In my letter "Scrooge's bragging" I wrote about an emotional Barks-moment
in which Scrooge shows that he really cares for Donald and his nephews.
Yesterday-evening I suddenly remembered the story: it's "Oddball Odyssey"
(U$ 40).
This part was even more moving than I thought, for a crying Scrooge even
*gives away* his old number one dime to Magica in exchange for Donald and
the nephews becoming normal again (they were transformed into a goat/
turtle and three pigs). Magica appears as a very mean person here, because
after getting the dime she refuses to undo the spell.
On the next page the real moving panels can be found, which reminded me of
that big other sequence: the ending of "Back to the Klondike". In panel
16.3, a hiding Scrooge says:
"That's the end of the line for my *fortune*! With my old number one
dime gone, I'll no longer care what becomes of my other trillions of
dimes!"
And in panel 16.4 he cries:
"Nor will I care what becomes of *me*! My nephews are lost --
*all* that I valued in the world is lost!"
So, if forced to choose, Scrooge would even risk his oldest and most loved
possesion for what he *really* cares for: his family. (According to this
story of course.)
Greetings,
--- Daniel
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Author
Topic: 199801
(513 messages)
Daniel Van Eijmeren
Scrooge's caring
Message 361 -
1998-01-21 at 15:29:25
Francois Willot
Various comments
Message 362 -
1998-01-21 at 16:59:05
Claus O. M. Havik wrote:
>Has there ever been any story which featured
>the Phantom of Notre Duck other than the Barks story?
>(Or another Barks story than "Phantom of the Notre Duck")
There was (at least) one with the Phantom of Notre-Duck (I like that
name!). I remember well this brazilian story which was published in
"Super Picsou" (I don't know the issue number and I haven't the courage
to look for it in all those magazines...). The story was very good, I
think the art is by Verci de Mello (though it's a bit hard to *remember*
*art* *style* of course...).
>Any story that tried to explained why he looks
>exactly like U$?
Not in this one. I guess it's supposed to be a coincidence...
There was another "clone" of Scrooge in an Italian story published in
Almanacco Topolino, where US meets with someone who collects sellfishes,
sellfishes being money in the place of the world where he is (an island
in the Pacific ocean).
Dwight:
>> The story was published here one month before the US publication,
>>with
>> the same "trop cher" joke.
>>
>Aw...I thought sure I'd made that up myself, but...I translated that
>story so
>long ago I don't remember the fine details. (Everybody else: "Trop
>cher" is
>French for "too expensive").
I would not be surprised if different persons came up with the same idea
at the same moment... But I think the joke is better in English, Dutch
or Danish, than it is in French...
Francois
--------------------------------
End of Disney comics Digest V98 Issue #28
*****************************************
>Has there ever been any story which featured
>the Phantom of Notre Duck other than the Barks story?
>(Or another Barks story than "Phantom of the Notre Duck")
There was (at least) one with the Phantom of Notre-Duck (I like that
name!). I remember well this brazilian story which was published in
"Super Picsou" (I don't know the issue number and I haven't the courage
to look for it in all those magazines...). The story was very good, I
think the art is by Verci de Mello (though it's a bit hard to *remember*
*art* *style* of course...).
>Any story that tried to explained why he looks
>exactly like U$?
Not in this one. I guess it's supposed to be a coincidence...
There was another "clone" of Scrooge in an Italian story published in
Almanacco Topolino, where US meets with someone who collects sellfishes,
sellfishes being money in the place of the world where he is (an island
in the Pacific ocean).
Dwight:
>> The story was published here one month before the US publication,
>>with
>> the same "trop cher" joke.
>>
>Aw...I thought sure I'd made that up myself, but...I translated that
>story so
>long ago I don't remember the fine details. (Everybody else: "Trop
>cher" is
>French for "too expensive").
I would not be surprised if different persons came up with the same idea
at the same moment... But I think the joke is better in English, Dutch
or Danish, than it is in French...
Francois
--------------------------------
End of Disney comics Digest V98 Issue #28
*****************************************
Donald D. Markstein
Junkville Journal
Message 363 -
1998-01-21 at 17:11:03
PAULO CEZAR LOPES BARRETO --
We know, from ONE Barks reference, that Duckburg is
located in Calisota -- but what, exactly, is Calisota? The
implication is that it's a "state" of the U.S., i.e., a
political division thereof. But personally, I always figured it
was a separate nation-state, of which Duckburg is the capital.
When travelling abroad, in later Barks stories at least, they
refer to a "Duckburgian" embassy, not a "Washingtonian" one,
which would be the equivalent if they lived in the U.S.
I also figure Calisota is part of the North American
continent, but that, obviously, depends on one's point of view.
BROR HELMAN & HARRY FLUKS --
I don't know how people manage to write the same plot
with different characters. I can start with absolutely identical
basic ideas, but when I spin them out into plots for different
characters, they come out as TOTALLY different stories. I
recently wrote a Mickey Mouse script based on an idea I've been
kicking around in my head for a long time. Several years ago, I
wrote an Eek! the Cat story based on the same idea -- and not
only would you never know the stories had any but the most
TENUOUS relationship to each other -- you'd NEVER, in a million
years, GUESS that the first one I proposed from that idea was a
HORROR story!
ETA BETA --
Footnotes wouldn't work in a Disney comic book story. The
translation process is supposed to be invisible to the reader --
he may know, from outside sources, that the stories are
translated from another language, but while he's reading the
story, his nose shouldn't be rubbed into the fact. The best
solution to "translating" a song like "Lydia the Tattooed Lady"
would be to think of some song in the proper language, that
would have the same comedic effect, either for the same reason
or, if none is available, for ANY reason, and use that.
Which, I gather, is what most translators did.
RICH BELLACERA --
Good point, that Bootle Beetle should have imagined a
"human" looking like Donald Duck rather than Mickey Mouse, since
he was first used in a Donald Duck cartoons. Funny I never thought
of that, but when I first read the Bucky Bug stories, I had no idea the
character had any other existence.
I guess Bucky and Bo do have kind of a Mickey/Goofy
relationship (short, feisty, adventurous guy paired with a
taller, less dominant sidekick), but Bo is a lot smarter than
Goofy.
DWIGHT DECKER --
I kind of agree about DuckTales. It ain't Barks, but it's
a nice little 'toon, and a reasonably faithful use of the
Scrooge character. I was just (after all these years) getting
around to the idea that I ought to collect it, when The Disney
Channel took it off. Oh well. It'll be back.
DAVID GERSTEIN --
Actually, I was the one who said that about Horace being
mostly a bit player in old b&w cartoons. And in the original
paragraph where I said it, I DID qualify it as being "to an
American audience".
I'm surprised, tho, to hear that Horace is so well known
in Europe. Is it just from recent comics, or has he been used
all along?
Yow! Even I didn't know about Bo being Bucky's mentor. I
knew, from his first appearance in the WDC&S series, that he was
older than Bucky, and they'd known each other in the past, but
the details were unclear to me. The only Silly Symphonies Bucky
appearances I have are those in Abbeville Press and RECENT WDC&S,
for which I ALSO have you to thank (I only have three pre-Barks
issues, and none of them have Bucky). Thanx for the info!
MARCO BARLOTTI --
>> "I always enjoy your postings but PLEEEEASE could you STOP
>> putting Junkville Journal> as the subject ???????????"
Why?
STEFAN DIOS --
>> "I used to feel that my greatest responsibility was towards
>> the Ducks (and other characters) and the way they traditionally
>> are presented in Swedish."
I believe you are correct in that. A good, well-written
story aimed at the readers of your own language is by far
preferable to a precise, word-for-word translation.
>> "I have an obligation towards the writers, whom I know to care
>> about the characters and put a lot of work into their
>> dialogue, to keep their tone and spirit intact."
Should any of MY stories ever cross your desk, please be
assured that you can keep my "tone and spirit intact" by wording
it the best way you know how, in Swedish. In any transferal from
one language to another, something is bound to be "lost in
translation". I will appreciate anything you can do to add stuff
back in, and make it the best story it can possibly be. Thanks
for everything you do to make me look good.
Quack, Don
We know, from ONE Barks reference, that Duckburg is
located in Calisota -- but what, exactly, is Calisota? The
implication is that it's a "state" of the U.S., i.e., a
political division thereof. But personally, I always figured it
was a separate nation-state, of which Duckburg is the capital.
When travelling abroad, in later Barks stories at least, they
refer to a "Duckburgian" embassy, not a "Washingtonian" one,
which would be the equivalent if they lived in the U.S.
I also figure Calisota is part of the North American
continent, but that, obviously, depends on one's point of view.
BROR HELMAN & HARRY FLUKS --
I don't know how people manage to write the same plot
with different characters. I can start with absolutely identical
basic ideas, but when I spin them out into plots for different
characters, they come out as TOTALLY different stories. I
recently wrote a Mickey Mouse script based on an idea I've been
kicking around in my head for a long time. Several years ago, I
wrote an Eek! the Cat story based on the same idea -- and not
only would you never know the stories had any but the most
TENUOUS relationship to each other -- you'd NEVER, in a million
years, GUESS that the first one I proposed from that idea was a
HORROR story!
ETA BETA --
Footnotes wouldn't work in a Disney comic book story. The
translation process is supposed to be invisible to the reader --
he may know, from outside sources, that the stories are
translated from another language, but while he's reading the
story, his nose shouldn't be rubbed into the fact. The best
solution to "translating" a song like "Lydia the Tattooed Lady"
would be to think of some song in the proper language, that
would have the same comedic effect, either for the same reason
or, if none is available, for ANY reason, and use that.
Which, I gather, is what most translators did.
RICH BELLACERA --
Good point, that Bootle Beetle should have imagined a
"human" looking like Donald Duck rather than Mickey Mouse, since
he was first used in a Donald Duck cartoons. Funny I never thought
of that, but when I first read the Bucky Bug stories, I had no idea the
character had any other existence.
I guess Bucky and Bo do have kind of a Mickey/Goofy
relationship (short, feisty, adventurous guy paired with a
taller, less dominant sidekick), but Bo is a lot smarter than
Goofy.
DWIGHT DECKER --
I kind of agree about DuckTales. It ain't Barks, but it's
a nice little 'toon, and a reasonably faithful use of the
Scrooge character. I was just (after all these years) getting
around to the idea that I ought to collect it, when The Disney
Channel took it off. Oh well. It'll be back.
DAVID GERSTEIN --
Actually, I was the one who said that about Horace being
mostly a bit player in old b&w cartoons. And in the original
paragraph where I said it, I DID qualify it as being "to an
American audience".
I'm surprised, tho, to hear that Horace is so well known
in Europe. Is it just from recent comics, or has he been used
all along?
Yow! Even I didn't know about Bo being Bucky's mentor. I
knew, from his first appearance in the WDC&S series, that he was
older than Bucky, and they'd known each other in the past, but
the details were unclear to me. The only Silly Symphonies Bucky
appearances I have are those in Abbeville Press and RECENT WDC&S,
for which I ALSO have you to thank (I only have three pre-Barks
issues, and none of them have Bucky). Thanx for the info!
MARCO BARLOTTI --
>> "I always enjoy your postings but PLEEEEASE could you STOP
>> putting Junkville Journal> as the subject ???????????"
Why?
STEFAN DIOS --
>> "I used to feel that my greatest responsibility was towards
>> the Ducks (and other characters) and the way they traditionally
>> are presented in Swedish."
