DAN SHANE:
> For the last time -- You CANNOT make your PC sick by reading email. Period.
Not to mention that some of us don't use a PC to read our mail...
DANIEL VAN EIJMEREN:
> Maybe I'm kicking in an open door, but did anyone notice that Mickey Mouse
> has been *eaten* by the crooks in panel 3.2 of Don's "Hearts of the Yukon"?
> You can find his shoes, shorts, skull and bones on the table.
Gosh! Do you go through your comic books with a magnifying glass?!?
And there I was, asking Don to do a Mickey Mouse story, when it seems he
must really hate the mouse: So far, he's had him skinned (The Crocodile
Collector, panel 9.1), stomped by an elephant (The Terror of the
Transvaal, panel 6.1--censored in the US) and eaten by a bunch of thugs!!!
:-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-)
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"I've always been very keen on survival."
-----
Author
Topic: 199710
(359 messages)
Kriton Kyrimis
Disney comics Digest V97 #221
Message 121 -
1997-10-12 at 01:05:03
Fabrizio
The worst Italian Artist
Message 122 -
1997-10-12 at 02:36:12
Francois:
> > The artist was his cousin Capitanio, one of the worst Italian Disney
> > artists IMHO.
>
> With Giancarlo Gatti? :-). The worst IMHO is the almost unknown Michele
> Rubino, who did a few stories in the fifties. I saw one, involving
> Scrooge and a Martian, which was incredibly ugly. For example, the
> characters often have different sizes from one panel to another. But I
> agree that Luciano Capitanio, Giorgio Bordini, and a few others, are the
> worst Italian artists. Now, better talk about artists we appreciate...
Ehi, Bordini was not bad at all !! During the seventies his style was
very Scarpa-like, very "clean" and nice, IMHO. Recently his style has
gotten worse and worse and he seens to have turned into one of
the several Cavazzano's clones we are suffering from.
Talking about bad Italian artistsI would propose Giuseppe Perego
for a nomination.
Fabrizio
> > The artist was his cousin Capitanio, one of the worst Italian Disney
> > artists IMHO.
>
> With Giancarlo Gatti? :-). The worst IMHO is the almost unknown Michele
> Rubino, who did a few stories in the fifties. I saw one, involving
> Scrooge and a Martian, which was incredibly ugly. For example, the
> characters often have different sizes from one panel to another. But I
> agree that Luciano Capitanio, Giorgio Bordini, and a few others, are the
> worst Italian artists. Now, better talk about artists we appreciate...
Ehi, Bordini was not bad at all !! During the seventies his style was
very Scarpa-like, very "clean" and nice, IMHO. Recently his style has
gotten worse and worse and he seens to have turned into one of
the several Cavazzano's clones we are suffering from.
Talking about bad Italian artistsI would propose Giuseppe Perego
for a nomination.
Fabrizio
Francois Willot
Giorgio Bordini
Message 123 -
1997-10-12 at 12:46:37
Fabrizio:
> Ehi, Bordini was not bad at all !! During the seventies his style
> was very Scarpa-like, very "clean" and nice, IMHO. Recently his=20
> style has gotten worse and worse and he seens to have turned into
> one of the several Cavazzano's clones we are suffering from.
>
> Talking about bad Italian artistsI would propose Giuseppe Perego=20
> for a nomination.
His style was not **that** bad, but seems poor compare to Carpi, Scarpa=
,
De Vita, Bottaro and all the other, IMHO.
Giorgio Bordini was even *helped* by Romano Scarpa on some of his first
stories. The stories he made during the 50s and 60s are very well-done
(I admit!) compare to some other new Italians, for instance Giorgio Di
Vita (or worse: Julian Jordan). Very "clean" and classical, as you said=
.In fact, I liked his recent **stories** more, I think he's better as a
writer!
About Giuseppe Perego: I imagine (almost) everybody here dislikes his
art, but I have to say that his very first works were acceptable (one o=
f
them, a story about Donald eating porridge oats, was really well done).
Only after, he changed his style who became (very) poor. But I would sa=
y
the level of complexity does not reflect the beauty of a drawing...
Katie:
> Does this mean that (at least in Italian eyes) that Goldie married
> somebody after Scrooge left the Yukon? Is Paperetta/Dickie ever
> used in the same story with Scrooge and Donald?
I can only reply to your second question: yes, you can find Scrooge,
Donald and Paperetta Ye'Ye' together in a lot of stories (I would even
say: in most of them), for instance:
Topolino 1384 Brigitta e lo "scoop" sensazionale (Scarpa/Scarpa)
Topolino 1259 Zio Paperone e l=92indagine Foxan (Scarpa/Scarpa)
Topolino 1974-75 Re Paperon e il tesoro delle 3 chiavi (Dalla
Santa/Mognato)
It also happens in Paperetta's first story (that I never saw).
