From: Mike Schneiderath
>>>>I have only a short question (and please forgive me if you have already
answered before). I noticed in the Gladstone edition of "A little something
special", Page 7, last Panel,=20
FG says:=20
"...so I will become the richest Duck on earth"
while in the Lo$, Chapter 11, last page, panel 3 scrooge reads:
"...You are now the richest man in the world!"
Isn=B4t that a little bit inconsisitent?
And I know you said that you see the characters as people and and not as
funny animals. So do you treat duck/man just as the same, or ...?
I use "Duck" and "Man" interchangably. Hopefully equally. Yes, I see these
characters as actual human beings in my mind and heart. But I know that if I
constantly called them "men", some readers might think it odd, so I just
sorta do half and half. I don't try to impose my view of these characters
on anyone... even though I will also never change my personal view of these
characters or be at all unsure of it.
So, to me, "Duck" = "man" and vice-versa.
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Author
Topic: 199801
(513 messages)
Don Rosa
Re:Digest #7
Message 121 -
1998-01-08 at 08:49:25
Fluks, H.W.
Heritage story
Message 122 -
1998-01-08 at 10:44:07
PAOLO:
> I've read as S-coded story
> where Scrooge declares to make Grandma Duck his sole heir (thus
> disfavoring Donald) in gratitude for her wonderful food.
Can you tell me the actual code of that story? It was reprinted in
Holland
without code, and for years I have been wondering where the story
came from, and who wrote and drew it! Especially the art is wonderful
for the time it was published (early 70s).
--Harry.
<><><><
> I've read as S-coded story
> where Scrooge declares to make Grandma Duck his sole heir (thus
> disfavoring Donald) in gratitude for her wonderful food.
Can you tell me the actual code of that story? It was reprinted in
Holland
without code, and for years I have been wondering where the story
came from, and who wrote and drew it! Especially the art is wonderful
for the time it was published (early 70s).
--Harry.
<><><><
Klirrdibir
Backward Germans
Message 123 -
1998-01-08 at 11:02:34
Dwight Decker wrote:
>German books, however, are consistently
>bottom-up (backwards from American practice).
Yeah, in Germany you have to tilt your head to
the left to read book titles, which seems more normal
to me.
By the way, did you know they published books in
Europe prior to 1492 ?
;-) Thomas Vorwerk
>German books, however, are consistently
>bottom-up (backwards from American practice).
Yeah, in Germany you have to tilt your head to
the left to read book titles, which seems more normal
to me.
By the way, did you know they published books in
Europe prior to 1492 ?
;-) Thomas Vorwerk
Fluks, H.W.
Backward Germans
Message 124 -
1998-01-08 at 11:26:22
Thomas (apparently triggered by the word "backwards"):
>Dwight Decker wrote:
>>German books, however, are consistently
>>bottom-up (backwards from American practice).
>By the way, did you know they published books in
>Europe prior to 1492 ?
I think Dwight was not trying to say that any of the two
ways is right or wrong. He just said that the Germans
do it "the other way around", when you compare it to
the USA way.
BTW: I wish there *were* a world standard for this. That
would save me some pain in the neck...
--Harry.
><><><><
>Dwight Decker wrote:
>>German books, however, are consistently
>>bottom-up (backwards from American practice).
>By the way, did you know they published books in
>Europe prior to 1492 ?
I think Dwight was not trying to say that any of the two
ways is right or wrong. He just said that the Germans
do it "the other way around", when you compare it to
the USA way.
BTW: I wish there *were* a world standard for this. That
would save me some pain in the neck...
--Harry.
><><><><
Marco Barlotti
On the subscription policy of Walt Disney Italy
Message 125 -
1998-01-08 at 11:56:10
I'd like to know from the Italian members of this mailing list whether the
following has happened to any of them.
On a "special summer issue" of PKNA (the "Paperinik New Adventures" comic
book that's been discussed a few times here) I found an ad for a 1-year
subscription, yielding as a bonus prize the famous, already very rare "issue
#0" of PKNA. I'm not especially fond of PKNA but it has some interesting
features, so I thought it would be worthwhile to subscribe, mainly because I
was attracted by the "issue #0" promise.
So I sent in the subscription form. They sent me instructions on how to pay.
I paid. I got three issues of PKNA, but no news about "issue #0"... until
yesterday, when I received a kind letter telling me that issue #0 is no more
available!