I believe you are correct in that. A good, well-written
story aimed at the readers of your own language is by far
preferable to a precise, word-for-word translation.
>> "I have an obligation towards the writers, whom I know to care
>> about the characters and put a lot of work into their
>> dialogue, to keep their tone and spirit intact."
Should any of MY stories ever cross your desk, please be
assured that you can keep my "tone and spirit intact" by wording
it the best way you know how, in Swedish. In any transferal from
one language to another, something is bound to be "lost in
translation". I will appreciate anything you can do to add stuff
back in, and make it the best story it can possibly be. Thanks
for everything you do to make me look good.
Quack, Don
Rich Pegasus
Disney comics Digest V98 #29
Message 364 -
1998-01-21 at 18:58:25
Hi all,
Maybe I missed something previously, but since the "Blum" sbuject
has come up again, I am curious about something.
Miracle of miracles, I happened to visit my local comicshop and
they just happened to have a hardbound Limited edition of Rosa's Lo$
complete with duo-signed color lithograph and Rosa signed on the
first page. Anyhow, while reading the section called "Scrooge Trek:
The Next Generation" at first I thought I bought an edition that was
marred by the comic shop since it had red ink editorial markings
throughout Geoffrey Bum's introduction. Then I noticed the "DR"
initials at the bottom and had a good laugh. The one marking I
couldn't quite figure out was where the little red parentheses are
placed enclosing the phrase, [re: Don Rosa] "telling interviewers
that he was the only man fit and fated to continue the Great Barks
Tradition." Half way through that sentence there is a line with
an arrow pointing to the edge of the page, perhaps indicating I
should turn the page. First, am I the only one who has these red
editting marks? and second what is meant by that arrow? P.S. I
gotta find me a rubber stamp that says "(???) HMPH!" ;-)
PAULO CEZAR LOPES BARRETO:
> I really don't remember Gloria's super-heroine stories. But
> if the name is "Borboleta Purpura", that means "Purple Butterfly".
Noted, THANKS! :-)
> The first League-like story was published in "Tio Patinhas", 1st. sem.
> 1979 (I can check the exact month if necessary)...[spoiler ommited]...
I'm probably in the minority here, but I wish there was a way to see
this story. [hint, hint, anyone?] ;-)
WILMER RIVERS:
> [Movie fans might also remember the "special friendship" between
> the Madame of the "Chicken Ranch" (Dolly Parton) and the Sheriff of
> La Grange, Texas (Burt Reynolds), in "The Best Little W****house in
> Texas".] I imagine Goldie in a similar role...
What would be wrong with saying "whorehouse"? So far that word is not
politically incorrect, or is it? What would the P.C. title for such
an occupation be? ;-) [just having fun]
> My own opinion is that Goldie was a one-time character in
> "Back to the Klondike"
Perhaps given that many of us are quite familiar with DUCKTALES, and
the fact that she appears in at least three episodes ("Back to the
Klondike", Nov. 28, 1987; "Scroogerello", Nov. 24, 1987; and "'Til
Nephews Do Us Part", Jan. 1, 1988), though I seem to remember a
fourth, she became more than a "one-shot" character, and Don Rosa
had nothing to do with that (I believe). So it would seem, Disney
itself planned for Goldie to be his recurring love interest, which,
according to G. Blum's own words in Lo$, Don was following up on
when Disney dropped the ball after DuckTales.
DAVE RAWSON:
> ...how about Jubal Strut? That fits with the meaning of Cock....
Works for me as well. Sort of reminiscent of "Cock of the Walk."
However, if I understand David's last commentary, it may be too late
(that is if it's aready set for the printers).
Curiosity, though: If Jubal Pomp & J. Frostfeathers Pomp are two
distinctly different characters who happen to look similar, then
would they be related (having the same uncommon surname).
Ciao, Rich
Maybe I missed something previously, but since the "Blum" sbuject
has come up again, I am curious about something.
Miracle of miracles, I happened to visit my local comicshop and
they just happened to have a hardbound Limited edition of Rosa's Lo$
complete with duo-signed color lithograph and Rosa signed on the
first page. Anyhow, while reading the section called "Scrooge Trek:
The Next Generation" at first I thought I bought an edition that was
marred by the comic shop since it had red ink editorial markings
throughout Geoffrey Bum's introduction. Then I noticed the "DR"
initials at the bottom and had a good laugh. The one marking I
couldn't quite figure out was where the little red parentheses are
placed enclosing the phrase, [re: Don Rosa] "telling interviewers
that he was the only man fit and fated to continue the Great Barks
Tradition." Half way through that sentence there is a line with
an arrow pointing to the edge of the page, perhaps indicating I
should turn the page. First, am I the only one who has these red
editting marks? and second what is meant by that arrow? P.S. I
gotta find me a rubber stamp that says "(???) HMPH!" ;-)
PAULO CEZAR LOPES BARRETO:
> I really don't remember Gloria's super-heroine stories. But
> if the name is "Borboleta Purpura", that means "Purple Butterfly".
Noted, THANKS! :-)
> The first League-like story was published in "Tio Patinhas", 1st. sem.
> 1979 (I can check the exact month if necessary)...[spoiler ommited]...
I'm probably in the minority here, but I wish there was a way to see
this story. [hint, hint, anyone?] ;-)
WILMER RIVERS:
> [Movie fans might also remember the "special friendship" between
> the Madame of the "Chicken Ranch" (Dolly Parton) and the Sheriff of
> La Grange, Texas (Burt Reynolds), in "The Best Little W****house in
> Texas".] I imagine Goldie in a similar role...
What would be wrong with saying "whorehouse"? So far that word is not
politically incorrect, or is it? What would the P.C. title for such
an occupation be? ;-) [just having fun]
> My own opinion is that Goldie was a one-time character in
> "Back to the Klondike"
Perhaps given that many of us are quite familiar with DUCKTALES, and
the fact that she appears in at least three episodes ("Back to the
Klondike", Nov. 28, 1987; "Scroogerello", Nov. 24, 1987; and "'Til
Nephews Do Us Part", Jan. 1, 1988), though I seem to remember a
fourth, she became more than a "one-shot" character, and Don Rosa
had nothing to do with that (I believe). So it would seem, Disney
itself planned for Goldie to be his recurring love interest, which,
according to G. Blum's own words in Lo$, Don was following up on
when Disney dropped the ball after DuckTales.
DAVE RAWSON:
> ...how about Jubal Strut? That fits with the meaning of Cock....
Works for me as well. Sort of reminiscent of "Cock of the Walk."
However, if I understand David's last commentary, it may be too late
(that is if it's aready set for the printers).
Curiosity, though: If Jubal Pomp & J. Frostfeathers Pomp are two
distinctly different characters who happen to look similar, then
would they be related (having the same uncommon surname).
Ciao, Rich
Rich Pegasus
FETHRY ON-LINE
Message 365 -
1998-01-21 at 19:11:37
FREE COMIC REMINDER!!
Just a reminder. For all of you interested in seeing the
USA's first appearance of Fethry Duck you might log on
to my webpage. I will be removing it this weekend.
It is posted as 10 GIFs. You can pull them up by entering
the first URL then change the last number to get the rest
of the pages:
http://www.jps.net/xephyr/DD105-1.gif
http://www.jps.net/xephyr/DD105-2.gif
http://www.jps.net/xephyr/DD105-3.gif
http://www.jps.net/xephyr/DD105-4.gif
http://www.jps.net/xephyr/DD105-5.gif
http://www.jps.net/xephyr/DD105-6.gif
http://www.jps.net/xephyr/DD105-7.gif
http://www.jps.net/xephyr/DD105-8.gif
http://www.jps.net/xephyr/DD105-9.gif
http://www.jps.net/xephyr/DD105-10.gif
I appologize for the quality of the scan, but the pages of
the comic are yellowed and of course the quality of the
printer's ink in the sixties wasn't that great either.
Just a reminder. For all of you interested in seeing the
USA's first appearance of Fethry Duck you might log on
to my webpage. I will be removing it this weekend.
It is posted as 10 GIFs. You can pull them up by entering
the first URL then change the last number to get the rest
of the pages:
http://www.jps.net/xephyr/DD105-1.gif
http://www.jps.net/xephyr/DD105-2.gif
http://www.jps.net/xephyr/DD105-3.gif
http://www.jps.net/xephyr/DD105-4.gif
http://www.jps.net/xephyr/DD105-5.gif
http://www.jps.net/xephyr/DD105-6.gif
http://www.jps.net/xephyr/DD105-7.gif
http://www.jps.net/xephyr/DD105-8.gif
http://www.jps.net/xephyr/DD105-9.gif
http://www.jps.net/xephyr/DD105-10.gif
I appologize for the quality of the scan, but the pages of
the comic are yellowed and of course the quality of the
printer's ink in the sixties wasn't that great either.
Mark A. Semich
Blum's editorial on "A Little Something Special"
Message 366 -
1998-01-21 at 19:32:09
"Dr. Archontis Pantsios" <(Email removed)> writes:
-----
However, if Gladstone wishes to present us with articles on Rosa's Ducks
free of any Barks-biasedness suspicion, they should probably look for a
"fresh" Rosa scholar.
-----
This may be true - but I suspect that Gladstone chose Mr. Blum to write
these Rosa articles precisely *because* of his overwhelming Barks
knowledge. The fact is that Don Rosa's stories are heavily influenced
by all of Barks' work. So if one is to fully appreciate a Rosa story, a
complete Barks familiarity greatly helps.
Anyone here want to volunteer? :-)
-----
However, if Gladstone wishes to present us with articles on Rosa's Ducks
free of any Barks-biasedness suspicion, they should probably look for a
"fresh" Rosa scholar.
-----
This may be true - but I suspect that Gladstone chose Mr. Blum to write
these Rosa articles precisely *because* of his overwhelming Barks
knowledge. The fact is that Don Rosa's stories are heavily influenced
by all of Barks' work. So if one is to fully appreciate a Rosa story, a
complete Barks familiarity greatly helps.
Anyone here want to volunteer? :-)
Jgarvin
Blum
Message 367 -
1998-01-21 at 20:14:15
Doc:
Thanks for posting the Blum article. I really must disagree with you
and everyone else who thought this was mean spirited or even very highly
critical. Indeed, Blum seems to be praising Rosa quite highly. A quick
explication:
<<There's no question Carl Barks was prolific. I haven't counted his
stories
myself, but 500 is the number generally cited. Each one is a gem, and
the
few that aren't are nicely cut and polished. Is it any wonder we've been
packing them into the Gladstone comics? But a treasure, even of this
size,
will stretch just so far. This month we break stride with a Christmas
offering of stories that haven't been seen before, not on this side of
the
Duck-pond.>>
Blum begins with Barks not to make Rosa look bad, but to include Rosa
into a rich history (pun intended) of Duck's christmas stories.
<<What can I say about Don Rosa's extravaganza in *The Adventurous Uncle
Scrooge McDuck* 2? If I criticize just one sweat bead, there will be
legions
of loyal fans howling for my head. If I praise too much, you'll think I
have
my keyboard in my cheek. Perhaps the word on which we can all agree is
energy. >>
This is Blum's nod to Rosa's "needless and irritating" detail which is
universally loved by some and hated by others.
