SOEREN KRARUP OLESEN & anyone interested in Scarpa reprints
>Great! What is the price of this 12 volume edition? How do I order?
I suggest again to directly contact the publisher, Comic Art, at
(Email removed)
You can also check their web site at
http://www.mix.it/comicart/
Information on the series are to be found in
Collana Comics Oggi - Capolavori Disney
There's also the prices indicated (I'm afraid they ain't exactly cheap,
though).
Cheers
Eta Beta
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Author
Topic: 199801
(513 messages)
Eta Beta
Scarpa's reprints in Italy
Message 61 -
1998-01-05 at 22:20:18
Wilmer Rivers
High Hopes (song)
Message 62 -
1998-01-05 at 22:55:44
Dwight writes about the "ant" song:
> Nope, different other song. I forget the exact title -- it's
> the one about an ant knocking over a rubber tree plant. (Does
> "High Hopes" sound right...?)
Since I haven't read the Ant Farm story in question, I'm quite
certain I'm not giving anything away here, since I know nothing
to give away! But the song Dwight describes above is in fact
"High Hopes", and it was sung by Frank Sinatra and a child actor,
in the Frank Capra film "A Hole in the Head". Maybe this is off-
topic here, but I mention it for 2 reasons:
(1) It was in reference to an actor in an earlier Frank Capra film,
namely "Lost Horizon", that Don Rosa named a character in his
"Xanadu" story "Tsamja Phe" (sp.?), another memorable pun. Was
any attempt made to translate it, or was it just reproduced as is?
(2) The plot of "A Hole in the Head" is that entrepreneur Frank
Sinatra is trying to persuade tycoon Edward G. Robinson to finance
his planned venture, which is to build a Disneyland-type amusement
park in Florida. (The film was made in the late 1950s.) Robinson
turns down Sinatra's proposal, saying, "It sounds like a great idea -
for Disney!" Did Capra know that someone in Burbank already had
"High Hopes"?
We now return you to your regularly scheduled, on-topic, discussions.
Wilmer Rivers
> Nope, different other song. I forget the exact title -- it's
> the one about an ant knocking over a rubber tree plant. (Does
> "High Hopes" sound right...?)
Since I haven't read the Ant Farm story in question, I'm quite
certain I'm not giving anything away here, since I know nothing
to give away! But the song Dwight describes above is in fact
"High Hopes", and it was sung by Frank Sinatra and a child actor,
in the Frank Capra film "A Hole in the Head". Maybe this is off-
topic here, but I mention it for 2 reasons:
(1) It was in reference to an actor in an earlier Frank Capra film,
namely "Lost Horizon", that Don Rosa named a character in his
"Xanadu" story "Tsamja Phe" (sp.?), another memorable pun. Was
any attempt made to translate it, or was it just reproduced as is?
(2) The plot of "A Hole in the Head" is that entrepreneur Frank
Sinatra is trying to persuade tycoon Edward G. Robinson to finance
his planned venture, which is to build a Disneyland-type amusement
park in Florida. (The film was made in the late 1950s.) Robinson
turns down Sinatra's proposal, saying, "It sounds like a great idea -
for Disney!" Did Capra know that someone in Burbank already had
"High Hopes"?
We now return you to your regularly scheduled, on-topic, discussions.
Wilmer Rivers
D Decker
High Hopes (song)
Message 63 -
1998-01-05 at 23:29:33
On Jan 5, 3:55pm, Wilmer Rivers wrote:
> Subject: High Hopes (song)
> Dwight writes about the "ant" song:
> > Nope, different other song. I forget the exact title -- it's
> > the one about an ant knocking over a rubber tree plant. (Does
> > "High Hopes" sound right...?)
>
> Since I haven't read the Ant Farm story in question, I'm quite
> certain I'm not giving anything away here, since I know nothing
> to give away! But the song Dwight describes above is in fact
> "High Hopes", and it was sung by Frank Sinatra and a child actor,
> in the Frank Capra film "A Hole in the Head".
