About my latest message, where it reads:
>Not only Biquinho's colors, but also his clothes had to be chosen by
contest.
It should read better this way:
>Not only Biquinho's *feather* colors, but also *the color of* his
clothes had to be chosen by contest.
Pages:
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Author
Topic: 199801
(513 messages)
PAULO CEZAR LOPES BARRETO,BARRETO
Biquinho: a little correction
Message 166 -
1998-01-12 at 22:49:14
Søren Krarup Olesen
History is unpredictable
Message 167 -
1998-01-13 at 00:36:36
EVERYONE:
I am fully aware of that the number of Rosa fans is rather
big on this mailing list. However, it seems that Rosa has sort of
"defined" the unquestionable truth about what happened
to Uncle Scrooge in the old days.
As far as I am concerned the early days of Scrooge is,
and should remain, a complete mystery. Of course Scrooge
tells stories about his youth, but the stories are not
necessarily supposed to be consistent.
I remember a story in which HD&L stated that each time
they asked Scrooge about details they got a new and
different explanation about what happened in the past, and
they somehow enjoyed that fact (so did I).
I agree, that putting Scrooge into time frames may seem
quite tempting and convenient, but is that the way we would
like to see Scrooge & Co. - stuck in their static past.
In my history book of Uncle Scrooge he meets a Brigitta
in early 60s and he builds up a kind of love/hate relation
to her. Is that "truth" valid here or is it not???
Soeren.
NB: I like the Rosa stories, but the Italian stories add
more refreshment and wild dynamics. And KATIE, I think
you should check out Brigitta McBridge - she has balls!!!
I am fully aware of that the number of Rosa fans is rather
big on this mailing list. However, it seems that Rosa has sort of
"defined" the unquestionable truth about what happened
to Uncle Scrooge in the old days.
As far as I am concerned the early days of Scrooge is,
and should remain, a complete mystery. Of course Scrooge
tells stories about his youth, but the stories are not
necessarily supposed to be consistent.
I remember a story in which HD&L stated that each time
they asked Scrooge about details they got a new and
different explanation about what happened in the past, and
they somehow enjoyed that fact (so did I).
I agree, that putting Scrooge into time frames may seem
quite tempting and convenient, but is that the way we would
like to see Scrooge & Co. - stuck in their static past.
In my history book of Uncle Scrooge he meets a Brigitta
in early 60s and he builds up a kind of love/hate relation
to her. Is that "truth" valid here or is it not???
Soeren.
NB: I like the Rosa stories, but the Italian stories add
more refreshment and wild dynamics. And KATIE, I think
you should check out Brigitta McBridge - she has balls!!!
Tarjei Kidd Olsen
Don Rosa Gladstone anniversary story
Message 168 -
1998-01-13 at 01:05:10
Hi,
Today I read the new Don Rosa Gladstone birthday story. I won't go into
detail now so as too not spoil the story for those who haven't read it, but
I WILL say that it's really good! I just really enjoyed the whole set-up,
and there's lots of funny moments..ONE of my favourites is the last panel.
Great story Don!
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
Today I read the new Don Rosa Gladstone birthday story. I won't go into
detail now so as too not spoil the story for those who haven't read it, but
I WILL say that it's really good! I just really enjoyed the whole set-up,
and there's lots of funny moments..ONE of my favourites is the last panel.
Great story Don!
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
D Decker
History is unpredictable
Message 169 -
1998-01-13 at 01:18:48
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On Jan 12, 11:36pm, S=F8ren Krarup Olesen wrote:
> I am fully aware of that the number of Rosa fans is rather
> big on this mailing list. However, it seems that Rosa has sort of
> "defined" the unquestionable truth about what happened
> to Uncle Scrooge in the old days.
>
> As far as I am concerned the early days of Scrooge is,
> and should remain, a complete mystery. Of course Scrooge
> tells stories about his youth, but the stories are not
> necessarily supposed to be consistent.
Different people have different opinions on this subject. If
it's any comfort, Carl Barks himself would probably agree with
you. There was that notorious Danish newspaper article of a
couple of years ago in which Barks was quoted as saying (this
is my recollection of a Danish translation of something Barks
said in English): "Rosa is showing all the nuts and bolts of
Scrooge's life so we can see how the machinery works, and in
my opinion that's boring."
>
> I remember a story in which HD&L stated that each time
> they asked Scrooge about details they got a new and
> different explanation about what happened in the past, and
> they somehow enjoyed that fact (so did I).
>
> I agree, that putting Scrooge into time frames may seem
> quite tempting and convenient, but is that the way we would
> like to see Scrooge & Co. - stuck in their static past.
I admire what Rosa's done, myself. He's taken the somewhat
chaotic scraps of information about Scrooge's life that Barks
scattered throughout his stories and made some kind of consistent
sense out of it all. It's a monumental achievement. Which, by
the way, any following writer is free to ignore. As far as I
know, Egmont isn't demanding that its writers set all their
Scrooge stories in 1952 or to follow Rosa's scheme of things
blindly. Most Egmont stories continue to be set in something
like the present just as Duck stories always have been. Rosa's
stores are just one subset of the total.
>
> In my history book of Uncle Scrooge he meets a Brigitta
> in early 60s and he builds up a kind of love/hate relation
> to her. Is that "truth" valid here or is it not???
Brigitta MacBridge has recently appeared in only one two-part story
in the US so far that I know of, so the character is pretty
much unknown here.
>
> NB: I like the Rosa stories, but the Italian stories add
> more refreshment and wild dynamics.
Again, different people have different opinions. I've read a
lot of Italian stories in German and Danish, and haven't liked
very many. In the collection I read over Christmas, there are
stories in which Huey, Dewey, & Louie play an April Fool's joke
on Ludwig von Drake that is an outright lie aimed at cadging
cookies and treats out of him, and Scrooge is depicted as not
just a miser but as downright nasty (e.g., willing to use a
mind-control jewel to make his employees into will-less slaves
that will work without pay). The characters lack warmth, and
the world they live in seems completely divorced from reality.
They're children's stories in the negative sense of the word.
There are exceptions, I'm sure (Romano Scarpa, anyone?), but
I haven't cared for most of the Italian Disney product I've
read.
--Dwight Decker
--PART-BOUNDARY=.19801121618.ZM19249.stardust--
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On Jan 12, 11:36pm, S=F8ren Krarup Olesen wrote:
> I am fully aware of that the number of Rosa fans is rather
> big on this mailing list. However, it seems that Rosa has sort of
> "defined" the unquestionable truth about what happened
> to Uncle Scrooge in the old days.
>
> As far as I am concerned the early days of Scrooge is,
> and should remain, a complete mystery. Of course Scrooge
> tells stories about his youth, but the stories are not
> necessarily supposed to be consistent.
Different people have different opinions on this subject. If
it's any comfort, Carl Barks himself would probably agree with
you. There was that notorious Danish newspaper article of a
couple of years ago in which Barks was quoted as saying (this
is my recollection of a Danish translation of something Barks
said in English): "Rosa is showing all the nuts and bolts of
Scrooge's life so we can see how the machinery works, and in
my opinion that's boring."
>
> I remember a story in which HD&L stated that each time
> they asked Scrooge about details they got a new and
> different explanation about what happened in the past, and
> they somehow enjoyed that fact (so did I).
>
> I agree, that putting Scrooge into time frames may seem
> quite tempting and convenient, but is that the way we would
> like to see Scrooge & Co. - stuck in their static past.
I admire what Rosa's done, myself. He's taken the somewhat
chaotic scraps of information about Scrooge's life that Barks
scattered throughout his stories and made some kind of consistent
sense out of it all. It's a monumental achievement. Which, by
the way, any following writer is free to ignore. As far as I
know, Egmont isn't demanding that its writers set all their
Scrooge stories in 1952 or to follow Rosa's scheme of things
blindly. Most Egmont stories continue to be set in something
like the present just as Duck stories always have been. Rosa's
stores are just one subset of the total.
>
> In my history book of Uncle Scrooge he meets a Brigitta
> in early 60s and he builds up a kind of love/hate relation
> to her. Is that "truth" valid here or is it not???
Brigitta MacBridge has recently appeared in only one two-part story
in the US so far that I know of, so the character is pretty
much unknown here.