They are going to send me the PK-CLOCK instead, a "phosphorescent wall clock
that only PKers are allowed to have"...!!!
So: are there others who received the same surprise? Or are there others who
were luckier than me? Paolo? Fabrizio? Eta Beta?
It should go without saying (but I'll say it nonetheless...) that Walt
Disney Italy could not of course be certain to have enough copies for
everybody; but they should have checked the situation AT THE TIME OF FORM
SUBMITTANCE, not after payment!
-
-
-
Now I've filled in another form asking for the hard-cover copy of Lo$, and
promptly I've received demand for payment.
I've paid.
I won't be surprised to receive a kind letter saying: sorry, the hard-cover
copy of Lo$ is no more available, but cheer up, for your money we'll send
you a pink candlestick depicting Rockerduck and Belle Duck...
Marco
following has happened to any of them.
On a "special summer issue" of PKNA (the "Paperinik New Adventures" comic
book that's been discussed a few times here) I found an ad for a 1-year
subscription, yielding as a bonus prize the famous, already very rare "issue
#0" of PKNA. I'm not especially fond of PKNA but it has some interesting
features, so I thought it would be worthwhile to subscribe, mainly because I
was attracted by the "issue #0" promise.
So I sent in the subscription form. They sent me instructions on how to pay.
I paid. I got three issues of PKNA, but no news about "issue #0"... until
yesterday, when I received a kind letter telling me that issue #0 is no more
available!
They are going to send me the PK-CLOCK instead, a "phosphorescent wall clock
that only PKers are allowed to have"...!!!
So: are there others who received the same surprise? Or are there others who
were luckier than me? Paolo? Fabrizio? Eta Beta?
It should go without saying (but I'll say it nonetheless...) that Walt
Disney Italy could not of course be certain to have enough copies for
everybody; but they should have checked the situation AT THE TIME OF FORM
SUBMITTANCE, not after payment!
-
-
-
Now I've filled in another form asking for the hard-cover copy of Lo$, and
promptly I've received demand for payment.
I've paid.
I won't be surprised to receive a kind letter saying: sorry, the hard-cover
copy of Lo$ is no more available, but cheer up, for your money we'll send
you a pink candlestick depicting Rockerduck and Belle Duck...
Marco
Donald D. Markstein
Junkville Journal
Message 126 -
1998-01-08 at 16:04:12
DAVID GERSTEIN --
I think the worst of the Barks MGM re-translated-back-to-
English stories was the one where Barney Bear and Benny Burro met
a parrot named "El Macaw". Since the name means "The Parrot" in
Spanish, they simply translated the name as "The Parrot". In
English, a name like "El Macaw" sounds kinda cool. But naming a
parrot "The Parrot" is more than a little on the flat side.
I found the mere act of re-translation appalling, because
it just plain didn't have to be done. THE BARKS BEAR BOOK has all
those stories, printed right from the original comics. The art
is muddy black and white, but the dialog is quite readable. And
the book is far from rare -- probably most Barks collectors in
both Europe and America have copies. No matter who it was that
rendered the stories back into English, why bother to translate
them at all? Why not just re-letter them straight from THE BARKS
BEAR BOOK?
Quack, Don =
=
I think the worst of the Barks MGM re-translated-back-to-
English stories was the one where Barney Bear and Benny Burro met
a parrot named "El Macaw". Since the name means "The Parrot" in
Spanish, they simply translated the name as "The Parrot". In
English, a name like "El Macaw" sounds kinda cool. But naming a
parrot "The Parrot" is more than a little on the flat side.
I found the mere act of re-translation appalling, because
it just plain didn't have to be done. THE BARKS BEAR BOOK has all
those stories, printed right from the original comics. The art
is muddy black and white, but the dialog is quite readable. And
the book is far from rare -- probably most Barks collectors in
both Europe and America have copies. No matter who it was that
rendered the stories back into English, why bother to translate
them at all? Why not just re-letter them straight from THE BARKS
BEAR BOOK?
Quack, Don =
=
PAULO CEZAR LOPES BARRETO,BARRETO
Misc... (#6)
Message 127 -
1998-01-08 at 17:24:26
Hi, people...
HARRY:
> As an addition to what Daniel said: the European facsimile reprints I
saw (Germany, Holland, Denmark) simply reprinted the old issues as if
they made color xeroxes.
Even the damages in some of the old issues was visible.