Thanks for the identification. The "Ant Farm" story was by Pat and
Shelly Block and appeared in WDC&S #619, but it turns out not to
have been the story Stefan Dios was referring to. I'm giving these
details out of memory since I don't have the comic to refer to at
the moment... Pat and Shelly had the stats for that story with them
when they were in Denmark for the Egmont seminar in September, and
showed them to me and Freddy Milton among other people. I also
mentioned to Freddy at the time that there was one last story of his
that I had worked on as a translator that was waiting to appear in
a Gladstone comic. With his Christmas card, Freddy included a note
asking me to send him a copy of the Ant Farm story when it appeared,
as well as a copy of that story of his. As it happened, both appeared
in WDC&S #619, so I sent him my copy, as that was the only one that
turned up in my local comics shop and Gladstone didn't send me any
extras. Another of Freddy's stories appeared recently, too, in another
Gladstone comic, but I think that was a reprint of one that appeared
back in the days of Gladstone I. Anyway, when Stefan mentioned a story
that depended on an impossible-to-translate joke/pun written by Pat
McGreal, my brain slipped a cog and I thought of this one by Pat Block...
--Dwight Decker
> Subject: High Hopes (song)
> Dwight writes about the "ant" song:
> > Nope, different other song. I forget the exact title -- it's
> > the one about an ant knocking over a rubber tree plant. (Does
> > "High Hopes" sound right...?)
>
> Since I haven't read the Ant Farm story in question, I'm quite
> certain I'm not giving anything away here, since I know nothing
> to give away! But the song Dwight describes above is in fact
> "High Hopes", and it was sung by Frank Sinatra and a child actor,
> in the Frank Capra film "A Hole in the Head".
Thanks for the identification. The "Ant Farm" story was by Pat and
Shelly Block and appeared in WDC&S #619, but it turns out not to
have been the story Stefan Dios was referring to. I'm giving these
details out of memory since I don't have the comic to refer to at
the moment... Pat and Shelly had the stats for that story with them
when they were in Denmark for the Egmont seminar in September, and
showed them to me and Freddy Milton among other people. I also
mentioned to Freddy at the time that there was one last story of his
that I had worked on as a translator that was waiting to appear in
a Gladstone comic. With his Christmas card, Freddy included a note
asking me to send him a copy of the Ant Farm story when it appeared,
as well as a copy of that story of his. As it happened, both appeared
in WDC&S #619, so I sent him my copy, as that was the only one that
turned up in my local comics shop and Gladstone didn't send me any
extras. Another of Freddy's stories appeared recently, too, in another
Gladstone comic, but I think that was a reprint of one that appeared
back in the days of Gladstone I. Anyway, when Stefan mentioned a story
that depended on an impossible-to-translate joke/pun written by Pat
McGreal, my brain slipped a cog and I thought of this one by Pat Block...
--Dwight Decker
D Decker
Facsimile editions.
Message 64 -
1998-01-05 at 23:47:16
On Jan 5, 8:58pm, Joakim Gunnarsson wrote:
> Subject: Facsimile editions.
>
> Per-Erik wrote:
> > Then it might be a good idea for Gladstone to print facsimile editions of
> > the first issues of US, WDC, DD, etc. I'm sure many collectors would like
> >to buy a cheap newprinted copy of US #1, instead of paying thousands of
> > dollars for an original. What do you think Gary? Could it be done?
>
> Well, that's a really nice idea!
> Maybe not with U$ #1 (Wich we already have in so many various reprint
> editions.), but with the Firestone Giveaways, March of Comics, old FC's,
> the first 20 WDC's etc.
>
> GARY: Is such project possible?
>
Gary will have to reply to this to get Gladstone's view of the matter,
of course, but reprinting old comics has its share of headaches. Regular
comic-book printing just about requires black and white photostats. As
DC and Marvel have found over the years, reprinting old comic books for
which the original stats are no longer available requires shooting the
printed pages from a copy of the book, dropping out as much of the color
as possible, then retouching the art to clean up the mess, reinforce
broken lines, etc. The retouch work has to be very carefully done or
the old art will look bad (as I think has happened with many reprints
of 1940s comics).
On the other hand...I'm really sticking my neck out with my poor
memory here, but I'm starting to remember hearing something third
hand to the effect that Disney Comics actually considered facsimile
comics at one point. Unlike Marvel or DC, which lost or destroyed
the stats of their really old comics a long time ago, Western still
has stats of virtually everything it has ever printed. A facsimile
of Walt Disney's Comics & Stories #1 should be possible. As I
remember what I heard, the problem was that when Disney Comics
made an inquiry about it, Western replied that _finding_ the stats
in the files for a given comic book would entail an extensive
search, and the cost of the search would be high enough to
discourage the project altogether. Typing this out and reading it
makes me wonder about a few things -- Western's archives are that
much disarray? Why pay to store things if you can't find them and
might as well not have them at all? The search fee would be enough to
make the different on a publishing project? (Well, by this time,
Disney Comics' profits were pretty marginal anyway. A few hundred
dollars really might have tipped the balance.)
