lillehammer"
>"The Island at the Edge of Time"
>
>> 5) Pick at MOST 3 SHORT stories (2-14 pages long) which you consider
>Rosa's
>> BEST:
>"On a Silver Platter"
>"The Money Pit"
>"A Matter of Some Gravity"
>
>> 6) Pick at MOST 3 LONG stories (15 pages or more) which you consider
>Rosa's
>> BEST:
>Again, I must list more than 3. Sue me.
>You'll also notice a pattern here: my favorite stories of my own are the
>ones I enjoyed doing the most, which would mean they were all sequels to or
>otherwise based on favorite old Barks stories:
>"Hearts of the Yukon"
>"A Little Something Special"
>"The Last Sled to Dawson"
>"Return to Xanadu"
>"Return to Plain Awful"
>"The War of the Wendigo"
>Others:
>"Guardians of the Lost Library"
>"The Treasure of the Ten Avatars"
>"His Majesty McDuck"
>and "THE SON OF THE SUN"!
>
>> 7) Pick at MOST 3 "BEST/CLEVEREST" hidden D.U.C.K.s. (in covers OR Splash
>> panels).
>
>I can't answer this. My most cleverly hidden "D.U.C.K."s are the ones that
>I'm still trying to find myself. (Actually, I don't have time to check all
>these out before I leave for Portugal... it would involve checking too many
>covers and splash-panels!)
It remains to be seen how many of his own favorites are matched by the
Survey's results...
Till then...
be cool,
Archontis
I asked Don Rosa to fill out the "ROSA SURVEY" and I'm sending to the List
his own picks. Hopefully tomorrow I'll find some time to send PART I of the
Survey's results!
Here follow Don's own favorites:
>> INTERNATIONAL SURVEY ON DON ROSA
>> 1) Pick at MOST 3 covers which you consider Rosa's BEST:
>I can't figure out how to limit myself to 3! I put lots of work into covers
>and I like lots for different reasons! Here are the ones I jotted down on
>my pad... you can use only the 3 that are mentioned by the most other
>people?
>"Hearts of the Yukon"
>cover of DONALD AND $CROOGE trade-paperback
>"The King of the Klondike"
>"Guardians of the Lost Library"
>"The Terror of the Transvaal"
>"The Dreamtime Duck of the Never Never"
>"Treasure Under Glass"
>"The Raider of the Copper Hill"
>Gladstone album reprinting Barks' "Hawaiian Hideaway"
>
>> 2) Pick at MOST 3 OPENING SPLASH PANELS which you consider Rosa's BEST:
>This is easier since splash panels usually deal with very mundane scenes in
>which nothing special is happening yet.
>"The Attack of the Hideous Space-Varmints"
>"The Treasury of Croesus"
>"The Richest Duck in the World"
>
>> 3) Pick at MOST 3 INTERIOR SPLASH PANELS which you consider Rosa's BEST:
>Ooo. Another tuffie. Oh... I don't think I have enough time to answer this
>well. Those in:
>"The Son of the Sun"
>"The Terror of the Transvaal"
>"The Last of the Clan McDuck"
>
>> 4) Pick at MOST 3 stories (of any length) which you consider Rosa's
>WORST:
>Of those that I wrote myself:
>"An Eye for Detail"
>"From Duckburg to Lillehammer"
>"The Island at the Edge of Time"
>
>> 5) Pick at MOST 3 SHORT stories (2-14 pages long) which you consider
>Rosa's
>> BEST:
>"On a Silver Platter"
>"The Money Pit"
>"A Matter of Some Gravity"
>
>> 6) Pick at MOST 3 LONG stories (15 pages or more) which you consider
>Rosa's
>> BEST:
>Again, I must list more than 3. Sue me.
>You'll also notice a pattern here: my favorite stories of my own are the
>ones I enjoyed doing the most, which would mean they were all sequels to or
>otherwise based on favorite old Barks stories:
>"Hearts of the Yukon"
>"A Little Something Special"
>"The Last Sled to Dawson"
>"Return to Xanadu"
>"Return to Plain Awful"
>"The War of the Wendigo"
>Others:
>"Guardians of the Lost Library"
>"The Treasure of the Ten Avatars"
>"His Majesty McDuck"
>and "THE SON OF THE SUN"!
>
>> 7) Pick at MOST 3 "BEST/CLEVEREST" hidden D.U.C.K.s. (in covers OR Splash
>> panels).
