Rich Bellacera asked me in private mail if I could scan the
character page from "U.F.F." #8.
Sorry, Rich, I don't have access to a scanner, but I can translate
the text entries for you (and everyone else):
TRIXI (the dog-nosed group leader):
Trixi has the same rank as the Grand Mogul. They have both known
each other for a long time. Although Trixi is really cool she
eventually opens her heart for her old friend.
[That's what it says. Doesn't make much sense in German, either.
jg]
TINA (a dog-nosed girl with glasses):
The enthusiastic Tina is always in high spirits.
KATHY (a red-haired girl with a chicken beak):
The red-haired Kathy has power and a strong will. She doesn't
take any orders from boys.
ILKA (a black-haired girl with a duck bill):
The kind Ilka is a cool girl that is admired by all Chickadees.
BETTY (girl with long brown hair and a "gander" bill):
Betty is pretty, helpful, and rather impudent. At the Chickadees
she's responsible for First Aid.
So much for the text. Maybe someone else can send Rich the
scans?
Author
Topic: 199806
(174 messages)
Juergen Gebhardt
JW - GM - FF
Message 121 -
1998-06-18 at 23:54:46
David B. Fenske
Disney comics Digest V98 #147
Message 122 -
1998-06-19 at 09:05:42
At 12:36 PM 6/18/98 -0400, you wrote:
>DAVID FENSKE:
>>>One thing about both stories though, is they illustrate some incredible
>>differences in the laws of Physics between our universe and the duck
>>universe. Both stories contain amazingly rapid descents from great
>>heights, and yet the Ducks land intact, conscious, still-alive,
>
>Of course beings in my comedies suffer less than they normally would in real
>life if they fell or were hit by something! You sound like you want these
>comics to read like that Bernie Krigstein parody of "Maggie & Jiggs" that
>was in the old MAD or PANIC comic... where Jiggs shows how if comics were
>like real-life he would actually lose teeth or suffer concussions or
>compound fractures when Maggie hit him with a vase! Wouldn't you agree I
>obey more rules of actual physical law than any other writer in these
>comics? I'm not aiming for total reality, simply more reality.
Of course. Don't get me wrong - I'm not objecting at all to the fall
sequences or the liberties with reality exemplified by the whole comic
genre. I love it. You can do things that would otherwise take 10 times as
much space (to do it realistically) and wouldn't be as much fun. In the
comics, too much reality would hamper good story-telling.
It's just that I was reading Son of the Sun and Eldorado at the same time
(within a few days of each other), and was comparing art, the Andes, and
the effects of gravity. And as the Ducks went [flash in scene of coyote
falling to bottom of canyon] I thought "What if that was real..." and winced.
>And still -- name the instance in the stories you site ("Eldorado", "McDuck
>Tower", "Duck Who Fell to Earth") when my characters survived a fall from a
>height that would kill them outright. I always showed that the falls were
>fairly short or broken by some obstacle or circumstance.
That's true, for the most part. In Son of the Sun, the ducks escaped by
parachute during the temple fall, and McDuck Tower does have all those
canopies (tough material!). But in Eldorado, the ducks probably would have
fallen off the falling dozer, and gotten a little banged up. But I think
the most likely candidate for real damage would have been when Donald hit
the plane when falling to earth. Remember, that plane was moving forward
with a lot of momentum, and is made of metal... I think there would have
been more of a splattering effect. Or a broken neck... oh, the implied
violence...:-)
>*Certainly* they
>would have been more bruised or battered than I show.... but I know you
>don't want the Ducks to sport casts and splints for the remainder of any
>story where they suffer a mere prattfall, eh?
Nah. I'm no sadist. And it would be too picky for you to have to draw. :-)
>
While we're on this topic (reality), I should say that I appreciate your
efforts to give some pretty far out things a fairly reasonable explanation
(this comes from being a scientist, I guess). Example: In Universal
Solvent, when the Ducks went to the middle of the earth, I liked the whole
super-dense materials explanation.
So keep 'em falling...
Dave
>DAVID FENSKE:
>>>One thing about both stories though, is they illustrate some incredible
>>differences in the laws of Physics between our universe and the duck
>>universe. Both stories contain amazingly rapid descents from great
>>heights, and yet the Ducks land intact, conscious, still-alive,
>
>Of course beings in my comedies suffer less than they normally would in real
>life if they fell or were hit by something! You sound like you want these
>comics to read like that Bernie Krigstein parody of "Maggie & Jiggs" that
>was in the old MAD or PANIC comic... where Jiggs shows how if comics were
>like real-life he would actually lose teeth or suffer concussions or
>compound fractures when Maggie hit him with a vase! Wouldn't you agree I
>obey more rules of actual physical law than any other writer in these
>comics? I'm not aiming for total reality, simply more reality.
