Don Rosa wrote:
>>And if you think you can guess why, shut up! Don't Blum me a year before you
even see the story!!<<
As a student of linguistics, I'd say this has to be the best coinage of the
year!!!! (And since the year is over, I think it will stand.) It not only
converts the noun to a verb, but the very pun on Blum/bloom gives the
impression of something being opened; and using it as a *transitive* verb
(that is, an action verb *requiring* an object that receives the action)
further gives the sense that something is being *forced* open--a secret being
revealed. Bravo!
Example: The flowers bloomed (a natural occurrence). He blumed the flowers
(someone opened the petals).
AUGIE:
>>There. That's a lot more to chew on than even you thought capable, eh?<<
Not at all. I'm delighted!!
I think you're absolutely right. Regardless of the artists' intentions, these
stories by Barks & Rosa work on both levels, for adults and children. Your
choice of Pinky & the Brain was an apt example, as well. (One of the funniest
cartoons on the air! I get the feeling that the Brain is supposed to be an
Orson Welles type. What kid is going to pick up on that?) Your observations on
the Warner Brothers shorts was right on the money, too. I think I grew up
knowing more about 1940s life than I did my own generation (rationing,
Petrillo, Jack Benny, radio drama).
I also agree with your comments on the educational aspects of the Rosa
comics. If I could only get enough copies (oh, and not get SUED), I'd love to
use them in the classroom--when I teach English literature, for example. I
tell you, I never could warm up to Coleridge's "Kubla Kahn" until I read
"Return to Xanadu." And there it was--I could *finally* make sense of it. This
would be great for students of all ages. (So, if anyone knows where I can get
a bunch of beat-up copies, let me know!)
The old movie references: I'd expand this even further and bring up the
subject of the cinematic layout of many sequences in Rosa's work. To point out
the most recent example: In "A Little Something Special," page 8, panels 3 &
4. That "quick-cut" transition is pure cinema; these things never fail to take
my breath away....
While I'm boring everyone with language trivia, I have a very small nit to
pick. In ALSS, when Glomgold refers to Magica as "Signorina," the letterist
didn't need to include the circumflex over the "n." Unlike Spanish, I don't
believe the Italian language uses this--that's what the "g" in Signorina is
for, isn't it? Some REAL Italians on this list can give us the facts.
Ciao!
--carmen a.k.a. Carmelo
Author
Topic: 199712
(314 messages)
CarmenG
More speaking in tongues
Message 301 -
1997-12-31 at 06:28:47
Katie Sullivan
Oodles of Stuff
Message 302 -
1997-12-31 at 06:42:44
> Don Rosa's stories remind me a lot of Animaniacs on this level: Kids
> can read
> them and enjoy them.
You've got a point. And since I love both, that's a good thing!
> Finally, on the subject of Mr. Blum. I've discounted most of his
> writings
> since the time he compared Don Rosa to Flintheart Glomgold!
GRR... >:-( I mean, I really like ol' Flinty as a character, but he
*is* a pretty rotten guy!
> And he subtly reveals details about his dislikes: "the sweat beads,"
> "the motion
> lines."
After I read that, I looked through the story, and I didn't really
notice any excessive motion lines, and as for the sweat beads, they just
fit in with Rosa's detailed style. Just because Barks' style was a
little simpler doesn't mean that Rosa's is cluttered. Quite the
contrary. I enjoy the super detail!Regarding Ludwig VonDrake...I'd like
to see him as Matilda's husband, not out of any great fondness for his
character (due only to lack of familiarity) but because I like Matilda
and want to see her find happiness. (Did they have kids? More cousins
for Donald!!!) I did notice him on the platform in Little Something
Special, even before it was pointed out here.
Moving on to Don Rosa's comments...
> 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!
Gee, I'd love to see the 40-page version! ;-) I like Donald's speech a
lot, but I do agree that a longer one would have been even better.