>
>I can't answer this. My most cleverly hidden "D.U.C.K."s are the ones that
>I'm still trying to find myself. (Actually, I don't have time to check all
>these out before I leave for Portugal... it would involve checking too many
>covers and splash-panels!)
It remains to be seen how many of his own favorites are matched by the
Survey's results...
Till then...
be cool,
Archontis
James E. Smith III
Disney comics Digest V97 #163
Message 280 -
1997-09-25 at 20:20:38
Dear DON:
Do you know when your next "new" Scrooge-Donald story is coming out here
in the states?
James Smith III
(Email removed)
--------------------------------
End of Disney comics Digest V97 Issue #207
******************************************
Do you know when your next "new" Scrooge-Donald story is coming out here
in the states?
James Smith III
(Email removed)
--------------------------------
End of Disney comics Digest V97 Issue #207
******************************************
Luca Boschi
Figaro, and Don Rosa at LuccaComics Convention
Message 281 -
1997-09-25 at 22:10:30
Hallo to all of us! From a long time I read messages and comments in
this Mailing List, but for the first time I write some lines. Maybe
it's necessary to introduce myself. I'm Luca Boschi, comic artist of
characters created by me, storyman for Disney, I write articles and
books on comics for Disney and other publisher, and from six months
I'm "cultural director" of the famous LuccaComics convention in Italy,
whose next edition shall take place from Oct. 30 to Nov. 2.
In next weeks, I'll let you know something more about this con, where
(as you know) the same Don Rosa will come for the second time, Giorgio
Cavazzano shall be hosted with a really big exibition (more than 400
original artworks by him) and a special catalogue, Giovan Battista
Carpi shall draw our new "mascotte" and a lot of Disnet italian (and
not) artists and editors shall be in (from Lidia Cannatella and Ezio
Sisto to Luciano Gatto and Carlo Chendi, to younger artists like
Giuseppe Zironi, Silvia Ziche, Lara Molinari, Francesco Guerrini,
Stefano Mirone, Andrea Freccero, and so on). Leonardo Gori shall
introduce some of the speeches (with Frank Stajano, who shall be in
Italy in those days), and Alberto Becattini shall be a member of the
Jury, with Paul Gravett, Ervin Rustemagic, the same Carpi and so on.
Fabio Gadducci (a sort of travel agent for Don Rosa) shall be (or
better:IS!) our international relationships' agent, and he also shall
speak in some meetings.
I also hope that Ulrich Schroder be with us, like it happened in last
march for the Spring Lucca Convention. And I read in this list that
also Marco Barlotti, Didier Ghez and Harry Flucks plan to come to
Lucca for meeting all this people (and much more, like Sydney Jordan,
Don Lawrence, Sergio Toppi, Jeff Smith, Neil Gaiman, some people from
French and Germany...). So, I think to organize a REAL meeting of
Disney experts and enthusiasts. Since Don shall come to Italy on
saturday, maybe is possible to organize something on sunday, in the
early afternoon (at 2:30?), or in the morning.
If you have some ideas or proposals about, let me know them, please!
MARKOFF wrote:
>Minnie could have had a similar experience and decided to name her >cat
>Figaro. (BTW, is Figaro a character from Collodi's original novel, or >an
>addition by Disney? My knowledge of Pinocchio is limited to Disney's >1940 movie.)
Well, Figaro IS an original creation of Disney. The famous comic
artist Jack Bradbury, some years ago, told me that he was working on
this cat (the sequences in which he closes the Geppetto's windows and
goes to sleep with him). It seems that responsible of the Figaro's
look, and maybe also of his introduction in the movie, surely about
the developing of the character and the direction of the sequences in
which he appears, is Hamilton Luske.
Bye to everyone!
Luca Boschi
this Mailing List, but for the first time I write some lines. Maybe
it's necessary to introduce myself. I'm Luca Boschi, comic artist of
characters created by me, storyman for Disney, I write articles and
books on comics for Disney and other publisher, and from six months
I'm "cultural director" of the famous LuccaComics convention in Italy,
whose next edition shall take place from Oct. 30 to Nov. 2.
