Early this month I asked about the general opinion on advertisements
on this mailing list. I got fourteen answers, with different views,
but many of them agreed mostly with what I here then present as the
Official List Policy On Advertisements from now on. Thanks to
everyone who gave me feedback!
* Small is beautiful: No long lists of what's for sale. Just give a
short description of what type of item it's about, and give a URL or
tell prospective customers to inquire personally to you.
The best it to have the whole thing as a P.S. sort of thing or in your
sig, while your *real* message was something more interesting.
* Once is enough: No "I still have most of those Scamp comics I
mentioned last week for sale, now at a 2% discount!!!" please.
* Commercialism is shunned by many. Many respondents said that
only individuals should do this at all, and that companies etc. should
refrain totally. ("If I was searching for professional dealers, I'd
search for it with a search engine.") That might be good to think
about for prospective sellers, but I think that really the "once only"
rule should apply to those too. That is, that a short hype-free
"Now finally Duck Comics R Us, Inc. is on the web! You can see what
we have and order comics at <http://www.duck-comics-r-us.com/>!"
is acceptable.
Of course .signatures that mention your organization and how to reach
it is OK. (Like
----------------------------------------------------------------------
Gladstone on the Web: http://www.hamlco.com/bhc/
---------------------------------------------------------------------
that Gary has.) This is just plain common netiquette.
[ * That the items should be Disney comics or Disney comics related
goes without saying ]
--
Per Starback <(Email removed)> <http://www.update.uu.se/~starback/>
"Life is but a gamble! Let flipism chart your ramble!"
--------------------------------
End of Disney comics Digest V97 Issue #286
******************************************
Author
Topic: 199712
(314 messages)
Per Starback
Advertisements on the list?
Message 286 -
1997-12-30 at 05:33:24
Per Starback
"New" original Barks drawing
Message 287 -
1997-12-30 at 06:01:12
Speaking of stuff for sale...
Earlier this month I got mail from a Randa Robinson-Anderson about an
original Barks drawing she may have for sale. It's in ink, with
watercolor or gouache accents, on paper, 9" x 11", and is a version of
the cover of FC 495 (jack-in-the-box). She says that Barks did this
in 1953, which would be when that book was published.
I have of course no personal interest in the selling of this item,
but in the existence of it, and thought that other would as well.
(Maybe I got it wrong, but I understood it to be an "unknown"
drawing, and she mentioned that Bruce Hamilton would be examining the
drawing to provide his opinion of the value of the work.)
--
Per Starback <(Email removed)> <http://www.update.uu.se/~starback/>
"Life is but a gamble! Let flipism chart your ramble!"
Earlier this month I got mail from a Randa Robinson-Anderson about an
original Barks drawing she may have for sale. It's in ink, with
watercolor or gouache accents, on paper, 9" x 11", and is a version of
the cover of FC 495 (jack-in-the-box). She says that Barks did this
in 1953, which would be when that book was published.
I have of course no personal interest in the selling of this item,
but in the existence of it, and thought that other would as well.
(Maybe I got it wrong, but I understood it to be an "unknown"
drawing, and she mentioned that Bruce Hamilton would be examining the
drawing to provide his opinion of the value of the work.)
--
Per Starback <(Email removed)> <http://www.update.uu.se/~starback/>
"Life is but a gamble! Let flipism chart your ramble!"
CarmenG
Er, translation
Message 288 -
1997-12-30 at 06:34:15
Somehow, my last post was garbled in transmission, so I'm giving it another
try. Of course, it may have made more sense in the garbled version....
Don Rosa:
>>I thought we'd covered this here before: the scene in "A Little Something
Special" involving the giant Cornelius Coot statue comes from Hitchcock's
"SABOTEUR"<<
Sorry you have to repeat stuff like that. No doubt you did mention this
before. However, it was probably during the European release of the story, and
we American readers skipped over the discussion here on the list. I'm sure you
KNOW how we hate to have surprises spoiled for us.
David Fenske:
>>I've always assumed we get the comics later here in Canada than in most
sections of the States<<
Probably so, and I know you meant no harm. But as a former subscriber to
Gladstone, I would always receive my comics at least several weeks later than
the comic shops. (Not to mention that the postal service ALWAYS folded, bent,
and jammed the things into my mailbox, despite the warning printed on the
package and my repeated complaints to the local postmaster.) That's why I had
to stop subscribing, even though that meant I had to search the comic shops &
bend over to peruse the "kiddie section." (Oh, the ignominy!)
So, I follow with interest the discussion on the attitudes of American
readers and what Gladstone could do or should have done to increase
readership. I, too, read Harvey & Archie comics as a kid. Lousy stuff in
hindsight, I'll bet, but I loved it at the time, *along with* my Duckie books.
I think many of you may have a point about the "tiers" of reading &
publication. It distresses me as an adult purist, but perhaps I should be more
open to the idea.... I don't know why the Ducks are relegated purely to the
small children's section (has anyone even *seen* children at these bins?) in
almost all the stores I've visited, but I'm sure it doesn't help their
visibility or sales.
I'm too close to the issue to judge: ARE the Barks stories more child-
oriented? Are we now responding to them as adults, or are they appealing to
our nostalgia? On the other hand, are Don Rosa's stories entertaining for
children? Are all of these stories, by both writers, working on several
levels, or do they focus on a particular demographic group? I'm wondering out
loud here & will no doubt regret this line of thinking....
Finally, on the subject of Mr. Blum. I've discounted most of his writings
since the time he compared Don Rosa to Flintheart Glomgold! I mean, I've been
to an event where Mr. R was downright surly--but Flinty?? That was too much.
DR is certainly *not* horning in on Barks or competing with him (a la Glomgold
& Scrooge). He *continues* the tradition. Why isn't that obvious to critics?