> (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 $crooge... I'm a sucker for that stuff.
Ditto! :-)
> Not too picky, but you're not stopping to think that there's NO other
> way I
> can handle it in the space I'm allowed.
Touche'.
> You are supposed to fill in the gaps between the panels with your
> imagination, and
> think of all the things or the time that takes place in between.
Well, sure. Without imagination, how could one appreciate a story about
anthropomorphic ducks?!
> And ask yourself, IF you wanted me to accurately depict the full
> sinking of the
> Titanic, which other 20 pages of that episode of the "Lo$" would you
> have
> wanted me to have eliminated?
ARG! Don't even ask that question! I agree the nitpicky details of the
Titanic's sinking were irrelevant to the $crooge biography. It's just
me being an obsessed fan again! ;-D
> But check a few other details and be reassured. For instance, that
> deck
> chair that slides past in one panel -- that was *exactly* the sort of
> deck
> chairs they had on the Titanic! I made sure of that. There are
> accuracies in
> such tiny details in my stories that no one will ever know them all...
> I do
> it just for my own private amusement.
Sure enough! Neat!!
I know what you mean about the tiny details. I do a *lot* of creative
writing, mainly withing the science fiction/fantasy/romance genre, and I
put in little references and continuities that only I notice. But it's
fun!
> That leads me to ask for help with my current project -- the new
> episode in
> the "Lo$"... 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!!!)
Yay! More Lo$! Yipee!Indonesia? You've got my curiosity...
Even if I wanted to "Blum you" ;-) I couldn't!
> I'll [do more with Hortense and Matilda] some other time, when you
> least expect it, unless I get
> Blummed, but that will-not-happen-again. I vow that.
Both great news! I really do want to see what happened to $crooge's
sisters after they dropped off the face of the earth.
> But on that cover -- look at the face in the
> crowd, the middle one in the area you see if you look off the tip of
> DD's
> raised foot. * I didn't draw that face! * I don't have a clue as to
> why the
> harmless face I drew was removed and that odd puss was inserted -- and
>
> what's that thing on its head?
Smoley Hokes! I hadn't noticed that before, but that's definitely not
one of your faces! And what a dumb hat! Twilight Zone...
> I see some changes in dialogue -- where Donald is saying "did someone
> slip
> these kids some silly pills", my dialogue was "spiked punch".
I agree that it doesn't seem like much of a change. You'd think a
reference to drugs would be considered worse than alcohol, since the
former is illegal!
> And later when the train is about to fall into the sewer,
> Flintheart says something that is a less direct reference to what he
> is
> smelling than what I had written. I think my line was like -- "I sure
> smell SOMETHING and it ain't 'success'!"
LOL! The idea is still clearly conveyed, though. ;-)
> Also, Katie, I'm glad you're enjoying your hardback "Lo$" book.
"Enjoy" is an understatement. I *love* it! It's so nice to have the
whole series all in one volume, and *what* a volume!On to non-Rosa
comments...
> Aside from his usually bushy eyebrows and
> gray-tinted whiskers, and of course the accents, $crooge and [Ludwig]
> could be twins.
Physically, maybe, but certainly not in personality!
> Rich M. mentioned Lo$ 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?
****
Well, I'll quit rambling and taking up space now! Happy New Year!!!
Katie Sullivan
(a.k.a. Miss Quackfaster)
"Mark Twain" "Where? I want his autograph!" ~ Lo$ Ch. 2
> can read
> them and enjoy them.
You've got a point. And since I love both, that's a good thing!
> Finally, on the subject of Mr. Blum. I've discounted most of his
> writings
> since the time he compared Don Rosa to Flintheart Glomgold!
GRR... >:-( I mean, I really like ol' Flinty as a character, but he
*is* a pretty rotten guy!
> And he subtly reveals details about his dislikes: "the sweat beads,"
> "the motion
> lines."