Well, as I said, I'm basing this on a very dim memory of something
I heard at about third hand several years ago. I could be wrong in
some or all the details. I merely submit this for discussion...
--Dwight Decker
> Subject: Facsimile editions.
>
> Per-Erik wrote:
> > Then it might be a good idea for Gladstone to print facsimile editions of
> > the first issues of US, WDC, DD, etc. I'm sure many collectors would like
> >to buy a cheap newprinted copy of US #1, instead of paying thousands of
> > dollars for an original. What do you think Gary? Could it be done?
>
> Well, that's a really nice idea!
> Maybe not with U$ #1 (Wich we already have in so many various reprint
> editions.), but with the Firestone Giveaways, March of Comics, old FC's,
> the first 20 WDC's etc.
>
> GARY: Is such project possible?
>
Gary will have to reply to this to get Gladstone's view of the matter,
of course, but reprinting old comics has its share of headaches. Regular
comic-book printing just about requires black and white photostats. As
DC and Marvel have found over the years, reprinting old comic books for
which the original stats are no longer available requires shooting the
printed pages from a copy of the book, dropping out as much of the color
as possible, then retouching the art to clean up the mess, reinforce
broken lines, etc. The retouch work has to be very carefully done or
the old art will look bad (as I think has happened with many reprints
of 1940s comics).
On the other hand...I'm really sticking my neck out with my poor
memory here, but I'm starting to remember hearing something third
hand to the effect that Disney Comics actually considered facsimile
comics at one point. Unlike Marvel or DC, which lost or destroyed
the stats of their really old comics a long time ago, Western still
has stats of virtually everything it has ever printed. A facsimile
of Walt Disney's Comics & Stories #1 should be possible. As I
remember what I heard, the problem was that when Disney Comics
made an inquiry about it, Western replied that _finding_ the stats
in the files for a given comic book would entail an extensive
search, and the cost of the search would be high enough to
discourage the project altogether. Typing this out and reading it
makes me wonder about a few things -- Western's archives are that
much disarray? Why pay to store things if you can't find them and
might as well not have them at all? The search fee would be enough to
make the different on a publishing project? (Well, by this time,
Disney Comics' profits were pretty marginal anyway. A few hundred
dollars really might have tipped the balance.)
Well, as I said, I'm basing this on a very dim memory of something
I heard at about third hand several years ago. I could be wrong in
some or all the details. I merely submit this for discussion...
--Dwight Decker
D Decker
Disney comics Digest V98 #4
Message 65 -
1998-01-06 at 00:31:51
On Jan 5, 10:52pm, (Email removed) wrote:
> Subject: Re: Disney comics Digest V98 #4
> Hi all!
>
> I'm quite fascinated by translating, word-play and else...
> to the TRANSLATORS on the list:
>
> How did you start with Disney translations? blind applies? Did you
> have experience with other comics before? What baout the payment? Can
> one live from it?
>
Back in the '80s, I saw an item in the Comics Buyer's Guide (the weekly
US comics newspaper) announcing that Gladstone would be printing European-
produced Disney stories. Figuring that Gladstone could use a translator, I
wrote offering my services. This was a "blind apply," I guess. But by then
I'd had some experience translating comics for Fantagraphics and earlier
I worked as a translator for the American edition of Perry Rhodan. For
once, this kind of "blind applying" paid off and then-editor Byron Erickson
sent me quite a bit of work over the next couple of years, until Disney
Comics spoiled everything. As for the payment...considered as an hourly
wage, it was good money. The only problem was, I figured at the time
(circa 1988 or so) that for me to be able to quit my regular job and
do it full time, Gladstone would have to publish six or seven comic books a
month of solid foreign material, and I'd have to be translating all of it.
Even in 1988's market, it was an unlikely eventuality, and today...I can't
see anybody making a living as comic-book translator in America, ever,
Disney or otherwise... (unless something very amazing happens, like some
European series becomes an unexpected hit). Then again, the guys translating
Japanese manga may be doing better, I don't know. But as a nice supplement
to the income from my regular job, translating was great. I wasn't
exactly in trouble with my credit card in the late '80s, but it was
starting to look as though I wouldn't be able to get it paid off any
time this century. Then I started getting work from Gladstone, and in
a surprisingly short time I had sent mean ol' Mr. Visa Card packing. To
this day I feel like I should light candles in front of Byron Erickson's
picture in thanksgiving.
--Dwight Decker
> Subject: Re: Disney comics Digest V98 #4
> Hi all!
>
> I'm quite fascinated by translating, word-play and else...