But aren't we proving Blum's point a bit by our complaining? I think (and
don't hit me for this) that he meant it to be a favorable essay. Grudging,
maybe, but, on the whole, positive, using terms like "extravaganza,"
"appropriate," "celebration," "provocative," etc. Revealing the ending was
unforgivable, of course. (Ah, he covers himself: "More than that I can't
reveal....But I can tell you that the comic ends on...." Either this is very
clever, or he sincerely believes this to be unimportant to the plot.) And he
subtly reveals details about his dislikes: "the sweat beads," "the motion
lines." Heck, the sweat beads & wavy lines irritate *me* sometimes, and I'm
Rosa's biggest fan (from the Captain Kentucky days & even non-comics stuff).
But on balance, you're not finding better storytelling anywhere in any medium.
It's possible to read critically *and* be appreciative.
Of course, it's easy for me to dismiss this sort of criticism, but I'm sure
it has to be galling for Rosa himself. I wouldn't blame him if he soured on
helping out Gladstone. But I suppose doing nothing might be a worse
alternative. Yes, I would have been furious if I had read the commentary
before reading the story itself. I learned the hard way to reverse this
pattern of reading (and I suggest it to all of you): Imagine reading
Shakespeare's "The Winter's Tale" where the footnotes reveal the ending. Or
the Foreward to a Father Brown mystery in which the essay paints Father Brown
as an ugly bigot. These really have a palling effect on the stories, and I
place Rosa's work right up there with them.
Oh, forgive me for rambling so. I'll go back to reading & stop analyzing for
a while.
--carmen
try. Of course, it may have made more sense in the garbled version....
Don Rosa:
>>I thought we'd covered this here before: the scene in "A Little Something
Special" involving the giant Cornelius Coot statue comes from Hitchcock's
"SABOTEUR"<<
Sorry you have to repeat stuff like that. No doubt you did mention this
before. However, it was probably during the European release of the story, and
we American readers skipped over the discussion here on the list. I'm sure you
KNOW how we hate to have surprises spoiled for us.
David Fenske:
>>I've always assumed we get the comics later here in Canada than in most
sections of the States<<
Probably so, and I know you meant no harm. But as a former subscriber to
Gladstone, I would always receive my comics at least several weeks later than
the comic shops. (Not to mention that the postal service ALWAYS folded, bent,
and jammed the things into my mailbox, despite the warning printed on the
package and my repeated complaints to the local postmaster.) That's why I had
to stop subscribing, even though that meant I had to search the comic shops &
bend over to peruse the "kiddie section." (Oh, the ignominy!)
So, I follow with interest the discussion on the attitudes of American
readers and what Gladstone could do or should have done to increase
readership. I, too, read Harvey & Archie comics as a kid. Lousy stuff in
hindsight, I'll bet, but I loved it at the time, *along with* my Duckie books.
I think many of you may have a point about the "tiers" of reading &
publication. It distresses me as an adult purist, but perhaps I should be more
open to the idea.... I don't know why the Ducks are relegated purely to the
small children's section (has anyone even *seen* children at these bins?) in
almost all the stores I've visited, but I'm sure it doesn't help their
visibility or sales.
I'm too close to the issue to judge: ARE the Barks stories more child-
oriented? Are we now responding to them as adults, or are they appealing to
our nostalgia? On the other hand, are Don Rosa's stories entertaining for
children? Are all of these stories, by both writers, working on several
levels, or do they focus on a particular demographic group? I'm wondering out
loud here & will no doubt regret this line of thinking....
Finally, on the subject of Mr. Blum. I've discounted most of his writings
since the time he compared Don Rosa to Flintheart Glomgold! I mean, I've been
to an event where Mr. R was downright surly--but Flinty?? That was too much.
DR is certainly *not* horning in on Barks or competing with him (a la Glomgold
& Scrooge). He *continues* the tradition. Why isn't that obvious to critics?
But aren't we proving Blum's point a bit by our complaining? I think (and
don't hit me for this) that he meant it to be a favorable essay. Grudging,
maybe, but, on the whole, positive, using terms like "extravaganza,"
"appropriate," "celebration," "provocative," etc. Revealing the ending was
unforgivable, of course. (Ah, he covers himself: "More than that I can't
reveal....But I can tell you that the comic ends on...." Either this is very
clever, or he sincerely believes this to be unimportant to the plot.) And he
subtly reveals details about his dislikes: "the sweat beads," "the motion
lines." Heck, the sweat beads & wavy lines irritate *me* sometimes, and I'm
Rosa's biggest fan (from the Captain Kentucky days & even non-comics stuff).
But on balance, you're not finding better storytelling anywhere in any medium.
It's possible to read critically *and* be appreciative.
Of course, it's easy for me to dismiss this sort of criticism, but I'm sure
it has to be galling for Rosa himself. I wouldn't blame him if he soured on
helping out Gladstone. But I suppose doing nothing might be a worse
alternative. Yes, I would have been furious if I had read the commentary
before reading the story itself. I learned the hard way to reverse this
pattern of reading (and I suggest it to all of you): Imagine reading
Shakespeare's "The Winter's Tale" where the footnotes reveal the ending. Or
the Foreward to a Father Brown mystery in which the essay paints Father Brown
as an ugly bigot. These really have a palling effect on the stories, and I
place Rosa's work right up there with them.
Oh, forgive me for rambling so. I'll go back to reading & stop analyzing for
a while.
--carmen
CarmenG
Mystery Guest, sign in please
Message 289 -
1997-12-30 at 06:46:59
Dwight Decker:
<<Unless I'm very mistaken (always a possibility), there's somebody on
the guest platform who's seen only very partially in one panel (I don't
have it with me to give page and panel number)>>
Page 8, bottom splash panel. I can't tell you how this has upset my thinking.