I'm not sure if it was the first time Abril made a facsimile reprint,
but I remember in 1984 they reprinted Pato Donald #1 for a golden
jubilee special. Of course the original #1 is very $carce <g>, so it
was a must-have for collectors, young and old. They did a great job by
flawlessly (zero visible damage) copying the original comic book; we
felt like reading, feeling and touching the real thing back in 1950.
Four years later Abril issued a 3-volume paperback facsimile
collection comprising issues #1-21. Same great standard. Definitely,
well-done facsimiles will please all collectors -- since real
collection high-rollers won't take a chance on spoiling their
high-valued, shink-wrapped, neutral-pH-board-backed,
humidity-control-stored oldies...
WILMER:
> What I was thinking is that "Tsamja Phe" might **not** be pronounced
phonetically as "Sam Jaffee" in certain other languages. Is it?
The focal point is to make sure every reader will remember who is Sam
Jaffee in the first place or the wordplay won't make sense. In the
Brazilian translations (I recall having read a couple of different
ones) they've replaced the Tsamja Phe name for a rather pointless pun
stressing on the character's Chinese origin (come on, PC zealots,
flame the translation...).
ARTHUR:
>Is this like some kind of 'rule' in each country, how they print
their titles on the side, or is it a coincidence that all my foreign
books are the same?
Indeed, if you lay an American book (every one) front cover up, the
title on the side will read left to right. If you do so with a
typical Continental European book, the title will be upside down. The
same applies to square-bound magazines. I know there's an
ISO-9000-like norm ruling that concern (however, largely disconsidered
in Brazil, where you can find some Disney comics with top-to-bottom
titles and others the other way round)... anyone can give us some
background on it?
JGARVIN:
> This year the National Geographic released its entire library of
magazines on CD Rom.
Have you seen them yet? Are the older illustrations well-scanned? (a
little color correction on those vintage Kodachromes would be fine)
As a modest NG collector, issues from early 50's and back are my piece
of cake. Occasional blatant Americana stuff alternating with reports
on African/Asian endless natural resources inhabited by people whose
happiness is conditioned to colonial rule and the proximity of NGS's
omnipresent cameras...
Reads like the real-life Barks counterpart, in time frame and in context.
[]s, P.C.Barreto
(Email removed)
HARRY:
> As an addition to what Daniel said: the European facsimile reprints I
saw (Germany, Holland, Denmark) simply reprinted the old issues as if
they made color xeroxes.
Even the damages in some of the old issues was visible.
I'm not sure if it was the first time Abril made a facsimile reprint,
but I remember in 1984 they reprinted Pato Donald #1 for a golden
jubilee special. Of course the original #1 is very $carce <g>, so it
was a must-have for collectors, young and old. They did a great job by
flawlessly (zero visible damage) copying the original comic book; we
felt like reading, feeling and touching the real thing back in 1950.
Four years later Abril issued a 3-volume paperback facsimile
collection comprising issues #1-21. Same great standard. Definitely,
well-done facsimiles will please all collectors -- since real
collection high-rollers won't take a chance on spoiling their
high-valued, shink-wrapped, neutral-pH-board-backed,
humidity-control-stored oldies...
WILMER:
> What I was thinking is that "Tsamja Phe" might **not** be pronounced
phonetically as "Sam Jaffee" in certain other languages. Is it?
The focal point is to make sure every reader will remember who is Sam
Jaffee in the first place or the wordplay won't make sense. In the
Brazilian translations (I recall having read a couple of different
ones) they've replaced the Tsamja Phe name for a rather pointless pun
stressing on the character's Chinese origin (come on, PC zealots,
flame the translation...).
ARTHUR:
>Is this like some kind of 'rule' in each country, how they print
their titles on the side, or is it a coincidence that all my foreign
books are the same?
Indeed, if you lay an American book (every one) front cover up, the
title on the side will read left to right. If you do so with a
typical Continental European book, the title will be upside down. The
same applies to square-bound magazines. I know there's an
ISO-9000-like norm ruling that concern (however, largely disconsidered
in Brazil, where you can find some Disney comics with top-to-bottom
titles and others the other way round)... anyone can give us some
background on it?
JGARVIN:
> This year the National Geographic released its entire library of
magazines on CD Rom.
Have you seen them yet? Are the older illustrations well-scanned? (a
little color correction on those vintage Kodachromes would be fine)
As a modest NG collector, issues from early 50's and back are my piece
of cake. Occasional blatant Americana stuff alternating with reports
on African/Asian endless natural resources inhabited by people whose
happiness is conditioned to colonial rule and the proximity of NGS's
omnipresent cameras...