> to the TRANSLATORS on the list:
>
> How did you start with Disney translations? blind applies? Did you
> have experience with other comics before? What baout the payment? Can
> one live from it?
>
Back in the '80s, I saw an item in the Comics Buyer's Guide (the weekly
US comics newspaper) announcing that Gladstone would be printing European-
produced Disney stories. Figuring that Gladstone could use a translator, I
wrote offering my services. This was a "blind apply," I guess. But by then
I'd had some experience translating comics for Fantagraphics and earlier
I worked as a translator for the American edition of Perry Rhodan. For
once, this kind of "blind applying" paid off and then-editor Byron Erickson
sent me quite a bit of work over the next couple of years, until Disney
Comics spoiled everything. As for the payment...considered as an hourly
wage, it was good money. The only problem was, I figured at the time
(circa 1988 or so) that for me to be able to quit my regular job and
do it full time, Gladstone would have to publish six or seven comic books a
month of solid foreign material, and I'd have to be translating all of it.
Even in 1988's market, it was an unlikely eventuality, and today...I can't
see anybody making a living as comic-book translator in America, ever,
Disney or otherwise... (unless something very amazing happens, like some
European series becomes an unexpected hit). Then again, the guys translating
Japanese manga may be doing better, I don't know. But as a nice supplement
to the income from my regular job, translating was great. I wasn't
exactly in trouble with my credit card in the late '80s, but it was
starting to look as though I wouldn't be able to get it paid off any
time this century. Then I started getting work from Gladstone, and in
a surprisingly short time I had sent mean ol' Mr. Visa Card packing. To
this day I feel like I should light candles in front of Byron Erickson's
picture in thanksgiving.
--Dwight Decker
SSchridde
Disney comics Digest V98 #4
Message 66 -
1998-01-06 at 00:52:08
Hi all!
I'm quite fascinated by translating, word-play and else...
to the TRANSLATORS on the list:
How did you start with Disney translations? blind applies? Did you
have experience with other comics before? What baout the payment? Can
one live from it?
Please send me some views privately, as I'd like to try a translation
on myself and see, if it's comparable to the pros...
> Can somebody please post (or privately email me) the infamous introduction
> Geoffrey Blum wrote to the recently released Gladstone Lo$ book ? Not all
> of us can afford to buy the book, but would still like to read the much
> talked-about introduction.
I'd be interested as well, so there might well be enough interest on
the ML that it can be sent to all of us...
or putting it on a website might do well...
so if anyone would take the burdon and type a lot or scan or...
would be highly appreciated by me, too.
Or, of course, private mail.
Yours, Soeren
Soeren Schridde
Kurt-Tucholsky-Str.1
49088 Osnabrueck
Germany
eMail: (Email removed)
Emergency account: (Email removed)
Tel./Fax: Acc.Code+ (0)541/150764
I'm quite fascinated by translating, word-play and else...
to the TRANSLATORS on the list:
How did you start with Disney translations? blind applies? Did you
have experience with other comics before? What baout the payment? Can
one live from it?
Please send me some views privately, as I'd like to try a translation
on myself and see, if it's comparable to the pros...
> Can somebody please post (or privately email me) the infamous introduction
> Geoffrey Blum wrote to the recently released Gladstone Lo$ book ? Not all
> of us can afford to buy the book, but would still like to read the much
> talked-about introduction.
I'd be interested as well, so there might well be enough interest on
the ML that it can be sent to all of us...
or putting it on a website might do well...
so if anyone would take the burdon and type a lot or scan or...
would be highly appreciated by me, too.
Or, of course, private mail.
Yours, Soeren
Soeren Schridde
Kurt-Tucholsky-Str.1
49088 Osnabrueck
Germany
eMail: (Email removed)
Emergency account: (Email removed)
Tel./Fax: Acc.Code+ (0)541/150764
Daniel Van Eijmeren
Indonesia
Message 67 -
1998-01-06 at 03:08:40
HARRY FLUKS:
> Indonesia is not more painful for a Dutchman than Vietnam is for
> an American, or India for an Englishman. The Netherlands have
> been a colonial power, with all the good and bad things
> that went with it.
I wasn't only talking about Dutchmen, I was also talking about
the *Indonesian* people who live here.
Greetings,
--- Daniel
> Indonesia is not more painful for a Dutchman than Vietnam is for
> an American, or India for an Englishman. The Netherlands have
> been a colonial power, with all the good and bad things
> that went with it.
I wasn't only talking about Dutchmen, I was also talking about
the *Indonesian* people who live here.
