Keskustelujen arkisto

DON MARKSTEIN to me, 10-03-1998:

> Thanks for pointing me to your Web page info on Grandey and Morby. Tho
> it reads like one of their own press releases, I did glean some
> information.

The information was taken from article "Bill Grandey and Kathy Morby -
Two Carl Barks fans who became part of Duckburg", published in Disneyana
Enthusiasts Club magazine "Magical Moment & Memories" no. 12, 1996
(page 40).

> But please don't tell me how to express myself. Why shouldn't I sound
> partial? I AM partial. I chose the word "claws" because it fits in with
> my perception of the matter.

On a list which has freedom of speech, one can *of course* be partial. And
if the reports (like Barks' law suit) on Kathy Morby and Bill Grandey are
true, I'm even on your side. Their lack of defending themselves and a
confirmation I've seen (which I talked about some weeks ago) certainly
don't contradict these reports.

I was only referring to the word "claw". It somehow sounded like name-
calling (is that the word?) to me and that's why I said "*unnescesarily*
partial". Some weeks ago the word "ass" also fell in someone's mail, this
time in reference to an artist, so that's why I wanted to say something
about it. Nothing special. Just a note in a mail I was replying, it
wouldn't have been a reason for a reply itself.

> If someone else's perception differs, that person has the option we all
> have in a free-speech environment -- that of expressing the other point
> of view.

They even managed to get the artist they supported against them, after
a track of angry other people, so I don't think you have another point
of view than me. Even from this side of the ocean (which makes judging
difficult), this all makes it *very* hard to believe they're innocent.
At least to me.

The only reason why I write so opinion-less about it, is that I'm curious
what they have to say after all that's been said / reported. I won't hold
my breath while waiting though. :-)

CAREY FURLONG, 09-03-1998:

> Now you remonstrate others for expressing their opinions?

No, *certainly* not.

> This time, though, it's not about Rosa, is it? It's about Grandy, Morbey
> and Barks.

This has nothing to do with it. If I somehow sound to you like I'm friends
with Grandey and Morby, I can tell you that the only time I saw them was
on television (a 5-minute broadcast on Barks' 1994 visit to Holland).
Someone even had to to tape it for me, since I was having a holiday in
*Spain* at the time. Enough proof? :-)

Greetings,

--- Daniel

ANDERS ENGWALL:

>Mind telling us a bit more about what is reprinted? The weeklies
>in the stores are wrapped in plastic at the moment so you can't
>browse'em, and the Egmont home page only mentions the new stuff.

Maybe somebody at Egmont should answer this in a more "official" way, but
since 1998 marks the 50th anniversary of the Swedish and Norwegian weeklies,
these publications run a special reprint feature every 4 weeks or so; mostly
concentrating on "rare" characters normally not used in new stories - Scamp,
Ludwig, Fethry, and so on. At least, this is how I understand it. I believe
that Denmark's "Anders And" will get these reprints next year when time
comes for their celebration. And I hope that this habit will continue way
beyond the anniversary years! (The rest of the magazine also carries some
interesting reprints now and then.)

>New material that is particularly good is of course also of
>interest.

Well, there's a lot of that, too! Apart from the active "new breed" of
excellent writers and artists we've more or less learned to expect (often
discussed on this list), I'm happy too see some pristine Dutch material from
the 70's and 80's (Milton and others) that hasn't been used in Sweden before.

My time won't permit reeling off the contents of each issue, nor even giving
many specific examples, and I'm not sure I'm allowed to talk too much about
what's appearing in upcoming issues. But I *can* tell you that the Swedish
"Kalle Anka", like so many of its sister publications, finally is going to
print the writers' and artists' credits! I'm so happy about this, I don't
care if it's supposed to be a secret - which I hardly believe it is, anyway!
Yippi-yay!

Gott kvack!

Koll. 314
Malmo, Skane

Hi!

HARRY:
> Only last week, I got a batch of Gladstones from my shop
> in Amsterdam. The most recent issues were WDC 622 and
> U$ 308

Me too ... and those issues were also the most recents ones
that were in my batch. I'm really glad that I can get them again!

> The Dutch monthly "Donald Duck Extra" #4 will reprint [...]
> "Oom Dagobert" continues to print Rosa stories [...]

That's GREAT news!

> My copy [of Uncle Scrooge His Life And Times] has all the pages.
> Which version do you have, the hard-cover or the soft-cover?

I have the soft-cover edition. I didn't even know there was
a hard-cover edition ... at least I've never seen it!

Bye!

Arthur

Hi everyone, A bit off topic,

After the recent posts about the Celestial Arts 'Life and Times of Uncle
Scrooge McDuck' book, I went back to have a look at mine (1981 hard cover
edition) and found acid spots attacking the fly page! Horrors! I thought it
had been printed on archive quality paper so this was a surprise. So far
only the fly pages seem affected, but this dreaded disease is contagious.
Any suggestions?

regards
Shaun.

