DON MARKSTEIN, 4 August 1998:
> WHAT I DO WITH MY COMICS -- I dive around in them like a porpoise,
> burrow through them like a gopher, and toss them up and let them hit me
> on the head. Isn't that what everybody does with them?
Then you certainly should see a Jippes two-pager made for the 25th
anniversary of the Dutch weekly Donald Duck Weekblad in 1977. It may
even be usable for Gladstone after having published a certain quantity
of comics, which is the subject of the story.
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
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Author
Topic: 199808
(536 messages)
Daniel Van Eijmeren
Diving around in comics
Message 286 -
1998-08-16 at 17:25:17
Daniel Van Eijmeren
Digital family albums
Message 287 -
1998-08-16 at 17:32:28
DONALD MARKSTEIN, 3 August 1998:
> And yes, I'm the one doing family photos that way. I DO have a
> professional scanner, and I AM using lots of memory and storage.
> [...] No, I don't regard these scans as replacements for the
> originals [...]
I hope you didn't take my comments personally. I was only using a
family album CD-ROM as example of preserving material, I was not
referring to you and methods you use as a subject itself. In the past
there have been some disappointments when material was transferred to
what appeared to be a disaster after the originals were destroyed.
Never be too enthousiastic in trusting on systems which haven't yet
proven themselves was all I wanted to say.
> [...] by straining available technology to the limit, I've made some
> scans that are pretty darn good. And you can't compare this to
> microfilm, because microfilm is an analog storage medium, and digital
> is better
Also, the microfilm was just an example of data storage, this time one
that *has* proved to have disappointments.
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
> And yes, I'm the one doing family photos that way. I DO have a
> professional scanner, and I AM using lots of memory and storage.
> [...] No, I don't regard these scans as replacements for the
> originals [...]
I hope you didn't take my comments personally. I was only using a
family album CD-ROM as example of preserving material, I was not
referring to you and methods you use as a subject itself. In the past
there have been some disappointments when material was transferred to
what appeared to be a disaster after the originals were destroyed.
Never be too enthousiastic in trusting on systems which haven't yet
proven themselves was all I wanted to say.
> [...] by straining available technology to the limit, I've made some
> scans that are pretty darn good. And you can't compare this to
> microfilm, because microfilm is an analog storage medium, and digital
> is better
Also, the microfilm was just an example of data storage, this time one
that *has* proved to have disappointments.
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
Daniel Van Eijmeren
Gladstone's coloured hair / Gyro's string
Message 288 -
1998-08-16 at 17:39:29
ANDERS SIVEB%K, 3 August 1998:
> Today I've been wondering about: hair. First subject $crooge. At the
> old comic shop the other day, I just looked over a story where $mD was
> dreaming about the young days, where he had long brown hair. [...]
> I read for some time ago that in the american publication of Lo$, that
> $ had brown hair until he was frightened by something and it turned
> white. In the danish version it's white all through the series. [...]
> What's Barks' meaning about that question? anyone?
If we must believe Barks on his paintings, Gladstone Gander has brown
hair.
I think one of the youngest Scrooges can be seen on painting "Always
Another Rainbow" and there his hair is white.
> Second subject: Gyro Gearloose, the madcap inventor. I've always
> wondered what those strings on the hat were for, the ones that go down
> under his chin...
If they are not present when Gyro doesn't wear a hat, they must be used
for keeping his hat on its place. Interesting question, I've never payed
attention to what Barks or other writers did with that string.
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
> Today I've been wondering about: hair. First subject $crooge. At the
> old comic shop the other day, I just looked over a story where $mD was
> dreaming about the young days, where he had long brown hair. [...]
> I read for some time ago that in the american publication of Lo$, that
> $ had brown hair until he was frightened by something and it turned
> white. In the danish version it's white all through the series. [...]
> What's Barks' meaning about that question? anyone?
If we must believe Barks on his paintings, Gladstone Gander has brown
hair.
I think one of the youngest Scrooges can be seen on painting "Always
Another Rainbow" and there his hair is white.
> Second subject: Gyro Gearloose, the madcap inventor. I've always
> wondered what those strings on the hat were for, the ones that go down
> under his chin...
If they are not present when Gyro doesn't wear a hat, they must be used
for keeping his hat on its place. Interesting question, I've never payed
attention to what Barks or other writers did with that string.