>
> NB: I like the Rosa stories, but the Italian stories add
> more refreshment and wild dynamics.
Again, different people have different opinions. I've read a
lot of Italian stories in German and Danish, and haven't liked
very many. In the collection I read over Christmas, there are
stories in which Huey, Dewey, & Louie play an April Fool's joke
on Ludwig von Drake that is an outright lie aimed at cadging
cookies and treats out of him, and Scrooge is depicted as not
just a miser but as downright nasty (e.g., willing to use a
mind-control jewel to make his employees into will-less slaves
that will work without pay). The characters lack warmth, and
the world they live in seems completely divorced from reality.
They're children's stories in the negative sense of the word.
There are exceptions, I'm sure (Romano Scarpa, anyone?), but
I haven't cared for most of the Italian Disney product I've
read.
--Dwight Decker
--PART-BOUNDARY=.19801121618.ZM19249.stardust--
Cebarat
Disney Comics Digest V98 #10
Message 170 -
1998-01-13 at 01:57:41
HARRY FLUKS (re the question of Gottfredson's "Golden Age"):
<<David and Paolo argued that Gottfredson's Golden age would
be a bit more than just 1937-1940. I agree, and I think I mistyped
the years. The Golden age starts (to me) in 1936 with
"The Foreign Legion" and ends in 1942 with "The Gleam"...
Is it a coincidence that my Golden age ends when Merill de Maris
left?>>
I'd have to agree that of all the MM writers, De Maris was probably the most
successful at capturing the specific type of adventure story that we've all
come to associate with the MM strip at its best. That's not to say that I
look upon the 1942-1955 period (from "The Gleam" to the end of continuity) as
a sustained decline. I've not seen all that much of the Walsh stuff, but the
portion that I have seen is pretty darn good. Walsh simply takes the
adventures in a different direction, one heavily flavored with fantasy and
sci-fi. Whether you think such material is comparable to or inherently
inferior to the de Maris-style adventure material is probably just a matter of
taste.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
<<David and Paolo argued that Gottfredson's Golden age would
be a bit more than just 1937-1940. I agree, and I think I mistyped
the years. The Golden age starts (to me) in 1936 with
"The Foreign Legion" and ends in 1942 with "The Gleam"...
Is it a coincidence that my Golden age ends when Merill de Maris
left?>>
I'd have to agree that of all the MM writers, De Maris was probably the most
successful at capturing the specific type of adventure story that we've all
come to associate with the MM strip at its best. That's not to say that I
look upon the 1942-1955 period (from "The Gleam" to the end of continuity) as
a sustained decline. I've not seen all that much of the Walsh stuff, but the
portion that I have seen is pretty darn good. Walsh simply takes the
adventures in a different direction, one heavily flavored with fantasy and
sci-fi. Whether you think such material is comparable to or inherently
inferior to the de Maris-style adventure material is probably just a matter of
taste.
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
Juergen Gebhardt
Brancaholics Anonymous
Message 171 -
1998-01-13 at 02:23:56
DAVID:
> 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. ;-)
Yes, I vividly remember last year's D96015 ("Achtung, Kamera!" in
MICKY MAUS 16/97) with a very expressive Donald in the 1960s-period-
Barks-style but also with the first mohawk-wearing punk in Duckburg
I've seen. And the story was very funny to boot, the story-structure
being almost Barksian with gag after gag being topped by the next gag
(except for the last two pages where the story fizzled out without
a satisfactory climax).
But is it really true that Branca will not ink his pencils himself
anymore? I believe, I've read something like that in a text page
in a Gladstone comic, one or two years ago.
Juergen Gebhardt
--------------------------------
End of Disney comics Digest V98 Issue #11
*****************************************
> 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. ;-)
Yes, I vividly remember last year's D96015 ("Achtung, Kamera!" in
MICKY MAUS 16/97) with a very expressive Donald in the 1960s-period-
Barks-style but also with the first mohawk-wearing punk in Duckburg
I've seen. And the story was very funny to boot, the story-structure
being almost Barksian with gag after gag being topped by the next gag
(except for the last two pages where the story fizzled out without
a satisfactory climax).
But is it really true that Branca will not ink his pencils himself
anymore? I believe, I've read something like that in a text page
in a Gladstone comic, one or two years ago.
Juergen Gebhardt
--------------------------------
End of Disney comics Digest V98 Issue #11
*****************************************
Daniel Van Eijmeren
History is unpredictable
Message 172 -
1998-01-13 at 05:24:37
SOEREN KRARUP OLESEN:
I'm sorry for using your letter for my rambling, but somehow it hit a note
in me. I wanted to say this for a long time already and now it really has
to get off my chest.
> I am fully aware of that the number of Rosa fans is rather big on this
> mailing list. However, it seems that Rosa has sort of "defined" the
> unquestionable truth about what happened to Uncle Scrooge in the old
> days.
So, I'm not alone?
> As far as I am concerned the early days of Scrooge is, and should
> remain, a complete mystery. Of course Scrooge tells stories about his
> youth, but the stories are not necessarily supposed to be consistent.
As I've said before, I like the "Life of Scrooge" series, but only as a
one-time project showing what could have been *if*. And in this way it's
IMO a masterpiece. However, as it appears now it certainly isn't a one-
time project and I'm getting pretty tired of the new additional chapters.
Am I really (almost?) the only one?
Unfortunately, it's not only the additional chapters, the recent tribute
stories with all their 'revelations' on how-this-became-that are also
very tiring to me.
Yes, I know that people will say that I'm free to skip these stories and
if it continues I certainly will, but what really bothers me is that it
heavily leans on Barks' work, pretending it's some kind of addition (while
it's in fact just changing the whole thing). However, a quick look will
show that Don's Ducks have become very different of Barks' Ducks and it
only seems to get worser.
Don's Ducks are really no Barks-ducks at all and not even Disney-Ducks
(I mean the work of other Disney-writers in general). Scrooge is
becoming more and more a superhero with crooks running away when they
see him coming from a distance, Huey, Dewey and Louie are more and
more becoming irritating bright little kids, while Donald has become a
very dull person who's always in for the stupid comments - which is nice,
because then Scrooge comes out better.
In the past Don Rosa has said not to like Ducktales, but IMO there's not
much difference anymore in the Scrooge-nephews relation in Don's stories
and in Ducktales. Only, in Ducktales Donald can't say anything sensible
because of his cartoonish voice. Really, if I were Donald, I would have
kicked the nephews out of the house. They live on his costs, but it's
obvious they don't quite respect him at all.
(As one might see Donald Duck has always been my favourite and for the
reason why, I think I say enough if I just refer to the two pages in
"Luck of the North" of OS 256 in which he thinks over his trick on
Gladstone.)
I think the IMO out-of-character movement is all because Don doesn't
really understand the characters and I also don't think he cares. Once
he even said that if it was up to him there would only be two nephews
because he has difficulties in placing the third one. Maybe I'm the only
one, but I've always thought the three nephews were a perfect combination.
And it's not only the ducks. Don has also said that only pig-humans and
dog-humans live in Duckburg. As a reply I sent a quick list of other Barks
animal-humans to the list (no, not the art-only stories), but Don remained
silent, even though I mentioned that he himself used a rat-human by
recycling the lawyer from "The Golden Helmet". If this isn't a rat,
I really would like to know what kind of dog *that* is.
I can go on with this for quite a while, but I won't (at least not now).
All I want to say is that I never would have liked the Ducks if they
would have been as they have become in Don's tightly bound universe.
> I remember a story in which HD&L stated that each time they asked Scrooge
> about details they got a new and different explanation about what
> happened in the past, and they somehow enjoyed that fact (so did I).
For me this is not the case, but I do think Scrooge exaggerates some things
while telling about the past. In one story, "The Loony Lunar Gold Rush"
(U$ 49) Barks even showed this very clearly when Scrooge is telling stories
to the Woodchucks.
> I agree, that putting Scrooge into time frames may seem quite tempting
> and convenient, but is that the way we would like to see Scrooge & Co. -
> stuck in their static past.
I fully agree with you on this. To me Scrooge didn't die in 1967 either,
he's still very much alive today as many people can see. Why? Because he's
a *comic-book character*.