> Does this whole idea sort of spoil the Scrooge/Goldie unrequited=20
> love story for anyone else?
In "Lo scoop senszionale", Paperetta is a reporter spying Scrooge for
his boss, Brigitta. She's in the story as some distant relative of the
Ducks. His relation to Goldie is not even mentioned.
Francois
> Ehi, Bordini was not bad at all !! During the seventies his style
> was very Scarpa-like, very "clean" and nice, IMHO. Recently his=20
> style has gotten worse and worse and he seens to have turned into
> one of the several Cavazzano's clones we are suffering from.
>
> Talking about bad Italian artistsI would propose Giuseppe Perego=20
> for a nomination.
His style was not **that** bad, but seems poor compare to Carpi, Scarpa=
,
De Vita, Bottaro and all the other, IMHO.
Giorgio Bordini was even *helped* by Romano Scarpa on some of his first
stories. The stories he made during the 50s and 60s are very well-done
(I admit!) compare to some other new Italians, for instance Giorgio Di
Vita (or worse: Julian Jordan). Very "clean" and classical, as you said=
.In fact, I liked his recent **stories** more, I think he's better as a
writer!
About Giuseppe Perego: I imagine (almost) everybody here dislikes his
art, but I have to say that his very first works were acceptable (one o=
f
them, a story about Donald eating porridge oats, was really well done).
Only after, he changed his style who became (very) poor. But I would sa=
y
the level of complexity does not reflect the beauty of a drawing...
Katie:
> Does this mean that (at least in Italian eyes) that Goldie married
> somebody after Scrooge left the Yukon? Is Paperetta/Dickie ever
> used in the same story with Scrooge and Donald?
I can only reply to your second question: yes, you can find Scrooge,
Donald and Paperetta Ye'Ye' together in a lot of stories (I would even
say: in most of them), for instance:
Topolino 1384 Brigitta e lo "scoop" sensazionale (Scarpa/Scarpa)
Topolino 1259 Zio Paperone e l=92indagine Foxan (Scarpa/Scarpa)
Topolino 1974-75 Re Paperon e il tesoro delle 3 chiavi (Dalla
Santa/Mognato)
It also happens in Paperetta's first story (that I never saw).
> Does this whole idea sort of spoil the Scrooge/Goldie unrequited=20
> love story for anyone else?
In "Lo scoop senszionale", Paperetta is a reporter spying Scrooge for
his boss, Brigitta. She's in the story as some distant relative of the
Ducks. His relation to Goldie is not even mentioned.
Francois
TKlein28
Disney comics Digest V97 #221
Message 124 -
1997-10-12 at 14:54:33
Re: Ferdinand the Bull
This cartoon is an adaptation of the picture book "The Story of Ferdinand" by
Munro Leaf, illustrated by Robert Lawson, published by The Viking Press, New
York, 1936. The cartoon is fairly close to the Lawson illustrations. I
imagine the rights have reverted to the creators.
By the way, another fine book written AND illustrated by Lawson is the basis
of a Disney cartoon: "Ben and Me." Are those characters available for
license?
Todd
This cartoon is an adaptation of the picture book "The Story of Ferdinand" by
Munro Leaf, illustrated by Robert Lawson, published by The Viking Press, New
York, 1936. The cartoon is fairly close to the Lawson illustrations. I
imagine the rights have reverted to the creators.
By the way, another fine book written AND illustrated by Lawson is the basis
of a Disney cartoon: "Ben and Me." Are those characters available for
license?
Todd
Dan Shane
Disney comics Digest V97 #220
Message 125 -
1997-10-12 at 16:08:36
DON R.:
>Hah! Let's see the Great Leslie top THAT!
Please stop it! I spewed coffee all over myself!
>Hah! Let's see the Great Leslie top THAT!
Please stop it! I spewed coffee all over myself!
Cebarat
Disney Comics Digest V97 #221 (Prunes)
Message 126 -
1997-10-12 at 19:34:48
GARY LEACH asked:
<<Not to get down on what is, after all, innocent fun, but...what is all this
fascination with prune-loving Beagles? That never struck me as one of
Barks' more inspired gags, and I don't find it holding up well at all with
repeated use. (Just so no one thinks I am anti-prune, I find the fruit
itself a tasty item, and an excellent aid to digestion.)>>
I never minded the prune-loving Beagle Boy gag, as long as the prune fetish
was limited to only ONE Beagle Boy (in the same way that DUCKTALES loaded all
of its Beagle Boy "food gags" onto Burger Beagle's shoulders). Barks didn't
seem to be thinking of the physiological humor inherent in prunes (which in
any case would have been inappropriate for the comics of the time) nearly as
much as the notion that the Beagle Boys had been in jail SO many times that
they had developed a "taste" for the hideous jailhouse food. The prune gag
was therefore a lighter and less didactic version of the "repeated Beagle
rehabilitation" gag that Barks used with increasingly frequency in the
1960's.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"BUT IT'S PUDDIN' DAY IN THE CAFETERIA... I CAN'T WAIT ALL DAY FOR SUPPER!"