Did he bring his wife? Where is he the rest of the story? Did Scrooge see him
(surely he must have if he was one of the platform guests), & does this mean a
reconciliation with his sisters? We want to SEE this reconciliation, so is
there a story behind this that may be written?
<<Unless I'm very mistaken (always a possibility), there's somebody on
the guest platform who's seen only very partially in one panel (I don't
have it with me to give page and panel number)>>
Page 8, bottom splash panel. I can't tell you how this has upset my thinking.
Did he bring his wife? Where is he the rest of the story? Did Scrooge see him
(surely he must have if he was one of the platform guests), & does this mean a
reconciliation with his sisters? We want to SEE this reconciliation, so is
there a story behind this that may be written?
Don Rosa
Disney comics Digest V97 #286
Message 290 -
1997-12-30 at 08:32:21
PAOLO/LUNA:
You say that the speech that Donald gives in "A Little Something Special"
was diaappointing? I agree. I originally had that speech spread across most
of a page, but that was when I had the whole story spread out to about 40
pages! Then I started chopping and condensing, and about 3 panels is all I
could allow for DD's important speech. You need to look at the story and ask
yourself, if I should expand that by 2 or 3 panels, what other 2 or 3 panels
on that or adjacent pages would you have me eliminate? Already, that story
moves at breakneck speed. Notice that the extra pages I added to Gladstone's
version did not add any new ideas... it just gave breathing room to what was
already there. And why didn't I add panels to DD's speech then? Well, you
need to view it as a big jigsaw puzzle where certain pages still must act as
units of a sort. If I added even ONE extra panel to that speech, I would
have had to add enough other extra panels to other spots in the story to
equal another full page, and based on how the page-breaks were already
working out, that woulda just been impossible or just too complicated --
remember this was being done partly on my own time, just to improve that
version of the story.
>From: Katie Sullivan
>I just got back from seeing Titanic (the movie). It was great, although
>I bawled my eyes out.
I've been choked up at many a movie, but this is the first one where the
ending made me weep flat out. It was a combination of the Celtic music, the
subject (I'm a Titanic buff also -- I consider it the most compelling and
dramatic single event in history), and the story of doomed love... just like
Goldie and $crooge... I'm a sucker for that stuff. The final scene of
TITANIC just tore me to bits.... but the ending of the actual plot of the
movie's modernday sequences was just wrong. I can tell they filmed multiple
endings and this is the one that most test audiences preferred, even though
it's illogical and it avoids the obvious set-up of the great ending that I
was sure they were going for.
> In Lo$, lifeboats are
>shown, still being lowered into the water when the ship's rear (excuse
>my lack of knowledge of nautical terms) is sticking up in the air. The
>life boats were long gone by that point
>it seems in Lo$ is that the ship sank just minutes after the appearance
>of Bombie, while it took like two hours before it went under.
>Am I being too picky?
Not too picky, but you're not stopping to think that there's NO other way I
can handle it in the space I'm allowed. You need to appreciate the "license"
I must take in compressing the action and even the visual elements. You are
supposed to fill in the gaps between the panels with your imagination, and
think of all the things or the time that takes place in between. And ask
yourself, IF you wanted me to accurately depict the full sinking of the
Titanic, which other 20 pages of that episode of the "Lo$" would you have
wanted me to have eliminated?
I was aware of many inaccuracies that you haven't even mentioned, but I had
to skip past them. I knew that the aft section broke off, but I didn't have
time to show that. I knew there were slight inaccuracies in how I drew the
ship, but I always need to split the difference between taking extra time on
a story and taking so MUCH extra time that the mortgage company evicts me
from my home.
But check a few other details and be reassured. For instance, that deck
chair that slides past in one panel -- that was *exactly* the sort of deck
chairs they had on the Titanic! I made sure of that. There are accuracies in
such tiny details in my stories that no one will ever know them all... I do
it just for my own private amusement.
That leads me to ask for help with my current project -- the new episode in
the "Lo$"... this will be chapter 3B, taking place in late 19th century
Indonesia. (And if you think you can guess why, shut up! Don't Blum me a
year before you even see the story!!!) I haven't finished looking, but maybe
somebody here can quickly put me
on the track of a few good books which will show me EXACTLY what sorts of
sailing ships and clothing and buildings and who the rulers were on Java
in those years. Maybe Harry or another Dutch Duckfan can help, since Java
was a Dutch colony then.
>Random thought: It would have been neat if Matilda and Hortense showed
>up for the 50th anniversary celebration in Little Something Special.
That was EXACTLY my original suggestion to Byron for the plot of that tale.
But he wisely said that such an idea would focus the attention of the story
to $crooge's sisters rather than $crooge, and that would have been wrong.
I'll do that some other time, when you least expect it, unless I get
Blummed, but that will-not-happen-again. I vow that.
Actually, I got interested, and went out and bought copies of that
ADVENTUROUS U$McD #2 over the weekend to see that story for myself, since I
was so proud of it, despite how it was spoiled. The coloring and lettering
look great!!! The cover looks great (even though the hidden dedication is
covered by that emblem). But on that cover -- look at the face in the
crowd, the middle one in the area you see if you look off the tip of DD's
raised foot. * I didn't draw that face! * I don't have a clue as to why the
harmless face I drew was removed and that odd puss was inserted -- and
what's that thing on its head? Is somebody monkeying with my art for fun? I
know I have no rights in this sitiuation... but... I mean, DRAT.
I see some changes in dialogue -- where Donald is saying "did someone slip
these kids some silly pills", my dialogue was "spiked punch". It puzzles me
why "silly pills" would be less offensive -- it suggests LSD or something to
me. But it's okay. And later when the train is about to fall into the sewer,
Flintheart says something that is a less direct reference to what he is
smelling than what I had written. I think my line was like -- "I sure
smell SOMETHING and it ain't 'success'!"