Reads like the real-life Barks counterpart, in time frame and in context.
[]s, P.C.Barreto
(Email removed)
D Decker
Backward Germans
Message 128 -
1998-01-08 at 17:40:32
On Jan 8, 10:26am, Fluks, H.W. wrote:
> Subject: Re: Backward Germans
> Thomas (apparently triggered by the word "backwards"):
> >Dwight Decker wrote:
> >>German books, however, are consistently
> >>bottom-up (backwards from American practice).
> >By the way, did you know they published books in
> >Europe prior to 1492 ?
>
> I think Dwight was not trying to say that any of the two
> ways is right or wrong. He just said that the Germans
> do it "the other way around", when you compare it to
> the USA way.
>
Thanks for coming to my defense, Harry! (When _will_ I
learn to use smiley emoticons for these things?!) Although...
I thought I _did_ say somewhere that the Germans do it
wrong?
--Dwight ("Ich hab's nicht so gemeint! Ehrlich!") Decker
> Subject: Re: Backward Germans
> Thomas (apparently triggered by the word "backwards"):
> >Dwight Decker wrote:
> >>German books, however, are consistently
> >>bottom-up (backwards from American practice).
> >By the way, did you know they published books in
> >Europe prior to 1492 ?
>
> I think Dwight was not trying to say that any of the two
> ways is right or wrong. He just said that the Germans
> do it "the other way around", when you compare it to
> the USA way.
>
Thanks for coming to my defense, Harry! (When _will_ I
learn to use smiley emoticons for these things?!) Although...
I thought I _did_ say somewhere that the Germans do it
wrong?
--Dwight ("Ich hab's nicht so gemeint! Ehrlich!") Decker
Claus Ola Margon Havik
Semic/Egmont, U$ heirs, LvD, Piscou
Message 129 -
1998-01-08 at 18:00:36
Harry:
> The Dutch Tom&Jerry comics are coming directly from Semic Press
> in Sweden. They include Barks reprints.
> Is Semic an Egmont company?
Semic was taken over by Bonnier, which was taken over by Egmont
I think it happened last autumn, at least I remember they (Semic)
wrote that their albums would still say Semic for a while since the
albums was already printed before the takeover.
Paulo:
> c) I've heard somewhere (correct me if I'm wrong): according to
> Brazilian law, legitimate and/or natural heirs can't be disinheirited
> (which never disturbed the "Quaaaack! Follow me to the fabulous gold
> mines in Antarctica or be disinheirited!"-type line in Brazilian
> editions) -- if other countries have similar laws, has been there some
> deliberate effort to circunvent it in translation?
Well, I'm not sure, but I think the law says here in Norway,
that you can't completely disinherit your family. Something
about a certain minimum sum you'll have to set aside in your will,
but then again I think this only applys to wife and children,
which U$ don't have.
Anyway I know I've read several stories with this kind of treat, but
lately it seems more like U$ has bean treating with collecting
old death rater than disinheriting, but since I haven't read
the original texts I don't know whether this is a changing trend
by writers or translators.
> a) Who are Scrooge's actual heirs, if any?
> e) In a lot of stories we can feel Donald is being overworked by
> Scrooge so as the old duck can't be displeased and Donald can grant
> his share in his uncle's heritage. However, I've read as S-coded story
> where Scrooge declares to make Grandma Duck his sole heir (thus
> disfavoring Donald) in gratitude for her wonderful food. In another
> story, Donald tries to borrow Scrooge some money, U$ turns him down,
> an angry DD says he'd rather ask Rockerduck, U$ lets DD do it -- no
> heritage threats involved whatsoever! Do you remember any other
> relevant inconsistencies on who will be swimming in Scrooge's money
> after his death?
Well there's a Barks story where Scrooge hides some pots of gold
under a rainbow and lets his possible heirs find it, which ends
with H, D & L being named as sole heirs.
Though I remember recently reading a new story (in the Norwegian weekly,
don't know by who or the title), where in one of the panels U$ drags a
reluctant DD while he (U$) is telling him (DD) that he has to to learn
how to run the fortune since HE (DD) is going to inherit U$'s money.
But then again if you tried to tie every fact in every story that's ever
been printed in the Norwegian weekly together, you would probably
find many inconsistencies, which brings me over to another question:
I think Don Rosa mentioned that Egmont wouldn't let him put Ludwig von
Drake in the Duck Three, because Egmont decided he doesn't exist.