> In my history book of Uncle Scrooge he meets a Brigitta in early 60s and
> he builds up a kind of love/hate relation to her. Is that "truth" valid
> here or is it not???
Why not? Of course this will make him an faithless person, because poor
Goldie is still waiting for him in/around his old shack.
> NB: I like the Rosa stories
Same for me, but somehow I drew the line at "King of Croesus". Scrooge
melting *the first coin ever* just to see if his theory is true, was
something I really couldn't believe - not even in a comic-book world.
I made an exception for "Treasure of the Ten Avatars" though, also
because this story was entirely a Don Rosa story, not depending on
Barks at all (or I must have missed something).
> but the Italian stories add more refreshment and wild dynamics.
I'm quite sure I know what you mean. Have you ever seen Mau Heijmans'
stories? These stories breathe about the same atmosphere as Barks' ten-
pagers from about 1947 to 1953 and the Ducks are still *in-character*.
His Donald Duck is great! Maybe you will like William Van Horn, too?
I didn't like his earlier stories, but now I think his stories have
become pretty funny. Of course, there are also the Jippes/Milton-stories,
I've not yet found a good superlative to say how much I like these.
Ending this rambling, I can say that I know I will regret this letter.
Not because of my opinion, but because I'm afraid the list won't be as
nice to me anymore as it was before.
Greetings,
--- Daniel (not a 'Rosa-hater', only criticizing his work and I really
hope there's still room for that here)
I'm sorry for using your letter for my rambling, but somehow it hit a note
in me. I wanted to say this for a long time already and now it really has
to get off my chest.
> I am fully aware of that the number of Rosa fans is rather big on this
> mailing list. However, it seems that Rosa has sort of "defined" the
> unquestionable truth about what happened to Uncle Scrooge in the old
> days.
So, I'm not alone?
> As far as I am concerned the early days of Scrooge is, and should
> remain, a complete mystery. Of course Scrooge tells stories about his
> youth, but the stories are not necessarily supposed to be consistent.
As I've said before, I like the "Life of Scrooge" series, but only as a
one-time project showing what could have been *if*. And in this way it's
IMO a masterpiece. However, as it appears now it certainly isn't a one-
time project and I'm getting pretty tired of the new additional chapters.
Am I really (almost?) the only one?
Unfortunately, it's not only the additional chapters, the recent tribute
stories with all their 'revelations' on how-this-became-that are also
very tiring to me.
Yes, I know that people will say that I'm free to skip these stories and
if it continues I certainly will, but what really bothers me is that it
heavily leans on Barks' work, pretending it's some kind of addition (while
it's in fact just changing the whole thing). However, a quick look will
show that Don's Ducks have become very different of Barks' Ducks and it
only seems to get worser.
Don's Ducks are really no Barks-ducks at all and not even Disney-Ducks
(I mean the work of other Disney-writers in general). Scrooge is
becoming more and more a superhero with crooks running away when they
see him coming from a distance, Huey, Dewey and Louie are more and
more becoming irritating bright little kids, while Donald has become a
very dull person who's always in for the stupid comments - which is nice,
because then Scrooge comes out better.
In the past Don Rosa has said not to like Ducktales, but IMO there's not
much difference anymore in the Scrooge-nephews relation in Don's stories
and in Ducktales. Only, in Ducktales Donald can't say anything sensible
because of his cartoonish voice. Really, if I were Donald, I would have
kicked the nephews out of the house. They live on his costs, but it's
obvious they don't quite respect him at all.
(As one might see Donald Duck has always been my favourite and for the
reason why, I think I say enough if I just refer to the two pages in
"Luck of the North" of OS 256 in which he thinks over his trick on
Gladstone.)
I think the IMO out-of-character movement is all because Don doesn't
really understand the characters and I also don't think he cares. Once
he even said that if it was up to him there would only be two nephews
because he has difficulties in placing the third one. Maybe I'm the only
one, but I've always thought the three nephews were a perfect combination.
And it's not only the ducks. Don has also said that only pig-humans and
dog-humans live in Duckburg. As a reply I sent a quick list of other Barks
animal-humans to the list (no, not the art-only stories), but Don remained
silent, even though I mentioned that he himself used a rat-human by
recycling the lawyer from "The Golden Helmet". If this isn't a rat,
I really would like to know what kind of dog *that* is.
I can go on with this for quite a while, but I won't (at least not now).
All I want to say is that I never would have liked the Ducks if they
would have been as they have become in Don's tightly bound universe.
> I remember a story in which HD&L stated that each time they asked Scrooge
> about details they got a new and different explanation about what
> happened in the past, and they somehow enjoyed that fact (so did I).
For me this is not the case, but I do think Scrooge exaggerates some things
while telling about the past. In one story, "The Loony Lunar Gold Rush"
(U$ 49) Barks even showed this very clearly when Scrooge is telling stories
to the Woodchucks.
> I agree, that putting Scrooge into time frames may seem quite tempting
> and convenient, but is that the way we would like to see Scrooge & Co. -
> stuck in their static past.
I fully agree with you on this. To me Scrooge didn't die in 1967 either,
he's still very much alive today as many people can see. Why? Because he's
a *comic-book character*.
> In my history book of Uncle Scrooge he meets a Brigitta in early 60s and
> he builds up a kind of love/hate relation to her. Is that "truth" valid
> here or is it not???
Why not? Of course this will make him an faithless person, because poor
Goldie is still waiting for him in/around his old shack.
> NB: I like the Rosa stories
Same for me, but somehow I drew the line at "King of Croesus". Scrooge
melting *the first coin ever* just to see if his theory is true, was
something I really couldn't believe - not even in a comic-book world.
I made an exception for "Treasure of the Ten Avatars" though, also
because this story was entirely a Don Rosa story, not depending on
Barks at all (or I must have missed something).
> but the Italian stories add more refreshment and wild dynamics.
I'm quite sure I know what you mean. Have you ever seen Mau Heijmans'
stories? These stories breathe about the same atmosphere as Barks' ten-
pagers from about 1947 to 1953 and the Ducks are still *in-character*.
His Donald Duck is great! Maybe you will like William Van Horn, too?
I didn't like his earlier stories, but now I think his stories have
become pretty funny. Of course, there are also the Jippes/Milton-stories,
I've not yet found a good superlative to say how much I like these.
Ending this rambling, I can say that I know I will regret this letter.
Not because of my opinion, but because I'm afraid the list won't be as
nice to me anymore as it was before.
Greetings,
--- Daniel (not a 'Rosa-hater', only criticizing his work and I really
hope there's still room for that here)
Don Rosa
History is unpredictable? Wha...?
Message 173 -
1998-01-13 at 08:10:44
To : "Søren Krarup Olesen" <(Email removed)>:
I can appreciate your not liking certain aspects of my vision of the Ducks.
It doesn't bother me in the least -- thank you for the comments.
But as long as I have no intention of forcing my view onto the other
umpteen-zillion Duck comics that are turned out every year all over the
world, why worry about it? As Dwight said, no one at Egmont or
anywhere else ever asks other writers to pay the least bit of attention to
my stories, and well they should not. I am producing stories based solely on
my personal views and preferences of Barks' work. It might not even be the
view that Barks ever thought he was giving... but it's the view I got,
nonetheless, and one I personally enjoy and firmly believe in. But it's so
wonderful that these comics allow so MANY other visions of this
"universe"... so you should not make yourself unhappy, and just don't read
my
"Life of $crooge" stories if they disturb you. I don't want to make anyone
unhappy. Well, I can think of two, but they are rather insignificant in the
cosmic scheme or any other scheme. Anyway, I produce such a teeny, tiny
percentage of the Duck-product of any year that it should be so easy to
ignore that bit, eh?
But still.... your subject-line. "History is unpredictable"? This is meant
as irony or what? History is set... I am an amatuer historian, I worship
history, perhaps that's one reason I choose to give the characters I work on
a definite history. I don't enjoy the idea of writing stories of characters
who have no solid background. That would make them seem insignificant.
Phony. Empty. History is SET... events are unpredictable. I tell of the
unpredictable events of characters with histories. To me, that combination
is fascinating and exciting. But, yes, agreed, that's just me.