I also see that Blum's revealing the surprise ending comes partly from his
insensitivity to what the whole point of the story was (!!!) and his frantic
need to fill the space with writing -- he mentions the final scene as a
springboard to write another batch of paragraphs about whatnot. So, it
wasn't purposeful sabotge, just insensate stupidity. But that whole text...
a critical review of the contents of the very comics (including D & $ #2)
that the text appears in. That's insane! What were they thinking when they
printed that? Hey... you didn't like those "coverless" Gladstone issues, eh?
This is ONE issue that I would have been quite deee-lighted to have seen
coverless, considering where that text was printed.
Also, Katie, I'm glad you're enjoying your hardback "Lo$" book. After all
the work I put into those tip-in pages, I hope somebody will also send me
one sometime so I can see it.
>From: (Email removed) (D Decker)
>Said person may not be the only unexpected guest who showed up.
>Unless I'm very mistaken (always a possibility), there's somebody on
>the guest platform who's seen only very partially in one panel and I'd bet
the
>rent money his initials are L.v.D. Well, Don, am I sadly off the
>rails?
Not a bit. I wanted to make Ludwig von Drake as much a part of the story as
I made a point of making each of the other Duckburg characters. But Egmont
nixed the idea since they have decided Ludwig does not exist. That's why I
wasn't allowed to place him in the Family Tree where I know he belongs, as
Matilda McDuck's husband. But I figured I could sneak him into the corner of
a panel somewhere and I did.
You say that the speech that Donald gives in "A Little Something Special"
was diaappointing? I agree. I originally had that speech spread across most
of a page, but that was when I had the whole story spread out to about 40
pages! Then I started chopping and condensing, and about 3 panels is all I
could allow for DD's important speech. You need to look at the story and ask
yourself, if I should expand that by 2 or 3 panels, what other 2 or 3 panels
on that or adjacent pages would you have me eliminate? Already, that story
moves at breakneck speed. Notice that the extra pages I added to Gladstone's
version did not add any new ideas... it just gave breathing room to what was
already there. And why didn't I add panels to DD's speech then? Well, you
need to view it as a big jigsaw puzzle where certain pages still must act as
units of a sort. If I added even ONE extra panel to that speech, I would
have had to add enough other extra panels to other spots in the story to
equal another full page, and based on how the page-breaks were already
working out, that woulda just been impossible or just too complicated --
remember this was being done partly on my own time, just to improve that
version of the story.
>From: Katie Sullivan
>I just got back from seeing Titanic (the movie). It was great, although
>I bawled my eyes out.
I've been choked up at many a movie, but this is the first one where the
ending made me weep flat out. It was a combination of the Celtic music, the
subject (I'm a Titanic buff also -- I consider it the most compelling and
dramatic single event in history), and the story of doomed love... just like
Goldie and $crooge... I'm a sucker for that stuff. The final scene of
TITANIC just tore me to bits.... but the ending of the actual plot of the
movie's modernday sequences was just wrong. I can tell they filmed multiple
endings and this is the one that most test audiences preferred, even though
it's illogical and it avoids the obvious set-up of the great ending that I
was sure they were going for.
> In Lo$, lifeboats are
>shown, still being lowered into the water when the ship's rear (excuse
>my lack of knowledge of nautical terms) is sticking up in the air. The
>life boats were long gone by that point
>it seems in Lo$ is that the ship sank just minutes after the appearance
>of Bombie, while it took like two hours before it went under.
>Am I being too picky?
Not too picky, but you're not stopping to think that there's NO other way I
can handle it in the space I'm allowed. You need to appreciate the "license"
I must take in compressing the action and even the visual elements. You are
supposed to fill in the gaps between the panels with your imagination, and
think of all the things or the time that takes place in between. And ask
yourself, IF you wanted me to accurately depict the full sinking of the
Titanic, which other 20 pages of that episode of the "Lo$" would you have
wanted me to have eliminated?
I was aware of many inaccuracies that you haven't even mentioned, but I had
to skip past them. I knew that the aft section broke off, but I didn't have
time to show that. I knew there were slight inaccuracies in how I drew the
ship, but I always need to split the difference between taking extra time on
a story and taking so MUCH extra time that the mortgage company evicts me
from my home.
But check a few other details and be reassured. For instance, that deck
chair that slides past in one panel -- that was *exactly* the sort of deck
chairs they had on the Titanic! I made sure of that. There are accuracies in
such tiny details in my stories that no one will ever know them all... I do
it just for my own private amusement.
That leads me to ask for help with my current project -- the new episode in
the "Lo$"... this will be chapter 3B, taking place in late 19th century
Indonesia. (And if you think you can guess why, shut up! Don't Blum me a
year before you even see the story!!!) I haven't finished looking, but maybe
somebody here can quickly put me
on the track of a few good books which will show me EXACTLY what sorts of
sailing ships and clothing and buildings and who the rulers were on Java
in those years. Maybe Harry or another Dutch Duckfan can help, since Java
was a Dutch colony then.
>Random thought: It would have been neat if Matilda and Hortense showed
>up for the 50th anniversary celebration in Little Something Special.
That was EXACTLY my original suggestion to Byron for the plot of that tale.
But he wisely said that such an idea would focus the attention of the story
to $crooge's sisters rather than $crooge, and that would have been wrong.
I'll do that some other time, when you least expect it, unless I get
Blummed, but that will-not-happen-again. I vow that.
Actually, I got interested, and went out and bought copies of that
ADVENTUROUS U$McD #2 over the weekend to see that story for myself, since I
was so proud of it, despite how it was spoiled. The coloring and lettering
look great!!! The cover looks great (even though the hidden dedication is
covered by that emblem). But on that cover -- look at the face in the
crowd, the middle one in the area you see if you look off the tip of DD's
raised foot. * I didn't draw that face! * I don't have a clue as to why the
harmless face I drew was removed and that odd puss was inserted -- and
what's that thing on its head? Is somebody monkeying with my art for fun? I
know I have no rights in this sitiuation... but... I mean, DRAT.