After I read that, I looked through the story, and I didn't really
notice any excessive motion lines, and as for the sweat beads, they just
fit in with Rosa's detailed style. Just because Barks' style was a
little simpler doesn't mean that Rosa's is cluttered. Quite the
contrary. I enjoy the super detail!Regarding Ludwig VonDrake...I'd like
to see him as Matilda's husband, not out of any great fondness for his
character (due only to lack of familiarity) but because I like Matilda
and want to see her find happiness. (Did they have kids? More cousins
for Donald!!!) I did notice him on the platform in Little Something
Special, even before it was pointed out here.
Moving on to Don Rosa's comments...
> 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!
Gee, I'd love to see the 40-page version! ;-) I like Donald's speech a
lot, but I do agree that a longer one would have been even better.
> (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 $crooge... I'm a sucker for that stuff.
Ditto! :-)
> Not too picky, but you're not stopping to think that there's NO other
> way I
> can handle it in the space I'm allowed.
Touche'.
> You are supposed to fill in the gaps between the panels with your
> imagination, and
> think of all the things or the time that takes place in between.
Well, sure. Without imagination, how could one appreciate a story about
anthropomorphic ducks?!
> And ask yourself, IF you wanted me to accurately depict the full
> sinking of the
> Titanic, which other 20 pages of that episode of the "Lo$" would you
> have
> wanted me to have eliminated?
ARG! Don't even ask that question! I agree the nitpicky details of the
Titanic's sinking were irrelevant to the $crooge biography. It's just
me being an obsessed fan again! ;-D
> But check a few other details and be reassured. For instance, that
> deck
> chair that slides past in one panel -- that was *exactly* the sort of
> deck
> chairs they had on the Titanic! I made sure of that. There are
> accuracies in
> such tiny details in my stories that no one will ever know them all...
> I do
> it just for my own private amusement.
Sure enough! Neat!!
I know what you mean about the tiny details. I do a *lot* of creative
writing, mainly withing the science fiction/fantasy/romance genre, and I
put in little references and continuities that only I notice. But it's
fun!
> That leads me to ask for help with my current project -- the new
> episode in
> the "Lo$"... 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!!!)
Yay! More Lo$! Yipee!Indonesia? You've got my curiosity...
Even if I wanted to "Blum you" ;-) I couldn't!
> I'll [do more with Hortense and Matilda] some other time, when you
> least expect it, unless I get
> Blummed, but that will-not-happen-again. I vow that.
Both great news! I really do want to see what happened to $crooge's
sisters after they dropped off the face of the earth.
> But on that cover -- look at the face in the
> crowd, the middle one in the area you see if you look off the tip of
> DD's
> raised foot. * I didn't draw that face! * I don't have a clue as to
> why the
> harmless face I drew was removed and that odd puss was inserted -- and
>
> what's that thing on its head?
Smoley Hokes! I hadn't noticed that before, but that's definitely not
one of your faces! And what a dumb hat! Twilight Zone...
> I see some changes in dialogue -- where Donald is saying "did someone
> slip
> these kids some silly pills", my dialogue was "spiked punch".
I agree that it doesn't seem like much of a change. You'd think a
reference to drugs would be considered worse than alcohol, since the
former is illegal!
> And later when the train is about to fall into the sewer,
> Flintheart says something that is a less direct reference to what he
> is
> smelling than what I had written. I think my line was like -- "I sure
> smell SOMETHING and it ain't 'success'!"
LOL! The idea is still clearly conveyed, though. ;-)
> Also, Katie, I'm glad you're enjoying your hardback "Lo$" book.
"Enjoy" is an understatement. I *love* it! It's so nice to have the
whole series all in one volume, and *what* a volume!On to non-Rosa
comments...
> Aside from his usually bushy eyebrows and
> gray-tinted whiskers, and of course the accents, $crooge and [Ludwig]
> could be twins.
Physically, maybe, but certainly not in personality!