-- Burger Beagle, "DuckTales" episode "Dough Ray Me"
<<Not to get down on what is, after all, innocent fun, but...what is all this
fascination with prune-loving Beagles? That never struck me as one of
Barks' more inspired gags, and I don't find it holding up well at all with
repeated use. (Just so no one thinks I am anti-prune, I find the fruit
itself a tasty item, and an excellent aid to digestion.)>>
I never minded the prune-loving Beagle Boy gag, as long as the prune fetish
was limited to only ONE Beagle Boy (in the same way that DUCKTALES loaded all
of its Beagle Boy "food gags" onto Burger Beagle's shoulders). Barks didn't
seem to be thinking of the physiological humor inherent in prunes (which in
any case would have been inappropriate for the comics of the time) nearly as
much as the notion that the Beagle Boys had been in jail SO many times that
they had developed a "taste" for the hideous jailhouse food. The prune gag
was therefore a lighter and less didactic version of the "repeated Beagle
rehabilitation" gag that Barks used with increasingly frequency in the
1960's.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
"BUT IT'S PUDDIN' DAY IN THE CAFETERIA... I CAN'T WAIT ALL DAY FOR SUPPER!"
-- Burger Beagle, "DuckTales" episode "Dough Ray Me"
Luna Storta
Some replies...
Message 127 -
1997-10-12 at 21:14:14
Hello,
RIK PIERCE about DON ROSA s style:
> Now I m trying to figure out just what it is about Rosa s duck that
> bother me. I m working on it...
I can tell you what someone else reported in an interview appeared on
the italian "Zio Paperone" some issues ago (Nr. 78), and that I think
hit the target: it is an interview from Marco Rota, who says about Don
Rosa: "...I m perplexed about his techincs, that is a little bit rigid,
different from the Disney tradition. If you try to pick off ducks from
his stories you are no more in the Disney world...". BTW going on in the
interview we can find "I appreciate his (his stands for Don Rosa,
n.d.t.) adhesion to reality, his way of treating ducks like human
beings. He is very cinematographic in making his histories".
---------
About the discussion on what you read when you are a child that is what
you like more in the future despiting the real value of the story, I d
like to say that when I was a child I had the books "Vita e dollari di
Paperon de Paperoni" and "Io Paperone" in which were proposed some
Barks stories that I was reading for the first time: according to
Soren s opinion I d have to like them all at the same, but it isn t so:
in the first book was in little format and printed in black and white,
with stories such as "Donald Duck in Letter to Santa", "A christmas for
shaketown", "Only a poor old man" and "Back to the Klondyke"..... The
second one was of great format and printed in color, but there were
stories of the last Barks period (I m using my memory since I don t have
that book anymore): "The cattle king", "The hall of the mermaid queen",
"The Phantom of Notre Duck", etc.
Well, I read them both at the same time, but they were *very different*,
the plot of the stories was better in the smallest edition. So, IMVHO, I
don t think that someone preferences can be determined on the age of
reading or from the author: the most important thing in a GOOD comic
book is the plot!
GARY:
>Yes, we do so love to wear those nice white aprons when we edit, though
they do get >a little gamy at the end of the day. Of course, we didn't
edit "The Snacking Sleuth" in >WDG #5 due to Cavazzano. We *like* him!
Well, great luck you *like* him! Maybe I didn t get the real sense of
the above sentence, but reading "The Snacking Sleuth" in WDG#5 has been
a real shock to me: the story has been completely destroyed: pages of
art cancelled, dialogues altered without shame.... and the entire sense
of the history has been killed!!! I never saw such an incredible lack of
respect for a story: I really *HOPE* theat italian producers won t do
the same to the foreing stories published in our country! :-(
Ciao,
Paolo Castagno alias Luna Storta
p.s.: the 2nd of November will be my first time in Lucca, so I have to
ask to the ones who have already been in Lucca during previous editions:
it is just a fair or there will be the possibility to buy some old
comics?
------------------------------------------------------------
Room service? Send up a larger room.
-- Groucho Marx
------------------------------------------------------------
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
RIK PIERCE about DON ROSA s style:
> Now I m trying to figure out just what it is about Rosa s duck that
> bother me. I m working on it...