Of course. Don't get me wrong - I'm not objecting at all to the fall
sequences or the liberties with reality exemplified by the whole comic
genre. I love it. You can do things that would otherwise take 10 times as
much space (to do it realistically) and wouldn't be as much fun. In the
comics, too much reality would hamper good story-telling.
It's just that I was reading Son of the Sun and Eldorado at the same time
(within a few days of each other), and was comparing art, the Andes, and
the effects of gravity. And as the Ducks went [flash in scene of coyote
falling to bottom of canyon] I thought "What if that was real..." and winced.
>And still -- name the instance in the stories you site ("Eldorado", "McDuck
>Tower", "Duck Who Fell to Earth") when my characters survived a fall from a
>height that would kill them outright. I always showed that the falls were
>fairly short or broken by some obstacle or circumstance.
That's true, for the most part. In Son of the Sun, the ducks escaped by
parachute during the temple fall, and McDuck Tower does have all those
canopies (tough material!). But in Eldorado, the ducks probably would have
fallen off the falling dozer, and gotten a little banged up. But I think
the most likely candidate for real damage would have been when Donald hit
the plane when falling to earth. Remember, that plane was moving forward
with a lot of momentum, and is made of metal... I think there would have
been more of a splattering effect. Or a broken neck... oh, the implied
violence...:-)
>*Certainly* they
>would have been more bruised or battered than I show.... but I know you
>don't want the Ducks to sport casts and splints for the remainder of any
>story where they suffer a mere prattfall, eh?
Nah. I'm no sadist. And it would be too picky for you to have to draw. :-)
>
While we're on this topic (reality), I should say that I appreciate your
efforts to give some pretty far out things a fairly reasonable explanation
(this comes from being a scientist, I guess). Example: In Universal
Solvent, when the Ducks went to the middle of the earth, I liked the whole
super-dense materials explanation.
So keep 'em falling...
Dave
David B. Fenske
Disney comics Digest V98 #147
Message 123 -
1998-06-19 at 10:45:15
At 06:52 AM 6/18/98 EDT, you wrote:
>In a message dated 98-06-18 03:30:09 EDT, Dider writes
>
><< I have been looking for back issues of the famous comics and animation
> magazine Funnyworld and was wondering if some of you might help.
>
> I am looking for issues: 1 to 11, 13, 21 and 22.
> >>
>
>You'll look a long time for the first 9 or so, which had a print run of 75 or
>less, and were Mike's contributions to CAPA-alpha, a comics apa.
>
>And Dave asked if Don R had any hidden refrences to Ayn Rand in his stories.
>
>If he does, there are some of us who would perfer that they stay hidden...
Meaning what? Just for the record, I don't subscribe to Ayn Rand's
philosophy... but as Don mentioned Howard Roark, and we know he likes old
movies, and THE FOUNTAINHEAD is an old movie, the possibility came to mind.
Dave
>
>Steven Rowe
>
>
>
>In a message dated 98-06-18 03:30:09 EDT, Dider writes
>
><< I have been looking for back issues of the famous comics and animation
> magazine Funnyworld and was wondering if some of you might help.
>
> I am looking for issues: 1 to 11, 13, 21 and 22.
> >>
>
>You'll look a long time for the first 9 or so, which had a print run of 75 or
>less, and were Mike's contributions to CAPA-alpha, a comics apa.
>
>And Dave asked if Don R had any hidden refrences to Ayn Rand in his stories.
>
>If he does, there are some of us who would perfer that they stay hidden...
Meaning what? Just for the record, I don't subscribe to Ayn Rand's
philosophy... but as Don mentioned Howard Roark, and we know he likes old
movies, and THE FOUNTAINHEAD is an old movie, the possibility came to mind.
Dave
>
>Steven Rowe
>
>
>
Donald D. Markstein
Junkville Journal
Message 124 -
1998-06-19 at 18:40:01
DON ROSA --
No need to be so touchy. We disagree on what constitutes a
reasonable level of in-jokiness. Big deal.