Greetings,
--- Daniel
Daniel Van Eijmeren
Details in Barks and Rosa art
Message 68 -
1998-01-06 at 03:36:56
AUGIE DE BLIECK, 29 DECEMBER 1997:
About Don Rosa stories:
> There's background in-jokes you wouldn't find in a Barks tale. Part of
> that also must have something to do with the time factor. Barks was
> getting paid to churn out the stories at a mind-numbing pace. His output
> must also be looked at in that regard. Don has something of a more
> leisurely pace with which to work. So he can take the time to work more
> irritating and needless detail in his artwork.
I think it has more to do with the taste of the artist. Barks has said
more than once that he took care that he was far ahead of the deadline,
so that he never would be bothered or be in need of time to have a story
finished.
His later stories don't quite have the detailled half-page drawings
because Barks got frustrated by the editor's descision to cut such a half-
page in the last minute in favour of an advertisement. His story "Mythic
Mystery" lost a half-page view over smoky and busy Duckburg, something to
give the mythtic god-person a reason to be afraid of. (This half-page is
lost, as part of a total of two pages.)
I don't know if it lasted to the end of his career, but in the mid-50s the
editor decided to save money by sending cheaper paper to the artists. This
made the pencil sink into the paper and it was difficult to correct
mistakes. Maybe this effected Barks pleasure in making the detailled art
he had before?
Another disadvantage of the cheaper paper was that Barks' ducks got much
too long (look at "The Golden River" for example). In an interview Barks
has said that he often drew the ducks too long when he pencilled them,
but that he corrected this. With the new paper it wasn't that easy and
besides that, because of being so far ahead of the deadline, Barks saw
this mistake only much later.
Greetings,
--- Daniel
About Don Rosa stories:
> There's background in-jokes you wouldn't find in a Barks tale. Part of
> that also must have something to do with the time factor. Barks was
> getting paid to churn out the stories at a mind-numbing pace. His output
> must also be looked at in that regard. Don has something of a more
> leisurely pace with which to work. So he can take the time to work more
> irritating and needless detail in his artwork.
I think it has more to do with the taste of the artist. Barks has said
more than once that he took care that he was far ahead of the deadline,
so that he never would be bothered or be in need of time to have a story
finished.
His later stories don't quite have the detailled half-page drawings
because Barks got frustrated by the editor's descision to cut such a half-
page in the last minute in favour of an advertisement. His story "Mythic
Mystery" lost a half-page view over smoky and busy Duckburg, something to
give the mythtic god-person a reason to be afraid of. (This half-page is
lost, as part of a total of two pages.)
I don't know if it lasted to the end of his career, but in the mid-50s the
editor decided to save money by sending cheaper paper to the artists. This
made the pencil sink into the paper and it was difficult to correct
mistakes. Maybe this effected Barks pleasure in making the detailled art
he had before?
Another disadvantage of the cheaper paper was that Barks' ducks got much
too long (look at "The Golden River" for example). In an interview Barks
has said that he often drew the ducks too long when he pencilled them,
but that he corrected this. With the new paper it wasn't that easy and
besides that, because of being so far ahead of the deadline, Barks saw
this mistake only much later.
Greetings,
--- Daniel
Daniel Van Eijmeren
Facsimile: Am I using the wrong word?
Message 69 -
1998-01-06 at 11:56:12
DWIGHT DECKER:
> Gary will have to reply to this to get Gladstone's view of the matter,
> of course, but reprinting old comics has its share of headaches.
> Regular comic-book printing just about requires black and white
> photostats.
With "fascimile" I meant reprinting *straight from the original comic*
itself, omitting the need of photostats. As if the original comic is
colour-xeroxed.
Greetings,
--- Daniel (slipped through a difficult word and now isn't sure of the
meaning himself) ;-)
> Gary will have to reply to this to get Gladstone's view of the matter,
> of course, but reprinting old comics has its share of headaches.
> Regular comic-book printing just about requires black and white
> photostats.
With "fascimile" I meant reprinting *straight from the original comic*
itself, omitting the need of photostats. As if the original comic is
colour-xeroxed.
Greetings,
--- Daniel (slipped through a difficult word and now isn't sure of the
meaning himself) ;-)
Daniel Van Eijmeren
Horsing / Somewhere / database / fascimile
Message 70 -
1998-01-06 at 12:26:49
HARRY FLUKS, 3 JANUARY 1998:
About "Somewhere in Nowhere":
> BTW, I'm convinced that the Barks Studio had the condition that they get
> the art back (thus breaking any Disney "rule"). How else would they make
> big money out of the story?