I can tell you what someone else reported in an interview appeared on
the italian "Zio Paperone" some issues ago (Nr. 78), and that I think
hit the target: it is an interview from Marco Rota, who says about Don
Rosa: "...I m perplexed about his techincs, that is a little bit rigid,
different from the Disney tradition. If you try to pick off ducks from
his stories you are no more in the Disney world...". BTW going on in the
interview we can find "I appreciate his (his stands for Don Rosa,
n.d.t.) adhesion to reality, his way of treating ducks like human
beings. He is very cinematographic in making his histories".
---------
About the discussion on what you read when you are a child that is what
you like more in the future despiting the real value of the story, I d
like to say that when I was a child I had the books "Vita e dollari di
Paperon de Paperoni" and "Io Paperone" in which were proposed some
Barks stories that I was reading for the first time: according to
Soren s opinion I d have to like them all at the same, but it isn t so:
in the first book was in little format and printed in black and white,
with stories such as "Donald Duck in Letter to Santa", "A christmas for
shaketown", "Only a poor old man" and "Back to the Klondyke"..... The
second one was of great format and printed in color, but there were
stories of the last Barks period (I m using my memory since I don t have
that book anymore): "The cattle king", "The hall of the mermaid queen",
"The Phantom of Notre Duck", etc.
Well, I read them both at the same time, but they were *very different*,
the plot of the stories was better in the smallest edition. So, IMVHO, I
don t think that someone preferences can be determined on the age of
reading or from the author: the most important thing in a GOOD comic
book is the plot!
GARY:
>Yes, we do so love to wear those nice white aprons when we edit, though
they do get >a little gamy at the end of the day. Of course, we didn't
edit "The Snacking Sleuth" in >WDG #5 due to Cavazzano. We *like* him!
Well, great luck you *like* him! Maybe I didn t get the real sense of
the above sentence, but reading "The Snacking Sleuth" in WDG#5 has been
a real shock to me: the story has been completely destroyed: pages of
art cancelled, dialogues altered without shame.... and the entire sense
of the history has been killed!!! I never saw such an incredible lack of
respect for a story: I really *HOPE* theat italian producers won t do
the same to the foreing stories published in our country! :-(
Ciao,
Paolo Castagno alias Luna Storta
p.s.: the 2nd of November will be my first time in Lucca, so I have to
ask to the ones who have already been in Lucca during previous editions:
it is just a fair or there will be the possibility to buy some old
comics?
------------------------------------------------------------
Room service? Send up a larger room.
-- Groucho Marx
------------------------------------------------------------
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Luna Storta
Disney survey
Message 128 -
1997-10-12 at 21:15:18
Hello again,
Just a little remind about the Disney Survey that is going on veeeeery
slowly (just 9 voters at the moment....). BTW I m still going on with
this, and maybe a line end is needed... I was thinking of 14th of
November, so I ll elaborate the results on Saturday and Sunday and post
the results for the following Monday.
The address where you can go if you want to express your preferences is:
http://www.confor.it:2222/disney/home.htm
you can insert as many answers you want, and if you ll find some
troubles in voting, or if you have any ideas on how to improve the
survey, you can e-mail me at:
(Email removed)
Hoping to receive votes from all of you,
Ciao
Paolo Castagno
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Just a little remind about the Disney Survey that is going on veeeeery
slowly (just 9 voters at the moment....). BTW I m still going on with
this, and maybe a line end is needed... I was thinking of 14th of
November, so I ll elaborate the results on Saturday and Sunday and post
the results for the following Monday.
The address where you can go if you want to express your preferences is:
http://www.confor.it:2222/disney/home.htm
you can insert as many answers you want, and if you ll find some
troubles in voting, or if you have any ideas on how to improve the
survey, you can e-mail me at:
(Email removed)
Hoping to receive votes from all of you,
Ciao
Paolo Castagno
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Marco Barlotti
Cavazzano again...
Message 129 -
1997-10-13 at 01:18:21
FRANCOIS:
> on "The secret of Incas" I scooped you!
>
>Where was that story published? I didn't find it in the database.
This piece of information has not yet been <officially> released on the Web.
The story was published on "Topolino" #2169 of June 24th 1997. My WWW pages
with the index of Italian stories only go up to issue #2111 for now... and
so does the DcD as a result.
Only a few friends who work closely with me on indexing stories and issues
(like Francois Willot, Ole Nielsen, Harry Fluks and Frank Stajano... do you
happen to know them?) have (or should have...) the last, updated version of
my index...
M> The first Scarpa story inked by Cavazzano was "Paperino supplente
M> incaricato" (scripted by Barosso) more than a year later.
>
F>Where did you got that information? Is that on the Romano Scarpa (blue)
F>book, published in 1988?
Yessir.
>In the Topolino index printed in "If" # 66
I think you mean "If" #3 of May 1995...