> Rich M. mentioned Lo$ 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?
****
Well, I'll quit rambling and taking up space now! Happy New Year!!!
Katie Sullivan
(a.k.a. Miss Quackfaster)
"Mark Twain" "Where? I want his autograph!" ~ Lo$ Ch. 2
Jack Elmore
Disney comics Digest V97 #287
Message 303 -
1997-12-31 at 07:13:46
Please remove me from your mailing list.
Thank You!
Thank You!
Don Rosa
Disney comics Digest V97 #287
Message 304 -
1997-12-31 at 08:34:23
>From: "Augie De Blieck Jr
>I also think that - and forgive me for bearing Geoffrey Blum out on
something
>- there is a more modern sensibility to Don's stories, even though they may
>take place in the 1950s. There's a greater sense of the overall mythos and
a
>greater attention to continuity and detail than Barks ever dreamt of.
And I never said I dislike everything or even most of what Blum writes of my
stories. I thought most of his introduction to the "Lo$" hardback was quite
good, especially how he compares my U$ stories to "ST: The Next Generation"
in how it deals with and regards the original material. But I don't like how
he reshapes facts to match his opinions, and especially how I keep getting
blindsided by it. I was thinking today that another problem is that he is so
used to writing about 40-60 year old tales that everyone has read 10 times
that he has no sensitivities to new stories that people might want to read
for the first time WITHOUT some overblown analysis taking all the fun and
charm out of it. I respect the writing that many people have done analyzing
Barks' old stories.... but, like my sequels, those writings do nothing to
improve my enjoyment of those stories, and, if anything, those writings
might spoil the fun a tad.
>There's background in-jokes you wouldn't find in a Barks tale.
>Part of that also must have something to do with the time factor. Barks
was
>getting paid to churn out the stories at a mind-numbing pace. His output
must also be looked at in that regard. Don has something of a more
leisurely pace with which to work. So he can take the time to work more
irritating and
>needless detail in his artwork.
What makes you think I work in any different a system than Barks did? Why do
I have more time or a more leisurely pace? I get paid a flat page rate. The
more detail I put on each page and the more research I do for each scene,
the slower the work goes, but that flat rate stays the same. If I knew how
to work faster, believe me, I WOULD. But doing my stories differently is not
an option I know how to give myself. I'm not saying this to imply that has
anything to do with the quality of the work, but I don't know what sort of
system you think I work in.
>I also think that - and forgive me for bearing Geoffrey Blum out on
something
>- there is a more modern sensibility to Don's stories, even though they may
>take place in the 1950s. There's a greater sense of the overall mythos and
a
>greater attention to continuity and detail than Barks ever dreamt of.
And I never said I dislike everything or even most of what Blum writes of my
stories. I thought most of his introduction to the "Lo$" hardback was quite
good, especially how he compares my U$ stories to "ST: The Next Generation"
in how it deals with and regards the original material. But I don't like how
he reshapes facts to match his opinions, and especially how I keep getting
blindsided by it. I was thinking today that another problem is that he is so
used to writing about 40-60 year old tales that everyone has read 10 times
that he has no sensitivities to new stories that people might want to read
for the first time WITHOUT some overblown analysis taking all the fun and
charm out of it. I respect the writing that many people have done analyzing
Barks' old stories.... but, like my sequels, those writings do nothing to
improve my enjoyment of those stories, and, if anything, those writings
might spoil the fun a tad.
>There's background in-jokes you wouldn't find in a Barks tale.
>Part of that also must have something to do with the time factor. Barks
was
>getting paid to churn out the stories at a mind-numbing pace. His output
must also be looked at in that regard. Don has something of a more
leisurely pace with which to work. So he can take the time to work more
irritating and
>needless detail in his artwork.
