Keskustelujen arkisto

Joakim wrote:
>Bo Madinek doesn't exist!

Thanks for finding out! I guess we have to ban the name from the
Database. Some of the entries now credited to Madinek were
originally credited to Branca...

--Harry.

DAVID FENSKE:
In regard to "The Twenty-Four Carat Moon," the story *is* from
the 1950s, when I'm not sure how much your average person knew about
space travel. Remember that ten years earlier, in 1948, Barks actually
did a story where the spacescape isn't inked black and where Donald
needs no space suit to walk on the moon (WDC 93). We've come a long way.
You mention "Time Bandits" (also in AUSM 1) being derivative?
Actually, I thought that new story had excellent art (from Branca) and
dialogue. What other stories do you think it was derivative from? I do
know one other story about the Beagles trying to fool Scrooge with a
phony time-travel gimmick ("King Salomon's Mines," art by Vicar, US
250), but it's not at all similar.
Regarding USDD 1 and my "Ten-Penny Opera," sorry I didn't please
you more. At least I have the consolation of knowing it was apparently
the fault of the starring villain (Magica De Spell) rather than the
story itself! I wrote the story while studying for final exams in my
senior year of college, so Magica kinda fit my frazzled outlook on life
at the time ;-)

SCREEEEEECH!
David Gerstein
<(Email removed)>

TRACKER

Thanks to Steven Rowe for the Tracker info. Any good this stuff?
Is it the Barney Bear stories of WvH?

Yeah, I remember Rosa's remarks on Overstreet and the "feud" between
them. I also remember his remark that no second-hand comic should be
worth more than half the cover price.
I'm buying Don!, just let me into your basement!! ;-)

LO$ BOOK, Gary (bhc)

I realize the need to have spare copies to replace damaged ones during
production but surely the overrun after this is completed should be
shredded.

CENSORSHIP

I've just discovered a new website devoted to Don.
What impressed me most there was the scanned images of what had been
cencored from his stories. Someone ought to do the same with Carl
Barks'.
I know the Disney Comic Pages has a page discussing this, but it seems a
bit incomplete and unfortunately text only.
Greger Nassen shows some examples on how Gladstone has tampered with the
legacy in Bild & Bubbla 120, stuff that some good soul with a scanner
should make available on the net.
What about it Par and Harry?

BTW, does anybody know if "Adventure down under" has been censored?

Gaute Kongsnes

I need some URGENT help for an essay I'm writing on voodoo:

1. In which issue of CBLiC Comics & Stories is the reproduction of Carl
Barks' Bombie the Zombie painting ?

2. In which other Disney comics stories does Bombie or other Zombies appear ?

And, if anyone for some strange reason should feel inclined to tell me
about their perception of voodoo, please do, as that's part of my project.
Thank you.

Eirik Krogh Visted
-- intellektuell r?ne
-- kommunistisk liberalist

"Wow, we just don't care, do we ?"

Kriton Kyrimis wrote:

<<Doesn't all this effort to make the non-sale copies worthless actually have
the reverse effect? There will be only a handful of those (at most 100), and
they will be almost impossible to buy beacause of their identification as
non-sale copies. Doesn't this make these rare and unobtainable non-sale
copies much more valuable than the regular ones, and therefore a lot more
desirable as a collector's item than the regular copies?>>

One would think so. But I remember one collector who was very much into
the WIZARD mentality patiently explaining to me that a "hot" Marvel comic
with a price in British pence was somehow LESS valuable than the identical
comic in the American edition, even though there were surely fewer copies in
existence with the British price than the American one. (This was an actual,
printed price...not simply an American edition, like most of the DC's, with a
British price rubber-stamped on, which I might see would be worth less for
being no longer technically mint.) I'm still not sure I understand, or
completely recall, his reasoning though.

Rob Gibson wrote:

<<While I also prefer accuracy whenever possible, it is important to note
first that Mr. Barks was constrained in time and space (no pun intended) to
tell his stories, and thus was compelled to take poetic license on occasion.
Second, a large segment of his readership was children, a group much less
prone to technical nit-picking than the segment composed of
physicists and astronomers.>>

Well, sometimes children can be even bigger nit-pickers. I cut my teeth
on the 1960's "Superman Family" titles edited by Mort Weisinger, whose letter
pages were absolutely filled with readers, most of them under 14, pointing
out technical "boo-boos." Adults, in my experience, are much less likely to
get hung up on details like Donald walking on the moon without a
spacesuit...how many of them are bothered by, say, audible explosions in
outer space in most SF movies/TV shows, which we all KNOW is impossible? I
note that Barks seemed to improve on that sort of thing as time went on; the
Ducks did wear spacesuits in his later (post-Space Age) stories.

<<Third, his primary goal is to entertain, so some suspension of disbelief
is allowed. Fourth, consider that all his stories were conceived and written
before 1967, some before Sputnik went up in 1957! Our understanding of the
universe and space travel was considerably less than it is today. For
example, in the early "60's some believed that the moon was covered with a
thick layer of powder.>>

But it IS...or at least some parts of it are. Remember the astronauts'
footprints in the photos of the Apollo missions?

And David Gerstein wrote:

<<Interesting, in that there doesn't seem to be an active and advanced
space program in the Duck universe, government-wise, so where did all these
rockets come from?.>>

Private enterprise, just as Heinlein and most of the other classic SF
writers thought space flight would arise from (and, for practical purposes,
may yet). The Duck universe certainly has enough tinkerers like Gyro
Gearloose and Emil Eagle (and, since I'm still convinced it's the same as the
Mouse universe, Professor Einmug and others) to make such things a go.

A final note, since I've been away for awhile--I missed it when it was
explained where Daisy's nieces originated. Am I right that, though April may
have originated in a '40's story (in which all three of Donald's nephews vied
for her attentions), it was indeed Barks who added May and June in the
classic "Flipism" story?

Rich Morrissey

Gaute Kongsnes wrote:
>
>CENSORSHIP
>
>I've just discovered a new website devoted to Don.
>What impressed me most there was the scanned images of what had been
>cencored from his stories. Someone ought to do the same with Carl
>Barks'.
>Gaute Kongsnes
>

And pray tell, what was the URL?

Dave F.

NILS:
>What about Germany (where I've _heard_ the 1 million figure being mentioned)

One million is indeed the traditional figure for the "Auflage" of the
German Micky Maus weekly. But I don't know if this is (still) true, or has
changed in the last years; you can't find any info about this in the weekly
itself. Ehapa should know. They're on this list, aren't they? How about the
current numbers?
One million sounds high, but put in perspective to a population of 81
million people, it isn't really that much. Still a lot more than in the US,
but quite moderate compared to Scandinavia.

Best regards, Frank