How else? They could have asked a higher rate per page? You could be
right, but I have problems with the word "convinced". Maybe I missed
something but I've never heard of a auction of "Horsing Around with
History" art so far. (Did they get the art back for that one?) Or do you
know more information on the matter?
About art of "Horsing Around with History": I have (xeroxes of) a cover
sketched by Barks for this one, it's based on panel 12.7, and a
typewritten script
HARRY FLUKS to me:
>> 81-38a D 3687 10 VR DD Als popzanger
>> [origpg:11]
>> BTW. Strange that the database mentions no German reprint.
> It does in the current (not-yet available) version. It was in Germany
> in Micky Maus 7, 1979.
I made a mistake by looking only at the database of Dutch publications, so
that's why I saw no foreign (re)prints.
>> There is a panel in "The Golden Fleece" which original looked
>> butchered if you looked closely at the background.
> The Dutch reprints of that story are a mess. You cannot "analyse" the
> story by (just) looking at a Dutch reprint.
No, that's why I bought the Carl Barks Library!
HARRY FLUKS to AUGIE:
ADB> WDC&S is not a reprint service.
HF> Then why did we get a full reprint of MM Magazine #1? And why did we
HF> get that many "The Year That Was" pages with reprints of (rare and less
HF> rare, interesting and less interesting) material? To me, an important
HF> part of WDC&S *is* a reprint service.
To me there's nothing wrong with a reprint (the same for rebroadcasts on
television), but then the choice of material should be well-made.
Making a comic for collectors and then reprint a story that's only 5 years
old is a contradiction, especially when it's also (sooner or later)
available in an album.
If a reprint is done, it should be something interesting and making a
comic for collectors even gives the liberty to do straight-from-the-comic
reprints, so if it's about costs: Isn't this just like *colour-xeroxing*?
What more can a publisher wish when collectors start asking for that?
Hmm. This is too easy, am I overlooking something?
Greetings,
--- Daniel
About "Somewhere in Nowhere":
> BTW, I'm convinced that the Barks Studio had the condition that they get
> the art back (thus breaking any Disney "rule"). How else would they make
> big money out of the story?
How else? They could have asked a higher rate per page? You could be
right, but I have problems with the word "convinced". Maybe I missed
something but I've never heard of a auction of "Horsing Around with
History" art so far. (Did they get the art back for that one?) Or do you
know more information on the matter?
About art of "Horsing Around with History": I have (xeroxes of) a cover
sketched by Barks for this one, it's based on panel 12.7, and a
typewritten script
HARRY FLUKS to me:
>> 81-38a D 3687 10 VR DD Als popzanger
>> [origpg:11]
>> BTW. Strange that the database mentions no German reprint.
> It does in the current (not-yet available) version. It was in Germany
> in Micky Maus 7, 1979.
I made a mistake by looking only at the database of Dutch publications, so
that's why I saw no foreign (re)prints.
>> There is a panel in "The Golden Fleece" which original looked
>> butchered if you looked closely at the background.
> The Dutch reprints of that story are a mess. You cannot "analyse" the
> story by (just) looking at a Dutch reprint.
No, that's why I bought the Carl Barks Library!
HARRY FLUKS to AUGIE:
ADB> WDC&S is not a reprint service.
HF> Then why did we get a full reprint of MM Magazine #1? And why did we
HF> get that many "The Year That Was" pages with reprints of (rare and less
HF> rare, interesting and less interesting) material? To me, an important
HF> part of WDC&S *is* a reprint service.
To me there's nothing wrong with a reprint (the same for rebroadcasts on
television), but then the choice of material should be well-made.
Making a comic for collectors and then reprint a story that's only 5 years
old is a contradiction, especially when it's also (sooner or later)
available in an album.
If a reprint is done, it should be something interesting and making a
comic for collectors even gives the liberty to do straight-from-the-comic
reprints, so if it's about costs: Isn't this just like *colour-xeroxing*?
What more can a publisher wish when collectors start asking for that?
Hmm. This is too easy, am I overlooking something?
Greetings,
--- Daniel
Mikko Pohjola
Disney comics Digest V98 #4
Message 71 -
1998-01-06 at 13:19:15
STEFAN, DWIGHT, HARRY:
In the Finnish translation of "Return to Plain Awful" the final
pun was translated: "They doubled their money with one stroke". At the
time I assumed it was the original gag in the end, and now that I know
better I still think it was a brilliant translation. "Plain Awful" on the
other hand is called "A Lousy Rat Hole" which doesn't sound any more like
a name of a place in Finnish.