> this story is credited
>to Rodolfo Cimino and Romano Scarpa (not Cavazzano).
..and since both indexes are due to Becattini, but the one you quote is more
recent, I must admit that this time **you** corrected me! ;-)
And I can add this detail: in the interview which appears in Mezzavilla's
book, Cavazzano himself recalls that "Paperino e la gloria nazionale" was
the first story he inked for Scarpa.
This means of course that I should check my data against Becattini's index
on the recent issues of IF...
> The worst IMHO is the almost unknown Michele
>Rubino, who did a few stories in the fifties. I saw one, involving
>Scrooge and a Martian, which was incredibly ugly.
I completely agree with you on that story!
>On Septembre, 25th, Luca Boschi mentionned the following:
>
>LB> Giorgio Cavazzano shall be hosted with a really big exibition
>LB> (more than 400 original artworks by him) and a special catalogue
>
But that does not necessarily mean that Cavazzano will be in Lucca... or
does it?
Marco
M>> [who got hold of the first "Euro" coin and banknotes
M>> just in time to realize that after all we won't make it...]
>
F>That's new to me...
>
This is **only partly** off-topic, because I've driven people on this list
crazy by always giving prices in Euros. In two towns near Firenze they are
using <Euro> as a currency in these months, so they've printed banknotes and
minted coins which carry "Euro" values. It's a nice game, not much more
than that.
When I say we won't make it any more I'm referring to the @#%@# behaviour of
the so-called communists here in Italy, and that's **100% off-topic** so
let's stop here ;-) .
--------------------------------
End of Disney comics Digest V97 Issue #222
******************************************
> on "The secret of Incas" I scooped you!
>
>Where was that story published? I didn't find it in the database.
This piece of information has not yet been <officially> released on the Web.
The story was published on "Topolino" #2169 of June 24th 1997. My WWW pages
with the index of Italian stories only go up to issue #2111 for now... and
so does the DcD as a result.
Only a few friends who work closely with me on indexing stories and issues
(like Francois Willot, Ole Nielsen, Harry Fluks and Frank Stajano... do you
happen to know them?) have (or should have...) the last, updated version of
my index...
M> The first Scarpa story inked by Cavazzano was "Paperino supplente
M> incaricato" (scripted by Barosso) more than a year later.
>
F>Where did you got that information? Is that on the Romano Scarpa (blue)
F>book, published in 1988?
Yessir.
>In the Topolino index printed in "If" # 66
I think you mean "If" #3 of May 1995...
> this story is credited
>to Rodolfo Cimino and Romano Scarpa (not Cavazzano).
..and since both indexes are due to Becattini, but the one you quote is more
recent, I must admit that this time **you** corrected me! ;-)
And I can add this detail: in the interview which appears in Mezzavilla's
book, Cavazzano himself recalls that "Paperino e la gloria nazionale" was
the first story he inked for Scarpa.
This means of course that I should check my data against Becattini's index
on the recent issues of IF...
> The worst IMHO is the almost unknown Michele
>Rubino, who did a few stories in the fifties. I saw one, involving
>Scrooge and a Martian, which was incredibly ugly.
I completely agree with you on that story!
>On Septembre, 25th, Luca Boschi mentionned the following:
>
>LB> Giorgio Cavazzano shall be hosted with a really big exibition
>LB> (more than 400 original artworks by him) and a special catalogue
>
But that does not necessarily mean that Cavazzano will be in Lucca... or
does it?
Marco
M>> [who got hold of the first "Euro" coin and banknotes
M>> just in time to realize that after all we won't make it...]
>
F>That's new to me...
>
This is **only partly** off-topic, because I've driven people on this list
crazy by always giving prices in Euros. In two towns near Firenze they are
using <Euro> as a currency in these months, so they've printed banknotes and
minted coins which carry "Euro" values. It's a nice game, not much more
than that.
When I say we won't make it any more I'm referring to the @#%@# behaviour of
the so-called communists here in Italy, and that's **100% off-topic** so
let's stop here ;-) .
--------------------------------
End of Disney comics Digest V97 Issue #222
******************************************
Tarjei Kidd Olsen
Disney comics Digest V97 #222
Message 130 -
1997-10-13 at 01:59:20
KATIE:
>First of all, I'd like to give a big hello to everyone, since this is m=
>y
>first contribution to this mailing list since signing up last week.
Welcome to the list! Oh, and thank's for signing my guestbook (I've signed
yours now)! ;)
GARY:
I know I'm being impatient, but here's my question again :-) How do I
order the new hardback Don Rosa book? Is there a catalogue on the way (I
subscribe)? Surely if there is only a thousand signed copies they will
dissapear quickly?