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
Anders Chr. Sivebæk
Picsou 319
Message 289 -
1998-08-16 at 18:55:35
Hello all you french members (Francois maybe?)
Can you tell me when Picsou Magazine no. 319
was published? Is it the newest issue of this magazine?
The reason why I am asking is that the cover? is made by
Don R. Which story by Don is in the magazine? Cash Flow?
Anders Christian
(Email removed)
Can you tell me when Picsou Magazine no. 319
was published? Is it the newest issue of this magazine?
The reason why I am asking is that the cover? is made by
Don R. Which story by Don is in the magazine? Cash Flow?
Anders Christian
(Email removed)
SRoweCanoe
Who Invented the Splash Page?
Message 290 -
1998-08-16 at 19:31:34
I'm not sure; I believe that this came around in the 1930s; it was very common
by 1941 (particularly if you include 1/2 page splashes).
Despite you might hear, the splash page was not invented by Jack Kirby
(although he and Joe Simon may have done the first two page splash)!
Steven Rowe
by 1941 (particularly if you include 1/2 page splashes).
Despite you might hear, the splash page was not invented by Jack Kirby
(although he and Joe Simon may have done the first two page splash)!
Steven Rowe
Trygve Vatle
Splash-page
Message 291 -
1998-08-16 at 19:52:30
Anders:
Will Eisner udsed spalsh pages in The Spirit in 1940. I am not sure if he was the first to use them, but my guess is that he was.
Trygve
Free web-based email, Forever, From anywhere!
http://www.mailexcite.com
Will Eisner udsed spalsh pages in The Spirit in 1940. I am not sure if he was the first to use them, but my guess is that he was.
Trygve
Free web-based email, Forever, From anywhere!
http://www.mailexcite.com
Joakim Gunnarsson
Paperinik.
Message 292 -
1998-08-16 at 20:43:34
Eta Beta and Marco !
Thanks for the info on the Paperinik issues!
> By the way, YOUR issue #1 is our 0/2 (I think).
We started with the Italian #1. Why? you might ask.
When I was assigned to take care of PK here in Sweden I was sent the
Italian #1+ a translation et.c. with the message ( this was on a thursday)
that the letterer should have the pages the following monday. (We were
*very* close to the deadline.)
I saw the ad for the 0, 0/2 and 0/3 issues in #1and desperately called my
boss at the office trying to stop this. Naturally *I* wanted to start the
PK book from the beginning, including the above issues! But...it was too
late.
They didn't care what was in the book as long as it was a Paperinik story.
I never found the zero issues anywhere, and I *still* wonder what was in
them...
>Certainly our issue #0 was
> never printed outside Italy and is not being reprinted even here in
Italy.
> It has been -in a sense- forbidden!
> [...]
> http://marcobar.cce.unifi.it/Comics/Censored/PKNA
>
> [...]let me know your opinion!
>
> Marco
Great!
I'll check those pages and will give you my opinion.
I can also add that we missed the christmas/winter issue that you had in
Italy last year (#14?). Instead of using it we ran the Special '97 issue.
SOEREN:
I didn't know that there was an edited Paperinik story in AA 13/71.
I don't have that issue at home but I'll try to find it at the office.
Thanks for
the info!
/Joakim Gunnarsson,
Malmo, Sweden.
Thanks for the info on the Paperinik issues!
> By the way, YOUR issue #1 is our 0/2 (I think).
We started with the Italian #1. Why? you might ask.
When I was assigned to take care of PK here in Sweden I was sent the
Italian #1+ a translation et.c. with the message ( this was on a thursday)
that the letterer should have the pages the following monday. (We were
*very* close to the deadline.)
I saw the ad for the 0, 0/2 and 0/3 issues in #1and desperately called my
boss at the office trying to stop this. Naturally *I* wanted to start the
PK book from the beginning, including the above issues! But...it was too
late.
They didn't care what was in the book as long as it was a Paperinik story.
I never found the zero issues anywhere, and I *still* wonder what was in
them...
>Certainly our issue #0 was
> never printed outside Italy and is not being reprinted even here in
Italy.
> It has been -in a sense- forbidden!
> [...]
> http://marcobar.cce.unifi.it/Comics/Censored/PKNA
>
> [...]let me know your opinion!
>
> Marco
Great!
I'll check those pages and will give you my opinion.
I can also add that we missed the christmas/winter issue that you had in
Italy last year (#14?). Instead of using it we ran the Special '97 issue.