Anyway, I also wanted to say something about the interesting concept of WHO
$crooge would will his money to... and again, this is only *my* view... but
it's, again, one that in my own mind is irrefutable. $crooge would not will
his money to ANYONE. He would puzzle as to why anyone should desire to gain
one red cent that they did not earn with their own two hands. I don't think
the idea to leave his $ to someone who did not earn that money would even
occur to him. But then, what would he do with it? He might not see any
reason to make any plans for it at all... it would not enter his mind. Or he
might be like how I regard my vast funnybook collection -- its true value is
ONLY as a collection. It can never be sold even if I needed $ because it
would then be broken up into tens of thousands of individual comics again,
*totally* negating it's true value. The monetary value that old "used"
comics have gained in the past 30 years is a completely false one (though I
guess nonetheless "real" to those who have no other interest in such
things). The true value is in the efforts and adventures I put into
assembling that collection as a single unit. It has no value if again
liquidated. This is how I know $crooge views his Money Bin.
I'd hafta think about what he might do with the rest of his holdings... but
I think that in his will, $crooge would order that his Bin, being the sum of
his life, be sunk into the deepest part of the ocean just so it would
remain intact.
I can appreciate your not liking certain aspects of my vision of the Ducks.
It doesn't bother me in the least -- thank you for the comments.
But as long as I have no intention of forcing my view onto the other
umpteen-zillion Duck comics that are turned out every year all over the
world, why worry about it? As Dwight said, no one at Egmont or
anywhere else ever asks other writers to pay the least bit of attention to
my stories, and well they should not. I am producing stories based solely on
my personal views and preferences of Barks' work. It might not even be the
view that Barks ever thought he was giving... but it's the view I got,
nonetheless, and one I personally enjoy and firmly believe in. But it's so
wonderful that these comics allow so MANY other visions of this
"universe"... so you should not make yourself unhappy, and just don't read
my
"Life of $crooge" stories if they disturb you. I don't want to make anyone
unhappy. Well, I can think of two, but they are rather insignificant in the
cosmic scheme or any other scheme. Anyway, I produce such a teeny, tiny
percentage of the Duck-product of any year that it should be so easy to
ignore that bit, eh?
But still.... your subject-line. "History is unpredictable"? This is meant
as irony or what? History is set... I am an amatuer historian, I worship
history, perhaps that's one reason I choose to give the characters I work on
a definite history. I don't enjoy the idea of writing stories of characters
who have no solid background. That would make them seem insignificant.
Phony. Empty. History is SET... events are unpredictable. I tell of the
unpredictable events of characters with histories. To me, that combination
is fascinating and exciting. But, yes, agreed, that's just me.
Anyway, I also wanted to say something about the interesting concept of WHO
$crooge would will his money to... and again, this is only *my* view... but
it's, again, one that in my own mind is irrefutable. $crooge would not will
his money to ANYONE. He would puzzle as to why anyone should desire to gain
one red cent that they did not earn with their own two hands. I don't think
the idea to leave his $ to someone who did not earn that money would even
occur to him. But then, what would he do with it? He might not see any
reason to make any plans for it at all... it would not enter his mind. Or he
might be like how I regard my vast funnybook collection -- its true value is
ONLY as a collection. It can never be sold even if I needed $ because it
would then be broken up into tens of thousands of individual comics again,
*totally* negating it's true value. The monetary value that old "used"
comics have gained in the past 30 years is a completely false one (though I
guess nonetheless "real" to those who have no other interest in such
things). The true value is in the efforts and adventures I put into
assembling that collection as a single unit. It has no value if again
liquidated. This is how I know $crooge views his Money Bin.
I'd hafta think about what he might do with the rest of his holdings... but
I think that in his will, $crooge would order that his Bin, being the sum of
his life, be sunk into the deepest part of the ocean just so it would
remain intact.
Gerstein, David DK - ECN
Disney comics Digest V98 #11
Message 174 -
1998-01-13 at 11:00:48
DANIEL:
Eh? In WDC&S 194 electoral candidate Scrooge announces
ignorantly that he wants *more* smog - he's missed the articles in the
paper by not buying them, so has no idea that smog =3D pollution and =
hence
something people despise...
JUERGEN:
The (great) story you recall Branca drawing - D 96015 -=A0is
titled in English "What About 65?", written by Kari Korhonen, a writer
we're pretty proud of here at Egmont.
Darn right it was good! Among the best work of both of its
creators.
DWIGHT:
Brigitta MacBridge also appeared in a long story in US 242
(1990), "The Last Balaboo". And there's at least one other story with
her in the pipeline - "The Secret of Success," a Scarpa story that
Gladstone had me translate some while ago. Jubal Pomp (Filo Sganga) is
also in that one.
AS TO OUR CD-ROM DISCUSSION:
The license to do this would probably go to Disney's own
in-house "Disney Interactive" computer software division, not to a
comics licensee. Given the anonymity of Disney comics in the USA, I
wouldn't be surprised if (through no fault of their own) the DI
personell didn't know they existed.
And once again, remember the problem of stories being banned in
the USA.
David Gerstein
<(Email removed)>
Eh? In WDC&S 194 electoral candidate Scrooge announces
ignorantly that he wants *more* smog - he's missed the articles in the
paper by not buying them, so has no idea that smog =3D pollution and =
hence
something people despise...
JUERGEN:
The (great) story you recall Branca drawing - D 96015 -=A0is
titled in English "What About 65?", written by Kari Korhonen, a writer
we're pretty proud of here at Egmont.
Darn right it was good! Among the best work of both of its
creators.
DWIGHT:
Brigitta MacBridge also appeared in a long story in US 242
(1990), "The Last Balaboo". And there's at least one other story with
her in the pipeline - "The Secret of Success," a Scarpa story that
Gladstone had me translate some while ago. Jubal Pomp (Filo Sganga) is
also in that one.
AS TO OUR CD-ROM DISCUSSION:
The license to do this would probably go to Disney's own
in-house "Disney Interactive" computer software division, not to a
comics licensee. Given the anonymity of Disney comics in the USA, I
wouldn't be surprised if (through no fault of their own) the DI
personell didn't know they existed.
And once again, remember the problem of stories being banned in
the USA.
David Gerstein
<(Email removed)>
Gerstein, David DK - ECN
Life of Scrooge thoughts
Message 175 -
1998-01-13 at 11:21:46
SOEREN:
>I am fully aware of that the number of Rosa fans is rather
>big on this mailing list. However, it seems that Rosa has sort of
>"defined" the unquestionable truth about what happened
>to Uncle Scrooge in the old days.
>
>As far as I am concerned the early days of Scrooge is,
>and should remain, a complete mystery. Of course Scrooge
>tells stories about his youth, but the stories are not
>necessarily supposed to be consistent.
What I like about Rosa's LO$ is that he *still* leaves a lot up
to the imagination. Admittedly, we "know" (if we regard the stuff as
canon) more about the organization of the McDuck and Duck families now,
but we have years of Scrooge's travels that are still undiscussed, and
Don *didn't* try to show what happened during Scrooge and Goldie's month
alone on Scrooge's claim, so that can remain enigmatic too.
Don *shows* a lot of things that happened in Scrooge's past, but
who says there aren't huge areas of adventure and discovery still left
to the imagination? For me, that's one of the great things about his
series. If you think Scrooge's life should be a *total* mystery, I can't
help you there, but I still think there's a lot that's open to
speculation. And that's just fine.
I've recently seen an S-coded, Jaime Diaz Studio comic that's an
expanded version of the DuckTales "Once Upon A Dime" episode, purporting
to be Scrooge's biography and beginning with when Scrooge earned his
"First Old Number One Lucky Dime" (the story's words, not my own). Had
Don not done his LO$ story, fans everywhere might have been stuck with a
far inferior, Barks-be-damned version like this. Maybe that would be
easier for readers to cast off if they wanted to leave the Barks Scrooge
unexplained, but for everyone who *wanted* even remotely respectful
stories of Scrooge's past, it would be an inferior solution.
David Gerstein
<(Email removed)>
>I am fully aware of that the number of Rosa fans is rather
>big on this mailing list. However, it seems that Rosa has sort of
>"defined" the unquestionable truth about what happened
>to Uncle Scrooge in the old days.