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
>First of all, I'd like to give a big hello to everyone, since this is m=
>y
>first contribution to this mailing list since signing up last week.
Welcome to the list! Oh, and thank's for signing my guestbook (I've signed
yours now)! ;)
GARY:
I know I'm being impatient, but here's my question again :-) How do I
order the new hardback Don Rosa book? Is there a catalogue on the way (I
subscribe)? Surely if there is only a thousand signed copies they will
dissapear quickly?
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
Luca Boschi
Disney comics Digest V97 #222
Message 131 -
1997-10-13 at 02:29:54
Hi, everybody!
Only few lines... I thought to heve been clear... Cavazzano shall be
in Lucca! And with a lot of story men and friends who collaborates
with him: Angelo Palmas, Silvano Mezzavilla, Tito Faraci (who has
written the latest stories drawn by Giorgio, recently published in
"Topolino", about Mr. Casey outsider, the agent Rock Sassi), Fran?ois
Corteggiani (Basil and many other stories) and so on. And with not
less than 2O other Disney artists (Freccero, Celoni, Ziche, Scolari,
Ferraris, Guerrini, Zironi, Mottura, Mirone, Amendola, Lara Molinari,
Carpi and so on), Ezio Sisto (editor-in-chief of italian "Topolino"s
stories), Simone Stenti (now working on PK), Francesco Artibani (host
and introducer of Jeff Smith), Lidia Cannatella and -obviously- Don
Rosa, Alberto Becattini, Leonardo Gori & Andrea Sani. Only to mention
the "Disney crew"...
LUNASTORTA:
LuccaComics is also a "mostra mercato", like the San Diego Comics Con
or/and Expocartoon in Rome. You can find a lot of old comics and
original artworks to buy!
See you soon,
Luca Boschi
Only few lines... I thought to heve been clear... Cavazzano shall be
in Lucca! And with a lot of story men and friends who collaborates
with him: Angelo Palmas, Silvano Mezzavilla, Tito Faraci (who has
written the latest stories drawn by Giorgio, recently published in
"Topolino", about Mr. Casey outsider, the agent Rock Sassi), Fran?ois
Corteggiani (Basil and many other stories) and so on. And with not
less than 2O other Disney artists (Freccero, Celoni, Ziche, Scolari,
Ferraris, Guerrini, Zironi, Mottura, Mirone, Amendola, Lara Molinari,
Carpi and so on), Ezio Sisto (editor-in-chief of italian "Topolino"s
stories), Simone Stenti (now working on PK), Francesco Artibani (host
and introducer of Jeff Smith), Lidia Cannatella and -obviously- Don
Rosa, Alberto Becattini, Leonardo Gori & Andrea Sani. Only to mention
the "Disney crew"...
LUNASTORTA:
LuccaComics is also a "mostra mercato", like the San Diego Comics Con
or/and Expocartoon in Rome. You can find a lot of old comics and
original artworks to buy!
See you soon,
Luca Boschi
Eric Chun
(No subject)
Message 132 -
1997-10-13 at 06:08:47
Don wrote:
> But, just in case you're wondering, other than agreeing to sign those
> cards, I had no involvement in the design or production of that set, so I
> can't really answer any questions about the intent or materials used. I
> don't even know what it sells for. Is it expensive? Are they also selling
> the print separately? I would think that anyone who bought all the albums
> when they were first on sale would want a print (if it's not too $$$), but
> they would have to buy a duplicate set of the albums to get one, eh?
In the U.S., I think the signed print costs $40.00, but you have to at
least purchase the hardcover book with it. The hardcover book costs
$79.95. There are also other options, such as purchasing the print, hard-
cover book, and pencil/pen sketch together. Sorry, I don't have the price
list with me for these options.
Harry wrote:
>> DON R.:
>> I was that one guy (who didn't like "Super Snooper Strikes Again"),
>> and I indeed read the European (Dutch) version
>> first. This may have distorted my opinion about the story, but later
>> when I read the USA version, I still thought the story was a
>> Barks rip-off.
>> But then again, I don't like superhero comics at all.
Don wrote:
> Hm. Then I'd think you should have liked that story all the more. It was
> designed to appeal to people who disliked super-hero comics, showing how a
> Donald Duck (type) story is superior. Oh, well... back to the drawing
> board...
I read Don's "Super Snooper Strikes Again" (the U.S. version) months
before finding out that Carl Barks had written a Super Snooper story.
When I read it, it clearly seemed to be a sequel by it's many refer-
ences -- "strikes again", "just like last time", etc. My impression
of it then (and now) was "Wow! What a great story!"
If you compare the two Super Snooper stories, you can see how the ref-
erences were cleverly blended in. Plus, "Super Snooper Strikes Again"
went beyond that. It showed that Donald may not be as mighty as Super
Snooper, as smart/successful as Scrooge, or as good looking as Glad-
stone, but he had them all beat! (Super Snooper may be the mightiest
being in the galaxy, but he's no Donald Duck!)