To my way of thinking, a writer's first duty is ALWAYS to
the reader. This isn't to say we shouldn't write to please
ourselves -- on the contrary, if we write stuff we don't like,
thinking it will please some reader (for whose taste we harbor
secret contempt), that will show in the writing, and nobody will
be pleased by it. A writer's success in any given market depends
in large part on how well his own taste meshes with those of the
readers in that market. For example, I like (among other things)
clever stories told at a young reader's level of comprehension
(but stretching that level as often as possible, of course),
sometimes involving the characters I myself enjoyed as a child
(and continue to enjoy as -- well, as a child in late middle age)
-- therefore, if I can write stories I enjoy, I should have some
success in the Disney market. I would have less success if I
submitted stories I like to HORNY BIKER SLUTS COMIX.
But always, the reader's enjoyment, of ALL parts of the
story, is paramount -- the fact that I'm writing to my own taste
doesn't give me a license for self-indulgence. No, the readers
don't have to get every gag, but they should have a fair chance at
the ones they can see are gags, and should NOT be given an
impression that the story is written for someone more erudite than
themselves. If a particular gag is AIMED at a limited part of the
audience, it should be invisible to the general reader. As an
example from my own work, when I was writing the comic book
version of MIGHTY MORPHIN POWER RANGERS, a story called for a
villain to utter several nonsense phrases in casting spells. I
could have just run my fingers over the keyboard and come up with
something like "Glxl sprtz bla"*, but instead, I used "Om chu
sklom stu", "Macaruni jacaruni cacaruni" and "hocus locus jocus"
(spelling approximate -- I looked them up then, but not now). The
gag was there for some, but since only nonsense phrases were
needed anyway, nobody else would have taken much notice.
(*An in joke for Americans who read SUGAR AND SPIKE -- was
it invisible to others?)
A watch going ZEEE ZEEE ZEEE would, in my opinion, have
appeared weird enough to anyone who didn't recognize it, to
disrupt the flow of the story and diminish the general reader's
enjoyment. It's obviously a gag of some sort, but neither the
average reader, nor any member of his family, nor any of his
friends, can figure out what it refers to -- so who is this story
written for, anyway?
So you disagree, and I say, so what? I can't very well
claim you're flatly and absolutely wrong, now can I? Your success
in crafting stories that appeal to a large number of people
(including me!) speaks for itself. In fact, I am a GREAT admirer
of your ability to entertain me time after time. But we do
disagree on this one minor point.
Other points in your reply aren't really pertinent -- for
example, the richness of a story (i.e., whether or not it's
possible to catch everything on a first reading) has nothing to do
with whether or not the reader has a fair shot at getting gags
that he can see are gags. Same for the amount of research you do
-- that goes toward direct added enjoyment for the knowledgeable
reader and indirect enjoyment through enriched texture of
verisimilitude for others. It doesn't jar anybody out of the story
for a moment to scratch his head in puzzlement, as I believe a
watch making a weird sound would do -- and since, at ALL times,
the story must flow smoothly, it's those momentary head-
scratchings that should be avoided.
By the way, speaking of the research you do on your stories --
This summer, I'm trying to continue my daughters' education
by requiring them to read one non-fiction book per week, and give
me a book report to show they got something out of it. Comics are
allowed -- for example, Karen (14) is currently reading Larry
Gonnick's CARTOON HISTORY OF THE UNIVERSE, and Rachel (16) is
thinking about Jaxon's LOS TEJANOS for next week.
I've told them that, after a couple more "pure" non-fiction
books, I'll give them credit for your "Life of Scrooge", if their
book reports emphasize the real-life history they've learned from
it, and show they can separate it from the fictional parts.
Just thought you might like to know that.
Quack, Don
--------------------------------
End of Disney comics Digest V98 Issue #148
******************************************
No need to be so touchy. We disagree on what constitutes a
reasonable level of in-jokiness. Big deal.
To my way of thinking, a writer's first duty is ALWAYS to
the reader. This isn't to say we shouldn't write to please
ourselves -- on the contrary, if we write stuff we don't like,
thinking it will please some reader (for whose taste we harbor
secret contempt), that will show in the writing, and nobody will
be pleased by it. A writer's success in any given market depends
in large part on how well his own taste meshes with those of the
readers in that market. For example, I like (among other things)
clever stories told at a young reader's level of comprehension
(but stretching that level as often as possible, of course),
sometimes involving the characters I myself enjoyed as a child
(and continue to enjoy as -- well, as a child in late middle age)
-- therefore, if I can write stories I enjoy, I should have some
success in the Disney market. I would have less success if I
submitted stories I like to HORNY BIKER SLUTS COMIX.