>
>As far as I am concerned the early days of Scrooge is,
>and should remain, a complete mystery. Of course Scrooge
>tells stories about his youth, but the stories are not
>necessarily supposed to be consistent.
What I like about Rosa's LO$ is that he *still* leaves a lot up
to the imagination. Admittedly, we "know" (if we regard the stuff as
canon) more about the organization of the McDuck and Duck families now,
but we have years of Scrooge's travels that are still undiscussed, and
Don *didn't* try to show what happened during Scrooge and Goldie's month
alone on Scrooge's claim, so that can remain enigmatic too.
Don *shows* a lot of things that happened in Scrooge's past, but
who says there aren't huge areas of adventure and discovery still left
to the imagination? For me, that's one of the great things about his
series. If you think Scrooge's life should be a *total* mystery, I can't
help you there, but I still think there's a lot that's open to
speculation. And that's just fine.
I've recently seen an S-coded, Jaime Diaz Studio comic that's an
expanded version of the DuckTales "Once Upon A Dime" episode, purporting
to be Scrooge's biography and beginning with when Scrooge earned his
"First Old Number One Lucky Dime" (the story's words, not my own). Had
Don not done his LO$ story, fans everywhere might have been stuck with a
far inferior, Barks-be-damned version like this. Maybe that would be
easier for readers to cast off if they wanted to leave the Barks Scrooge
unexplained, but for everyone who *wanted* even remotely respectful
stories of Scrooge's past, it would be an inferior solution.
David Gerstein
<(Email removed)>
Marco Barlotti
Italian stories
Message 176 -
1998-01-13 at 11:57:37
SOEREN:
>> NB: I like the Rosa stories, but the Italian stories add
>> more refreshment and wild dynamics.
>
DWIGHT:
>Again, different people have different opinions. I've read a
>lot of Italian stories in German and Danish, and haven't liked
>very many. [...] The characters lack warmth, and
>the world they live in seems completely divorced from reality.
>They're children's stories in the negative sense of the word.
That's true for lots of the many-many-many Italian stories that are being
produced. May I guess that Italian production alone equals (in quantity!)
that of the rest of the world? Harry, do we have (comparable) data on the
<total> production per country? (But to make a comparison you must remember
that we have absolutely no data on the Italian production for "Minnie",
"Mega 2000" , "PKNA" and other titles...)
Well, anyway, my point is that in such a huge amount of quantity THERE is a
lot of low-level production too. But what would you say of the S-coded
stories for instance? Weren't they absolutely childish?And lots of Brazilian
stories are very childish too (I expecially **don't** like those featuring
Hard Haid Moe's gang and those with Ze' Carioca and his gang).
However we still have GOOD stories being produced in Italy. I'd like to
mention an emerging new scripter, Tito Faraci, who in my opinion has done
some **beautiful** scripts recently. And artists like Luciano Bottaro,
Massimo De Vita, Giorgio Cavazzano, Silvia Ziche and (why not?) Romano
Scarpa, not to speak of the ever-green G. B. Carpi, are doing a job
certainly comparable to Branca, Vicar and the other "great" D-coded
artists... Well, of course Egmont has a Marco Rota who is probably the best
Duck artist now, but, oh drats, Italy can't have everything... ;-)
Back to the scripts quality, however, there **is** a point for Egmont. They
have a better control on the overall quality of the scripts. It has **not**
been always that way, and I strongly suspect that Byron Ericksson's coming
to Egmont has something to do with this... But that's the way it seems to be
like now, and so much the better for Egmont!
I think Walt Disney Italy is running big risks at this moment. Their
expansion policy (a **new** comic title is coming out roughly every 4
months...) implies (1) more production, thus more production of lesser
quality! (2) more reprints, thus the same reprints appears again (on
different comics) often within a few months (3) less copies sold per each
title, because presumably the **total** amount of Disney Comics one buys
tends to be a constant!
Now ,what I say is: if you have three comic titles selling 300,000 copies
each, you may experience some decrease in sales, but you'll have time to
take care of it; if on the other hand you have 300 comic titles selling
3,000 copies each you risk a sudden collapse below balance point!
Marco
http://marcobar.cce.unifi.it/Comics
>> NB: I like the Rosa stories, but the Italian stories add
>> more refreshment and wild dynamics.
>
DWIGHT:
>Again, different people have different opinions. I've read a
>lot of Italian stories in German and Danish, and haven't liked
>very many. [...] The characters lack warmth, and
>the world they live in seems completely divorced from reality.
>They're children's stories in the negative sense of the word.
That's true for lots of the many-many-many Italian stories that are being
produced. May I guess that Italian production alone equals (in quantity!)
that of the rest of the world? Harry, do we have (comparable) data on the
<total> production per country? (But to make a comparison you must remember
that we have absolutely no data on the Italian production for "Minnie",
"Mega 2000" , "PKNA" and other titles...)
Well, anyway, my point is that in such a huge amount of quantity THERE is a
lot of low-level production too. But what would you say of the S-coded
stories for instance? Weren't they absolutely childish?And lots of Brazilian
stories are very childish too (I expecially **don't** like those featuring
Hard Haid Moe's gang and those with Ze' Carioca and his gang).
However we still have GOOD stories being produced in Italy. I'd like to
mention an emerging new scripter, Tito Faraci, who in my opinion has done
some **beautiful** scripts recently. And artists like Luciano Bottaro,
Massimo De Vita, Giorgio Cavazzano, Silvia Ziche and (why not?) Romano
Scarpa, not to speak of the ever-green G. B. Carpi, are doing a job
certainly comparable to Branca, Vicar and the other "great" D-coded
artists... Well, of course Egmont has a Marco Rota who is probably the best
Duck artist now, but, oh drats, Italy can't have everything... ;-)
Back to the scripts quality, however, there **is** a point for Egmont. They
have a better control on the overall quality of the scripts. It has **not**
been always that way, and I strongly suspect that Byron Ericksson's coming
to Egmont has something to do with this... But that's the way it seems to be
like now, and so much the better for Egmont!
I think Walt Disney Italy is running big risks at this moment. Their
expansion policy (a **new** comic title is coming out roughly every 4
months...) implies (1) more production, thus more production of lesser
quality! (2) more reprints, thus the same reprints appears again (on
different comics) often within a few months (3) less copies sold per each
title, because presumably the **total** amount of Disney Comics one buys
tends to be a constant!
Now ,what I say is: if you have three comic titles selling 300,000 copies
each, you may experience some decrease in sales, but you'll have time to
take care of it; if on the other hand you have 300 comic titles selling
3,000 copies each you risk a sudden collapse below balance point!
Marco
http://marcobar.cce.unifi.it/Comics
Daniel Van Eijmeren
History is unpredictable? Wha...?
Message 177 -
1998-01-13 at 12:21:51
DON ROSA to SOEREN KRARUP OLESEN:
> I can appreciate your not liking certain aspects of my vision of the
> Ducks. It doesn't bother me in the least
I think an artist shouldn't just only look at the people who are positive
to his stories. I know it's the majority that counts, but sometimes the
minority can say certain things on which they *might* be right. It bothers
me that you simply put that aside, even though I should know you don't care
a bit if I say that.
> But as long as I have no intention of forcing my view onto the other
> umpteen-zillion Duck comics that are turned out every year all over the
> world, why worry about it?
The reason why *I* worry about it is that this might get a new 'standard'
in the Duckburg universe. People here are now already asking you who the
father of the nephews is, and other such things. (A very untraditional
thing in the Duck universe and IMO sometimes traditions are *right* because
they've proved to be *working*.) Such a standard might not be visible at
this point, but I'm really afraid your stories aren't just a personal
view. I'm afraid they're the beginning of a movement.
> But it's so wonderful that these comics allow so MANY other visions of
> this "universe"...
Of course, but then I think an artist should leave certain aspects *open*
for other artists. Working for a company with many other creators, I think
you can't write stories entirely based on your own opinion. This is
intentionally putting contradiction into it.
(The above might be explained wrong. Of course an artist can write stories
solely on his own opinion, but what I mean is that in doing this, the
artist should follow certain guidelines. Apparently I'm wrong, but I always
thought that keeping the Duckburg universe open and breathing was one of
them.)