<<Though heavy with motion lines and superfine texturing, Rosa's
drawings leap off the page, and his plots race. Pick up any dozen of the
Danish-produced duck tales, and you may have a hard time sorting out
artists. Daniel Branca's work is recognizable, so's that of Vicar, but
Egmont's editors strive for homogeneity, and to a great extent they
achieve
it. I've even heard stories of William Van Horn being sent back to his
drawing board with a model sheet. Only Rosa, like Barks in his heyday,
is
given free rein. That's because there's no reining in the wild surge of
his
vision.>>
This is high praise indeed. Rosa is compared to Barks in his "heyday."
Rosa has "vision," his drawings "leap" off of the page. And he is the
only artist who stands out from all of Egmont's artists. (True or not,
a huge compliment.)
<<Since Rosa has labored to establish a timeline for the comics and an
ancestry for Scrooge, it's appropriate that he should host McDuck's
Golden
Jubille. It was in December 1947 that Scrooge first waddled onto the
pages
of the Dell comics in "Christmas On Bear Mountain" (*Donald Duck* FC
178),
and here we are fifty years later approaching the same holiday. Now by
Rosa's reckoning, Scrooge came to Duckburg and built his money bin in
1902
(see Chapter 10 of his *Life and Times of Scrooge McDuck*). Since Rosa's
"present-day" stories all take place in 1952, the year he regards as
Barks'
golden age, the coincidence of half-centuries works nicely. But his
title "A
Little Something Special" is an understatement. This story is a
celebration
to end all celebrations.>>
Blum's nod to another controversial Rosa-ism: Rosa's timelines and
historicism. Again, Blum invokes Barks, not to criticize Rosa, but to
firmly place his work in the context of the Barks universe: Scrooge's
first christmas story. And again, high praise: Rosa's work is a
"celebration to end all celebrations."
<<In 29 pages Rosa crams in Scrooge and his nephews, Daisy, Gyro,
Gladstone,
Grandma, Magica de Spell, Flintheart Glomgold, the Beagle Boys, the
Mayor of
Duckburg, and all the townspeople. Led by a mysterious sponsor, these
characters crowd into bleachers at the foot of Killmotor Hill for a
ceremony
honoring the World's Richest Duck. There are banners, speeches, even a
contest to guess the perfect present for the miser who has everything.
Scrooge, of course, wants nothing to do with this pomp and circumstance,
but
he's dragged kicking and screaming to the seat of honor while dirty
doings
get underway at the money bin. More than that I can't reveal without
spoiling the twists and hairpin turns of Rosa's plot.>>
Here, I suppose, one could argue that by using diction like "crams" that
Blum is being slightly pejorative, but I don't take it that way.
Instead, I read it as Blum's acknowledgement of an achievement. Rosa
has "invited" quite a pantheon of characters to this "celebration." And
Blum makes a conscious effort to _not_ reveal too much about the plot.
<<But I can tell you that the comic ends on a steamy beak-to-beak kiss
between
Scrooge and Glittering Goldie. Having disposed of magic spells,
bin-chewing
machines, and a chase through the sewers of Duckburg, Rosa indulges the
vein
of sentiment that runs beneath all his tales and throws in this moment
as a
tribute to Scrooge's old flame. It's a mere coda to the adventure, over
in
half a page, but it is intense and typifies what I'd call the non-Barks
element in Rosa's work. Melding in a shriek from *Mad Magazine*, a whiff
of
the EC horror tales, and countless references to classic American films,
he
has expanded his chosen genre in ways none of us would have tought
possible
ten years ago, producing Disney comics that are like no other Disney
comics.
Indeed, Rosa has introduced so many provocative touches that I was
hoping to
be able to flag this kiss for you as a first--but there is a
precedent.>>
Ok, here it is: the most controversial paragraph. Yes, Blum spoils a
surprise at the end of Rosa's story, but why? Because he recognises it
as a significant, almost unprecedented, event in the universe of Duck
stories: the introducktion of true physical passion into what is mostly
an asexual world. Blum also recognises another thing that distinguishes
Rosa's work: his sentimental streak. And don't take Blum's references
to EC and Mad as criticism: These works are highly regarded by _all_
comics scholars. To be compared to them is high praise.
<<In one early Barks ten pager (WDC&S 33) lifeguard Donald saves a
bathing
beauty from a shark and is rewarded with a resounding smooch on the
lips. To
my knowledge it's the only kiss of its kind in the classic stories: the
rest
of the time Donald has to make do with affectionate pecks on the cheek
or
forehead (*DD* FC 328, *WDC&S* 308). When he asks for something more, he
gets a plumber's helper rammed over his beak (*DD* FC 367). Standards at
Western Publishing were prudish, and Barks was in fact censored on the
shark
story for making his lady duck too buxom. "I had to spend more hours in
the
publisher's office flattening out all those bosoms," he once recalled.
It's
surprising that a passionate kiss got by his editors.>>
I can't imagine why anyone would think that it is criticism when someone
discusses Barks and Rosa at the same time. Rosa is building on Barks'
work, using Barks' characters, in what started out to be a very
Barks-like style. Barks will always be the touchstone or baseline with
against which others are measured and evaluated.
<<The osculation in Rosa's comic is doubly passionate, with Scrooge
sweating
bullets, his glasses fogging, and the moment prolonged, Kurtzmanlike,
across
three panels. Moreover, he sets the stage for this climax by having
Donald
perform the same favor for Daisy midway through the story. But that
kiss,
like the celebrated one in *Xena*, isn't everything is seems.>>
This truly is high praise. Kurtzman is universally recognized as a
genius in the comic form in his use of timing, pacing, and using the
comic panel.
Indeed, the point of this entire article is not to condemn Rosa for
being Un-Barks, but to praise him for achieving something beyond Barks:
becoming Rosa. According to Blum, Rosa is highly detailed, has legions
of fans, stands out from the current crop of artists, is better than Van
Horn, is contributing to a treasury of Duck stories, has intorduced
"many provocative touches" and has expanded his "genre in ways none of
us would have thought possible." Rosa's work is compared, favorably, to
two of the greatest comics creators of all time: Barks and Kurtzman.
Perhaps such an article would have been better suited for a reprint
volume to avoid the spoiler, but I would not be upset if Blum wrote such
an article about my work.
John
Thanks for posting the Blum article. I really must disagree with you
and everyone else who thought this was mean spirited or even very highly
critical. Indeed, Blum seems to be praising Rosa quite highly. A quick
explication:
<<There's no question Carl Barks was prolific. I haven't counted his
stories
myself, but 500 is the number generally cited. Each one is a gem, and
the
few that aren't are nicely cut and polished. Is it any wonder we've been
packing them into the Gladstone comics? But a treasure, even of this
size,
will stretch just so far. This month we break stride with a Christmas
offering of stories that haven't been seen before, not on this side of
the
Duck-pond.>>
Blum begins with Barks not to make Rosa look bad, but to include Rosa
into a rich history (pun intended) of Duck's christmas stories.
<<What can I say about Don Rosa's extravaganza in *The Adventurous Uncle
Scrooge McDuck* 2? If I criticize just one sweat bead, there will be
legions
of loyal fans howling for my head. If I praise too much, you'll think I
have
my keyboard in my cheek. Perhaps the word on which we can all agree is
energy. >>
This is Blum's nod to Rosa's "needless and irritating" detail which is
universally loved by some and hated by others.
<<Though heavy with motion lines and superfine texturing, Rosa's
drawings leap off the page, and his plots race. Pick up any dozen of the
Danish-produced duck tales, and you may have a hard time sorting out
artists. Daniel Branca's work is recognizable, so's that of Vicar, but
Egmont's editors strive for homogeneity, and to a great extent they
achieve
it. I've even heard stories of William Van Horn being sent back to his
drawing board with a model sheet. Only Rosa, like Barks in his heyday,
is
given free rein. That's because there's no reining in the wild surge of
his
vision.>>
This is high praise indeed. Rosa is compared to Barks in his "heyday."
Rosa has "vision," his drawings "leap" off of the page. And he is the
only artist who stands out from all of Egmont's artists. (True or not,
a huge compliment.)
<<Since Rosa has labored to establish a timeline for the comics and an
ancestry for Scrooge, it's appropriate that he should host McDuck's
Golden
Jubille. It was in December 1947 that Scrooge first waddled onto the
pages
of the Dell comics in "Christmas On Bear Mountain" (*Donald Duck* FC
178),
and here we are fifty years later approaching the same holiday. Now by
Rosa's reckoning, Scrooge came to Duckburg and built his money bin in
1902
(see Chapter 10 of his *Life and Times of Scrooge McDuck*). Since Rosa's
"present-day" stories all take place in 1952, the year he regards as
Barks'
golden age, the coincidence of half-centuries works nicely. But his
title "A
Little Something Special" is an understatement. This story is a
celebration
to end all celebrations.>>
Blum's nod to another controversial Rosa-ism: Rosa's timelines and
historicism. Again, Blum invokes Barks, not to criticize Rosa, but to
firmly place his work in the context of the Barks universe: Scrooge's
first christmas story. And again, high praise: Rosa's work is a
"celebration to end all celebrations."
<<In 29 pages Rosa crams in Scrooge and his nephews, Daisy, Gyro,
Gladstone,
Grandma, Magica de Spell, Flintheart Glomgold, the Beagle Boys, the
Mayor of
Duckburg, and all the townspeople. Led by a mysterious sponsor, these
characters crowd into bleachers at the foot of Killmotor Hill for a
ceremony
honoring the World's Richest Duck. There are banners, speeches, even a
contest to guess the perfect present for the miser who has everything.
Scrooge, of course, wants nothing to do with this pomp and circumstance,
but
he's dragged kicking and screaming to the seat of honor while dirty
doings
get underway at the money bin. More than that I can't reveal without
spoiling the twists and hairpin turns of Rosa's plot.>>
Here, I suppose, one could argue that by using diction like "crams" that
Blum is being slightly pejorative, but I don't take it that way.
Instead, I read it as Blum's acknowledgement of an achievement. Rosa
has "invited" quite a pantheon of characters to this "celebration." And
Blum makes a conscious effort to _not_ reveal too much about the plot.
<<But I can tell you that the comic ends on a steamy beak-to-beak kiss
between
Scrooge and Glittering Goldie. Having disposed of magic spells,
bin-chewing
machines, and a chase through the sewers of Duckburg, Rosa indulges the
vein
of sentiment that runs beneath all his tales and throws in this moment
as a
tribute to Scrooge's old flame. It's a mere coda to the adventure, over
in
half a page, but it is intense and typifies what I'd call the non-Barks
element in Rosa's work. Melding in a shriek from *Mad Magazine*, a whiff
of
the EC horror tales, and countless references to classic American films,
he
has expanded his chosen genre in ways none of us would have tought
possible
ten years ago, producing Disney comics that are like no other Disney
comics.
Indeed, Rosa has introduced so many provocative touches that I was
hoping to
be able to flag this kiss for you as a first--but there is a
precedent.>>
Ok, here it is: the most controversial paragraph. Yes, Blum spoils a
surprise at the end of Rosa's story, but why? Because he recognises it
as a significant, almost unprecedented, event in the universe of Duck
stories: the introducktion of true physical passion into what is mostly
an asexual world. Blum also recognises another thing that distinguishes
Rosa's work: his sentimental streak. And don't take Blum's references
to EC and Mad as criticism: These works are highly regarded by _all_
comics scholars. To be compared to them is high praise.
