Kathy wrote:
>
>While off topic, I also am a fan of early Robert Heinlein novels such as
>"Time For The Stars" "Space Cadet" and "Between Planets". Could he have
>been a Duck fan, anyone know?
>
>Kathy
>
Great to learn of another Heinlein fan on the same list. I grew up reading
him at about the same time I was reading the Disney Duck comics of the
60's. Although Heinleins early "youth" books were good, I prefer some of
his later works (Starship Troopers, The Puppet Masters, Stranger in a
Strange Land, Double Star, you name it). His later stuff is not as
appealing, although I must say I haven't read a lot of it.
But considering all the Duck space stories that have surfaced through the
years, I wonder if Barks or Rosa or any of the others read such writers as
Heinlein?
Dave Fenske
Author
Topic: 199710
(359 messages)
David B. Fenske
Heinlein?
Message 46 -
1997-10-06 at 09:57:37
Poul S. Frøkjær
Barks later stories
Message 47 -
1997-10-06 at 13:06:38
Through all the time I have read Carl Barks stories I have always heard
people preaching: "Oh yes, but his stories from the sixties were not as
good as his earlier ones".
*Rubbish!*
I agree that Carl Barks definitely made some great stories in the fifties
but topping my personal Carl-Barks-Best-Off-list are stories like Phantom
of Notre Duck, House of Haunts, Micro Ducks from Outer Space and Ghost Town
Rail Road.
Stories like Golden Fleecing, Ancient Persia, Hawaiian Hideaway (US4) and
Secret of Atlantis (US5) never really appealed to my imagination. Can t
say exactly why, though.
Someone once told me that it seems as if the stories you read when you are
around 7-8 years old are the ones that make the biggest impression. In my
case that fits pretty well. A lot of Barks earlier stories I first read as
a grown up.
Are there others like me that prefer Carl Barks later stories for the
earlier ones or am I the only one?
And sorry if I sound like a grumpy old man (hey, I am only 31 so its bound
to get a lot worse in the years to come...). I guess I just had enough of
this "What a shame he couldn t keep his high standard" -stuff. I think he
most certainly did.
Paul Frokjar
people preaching: "Oh yes, but his stories from the sixties were not as
good as his earlier ones".
*Rubbish!*
I agree that Carl Barks definitely made some great stories in the fifties
but topping my personal Carl-Barks-Best-Off-list are stories like Phantom
of Notre Duck, House of Haunts, Micro Ducks from Outer Space and Ghost Town
Rail Road.
Stories like Golden Fleecing, Ancient Persia, Hawaiian Hideaway (US4) and
Secret of Atlantis (US5) never really appealed to my imagination. Can t
say exactly why, though.
Someone once told me that it seems as if the stories you read when you are
around 7-8 years old are the ones that make the biggest impression. In my
case that fits pretty well. A lot of Barks earlier stories I first read as
a grown up.
Are there others like me that prefer Carl Barks later stories for the
earlier ones or am I the only one?
And sorry if I sound like a grumpy old man (hey, I am only 31 so its bound
to get a lot worse in the years to come...). I guess I just had enough of
this "What a shame he couldn t keep his high standard" -stuff. I think he
most certainly did.
Paul Frokjar
Don Rosa
Disney comics Digest V97 #216
Message 48 -
1997-10-06 at 15:44:50
Okay, back to Portugal. The subject, not the geographic locale.
I was a guest at the "Nono Salao Internacional de Banda Desenhada do
Porto"... which translates as "The Ninth International Salon of Comic
Strips of Porto" ... well, I'm supposed to call it "Oporto", and call the
city to its south "Lisbon"... but I've realized that English imperialism
has decided centuries ago that we will add a meaningless letter to "Porto"
and change the 'a' in "Lisboa" to an 'n' just for fun... the same way I've
found that we renamed Munchen as "Munich", Koeln as "Cologne", Genova as
"Genoa" and lots of other pointless transformations of the names of other
people's cities. I think they should all get together and rename New York
"Pipewrench" and call Chicago "Monkey's Eyebrow". In the meantime, I try to
call foreign cities by their correct names, so to me it's "Porto", not
"Oporto".
Anyway, as we already know, European comic conventions are more like what
American conventions were 30 years ago -- the emphasis on displays and
talks, and little to do with buying and selling. American conventions
nowadays are now almost (or completely) entirely sites for dealers to buy
or sell commodities to a few fans and a large number of speculators. That's
why visiting European shows is always inspiring -- but this Porto show was
even more of a "salon" just as its name states... it was primarilly a
temporary gallery of comic art with only one booth selling new comic albums
and so forth. And even though it was held in a country that has perhaps the
smallest comic reading population percentage in Europe, this was the most
impressive display of comic art I've ever seen, if only by virtue of the
manner and effort devoted to that display... which is what I gotta talk
about!
First of all, the salon was held in a huge open-air market built in 1887 --
this had a glass and metal roof (sorta like glass palaces of that time) and
louvered metal walls to let in air but not rain (if any). There were many
fancy metal columns supporting the roof, giving the whole place a
Jules-Verne look due to the wonderfully futuristic things it was housing.
This also was just right for the Schuiten and Peeters exhibit that was
there... a Belgian (I think) artist/writer team that specialize in
fantastic works that seem to be set in a future time of a Jules-Verne
design, including some of the most amazing architectural stuff I've ever
seen. I think one or two of their books are available in English... but as
usual, this looks like some of the best comic art of modern times, so it's
not surprising that we don't see it in America. I felt embarrassed to have
my silly looking art shown under the same roof with this REAL art... but
there were lots of "mini-comics" art also on display as well, so I could
relax a bit in feeling that I fit in the middle there somewhere.