I see some changes in dialogue -- where Donald is saying "did someone slip
these kids some silly pills", my dialogue was "spiked punch". It puzzles me
why "silly pills" would be less offensive -- it suggests LSD or something to
me. But it's okay. And later when the train is about to fall into the sewer,
Flintheart says something that is a less direct reference to what he is
smelling than what I had written. I think my line was like -- "I sure
smell SOMETHING and it ain't 'success'!"
I also see that Blum's revealing the surprise ending comes partly from his
insensitivity to what the whole point of the story was (!!!) and his frantic
need to fill the space with writing -- he mentions the final scene as a
springboard to write another batch of paragraphs about whatnot. So, it
wasn't purposeful sabotge, just insensate stupidity. But that whole text...
a critical review of the contents of the very comics (including D & $ #2)
that the text appears in. That's insane! What were they thinking when they
printed that? Hey... you didn't like those "coverless" Gladstone issues, eh?
This is ONE issue that I would have been quite deee-lighted to have seen
coverless, considering where that text was printed.
Also, Katie, I'm glad you're enjoying your hardback "Lo$" book. After all
the work I put into those tip-in pages, I hope somebody will also send me
one sometime so I can see it.
>From: (Email removed) (D Decker)
>Said person may not be the only unexpected guest who showed up.
>Unless I'm very mistaken (always a possibility), there's somebody on
>the guest platform who's seen only very partially in one panel and I'd bet
the
>rent money his initials are L.v.D. Well, Don, am I sadly off the
>rails?
Not a bit. I wanted to make Ludwig von Drake as much a part of the story as
I made a point of making each of the other Duckburg characters. But Egmont
nixed the idea since they have decided Ludwig does not exist. That's why I
wasn't allowed to place him in the Family Tree where I know he belongs, as
Matilda McDuck's husband. But I figured I could sneak him into the corner of
a panel somewhere and I did.
Rich Bellacera
Disney comics Digest V97 #286
Message 291 -
1997-12-30 at 11:44:46
DWIGHT DECKER:
>Said person may not be the only unexpected guest who showed up.
By Jove, you've got something there. It completely slipped by me,
only because it is a profile shot and considering how much he looks
just like $crooge I think I subconsciously just let it be him.
Considering the scene, who else could it be other than the wacky
Austrian born Duck. Aside from his usually bushy eyebrows and
gray-tinted whiskers, and of course the accents, $crooge and he
could be twins. BTW it's page 8, panel 5. Perhaps, considering
the seating arrangements, if *he* was there, perhaps Matilda and
even Hortense were also there, just always off-panel, like *he,*
Gladstone and Gyro were in every other *seating* shot.
Speaking of missing relatives:
Like Katie, I too want to see that tale which finally explains who
the mysterious *father* of HDL is. Since he's supposedly
Daisy's brother, does this mean that Daisy has both a brother
and a sister (the mother of April, May & June)? What's up with
AMJ anyhow? They were used so frequently in the 60s, 70s
and early 80s and now I can't recall any non-reprint story in the
USA in which they appear. Even in the near-classic "Donald
Duck Adventures" #32 & 33 from 1993, "Return to Bear
Mountain" they didn't appear. Are they to be forgotten along
with Gyro's nephew Newton (who appeared in at least five
stories of which I am aware).
-Rich (xephyr)
http://www.jps.net/xephyr/rich/disney.html
>Said person may not be the only unexpected guest who showed up.
By Jove, you've got something there. It completely slipped by me,
only because it is a profile shot and considering how much he looks
just like $crooge I think I subconsciously just let it be him.
Considering the scene, who else could it be other than the wacky
Austrian born Duck. Aside from his usually bushy eyebrows and
gray-tinted whiskers, and of course the accents, $crooge and he
could be twins. BTW it's page 8, panel 5. Perhaps, considering
the seating arrangements, if *he* was there, perhaps Matilda and
even Hortense were also there, just always off-panel, like *he,*
Gladstone and Gyro were in every other *seating* shot.
Speaking of missing relatives:
Like Katie, I too want to see that tale which finally explains who
the mysterious *father* of HDL is. Since he's supposedly
Daisy's brother, does this mean that Daisy has both a brother
and a sister (the mother of April, May & June)? What's up with
AMJ anyhow? They were used so frequently in the 60s, 70s
and early 80s and now I can't recall any non-reprint story in the
USA in which they appear. Even in the near-classic "Donald
Duck Adventures" #32 & 33 from 1993, "Return to Bear
Mountain" they didn't appear. Are they to be forgotten along
with Gyro's nephew Newton (who appeared in at least five
stories of which I am aware).
-Rich (xephyr)
http://www.jps.net/xephyr/rich/disney.html
Dr. Archontis Pantsios
Romano Scarpa
Message 292 -
1997-12-30 at 13:17:20
HOLIDAY GREETINGS TO ALL!!!
Just before Xmas I picked up a copy of the January issue of the Greek KOMIX
(#115). Its lead story was Romano Scarpa's and Carlo Centi's "Il Premio di
Bonta", I-369, first published in the Italian Topolino in December of 1962.
The story deals with a competition among Duckburg's citizens for the best
philanthropic deed during Xmas, with a surprise winner!
I was always very fond of Scarpa's work--some of his stories re-printed in
Gladstone had stuck in my memory since my childhood days growing up in
Greece in the late 60's and early '70s. For example, I most vividly remember
reading Scarpa's "The Last Balaboo" when I was a kid.