What makes you think I work in any different a system than Barks did? Why do
I have more time or a more leisurely pace? I get paid a flat page rate. The
more detail I put on each page and the more research I do for each scene,
the slower the work goes, but that flat rate stays the same. If I knew how
to work faster, believe me, I WOULD. But doing my stories differently is not
an option I know how to give myself. I'm not saying this to imply that has
anything to do with the quality of the work, but I don't know what sort of
system you think I work in.
Leonardo Gori
Scarpa's reprints in Italy
Message 305 -
1997-12-31 at 09:22:18
Hi all!
This is a *VERY* interesting mailing list. I'm sorry my English is not
adequate to contribute (I wish I could!) but, as some contributors know, my
English is really "terrific" ;-))). Many thanks for all the info, and my
best holyday greetings to all!
"Dr. Archontis Pantsios" <(Email removed)> says:
>What's the best way to get Scarpa's old stories? Are there collected
>editions of his work in Italy?
Yes, positively. "Comic Art" publisher (Via F. Domiziano, 9 ROMA - ITALY,
(Email removed) ), printed (for the "direct" market) a *complete* edition
of Scarpa's early work (only 1 episode is missing, "Codino Cavallo
marino"), from the very beginning (1953) to 1962, in 12 hardbound volumes,
larger (in format) than "Topolino". The books are in sharp b/w, the sources
are the Mondadori's proofs, corrected and integrated with the lost
material, and with contribution of me, Luca and alberto. The series is "Le
grandi storie di...", and they are also other volumes devoted to Carpi's,
Bottaro's, Cavazzano's and also some american authors' work.
Happy new Year!
Leonardo Gori
Leonardo Gori
(Email removed)
(Email removed)
http://www.agora.stm.it/L.Gori/home.htm
This is a *VERY* interesting mailing list. I'm sorry my English is not
adequate to contribute (I wish I could!) but, as some contributors know, my
English is really "terrific" ;-))). Many thanks for all the info, and my
best holyday greetings to all!
"Dr. Archontis Pantsios" <(Email removed)> says:
>What's the best way to get Scarpa's old stories? Are there collected
>editions of his work in Italy?
Yes, positively. "Comic Art" publisher (Via F. Domiziano, 9 ROMA - ITALY,
(Email removed) ), printed (for the "direct" market) a *complete* edition
of Scarpa's early work (only 1 episode is missing, "Codino Cavallo
marino"), from the very beginning (1953) to 1962, in 12 hardbound volumes,
larger (in format) than "Topolino". The books are in sharp b/w, the sources
are the Mondadori's proofs, corrected and integrated with the lost
material, and with contribution of me, Luca and alberto. The series is "Le
grandi storie di...", and they are also other volumes devoted to Carpi's,
Bottaro's, Cavazzano's and also some american authors' work.
Happy new Year!
Leonardo Gori
Leonardo Gori
(Email removed)
(Email removed)
http://www.agora.stm.it/L.Gori/home.htm
Augie De Blieck Jr.
Disney comics Digest V97 #287
Message 306 -
1997-12-31 at 11:18:03
Hi Don,
> What makes you think I work in any different a system than Barks did? Why do
> I have more time or a more leisurely pace? I get paid a flat page rate. The
> more detail I put on each page and the more research I do for each scene,
> the slower the work goes, but that flat rate stays the same. If I knew how
> to work faster, believe me, I WOULD.
It's not so much that as the fact that you're not sustaining the Duck books
yourself in the same way Barks did in his hey-day, when he was expected to draw
a book a month, more or less. Perhaps I'm misunderstanding how Barks worked,
but it was always my impression that he was constantly under the gun to get the
next story done for the very next issue of whatever - Donald Duck, WDC&S, Uncle
$crooge. I mean, the first how many Uncle $crooge issues consist of nothing
but Barks art? You're not expected to do that, nor are you doing it. You
enjoy the certain freedom to take as much or as little time on a story as you
want. You choose your work speed, whatever you may be capable of. I
understand you get paid a flat page rate and have to finish so much a year just
to pay the bills. And that surely influences your speed and output. But
nothing like the way Barks used to work. I'm not calling you a wimp for this,
nor do I think you should work that way, nor am I saying you can afford to take
a year to draw a 22 page adventure story just so you can put in all the
background gags you wish.