Could somebody tell me why? It seems to me that since they've let
DD get so many other cousins, uncles, aunts and living in so many
different decades without ageing, surely they could let LvD exist
without confusing readers too much?
Picsou Magazine:
Is there anyway to order the Picsou Magazine from Norway or if it can
be found in Norway, and if there is, does anybody know how
much it would cost?
It's always interesting to keep up my French, but there's one more
question. Does Piscou use "school" French, or a lot of slang and
other odd spelling/words as Gladstone does in English.
Claus O. M. Havik
> The Dutch Tom&Jerry comics are coming directly from Semic Press
> in Sweden. They include Barks reprints.
> Is Semic an Egmont company?
Semic was taken over by Bonnier, which was taken over by Egmont
I think it happened last autumn, at least I remember they (Semic)
wrote that their albums would still say Semic for a while since the
albums was already printed before the takeover.
Paulo:
> c) I've heard somewhere (correct me if I'm wrong): according to
> Brazilian law, legitimate and/or natural heirs can't be disinheirited
> (which never disturbed the "Quaaaack! Follow me to the fabulous gold
> mines in Antarctica or be disinheirited!"-type line in Brazilian
> editions) -- if other countries have similar laws, has been there some
> deliberate effort to circunvent it in translation?
Well, I'm not sure, but I think the law says here in Norway,
that you can't completely disinherit your family. Something
about a certain minimum sum you'll have to set aside in your will,
but then again I think this only applys to wife and children,
which U$ don't have.
Anyway I know I've read several stories with this kind of treat, but
lately it seems more like U$ has bean treating with collecting
old death rater than disinheriting, but since I haven't read
the original texts I don't know whether this is a changing trend
by writers or translators.
> a) Who are Scrooge's actual heirs, if any?
> e) In a lot of stories we can feel Donald is being overworked by
> Scrooge so as the old duck can't be displeased and Donald can grant
> his share in his uncle's heritage. However, I've read as S-coded story
> where Scrooge declares to make Grandma Duck his sole heir (thus
> disfavoring Donald) in gratitude for her wonderful food. In another
> story, Donald tries to borrow Scrooge some money, U$ turns him down,
> an angry DD says he'd rather ask Rockerduck, U$ lets DD do it -- no
> heritage threats involved whatsoever! Do you remember any other
> relevant inconsistencies on who will be swimming in Scrooge's money
> after his death?
Well there's a Barks story where Scrooge hides some pots of gold
under a rainbow and lets his possible heirs find it, which ends
with H, D & L being named as sole heirs.
Though I remember recently reading a new story (in the Norwegian weekly,
don't know by who or the title), where in one of the panels U$ drags a
reluctant DD while he (U$) is telling him (DD) that he has to to learn
how to run the fortune since HE (DD) is going to inherit U$'s money.
But then again if you tried to tie every fact in every story that's ever
been printed in the Norwegian weekly together, you would probably
find many inconsistencies, which brings me over to another question:
I think Don Rosa mentioned that Egmont wouldn't let him put Ludwig von
Drake in the Duck Three, because Egmont decided he doesn't exist.
Could somebody tell me why? It seems to me that since they've let
DD get so many other cousins, uncles, aunts and living in so many
different decades without ageing, surely they could let LvD exist
without confusing readers too much?
Picsou Magazine:
Is there anyway to order the Picsou Magazine from Norway or if it can
be found in Norway, and if there is, does anybody know how
much it would cost?
It's always interesting to keep up my French, but there's one more
question. Does Piscou use "school" French, or a lot of slang and
other odd spelling/words as Gladstone does in English.
Claus O. M. Havik
D Decker
Semic/Egmont, U$ heirs, LvD, Piscou
Message 130 -
1998-01-08 at 18:25:06
On Jan 8, 5:00pm, Claus Ola Margon Havik wrote:
> Subject: Semic/Egmont, U$ heirs, LvD, Piscou
> Well, I'm not sure, but I think the law says here in Norway,
> that you can't completely disinherit your family. Something
> about a certain minimum sum you'll have to set aside in your will,
> but then again I think this only applys to wife and children,
> which U$ don't have.
I don't know about US law, either, but wills can be and are
challenged by the disappointed relatives. Aging millionaire
marries ex-Playboy Bunny fifty years younger than he is, dies
six months later (happy, no doubt), relatives (including grown
children older than the new wife) discover that he has left
everything to the Bunny and nothing to them...well, you can
bet somebody's going to court about this. (This is a slightly
generalized summary of an actual case recently in the news.)