<<In one early Barks ten pager (WDC&S 33) lifeguard Donald saves a
bathing
beauty from a shark and is rewarded with a resounding smooch on the
lips. To
my knowledge it's the only kiss of its kind in the classic stories: the
rest
of the time Donald has to make do with affectionate pecks on the cheek
or
forehead (*DD* FC 328, *WDC&S* 308). When he asks for something more, he
gets a plumber's helper rammed over his beak (*DD* FC 367). Standards at
Western Publishing were prudish, and Barks was in fact censored on the
shark
story for making his lady duck too buxom. "I had to spend more hours in
the
publisher's office flattening out all those bosoms," he once recalled.
It's
surprising that a passionate kiss got by his editors.>>
I can't imagine why anyone would think that it is criticism when someone
discusses Barks and Rosa at the same time. Rosa is building on Barks'
work, using Barks' characters, in what started out to be a very
Barks-like style. Barks will always be the touchstone or baseline with
against which others are measured and evaluated.
<<The osculation in Rosa's comic is doubly passionate, with Scrooge
sweating
bullets, his glasses fogging, and the moment prolonged, Kurtzmanlike,
across
three panels. Moreover, he sets the stage for this climax by having
Donald
perform the same favor for Daisy midway through the story. But that
kiss,
like the celebrated one in *Xena*, isn't everything is seems.>>
This truly is high praise. Kurtzman is universally recognized as a
genius in the comic form in his use of timing, pacing, and using the
comic panel.
Indeed, the point of this entire article is not to condemn Rosa for
being Un-Barks, but to praise him for achieving something beyond Barks:
becoming Rosa. According to Blum, Rosa is highly detailed, has legions
of fans, stands out from the current crop of artists, is better than Van
Horn, is contributing to a treasury of Duck stories, has intorduced
"many provocative touches" and has expanded his "genre in ways none of
us would have thought possible." Rosa's work is compared, favorably, to
two of the greatest comics creators of all time: Barks and Kurtzman.
Perhaps such an article would have been better suited for a reprint
volume to avoid the spoiler, but I would not be upset if Blum wrote such
an article about my work.
John
PAULO CEZAR LOPES BARRETO,BARRETO
Keeping up with regular quacking
Message 368 -
1998-01-21 at 20:55:42
Hi All!
KATIE:
>> Maybe Disney's strict code can't allow children
>> to know what U$ finds so special in Goldie (in association to the
>> way Goldie made a living by "entertaining" tired miners). :-)
>If I remember my history right, however, often the
"madams" of such...dubious...establishments actually didn't,
uh...participate. They just managed the place. So if you go with Don
Rosa's view that Goldie owned the Blackjack, I have some evidence to
support this.
However, AFAIK keeping such "leisure" places and/or collecting fees
over other girls' "entertainment" jobs is against the law in most
states and countries (even though it could be socially acceptable when
regarding the heroic role of Dawson's female population)... Barks
couldn't be very explicit about the "facts of life", but IMHO he told
everything between the lines. I don't intend to demean Goldie's
reputation here; nobody is perfect and *very* few people (ducks,
dognoses, homo sapiens or whatever) can state they really earned their
money fair and square.
> > I've tried that "what-if" in my text "Blood in Duckburg". (...)
Rockerduck manages to
> > destroy the will, thus leaving DD as U$'s sole heir by default. U$
> > dies and Rockerduck tries to have DD killed in order to jeopardize
> > Duck family business (H, D, L, Fethry and Gladstone would be left
> > fighting for the best share of U$'s fortune) and take over Duckburg in
> > association with Flintheart Glomgold... that's a long story. :-)
> Gosh, would I like to read that. Except I'd hate to see Scrooge really
go off to that great money bin the sky. I swear I tear up just thinking
of it.
At least U$ has a hero's death. When the entire money bin is hauled
up into the Duckburg sky by Beagle Boys' Magica-enchanted helicopter,
a startled/angered U$ goes up the roof bearing his muzzle-loader in an
extreme attempt to defend his fortune. The gun can do nothing against
the shielded chopper, but U$ fails to keep balance atop the bin and
drops 500 meters. However, there were no James Bond-style parachutes
hidden. :-)
SOEREN:
>> but if you had 3 cubic acres of money,
>...which reminds me: I wonder how that scientifically
incorrect unit "cubic acre" came up?
For us users of the metric system, American measures are
scientifically incorrect, period. The usage of cubic hectares is a
better alternative... but why worry about measuring the unmeasurable?
>> Maybe U$ is making up a legend of himself so as to justify his fortune
>> and hide the *actual* origin of his fantasticabillions??????
> What do you mean by *actual* origin?
Well, we can't take *only* U$'s word for it. Apart from the fabulous
stories about U$'s past, the origin of his fortune *can* be as odd as
its destination. There are 3 cubic acres (or hectares or something
scientifically correct) of cash in Duckburg, but the town doesn't seem
to get much benefit from it: the money is not taxed (except for one or
another story), nor invested, nor lended, doesn't stimulate further
production and consumption, is far from being professionally
managed... only to grant U$ the sheer pleasure of swimming in coins!
DWIGHT:
>Combing the ranks of the regular company
of Disney players with public recognition, who might have served better for
Marley? The Big Bad Wolf, maybe?)
I remember a "Christmas Carol" comics version (published in Brazilian
"Tio Patinhas", Dec. 1983 -- further info, anyone?) in which
Rockerduck plays a perfect Marley (Flintheart would be too similar to
Scrooge). Unfortunately, he wouldn't be much recognized in the cartoon.
DON MARKSTEIN (ON SCROOGE'S HEIRS)
> Actually, I kinda like the idea of sinking the Money Bin,
intact, into the deepest part of the ocean. I see it as Scrooge
providing for future people like himself. He's pretty much
picked the world clean of ancient treasures, so that's his way
of giving them something to Quest after...
Please check my comments to Soeren above. Scrooge must have *big*
reasons to despise contemporary financial capitalism (besides the Far
East crash...), enough to hinder post-mortem exploitation of his quackillions.
CEBARAT:
> BTW: Why would Glomgold and Rockerduck have any chance at contesting
a will in
which they would not appear? Perhaps Glomgold (to take a for instance) is
trying to claim a piece of the fortune based on previous informal agreements
with Scrooge, such as the bet in the DUCKTALES episode "The Uncrashable
Hindentanic"?
I just remember it vaguely... can you give us further info?
I remember another Ducktales episode in which some of FG's money
actually spills over US's pile (when they compare who has the heaviest
fortune) and there's no indication that FG reclaimed his money.
RICH:
>Fethry is the Red Bat & Gloria is the Purple Moth... got it.
Both then seem to emmulate creatures of the night. THE BAT & THE MOTH.
I really don't remember Gloria's super-heroine stories. But if the
name is "Borboleta Purpura", that means "Purple Butterfly".
> Then in Brazil the Disney would seem to have it's own version of D.C.'s
"Justice League of America" or Marvel's "Avengers."
Not exactly, because the Duckburg "League" was quite infrequent. All
in all, the heroes' solo appearances have always been much more interesting.
The first League-like story was published in "Tio Patinhas", 1st. sem.
1979 (I can check the exact month if necessary)...
******SPOILER!*******
That story was roughly simultaneous with "Superman" theatrical
premiere. An extraterrestrial missile lands on Duckburg bringing
Superomao, a dog-nosed Superman lookalike, who manages to take over
super-heroic jobs from Super Goof, Paperinik, Morcego Vermelho and Red
Wasp in no time. However, he was performing a plan from the crime
syndicate, led by Professor Estigma, who used the mind-controlled
Superomao to put the regular super-heroes down, make them retire and
reveal their true identities. When they are to do it, Red Wasp finds
a bugging device in their meeting; the heroes bust the syndicate
headquarters and a punch in the nose from Super Goof takes Superomao
out of mind control. The bad guys are arrested and Superomao joins
the new super-hero league... but I don't remember seeing Superomao
around again.
*******END SPOILER*******
RICH MORRISSEY:
> Actually, I always thought a macaw was a particular kind of parrot, or
even a different (though related) kind of bird.
A macaw is a parrot's relative, but is larger, less able to talk, and
differently colored (usually not green) compared to a parrot.
> There does seem to be a strange affection there. Thinking back to one
of ... "Vacation in Disneyland" ... Grandma says, "I may never
see...*Scrooge* again!" Maybe a bit unusual,
especially since (as has been noted) she's older than Scrooge, but then
again, at their age that probably doesn't make much difference. (But where do
Goldie and Briggita fit in...?)
Maybe Grandma doesn't love U$ the same way as Minnie loves Mickey,
Daisy loves Donald etc. You can note how much the old stone-hearted
penny-picker cares for Grandma anyway... Of course there should be
something beyond Grandma's food, but I'm not sure if Disney code will
allow us to know it. :-)
[]s
P.C.Barreto
(Email removed)
KATIE:
>> Maybe Disney's strict code can't allow children
>> to know what U$ finds so special in Goldie (in association to the
>> way Goldie made a living by "entertaining" tired miners). :-)
>If I remember my history right, however, often the
"madams" of such...dubious...establishments actually didn't,
uh...participate. They just managed the place. So if you go with Don
Rosa's view that Goldie owned the Blackjack, I have some evidence to
support this.
However, AFAIK keeping such "leisure" places and/or collecting fees
over other girls' "entertainment" jobs is against the law in most
states and countries (even though it could be socially acceptable when
regarding the heroic role of Dawson's female population)... Barks
couldn't be very explicit about the "facts of life", but IMHO he told
everything between the lines. I don't intend to demean Goldie's
reputation here; nobody is perfect and *very* few people (ducks,
dognoses, homo sapiens or whatever) can state they really earned their
money fair and square.
> > I've tried that "what-if" in my text "Blood in Duckburg". (...)
Rockerduck manages to
> > destroy the will, thus leaving DD as U$'s sole heir by default. U$
> > dies and Rockerduck tries to have DD killed in order to jeopardize
> > Duck family business (H, D, L, Fethry and Gladstone would be left
> > fighting for the best share of U$'s fortune) and take over Duckburg in
> > association with Flintheart Glomgold... that's a long story. :-)
> Gosh, would I like to read that. Except I'd hate to see Scrooge really
go off to that great money bin the sky. I swear I tear up just thinking
of it.
At least U$ has a hero's death. When the entire money bin is hauled
up into the Duckburg sky by Beagle Boys' Magica-enchanted helicopter,
a startled/angered U$ goes up the roof bearing his muzzle-loader in an
extreme attempt to defend his fortune. The gun can do nothing against
the shielded chopper, but U$ fails to keep balance atop the bin and
drops 500 meters. However, there were no James Bond-style parachutes
hidden. :-)
SOEREN:
>> but if you had 3 cubic acres of money,
>...which reminds me: I wonder how that scientifically
incorrect unit "cubic acre" came up?
For us users of the metric system, American measures are
scientifically incorrect, period. The usage of cubic hectares is a
better alternative... but why worry about measuring the unmeasurable?
>> Maybe U$ is making up a legend of himself so as to justify his fortune
>> and hide the *actual* origin of his fantasticabillions??????
> What do you mean by *actual* origin?
Well, we can't take *only* U$'s word for it. Apart from the fabulous
stories about U$'s past, the origin of his fortune *can* be as odd as
its destination. There are 3 cubic acres (or hectares or something
scientifically correct) of cash in Duckburg, but the town doesn't seem
to get much benefit from it: the money is not taxed (except for one or
another story), nor invested, nor lended, doesn't stimulate further
production and consumption, is far from being professionally
managed... only to grant U$ the sheer pleasure of swimming in coins!