-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
> What makes you think I work in any different a system than Barks did? Why do
> I have more time or a more leisurely pace? I get paid a flat page rate. The
> more detail I put on each page and the more research I do for each scene,
> the slower the work goes, but that flat rate stays the same. If I knew how
> to work faster, believe me, I WOULD.
It's not so much that as the fact that you're not sustaining the Duck books
yourself in the same way Barks did in his hey-day, when he was expected to draw
a book a month, more or less. Perhaps I'm misunderstanding how Barks worked,
but it was always my impression that he was constantly under the gun to get the
next story done for the very next issue of whatever - Donald Duck, WDC&S, Uncle
$crooge. I mean, the first how many Uncle $crooge issues consist of nothing
but Barks art? You're not expected to do that, nor are you doing it. You
enjoy the certain freedom to take as much or as little time on a story as you
want. You choose your work speed, whatever you may be capable of. I
understand you get paid a flat page rate and have to finish so much a year just
to pay the bills. And that surely influences your speed and output. But
nothing like the way Barks used to work. I'm not calling you a wimp for this,
nor do I think you should work that way, nor am I saying you can afford to take
a year to draw a 22 page adventure story just so you can put in all the
background gags you wish.
-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
Augie De Blieck Jr.
Taliaferro's Strips
Message 307 -
1997-12-31 at 11:18:03
Hi Steve,
> Gosh, I happen to like the Taliaferro reprint strips. Am I alone in this?
> Should I be shunned by the dcomics community?
I think they're fine in limited doses. Taking up half a comic book for them is
a bit much. Plus, there aren't that many gags: Donald at the movie theater,
Donald pulling a gag on the nephews only to have it backfire, nephews pull a
gag on Donald, Donald's car breaks down, Donald and an animal...
I think if you used them as one page fillers here and there I wouldn't mind so
much. Or if they were all just reprinted in a couple of albums, that would be
fine, too.
-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
--------------------------------
End of Disney comics Digest V97 Issue #288
******************************************
> Gosh, I happen to like the Taliaferro reprint strips. Am I alone in this?
> Should I be shunned by the dcomics community?
I think they're fine in limited doses. Taking up half a comic book for them is
a bit much. Plus, there aren't that many gags: Donald at the movie theater,
Donald pulling a gag on the nephews only to have it backfire, nephews pull a
gag on Donald, Donald's car breaks down, Donald and an animal...
I think if you used them as one page fillers here and there I wouldn't mind so
much. Or if they were all just reprinted in a couple of albums, that would be
fine, too.
-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
--------------------------------
End of Disney comics Digest V97 Issue #288
******************************************
Anna-Maija Ihander
1998 is coming
Message 308 -
1997-12-31 at 11:58:53
.*.
< ^ ^ > **'
|O O| //
(___) //
/__ \/_
|___|/__|
##===| /|
\ | |
\_\|
GOOD DUCK FOR 1998!
Anna-Maija
P.s. Aku Ankka, the Finnish Donald Duck magazine, has apparently started
putting the drawers' and writers' names next to the stories for all of
us to see. Isn't that just great?!
------------------------------------------------
Anna-Maija Ihander < ^ ^ >
(Email removed) |O O|---------.
(___) ##### ||
"Reality is for people who | ### ||
can't handle Star Trek" | |----| |#
|_| |_|
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
< ^ ^ > **'
|O O| //
(___) //
/__ \/_
|___|/__|
##===| /|
\ | |
\_\|
GOOD DUCK FOR 1998!
Anna-Maija
P.s. Aku Ankka, the Finnish Donald Duck magazine, has apparently started
putting the drawers' and writers' names next to the stories for all of
us to see. Isn't that just great?!