Mike - The Finnish Trekkie
In the Finnish translation of "Return to Plain Awful" the final
pun was translated: "They doubled their money with one stroke". At the
time I assumed it was the original gag in the end, and now that I know
better I still think it was a brilliant translation. "Plain Awful" on the
other hand is called "A Lousy Rat Hole" which doesn't sound any more like
a name of a place in Finnish.
Mike - The Finnish Trekkie
Daniel Van Eijmeren
Horsing Around (mistake in previous letter)
Message 72 -
1998-01-06 at 14:12:13
I wrote:
> About art of "Horsing Around with History": I have (xeroxes of) a cover
> sketched by Barks for this one, it's based on panel 12.7, and a
> typewritten script
The last sentence is incomplete, it should be: "a typewritten script of
*page 6*, signed by Carl Barks".
For those who are interested, here's the text:
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Page 6
1...Kids at door of money bin.
Kid: "Now HOW do we get through these doors?"
Kid: "Don't WHINNY! You might call a swarm of killer HORSEFLIES!"
2...Doors ZIP open. Slab of sidewalk tilts and slides kids through
doorway.
Voice of Scrooge from wall speaker: "THIS WAY, lads! I heard you
coming!"
3...Kids in disheveled heap on floor. One comments: "I guess we can
feel Unca Scrooge's money bin is SECURE!"
Second kid: "Yes! He seems to have thought of EVERYTHING!"
4...Kids being beckoned toward a room by Don. S in f.g. looks pleased
at his new button.
Don: "Follow me! "While Uncle Scrooge puts on his coat. I have
something to show you!"
5-6...Double panel. Kids gape at ship model while Don points out it's
features.
Don: "Kids, this is a model of the SALVAGE ship we'll be working on
for a few weeks!"
Kids happily: "Another TREASURE HUNTING job, Unca Donald?"
7...S cautiously to kids: "Yes, nephews, and it is TOP SECRET! NOBODY
is to know WHERE we're going or WHAT we find there!"
Kids to S: "Golly! Will it be FAR AWAY?"
S whispering: "Yes! To the sea bottom off the ancient city of TROY!"
[signed] Carl Barks
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
A few differences with the published version:
In panel 2, Scrooge calls the boys "lads" instead of "boys".
Double panel 5-6 became two panels.
Is there someone here with the complete typewritten script or is there a
chance it will be published in the future? I really would like to have it
for comparision!
Greetings,
--- Daniel
--------------------------------
End of Disney comics Digest V98 Issue #5
****************************************
> About art of "Horsing Around with History": I have (xeroxes of) a cover
> sketched by Barks for this one, it's based on panel 12.7, and a
> typewritten script
The last sentence is incomplete, it should be: "a typewritten script of
*page 6*, signed by Carl Barks".
For those who are interested, here's the text:
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Page 6
1...Kids at door of money bin.
Kid: "Now HOW do we get through these doors?"
Kid: "Don't WHINNY! You might call a swarm of killer HORSEFLIES!"
2...Doors ZIP open. Slab of sidewalk tilts and slides kids through
doorway.
Voice of Scrooge from wall speaker: "THIS WAY, lads! I heard you
coming!"
3...Kids in disheveled heap on floor. One comments: "I guess we can
feel Unca Scrooge's money bin is SECURE!"
Second kid: "Yes! He seems to have thought of EVERYTHING!"
4...Kids being beckoned toward a room by Don. S in f.g. looks pleased
at his new button.
Don: "Follow me! "While Uncle Scrooge puts on his coat. I have
something to show you!"
5-6...Double panel. Kids gape at ship model while Don points out it's
features.
Don: "Kids, this is a model of the SALVAGE ship we'll be working on
for a few weeks!"
Kids happily: "Another TREASURE HUNTING job, Unca Donald?"
7...S cautiously to kids: "Yes, nephews, and it is TOP SECRET! NOBODY
is to know WHERE we're going or WHAT we find there!"
Kids to S: "Golly! Will it be FAR AWAY?"
S whispering: "Yes! To the sea bottom off the ancient city of TROY!"
[signed] Carl Barks
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
A few differences with the published version:
In panel 2, Scrooge calls the boys "lads" instead of "boys".
Double panel 5-6 became two panels.
Is there someone here with the complete typewritten script or is there a
chance it will be published in the future? I really would like to have it
for comparision!