But always, the reader's enjoyment, of ALL parts of the
story, is paramount -- the fact that I'm writing to my own taste
doesn't give me a license for self-indulgence. No, the readers
don't have to get every gag, but they should have a fair chance at
the ones they can see are gags, and should NOT be given an
impression that the story is written for someone more erudite than
themselves. If a particular gag is AIMED at a limited part of the
audience, it should be invisible to the general reader. As an
example from my own work, when I was writing the comic book
version of MIGHTY MORPHIN POWER RANGERS, a story called for a
villain to utter several nonsense phrases in casting spells. I
could have just run my fingers over the keyboard and come up with
something like "Glxl sprtz bla"*, but instead, I used "Om chu
sklom stu", "Macaruni jacaruni cacaruni" and "hocus locus jocus"
(spelling approximate -- I looked them up then, but not now). The
gag was there for some, but since only nonsense phrases were
needed anyway, nobody else would have taken much notice.
(*An in joke for Americans who read SUGAR AND SPIKE -- was
it invisible to others?)
A watch going ZEEE ZEEE ZEEE would, in my opinion, have
appeared weird enough to anyone who didn't recognize it, to
disrupt the flow of the story and diminish the general reader's
enjoyment. It's obviously a gag of some sort, but neither the
average reader, nor any member of his family, nor any of his
friends, can figure out what it refers to -- so who is this story
written for, anyway?
So you disagree, and I say, so what? I can't very well
claim you're flatly and absolutely wrong, now can I? Your success
in crafting stories that appeal to a large number of people
(including me!) speaks for itself. In fact, I am a GREAT admirer
of your ability to entertain me time after time. But we do
disagree on this one minor point.
Other points in your reply aren't really pertinent -- for
example, the richness of a story (i.e., whether or not it's
possible to catch everything on a first reading) has nothing to do
with whether or not the reader has a fair shot at getting gags
that he can see are gags. Same for the amount of research you do
-- that goes toward direct added enjoyment for the knowledgeable
reader and indirect enjoyment through enriched texture of
verisimilitude for others. It doesn't jar anybody out of the story
for a moment to scratch his head in puzzlement, as I believe a
watch making a weird sound would do -- and since, at ALL times,
the story must flow smoothly, it's those momentary head-
scratchings that should be avoided.
By the way, speaking of the research you do on your stories --
This summer, I'm trying to continue my daughters' education
by requiring them to read one non-fiction book per week, and give
me a book report to show they got something out of it. Comics are
allowed -- for example, Karen (14) is currently reading Larry
Gonnick's CARTOON HISTORY OF THE UNIVERSE, and Rachel (16) is
thinking about Jaxon's LOS TEJANOS for next week.
I've told them that, after a couple more "pure" non-fiction
books, I'll give them credit for your "Life of Scrooge", if their
book reports emphasize the real-life history they've learned from
it, and show they can separate it from the fictional parts.
Just thought you might like to know that.
Quack, Don
--------------------------------
End of Disney comics Digest V98 Issue #148
******************************************
Don Rosa
Disney comics Digest V98 #148
Message 125 -
1998-06-19 at 20:05:30
>From: Mikko Pohjola (re: "The Black Knight")
>One thing bothers me with this story more than most of Don's work: the
>dialogue. Somehow it seems more complicated than necessary.
Uh... I guess I should say SPOILER WARNING...?
You might be right... but you can't know what *my* version of the dialogue
was until the story is used by Gladstone. I always pare my dialogue down as
far as I can, not to make it read a certain way, just to be able to make the
dang balloons as small as possible, since my instructions are already to
make them over-large. And then Byron cuts the dialogue down beyond that,
according to his judgement. And then the translators cuts. And it was still
too wordy? Well, wait and see what the original was, and then judge.
But look at all the blank area in those Finnish balloons! And I'm told to
make those balloons too big JUST for Finland. I really think I'll start
making them smaller and expanding the art a bit (it sure needs it,eh?).
>One thing
>I wondered about the portrayal of this master thief was the fact that his
>face was shown in the very beginning. Don, did you ever consider making
>his face a mystery til the very end - or not showing it even then?
I think I originally toyed with the idea of making the villain be the
Phantom Blot. The Blot was one non-Duck element of the old comics I grew up
with that I really liked. It was the only Gottfriedson element of those
comics that was left... so maybe that's why it stood out to me (I never saw
any Gottfredson until Gladstone Comics came along). And it's the one single
element from the MouseUniverse I might have liked to use in a Duckstory
(though I would ignore any association with Mice when I used him). But Byron
once told me that the Blot is not to be used in a Duckstory, so I passed
that idea by.