But the art that filled the hall was not simply hung on walls! Each exhibit
was a work of art in itself! The Schuiten/Peeters display was broken into
about 5 viewing rooms with perpetually running videos... some exhibits were
housed in a maze of strangely shaped rooms... some art was hung at angles
to emphasize the storytelling style... some art was displayed in diorama
scenes with many props... it was great! But the BEST display was how they
showed the 40 pages of MY Duck art that was on loan from Egmont... being
the same art that was shown in Rome last Spring... but proudly describing
this exhibit is what I'm leading up to...
The art was in a giant MONEY BIN! The Bin itself was even setting up on a
small "Killmotor Hill"... you walked up a ramp to get to the Bin. Then
there it was -- looking exactly as in the comics (if a bit brightly
colored)... 20 feet tall and about 25 feet square!!! (Whatzat? About 6
meters tall and 6.5 meters square?) AT the front door were footprints on
the carpeting resembling grass which stood facing the door then lead around
to the side of the Bin. Here were a (fake!) batch of dynamite sticks with
wires leading to a large plunger-detonator and a 7-foot wide/tall jagged
hole "blasted" in the side of the Bin! On the sharp edges of the hole are
several scraps of cloth, one showing the partial number "176-16--*" ... so
this whole scene tells a story! The Beagle Boys couldn't get into the Bin
door so they go around to the side and blast their way in with dynamite. I
can't imagine the work that all this must have entailed, cutting and
building and painting this Bin with foot-thick walls and this jagged hole
and all painted and carpeted and... but this was only the beginning!
Attendees enter through the hole in the Bin. Now, as you might guess, my
art was displayed around the interior walls of the Bin, but to me that was
the low-light of the display! In the center of the room, sunk several feet
into the floor, was a swimming pool filled with money! (Or you could say it
was the normal Bin interior, but there naturally had to be a walkway around
the sides for folks to walk and view the display.) This pool had a diving
board and was filled with paper-mache sections, each one individually made
to form the pool surface, each square-section showing shapes of piles or
columns of coins, with the coins individually drawn so you could see what
they were. As these sections were fit together, there were many loose
(large fake) coins sprinkled along the joints to help hide them and make
the effect look seamless. ALSO in the pool were bags of gold nuggets and
diamonds and shovels and money bags and wads of bills and many other
details created out of paper-mache and cloth and paint (or real, like the
shovel) that I can't even recall. And, of course, beyond the end of the
diving board was a life-size (in other words, nearly human-size) $crooge
McDuck disappearing into the coins as he supposedly is diving off the
board. Remember, all this stuff is created life-size... not miniature!
Furthermore, in each corner are more paper-mache props. A safe with bills
oozing out and big bags of money sitting around. A control panel for
watching the Bin exterior and arming the Bin defenses. A coatrack with a
topper and cane that $crooge has just taken off for his swim. And, of
course, a pedestal with a bell-jar on top housing a large paper-mache
Number One Dime.
My reaction to seeing this: as far as I knew, my art was going to be simply
hanging on walls in a normal room as in past displays. This fantastic Money
Bin display was a total surprise to me that I saw for the first time during
the opening ceremonies of the show, as I walked through with the other
attendees. I wept. Some other Americans were there who will be writing a
report for the COMICS JOURNAL and I expect you'll read how I was so touched
by seeing such a beautiful display of Duck art that I was wiping tears from
my eyes... I know they thought that was CUTE so I don't doubt they'll write
about it! I couldn't even stay there long... I had to take a peek, then
walk away and look at something else, then go back for another peek. It was
too overwhelming. But... it's just too much for me to handle when I go
abruptly from America where these Disney comics are either ignored or
actually reviled, to places in Europe where the comics that I loved so much
as a kid are still so beloved! The thought that all these people were
designing and creating this astounding Money Bin out of plywood and paint
and paper-mache and so forth while I had NO IDEA it was going on... and to
think that right about now it's all being torn apart forever...it's enough
to get me misty all over again.
I did NOT have a camera with me... but I nagged MANY people to take as many
stills and as much video of that Bin as they would. So I'll someday have
some small memory of it all...
I was a guest at the "Nono Salao Internacional de Banda Desenhada do
Porto"... which translates as "The Ninth International Salon of Comic
Strips of Porto" ... well, I'm supposed to call it "Oporto", and call the
city to its south "Lisbon"... but I've realized that English imperialism
has decided centuries ago that we will add a meaningless letter to "Porto"
and change the 'a' in "Lisboa" to an 'n' just for fun... the same way I've
found that we renamed Munchen as "Munich", Koeln as "Cologne", Genova as
"Genoa" and lots of other pointless transformations of the names of other
people's cities. I think they should all get together and rename New York
"Pipewrench" and call Chicago "Monkey's Eyebrow". In the meantime, I try to
call foreign cities by their correct names, so to me it's "Porto", not
"Oporto".
Anyway, as we already know, European comic conventions are more like what
American conventions were 30 years ago -- the emphasis on displays and
talks, and little to do with buying and selling. American conventions
nowadays are now almost (or completely) entirely sites for dealers to buy
or sell commodities to a few fans and a large number of speculators. That's
why visiting European shows is always inspiring -- but this Porto show was
even more of a "salon" just as its name states... it was primarilly a
temporary gallery of comic art with only one booth selling new comic albums
and so forth. And even though it was held in a country that has perhaps the
smallest comic reading population percentage in Europe, this was the most
impressive display of comic art I've ever seen, if only by virtue of the
manner and effort devoted to that display... which is what I gotta talk
about!
First of all, the salon was held in a huge open-air market built in 1887 --
this had a glass and metal roof (sorta like glass palaces of that time) and
louvered metal walls to let in air but not rain (if any). There were many
fancy metal columns supporting the roof, giving the whole place a
Jules-Verne look due to the wonderfully futuristic things it was housing.