------------------------------------------------
Anna-Maija Ihander < ^ ^ >
(Email removed) |O O|---------.
(___) ##### ||
"Reality is for people who | ### ||
can't handle Star Trek" | |----| |#
|_| |_|
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Dominik Altevogt
Disney comics Digest V97 #287
Message 309 -
1997-12-31 at 13:51:27
Don wrote:
> 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.
All:
Is there anybody out there, who could send me a copy of ADVENTUROUS U$McD #2
to Germany?
Dominik Altevogt ,,,,,
(Email removed) (o o)
----------------oOO--(_)--OOo-----------------
> Actually, I got interested, and went out and bought copies of that
> ADVENTUROUS U$McD #2 over the weekend to see that story for myself, since I
> was so proud of it, despite how it was spoiled.
All:
Is there anybody out there, who could send me a copy of ADVENTUROUS U$McD #2
to Germany?
Dominik Altevogt ,,,,,
(Email removed) (o o)
----------------oOO--(_)--OOo-----------------
Fluks, H.W.
Archive of Australian Disney comics
Message 310 -
1997-12-31 at 14:50:52
David King:
> the archive has no records of Australian Disney comics. [..]
> I thought I would
> start up a database myself. So if there are any readers of the list, please
> email me privately with details of your holdings.
> [..] the information I would like is: the catalogue
> numbers of the comics in your collection together with the main story in
> each (for identification purposes).
Why not index *all* stories in an issue?
If you plan to do that, I'll be glad to include the data in the
Disney comics Database!
--Harry.
(A happy 1998 to all!)
><><><><
> the archive has no records of Australian Disney comics. [..]
> I thought I would
> start up a database myself. So if there are any readers of the list, please
> email me privately with details of your holdings.
> [..] the information I would like is: the catalogue
> numbers of the comics in your collection together with the main story in
> each (for identification purposes).
Why not index *all* stories in an issue?
If you plan to do that, I'll be glad to include the data in the
Disney comics Database!
--Harry.
(A happy 1998 to all!)
><><><><
Fluks, H.W.
Lava in my cassava on Java
Message 311 -
1997-12-31 at 15:02:18
DON R.:
> That leads me to ask for help with my current project --
> taking place in late 19th century Indonesia.
> 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.
I don't know any good documentary books about the 19th-century
East Indies, but there's one ficional book that at least deserves a
reference in your story: Max Havelaar by Multatuli (ps. of E.Douwes
Dekker). It is one of the most famous books of Dutch literature
and it is set in the Dutch East Indies colony in the end of the
19th century. Though the story is fiction, the description of the
colony is very accurate. Try to read (at least a review of) that book!
--Harry.
(It's probably already 1998 in New Zealand, so happy new year!)
><><><><
> That leads me to ask for help with my current project --
> taking place in late 19th century Indonesia.
> 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.
I don't know any good documentary books about the 19th-century
East Indies, but there's one ficional book that at least deserves a
reference in your story: Max Havelaar by Multatuli (ps. of E.Douwes
Dekker). It is one of the most famous books of Dutch literature
and it is set in the Dutch East Indies colony in the end of the
19th century. Though the story is fiction, the description of the
colony is very accurate. Try to read (at least a review of) that book!
--Harry.
(It's probably already 1998 in New Zealand, so happy new year!)
><><><><
Fluks, H.W.
Catalogue errors
Message 312 -
1997-12-31 at 15:07:04
>On Dec. 15, Soeren Krarup Olesen wrote:
>SCANDINAVIANS:
>Errors found in our catalogue:
>The story 'Gavtyven i Andeby' ("I TL 385-A") [..]
The story 'Mickey Mouse og den sorte hummer' in JB 11 [..]
Normally I would say that corrections to the Danish part of
the Disney comics Database can best be sent to Ole Reichstein
Nielsen. But Ole has been unreachable in the past weeks...