In next weeks, I'll let you know something more about this con, where
(as you know) the same Don Rosa will come for the second time, Giorgio
Cavazzano shall be hosted with a really big exibition (more than 400
original artworks by him) and a special catalogue, Giovan Battista
Carpi shall draw our new "mascotte" and a lot of Disnet italian (and
not) artists and editors shall be in (from Lidia Cannatella and Ezio
Sisto to Luciano Gatto and Carlo Chendi, to younger artists like
Giuseppe Zironi, Silvia Ziche, Lara Molinari, Francesco Guerrini,
Stefano Mirone, Andrea Freccero, and so on). Leonardo Gori shall
introduce some of the speeches (with Frank Stajano, who shall be in
Italy in those days), and Alberto Becattini shall be a member of the
Jury, with Paul Gravett, Ervin Rustemagic, the same Carpi and so on.
Fabio Gadducci (a sort of travel agent for Don Rosa) shall be (or
better:IS!) our international relationships' agent, and he also shall
speak in some meetings.
I also hope that Ulrich Schroder be with us, like it happened in last
march for the Spring Lucca Convention. And I read in this list that
also Marco Barlotti, Didier Ghez and Harry Flucks plan to come to
Lucca for meeting all this people (and much more, like Sydney Jordan,
Don Lawrence, Sergio Toppi, Jeff Smith, Neil Gaiman, some people from
French and Germany...). So, I think to organize a REAL meeting of
Disney experts and enthusiasts. Since Don shall come to Italy on
saturday, maybe is possible to organize something on sunday, in the
early afternoon (at 2:30?), or in the morning.
If you have some ideas or proposals about, let me know them, please!
MARKOFF wrote:
>Minnie could have had a similar experience and decided to name her >cat
>Figaro. (BTW, is Figaro a character from Collodi's original novel, or >an
>addition by Disney? My knowledge of Pinocchio is limited to Disney's >1940 movie.)
Well, Figaro IS an original creation of Disney. The famous comic
artist Jack Bradbury, some years ago, told me that he was working on
this cat (the sequences in which he closes the Geppetto's windows and
goes to sleep with him). It seems that responsible of the Figaro's
look, and maybe also of his introduction in the movie, surely about
the developing of the character and the direction of the sequences in
which he appears, is Hamilton Luske.
Bye to everyone!
Luca Boschi
Marco Barlotti
Italian stuff... ;-)
Message 282 -
1997-09-26 at 01:37:32
OLE, TARJEI:
>
>>I don't read Italian either, but I got very good at guessing it. :-)
>
When I joined this ML two years ago, I felt a little lost because nobody
ever seemed to quote Italian Disney comics. Now I see that these get their
(deserved) space. I like to think that, in part, this can also be credited
to me.. ;-)
And since we are talking about Italian productions,
JONATHAN:
> (BTW, is Figaro a character from Collodi's original novel, or an
>addition by Disney? My knowledge of Pinocchio is limited to Disney's 1940
>movie.)
Figaro is an addition by Disney. But you might say that the whole
"Pinocchio" movie is an addition by Disney. Little of the original, peculiar
humour is left.
Disney movies are hard on the original subject. They must be appreciated for
themselves, you can **not** compare them to the original book.
"Pinocchio" by Collodi is a great masterpiece, and you, Jonathan, who
**can** read Italian, should give it a good try.
"Pinocchio" can be read and appreciated by adults, even if it is not an
"adult's" book (which can be said of Carrol's <Alice> instead... but of
course I as a mathematician cannot help adoring Alice...). The Disney movie
is a (pleasant, but completely different) children movie.
I am wondering now. Any Italian (well, at least any Tuscan!) as a child has
read and re-read "Pinocchio" and feels somehow betrayed by Disney's movie.
Does "Bambi" or any other book play the same role for other countries' children?
Well, enough Italy for today... ;-)
Marco
http://marcobar.cce.unifi.it
>
>>I don't read Italian either, but I got very good at guessing it. :-)
>
When I joined this ML two years ago, I felt a little lost because nobody
ever seemed to quote Italian Disney comics. Now I see that these get their
(deserved) space. I like to think that, in part, this can also be credited
to me.. ;-)
And since we are talking about Italian productions,
JONATHAN:
> (BTW, is Figaro a character from Collodi's original novel, or an
>addition by Disney? My knowledge of Pinocchio is limited to Disney's 1940
>movie.)
Figaro is an addition by Disney. But you might say that the whole
"Pinocchio" movie is an addition by Disney. Little of the original, peculiar
humour is left.