This also was just right for the Schuiten and Peeters exhibit that was
there... a Belgian (I think) artist/writer team that specialize in
fantastic works that seem to be set in a future time of a Jules-Verne
design, including some of the most amazing architectural stuff I've ever
seen. I think one or two of their books are available in English... but as
usual, this looks like some of the best comic art of modern times, so it's
not surprising that we don't see it in America. I felt embarrassed to have
my silly looking art shown under the same roof with this REAL art... but
there were lots of "mini-comics" art also on display as well, so I could
relax a bit in feeling that I fit in the middle there somewhere.
But the art that filled the hall was not simply hung on walls! Each exhibit
was a work of art in itself! The Schuiten/Peeters display was broken into
about 5 viewing rooms with perpetually running videos... some exhibits were
housed in a maze of strangely shaped rooms... some art was hung at angles
to emphasize the storytelling style... some art was displayed in diorama
scenes with many props... it was great! But the BEST display was how they
showed the 40 pages of MY Duck art that was on loan from Egmont... being
the same art that was shown in Rome last Spring... but proudly describing
this exhibit is what I'm leading up to...
The art was in a giant MONEY BIN! The Bin itself was even setting up on a
small "Killmotor Hill"... you walked up a ramp to get to the Bin. Then
there it was -- looking exactly as in the comics (if a bit brightly
colored)... 20 feet tall and about 25 feet square!!! (Whatzat? About 6
meters tall and 6.5 meters square?) AT the front door were footprints on
the carpeting resembling grass which stood facing the door then lead around
to the side of the Bin. Here were a (fake!) batch of dynamite sticks with
wires leading to a large plunger-detonator and a 7-foot wide/tall jagged
hole "blasted" in the side of the Bin! On the sharp edges of the hole are
several scraps of cloth, one showing the partial number "176-16--*" ... so
this whole scene tells a story! The Beagle Boys couldn't get into the Bin
door so they go around to the side and blast their way in with dynamite. I
can't imagine the work that all this must have entailed, cutting and
building and painting this Bin with foot-thick walls and this jagged hole
and all painted and carpeted and... but this was only the beginning!
Attendees enter through the hole in the Bin. Now, as you might guess, my
art was displayed around the interior walls of the Bin, but to me that was
the low-light of the display! In the center of the room, sunk several feet
into the floor, was a swimming pool filled with money! (Or you could say it
was the normal Bin interior, but there naturally had to be a walkway around
the sides for folks to walk and view the display.) This pool had a diving
board and was filled with paper-mache sections, each one individually made
to form the pool surface, each square-section showing shapes of piles or
columns of coins, with the coins individually drawn so you could see what
they were. As these sections were fit together, there were many loose
(large fake) coins sprinkled along the joints to help hide them and make
the effect look seamless. ALSO in the pool were bags of gold nuggets and
diamonds and shovels and money bags and wads of bills and many other
details created out of paper-mache and cloth and paint (or real, like the
shovel) that I can't even recall. And, of course, beyond the end of the
diving board was a life-size (in other words, nearly human-size) $crooge
McDuck disappearing into the coins as he supposedly is diving off the
board. Remember, all this stuff is created life-size... not miniature!
Furthermore, in each corner are more paper-mache props. A safe with bills
oozing out and big bags of money sitting around. A control panel for
watching the Bin exterior and arming the Bin defenses. A coatrack with a
topper and cane that $crooge has just taken off for his swim. And, of
course, a pedestal with a bell-jar on top housing a large paper-mache
Number One Dime.
My reaction to seeing this: as far as I knew, my art was going to be simply
hanging on walls in a normal room as in past displays. This fantastic Money
Bin display was a total surprise to me that I saw for the first time during
the opening ceremonies of the show, as I walked through with the other
attendees. I wept. Some other Americans were there who will be writing a
report for the COMICS JOURNAL and I expect you'll read how I was so touched
by seeing such a beautiful display of Duck art that I was wiping tears from
my eyes... I know they thought that was CUTE so I don't doubt they'll write
about it! I couldn't even stay there long... I had to take a peek, then
walk away and look at something else, then go back for another peek. It was
too overwhelming. But... it's just too much for me to handle when I go
abruptly from America where these Disney comics are either ignored or
actually reviled, to places in Europe where the comics that I loved so much
as a kid are still so beloved! The thought that all these people were
designing and creating this astounding Money Bin out of plywood and paint
and paper-mache and so forth while I had NO IDEA it was going on... and to
think that right about now it's all being torn apart forever...it's enough
to get me misty all over again.
I did NOT have a camera with me... but I nagged MANY people to take as many
stills and as much video of that Bin as they would. So I'll someday have
some small memory of it all...
Tarjei Kidd Olsen
Disney comics Digest V97 #216
Message 49 -
1997-10-06 at 16:32:50
DAVE:
>Simply put, things which are unnecessary can still be useful.
>
>That's the *poetry* that a creator tries to bring to a creation. The
>ceiling of the Sistine Chapel would certainly be just as sturdy and
>serviceable without all that "unnecessary" detail which ads nothing to
>its *function*. But how the functional is adorned is the hallmark of a
>civilization, or individual creator.
Yup, if it wasn't for all those extra little things in the Don Rosa art, I
suspect I would find it far less interesting than I do. The same goes for
Van Horn, if it wasn't for that loopy edge he's incorporated into the art,
the result would be nothing more than the average story one sees in the
beginning of the weekly Donald Duck comics here (that is, as far as the art
is concerned (if the art is bad I find it hard to enjoy the story as I need
the visual element in order to really live myself into what's happening)). I
mean, in the norwegian comics the accents are ignored completely, so I have
to subscribe to Gladstone to see it (not that that's why I subscribed to
them!). When I look at all the Duck comics one can get here, "too much of a
good thing" springs to mind...(I'm getting an increasingly large pile of
comics and books I haven't had time to read).