> I don't want to make anyone unhappy. Well, I can think of two, but they
> are rather insignificant in the cosmic scheme or any other scheme.
What do you mean with this? Which two people can you think of making
unhappy? Names?
> Anyway, I produce such a teeny, tiny percentage of the Duck-product of
> any year that it should be so easy to ignore that bit, eh?
As long as a lot of fans take your work as gospel, I'm afraid this is not
that easy. I love the Duck characters as much as you do, if not more, so
I'm afraid it's not simply a case of looking into another direction.
Especially when the master himself is a member of this mailing list,
remaining silent would be agreeing IMO.
> History is set... I am an amatuer historian, I worship history, perhaps
> that's one reason I choose to give the characters I work on a definite
> history. I don't enjoy the idea of writing stories of characters who
> have no solid background.
Then why did you start working on Disney-characters? I don't know for sure
about other comics, but I guess these are one of the most inconsistent
characters which ever appeared in comic-books. Of course there should be
more or less a solid background, but if there are no limits to that, the
Duckburg universe will get as boring as the real world which readers try
to escape from by reading comics. Barks knew this and I think he's right,
if history hasn't already proved this to be a *fact*.
> That would make them seem insignificant. Phony. Empty.
Is this your personal view on the pre-1987 pre-Rosa Ducks?
> $crooge would not will his money to ANYONE. He would puzzle as to why
> anyone should desire to gain one red cent that they did not earn with
> their own two hands. I don't think the idea to leave his $ to someone
> who did not earn that money would even occur to him. But then, what
> would he do with it? He might not see any reason to make any plans for
> it at all... it would not enter his mind.
Reading this, I'm really wondering who you think Scrooge is. The above has
nothing to do with the character you started working on 10 years ago.
> The true value is in the efforts and adventures I put into assembling
> that collection as a single unit. It has no value if again liquidated.
> This is how I know $crooge views his Money Bin.
You *know*?
> I'd hafta think about what he might do with the rest of his holdings...
> but I think that in his will, $crooge would order that his Bin, being
> the sum of his life, be sunk into the deepest part of the ocean just
> so it would remain intact.
Remain intact? On the bottom of the ocean? For years and years Scrooge
even went to outer space to make sure his money is safe, but as soon as
he dies he has it dumped into the ocean? What a anti-climax!
Is *this* where the Duckburg universe (or at least yours) is going to?
Well, thanks for 'spoiling' the ending! Now I know don't want to keep on
reading.
As I've said in a recent private letter, I enjoy your stories for the
great humour they contain. Now I only will look at your stories panel-
by-panel, trying to ignore the overall story. If I want to read a Rosa-
story which I can fully agree with, I'm afraid I'll have to stick to
your "Pertwillaby Papers" and "Captain Kentucky" stories (which are
great works IMO).
Greetings,
--- Daniel
"A flire! A frier! I must shave the women and children!"
(Donald Duck, WDC 86)
> I can appreciate your not liking certain aspects of my vision of the
> Ducks. It doesn't bother me in the least
I think an artist shouldn't just only look at the people who are positive
to his stories. I know it's the majority that counts, but sometimes the
minority can say certain things on which they *might* be right. It bothers
me that you simply put that aside, even though I should know you don't care
a bit if I say that.
> But as long as I have no intention of forcing my view onto the other
> umpteen-zillion Duck comics that are turned out every year all over the
> world, why worry about it?
The reason why *I* worry about it is that this might get a new 'standard'
in the Duckburg universe. People here are now already asking you who the
father of the nephews is, and other such things. (A very untraditional
thing in the Duck universe and IMO sometimes traditions are *right* because
they've proved to be *working*.) Such a standard might not be visible at
this point, but I'm really afraid your stories aren't just a personal
view. I'm afraid they're the beginning of a movement.
> But it's so wonderful that these comics allow so MANY other visions of
> this "universe"...
Of course, but then I think an artist should leave certain aspects *open*
for other artists. Working for a company with many other creators, I think
you can't write stories entirely based on your own opinion. This is
intentionally putting contradiction into it.
(The above might be explained wrong. Of course an artist can write stories
solely on his own opinion, but what I mean is that in doing this, the
artist should follow certain guidelines. Apparently I'm wrong, but I always
thought that keeping the Duckburg universe open and breathing was one of
them.)
> I don't want to make anyone unhappy. Well, I can think of two, but they
> are rather insignificant in the cosmic scheme or any other scheme.
What do you mean with this? Which two people can you think of making
unhappy? Names?
> Anyway, I produce such a teeny, tiny percentage of the Duck-product of
> any year that it should be so easy to ignore that bit, eh?
As long as a lot of fans take your work as gospel, I'm afraid this is not
that easy. I love the Duck characters as much as you do, if not more, so
I'm afraid it's not simply a case of looking into another direction.
Especially when the master himself is a member of this mailing list,
remaining silent would be agreeing IMO.
> History is set... I am an amatuer historian, I worship history, perhaps
> that's one reason I choose to give the characters I work on a definite
> history. I don't enjoy the idea of writing stories of characters who
> have no solid background.
Then why did you start working on Disney-characters? I don't know for sure
about other comics, but I guess these are one of the most inconsistent
characters which ever appeared in comic-books. Of course there should be
more or less a solid background, but if there are no limits to that, the
Duckburg universe will get as boring as the real world which readers try
to escape from by reading comics. Barks knew this and I think he's right,
if history hasn't already proved this to be a *fact*.
> That would make them seem insignificant. Phony. Empty.
Is this your personal view on the pre-1987 pre-Rosa Ducks?
> $crooge would not will his money to ANYONE. He would puzzle as to why
> anyone should desire to gain one red cent that they did not earn with
> their own two hands. I don't think the idea to leave his $ to someone
> who did not earn that money would even occur to him. But then, what
> would he do with it? He might not see any reason to make any plans for
> it at all... it would not enter his mind.
Reading this, I'm really wondering who you think Scrooge is. The above has
nothing to do with the character you started working on 10 years ago.
> The true value is in the efforts and adventures I put into assembling
> that collection as a single unit. It has no value if again liquidated.
> This is how I know $crooge views his Money Bin.
You *know*?
> I'd hafta think about what he might do with the rest of his holdings...
> but I think that in his will, $crooge would order that his Bin, being
> the sum of his life, be sunk into the deepest part of the ocean just
> so it would remain intact.
Remain intact? On the bottom of the ocean? For years and years Scrooge
even went to outer space to make sure his money is safe, but as soon as
he dies he has it dumped into the ocean? What a anti-climax!
Is *this* where the Duckburg universe (or at least yours) is going to?
Well, thanks for 'spoiling' the ending! Now I know don't want to keep on
reading.
As I've said in a recent private letter, I enjoy your stories for the
great humour they contain. Now I only will look at your stories panel-
by-panel, trying to ignore the overall story. If I want to read a Rosa-
story which I can fully agree with, I'm afraid I'll have to stick to
your "Pertwillaby Papers" and "Captain Kentucky" stories (which are
great works IMO).
Greetings,
--- Daniel
"A flire! A frier! I must shave the women and children!"
(Donald Duck, WDC 86)
Fluks, H.W.
Italian stories
Message 178 -
1998-01-13 at 12:40:52
MARCO:
>Harry, do we have (comparable) data on the
><total> production per country?
I don't think the Database can give reliable figures (yet).
But we know that Egmont has a licence to produce
5000 pages a year, and GP (in Holland) can produce
1000 pages a year. Now we only need to know the
Italian production in 1 year to compare! 8-)
Which brings me to the question: do France, Brazil
and Italy have "page quotas" like Egmont and GP
have?
--Harry.
(BTW: Marco, you forgot to mention the Dutch artist
Mau Heymans, who is *better* than Rota!)
><><><><
>Harry, do we have (comparable) data on the
><total> production per country?
I don't think the Database can give reliable figures (yet).
But we know that Egmont has a licence to produce
5000 pages a year, and GP (in Holland) can produce
1000 pages a year. Now we only need to know the
Italian production in 1 year to compare! 8-)
Which brings me to the question: do France, Brazil
and Italy have "page quotas" like Egmont and GP
have?
--Harry.
(BTW: Marco, you forgot to mention the Dutch artist
Mau Heymans, who is *better* than Rota!)