Disney movies are hard on the original subject. They must be appreciated for
themselves, you can **not** compare them to the original book.
"Pinocchio" by Collodi is a great masterpiece, and you, Jonathan, who
**can** read Italian, should give it a good try.
"Pinocchio" can be read and appreciated by adults, even if it is not an
"adult's" book (which can be said of Carrol's <Alice> instead... but of
course I as a mathematician cannot help adoring Alice...). The Disney movie
is a (pleasant, but completely different) children movie.
I am wondering now. Any Italian (well, at least any Tuscan!) as a child has
read and re-read "Pinocchio" and feels somehow betrayed by Disney's movie.
Does "Bambi" or any other book play the same role for other countries' children?
Well, enough Italy for today... ;-)
Marco
http://marcobar.cce.unifi.it
Cebarat
Disney comics Digest V97 #206-207
Message 283 -
1997-09-26 at 05:33:34
GARY LEACH responded to my Gus-Jaq comments thusly:
<<I wasn't there, of course, but I've sat through hundreds of business
discussions just like this. Y'see, Western was not obliged to use the
characters of Gus & Jaq at all if they didn't want to, and what seems
logical is not necessarily going to be what's regarded as workable.>>
Add to the above, that "group" decisions often seem to meander towards what
is "workable," with common sense and insight often getting shoved aside. :-(
BYRON ERICKSON announced:
<<The announcement is quite simply that Egmont Disney comics in the
Scandinavian countries and Germany will now carry writer/artist credits.
For every story. At the bottom of the first page of each story.>>
Welcome news, to say the least! It will be interesting to see how "giving
credit where credit is due" will affect the quality of Egmont's output. Of
course, Egmont's reputation for quality is excellent; I just want to see what
kind of a "motivating factor" credits will be. As Brix Lichtenberg noted,
the credits may serve as a "prod" to underachieving artists and writers to
crank the quality of their work up a notch.
JONATHAN MARKOFF reminisced:
<<I remember a letter in MICKEY MOUSE 240 from a parent who
had purchased a Gladstone MM issue for a 4-year-old, and upon finding one of
Gottfredson's milder "crime" stories, "Pluto the Racer," accused Disney of
perverting children's minds by condoning "betting, cheating, drug using"
etc. (I hate to think what would have happened if that letter-writer had
picked up "The Phantom Blot"!)>>
I remember that incident. I think that Byron handled that letter quite well,
pointing out that Disney was not "condoning" anything and that Gottfredson
saw to it that virtue ultimately triumphed in the end. It is difficult to
understand how some people can equate the mere appearance of something in a
story with a "condoning" of the principle, philosophy, or
attitude it engenders.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"KEEP AWAY! KEEP AWAY! I'M TOO YOUNG TO DIE!!" -- Scrooge, "DuckTales"
episode "Sweet Duck of Youth"
<<I wasn't there, of course, but I've sat through hundreds of business
discussions just like this. Y'see, Western was not obliged to use the
characters of Gus & Jaq at all if they didn't want to, and what seems
logical is not necessarily going to be what's regarded as workable.>>
Add to the above, that "group" decisions often seem to meander towards what
is "workable," with common sense and insight often getting shoved aside. :-(
BYRON ERICKSON announced:
<<The announcement is quite simply that Egmont Disney comics in the
Scandinavian countries and Germany will now carry writer/artist credits.
For every story. At the bottom of the first page of each story.>>
Welcome news, to say the least! It will be interesting to see how "giving
credit where credit is due" will affect the quality of Egmont's output. Of
course, Egmont's reputation for quality is excellent; I just want to see what
kind of a "motivating factor" credits will be. As Brix Lichtenberg noted,
the credits may serve as a "prod" to underachieving artists and writers to
crank the quality of their work up a notch.