DON:
> me shake my head sadly, at the observation that he just doesn't seem
> to care anymore about what used to be his greatest strength -- the
> cohesiveness of the story he's telling.
Maybe I'm misunderstanding you here, but all Barks' stories seem to have a
lot of uncohesive elements to me (f.eks the money bin being in different
locations and many other little things). This was probably mainly because he
considered the work a job, and not something which people would attempt to
assemble into something cohesive (f.eks Don Rosa and countless fans(probably;)).
KATHY:
>I believe no matter how seriously we take the details of a story we must
>never forget to have fun reading the stories. Otherwise, I fear we have
>grown up, and I simply refuse to even at 48!
>
For me impossible creatures (like talking ducks, hobbits, dwarves, whatever)
are a lot more easy to accept than more glaringly impossible
impossibilities, by which I mean f.eks machines where we know how they are
constructed, but that construction is obviously impossible and wouldn't
work. If, however, there is something mystical and magical that makes the
construction work, then that's more acceptable since it comes under the
cathegory of "unknown", so it *might* work, we just can't be sure. However,
when something is obviously impossible that just seems to indicate a lack of
research (and a lack of research often(IMHO) indicates that the artist
doesn't enjoy what he's doing or doesn't take it seriously enough, and that
lessens my enjoyment of the story). A mechanical construction is ofcourse
just an example, things like f.eks dates also count for the same. Ofcourse,
come to think of it talking ducks DO seem like a glaring impossibility
unless your into parallel universes and stuff like that, and in that case
just about *anything* is possible....*damn* :-)
>correct "police" think should be removed because "it calls attention to
>something". For some time now there are those who would rid of us historic
Absolutely. If I hear a movies been banned I immediately want to see it, the
same goes for banned Disney stories. I suppose it's mainly fascination and
the fact that I don't like it when other people try to decide what I should see.
>A little sensitivity and consideration goes a long way in this world, but
>political correctness is going nowhere and impressing no one except those
>already impressed with themselves because they are doing it.
>
Would it be in any way right to say that todays political correctnes is very
much an American thing. You see, I was thinking that maybe it had something
to do with the way a lot of the vigorous/oversensitive/fundamentalist(tehee
*Tarjei stirs the embers :-)*/extremist religions seem to like to show some
muscle? It seems that ridiculous court cases are quite popular over there
too. Maybe all this oversensitivity has generated it's own kind of
oversensitivity in the form of political correctness and then been helped
even further by what I like to call "control freaks"?
NILS:
>What about an only Carl Barks comic featuring Don Rosa ?
>It would be **really* popular.
I don't know...haven't we all seen enough Barks reprints as it is? How about
a Don Rosa + William Van Horn comic published monthly or bi-monthly with
occasional guest appearances from other particularly popular duck artists?
It could also run some interesting articles to fill out space.
>And does anybody know anything about what Don Rosa are going to do when he
>comes to Oslo, or where he is going to be ?
I've been wondering about that too...
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
>Simply put, things which are unnecessary can still be useful.
>
>That's the *poetry* that a creator tries to bring to a creation. The
>ceiling of the Sistine Chapel would certainly be just as sturdy and
>serviceable without all that "unnecessary" detail which ads nothing to
>its *function*. But how the functional is adorned is the hallmark of a
>civilization, or individual creator.
Yup, if it wasn't for all those extra little things in the Don Rosa art, I
suspect I would find it far less interesting than I do. The same goes for
Van Horn, if it wasn't for that loopy edge he's incorporated into the art,
the result would be nothing more than the average story one sees in the
beginning of the weekly Donald Duck comics here (that is, as far as the art
is concerned (if the art is bad I find it hard to enjoy the story as I need
the visual element in order to really live myself into what's happening)). I
mean, in the norwegian comics the accents are ignored completely, so I have
to subscribe to Gladstone to see it (not that that's why I subscribed to
them!). When I look at all the Duck comics one can get here, "too much of a
good thing" springs to mind...(I'm getting an increasingly large pile of
comics and books I haven't had time to read).
DON:
> me shake my head sadly, at the observation that he just doesn't seem
> to care anymore about what used to be his greatest strength -- the
> cohesiveness of the story he's telling.
Maybe I'm misunderstanding you here, but all Barks' stories seem to have a
lot of uncohesive elements to me (f.eks the money bin being in different
locations and many other little things). This was probably mainly because he
considered the work a job, and not something which people would attempt to
assemble into something cohesive (f.eks Don Rosa and countless fans(probably;)).
KATHY:
>I believe no matter how seriously we take the details of a story we must
>never forget to have fun reading the stories. Otherwise, I fear we have
>grown up, and I simply refuse to even at 48!
>
For me impossible creatures (like talking ducks, hobbits, dwarves, whatever)
are a lot more easy to accept than more glaringly impossible
impossibilities, by which I mean f.eks machines where we know how they are
constructed, but that construction is obviously impossible and wouldn't
work. If, however, there is something mystical and magical that makes the
construction work, then that's more acceptable since it comes under the
cathegory of "unknown", so it *might* work, we just can't be sure. However,
when something is obviously impossible that just seems to indicate a lack of
research (and a lack of research often(IMHO) indicates that the artist
doesn't enjoy what he's doing or doesn't take it seriously enough, and that
lessens my enjoyment of the story). A mechanical construction is ofcourse
just an example, things like f.eks dates also count for the same. Ofcourse,
come to think of it talking ducks DO seem like a glaring impossibility
unless your into parallel universes and stuff like that, and in that case
just about *anything* is possible....*damn* :-)
>correct "police" think should be removed because "it calls attention to
>something". For some time now there are those who would rid of us historic
Absolutely. If I hear a movies been banned I immediately want to see it, the
same goes for banned Disney stories. I suppose it's mainly fascination and
the fact that I don't like it when other people try to decide what I should see.