Greetings,
--- Daniel
--------------------------------
End of Disney comics Digest V98 Issue #5
****************************************
Kriton Kyrimis
Disney comics Digest V98 #4
Message 73 -
1998-01-06 at 14:40:20
HARRY:
> I still don't know why the first translation changed the text
> from "custard" to "mustard". Is it a coincidence that the
> words only differ 1 character? The Dutch translations
> ("mosterd", "pudding") are very different...
It probably has something to do with the translator being familiar
only with the word "mustard" (at least I learnt the word "custard"
much later in life), and subconsciously reading the familiar word when
encountering the unfamiliar "custard". Komix #105 also published this
story as "the mustard gun", so there might be some truth in this.
[Regarding the Greek translation, I don't know if Divry's
Greek-English/English-Greek dictionary is still in fashion, but the
definition it gives for "custard" is bogus. (What *is* a milk-pie?) If
this is what the Komix translators use, I can understand why they might
have had to improvise.]
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"How fast can you get a phaser lock?"
"Fast!"
-----
> I still don't know why the first translation changed the text
> from "custard" to "mustard". Is it a coincidence that the
> words only differ 1 character? The Dutch translations
> ("mosterd", "pudding") are very different...
It probably has something to do with the translator being familiar
only with the word "mustard" (at least I learnt the word "custard"
much later in life), and subconsciously reading the familiar word when
encountering the unfamiliar "custard". Komix #105 also published this
story as "the mustard gun", so there might be some truth in this.
[Regarding the Greek translation, I don't know if Divry's
Greek-English/English-Greek dictionary is still in fashion, but the
definition it gives for "custard" is bogus. (What *is* a milk-pie?) If
this is what the Komix translators use, I can understand why they might
have had to improvise.]
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"How fast can you get a phaser lock?"
"Fast!"
-----
Fluks, H.W.
Facsimile editions.
Message 74 -
1998-01-06 at 16:14:19
Dwight:
> reprinting old comics has its share of headaches. Regular
> comic-book printing just about requires black and white photostats. [etc.]
As an addition to what Daniel said: the European facsimile reprints I
saw (Germany, Holland, Denmark) simply reprinted the old issues as if
they made color xeroxes.
Even the damages in some of the old issues was visible. I guess
collectors
don't mind that: they prefer something close to the original to
something
that has been changed.
> Western still has stats of virtually everything it has ever printed.
This is not what I heard and read in articles in European fanzines
in the 70s. A lot of the old Barks material is lost because they
had copied it on bad microfilm, or simply thrown the originals
away. That's the main reason that people like Jippes re-inked
old Barks material.
Or that's what people thought at that time.
> Western replied that _finding_ the stats
> in the files for a given comic book would entail an extensive
> search, and the cost of the search would be high enough to
> discourage the project altogether.
This sounds unbelievable (even though I'm convinced that the Western
archive is a mess). But if it is true, I volunteer to spend a few
weeks re-organising their archives!
--Harry.
> reprinting old comics has its share of headaches. Regular
> comic-book printing just about requires black and white photostats. [etc.]
As an addition to what Daniel said: the European facsimile reprints I
saw (Germany, Holland, Denmark) simply reprinted the old issues as if
they made color xeroxes.
Even the damages in some of the old issues was visible. I guess
collectors
don't mind that: they prefer something close to the original to
something
that has been changed.
> Western still has stats of virtually everything it has ever printed.
This is not what I heard and read in articles in European fanzines
in the 70s. A lot of the old Barks material is lost because they
had copied it on bad microfilm, or simply thrown the originals
away. That's the main reason that people like Jippes re-inked
old Barks material.
Or that's what people thought at that time.
> Western replied that _finding_ the stats
> in the files for a given comic book would entail an extensive
> search, and the cost of the search would be high enough to
> discourage the project altogether.
This sounds unbelievable (even though I'm convinced that the Western
archive is a mess). But if it is true, I volunteer to spend a few
weeks re-organising their archives!
--Harry.
Alexander Gruenke
Disney comics Digest V98 #4
Message 75 -
1998-01-06 at 16:18:27
From: Eirik Krogh Visted <(Email removed)>
> Can somebody please post (or privately email me) the infamous introduction
> Geoffrey Blum wrote to the recently released Gladstone Lo$ book ? Not all
> of us can afford to buy the book, but would still like to read the much
> talked-about introduction.
Yes, I'm interested in this article, too!
Alexander
> Can somebody please post (or privately email me) the infamous introduction
> Geoffrey Blum wrote to the recently released Gladstone Lo$ book ? Not all
> of us can afford to buy the book, but would still like to read the much
> talked-about introduction.
Yes, I'm interested in this article, too!
Alexander