I selected it as my favorite short story in the survey. But, then
again, what do I know? I read superhero comic books, too ...
Best,
Eric
> But, just in case you're wondering, other than agreeing to sign those
> cards, I had no involvement in the design or production of that set, so I
> can't really answer any questions about the intent or materials used. I
> don't even know what it sells for. Is it expensive? Are they also selling
> the print separately? I would think that anyone who bought all the albums
> when they were first on sale would want a print (if it's not too $$$), but
> they would have to buy a duplicate set of the albums to get one, eh?
In the U.S., I think the signed print costs $40.00, but you have to at
least purchase the hardcover book with it. The hardcover book costs
$79.95. There are also other options, such as purchasing the print, hard-
cover book, and pencil/pen sketch together. Sorry, I don't have the price
list with me for these options.
Harry wrote:
>> DON R.:
>> I was that one guy (who didn't like "Super Snooper Strikes Again"),
>> and I indeed read the European (Dutch) version
>> first. This may have distorted my opinion about the story, but later
>> when I read the USA version, I still thought the story was a
>> Barks rip-off.
>> But then again, I don't like superhero comics at all.
Don wrote:
> Hm. Then I'd think you should have liked that story all the more. It was
> designed to appeal to people who disliked super-hero comics, showing how a
> Donald Duck (type) story is superior. Oh, well... back to the drawing
> board...
I read Don's "Super Snooper Strikes Again" (the U.S. version) months
before finding out that Carl Barks had written a Super Snooper story.
When I read it, it clearly seemed to be a sequel by it's many refer-
ences -- "strikes again", "just like last time", etc. My impression
of it then (and now) was "Wow! What a great story!"
If you compare the two Super Snooper stories, you can see how the ref-
erences were cleverly blended in. Plus, "Super Snooper Strikes Again"
went beyond that. It showed that Donald may not be as mighty as Super
Snooper, as smart/successful as Scrooge, or as good looking as Glad-
stone, but he had them all beat! (Super Snooper may be the mightiest
being in the galaxy, but he's no Donald Duck!)
I selected it as my favorite short story in the survey. But, then
again, what do I know? I read superhero comic books, too ...
Best,
Eric
Don Rosa
Disney comics Digest V97 #221
Message 133 -
1997-10-13 at 09:41:35
DAN van E.:
How could that have been Mickey Mouse who got eaten by starving prospectors
in my "Hearts of the Yukon"? Or even squished by an elephant in my "Terror
of the Transvaal"? Those stories took place in 1898 and 1895. And in both
cases that was a teeny, tiny rodent, not a man-size mouse-creature. Don't
be silly. That's my job.
KATIE:
I can't answer for what they do in the Italian comics -- that's a whole
universe of Duck stories that I am totally unfamiliar with. But *of course*
Goldie never married anyone. That's an inviolate fact! Anyone who would
write a story saying otherwise is missing the whole point.
CHRISTOPHER:
There's no "big deal", as someone suggested, about Beagle Boys liking
prunes... or even ONE Beagle Boy liking prunes as, yes, the correct version
goes. But I always found that idea intriguing simply because it was one of
the very VERY few factoids in his own stories that Barks ever referred to
in a later story. You can literally count on one hand the number of times
he did this. The prune business was one. The fact that when Flintheart
Glomgold returned in two more Barks stories, the Ducks actually made a
reference to his previous appearance. The idea that $crooge once fooled the
Beagles by disguising gold as corn (or something like that. And... uh... a
few other things. But that's the only reason that simple gag appealed to me
-- that Barks mentioned it again, something he hardly ever did, since even
continuity as mild as this never was part of his style. He assumed each
story was read by an entirely new batch of lil' kids. Nowadays we writers
have the luxury of knowing that's not true and never was... not even
remotely.
PAOLO:
Marco Rota says that if you take the Ducks out of my stories it doesn't
look like a Disney world anymore? So... is that said as a criticism or a
compliment? I take it as a compliment since it's never my intention to try
to draw stories that take place in some "Disney" environment. In fact, it's
odd that Rota would use this as a criticism of me (though he's certainly
free to do so) since the whole reason I like his art more than any other
Duck artist is that I think *his* stories don't look "Disney" at all.
TARJEI:
Hm. I think I did once say that $crooge was diving for Caribbean treasure
in 1911... I believe that was stated in "The Money Pit"? But years later
while doing the "Lo$", I found it convenient and logical for that to happen
after the sinking of the Titanic, which was in 1912, right? So... $crooge's
statement in "Money Pit" must be owed to a faulty memory...?