JONATHAN MARKOFF reminisced:
<<I remember a letter in MICKEY MOUSE 240 from a parent who
had purchased a Gladstone MM issue for a 4-year-old, and upon finding one of
Gottfredson's milder "crime" stories, "Pluto the Racer," accused Disney of
perverting children's minds by condoning "betting, cheating, drug using"
etc. (I hate to think what would have happened if that letter-writer had
picked up "The Phantom Blot"!)>>
I remember that incident. I think that Byron handled that letter quite well,
pointing out that Disney was not "condoning" anything and that Gottfredson
saw to it that virtue ultimately triumphed in the end. It is difficult to
understand how some people can equate the mere appearance of something in a
story with a "condoning" of the principle, philosophy, or
attitude it engenders.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"KEEP AWAY! KEEP AWAY! I'M TOO YOUNG TO DIE!!" -- Scrooge, "DuckTales"
episode "Sweet Duck of Youth"
Ole R. Nielsen
Egmont credits & pocket chaos
Message 284 -
1997-09-26 at 14:18:40
It's great to hear that my haphazard guess/wish about Byron & co.'s
accomplishment came out true! (No. I didn't know; I'm just a psychic.)
I doubt however that ALL stories in the Egmont comics will bear full
credits, bearing in mind that on the last occasion when this procedure
was used - back in '91-'92 - only Egmont's _own_ creators were named.
Especially annoying was it to see that Danish artist Freddy Milton's
easily recognizably style was not identified. Because the stories were
imported from Holland. Neither were the Italian stories in the many
pocket size editions. So can we finally expect to see for instance the
frequent Mau Heymans stories with his name under, and will Romano
Scarpa's name ever appear in a Danish publication?
I assume it's a question of, if this information is accompanying the
stories as they are acquired by Egmont, or if it's up to Egmont to
investigate.
A curious note on a change in Egmont's publishing plan:
The mini-pocket "Onkel Joakim" which went bi-weekly at the start of
the year suddenly was replaced by a new title, "Disney's Adventure
Historier", featuring the stories scheduled for issue #19 of "Onkel
Joakim". That issue finally arrived yesterday, in a new enlarged
format, with a page dedicated to the next issue, but describing the
stories in that very issue. And the date for the next issue, #20,
was given as September 22.nd. Three days before...
This is apparently a decision to split the title into two (this has been
done before) but not in such a rush.
Ole R. Nielsen <(Email removed)>
accomplishment came out true! (No. I didn't know; I'm just a psychic.)
I doubt however that ALL stories in the Egmont comics will bear full
credits, bearing in mind that on the last occasion when this procedure
was used - back in '91-'92 - only Egmont's _own_ creators were named.
Especially annoying was it to see that Danish artist Freddy Milton's
easily recognizably style was not identified. Because the stories were
imported from Holland. Neither were the Italian stories in the many
pocket size editions. So can we finally expect to see for instance the
frequent Mau Heymans stories with his name under, and will Romano
Scarpa's name ever appear in a Danish publication?
I assume it's a question of, if this information is accompanying the
stories as they are acquired by Egmont, or if it's up to Egmont to
investigate.
A curious note on a change in Egmont's publishing plan:
The mini-pocket "Onkel Joakim" which went bi-weekly at the start of
the year suddenly was replaced by a new title, "Disney's Adventure
Historier", featuring the stories scheduled for issue #19 of "Onkel
Joakim". That issue finally arrived yesterday, in a new enlarged
format, with a page dedicated to the next issue, but describing the
stories in that very issue. And the date for the next issue, #20,
was given as September 22.nd. Three days before...
This is apparently a decision to split the title into two (this has been
done before) but not in such a rush.
Ole R. Nielsen <(Email removed)>
Kriton Kyrimis
Disney comics Digest V97 #207
Message 285 -
1997-09-26 at 14:57:46
JONATHAN:
> KRITON KYRIMIS wrote in Digest V97 #206:
> >No, but the first Olympics, in 1896, were, and Scrooge would have been
> >at just about the right age to participate. I wonder where he was between
> >March 25 and April 15 of that year...
>
> Australia, I guess. (He had been there since 1893 and remained there until
> leaving for the Yukon sometime late in 1896.)
Yes, but are you sure he wasn't a member of the Australian or the American
Olympic team?
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"When you travel around as much as *I* do, it's almost inevitable that you'll
run into yourself at some point!"
-----
> KRITON KYRIMIS wrote in Digest V97 #206:
> >No, but the first Olympics, in 1896, were, and Scrooge would have been
> >at just about the right age to participate. I wonder where he was between
> >March 25 and April 15 of that year...
>
> Australia, I guess. (He had been there since 1893 and remained there until
> leaving for the Yukon sometime late in 1896.)
Yes, but are you sure he wasn't a member of the Australian or the American
Olympic team?
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"When you travel around as much as *I* do, it's almost inevitable that you'll
run into yourself at some point!"
-----