SOEREN:
I didn't know that there was an edited Paperinik story in AA 13/71.
I don't have that issue at home but I'll try to find it at the office.
Thanks for
the info!
/Joakim Gunnarsson,
Malmo, Sweden.
Joakim Gunnarsson
Unpubl. Barks
Message 293 -
1998-08-16 at 21:34:18
Daniel van Eijmeren:
> Subject: Unpublished/lost Barks works
Check CBL set III, book, page 84 (Back to the Klondike), the two panels at
the bottom of the page. Take a close look at the panel borders. And notice
that one wordballoon has ben cut off in the second panel!
Not a very good paste-up work by the Western staff when they butchered
Barks story...
/Joakim Gunnarsson,
Malmo, Sweden.
> Subject: Unpublished/lost Barks works
Check CBL set III, book, page 84 (Back to the Klondike), the two panels at
the bottom of the page. Take a close look at the panel borders. And notice
that one wordballoon has ben cut off in the second panel!
Not a very good paste-up work by the Western staff when they butchered
Barks story...
/Joakim Gunnarsson,
Malmo, Sweden.
Anders Chr. Sivebæk
Scrooge's money
Message 294 -
1998-08-16 at 21:35:42
How many money does $crooge Mc Duck own according to the
american comics made by Barks or Rosa?
I would like to hear the newest statement; Don, what do you think?
Anders Christian
(Email removed)
american comics made by Barks or Rosa?
I would like to hear the newest statement; Don, what do you think?
Anders Christian
(Email removed)
Anders Chr. Sivebæk
Gyro's thinking hat in D 4773
Message 295 -
1998-08-16 at 22:03:26
hello
CLAUDIO ECKERT
Well, are you finding anything about Gyros hammer
and thinking hat in your comics from the 70'es?
I found a story today (D 4773) in a weekly from 1987:
It's about Gyro, having to fix a TV-set so that it will not make
people fall to sleep, as Tv's often do. Gyro uses the thinking
hat with the bird in panel 1-2 on page 2. Then he goes into
the TV and visits some indians, who look very much like some
indians I saw in a Barks-story not long ago...
EVERYBODY
Well, were the hammer and/or thinking hat a Barks invention?
CLAUDIO ECKERT
Well, are you finding anything about Gyros hammer
and thinking hat in your comics from the 70'es?
I found a story today (D 4773) in a weekly from 1987:
It's about Gyro, having to fix a TV-set so that it will not make
people fall to sleep, as Tv's often do. Gyro uses the thinking
hat with the bird in panel 1-2 on page 2. Then he goes into
the TV and visits some indians, who look very much like some
indians I saw in a Barks-story not long ago...
EVERYBODY
Well, were the hammer and/or thinking hat a Barks invention?
Dirk Djuga
Everlasting digital
Message 296 -
1998-08-16 at 23:59:56
I think I can say some words on "digital is forever", I am a programmer
and I have created an image viewer (in spare time. This once I will
leave my shameless-plug sig at the bottom). The following is possibly
rather boring for everyone, especially if interested in comics :) Skip
to the words "huh? whatwasthat?" (good tradition, thanks)
DANIEL?:
>>NO DIGITAL IS *NOT* FOREVER.
JUHANA:
> Digital copies can be copied without changes. And thus is indeed
> forever.
DANIEL:
>>Is that really so? I've been wondering that for years. If I would have a
file and I would copy it for someone on this list, who copies the copy
for someone else, who also copies that copy, etc. If this would happen a
thousand or even a million times, would the final copy still be the same
as the original? Does someone know here?<<
Yes, they can be really copied without changes, and that is what makes
them "forever". Not that a CD-R or a floppy are 100% reliable or will
still work in 5 years. The key point here is that after you made a copy
of digital data, you can compare it bit by bit with the original. If all
the bits are the same, you have a 100% copy. If you make a copy of
analog data (eg. a photo) you can only say that it is 99% the same,
99.9%, 99.99% etc. but you can _never_ say 100%.
The real problem with "forever" is something else:
5 years from now:
You can not buy a CDROM-Reader that still reads properly the old CDROM.
Solution: Someone must care to copy the stuff over to the newest and
greatest storage medium
10 years from now:
The graphics format you used is no longer used and widely unknown.
Solution: You must include the definition of the graphics format you
used along with some sample source code that reads it with the data.