And now "Il Premio di Bonta", or "To Pneyma ton Christoygennon" ("The Spirit
of Christmas") in the Greek edition. As I was thumping thru its pages, a
flood of long lost memories came rushing back. I knew again that I had seen
this story ~25 years ago in the Greek Miky Maus!
Now I know that I want to get my hands on as many of Scarpa's stories from
the 50's and 60's as possible! So far, most of his stories that I own are
the ones that Gladstone has printed in both phases I and II. But these are
not more than 10 or so.
What's the best way to get Scarpa's old stories? Are there collected
editions of his work in Italy? Where can someone find an index of his
stories? Where are they being re-printed now? (I know that the French
*MICKEY PARADE* is printing Scarpa's MM stories throughout 1998). I truly
think that Scarpa ranks on the top along with Barks and Rosa, and I hope
that Gladstone will print his stories in the new U$ and also in the U$A
album series when the Barks well runs dry next year.
Have a DUCKY 1998 all!
Archontis
Just before Xmas I picked up a copy of the January issue of the Greek KOMIX
(#115). Its lead story was Romano Scarpa's and Carlo Centi's "Il Premio di
Bonta", I-369, first published in the Italian Topolino in December of 1962.
The story deals with a competition among Duckburg's citizens for the best
philanthropic deed during Xmas, with a surprise winner!
I was always very fond of Scarpa's work--some of his stories re-printed in
Gladstone had stuck in my memory since my childhood days growing up in
Greece in the late 60's and early '70s. For example, I most vividly remember
reading Scarpa's "The Last Balaboo" when I was a kid.
And now "Il Premio di Bonta", or "To Pneyma ton Christoygennon" ("The Spirit
of Christmas") in the Greek edition. As I was thumping thru its pages, a
flood of long lost memories came rushing back. I knew again that I had seen
this story ~25 years ago in the Greek Miky Maus!
Now I know that I want to get my hands on as many of Scarpa's stories from
the 50's and 60's as possible! So far, most of his stories that I own are
the ones that Gladstone has printed in both phases I and II. But these are
not more than 10 or so.
What's the best way to get Scarpa's old stories? Are there collected
editions of his work in Italy? Where can someone find an index of his
stories? Where are they being re-printed now? (I know that the French
*MICKEY PARADE* is printing Scarpa's MM stories throughout 1998). I truly
think that Scarpa ranks on the top along with Barks and Rosa, and I hope
that Gladstone will print his stories in the new U$ and also in the U$A
album series when the Barks well runs dry next year.
Have a DUCKY 1998 all!
Archontis
Luca Boschi
Luca Boschi su Romano Scarpa
Message 293 -
1997-12-30 at 15:08:03
First of all, I want really thank you friends like Rich Bellacera and
Shaun M. Knowler for all the very interesting news about next to come
Disney animations projects. How can you be so well informed? Thank you,
I'll pass all these informations to Scarpa. If you want to add
somenthing to tell him, I can also give your comments...
TO ETA BETA
>They could lose Scarpa, now, it seems, (see Luca Boschi on V97#283), >and that's also an answer to everybody suggesting Gladstone should "do >it" the Italian way.
>However, Romano Scarpa is not *just* an Italian Disney, he's the most
>international artist/author we ever had and, IMHO, should be considered
>on the same level as Barks and Gottfredson.
Oviously I totally agree (and many members of this list who know
Scarpa's work, I think) that Scarpa is *really* one the very few best.
Now he is producing, as author and artist, this new TV serial called "On
the Roofs of Venice", with some of the characters (antropomorphic
pigeons) that's possible to see on the cover of Romano Scarpa's book
that wrote with Leonardo Gori, Andrea Sani in 1988, and which presents
also a chronology by Alberto Becattini.
For all the people who love Scarpa's comics, I can tell that around Jan.
the 15th, in the italian newsstands shall come out "I Maestri Disney"
dedicated to him (at least!), with photos, commensts, introductions,
pictures and three stories by the great cartoonist: the long and very
rare "Paperino e i gamberi in salmĀ" (the very first story he wrote, and
partially drew when he was not working fof Mondadori yet, and that used
later), "Topolino e le delizie natalizie" (the very first story in which
he drew Mickey, with all the gang, Scrooge included; it has been absent
from the italian newsstands from 1958! And now it shall appear in the
original -not cut and/or trimmed- form) and "Gancio vince sempre",
starring Ellsworth, Dr.Einmug and Scarpa's Atomino Bip-Bip (the inking
of this story is by the youngest Cavazzano).
On the cover there is an unpublished drawing, actually rejected by the
Disney's director (I don't know why).
Luca Boschi
Shaun M. Knowler for all the very interesting news about next to come
Disney animations projects. How can you be so well informed? Thank you,
I'll pass all these informations to Scarpa. If you want to add
somenthing to tell him, I can also give your comments...
TO ETA BETA
>They could lose Scarpa, now, it seems, (see Luca Boschi on V97#283), >and that's also an answer to everybody suggesting Gladstone should "do >it" the Italian way.
>However, Romano Scarpa is not *just* an Italian Disney, he's the most
>international artist/author we ever had and, IMHO, should be considered
>on the same level as Barks and Gottfredson.
Oviously I totally agree (and many members of this list who know
Scarpa's work, I think) that Scarpa is *really* one the very few best.
Now he is producing, as author and artist, this new TV serial called "On
the Roofs of Venice", with some of the characters (antropomorphic
pigeons) that's possible to see on the cover of Romano Scarpa's book
that wrote with Leonardo Gori, Andrea Sani in 1988, and which presents
also a chronology by Alberto Becattini.