TO WHOM IT MAY CONCERN:

"Big Nate" this week seems to be having a Junior Woodchuck marathon! :-)

Speaking of Junior Woodchucks, is Don Rosa's
"W.H.A.D.A.L.O.T.T.A.J.A.R.G.O.N." out in the USA yet? So far I've just seen
the German version, and I'd be interested to see other Americans' comments
on it (especially in a language I can really read!).

--Jonathan Markoff

"I, the official B.I.G.D.O.P.E.*, hereby proclaim this museum OPEN!"
--Don Rosa, "Guardians of the Lost Library"

*Brazenly Impressive and Grandiose Door Opener and Party Entertainer

--------------------------------
End of Disney comics Digest V98 Issue #75
*****************************************

OK, everyone...this is the absolute,positively,last call for birthday
greetings to Carl...get them to me and get them here fast!!

The responses so far has been fabulous (and creative)...keep it up!!

E-mail is still OK!!

Michael Naiman
PO Box 151029
San Diego,CA
92175-1029
USA

KRITON:

>Let us hope it will be the last, i.e.,
>that Gladstone will start publishing new stories again. E.g., instead of
>yet another cycle of Barks album reprints, how about a series of albums
>with the best of the classic Italian stories?

I'd say HOORAH to that!....However, I'd doubt it very much.

I've held off writing about Gladstone's "new" titles, mainly because I
respect their gallant efforts to survive in a market that's going thru a
severe identity crisis. However, Kriton's note touched off a chord in me.

For the life of me, I simply CAN't understand WHY Gladstone is producing
these "new" albums that simply re-print old Barks and Rosa stories. I also
WILL NOT be buying ANY of them. Why? But it's simple: I own these stories in
multiple copies alraedy! I own them in classic comic books, in B&W HC books,
in color albums, in Greek re-prints. Why would I want to shell out more $ to
get more copies of the SAME stories? My wife would say that I'm spending way
too much already!

So, the question remains: Why is Gladstone doing it? Why, as Kriton
suggested above, aren't they producing such albums for great artists of the
likes of Scarpa, Rota, and more? There's only ONE answer that easily comes
to mind: economics! the stories they are re-re-re(to the nth degree)printing
don't have to be translated, don't have to be re-colored, etc. They have the
proofs ready, and they just send them to the printer's. I'd gladly pay for
Scarpa albums, but then Gladstone would have to PAY somebody to translate
the stories (at least the unused ones), re-color them, re-format them, etc.

As a first step, however, why don't they start by dishing out albums on
Scarpa stories that have been Americanized already? I'd love to own
color-album formatted editions of stories like "Colossus of the Nile" and
"The Lentils From Babylon", to mention just a couple. Actually, I like this
idea SO much, that I went ahead and ordered the first 12 HC volumes of
Scarpa's works (1953-1961) directly from Italy--even in B&W. My Italian is
spotty, but it just shows how fond I am of Scarpa. That will provide me with
a good incentive to learn good Italian!

So, WHO will be buying the "new" Gladstone albums? They cost ~$10, right? A
kid will certainly NOT be buying them on just his meager monthly allowance.
That leaves only the adult collectors. But why should THEY buy them, if they
already own umpteen copies of these stories? I'd be interested in hearing
from Gladstone how well they sell...

What I WILL continue buying are the two remaining classic titles: WDC&S and
US, along with their U$ color albums. That series ends this year, and I hope
they continue it with classic European U$ tales. I think that WDC&S, along
with Italy's "Zio Paperone", France's "Picsou Mag", and Greece's "Komix",
are the top 4 Disney comics in the world today.

Cheers,

Archontis

JONATHAN MARKOFF --
I believe Tintin was known in the U.S. in 1963, but can't
be sure. It was right around then that it was being serialized in
CHILDREN'S DIGEST. I'm pretty sure it wasn't very widely known in
the comics community at that time, but if I'm correct that it was
being published here that early, anybody is likely to have run
across it.

"At least it's only 3 pages!" is a heck of a way for the
first review of my first Bucky Bug script that actually reached
print (after more than seven years writing and selling them) to
begin. But -- when the stuff is out there, and people start
commenting on it, you have to take whatever comes along.
I'm glad you don't think the story has been harmed much by
the process I necessarily used in producing the script. My first
goal, whether I'm plotting, scripting, editing, or whatever, is
always to maintain story values.
Sorry you thought the first and last rhymes were forced.
I'll grant you the first -- I was rhyming what had to be an
appropriate sound effect, and "splash" offers little scope for
it. For the last -- well, all six in this set finish the last
couplet with "The End", so get used to it. I'm more concerned
with the forced rhythm, less there than a couple of panels back,
the "E Ticket" line.
Still, that's only 3 out of 13 couplets...
Thanks for noting the correct credits. I'd prefer not to
get credit for things I didn't do. I'll mention this next time I
talk with the guys at Gladstone. Hopefully, later ones will give
credit where due.
And thanks for taking the trouble to share your thoughts
on it.

DANIEL VAN EIJMEREN --
I will continue to use words like "claws" when I consider
it appropriate. If you think I am being "unnecessarily" partial
(whatever that means), then you have my sympathy.

Quack, Don