50 years from now:
Hardly anyone knows anymore what the words "bits" and "bytes" mean that
you mentioned in the definition of the graphics format.
Solution: you must explain these and also what a computer is...
200 years from now:
Hardly anyone knows anymore what an image is (no, really. Having flat
representations of real world scenes is just a temporary workaround,
todo with the use of paper)
Solution: you must also describe what an image is.
500 years from now: The term "homo barksii" is coined for mankind of the
information age (1950-2050).
Solution: make it clear that the stuff on the CDROM is meant for having
fun, primarily.
(at least the first 4 should be taken serious, if it should be
"forever")
Daniel:
>>I'd love to cooperate, but I only own one original Barks comic (US 65)
and I don't know if I have the right equipment (a Hewlett Packard
Scanjet 5p scanner). If there would be as good a cooperation as for
example on the Disney comics database, this would be a good thing for
at least the circulation under fans. But if we want to do it to really
preserve the comics without quality loss (or *almost* no quality loss),
what standards of equipment and software would we need?<<
You should use a 600dpi scanner for published comics, and 1200dpi for
"originals" (ie. photostats). It is not necessary to do better, because
that is the +/- resolution of the source material. Of course the scans
must not skip lines, must not be distorted or have a skew. You must also
measure the original size of the scanned page (so that the scanner needs
not be 100% perfect in this respect.)
As a graphics format I would recommend PNG. It does lossless compression
(the image is saved with a smaller file size but is not changed), it is
free (no one has a copyright on one of it's algorithms, it's definition
and sample source code is readily available)
You should scan only B/W line art, or if you scan a colored source
remove the color in one version and the black lines in another version,
and save both, and regard the colors an optional ornament. To record
colors "forever" you would have to define outlines of objects and
asigning "well known" colors from a palette like the "pantone colors",
after eyesight, because to make sure that the same color is shown on
different computer monitors, paper or whatelse unknown device of the
future is very, very difficult.
Please correct me anyone of you publishing guys...
"huh? whatwasthat?"
Another thing:
Occasionaly I find a barks story published in the Ehapa production
(Germany) that looks like someone talked to CB on the phone and asked
him what he thinks the panels looked like, and scribbled it down, then
faxed this to some other guy who was out of office but his secretary
used a piece of transparent paper to copy it for publishing (with a ball
pen). The most obvious example is an 8 pager US 10, where US can make a
heritage, but the condition is that he can bring in an old
family-heritage watch in perfect condition. He manages to shred the
watch into pieces while triing to bring it in safely but Gyro fixes it
etc... as seen in "Die besten Geschichten mit Donald Duck / Klassik
Album 8"
How does this story look when it was originaly published? Does anyone
know why it was drawn so badly in this German publication? Even I could
do a better job if I had the original as published, a transparent paper
and a ball pen...
Sorry I can't scan it at the moment.
cU
--
Dirk Djuga mailto:(Email removed)
http://djuga.home.ml.org
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Retriever 2.0 is out: http://retriever.home.ml.org
Shareware image viewer, thumbnailer & database
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
and I have created an image viewer (in spare time. This once I will
leave my shameless-plug sig at the bottom). The following is possibly
rather boring for everyone, especially if interested in comics :) Skip
to the words "huh? whatwasthat?" (good tradition, thanks)
DANIEL?:
>>NO DIGITAL IS *NOT* FOREVER.
JUHANA:
> Digital copies can be copied without changes. And thus is indeed
> forever.
DANIEL:
>>Is that really so? I've been wondering that for years. If I would have a
file and I would copy it for someone on this list, who copies the copy
for someone else, who also copies that copy, etc. If this would happen a
thousand or even a million times, would the final copy still be the same
as the original? Does someone know here?<<
Yes, they can be really copied without changes, and that is what makes
them "forever". Not that a CD-R or a floppy are 100% reliable or will
still work in 5 years. The key point here is that after you made a copy
of digital data, you can compare it bit by bit with the original. If all
the bits are the same, you have a 100% copy. If you make a copy of
analog data (eg. a photo) you can only say that it is 99% the same,
99.9%, 99.99% etc. but you can _never_ say 100%.
The real problem with "forever" is something else:
5 years from now:
You can not buy a CDROM-Reader that still reads properly the old CDROM.
Solution: Someone must care to copy the stuff over to the newest and
greatest storage medium
10 years from now:
The graphics format you used is no longer used and widely unknown.