>A little sensitivity and consideration goes a long way in this world, but
>political correctness is going nowhere and impressing no one except those
>already impressed with themselves because they are doing it.
>
Would it be in any way right to say that todays political correctnes is very
much an American thing. You see, I was thinking that maybe it had something
to do with the way a lot of the vigorous/oversensitive/fundamentalist(tehee
*Tarjei stirs the embers :-)*/extremist religions seem to like to show some
muscle? It seems that ridiculous court cases are quite popular over there
too. Maybe all this oversensitivity has generated it's own kind of
oversensitivity in the form of political correctness and then been helped
even further by what I like to call "control freaks"?
NILS:
>What about an only Carl Barks comic featuring Don Rosa ?
>It would be **really* popular.
I don't know...haven't we all seen enough Barks reprints as it is? How about
a Don Rosa + William Van Horn comic published monthly or bi-monthly with
occasional guest appearances from other particularly popular duck artists?
It could also run some interesting articles to fill out space.
>And does anybody know anything about what Don Rosa are going to do when he
>comes to Oslo, or where he is going to be ?
I've been wondering about that too...
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
Fluks, H.W.
Phooey
Message 50 -
1997-10-06 at 16:45:39
JO asked:
>Who is Phooey and when did he appear ???
Phooey is the name we usually give the 4th nephew, in stories where
(by accident) 4 nephews are drawn (Huey, Dewey, Louie and Phooey).
A list of stories where he appears can be found in the "characters"
section of the Disney comics website. Per Starback calls the
character "Fooey".
--Harry.
>Who is Phooey and when did he appear ???
Phooey is the name we usually give the 4th nephew, in stories where
(by accident) 4 nephews are drawn (Huey, Dewey, Louie and Phooey).
A list of stories where he appears can be found in the "characters"
section of the Disney comics website. Per Starback calls the
character "Fooey".
--Harry.
Luca Boschi
Luca Boschi about Detective Goofy
Message 51 -
1997-10-06 at 17:30:57
To FRANCOIS WILLOT
> Topolino e il mistero dell'Apprendista stregone, In one of your book, you also said Susanna Amati did part of the colors.
Susanna Amati contributed to color something in the book, but not
directly that story, which was made by Carpi, Freccero and Barbarini
with the animation films technique (cels with flat colors over bristol
with "shaded" backgrounds).
> Pippo in: Come si diventa detective, 17, Roberto Santillo; WDPPI
>Thanks for the credit! I didn't know it was you! But only 16 pages in >the French version, so the French deleted one page?
Yes! But it was not important. It's only the Cover, drawn by Santillo
under my suggestion. Anyway, in French version, some balloons remained
white (no lettering and translation!).
See you in Lucca!
Luca
--------------------------------
End of Disney comics Digest V97 Issue #217
******************************************
> Topolino e il mistero dell'Apprendista stregone, In one of your book, you also said Susanna Amati did part of the colors.
Susanna Amati contributed to color something in the book, but not
directly that story, which was made by Carpi, Freccero and Barbarini
with the animation films technique (cels with flat colors over bristol
with "shaded" backgrounds).
> Pippo in: Come si diventa detective, 17, Roberto Santillo; WDPPI
>Thanks for the credit! I didn't know it was you! But only 16 pages in >the French version, so the French deleted one page?
Yes! But it was not important. It's only the Cover, drawn by Santillo
under my suggestion. Anyway, in French version, some balloons remained
white (no lettering and translation!).
See you in Lucca!
Luca
--------------------------------
End of Disney comics Digest V97 Issue #217
******************************************
Fluks, H.W.
Disney comics Digest V97 #216
Message 52 -
1997-10-06 at 17:46:03
TARJEI:
>How about
>a Don Rosa + William Van Horn comic published monthly or bi-monthly with
>occasional guest appearances from other particularly popular duck artists?
>It could also run some interesting articles to fill out space.
It's already there: Walt Disney's Comics (and Stories). Every month a
Rosa,
almost every month a Van Horn, occasional appearances of Gottfredson,
Hubbard, Bradbury, Ferioli, etc., and interesting articles.
PLUS occasional appearances of non-Duck, non-Mouse characters in stories
that are worth reprinting. What else would you want? 8-)
>--Harry.
>How about
>a Don Rosa + William Van Horn comic published monthly or bi-monthly with
>occasional guest appearances from other particularly popular duck artists?
>It could also run some interesting articles to fill out space.
It's already there: Walt Disney's Comics (and Stories). Every month a
Rosa,
almost every month a Van Horn, occasional appearances of Gottfredson,
Hubbard, Bradbury, Ferioli, etc., and interesting articles.
PLUS occasional appearances of non-Duck, non-Mouse characters in stories
that are worth reprinting. What else would you want? 8-)
>--Harry.
Dr. Archontis Pantsios
Disney comics Digest V97 #214
Message 53 -
1997-10-06 at 18:03:14
RIK:
>>I'm still at the stage where I don't like "Don's
>> 'cluttered' art style"
>> ------------
>> Rik in Carlisle, MA
Gosh, I know I can't say anything to an argument like "I don't like (it)",
because I've used it myself in the past. After all, "Des Gustibus Non Est
Disputandum"!