Also, I've seen pitches from political organizations and
various do-good causes asking members to "remember us in your
will," and the instructions sometimes include a caution not
to go overboard. Don't leave _everything_ to the Home for
Homeless Cats because your nearest and dearest will challenge
the will in court as proof you weren't in sound mind when
you made it. Leave some minimum amount for the various relatives
so that a challenge won't stand up in court, which will ensure
that the bulk of your wealth will in fact go to the Home for
Homeless Cats instead of nothing at all.
>
> Anyway I know I've read several stories with this kind of treat, but
> lately it seems more like U$ has bean treating with collecting
> old death rater than disinheriting, but since I haven't read
> the original texts I don't know whether this is a changing trend
> by writers or translators.
Er...by "treat," you mean "threat"? (I don't mean to nitpick your
English, but the two words have very different meanings. In fact,
a humorless feminist a couple of years ago on this list misunderstood
one of the Scandihoovians typing the one when he meant the other, and
erupted into a very memorable flame.) You treat Donald to a bottle of
Gurgle-Urp, you threaten Donald with disinheriting him. I'm not
sure at all what's meant by "collecting old death," I'm sorry to say.
Then again, if I were to try to write in Norwegian, you wouldn't
understand me at all, so you're ahead of me there.
>
--Dwight Decker
> Subject: Semic/Egmont, U$ heirs, LvD, Piscou
> Well, I'm not sure, but I think the law says here in Norway,
> that you can't completely disinherit your family. Something
> about a certain minimum sum you'll have to set aside in your will,
> but then again I think this only applys to wife and children,
> which U$ don't have.
I don't know about US law, either, but wills can be and are
challenged by the disappointed relatives. Aging millionaire
marries ex-Playboy Bunny fifty years younger than he is, dies
six months later (happy, no doubt), relatives (including grown
children older than the new wife) discover that he has left
everything to the Bunny and nothing to them...well, you can
bet somebody's going to court about this. (This is a slightly
generalized summary of an actual case recently in the news.)
Also, I've seen pitches from political organizations and
various do-good causes asking members to "remember us in your
will," and the instructions sometimes include a caution not
to go overboard. Don't leave _everything_ to the Home for
Homeless Cats because your nearest and dearest will challenge
the will in court as proof you weren't in sound mind when
you made it. Leave some minimum amount for the various relatives
so that a challenge won't stand up in court, which will ensure
that the bulk of your wealth will in fact go to the Home for
Homeless Cats instead of nothing at all.
>
> Anyway I know I've read several stories with this kind of treat, but
> lately it seems more like U$ has bean treating with collecting
> old death rater than disinheriting, but since I haven't read
> the original texts I don't know whether this is a changing trend
> by writers or translators.
Er...by "treat," you mean "threat"? (I don't mean to nitpick your
English, but the two words have very different meanings. In fact,
a humorless feminist a couple of years ago on this list misunderstood
one of the Scandihoovians typing the one when he meant the other, and
erupted into a very memorable flame.) You treat Donald to a bottle of
Gurgle-Urp, you threaten Donald with disinheriting him. I'm not
sure at all what's meant by "collecting old death," I'm sorry to say.
Then again, if I were to try to write in Norwegian, you wouldn't
understand me at all, so you're ahead of me there.
>
--Dwight Decker
Harry Fluks
Several periods for Asterix
Message 131 -
1998-01-08 at 23:20:03
The following analysis was posted on the Asterix
mailing list ((Email removed) - hm, sounds familiar 8-)
by Martin Hooymans:
--start--
Most of the famous comic-series can be divided in roughly three periods:
1. The Early Beginnings
The drawings are a bit primitive and still have to undergo an evolution. The
stories are ok, but not as good as they will be in the golden age. The first
characters are set.
2. The Golden Age
The drawings are excellent. The stories are fantastic. New characters appear
that really contribute to the series.
3. The Aftermath
The drawings are of good quality, but a bit "too much". It seems as if the
inspiration for new ideas is gone. It looks as if old ideas are repeated
again. The great characters of the Golden Age are brought back, even if this
looks rather artificial.
I believe that you can apply this theory to most of the great comic-series
like Asterix, Lucky Luke, Tintin, Suske&Wiske (Bob&Bobette), Robbedoes
(Spirou). Although it becomes more complicated, when new authors are involved.