><><><><
Daniel Van Eijmeren
Disney comics Digest V98 #11
Message 179 -
1998-01-13 at 13:55:06
DAVID GERSTEIN:
> Eh? In WDC&S 194 electoral candidate Scrooge announces ignorantly that he
> wants *more* smog - he's missed the articles in the paper by not buying
> them, so has no idea that smog = pollution and hence something people
> despise...
Yes indeed, but in the next panels the nephews explain the meaning of
smog to Scrooge and some pages later he says: "And I promise, if I'm
elected, to banish *smog* from Duckburg, and to be *good* to taxpayers
and *kind* to little children!"
Greetings,
--- Daniel
--------------------------------
End of Disney comics Digest V98 Issue #12
*****************************************
> Eh? In WDC&S 194 electoral candidate Scrooge announces ignorantly that he
> wants *more* smog - he's missed the articles in the paper by not buying
> them, so has no idea that smog = pollution and hence something people
> despise...
Yes indeed, but in the next panels the nephews explain the meaning of
smog to Scrooge and some pages later he says: "And I promise, if I'm
elected, to banish *smog* from Duckburg, and to be *good* to taxpayers
and *kind* to little children!"
Greetings,
--- Daniel
--------------------------------
End of Disney comics Digest V98 Issue #12
*****************************************
Tarjei Kidd Olsen
Disney comics Digest V98 #11
Message 180 -
1998-01-13 at 16:42:59
SOEREN said:
>As far as I am concerned the early days of Scrooge is,
>and should remain, a complete mystery. Of course Scrooge
>tells stories about his youth, but the stories are not
>necessarily supposed to be consistent.
>
Well, IMHO Don Rosa has done just about the coolest thing I can imagine a
Disney artist doing. Right before I saw my first Don Rosa story, I had been
dreaming a little of gathering ALL the facts in ALL disney comics (I was 11
;)...specifically facts which could be tied to particular dates. So when I
one day suddenly saw one of Dons' (in this case, do I say "Don's" or
"Dons'"?) fact-laden stories, it was like a dream come true. Since then
I've been gathering as many Rosa dates as I can find, and have been
assimilating Scrooges life to a nice little brief chronicle (my timeline).
Personally I really like this kind of "order in the chaos", but anyone who
doesn't can of course just ignore it.
>I remember a story in which HD&L stated that each time
>they asked Scrooge about details they got a new and
>different explanation about what happened in the past, and
>they somehow enjoyed that fact (so did I).
>
>I agree, that putting Scrooge into time frames may seem
>quite tempting and convenient, but is that the way we would
>like to see Scrooge & Co. - stuck in their static past.
>
>In my history book of Uncle Scrooge he meets a Brigitta
>in early 60s and he builds up a kind of love/hate relation
>to her. Is that "truth" valid here or is it not???
>
>
>Soeren.
>
>
>NB: I like the Rosa stories, but the Italian stories add
>more refreshment and wild dynamics. And KATIE, I think
>you should check out Brigitta McBridge - she has balls!!!
>
>------------------------------
>
>Date: Mon, 12 Jan 1998 16:18:48 -0700
>From: (Email removed) (D Decker)
>To: (Email removed)
>Subject: Re: History is unpredictable
>
>--PART-BOUNDARY=.19801121618.ZM19249.stardust
>Content-Description: Text
>Content-Type: text/plain ; charset=iso-8859-1
>Content-Transfer-Encoding: quoted-printable
>X-Zm-Decoding-Hint: mimencode -q -u
>
>On Jan 12, 11:36pm, S=F8ren Krarup Olesen wrote:
>
>> I am fully aware of that the number of Rosa fans is rather
>> big on this mailing list. However, it seems that Rosa has sort of
>> "defined" the unquestionable truth about what happened
>> to Uncle Scrooge in the old days.
>>
>> As far as I am concerned the early days of Scrooge is,
>> and should remain, a complete mystery. Of course Scrooge
>> tells stories about his youth, but the stories are not
>> necessarily supposed to be consistent.
>
>Different people have different opinions on this subject. If
>it's any comfort, Carl Barks himself would probably agree with
>you. There was that notorious Danish newspaper article of a
>couple of years ago in which Barks was quoted as saying (this
>is my recollection of a Danish translation of something Barks
>said in English): "Rosa is showing all the nuts and bolts of
>Scrooge's life so we can see how the machinery works, and in
>my opinion that's boring."
>>
>> I remember a story in which HD&L stated that each time
>> they asked Scrooge about details they got a new and
>> different explanation about what happened in the past, and
>> they somehow enjoyed that fact (so did I).
>>
>> I agree, that putting Scrooge into time frames may seem
>> quite tempting and convenient, but is that the way we would
>> like to see Scrooge & Co. - stuck in their static past.
>
>I admire what Rosa's done, myself. He's taken the somewhat
>chaotic scraps of information about Scrooge's life that Barks
>scattered throughout his stories and made some kind of consistent
>sense out of it all. It's a monumental achievement. Which, by
>the way, any following writer is free to ignore. As far as I
>know, Egmont isn't demanding that its writers set all their
>Scrooge stories in 1952 or to follow Rosa's scheme of things
>blindly. Most Egmont stories continue to be set in something
>like the present just as Duck stories always have been. Rosa's
>stores are just one subset of the total.
>>
>> In my history book of Uncle Scrooge he meets a Brigitta
>> in early 60s and he builds up a kind of love/hate relation
>> to her. Is that "truth" valid here or is it not???
>
>Brigitta MacBridge has recently appeared in only one two-part story
>in the US so far that I know of, so the character is pretty
>much unknown here.
>>
>> NB: I like the Rosa stories, but the Italian stories add
>> more refreshment and wild dynamics.
>
>Again, different people have different opinions. I've read a
>lot of Italian stories in German and Danish, and haven't liked
>very many. In the collection I read over Christmas, there are
>stories in which Huey, Dewey, & Louie play an April Fool's joke
>on Ludwig von Drake that is an outright lie aimed at cadging
>cookies and treats out of him, and Scrooge is depicted as not
>just a miser but as downright nasty (e.g., willing to use a
>mind-control jewel to make his employees into will-less slaves
>that will work without pay). The characters lack warmth, and
>the world they live in seems completely divorced from reality.
>They're children's stories in the negative sense of the word.
>There are exceptions, I'm sure (Romano Scarpa, anyone?), but
>I haven't cared for most of the Italian Disney product I've
>read.
>
>--Dwight Decker
>
>--PART-BOUNDARY=.19801121618.ZM19249.stardust--
>
>------------------------------
>
>Date: Mon, 12 Jan 1998 18:57:41 EST
>From: Cebarat <(Email removed)>
>To: (Email removed)
>Subject: Re: Disney Comics Digest V98 #10
>
>HARRY FLUKS (re the question of Gottfredson's "Golden Age"):
><<David and Paolo argued that Gottfredson's Golden age would
>be a bit more than just 1937-1940. I agree, and I think I mistyped
>the years. The Golden age starts (to me) in 1936 with
>"The Foreign Legion" and ends in 1942 with "The Gleam"...
>Is it a coincidence that my Golden age ends when Merill de Maris
>left?>>
>
>I'd have to agree that of all the MM writers, De Maris was probably the most
>successful at capturing the specific type of adventure story that we've all
>come to associate with the MM strip at its best. That's not to say that I
>look upon the 1942-1955 period (from "The Gleam" to the end of continuity) as
>a sustained decline. I've not seen all that much of the Walsh stuff, but the
>portion that I have seen is pretty darn good. Walsh simply takes the
>adventures in a different direction, one heavily flavored with fantasy and
>sci-fi. Whether you think such material is comparable to or inherently
>inferior to the de Maris-style adventure material is probably just a
matter of
>taste.
>
>-- Christopher E. Barat
>(Email removed)
>http://members.aol.com/cebarat/home.htm
>
>------------------------------
>
>Date: Tue, 13 Jan 1998 01:23:56 +0100 (CET)
>From: (Email removed) (Juergen Gebhardt)
>To: (Email removed)
>Subject: Brancaholics Anonymous
>
>DAVID:
>> 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. ;-)
>
>Yes, I vividly remember last year's D96015 ("Achtung, Kamera!" in
>MICKY MAUS 16/97) with a very expressive Donald in the 1960s-period-
>Barks-style but also with the first mohawk-wearing punk in Duckburg
>I've seen. And the story was very funny to boot, the story-structure
>being almost Barksian with gag after gag being topped by the next gag
>(except for the last two pages where the story fizzled out without
>a satisfactory climax).