But, anyway, I never thought of having my new villain always in black and
never seen in his true identity because that would make him too much like
the Blot. If I kept his face a secret until the end, that would make people
expect it was going to be someone they knew... what would the point of that
be if he was a new character? And besides, I want to make this guy a "nice"
villain. He should be sorta likeable, and therefore his face is important to
see.
>A great story once again. Thank you Don! (I won't ask you how the Black
>Knight was able to breathe or how the acid didn't infiltrate his suit from
>the joints as I know you'll just answer with it being suspension of
>disbelief required to make this story..)
Go ahead and ask! I made sure that his head and feet were above the acid
(somehow... maybe the acid was being sucked into oblivion too fast for him
to sink?) so that it couldn't burn the soles of his feet or pour in through
his mask. Then I can say that the other joints in the suit were too thin too
allow acid to slip past before being sucked into the edges?
But... what's the problem with him breathing? There were slots in his helmet
over the mouth ... you couldn't see them because they were dark. I showed
his eyes as if they were glowing rather than having them similarly invisible
simply to show some expression. The ol' "artistic license".
>One thing bothers me with this story more than most of Don's work: the
>dialogue. Somehow it seems more complicated than necessary.
Uh... I guess I should say SPOILER WARNING...?
You might be right... but you can't know what *my* version of the dialogue
was until the story is used by Gladstone. I always pare my dialogue down as
far as I can, not to make it read a certain way, just to be able to make the
dang balloons as small as possible, since my instructions are already to
make them over-large. And then Byron cuts the dialogue down beyond that,
according to his judgement. And then the translators cuts. And it was still
too wordy? Well, wait and see what the original was, and then judge.
But look at all the blank area in those Finnish balloons! And I'm told to
make those balloons too big JUST for Finland. I really think I'll start
making them smaller and expanding the art a bit (it sure needs it,eh?).
>One thing
>I wondered about the portrayal of this master thief was the fact that his
>face was shown in the very beginning. Don, did you ever consider making
>his face a mystery til the very end - or not showing it even then?
I think I originally toyed with the idea of making the villain be the
Phantom Blot. The Blot was one non-Duck element of the old comics I grew up
with that I really liked. It was the only Gottfriedson element of those
comics that was left... so maybe that's why it stood out to me (I never saw
any Gottfredson until Gladstone Comics came along). And it's the one single
element from the MouseUniverse I might have liked to use in a Duckstory
(though I would ignore any association with Mice when I used him). But Byron
once told me that the Blot is not to be used in a Duckstory, so I passed
that idea by.
But, anyway, I never thought of having my new villain always in black and
never seen in his true identity because that would make him too much like
the Blot. If I kept his face a secret until the end, that would make people
expect it was going to be someone they knew... what would the point of that
be if he was a new character? And besides, I want to make this guy a "nice"
villain. He should be sorta likeable, and therefore his face is important to
see.
>A great story once again. Thank you Don! (I won't ask you how the Black
>Knight was able to breathe or how the acid didn't infiltrate his suit from
>the joints as I know you'll just answer with it being suspension of
>disbelief required to make this story..)
Go ahead and ask! I made sure that his head and feet were above the acid
(somehow... maybe the acid was being sucked into oblivion too fast for him
to sink?) so that it couldn't burn the soles of his feet or pour in through
his mask. Then I can say that the other joints in the suit were too thin too
allow acid to slip past before being sucked into the edges?
But... what's the problem with him breathing? There were slots in his helmet
over the mouth ... you couldn't see them because they were dark. I showed
his eyes as if they were glowing rather than having them similarly invisible
simply to show some expression. The ol' "artistic license".
Donald D. Markstein
Disney comics Digest V98 #148
Message 126 -
1998-06-19 at 20:52:44
MIKKO POHJOLA --
I'm a syllable-counting writer myself. I may be the only
one aware of it, but there's a subtle rhythm in everything I
write. When something I've written "sounds" wrong to me, it's
usually because I've taken three syllables to say something that
could have been said in two.
I didn't know Barks counted syllables, but it doesn't
surprise me -- his is the greatest single influence on my prose
style. It's only natural that I would have worked out techniques
similar to his.
Of course, it's the word, not the syllable, that one thinks
of as the basic unit of writing -- but that's only because words
are relatively easy to quantize. In most cases, I'll count the
words, not the syllables, to see if a balloon is overloaded -- but
if I can say the same thing with two one-syllable words, or one
three-syllable word, I'll usually go for the two ones.
I'm in a writers' group, where we get together regularly to
criticize one another's work. Recently, I had a discussion with
another member about words versus syllables -- she preferred one
way of phrasing something because it had fewer words; I preferred
another because the words it used were shorter. It was her work,
so of course, she prevailed -- but I still prefer my way of
determining length.