DWIGHT:
>Combing the ranks of the regular company
of Disney players with public recognition, who might have served better for
Marley? The Big Bad Wolf, maybe?)
I remember a "Christmas Carol" comics version (published in Brazilian
"Tio Patinhas", Dec. 1983 -- further info, anyone?) in which
Rockerduck plays a perfect Marley (Flintheart would be too similar to
Scrooge). Unfortunately, he wouldn't be much recognized in the cartoon.
DON MARKSTEIN (ON SCROOGE'S HEIRS)
> Actually, I kinda like the idea of sinking the Money Bin,
intact, into the deepest part of the ocean. I see it as Scrooge
providing for future people like himself. He's pretty much
picked the world clean of ancient treasures, so that's his way
of giving them something to Quest after...
Please check my comments to Soeren above. Scrooge must have *big*
reasons to despise contemporary financial capitalism (besides the Far
East crash...), enough to hinder post-mortem exploitation of his quackillions.
CEBARAT:
> BTW: Why would Glomgold and Rockerduck have any chance at contesting
a will in
which they would not appear? Perhaps Glomgold (to take a for instance) is
trying to claim a piece of the fortune based on previous informal agreements
with Scrooge, such as the bet in the DUCKTALES episode "The Uncrashable
Hindentanic"?
I just remember it vaguely... can you give us further info?
I remember another Ducktales episode in which some of FG's money
actually spills over US's pile (when they compare who has the heaviest
fortune) and there's no indication that FG reclaimed his money.
RICH:
>Fethry is the Red Bat & Gloria is the Purple Moth... got it.
Both then seem to emmulate creatures of the night. THE BAT & THE MOTH.
I really don't remember Gloria's super-heroine stories. But if the
name is "Borboleta Purpura", that means "Purple Butterfly".
> Then in Brazil the Disney would seem to have it's own version of D.C.'s
"Justice League of America" or Marvel's "Avengers."
Not exactly, because the Duckburg "League" was quite infrequent. All
in all, the heroes' solo appearances have always been much more interesting.
The first League-like story was published in "Tio Patinhas", 1st. sem.
1979 (I can check the exact month if necessary)...
******SPOILER!*******
That story was roughly simultaneous with "Superman" theatrical
premiere. An extraterrestrial missile lands on Duckburg bringing
Superomao, a dog-nosed Superman lookalike, who manages to take over
super-heroic jobs from Super Goof, Paperinik, Morcego Vermelho and Red
Wasp in no time. However, he was performing a plan from the crime
syndicate, led by Professor Estigma, who used the mind-controlled
Superomao to put the regular super-heroes down, make them retire and
reveal their true identities. When they are to do it, Red Wasp finds
a bugging device in their meeting; the heroes bust the syndicate
headquarters and a punch in the nose from Super Goof takes Superomao
out of mind control. The bad guys are arrested and Superomao joins
the new super-hero league... but I don't remember seeing Superomao
around again.
*******END SPOILER*******
RICH MORRISSEY:
> Actually, I always thought a macaw was a particular kind of parrot, or
even a different (though related) kind of bird.
A macaw is a parrot's relative, but is larger, less able to talk, and
differently colored (usually not green) compared to a parrot.
> There does seem to be a strange affection there. Thinking back to one
of ... "Vacation in Disneyland" ... Grandma says, "I may never
see...*Scrooge* again!" Maybe a bit unusual,
especially since (as has been noted) she's older than Scrooge, but then
again, at their age that probably doesn't make much difference. (But where do
Goldie and Briggita fit in...?)
Maybe Grandma doesn't love U$ the same way as Minnie loves Mickey,
Daisy loves Donald etc. You can note how much the old stone-hearted
penny-picker cares for Grandma anyway... Of course there should be
something beyond Grandma's food, but I'm not sure if Disney code will
allow us to know it. :-)
[]s
P.C.Barreto
(Email removed)
Wilmer Rivers
Glittering Goldie
Message 369 -
1998-01-21 at 21:17:34
As for the current discussion of Goldie's "profession" (in the words
of a famous 1960s American TV commercial for Lady Clairol hair
coloring, "Does she or doesn't she?"), I hold with the view that
Goldie is a character closely akin to that of "Miss Kitty" on the
very long-running (Mid 1950s to mid 1970s!) TV Western series,
"Gunsmoke". It wouldn't do to have the female lead of one of
America's favorite TV shows in that era be a "sporting lady", but
it was pretty clear that the Long Branch Saloon in Dodge City,
Kansas, which Miss Kitty managed, offered more entertainment to
the cowboys than just drinking and gambling. In 1990s TV, of
course, anything goes, but in the 1950s that sort of thing had to
be downplayed in favor of the wholesome family entertainment, namely
the shoot-outs in the street that gave the show "Gunsmoke" its
title. What **appeared** to be the case was that Miss Kitty just ran
the Long Branch, and that was the extent of her duties - with one
notable exception. It was abundantly clear that she and the U.S.
Marshall, Matt Dillon, had a "special friendship". This is really
not surprising; after all, an establishment such as hers would
need more legal protection than, say, a hardware store, and it
made sense for her to be "close friends" with Marshall Dillon.
[Movie fans might also remember the "special friendship" between
the Madame of the "Chicken Ranch" (Dolly Parton) and the Sheriff of
La Grange, Texas (Burt Reynolds), in "The Best Little W****house in
Texas".] I imagine Goldie in a similar role, namely profiting from
the goings-on in the dance hall but not taking an active role (at
least not any more, although she may in fact have worked her way up
though the ranks to a job in management).
Incidentally, this analogy is not so far off-topic as it might seem;
although the U.S. Marshall of Dodge City, Matt Dillon, is a fictional
TV (and before that, radio) character, the actual Marshall there in
history was Wyatt Earp, who went from Dodge City to Tombstone,
Arizona, and then to Alaska. History doesn't record that he met
Scrooge McDuck there, but LO$ does. Since Scrooge met one Marshall
of Dodge City, perhaps he met another one too. So Scrooge and Matt
Dillon could have met. And maybe when that happened, Marshall
Dillon was retired (like Wyatt Earp) and married to Miss Kitty, whom
Scrooge also met. Hey, it **could** have happened, right?
Anwyay, I **don't** see Goldie as the unrequited love in Scrooge's
life, however heretical that view may seem. She certainly fills
that role in LO$, but as Don has made adundantly clear, that's his
own version, and we each can hold differing opinions. My own
opinion is that Goldie was a one-time character in "Back to the
Klondike", and had Barks written stories about "Back to the Trans-
vaal", "Back to the Outback", "Back to the Bad Hills", etc., we
would have learned more reasons for Scrooge to get a "far away look"
in his eyes when he remembered his life in those other places, too.
Well, that's my belief, and I'm sticking to it. Flame away...
Wilmer Rivers
of a famous 1960s American TV commercial for Lady Clairol hair
coloring, "Does she or doesn't she?"), I hold with the view that
Goldie is a character closely akin to that of "Miss Kitty" on the
very long-running (Mid 1950s to mid 1970s!) TV Western series,
"Gunsmoke". It wouldn't do to have the female lead of one of
America's favorite TV shows in that era be a "sporting lady", but
it was pretty clear that the Long Branch Saloon in Dodge City,
Kansas, which Miss Kitty managed, offered more entertainment to
the cowboys than just drinking and gambling. In 1990s TV, of
course, anything goes, but in the 1950s that sort of thing had to
be downplayed in favor of the wholesome family entertainment, namely
the shoot-outs in the street that gave the show "Gunsmoke" its
title. What **appeared** to be the case was that Miss Kitty just ran
the Long Branch, and that was the extent of her duties - with one
notable exception. It was abundantly clear that she and the U.S.
Marshall, Matt Dillon, had a "special friendship". This is really
not surprising; after all, an establishment such as hers would
need more legal protection than, say, a hardware store, and it
made sense for her to be "close friends" with Marshall Dillon.
[Movie fans might also remember the "special friendship" between
the Madame of the "Chicken Ranch" (Dolly Parton) and the Sheriff of
La Grange, Texas (Burt Reynolds), in "The Best Little W****house in
Texas".] I imagine Goldie in a similar role, namely profiting from
the goings-on in the dance hall but not taking an active role (at
least not any more, although she may in fact have worked her way up
though the ranks to a job in management).
Incidentally, this analogy is not so far off-topic as it might seem;
although the U.S. Marshall of Dodge City, Matt Dillon, is a fictional
TV (and before that, radio) character, the actual Marshall there in
history was Wyatt Earp, who went from Dodge City to Tombstone,
Arizona, and then to Alaska. History doesn't record that he met
Scrooge McDuck there, but LO$ does. Since Scrooge met one Marshall
of Dodge City, perhaps he met another one too. So Scrooge and Matt
Dillon could have met. And maybe when that happened, Marshall
Dillon was retired (like Wyatt Earp) and married to Miss Kitty, whom
Scrooge also met. Hey, it **could** have happened, right?
Anwyay, I **don't** see Goldie as the unrequited love in Scrooge's
life, however heretical that view may seem. She certainly fills
that role in LO$, but as Don has made adundantly clear, that's his
own version, and we each can hold differing opinions. My own
opinion is that Goldie was a one-time character in "Back to the
Klondike", and had Barks written stories about "Back to the Trans-
vaal", "Back to the Outback", "Back to the Bad Hills", etc., we
would have learned more reasons for Scrooge to get a "far away look"
in his eyes when he remembered his life in those other places, too.
Well, that's my belief, and I'm sticking to it. Flame away...
Wilmer Rivers
Fabrizio
When Goldie met Brigitta....
Message 370 -
1998-01-21 at 23:15:04
MARCO:
> But certainly there is someone on this list who can trace down I TL 1061-A.
> I'm thinking of FABRIZIO, for instance, who might give a look at his "Paper
> Fantasy" #4.
I have checked. G. Goldie does not appear in that story.
I have no idea about which story it might be.
Sorry, I 'm in a terrible hurry....
Fabrizio.
> But certainly there is someone on this list who can trace down I TL 1061-A.
> I'm thinking of FABRIZIO, for instance, who might give a look at his "Paper
> Fantasy" #4.
I have checked. G. Goldie does not appear in that story.
I have no idea about which story it might be.
Sorry, I 'm in a terrible hurry....
Fabrizio.
Etabeta
Pomp Family, Translations & VV
Message 371 -
1998-01-22 at 00:31:14
MARCO [on Brigitta & Goldie]
>Both Luca Boschi and Eta Beta are right.
No, no, wait... LUCA is right, and DAVID, too. I was darn wrong, as I already admitted.
>I clearly remember the scene
>described by Luca, and I'd swear it was from a Scarpa story. BUT the story
>is NOT I TL 577-A, as I checked.
What ? Did you check the *original* Topolino issue or the same reprint that I've got, with the missing panels ?
It *must* be that story, there's really no other encounters of Goldie and Brigitta anywhere else...
>My suspects are focusing on I TL 1061-A,
>"Zio Paperone e il casco d'oro"
No trace of Goldie in there. The only 3 Italian stories featuring her, according to the FSB, are Scarpa's "Arriva Paperetta Ye-Ye", and
"Zio Paperone e il nuovo vecchio filone", Scala/Pavese, TL 1382-A
"Zio Paperone Pigmalione", Dossi/Mognato", PM 164-D
As you pointed out yourself, not all appearing characters are listed in FSB, but I guess there couldn't be much more stories featuring Goldie than those, and I'm absolutely positive about LUCA being right on TL 577.