>But is it really true that Branca will not ink his pencils himself
>anymore? I believe, I've read something like that in a text page
>in a Gladstone comic, one or two years ago.
>
>Juergen Gebhardt
>
>--------------------------------
>End of Disney comics Digest V98 Issue #11
>*****************************************
>
>
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||
>As far as I am concerned the early days of Scrooge is,
>and should remain, a complete mystery. Of course Scrooge
>tells stories about his youth, but the stories are not
>necessarily supposed to be consistent.
>
Well, IMHO Don Rosa has done just about the coolest thing I can imagine a
Disney artist doing. Right before I saw my first Don Rosa story, I had been
dreaming a little of gathering ALL the facts in ALL disney comics (I was 11
;)...specifically facts which could be tied to particular dates. So when I
one day suddenly saw one of Dons' (in this case, do I say "Don's" or
"Dons'"?) fact-laden stories, it was like a dream come true. Since then
I've been gathering as many Rosa dates as I can find, and have been
assimilating Scrooges life to a nice little brief chronicle (my timeline).
Personally I really like this kind of "order in the chaos", but anyone who
doesn't can of course just ignore it.
>I remember a story in which HD&L stated that each time
>they asked Scrooge about details they got a new and
>different explanation about what happened in the past, and
>they somehow enjoyed that fact (so did I).
>
>I agree, that putting Scrooge into time frames may seem
>quite tempting and convenient, but is that the way we would
>like to see Scrooge & Co. - stuck in their static past.
>
>In my history book of Uncle Scrooge he meets a Brigitta
>in early 60s and he builds up a kind of love/hate relation
>to her. Is that "truth" valid here or is it not???
>
>
>Soeren.
>
>
>NB: I like the Rosa stories, but the Italian stories add
>more refreshment and wild dynamics. And KATIE, I think
>you should check out Brigitta McBridge - she has balls!!!
>
>------------------------------
>
>Date: Mon, 12 Jan 1998 16:18:48 -0700
>From: (Email removed) (D Decker)
>To: (Email removed)
>Subject: Re: History is unpredictable
>
>--PART-BOUNDARY=.19801121618.ZM19249.stardust
>Content-Description: Text
>Content-Type: text/plain ; charset=iso-8859-1
>Content-Transfer-Encoding: quoted-printable
>X-Zm-Decoding-Hint: mimencode -q -u
>
>On Jan 12, 11:36pm, S=F8ren Krarup Olesen wrote:
>
>> I am fully aware of that the number of Rosa fans is rather
>> big on this mailing list. However, it seems that Rosa has sort of
>> "defined" the unquestionable truth about what happened
>> to Uncle Scrooge in the old days.
>>
>> As far as I am concerned the early days of Scrooge is,
>> and should remain, a complete mystery. Of course Scrooge
>> tells stories about his youth, but the stories are not
>> necessarily supposed to be consistent.
>
>Different people have different opinions on this subject. If
>it's any comfort, Carl Barks himself would probably agree with
>you. There was that notorious Danish newspaper article of a
>couple of years ago in which Barks was quoted as saying (this
>is my recollection of a Danish translation of something Barks
>said in English): "Rosa is showing all the nuts and bolts of
>Scrooge's life so we can see how the machinery works, and in
>my opinion that's boring."
>>
>> I remember a story in which HD&L stated that each time
>> they asked Scrooge about details they got a new and
>> different explanation about what happened in the past, and
>> they somehow enjoyed that fact (so did I).
>>
>> I agree, that putting Scrooge into time frames may seem
>> quite tempting and convenient, but is that the way we would
>> like to see Scrooge & Co. - stuck in their static past.
>
>I admire what Rosa's done, myself. He's taken the somewhat
>chaotic scraps of information about Scrooge's life that Barks
>scattered throughout his stories and made some kind of consistent
>sense out of it all. It's a monumental achievement. Which, by
>the way, any following writer is free to ignore. As far as I
>know, Egmont isn't demanding that its writers set all their
>Scrooge stories in 1952 or to follow Rosa's scheme of things
>blindly. Most Egmont stories continue to be set in something
>like the present just as Duck stories always have been. Rosa's
>stores are just one subset of the total.
>>
>> In my history book of Uncle Scrooge he meets a Brigitta
>> in early 60s and he builds up a kind of love/hate relation
>> to her. Is that "truth" valid here or is it not???
>
>Brigitta MacBridge has recently appeared in only one two-part story
>in the US so far that I know of, so the character is pretty
>much unknown here.
>>
>> NB: I like the Rosa stories, but the Italian stories add
>> more refreshment and wild dynamics.
>
>Again, different people have different opinions. I've read a
>lot of Italian stories in German and Danish, and haven't liked
>very many. In the collection I read over Christmas, there are
>stories in which Huey, Dewey, & Louie play an April Fool's joke
>on Ludwig von Drake that is an outright lie aimed at cadging
>cookies and treats out of him, and Scrooge is depicted as not
>just a miser but as downright nasty (e.g., willing to use a
>mind-control jewel to make his employees into will-less slaves
>that will work without pay). The characters lack warmth, and
>the world they live in seems completely divorced from reality.
>They're children's stories in the negative sense of the word.
>There are exceptions, I'm sure (Romano Scarpa, anyone?), but
>I haven't cared for most of the Italian Disney product I've
>read.
>
>--Dwight Decker
>
>--PART-BOUNDARY=.19801121618.ZM19249.stardust--
>
>------------------------------
>
>Date: Mon, 12 Jan 1998 18:57:41 EST
>From: Cebarat <(Email removed)>
>To: (Email removed)
>Subject: Re: Disney Comics Digest V98 #10
>
>HARRY FLUKS (re the question of Gottfredson's "Golden Age"):
><<David and Paolo argued that Gottfredson's Golden age would
>be a bit more than just 1937-1940. I agree, and I think I mistyped
>the years. The Golden age starts (to me) in 1936 with
>"The Foreign Legion" and ends in 1942 with "The Gleam"...
>Is it a coincidence that my Golden age ends when Merill de Maris
>left?>>
>
>I'd have to agree that of all the MM writers, De Maris was probably the most
>successful at capturing the specific type of adventure story that we've all
>come to associate with the MM strip at its best. That's not to say that I
>look upon the 1942-1955 period (from "The Gleam" to the end of continuity) as
>a sustained decline. I've not seen all that much of the Walsh stuff, but the
>portion that I have seen is pretty darn good. Walsh simply takes the
>adventures in a different direction, one heavily flavored with fantasy and
>sci-fi. Whether you think such material is comparable to or inherently
>inferior to the de Maris-style adventure material is probably just a
matter of
>taste.
>
>-- Christopher E. Barat
>(Email removed)
>http://members.aol.com/cebarat/home.htm
>
>------------------------------
>
>Date: Tue, 13 Jan 1998 01:23:56 +0100 (CET)
>From: (Email removed) (Juergen Gebhardt)
>To: (Email removed)
>Subject: Brancaholics Anonymous
>
>DAVID:
>> 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. ;-)
>
>Yes, I vividly remember last year's D96015 ("Achtung, Kamera!" in
>MICKY MAUS 16/97) with a very expressive Donald in the 1960s-period-
>Barks-style but also with the first mohawk-wearing punk in Duckburg
>I've seen. And the story was very funny to boot, the story-structure
>being almost Barksian with gag after gag being topped by the next gag
>(except for the last two pages where the story fizzled out without
>a satisfactory climax).
>But is it really true that Branca will not ink his pencils himself
>anymore? I believe, I've read something like that in a text page
>in a Gladstone comic, one or two years ago.
>
>Juergen Gebhardt
>
>--------------------------------
>End of Disney comics Digest V98 Issue #11
>*****************************************
>
>
|| <<<<Tarjei Kidd Olsen>>>> ||
||___________________________||
|| http://home.sol.no/~kidd/ ||
|| (Email removed) ||