Quack, Don
I'm a syllable-counting writer myself. I may be the only
one aware of it, but there's a subtle rhythm in everything I
write. When something I've written "sounds" wrong to me, it's
usually because I've taken three syllables to say something that
could have been said in two.
I didn't know Barks counted syllables, but it doesn't
surprise me -- his is the greatest single influence on my prose
style. It's only natural that I would have worked out techniques
similar to his.
Of course, it's the word, not the syllable, that one thinks
of as the basic unit of writing -- but that's only because words
are relatively easy to quantize. In most cases, I'll count the
words, not the syllables, to see if a balloon is overloaded -- but
if I can say the same thing with two one-syllable words, or one
three-syllable word, I'll usually go for the two ones.
I'm in a writers' group, where we get together regularly to
criticize one another's work. Recently, I had a discussion with
another member about words versus syllables -- she preferred one
way of phrasing something because it had fewer words; I preferred
another because the words it used were shorter. It was her work,
so of course, she prevailed -- but I still prefer my way of
determining length.
Quack, Don
Stefan Diös
Disney comics Digest V98 #148
Message 127 -
1998-06-19 at 23:38:31
DON R:
>I assumed we were referring to my background in-jokes when I said it's
>impossible for them to go "too far", which I still maintain.
No problem. Maybe I misunderstood, since I don't necessarily regard the term
"in-jokes" as equivalent to all kinds of funny details and extensive
research. It looks like we both have explained our general views, and they
don't seem to differ very much... at least before we start analyzing every
single little detail as case in point... which might be entertaining, but
maybe not altogether constructive...
The concluding part in Don Markstein's post on this issue, about
incorporating your (Don R's) works into his daughters' education, reminded
me of a similar experience. Maybe I told you about this before, but it could
be interesting to the rest of the mailing list as well:
My sister is a teacher in Sweden, and also a frequent reader of the weekly
"Kalle Anka" magazine. In 1991, when "Island at the Edge of Time" came, she
called me to say that she never had seen a better or easier explanation of
how the international date-line works. She always ran into trouble when
teaching this tricky concept to her students, and the geography books
available were none too clear on the subject. But this story did it, and was
fun and exciting to boot! She went on to have her school order a bunch of
copies to distribute to her class, and suddenly everyone understood at once.
(At least, that's what she hoped they would... and I think there's a good
chance they did.)
When I was at school, I had Carl Barks help me with geography, history,
literature and whatnot. Today's kids have Don Rosa. Not bad at all...
Stefan Dios
Malmo, Sweden
>I assumed we were referring to my background in-jokes when I said it's
>impossible for them to go "too far", which I still maintain.
No problem. Maybe I misunderstood, since I don't necessarily regard the term
"in-jokes" as equivalent to all kinds of funny details and extensive
research. It looks like we both have explained our general views, and they
don't seem to differ very much... at least before we start analyzing every
single little detail as case in point... which might be entertaining, but
maybe not altogether constructive...
The concluding part in Don Markstein's post on this issue, about
incorporating your (Don R's) works into his daughters' education, reminded
me of a similar experience. Maybe I told you about this before, but it could
be interesting to the rest of the mailing list as well:
My sister is a teacher in Sweden, and also a frequent reader of the weekly
"Kalle Anka" magazine. In 1991, when "Island at the Edge of Time" came, she
called me to say that she never had seen a better or easier explanation of
how the international date-line works. She always ran into trouble when
teaching this tricky concept to her students, and the geography books
available were none too clear on the subject. But this story did it, and was
fun and exciting to boot! She went on to have her school order a bunch of
copies to distribute to her class, and suddenly everyone understood at once.
(At least, that's what she hoped they would... and I think there's a good
chance they did.)
When I was at school, I had Carl Barks help me with geography, history,
literature and whatnot. Today's kids have Don Rosa. Not bad at all...
Stefan Dios
Malmo, Sweden
Juergen Gebhardt
Giovani Marmotte - Faehnlein Fieselschweif
Message 128 -
1998-06-19 at 23:46:06
MARCO:
> A way to check: There is JUST ONE to-be-continued long long story in "GM",
> sort of SF one. Issue #9 of "GM" in Italy has chapter 7 of the story
> ("Princess of the lost town"). What chapter do you have on issue #8 of UFF ?
In Germany, the 10-part serial ran from "U.F.F." #1-#10, so, naturally,
#8 contains the chapter 8.