DAVID [on SGANGA/POMP]
>I'm certain, now, that this is what I will do. Marco already
>pointed this out as what he considered to be the best solution. The name
>"Frostfeathers" will *not* be associated with the Scarpa character
>when the story is published.
Well, that's the best choice for me, too, and I guess all Scarpa fans would be grateful as well.
>As for why I'm retaining "Pomp", back to Eta... <snip>
Er... I owe you some excuses, here.
In my previous posting, while I maintained a couple of times that I wasn't questioning the choice of English name, I kept ranting and raving about Sganga's assumed (by me) lack of pompousness.
Well, I now agree that Jubal Pomp's alright, in the end.
It just depends on the different "degrees" of meaning that we give to the term "pompous", really, and your latest explanation was perfectly convincing.
The connection between pompousness and insecurity you make is absolutely correct.
Also, since I became a bit concerned about whether this decision could affect Mr. Frostfeathers' future "career" (and that would make me feel very guilty), I offer an idea that just came to my mind.
Why not make them relatives ? Cousins, or something (there's never shortage of cousins ;-).
Filo/Jubal would be the black sheep of the Pomp family, the poor side, while J. (how about "Juggernaut" :-) Frostfeathers-Pomp would obviously come from the posh "branch"...
this wouldn't touch anything that Scarpa wrote, and give further possible plot ideas, too.
Well, let me know if you like it. For now, thanks a lot for your kind clarification.
SOEREN
>I'am a little confused on the Filo Sganga matter. I mean
>Filo Sganga is the one usually working with Brigitta, isn't he?
Yes. How is he called in Danish, BTW ?
>But who is the other guy, the same with a different name
>or...? If it is another character, or "slightly" another character,
>could you give a clue of where to find him (J. Frostfeathers?)
In William Van Horn's "The Terror of Duckburg", WDC #596 (D 93051)
SOEREN & RICH
>!!!Off topic: Your e-mails lack carriage returns...<snip>
Sorry. As it happens, I get "carried" away, sometimes, and never "return"... ;-)
Is it getting better ?
STEFAN [on Translations]
>>Now, I seem to detect quite a bit of professional pride in your remark...
>Well... maybe I'll have to admit to that, but I sure hope I didn't sound
>condescending or something.
Not at all. I really enjoy this discussion :-)
>Sure, bad translations do exist, but more often than not,
>these people never bother to ponder the question I posed:
>"What did they want the translator to do"?
Yes, there's a big difference between a *bad* translation and a *questionable* one.
The latter always implies a conscious choice, that could be appreciated or not, but surely not simply labelled as *bad*.
We do have a few examples of *bad* translation too, however.
On some recent Rosa reprints you could find "Hot Sauce" (salsa piccante) translated as "High Temperature Sauce" (salsa calda), and "Ingenuity" (Ingegnosita) as "Naivety" (ingenuita).
Now, the "visual" similarities between "Ingenuity" and "Ingenuita" are obvious, but their meaning is exactly the contrary... this is the kind of errors high school students make, you would expect a better knowledge of basic everyday English from a professional, wouldn't you...
Also, translating "Comic Books" (fumetti) as "comic books" (libri comici), seems a bit paradoxical for something that's actually published on a "Comic Book" (fumetto)...
(Here's an interesting example of a translator's quandary: the above paragraph doesn't make much sense, if translated literally as I just did... I'd better add a footnote... ;-)
>I guess I was more interested in making a general point than
>in quibbling over specific cases.
So am I. The general point to me was that Don's stories are not always treated with the care they deserve, in Italy, although with a lot of enthusiasm.
>However, I'm not convinced that "the
>magic footnote tool" would be the best solution, at least not in the
>regular Swedish weekly mag where this story was published.
>If I'm to put in a footnote whenever there is a Rosa gag that I
>can't translate, the reading will be bothersome indeed!
Well, I'm sure it can't be done all the time.
Perhaps only when the Marx are concerned ? ;-)
But Rosa stories are published in Italy in what I would call a "prestige" title, "Zio Paperone", where they used footnotes, every now and then, for Barks' stories.
In fact, to be really honest, and call me malicious if you want, I can't help thinking that the Italian translator actually didn't recognize the Groucho's gag, in the first place...
>I have no distinct point to make, other than discussing a few different
>angles within the translating job. Somebody might be interested, and I'm
>sure the other readers already have skipped this post. So this is all for
>now...
Well, your whole posting was very interesting to me. I'd like to expand on some other topics you touched, but maybe another time.
Cheers
Eta Beta
email to : (Email removed)
------------------------------------------
"Do you suffer from long-term memory loss ?"
"I don't remember..."
(Chumbawamba '97)
------------------------------------------
---------------------------------------------------
Get free personalized email at http://www.iname.com
>Both Luca Boschi and Eta Beta are right.
No, no, wait... LUCA is right, and DAVID, too. I was darn wrong, as I already admitted.
>I clearly remember the scene
>described by Luca, and I'd swear it was from a Scarpa story. BUT the story
>is NOT I TL 577-A, as I checked.
What ? Did you check the *original* Topolino issue or the same reprint that I've got, with the missing panels ?
It *must* be that story, there's really no other encounters of Goldie and Brigitta anywhere else...
>My suspects are focusing on I TL 1061-A,
>"Zio Paperone e il casco d'oro"
No trace of Goldie in there. The only 3 Italian stories featuring her, according to the FSB, are Scarpa's "Arriva Paperetta Ye-Ye", and
"Zio Paperone e il nuovo vecchio filone", Scala/Pavese, TL 1382-A
"Zio Paperone Pigmalione", Dossi/Mognato", PM 164-D
As you pointed out yourself, not all appearing characters are listed in FSB, but I guess there couldn't be much more stories featuring Goldie than those, and I'm absolutely positive about LUCA being right on TL 577.
DAVID [on SGANGA/POMP]
>I'm certain, now, that this is what I will do. Marco already
>pointed this out as what he considered to be the best solution. The name
>"Frostfeathers" will *not* be associated with the Scarpa character
>when the story is published.
Well, that's the best choice for me, too, and I guess all Scarpa fans would be grateful as well.
>As for why I'm retaining "Pomp", back to Eta... <snip>
Er... I owe you some excuses, here.
In my previous posting, while I maintained a couple of times that I wasn't questioning the choice of English name, I kept ranting and raving about Sganga's assumed (by me) lack of pompousness.
Well, I now agree that Jubal Pomp's alright, in the end.
It just depends on the different "degrees" of meaning that we give to the term "pompous", really, and your latest explanation was perfectly convincing.
The connection between pompousness and insecurity you make is absolutely correct.
Also, since I became a bit concerned about whether this decision could affect Mr. Frostfeathers' future "career" (and that would make me feel very guilty), I offer an idea that just came to my mind.
Why not make them relatives ? Cousins, or something (there's never shortage of cousins ;-).
Filo/Jubal would be the black sheep of the Pomp family, the poor side, while J. (how about "Juggernaut" :-) Frostfeathers-Pomp would obviously come from the posh "branch"...
this wouldn't touch anything that Scarpa wrote, and give further possible plot ideas, too.
Well, let me know if you like it. For now, thanks a lot for your kind clarification.
SOEREN
>I'am a little confused on the Filo Sganga matter. I mean
>Filo Sganga is the one usually working with Brigitta, isn't he?
Yes. How is he called in Danish, BTW ?
>But who is the other guy, the same with a different name
>or...? If it is another character, or "slightly" another character,
>could you give a clue of where to find him (J. Frostfeathers?)
In William Van Horn's "The Terror of Duckburg", WDC #596 (D 93051)
SOEREN & RICH
>!!!Off topic: Your e-mails lack carriage returns...<snip>
Sorry. As it happens, I get "carried" away, sometimes, and never "return"... ;-)
Is it getting better ?
STEFAN [on Translations]
>>Now, I seem to detect quite a bit of professional pride in your remark...
>Well... maybe I'll have to admit to that, but I sure hope I didn't sound
>condescending or something.
Not at all. I really enjoy this discussion :-)
>Sure, bad translations do exist, but more often than not,
>these people never bother to ponder the question I posed:
>"What did they want the translator to do"?
Yes, there's a big difference between a *bad* translation and a *questionable* one.
The latter always implies a conscious choice, that could be appreciated or not, but surely not simply labelled as *bad*.
We do have a few examples of *bad* translation too, however.
On some recent Rosa reprints you could find "Hot Sauce" (salsa piccante) translated as "High Temperature Sauce" (salsa calda), and "Ingenuity" (Ingegnosita) as "Naivety" (ingenuita).
Now, the "visual" similarities between "Ingenuity" and "Ingenuita" are obvious, but their meaning is exactly the contrary... this is the kind of errors high school students make, you would expect a better knowledge of basic everyday English from a professional, wouldn't you...
Also, translating "Comic Books" (fumetti) as "comic books" (libri comici), seems a bit paradoxical for something that's actually published on a "Comic Book" (fumetto)...
(Here's an interesting example of a translator's quandary: the above paragraph doesn't make much sense, if translated literally as I just did... I'd better add a footnote... ;-)
>I guess I was more interested in making a general point than
>in quibbling over specific cases.
So am I. The general point to me was that Don's stories are not always treated with the care they deserve, in Italy, although with a lot of enthusiasm.
>However, I'm not convinced that "the
>magic footnote tool" would be the best solution, at least not in the
>regular Swedish weekly mag where this story was published.
>If I'm to put in a footnote whenever there is a Rosa gag that I
>can't translate, the reading will be bothersome indeed!
Well, I'm sure it can't be done all the time.
Perhaps only when the Marx are concerned ? ;-)
But Rosa stories are published in Italy in what I would call a "prestige" title, "Zio Paperone", where they used footnotes, every now and then, for Barks' stories.
In fact, to be really honest, and call me malicious if you want, I can't help thinking that the Italian translator actually didn't recognize the Groucho's gag, in the first place...
>I have no distinct point to make, other than discussing a few different
>angles within the translating job. Somebody might be interested, and I'm
>sure the other readers already have skipped this post. So this is all for
>now...
Well, your whole posting was very interesting to me. I'd like to expand on some other topics you touched, but maybe another time.
Cheers
Eta Beta
email to : (Email removed)
------------------------------------------
"Do you suffer from long-term memory loss ?"
"I don't remember..."
(Chumbawamba '97)
------------------------------------------
---------------------------------------------------
Get free personalized email at http://www.iname.com
Dave Rawson
Disney comics Digest V98 #27
Message 372 -
1998-01-22 at 00:35:27
For those who have asked:
Egmont's Donald Duck Weekly #3 (15-Jan-98) carries my six page
Scrooge story, EYE OF THE BEHOLDER [D96206]. The art is by Nunez.
It's a silly little story, but one where I get to have fun with
Scrooge's tightwad nature, and the clever ways he satisfies it.
I want to give credit to the great job the [unknown] colorist did
here in bringing clarity to the ratty condition of Scrooge's old
bumbershoot, my chosen symbol of his miserliness in this story. By
making its insides the brightest element of any given panel, the
colorist artfully focused the reader's eye on a subtle element.
Thanks!