How could that have been Mickey Mouse who got eaten by starving prospectors
in my "Hearts of the Yukon"? Or even squished by an elephant in my "Terror
of the Transvaal"? Those stories took place in 1898 and 1895. And in both
cases that was a teeny, tiny rodent, not a man-size mouse-creature. Don't
be silly. That's my job.
KATIE:
I can't answer for what they do in the Italian comics -- that's a whole
universe of Duck stories that I am totally unfamiliar with. But *of course*
Goldie never married anyone. That's an inviolate fact! Anyone who would
write a story saying otherwise is missing the whole point.
CHRISTOPHER:
There's no "big deal", as someone suggested, about Beagle Boys liking
prunes... or even ONE Beagle Boy liking prunes as, yes, the correct version
goes. But I always found that idea intriguing simply because it was one of
the very VERY few factoids in his own stories that Barks ever referred to
in a later story. You can literally count on one hand the number of times
he did this. The prune business was one. The fact that when Flintheart
Glomgold returned in two more Barks stories, the Ducks actually made a
reference to his previous appearance. The idea that $crooge once fooled the
Beagles by disguising gold as corn (or something like that. And... uh... a
few other things. But that's the only reason that simple gag appealed to me
-- that Barks mentioned it again, something he hardly ever did, since even
continuity as mild as this never was part of his style. He assumed each
story was read by an entirely new batch of lil' kids. Nowadays we writers
have the luxury of knowing that's not true and never was... not even
remotely.
PAOLO:
Marco Rota says that if you take the Ducks out of my stories it doesn't
look like a Disney world anymore? So... is that said as a criticism or a
compliment? I take it as a compliment since it's never my intention to try
to draw stories that take place in some "Disney" environment. In fact, it's
odd that Rota would use this as a criticism of me (though he's certainly
free to do so) since the whole reason I like his art more than any other
Duck artist is that I think *his* stories don't look "Disney" at all.
TARJEI:
Hm. I think I did once say that $crooge was diving for Caribbean treasure
in 1911... I believe that was stated in "The Money Pit"? But years later
while doing the "Lo$", I found it convenient and logical for that to happen
after the sinking of the Titanic, which was in 1912, right? So... $crooge's
statement in "Money Pit" must be owed to a faulty memory...?
Fluks, H.W.
Disney survey
Message 134 -
1997-10-13 at 10:51:29
Paolo:
>Just a little remind about the Disney Survey that is going on veeeeery
>slowly (just 9 voters at the moment....).
Filling in your form is too hard... even harder than determining Rosa's
best.
By the way, who's that "David Gerstin" guy you mention? Is that the
world's best writer (and editor) David Gerstein? 8-)
--Harry.
(Yes, David, I did get your package. I'll send you a mail when you're
online in Copenhagen!)
>
>Just a little remind about the Disney Survey that is going on veeeeery
>slowly (just 9 voters at the moment....).
Filling in your form is too hard... even harder than determining Rosa's
best.
By the way, who's that "David Gerstin" guy you mention? Is that the
world's best writer (and editor) David Gerstein? 8-)
--Harry.
(Yes, David, I did get your package. I'll send you a mail when you're
online in Copenhagen!)
>
Thomas Lauritsen
Mickey Mouse in Don Rosa's stories
Message 135 -
1997-10-13 at 14:03:27
Hi!
Kriton Kyrimis wrote:
>And there I was, asking Don to do a Mickey Mouse story, when it seems he
>must really hate the mouse: So far, he's had him skinned (The Crocodile
>Collector, panel 9.1), stomped by an elephant (The Terror of the
>Transvaal, panel 6.1--censored in the US) and eaten by a bunch of thugs!!!
Just a short notice that you can see what more happened to MM in Don Rosa's
stories on my homepage. The URL for the page is:
http://home6.inet.tele.dk/tpl/mickey/mickey.html
---------------------------
Thomas Lauritsen - [(Email removed)]
[http://home6.inet.tele.dk/tpl/]
[http://www.geocities.com/TimesSquare/Realm/1740]
Kriton Kyrimis wrote:
>And there I was, asking Don to do a Mickey Mouse story, when it seems he
>must really hate the mouse: So far, he's had him skinned (The Crocodile
>Collector, panel 9.1), stomped by an elephant (The Terror of the
>Transvaal, panel 6.1--censored in the US) and eaten by a bunch of thugs!!!
Just a short notice that you can see what more happened to MM in Don Rosa's
stories on my homepage. The URL for the page is:
http://home6.inet.tele.dk/tpl/mickey/mickey.html
---------------------------
Thomas Lauritsen - [(Email removed)]
[http://home6.inet.tele.dk/tpl/]
[http://www.geocities.com/TimesSquare/Realm/1740]