But I doubt that the German edition reprinted entire issues of the Italian
original. The story codes in each U.F.F, are pretty mixed in each issue,
like GM-15, GM-8, GM-23 in one issue. The way the stories from Topolino
are coded I would gather that these stories originally appeared in
Giovani Marmotte #s 15, 8 and 23, or are the GM-storie codes numbered
consecutively, like the Egmont stories?
> A way to check: There is JUST ONE to-be-continued long long story in "GM",
> sort of SF one. Issue #9 of "GM" in Italy has chapter 7 of the story
> ("Princess of the lost town"). What chapter do you have on issue #8 of UFF ?
In Germany, the 10-part serial ran from "U.F.F." #1-#10, so, naturally,
#8 contains the chapter 8.
But I doubt that the German edition reprinted entire issues of the Italian
original. The story codes in each U.F.F, are pretty mixed in each issue,
like GM-15, GM-8, GM-23 in one issue. The way the stories from Topolino
are coded I would gather that these stories originally appeared in
Giovani Marmotte #s 15, 8 and 23, or are the GM-storie codes numbered
consecutively, like the Egmont stories?
Marco Barlotti
GM+GE scans
Message 129 -
1998-06-20 at 01:21:24
JUERGHEN:
>Rich Bellacera asked me in private mail if I could scan the
>character page from "U.F.F." #8.
>Sorry, Rich, I don't have access to a scanner, but I can translate
>the text entries for you (and everyone else):
[...]
>So much for the text. Maybe someone else can send Rich the
>scans?
Well, as far as I know Rich **already** has the relevant scans of the girls.
Rich? Don't you agree?
BTW, if Rich (or anybody else) wants, I can put on my WWW pages the scans
of the **MALE** JW.
Marco
(still working on this index, but almost finished...)
>Rich Bellacera asked me in private mail if I could scan the
>character page from "U.F.F." #8.
>Sorry, Rich, I don't have access to a scanner, but I can translate
>the text entries for you (and everyone else):
[...]
>So much for the text. Maybe someone else can send Rich the
>scans?
Well, as far as I know Rich **already** has the relevant scans of the girls.
Rich? Don't you agree?
BTW, if Rich (or anybody else) wants, I can put on my WWW pages the scans
of the **MALE** JW.
Marco
(still working on this index, but almost finished...)
Dave Rawson
Disney comics Digest V98 #144
Message 130 -
1998-06-20 at 01:33:42
Daniel van Eijmeren <(Email removed)>
> A short, quick message to tell that the 'right version' of "On the
> Ball", (D95173) co-written by Dave Rawson, has just been published in
> the Dutch Donald Duck Extra No. 6. [...] (Yes, Dave, I have bought
> an extra issue for you.)
Hey! Thanks for the great kindness!
Best,
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
> A short, quick message to tell that the 'right version' of "On the
> Ball", (D95173) co-written by Dave Rawson, has just been published in
> the Dutch Donald Duck Extra No. 6. [...] (Yes, Dave, I have bought
> an extra issue for you.)
Hey! Thanks for the great kindness!
Best,
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
Kriton Kyrimis
Smurf-blue indians
Message 131 -
1998-06-20 at 15:10:44
Remember Don saying that one of the conditions under which Disney would
permit the publication of "War of the Wendigo" in the US was that the
pygmy indians would have to be colored blue, like Smurfs?
I was just reading Barks' "Island in the Sky" in U$ 268, which was
published by Disney, and, believe it or not, the pygmy indians are
painted Smurf blue! Those guys were really serious about this!
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"How did it go, sir?"
"Oh, usual bureaucracy; inch thick forms and half a pint of blood."
-----
permit the publication of "War of the Wendigo" in the US was that the
pygmy indians would have to be colored blue, like Smurfs?
I was just reading Barks' "Island in the Sky" in U$ 268, which was
published by Disney, and, believe it or not, the pygmy indians are
painted Smurf blue! Those guys were really serious about this!
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"How did it go, sir?"
"Oh, usual bureaucracy; inch thick forms and half a pint of blood."
-----
Marco Barlotti
Giovani Marmotte on the web
Message 132 -
1998-06-21 at 00:52:41
I have put on the WWW a few scans from "Giovani Marmotte".
They are NOT linked (yet), so you must type the complete address:
http://marcobar.cce.unifi.it/Comics/scans/GM1.jpg
http://marcobar.cce.unifi.it/Comics/scans/GM2.jpg
http://marcobar.cce.unifi.it/Comics/scans/Lardello.jpg
http://marcobar.cce.unifi.it/Comics/scans/Lapo.jpg
http://marcobar.cce.unifi.it/Comics/scans/AlvinChuck.jpg
http://marcobar.cce.unifi.it/Comics/scans/NewtonChips.jpg
By the way: who wrote that the female Mogul has a DOG nose?