Nunez's simple art is clear, his characterizations spot on, and
the sequence where Scrooge struggles with his umbrella is
wonderfully weighted. We get a very good sense of just how
powerful that wind is!
My favorite panel is Page 3, the second panel on the third tier.
It's perfect, and for those who have seen Kurasawa's WINDS OF
AUGUST (I think it's named), a whole powerful set of feelings come
with this beautiful image of human frailty nobly struggling,
futility, against nature.
In Kurasawa's film it's a moment of ultimate indignity and sublime
transcendent tenacity in the same gesture, a kind of summation of
the human condition.
I don't know if he artfully came to the image on his own, or if
Nunez is making a reference to Kurasawa, but I love it! It fits so
beautifully here.
The colorist also does a good job of picking a really yucky color
when the elements later intrude on Scrooge yet again.
Incidentally, the money bin has a dome in this American-written
story drawn by a Spaniard and published by the Danes.
The modern art images are hopefully fun for the wee folks, but I
don't share at all Scrooge's view of such things. Quite the
opposite. One of the most playful things I've ever seen at a
museum was Claes Oldenburg's (sp?) giant (approximately 5-meter
high by 10-meter wide), orange Day-Glo ice pack (like the kind
wealthy characters in 1940s movies might apply to a hang-over)
slowly wobbling this way and that. So I hope those of you who are
fans of modern art will allow me a bit of whimsy in this story at
your expense.
> "Henning Reichstein" <(Email removed)>:
> Say, there's this Dave Rawson guy,
> who had the nerve to promote a handful of his stories recently.
I'm guessing you're writing "toungue-in-cheek," but for those who
don't know, a few folks here have asked me to keep them abreast of
such things, much as they've done with Don Rosa and David
Gerstein. If others view that as "promotion," well, I guess I'll
have to live with that view. Come to think of it, I do consciously
promote the artists and other collaborators. So I guess it's fair
to call it promotion. I think it's important for such creators to
get their due.
> Maybe simply ignoring the h*ll out of him is too kind:
I'm of little interest to most of this mailing list. Hardly anyone
here has seen any of my work, and those few who have seen it, have
no way of knowing it's mine. There's no way for someone to see one
of my stories and say, "Wow! There's another Rawson-written story.
I'd recognize that look anywhere!" Frankly, I'd be surprised if I
*wasn't* ignored here.
> Dave, I re-read the oldest of your stories I know of (D 92005, with
> Pat McGreal about Ali Baba)
Really? ALI BABA AND THE FORTY WINKS. That was written six years
ago! There were three other stories we wrote before that (though I
don't know any of the codes): TWIN BEAKS with Scrooge, Donald and
the boys; WALDEN DUCK POND with Scrooge; and BOOGIE WOOGIE BEAGLE
BOYS with, again, all the ducks. The later is unpublished.
> and looking past the Italian style art by Alessandro Coppola (why do
> the characters always have to *run*?), it read a lot like a Barks
> story. I liked it,
Thanks for the kind words!
> but thread carefully: you never know who the fundamentalists will
> drumhead court-martial next...
When I was moderator a decade ago of INTERUSER, a FidoNet Echo
that literally spanned the northern hemisphere and much of the
western, I got to stand center ground between warring elements of
mystic Nazis, militant gays, ardent feminists, New Agers,
right-wing homophobes, the loudly vocal anti-Israeli Liberty
lobby, Anglophobes, pedants, poltroons, online
drunks!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (the repeat key is the
give away), conspiracy louts and a probably endless list of the
most obnoxious collection of human behavior I've ever experienced
first-hand in my life.
Nevertheless, it was a noble experiment in human communication
which had never before existed and sorting the behavioral wheat
from the chaff of just plain folks wanting to talk was my job. I
did it. It hurt. I learned.
If for some inexplicable reason folks grow to perceive me as some
sort of threat, I've found there's little I can do to change their
delusional frame-of-reference. If one can't ignore it, the best
one can do is have fun with it.
> "Gerstein, David DK - ECN" <(Email removed)>
> "Jubal Pomp" and "J. Frostfeathers Pomp" will just be two very
> similar-looking, but officially different, characters."
!!!SPOILER WARNING!!!
> In "Il Ratto di Brigitta," there's plenty of pomp in the brassy,
> phony greeting Jubal initially gives Scrooge, in the hammy way he acts
> as the kidnapper, and in the way he swaggers around his factory
> talking about what a success his beetles and watches are going to be.
> Pompous people are often that way because inside, they're insecure -
> and that's *exactly* what "Il Ratto di Brigitta" reveals Jubal to be,
> whenever other characters *aren't* around.
Hopefully not to accidentally complicate things here, but how
about Jubal Strut? That fits with the meaning of Cock. It has
pomposity suggested as well. It rolls from the tongue (at least
mine). It even has a consistent antebellum conjoining with Jubal
("strut" being a kind of musical idiomatic form common to
Dixieland). It avoids *any* confusion of names. Dunno? What do you
think?
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
--------------------------------
End of Disney comics Digest V98 Issue #29
*****************************************
Egmont's Donald Duck Weekly #3 (15-Jan-98) carries my six page
Scrooge story, EYE OF THE BEHOLDER [D96206]. The art is by Nunez.
It's a silly little story, but one where I get to have fun with
Scrooge's tightwad nature, and the clever ways he satisfies it.
I want to give credit to the great job the [unknown] colorist did
here in bringing clarity to the ratty condition of Scrooge's old
bumbershoot, my chosen symbol of his miserliness in this story. By
making its insides the brightest element of any given panel, the
colorist artfully focused the reader's eye on a subtle element.
Thanks!
Nunez's simple art is clear, his characterizations spot on, and
the sequence where Scrooge struggles with his umbrella is
wonderfully weighted. We get a very good sense of just how
powerful that wind is!
My favorite panel is Page 3, the second panel on the third tier.
It's perfect, and for those who have seen Kurasawa's WINDS OF
AUGUST (I think it's named), a whole powerful set of feelings come
with this beautiful image of human frailty nobly struggling,
futility, against nature.
In Kurasawa's film it's a moment of ultimate indignity and sublime
transcendent tenacity in the same gesture, a kind of summation of
the human condition.
I don't know if he artfully came to the image on his own, or if
Nunez is making a reference to Kurasawa, but I love it! It fits so
beautifully here.
The colorist also does a good job of picking a really yucky color
when the elements later intrude on Scrooge yet again.
Incidentally, the money bin has a dome in this American-written
story drawn by a Spaniard and published by the Danes.
The modern art images are hopefully fun for the wee folks, but I
don't share at all Scrooge's view of such things. Quite the
opposite. One of the most playful things I've ever seen at a
museum was Claes Oldenburg's (sp?) giant (approximately 5-meter
high by 10-meter wide), orange Day-Glo ice pack (like the kind
wealthy characters in 1940s movies might apply to a hang-over)
slowly wobbling this way and that. So I hope those of you who are
fans of modern art will allow me a bit of whimsy in this story at
your expense.
> "Henning Reichstein" <(Email removed)>:
> Say, there's this Dave Rawson guy,
> who had the nerve to promote a handful of his stories recently.
I'm guessing you're writing "toungue-in-cheek," but for those who
don't know, a few folks here have asked me to keep them abreast of
such things, much as they've done with Don Rosa and David
Gerstein. If others view that as "promotion," well, I guess I'll
have to live with that view. Come to think of it, I do consciously
promote the artists and other collaborators. So I guess it's fair
to call it promotion. I think it's important for such creators to
get their due.
> Maybe simply ignoring the h*ll out of him is too kind:
I'm of little interest to most of this mailing list. Hardly anyone
here has seen any of my work, and those few who have seen it, have
no way of knowing it's mine. There's no way for someone to see one
of my stories and say, "Wow! There's another Rawson-written story.
I'd recognize that look anywhere!" Frankly, I'd be surprised if I
*wasn't* ignored here.
> Dave, I re-read the oldest of your stories I know of (D 92005, with
> Pat McGreal about Ali Baba)
Really? ALI BABA AND THE FORTY WINKS. That was written six years
ago! There were three other stories we wrote before that (though I
don't know any of the codes): TWIN BEAKS with Scrooge, Donald and
the boys; WALDEN DUCK POND with Scrooge; and BOOGIE WOOGIE BEAGLE
BOYS with, again, all the ducks. The later is unpublished.
> and looking past the Italian style art by Alessandro Coppola (why do
> the characters always have to *run*?), it read a lot like a Barks
> story. I liked it,
Thanks for the kind words!
> but thread carefully: you never know who the fundamentalists will
> drumhead court-martial next...
When I was moderator a decade ago of INTERUSER, a FidoNet Echo
that literally spanned the northern hemisphere and much of the
western, I got to stand center ground between warring elements of
mystic Nazis, militant gays, ardent feminists, New Agers,
right-wing homophobes, the loudly vocal anti-Israeli Liberty
lobby, Anglophobes, pedants, poltroons, online
drunks!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (the repeat key is the
give away), conspiracy louts and a probably endless list of the
most obnoxious collection of human behavior I've ever experienced
first-hand in my life.
Nevertheless, it was a noble experiment in human communication
which had never before existed and sorting the behavioral wheat
from the chaff of just plain folks wanting to talk was my job. I
did it. It hurt. I learned.
If for some inexplicable reason folks grow to perceive me as some
sort of threat, I've found there's little I can do to change their
delusional frame-of-reference. If one can't ignore it, the best
one can do is have fun with it.
> "Gerstein, David DK - ECN" <(Email removed)>
> "Jubal Pomp" and "J. Frostfeathers Pomp" will just be two very
> similar-looking, but officially different, characters."
!!!SPOILER WARNING!!!
> In "Il Ratto di Brigitta," there's plenty of pomp in the brassy,
> phony greeting Jubal initially gives Scrooge, in the hammy way he acts
> as the kidnapper, and in the way he swaggers around his factory
> talking about what a success his beetles and watches are going to be.
> Pompous people are often that way because inside, they're insecure -
> and that's *exactly* what "Il Ratto di Brigitta" reveals Jubal to be,
> whenever other characters *aren't* around.
Hopefully not to accidentally complicate things here, but how
about Jubal Strut? That fits with the meaning of Cock. It has
pomposity suggested as well. It rolls from the tongue (at least
mine). It even has a consistent antebellum conjoining with Jubal
("strut" being a kind of musical idiomatic form common to
Dixieland). It avoids *any* confusion of names. Dunno? What do you
think?
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
--------------------------------
End of Disney comics Digest V98 Issue #29
*****************************************
Luna Storta
GOLDIE AND BRIGITTA
Message 373 -
1998-01-22 at 01:11:28
Hello,
ABOUT GOLDIE AND BRIGITTA:
Whew! At least I find it! The meeting with both Brigitta and Goldie was
in "I Grandi Classici #2" (obviously a reprint). But at the moment I
don't have the possibility to upload it to my webpages, so if you are
curious to see it, e-mail me and I'll reply you attaching the image.
And the same goes for the ones who want to see Hubbard's Fethry.
Katie, obviously I already send the image to your e-mail address! ;-)
ABOUT STORIES WITH SCROOGE'S CLONES:
The best one I can remember is from Giorgio Cavazzano: "Archimede e
l'illogica vittoria" (Gyro and the illogical victory) first appeared on
Topolino #1106. It really deserves to be read!