For all the people who love Scarpa's comics, I can tell that around Jan.
the 15th, in the italian newsstands shall come out "I Maestri Disney"
dedicated to him (at least!), with photos, commensts, introductions,
pictures and three stories by the great cartoonist: the long and very
rare "Paperino e i gamberi in salmĀ" (the very first story he wrote, and
partially drew when he was not working fof Mondadori yet, and that used
later), "Topolino e le delizie natalizie" (the very first story in which
he drew Mickey, with all the gang, Scrooge included; it has been absent
from the italian newsstands from 1958! And now it shall appear in the
original -not cut and/or trimmed- form) and "Gancio vince sempre",
starring Ellsworth, Dr.Einmug and Scarpa's Atomino Bip-Bip (the inking
of this story is by the youngest Cavazzano).
On the cover there is an unpublished drawing, actually rejected by the
Disney's director (I don't know why).
Luca Boschi
Nils Helge Karstad
Flintheart in Don's stories...
Message 294 -
1997-12-30 at 16:45:06
Hi!
KATIE:
<<Have you [Don] done anything with Flintheart
besides this one and "Son of the Sun"?>>
Rich M. mentioned Lo$ and A Little Something Special.
There is also "The Island at the Edge of Time" (D 91071).
DON:
Could you **please** tell us more about your Europe-tour ?
BTW, what are you currently doing ?
Signing Lo$-books for Gladstone ?
ANYONE:
Does anyone know when the three new Don Rosa-stories
are going to be printed in Norway/Denmark ?
O/yvind (JO)
-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-
(Email removed)
-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-
KATIE:
<<Have you [Don] done anything with Flintheart
besides this one and "Son of the Sun"?>>
Rich M. mentioned Lo$ and A Little Something Special.
There is also "The Island at the Edge of Time" (D 91071).
DON:
Could you **please** tell us more about your Europe-tour ?
BTW, what are you currently doing ?
Signing Lo$-books for Gladstone ?
ANYONE:
Does anyone know when the three new Don Rosa-stories
are going to be printed in Norway/Denmark ?
O/yvind (JO)
-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-
(Email removed)
-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-
Steve
Taliaferro's Strips
Message 295 -
1997-12-30 at 18:14:00
Gosh, I happen to like the Taliaferro reprint strips. Am I alone in this? Should I be shunned by the dcomics community?
--
-- Steve Crooks (Email removed)
==========================
>Joe Torcivia and Chris Barat have been kind enough to inform me that the latest
>Comics Buyer's Guide (the anthropomorphic issue) mentions that the Taliaferro
>reprint comic strips seen in Donald Duck will now be shifted into WDC&S.
>
>You may scream at your soonest convenience.
>
>-Augie
--
-- Steve Crooks (Email removed)
==========================
>Joe Torcivia and Chris Barat have been kind enough to inform me that the latest
>Comics Buyer's Guide (the anthropomorphic issue) mentions that the Taliaferro
>reprint comic strips seen in Donald Duck will now be shifted into WDC&S.
>
>You may scream at your soonest convenience.
>
>-Augie
Shaun M. Knowler
Luca Boschi su Romano Scarpa
Message 296 -
1997-12-30 at 21:31:59
LUCA,
> First of all, I want really thank you friends like Rich Bellacera and
> Shaun M. Knowler for all the very interesting news about next to come
> Disney animations projects. How can you be so well informed?
Simple: I read the Entertainment section of local newspapers and
magazines...
Glad to help,
-Shaun
> First of all, I want really thank you friends like Rich Bellacera and
> Shaun M. Knowler for all the very interesting news about next to come
> Disney animations projects. How can you be so well informed?
Simple: I read the Entertainment section of local newspapers and
magazines...
Glad to help,
-Shaun
PAULO CEZAR LOPES BARRETO,BARRETO
Digest format (#284)
Message 297 -
1997-12-30 at 23:09:17
Hi All!
MICHAEL:
>can you possibly imagine reading
any of Don's tales in that itsy, bitsy format??
So you can imagine how Brazilians have read all Disney (and most other
comics) titles for decades... The little format can and does destroy
much of the artwork, but it has granted long-term decent sales -- that
is, bad for collectors but good for marketing (kids, as the real
comics target, don't care so much). But as the U.S. standard
"wafer-thin" pamphlet-like format has been so challenged, any
alternatives deserve appreciation. Collectors can get large, glossy
albums if they can make significant demand for them; all in all,
Disney comics is mainly for kids (which can't be an offense to collectors).
MISC: (a) This is my last posting before Jan. 2; hope everyone enjoy a
Happy New Year!; (b) For personal e-mail, please use (Email removed)
instead of the (badly unreliable) domain I'm using now. I see you in 1998!
P.C.Barreto
(Email removed)
--------------------------------
End of Disney comics Digest V97 Issue #287
******************************************
MICHAEL:
>can you possibly imagine reading
any of Don's tales in that itsy, bitsy format??
So you can imagine how Brazilians have read all Disney (and most other
comics) titles for decades... The little format can and does destroy
much of the artwork, but it has granted long-term decent sales -- that
is, bad for collectors but good for marketing (kids, as the real
comics target, don't care so much). But as the U.S. standard
"wafer-thin" pamphlet-like format has been so challenged, any
alternatives deserve appreciation. Collectors can get large, glossy
albums if they can make significant demand for them; all in all,
Disney comics is mainly for kids (which can't be an offense to collectors).
MISC: (a) This is my last posting before Jan. 2; hope everyone enjoy a
Happy New Year!; (b) For personal e-mail, please use (Email removed)
instead of the (badly unreliable) domain I'm using now. I see you in 1998!
P.C.Barreto
(Email removed)
--------------------------------
End of Disney comics Digest V97 Issue #287
******************************************
Augie De Blieck Jr.
Oodles of Stuff
Message 298 -
1997-12-31 at 02:02:51
KATIE AND DON:
> > But on that cover -- look at the face in the
> > crowd, the middle one in the area you see if you look off the tip of
> > DD's
> > raised foot. * I didn't draw that face! *
> Smoley Hokes! I hadn't noticed that before, but that's definitely not
> one of your faces! And what a dumb hat! Twilight Zone...