However, THAT'S EXACTLY what *I* like most in Don's art. It's what he calls
"needless and irritating detail". Why? Because it injects so much REALISM in
his stories. If the movie analogy of a van Horn story is "cartoon-like", the
movie analogy of a Rosa story is "real movie-like". When I read a Rosa
story, especially his long adventure stories, I get the feeling I'm watching
a REAL movie--with the EXTRA treat of being able to enjoy the comic-book
panels even more than I do an actual movie since I have the extra time
luxury of being able to carefully examining all these splendid details that
Don inserts in his "cluttered" panels. I *STUDY* his stories, not just read
them!
I've read on this very List comments on Don's low annual page output. As
much as I would also like to see MORE of Rosa's wonderful stories, I wonder
if they'd be as wonderful if he were to increase his output rate. Wouldn't
there have to be some sacrifice in QUALITY? At least what *I* consider
quality in Don's work: the careful research and plot that goes in his
stories and all that "needless and irritating detail" in his art. I wonder
how much time the average Disney artist puts in each panel he draws
vis-a-vis the corresponding time that Don devotes to his. And they all get
paid by the page-count, I guess.
Cheers,
Archontis
>>I'm still at the stage where I don't like "Don's
>> 'cluttered' art style"
>> ------------
>> Rik in Carlisle, MA
Gosh, I know I can't say anything to an argument like "I don't like (it)",
because I've used it myself in the past. After all, "Des Gustibus Non Est
Disputandum"!
However, THAT'S EXACTLY what *I* like most in Don's art. It's what he calls
"needless and irritating detail". Why? Because it injects so much REALISM in
his stories. If the movie analogy of a van Horn story is "cartoon-like", the
movie analogy of a Rosa story is "real movie-like". When I read a Rosa
story, especially his long adventure stories, I get the feeling I'm watching
a REAL movie--with the EXTRA treat of being able to enjoy the comic-book
panels even more than I do an actual movie since I have the extra time
luxury of being able to carefully examining all these splendid details that
Don inserts in his "cluttered" panels. I *STUDY* his stories, not just read
them!
I've read on this very List comments on Don's low annual page output. As
much as I would also like to see MORE of Rosa's wonderful stories, I wonder
if they'd be as wonderful if he were to increase his output rate. Wouldn't
there have to be some sacrifice in QUALITY? At least what *I* consider
quality in Don's work: the careful research and plot that goes in his
stories and all that "needless and irritating detail" in his art. I wonder
how much time the average Disney artist puts in each panel he draws
vis-a-vis the corresponding time that Don devotes to his. And they all get
paid by the page-count, I guess.
Cheers,
Archontis
Kfitz
Disney comics Digest V97 #216
Message 54 -
1997-10-06 at 18:07:58
Don,
and to
> think that right about now it's all being torn apart forever...it's
enough
> to get me misty all over again.
Oh, no! It is almost like to them it was an everyday creation that anyone
might have done at such a convention! It could have been the beginning of
a true DisneyLand. Or a Duck Land or something. Wouldn't they ship it
home for you? (Just kidding.)
> I did NOT have a camera with me... but I nagged MANY people to take as
many
> stills and as much video of that Bin as they would. So I'll someday have
> some small memory of it all...
If you find out someone has pictures that you can get ahold of maybe they
could be put on some of the web pages that different readers of this list
have created?
Perhaps this open air market could be a setting for one of your future
stories? It sounds like the detail is right up your artistic alley.
Kathy
and to
> think that right about now it's all being torn apart forever...it's
enough
> to get me misty all over again.
Oh, no! It is almost like to them it was an everyday creation that anyone
might have done at such a convention! It could have been the beginning of
a true DisneyLand. Or a Duck Land or something. Wouldn't they ship it
home for you? (Just kidding.)
> I did NOT have a camera with me... but I nagged MANY people to take as
many
> stills and as much video of that Bin as they would. So I'll someday have
> some small memory of it all...
If you find out someone has pictures that you can get ahold of maybe they
could be put on some of the web pages that different readers of this list
have created?
Perhaps this open air market could be a setting for one of your future
stories? It sounds like the detail is right up your artistic alley.
Kathy
Nils Lid Hjort
Sorcerer's Apprentice
Message 55 -
1997-10-06 at 19:14:44
We've all seen "The Sorcerer's Apprentice", in whole or in part, from Disney's
"Fantasia" (to music by Paul Dukas, was it?). When lecturing the other day I
found myself in need of a suitable image or metaphor for the property or
phenomenon that "individually formed new pieces start behaving like the
original pieces, and quickly escalate in number", and recalled the scene where
Mickey (qua apprentice) in despair chops up brooms and daughter-brooms which
quickly reproduce and so on and so on. What I would like to know, from the
knowledgeable guys out there on this maillist, is:
* What is, or what are, the appropriate literary references for this story,
and/or for Disney's adaptation of it? (I guess the origin, my hunch says an
old German folk tale, could be several hundred years older than the first
published version.)
* When and where was this (Disneyfied) version published in comic book form?
* Has old Goethe somehow touched this story, or the theme of the story?
* Specifically, was this part that I described, with the breaking of the broom
into smaller brooms that again form new and unstoppable brooms and so on,
part of these original written stories -- or was this a purely Disney made
variation?
EMII (excuse my inexcusable ignorance),
Nils Lid Hjort
PS: Internet readily provided this quote:
"To my mind, Fantasia is the greatest contribution motion pictures have made
within the ten years in which I have been actively engaged in community work
for better films. It should be seen by every child and every adult, over and
over again."