I daresay that she has a very NICE nose, most un-doglike... And on the
whole, well, she is not Jessica Rabbit but not Olive Oyl either...
Marco
--------------------------------
End of Disney comics Digest V98 Issue #149
******************************************
They are NOT linked (yet), so you must type the complete address:
http://marcobar.cce.unifi.it/Comics/scans/GM1.jpg
http://marcobar.cce.unifi.it/Comics/scans/GM2.jpg
http://marcobar.cce.unifi.it/Comics/scans/Lardello.jpg
http://marcobar.cce.unifi.it/Comics/scans/Lapo.jpg
http://marcobar.cce.unifi.it/Comics/scans/AlvinChuck.jpg
http://marcobar.cce.unifi.it/Comics/scans/NewtonChips.jpg
By the way: who wrote that the female Mogul has a DOG nose?
I daresay that she has a very NICE nose, most un-doglike... And on the
whole, well, she is not Jessica Rabbit but not Olive Oyl either...
Marco
--------------------------------
End of Disney comics Digest V98 Issue #149
******************************************
Rich Bellacera
Giovani Marmotte
Message 133 -
1998-06-21 at 05:23:32
Juergen & Marco-
Thank you for following up on my query concerning the new tales
of the Junior Woodchucks (and their female counterparts).
MARCO:
>Well, as far as I know Rich **already** has the relevant scans of
>the girls. Rich? Don't you agree?
I have scans of three female characters only, but you being the
*sly devil* I'm sure the term "relevant" was directed at "Clarissa"
("Trixie" in German). :-)
http://www.jps.net/xephyr/scans/girls.gif
However, I still lack "Italian" name identification for the kids.
Based on Juergen's translation from German I can match the
little redhead birdbeak girl with the one called "KATHY" in
German and the black-haired duckbill girl is "ILKA" in German.
Otherwise your recently posted scans have finally provided me
with a glance at the other two G.E. girls.
Thank you for following up on my query concerning the new tales
of the Junior Woodchucks (and their female counterparts).
MARCO:
>Well, as far as I know Rich **already** has the relevant scans of
>the girls. Rich? Don't you agree?
I have scans of three female characters only, but you being the
*sly devil* I'm sure the term "relevant" was directed at "Clarissa"
("Trixie" in German). :-)
http://www.jps.net/xephyr/scans/girls.gif
However, I still lack "Italian" name identification for the kids.
Based on Juergen's translation from German I can match the
little redhead birdbeak girl with the one called "KATHY" in
German and the black-haired duckbill girl is "ILKA" in German.
Otherwise your recently posted scans have finally provided me
with a glance at the other two G.E. girls.
David
Albums
Message 134 -
1998-06-21 at 08:16:36
The CBL - U$ Adventures album series will be completed in 5 months. Has
anyone heard what will be happening in regards to the album series beyond
what is stated on the back covers (that they hope to continue with other
artists). A Scarpa series and a continuation of Don Rosa albums would just
be about right.
anyone heard what will be happening in regards to the album series beyond
what is stated on the back covers (that they hope to continue with other
artists). A Scarpa series and a continuation of Don Rosa albums would just
be about right.
Berglund
Disney Comics in french....
Message 135 -
1998-06-21 at 13:20:48
Although summer seems to finally have reched the southernmost of Sweden I've
decided to go to France for a couple of weeks (so I won't be able to reply
in a while if anyone mails me). I guess I should take the opportunity to ask
the people on this list what (disney) comics I should look out for "down
there"...
I ask this because of the great difference in the quality of disney comics
there are in Sweden. (I'm comparing the "pocket-sized" DD monthly vs. the
"DD weekly" type of comics). Maybe Stefan knows what difference I'm talking
about... (they're both special in their own way)
In case I don't post anything else before I leave: Have a really nice
summer, all of you!
/Martin Berglund
decided to go to France for a couple of weeks (so I won't be able to reply
in a while if anyone mails me). I guess I should take the opportunity to ask
the people on this list what (disney) comics I should look out for "down
there"...
I ask this because of the great difference in the quality of disney comics
there are in Sweden. (I'm comparing the "pocket-sized" DD monthly vs. the
"DD weekly" type of comics). Maybe Stefan knows what difference I'm talking
about... (they're both special in their own way)
In case I don't post anything else before I leave: Have a really nice
summer, all of you!
/Martin Berglund