And I'm just a wacky enough fan that I looked all over the cover at the little
people in the background and that one jumped right off the page at me as being
completely goofy. It's oddly shaped - tall and skinny, with crossed-eyes.
Definitely not yours. Weird.
KATIE:
> > Rich M. mentioned Lo$ and A Little Something Special.
> > There is also "The Island at the Edge of Time" (D 91071).
>
> My memory is a little fuzzy on that one. 5-second plot summary, anyone?
It's from the Disney Comics era. Cover pictures $crooge, Donald, and the
nephews on an island covered in gold lava, as my memory recalls. Basically
revolves around Scrooge and Glomgold trying to claim the island as their own.
I remember the climax, but don't want to Blum the story on you, in case you
haven't read it yet. Interesting story, but not my favorite.
-Augie
----------------------------------------------------------------
Augie De Blieck Jr. * (Email removed) * (Email removed) <*>
Pipeline Commentary and Review: New Comic Book Commentary
Every Sunday: http://www.nic.com/~augie/pipeline/pipeline.htm
> > But on that cover -- look at the face in the
> > crowd, the middle one in the area you see if you look off the tip of
> > DD's
> > raised foot. * I didn't draw that face! *
> Smoley Hokes! I hadn't noticed that before, but that's definitely not
> one of your faces! And what a dumb hat! Twilight Zone...
And I'm just a wacky enough fan that I looked all over the cover at the little
people in the background and that one jumped right off the page at me as being
completely goofy. It's oddly shaped - tall and skinny, with crossed-eyes.
Definitely not yours. Weird.
KATIE:
> > Rich M. mentioned Lo$ and A Little Something Special.
> > There is also "The Island at the Edge of Time" (D 91071).
>
> My memory is a little fuzzy on that one. 5-second plot summary, anyone?
It's from the Disney Comics era. Cover pictures $crooge, Donald, and the
nephews on an island covered in gold lava, as my memory recalls. Basically
revolves around Scrooge and Glomgold trying to claim the island as their own.
I remember the climax, but don't want to Blum the story on you, in case you
haven't read it yet. Interesting story, but not my favorite.
-Augie
----------------------------------------------------------------
Augie De Blieck Jr. * (Email removed) * (Email removed) <*>
Pipeline Commentary and Review: New Comic Book Commentary
Every Sunday: http://www.nic.com/~augie/pipeline/pipeline.htm
Kriton Kyrimis
Translations!
Message 299 -
1997-12-31 at 04:20:17
I just stumbled upon http://babelfish.altavista.digital.com, a free
service provided by altavista, which can translate URLs from French,
German, Italian, Portuguese, and Spanish to English and vice-versa. It
might be worth looking into for those of us who'd like to read those
Italian, etc. articles for which references are occasionally given in
this list.
The translations are nowhere near perfect: E.g., I tried translating
http://www.orl.co.uk/~fms/disney/rosa/libro/diario.html. The program only
translated half of the text (it can only translate about 5K worth of text)
and some effort is required to make sense of its output, but it's a lot better
than nothing!
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"Circular logic will only make you dizzy!"
-----
service provided by altavista, which can translate URLs from French,
German, Italian, Portuguese, and Spanish to English and vice-versa. It
might be worth looking into for those of us who'd like to read those
Italian, etc. articles for which references are occasionally given in
this list.
The translations are nowhere near perfect: E.g., I tried translating
http://www.orl.co.uk/~fms/disney/rosa/libro/diario.html. The program only
translated half of the text (it can only translate about 5K worth of text)
and some effort is required to make sense of its output, but it's a lot better
than nothing!
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"Circular logic will only make you dizzy!"
-----
Kriton Kyrimis
Disney comics Digest V97 #287
Message 300 -
1997-12-31 at 05:16:34
ARCHONTIS:
Re: "Il Premio di Bonta" in Komix #115.
I was also delighted to read this story in this month's Komix. I am also
delighted that Komix has finally stopped relying exclusively on Gladstone
for their story selection. I don't know if they'll go as far as printing
stories that they haven't printed in Mickey Mouse before, but even if
they don't, we have many wonderful stories to look forward to reading.
One thing I like about these new Scarpa reprints is that they've redone the
translations, and the dialogues are in spirited, present-day Greek.
I would also be interested in reading more Scarpa stories. However,
given that apart from English and Greek, I can only read a bit of French
and make a rough guess at what an Italian text might mean, I don't know
if I can sastisfy this interest. Perhaps I should start learning Italian!
BTW, using the rough guess approach, I would guess that "Il Premio di
Bonta" means something like "The Charity Award" and not "The Spirit of
Christmas", though both titles are appropriate for the story. Can any
of our Italian friends confirm this?
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"Circular logic will only make you dizzy!"
-----
Re: "Il Premio di Bonta" in Komix #115.
I was also delighted to read this story in this month's Komix. I am also
delighted that Komix has finally stopped relying exclusively on Gladstone
for their story selection. I don't know if they'll go as far as printing
stories that they haven't printed in Mickey Mouse before, but even if
they don't, we have many wonderful stories to look forward to reading.
One thing I like about these new Scarpa reprints is that they've redone the
translations, and the dialogues are in spirited, present-day Greek.
I would also be interested in reading more Scarpa stories. However,
given that apart from English and Greek, I can only read a bit of French
and make a rough guess at what an Italian text might mean, I don't know
if I can sastisfy this interest. Perhaps I should start learning Italian!
BTW, using the rough guess approach, I would guess that "Il Premio di
Bonta" means something like "The Charity Award" and not "The Spirit of
Christmas", though both titles are appropriate for the story. Can any
of our Italian friends confirm this?
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"Circular logic will only make you dizzy!"
-----