ABOUT SCROOGE READING NEWSPAPERS:
Scrooge reads regulary newspapers, in the Italian stories he reads them
some days after theri publication: he goes abitually at Duckburg's park
in order to find some old newspapers left by other people.
DONALD D. M. ABOUT GOLDIE'S PAST:
In *my* view Goldie might have a child, but she didn't run away from
her responsabilities just to become a dance-hall girl. She left him
somewhere (maybe her parents? or in an institute?) because she couldn't
take the baby with her in Klondyke, a place where she went in order to
become rich (just like anybody else, including Scrooge) to give to her
child a better future!
I don't see a person who acts in this way as a person (or a Duck?) to
blame at all!!!!
ABOUT THE PRINCE & THE PAUPER:
The artist who wrote this recently discussed story is Sergio Asteriti,
one of my preferred: he sometimes uses Mickey as Gottfredson did during
the 30ties, and his panels are very full of detalis. He surely deserves
a better reputation in the Disney fandome.
Ciao,
Paolo Castagno alias Luna Storta
---------------------------------
visit the Disney Comics Market at
http://fumetti.home.ml.org
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
ABOUT GOLDIE AND BRIGITTA:
Whew! At least I find it! The meeting with both Brigitta and Goldie was
in "I Grandi Classici #2" (obviously a reprint). But at the moment I
don't have the possibility to upload it to my webpages, so if you are
curious to see it, e-mail me and I'll reply you attaching the image.
And the same goes for the ones who want to see Hubbard's Fethry.
Katie, obviously I already send the image to your e-mail address! ;-)
ABOUT STORIES WITH SCROOGE'S CLONES:
The best one I can remember is from Giorgio Cavazzano: "Archimede e
l'illogica vittoria" (Gyro and the illogical victory) first appeared on
Topolino #1106. It really deserves to be read!
ABOUT SCROOGE READING NEWSPAPERS:
Scrooge reads regulary newspapers, in the Italian stories he reads them
some days after theri publication: he goes abitually at Duckburg's park
in order to find some old newspapers left by other people.
DONALD D. M. ABOUT GOLDIE'S PAST:
In *my* view Goldie might have a child, but she didn't run away from
her responsabilities just to become a dance-hall girl. She left him
somewhere (maybe her parents? or in an institute?) because she couldn't
take the baby with her in Klondyke, a place where she went in order to
become rich (just like anybody else, including Scrooge) to give to her
child a better future!
I don't see a person who acts in this way as a person (or a Duck?) to
blame at all!!!!
ABOUT THE PRINCE & THE PAUPER:
The artist who wrote this recently discussed story is Sergio Asteriti,
one of my preferred: he sometimes uses Mickey as Gottfredson did during
the 30ties, and his panels are very full of detalis. He surely deserves
a better reputation in the Disney fandome.
Ciao,
Paolo Castagno alias Luna Storta
---------------------------------
visit the Disney Comics Market at
http://fumetti.home.ml.org
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Raymond Bakken
New Donald page
Message 374 -
1998-01-22 at 05:37:14
Katie Sullivan
Scrooge's girlfriends and Flintheart's nationality
Message 375 -
1998-01-22 at 06:54:49
>As for who would have been a better choice for roles, not that it
>matters, and the issue would have made more sense if the movie was made
>post-DuckTales, is that if Isabella's role was played by the young
Goldie.
>Seeing $crooge & Daisy in love was sort of unnerving.
I, of course, agree. ;-) (But then, what do you expect coming from
Goldie's biggest fan?)
And as for $crooge and Daisy's relationship in that cartoon...I thought
it was really odd, too.
Good discussion going on about Goldie's honor and uh...job history. I
concede that she *may* have "worked her way to the top". Interesting
parallels with Gunsmoke and Miss Kitty. (Has anyone seen "Fievel Goes
West: An American Tale"? An animated movie with an anthropomorphic cat
lady with that name. Bad pun. Cool movie.)
I re-watched the DuckTales episode with Millionera Vanderbucks. I know
the HooZoo page and others have conjectured that "Millie" and Brigitta
are the "same" character. I don't see that, at all! I mean, sure I
prefer Goldie to Brigitta, but Millionera was evil! Brigitta is a
suck-up, but not evil! (Again, speaking with my limited knowlege of the
character Brigitta.) Millionera only wanted to marry Scrooge for his
money, and use trickery and dishonesty to win his heart. From what I've
seen, Brigitta is nothing if not straightforward with her intentions,
and seems more interested in Scrooge himself than his wealth. Correct
me if I'm wrong. Millionera was going to send the nephews away to
military school, and fire Mrs. Beakly and Duckworth!
However, the end of that episode is (of course) one of my favorite
moments in all DuckTales-dom. Scrooge: "Goldie! My true love!" Maybe
a bit blatant for some, but I enjoyed it!
Also, I loved the jilted Millionera's quick recovery and immediate
pursuit of a certain Second-richest Duck!
Speaking of dear ol' Flintheart, I'd like to make a comment on the
decision to make Flinty a fellow Scotsman...er, Scotsduck... and a
resident of Duckburg. I understand Flinty is said to live in Duckburg
in many European comics, and for the convenience of plot in 1/2 hour
cartoon, I concede this alteration. But the Scottish ancestry bugs me.
I have heard that the decision to erase his South African nationality
was for political reasons. I can understand Disney's desire to avoid
controversy. But, actually, Flinty is a Boer. Boers are a group of
people from the Netherlands who settled South Africa, if I remember my
history lessons correctly. So why couldn't DuckTales have emphasized
his Dutch ancestry instead? Why make him a clone of Scrooge with the
same accent and that ridiculous kilt?
Still, he is one of my top three favorite characters of all Disney
Duckdom. (Can you guess who my top two favorites are? Think Blackjack
Ballroom...)
***Slight "Land Beneath the Ground" Spoiler****
In a recent bout with illness, I rested with some old Scrooge comics,
and I re-read "Land Beneath the Ground". One of my top five favorite
Barks stories ever! The Terries and Fermies are cute, even if they are
rather antagonistic by the end of the story. And they are *so*
original! I don't know where Barks came up with the idea of these
roly-poly little creatures, but they are fascinating! If could just get
Scrooge, Goldie, Flintheart and the Terries and Fermies in one comic, I
would do cartwheels in joy! ;-D
******END "Land Beneath the Ground" Spoiler******
Here's a partial list of all the people who are possible romantic
companions of $crooge:
1. Glittering Goldie O'Gilt (!!!!!!!!!!)
2. Brigitta MacBridge
3. Millionera Vanderbucks :-(
4. Grandma Duck (???)
5. Isabelle/Daisy in "Mickey's Christmas Carol" (????????)
6. Miss Quackfaster (!!!)
7. [Insert your own picks here] (????????????)
Thanks for all the list members who have helped provide me with scans of
various characters. You know who you are. You have my sincere
gratitude. If you ever need a scan from me, just ask!
Well, that's my thoughts for the day. I have semester finals in school
the next two days. Wish me luck!
Katie Sullivan
a.k.a. "Miss Quackfaster"
http://www.execpc.com/~sulliva1/quack.htm ~ Even more new fan art
"Shucks, podner. You shore ain't been around!" ~ from "Land Beneath
the Ground"
"Give up hockey?" ~ Flintheart Glomgold, in a DuckTales episode called
"Robot Robbers"
QUACK!
>matters, and the issue would have made more sense if the movie was made
>post-DuckTales, is that if Isabella's role was played by the young
Goldie.
>Seeing $crooge & Daisy in love was sort of unnerving.
I, of course, agree. ;-) (But then, what do you expect coming from
Goldie's biggest fan?)
And as for $crooge and Daisy's relationship in that cartoon...I thought
it was really odd, too.
Good discussion going on about Goldie's honor and uh...job history. I
concede that she *may* have "worked her way to the top". Interesting
parallels with Gunsmoke and Miss Kitty. (Has anyone seen "Fievel Goes
West: An American Tale"? An animated movie with an anthropomorphic cat
lady with that name. Bad pun. Cool movie.)
I re-watched the DuckTales episode with Millionera Vanderbucks. I know
the HooZoo page and others have conjectured that "Millie" and Brigitta
are the "same" character. I don't see that, at all! I mean, sure I
prefer Goldie to Brigitta, but Millionera was evil! Brigitta is a
suck-up, but not evil! (Again, speaking with my limited knowlege of the
character Brigitta.) Millionera only wanted to marry Scrooge for his
money, and use trickery and dishonesty to win his heart. From what I've
seen, Brigitta is nothing if not straightforward with her intentions,
and seems more interested in Scrooge himself than his wealth. Correct
me if I'm wrong. Millionera was going to send the nephews away to
military school, and fire Mrs. Beakly and Duckworth!
However, the end of that episode is (of course) one of my favorite
moments in all DuckTales-dom. Scrooge: "Goldie! My true love!" Maybe
a bit blatant for some, but I enjoyed it!
Also, I loved the jilted Millionera's quick recovery and immediate
pursuit of a certain Second-richest Duck!
Speaking of dear ol' Flintheart, I'd like to make a comment on the
decision to make Flinty a fellow Scotsman...er, Scotsduck... and a
resident of Duckburg. I understand Flinty is said to live in Duckburg
in many European comics, and for the convenience of plot in 1/2 hour
cartoon, I concede this alteration. But the Scottish ancestry bugs me.
I have heard that the decision to erase his South African nationality
was for political reasons. I can understand Disney's desire to avoid
controversy. But, actually, Flinty is a Boer. Boers are a group of
people from the Netherlands who settled South Africa, if I remember my
history lessons correctly. So why couldn't DuckTales have emphasized
his Dutch ancestry instead? Why make him a clone of Scrooge with the
same accent and that ridiculous kilt?
Still, he is one of my top three favorite characters of all Disney
Duckdom. (Can you guess who my top two favorites are? Think Blackjack
Ballroom...)
***Slight "Land Beneath the Ground" Spoiler****
In a recent bout with illness, I rested with some old Scrooge comics,
and I re-read "Land Beneath the Ground". One of my top five favorite
Barks stories ever! The Terries and Fermies are cute, even if they are
rather antagonistic by the end of the story. And they are *so*
original! I don't know where Barks came up with the idea of these
roly-poly little creatures, but they are fascinating! If could just get
Scrooge, Goldie, Flintheart and the Terries and Fermies in one comic, I
would do cartwheels in joy! ;-D
******END "Land Beneath the Ground" Spoiler******
Here's a partial list of all the people who are possible romantic
companions of $crooge:
1. Glittering Goldie O'Gilt (!!!!!!!!!!)
2. Brigitta MacBridge
3. Millionera Vanderbucks :-(
4. Grandma Duck (???)
5. Isabelle/Daisy in "Mickey's Christmas Carol" (????????)
6. Miss Quackfaster (!!!)
7. [Insert your own picks here] (????????????)
Thanks for all the list members who have helped provide me with scans of
various characters. You know who you are. You have my sincere
gratitude. If you ever need a scan from me, just ask!
Well, that's my thoughts for the day. I have semester finals in school
the next two days. Wish me luck!
Katie Sullivan
a.k.a. "Miss Quackfaster"
http://www.execpc.com/~sulliva1/quack.htm ~ Even more new fan art
"Shucks, podner. You shore ain't been around!" ~ from "Land Beneath
the Ground"
"Give up hockey?" ~ Flintheart Glomgold, in a DuckTales episode called
"Robot Robbers"
QUACK!