-- Educator Martha W. D. Addams
"Fantasia" (to music by Paul Dukas, was it?). When lecturing the other day I
found myself in need of a suitable image or metaphor for the property or
phenomenon that "individually formed new pieces start behaving like the
original pieces, and quickly escalate in number", and recalled the scene where
Mickey (qua apprentice) in despair chops up brooms and daughter-brooms which
quickly reproduce and so on and so on. What I would like to know, from the
knowledgeable guys out there on this maillist, is:
* What is, or what are, the appropriate literary references for this story,
and/or for Disney's adaptation of it? (I guess the origin, my hunch says an
old German folk tale, could be several hundred years older than the first
published version.)
* When and where was this (Disneyfied) version published in comic book form?
* Has old Goethe somehow touched this story, or the theme of the story?
* Specifically, was this part that I described, with the breaking of the broom
into smaller brooms that again form new and unstoppable brooms and so on,
part of these original written stories -- or was this a purely Disney made
variation?
EMII (excuse my inexcusable ignorance),
Nils Lid Hjort
PS: Internet readily provided this quote:
"To my mind, Fantasia is the greatest contribution motion pictures have made
within the ten years in which I have been actively engaged in community work
for better films. It should be seen by every child and every adult, over and
over again."
-- Educator Martha W. D. Addams
Mike Schneiderath
LICENSE PROBLEMS for Gladstone Comics in Germany?
Message 56 -
1997-10-06 at 20:50:53
Hi!
At my local Comic-Shop here in Hagen (Germany) the owner has told me today
that the custom has stopped the mail from "Diamond" in Munich and checked
every Comic that was included in the package if they are licensed to be
sold here in Germany.
And she said that the GLADSTONE comics were the reason why the whole
delivery of comics was sent back to the United States. Because these are
missing a lisence to be sold here...
Obviously this concerns a shipment that was intended for a big german
Distributor "modern Graphics". And that is the reason why we got no
american comics in the last weeks here (at least here in my town).=20
Usually the shipment goes through Frankfurt and noone there has ever
compained about licenses, so maybe it won=B4t be a problem again for the nex=
t
shipment.
Has anyone else heard about that?
Bye!
Mike
At my local Comic-Shop here in Hagen (Germany) the owner has told me today
that the custom has stopped the mail from "Diamond" in Munich and checked
every Comic that was included in the package if they are licensed to be
sold here in Germany.
And she said that the GLADSTONE comics were the reason why the whole
delivery of comics was sent back to the United States. Because these are
missing a lisence to be sold here...
Obviously this concerns a shipment that was intended for a big german
Distributor "modern Graphics". And that is the reason why we got no
american comics in the last weeks here (at least here in my town).=20
Usually the shipment goes through Frankfurt and noone there has ever
compained about licenses, so maybe it won=B4t be a problem again for the nex=
t
shipment.
Has anyone else heard about that?
Bye!
Mike
David B. Fenske
Sorcerer's Apprentice
Message 57 -
1997-10-07 at 01:39:07
At 06:14 PM 10/6/97 +0200, you wrote:
>
>* When and where was this (Disneyfied) version published in comic book form?
>
>EMII (excuse my inexcusable ignorance),
>Nils Lid Hjort
I have a comic version of TSA in an old MM giant (I think it was a comic
celebrating some birthday - was published in the 60s - each reprinted story
was set up as a movie from Mickey's past that were being shown by Goofy and
Minnie and the others in honour of Mickey). If nobody else answers your
question in a day or so, I'll dig it out and give you the full title and
issue no. It's just not accessible right now.
>
>PS: Internet readily provided this quote:
> "To my mind, Fantasia is the greatest contribution motion pictures have
made
> within the ten years in which I have been actively engaged in community
work
> for better films. It should be seen by every child and every adult,
over and
> over again."
> -- Educator Martha W. D. Addams
Oh, I heartily disagree. I first saw Fantasia about 5 years ago, and
didn't really enjoy it at all. I thought it was very uneven in quality,
much of it quite boring, and the last part too dark and grimy, especially
for younger kids. Quotes like the one above fascinate me, not because she's
wrong [:-)], but because movies in general can provoke such a wide range of
reactions in viewers. Of course books and comics [and the particular
"cluttered" art style of a particular duck artist] do this too...
>
>* When and where was this (Disneyfied) version published in comic book form?
>
>EMII (excuse my inexcusable ignorance),
>Nils Lid Hjort
I have a comic version of TSA in an old MM giant (I think it was a comic
celebrating some birthday - was published in the 60s - each reprinted story
was set up as a movie from Mickey's past that were being shown by Goofy and
Minnie and the others in honour of Mickey). If nobody else answers your
question in a day or so, I'll dig it out and give you the full title and
issue no. It's just not accessible right now.
>
>PS: Internet readily provided this quote:
> "To my mind, Fantasia is the greatest contribution motion pictures have
made
> within the ten years in which I have been actively engaged in community
work
> for better films. It should be seen by every child and every adult,
over and
> over again."
> -- Educator Martha W. D. Addams
Oh, I heartily disagree. I first saw Fantasia about 5 years ago, and
didn't really enjoy it at all. I thought it was very uneven in quality,
much of it quite boring, and the last part too dark and grimy, especially
for younger kids. Quotes like the one above fascinate me, not because she's
wrong [:-)], but because movies in general can provoke such a wide range of
reactions in viewers. Of course books and comics [and the particular
"cluttered" art style of a particular duck artist] do this too...
David B. Fenske
Political Correctness
Message 58 -
1997-10-07 at 12:46:14
Tarjei Kidd Olson wrote:
>Would it be in any way right to say that todays political correctnes is very
>much an American thing. You see, I was thinking that maybe it had something
>to do with the way a lot of the vigorous/oversensitive/fundamentalist(tehee
>*Tarjei stirs the embers :-)*/extremist religions seem to like to show some
>muscle? It seems that ridiculous court cases are quite popular over there
>too. Maybe all this oversensitivity has generated it's own kind of
>oversensitivity in the form of political correctness and then been helped
>even further by what I like to call "control freaks"?