OLE, where are you?
--Harry.
<><><><
>SCANDINAVIANS:
>Errors found in our catalogue:
>The story 'Gavtyven i Andeby' ("I TL 385-A") [..]
The story 'Mickey Mouse og den sorte hummer' in JB 11 [..]
Normally I would say that corrections to the Danish part of
the Disney comics Database can best be sent to Ole Reichstein
Nielsen. But Ole has been unreachable in the past weeks...
OLE, where are you?
--Harry.
<><><><
Eta Beta
Disney comics Digest V97 #287
Message 313 -
1997-12-31 at 15:24:05
Hi, Folks
DON ROSA
>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.
Sad. And MEAN. Why aren't authors the ones who actually decide what =
to do with their labours of love ?
ARCHONTIS
>What's the best way to get Scarpa's old stories?
Italian editions, I reckon
>Are there collected editions of his work in Italy?
Indeed! Comic Art has 12 volumes already done and 3 others in the =
making, hardback and B/W, =E0 la CBL (but smaller). Chronological and =
annotated, with essays from Becattini, Boschi, Gori, Sani etc.
Disney Italia will also publish issues of "I Maestri Disney" totally =
dedicated to him.
>Where can someone find an index of his stories?
On the web, on Disney comics pages at
http://www.update.uu.se/%7Estarback/disney-comics/.
Or in print, in the book "Romano Scarpa. Un Cartoonist Italiano fra =
animazione e fumetti" by (again :-) Boschi-Gori-Sani (Alessandro), or =
in the quoted Comic Art books.
Comic Art is also on the web at
http://www.mix.it/comicart/
>Where are they being re-printed now?
Apart the already quoted, In various titles like the "Classici" or =
other pocket book collections.
>I hope
>that Gladstone will print his stories in the new U$ and also in the U$A
>album series when the Barks well runs dry next year.
I've been pesterin' them about it ;-)
LUCA BOSCHI
>"Paperino e i gamberi in salm=EC" (the very first story he wrote, and
>partially drew
Partially ?
Cheers, and Happy New Year
Eta Beta
DON ROSA
>I wanted to make Ludwig von Drake as much a part of the story as
>I made a point of making each of the other Duckburg characters. But Egmont
>nixed the idea since they have decided Ludwig does not exist.
Sad. And MEAN. Why aren't authors the ones who actually decide what =
to do with their labours of love ?
ARCHONTIS
>What's the best way to get Scarpa's old stories?
Italian editions, I reckon
>Are there collected editions of his work in Italy?
Indeed! Comic Art has 12 volumes already done and 3 others in the =
making, hardback and B/W, =E0 la CBL (but smaller). Chronological and =
annotated, with essays from Becattini, Boschi, Gori, Sani etc.
Disney Italia will also publish issues of "I Maestri Disney" totally =
dedicated to him.
>Where can someone find an index of his stories?
On the web, on Disney comics pages at
http://www.update.uu.se/%7Estarback/disney-comics/.
Or in print, in the book "Romano Scarpa. Un Cartoonist Italiano fra =
animazione e fumetti" by (again :-) Boschi-Gori-Sani (Alessandro), or =
in the quoted Comic Art books.
Comic Art is also on the web at
http://www.mix.it/comicart/
>Where are they being re-printed now?
Apart the already quoted, In various titles like the "Classici" or =
other pocket book collections.
>I hope
>that Gladstone will print his stories in the new U$ and also in the U$A
>album series when the Barks well runs dry next year.
I've been pesterin' them about it ;-)
LUCA BOSCHI
>"Paperino e i gamberi in salm=EC" (the very first story he wrote, and
>partially drew
Partially ?
Cheers, and Happy New Year
Eta Beta
Jack Elmore
Remove from mail list!
Message 314 -
1997-12-31 at 20:37:01
Please remove me from your mailing list!
Thank You!
Thank You!