And of course you can never draw a clear line between the different periods,
because a series evolves slowly.
--end--
In the rest of his mail, Martin applies this theory on Asterix comics.
I think it certainly can be used for the Barks and Gottfredson comics:
Barks: Early (1942 - 1948), Gold (1948 - 1955), After (1956 - 1973).
The "After" period is quite long, and you could say that there are
"silver" (1958-1959) and "bronze" (1964-1966) periods in there as
well.
Gottfredson: Early (1930-1936), Gold (1937-1940), After (1941-1970s).
(I know you could argue about this, some people think the
Eega Beeva period is also Gold. Or maybe that's a different
matter because there were different writers involved.)
Maybe one can do this for other Disney comic writers/artists too.
But a full analysis can of course only be done when we have the
complete work. (I wonder which stage Don Rosa is in...)
--Harry.
"My name is Mickey Mouse - an' this is Goofy!"
"Yes! Isn't it?"
(1937 - the Golden age of Gottfredson)
mailing list ((Email removed) - hm, sounds familiar 8-)
by Martin Hooymans:
--start--
Most of the famous comic-series can be divided in roughly three periods:
1. The Early Beginnings
The drawings are a bit primitive and still have to undergo an evolution. The
stories are ok, but not as good as they will be in the golden age. The first
characters are set.
2. The Golden Age
The drawings are excellent. The stories are fantastic. New characters appear
that really contribute to the series.
3. The Aftermath
The drawings are of good quality, but a bit "too much". It seems as if the
inspiration for new ideas is gone. It looks as if old ideas are repeated
again. The great characters of the Golden Age are brought back, even if this
looks rather artificial.
I believe that you can apply this theory to most of the great comic-series
like Asterix, Lucky Luke, Tintin, Suske&Wiske (Bob&Bobette), Robbedoes
(Spirou). Although it becomes more complicated, when new authors are involved.
And of course you can never draw a clear line between the different periods,
because a series evolves slowly.
--end--
In the rest of his mail, Martin applies this theory on Asterix comics.
I think it certainly can be used for the Barks and Gottfredson comics:
Barks: Early (1942 - 1948), Gold (1948 - 1955), After (1956 - 1973).
The "After" period is quite long, and you could say that there are
"silver" (1958-1959) and "bronze" (1964-1966) periods in there as
well.
Gottfredson: Early (1930-1936), Gold (1937-1940), After (1941-1970s).
(I know you could argue about this, some people think the
Eega Beeva period is also Gold. Or maybe that's a different
matter because there were different writers involved.)
Maybe one can do this for other Disney comic writers/artists too.
But a full analysis can of course only be done when we have the
complete work. (I wonder which stage Don Rosa is in...)
--Harry.
"My name is Mickey Mouse - an' this is Goofy!"
"Yes! Isn't it?"
(1937 - the Golden age of Gottfredson)
Bror Hellman
Collectin' someones Death?
Message 132 -
1998-01-09 at 09:15:01
> I'm not sure at all what's meant by "collecting old death," I'm sorry
to say.
I _think_ he means "collecting old debt" if that sounds more familiar...
We scandihoovians pronounce these two words in a very similar fashion.
;-)
/ Steamboat Willie
------------------------------------------------------------------------
------------------------------------------------
Anything not nailed down is mine.
Everything I can pry loose is not nailed down.
------------------------------------------------------------------------
------------------------------------------------
--------------------------------
End of Disney comics Digest V98 Issue #8
****************************************
to say.
I _think_ he means "collecting old debt" if that sounds more familiar...
We scandihoovians pronounce these two words in a very similar fashion.
;-)
/ Steamboat Willie
------------------------------------------------------------------------
------------------------------------------------
Anything not nailed down is mine.
Everything I can pry loose is not nailed down.
------------------------------------------------------------------------
------------------------------------------------
--------------------------------
End of Disney comics Digest V98 Issue #8
****************************************
Gerstein, David DK - ECN
Disney comics Digest V98 #8
Message 133 -
1998-01-09 at 10:56:45
HARRY:
I think the "Golden Age" of Gottfredson really begins in 1934
with "The Captive Castaways" and "The Bat Bandit," both of which are
very mature and sophisticated stories (especially the latter). And I'd
say that the golden age continues until 1942 ("The Mystery of Hidden
River" being IMHO the last great classic of that period).