As I see it, the political correctness movement stems from a broad range of
narrow-interest groups who are linked by their dislike of our past culture
and it's male-based power structure, and their dislike of traditional
Judeo-Christian ethics. It comes from *some* people who hold to a new age
view of life, from the more radical feminists, and from those who hold
positions of power and who want to redress the complaints of all oppressed
minority groups. While some of their goals are laudable, the end result
seems to be the imposition of a new tyranny on those who don't subscribe to
the new view. Quite frankly, I view it as dangerous, just as dangerous as
any threat from the more radical religious right.
Of course, it goes without saying that I am *not* suggesting that all
people who hold new age or feminist or other views agree with the PC
movement as it is being played out.
But that's enough about that. Now I want to think up some Disney related
material...
Dave F.
>Would it be in any way right to say that todays political correctnes is very
>much an American thing. You see, I was thinking that maybe it had something
>to do with the way a lot of the vigorous/oversensitive/fundamentalist(tehee
>*Tarjei stirs the embers :-)*/extremist religions seem to like to show some
>muscle? It seems that ridiculous court cases are quite popular over there
>too. Maybe all this oversensitivity has generated it's own kind of
>oversensitivity in the form of political correctness and then been helped
>even further by what I like to call "control freaks"?
As I see it, the political correctness movement stems from a broad range of
narrow-interest groups who are linked by their dislike of our past culture
and it's male-based power structure, and their dislike of traditional
Judeo-Christian ethics. It comes from *some* people who hold to a new age
view of life, from the more radical feminists, and from those who hold
positions of power and who want to redress the complaints of all oppressed
minority groups. While some of their goals are laudable, the end result
seems to be the imposition of a new tyranny on those who don't subscribe to
the new view. Quite frankly, I view it as dangerous, just as dangerous as
any threat from the more radical religious right.
Of course, it goes without saying that I am *not* suggesting that all
people who hold new age or feminist or other views agree with the PC
movement as it is being played out.
But that's enough about that. Now I want to think up some Disney related
material...
Dave F.
Bj³rn Are Davidsen
Prelimenary Paintings Prices, please?
Message 59 -
1997-10-07 at 13:01:09
I enquiered about this some months ago, however, without getting any
response. This time I'll even reveal which objects d'art its about...
I'm planning to offer for sale five of the ten prelimenaries from Another
Rainbow's "A Lithographic Suite of Prelimenary Paintings by Carl
Barks" (a limited edition (# 378 of 500) of color sketches for later
litographies) from 1983-88 ("Among His Souvenirs" (later abandoned
because of its similarity to "An Embarassment of Riches"), "First
National Bank of Cibola", "Trespassers Will Be Ventilated", "The
Making of a Fish Story" and "Return to Plain Awfull").
These five may be sold individually or together. However, as an
amateur in the art of art dealing, I would appreciate some advice (it
may of course be done privately, outside this list).
Does anyone know what price to expect/ask for?
Any wealthy collectors on the list, e.g. Bill Gates or Stephen Spielberg,
just looking for new investements? Give bids...
Anyone who knows the address to John Nichols (of Barks Friends) or
others who may enlighten me more about this?
Yours
Bjorn Are
(Email removed)
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- Our minds were moving parallell
Because they never met
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
response. This time I'll even reveal which objects d'art its about...
I'm planning to offer for sale five of the ten prelimenaries from Another
Rainbow's "A Lithographic Suite of Prelimenary Paintings by Carl
Barks" (a limited edition (# 378 of 500) of color sketches for later
litographies) from 1983-88 ("Among His Souvenirs" (later abandoned
because of its similarity to "An Embarassment of Riches"), "First
National Bank of Cibola", "Trespassers Will Be Ventilated", "The
Making of a Fish Story" and "Return to Plain Awfull").
These five may be sold individually or together. However, as an
amateur in the art of art dealing, I would appreciate some advice (it
may of course be done privately, outside this list).
Does anyone know what price to expect/ask for?
Any wealthy collectors on the list, e.g. Bill Gates or Stephen Spielberg,
just looking for new investements? Give bids...
Anyone who knows the address to John Nichols (of Barks Friends) or
others who may enlighten me more about this?
Yours
Bjorn Are
(Email removed)
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- Our minds were moving parallell
Because they never met
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Helge J. Björnhaug
Disney comics Digest V97 #217
Message 60 -
1997-10-07 at 13:50:28
MIKE:
> And she said that the GLADSTONE comics were the reason why the whole
> delivery of comics was sent back to the United States. Because these are
> missing a lisence to be sold here...
Sounds like a certain American lawyer's on the road again...
NILS:
Old Goethe wrote the poem 'Der Zauberlehrling'
(http://www-public.rz.uni-duesseldorf.de/~karlowsk/goetzaub.html).
Paul Dukas' musical piece which was used in 'Fantasia' was inspired by
that poem. Looks like Disney extrapolated the chopping a bit in the
film.
Helge J. Bjornhaug
> And she said that the GLADSTONE comics were the reason why the whole
> delivery of comics was sent back to the United States. Because these are
> missing a lisence to be sold here...
Sounds like a certain American lawyer's on the road again...
NILS:
Old Goethe wrote the poem 'Der Zauberlehrling'
(http://www-public.rz.uni-duesseldorf.de/~karlowsk/goetzaub.html).
Paul Dukas' musical piece which was used in 'Fantasia' was inspired by
that poem. Looks like Disney extrapolated the chopping a bit in the
film.
Helge J. Bjornhaug