Eega? Great character, but I'll agree in the blink of an eye
that he only appeared when Mickey himself was past his prime. Half of
the fun of using Eega in our new D-stories is seeing how he interacts
with a more classically styled Mickey.
How about golden ages for Paul Murry? Weird situation - I love
his Wolves and Brer Rabbit in 1946-47, but find the immediately
succeeding material (ducks, early mice) to be rather inferior by
comparison. I'd say his "real" golden age is approximately 1953-1960.
In terms of other art-only creators, I think Daniel Branca's
golden age began around 1987 and hasn't really ended yet! But then, I've
been a Brancaholic for a while now. ;-)
David Gerstein
<(Email removed)>
I think the "Golden Age" of Gottfredson really begins in 1934
with "The Captive Castaways" and "The Bat Bandit," both of which are
very mature and sophisticated stories (especially the latter). And I'd
say that the golden age continues until 1942 ("The Mystery of Hidden
River" being IMHO the last great classic of that period).
Eega? Great character, but I'll agree in the blink of an eye
that he only appeared when Mickey himself was past his prime. Half of
the fun of using Eega in our new D-stories is seeing how he interacts
with a more classically styled Mickey.
How about golden ages for Paul Murry? Weird situation - I love
his Wolves and Brer Rabbit in 1946-47, but find the immediately
succeeding material (ducks, early mice) to be rather inferior by
comparison. I'd say his "real" golden age is approximately 1953-1960.
In terms of other art-only creators, I think Daniel Branca's
golden age began around 1987 and hasn't really ended yet! But then, I've
been a Brancaholic for a while now. ;-)
David Gerstein
<(Email removed)>
Santiago García Baños
disney comics in Spanish
Message 134 -
1998-01-09 at 12:04:52
------ =_NextPart_000_01BD1CEE.69801DC0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Andrea Destro wrote:
> Hello to everybody,
> is there someone that can tell me how to subscribe to Disney Comics in
> SPANISH language from here (Italy)?
>
> Is there any address on the Net that allows this?
>
> Thanks for any help,
>
> (Email removed)
Greetings from Spain, Andrea:
I'm very sorry to explain to you that, as far as I know, Disney comics=20
in Spain stopped being published weekly some years ago. Since then, =20
you can hardly ever find some volumes in the stores, and usually=20
among other comic characters and collections. I've been searching=20
over the local seekers in the net for some info, but I haven=B4t found=20
anything. Shameful, really!
The only way I think you can get through is maybe in the USA, or some=20
other countries in Southamerica. Maybe there is some company that=20
issues Spanish stuff. Try to search in the net.
If I got news about this, I'll tell you inmediately.
Bye!
Santiago Garc=EDa (SKN)
------ =_NextPart_000_01BD1CEE.69801DC0
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Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Andrea Destro wrote:
> Hello to everybody,
> is there someone that can tell me how to subscribe to Disney Comics in
> SPANISH language from here (Italy)?
>
> Is there any address on the Net that allows this?
>
> Thanks for any help,
>
> (Email removed)
Greetings from Spain, Andrea:
I'm very sorry to explain to you that, as far as I know, Disney comics=20
in Spain stopped being published weekly some years ago. Since then, =20
you can hardly ever find some volumes in the stores, and usually=20
among other comic characters and collections. I've been searching=20
over the local seekers in the net for some info, but I haven=B4t found=20
anything. Shameful, really!
The only way I think you can get through is maybe in the USA, or some=20
other countries in Southamerica. Maybe there is some company that=20
issues Spanish stuff. Try to search in the net.
If I got news about this, I'll tell you inmediately.
Bye!
Santiago Garc=EDa (SKN)
------ =_NextPart_000_01BD1CEE.69801DC0
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Marco Barlotti
Bottom-to-top vs. top-to-bottom spine titles
Message 135 -
1998-01-09 at 12:15:50
Glancing at my library, full of Italian titles, I'd honestly say that there
are enough books with spine titles going one way and enough books with spine
titles going the opposite way so that you really **can't** say that any rule
is followed.
Statistics might yield a majority of books following the
<lean-your-head-to-the-right> rule, but that's really **far** from saying
that this is a general rule for books printed in Italy...
Marco
are enough books with spine titles going one way and enough books with spine
titles going the opposite way so that you really **can't** say that any rule
is followed.
Statistics might yield a majority of books following the
<lean-your-head-to-the-right> rule, but that's really **far** from saying
that this is a general rule for books printed in Italy...
Marco