Solution: You must include the definition of the graphics format you
used along with some sample source code that reads it with the data.
50 years from now:
Hardly anyone knows anymore what the words "bits" and "bytes" mean that
you mentioned in the definition of the graphics format.
Solution: you must explain these and also what a computer is...
200 years from now:
Hardly anyone knows anymore what an image is (no, really. Having flat
representations of real world scenes is just a temporary workaround,
todo with the use of paper)
Solution: you must also describe what an image is.
500 years from now: The term "homo barksii" is coined for mankind of the
information age (1950-2050).
Solution: make it clear that the stuff on the CDROM is meant for having
fun, primarily.
(at least the first 4 should be taken serious, if it should be
"forever")
Daniel:
>>I'd love to cooperate, but I only own one original Barks comic (US 65)
and I don't know if I have the right equipment (a Hewlett Packard
Scanjet 5p scanner). If there would be as good a cooperation as for
example on the Disney comics database, this would be a good thing for
at least the circulation under fans. But if we want to do it to really
preserve the comics without quality loss (or *almost* no quality loss),
what standards of equipment and software would we need?<<
You should use a 600dpi scanner for published comics, and 1200dpi for
"originals" (ie. photostats). It is not necessary to do better, because
that is the +/- resolution of the source material. Of course the scans
must not skip lines, must not be distorted or have a skew. You must also
measure the original size of the scanned page (so that the scanner needs
not be 100% perfect in this respect.)
As a graphics format I would recommend PNG. It does lossless compression
(the image is saved with a smaller file size but is not changed), it is
free (no one has a copyright on one of it's algorithms, it's definition
and sample source code is readily available)
You should scan only B/W line art, or if you scan a colored source
remove the color in one version and the black lines in another version,
and save both, and regard the colors an optional ornament. To record
colors "forever" you would have to define outlines of objects and
asigning "well known" colors from a palette like the "pantone colors",
after eyesight, because to make sure that the same color is shown on
different computer monitors, paper or whatelse unknown device of the
future is very, very difficult.
Please correct me anyone of you publishing guys...
"huh? whatwasthat?"
Another thing:
Occasionaly I find a barks story published in the Ehapa production
(Germany) that looks like someone talked to CB on the phone and asked
him what he thinks the panels looked like, and scribbled it down, then
faxed this to some other guy who was out of office but his secretary
used a piece of transparent paper to copy it for publishing (with a ball
pen). The most obvious example is an 8 pager US 10, where US can make a
heritage, but the condition is that he can bring in an old
family-heritage watch in perfect condition. He manages to shred the
watch into pieces while triing to bring it in safely but Gyro fixes it
etc... as seen in "Die besten Geschichten mit Donald Duck / Klassik
Album 8"
How does this story look when it was originaly published? Does anyone
know why it was drawn so badly in this German publication? Even I could
do a better job if I had the original as published, a transparent paper
and a ball pen...
Sorry I can't scan it at the moment.
cU
--
Dirk Djuga mailto:(Email removed)
http://djuga.home.ml.org
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Retriever 2.0 is out: http://retriever.home.ml.org
Shareware image viewer, thumbnailer & database
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Daniel Van Eijmeren
Wolf forest in Duckburg universe
Message 297 -
1998-08-17 at 00:21:46
ANDERS SIVEB%K, 03 August 1998:
> I have a question for all you Wolf-readers Is there one or two Bears in
> the forest outside Duckburg were the Wolfs and the Rabbits Live?
Relating to this, I think that if the forest from the wolf and rabbit
stories in the Barks universe does exist, it would be somewhere nearby
Grandma's farm. Of course a subject like this is personal taste, but I
don't find Zeke Wolf's appearance in the Barks art-only story "Sheepish
Cowboys" strange at all. That is... as long as the animal *stay* there
in the wood and as long as the city they sometimes refer to is something
like Animalville or whatever-the-name-may-be, but certainly no Duckburg.
In that light, I find the thought of a mysterious wood nearby Grandma's
farm even very interesting. Perhaps it's the Black Forest, which Barks
referred to a few times?
As for *Dumbo* appearing in another Barks art-only story... there are
of course *limits*! :-)
ANDERS SIVEBEAK, 4 August 1998:
> sorry about my mixing the universes I was just thinking in therms of
> the norwegian book Donaldismen where there is a drawing, where all
> those animals are put just outside the city border (or frontier,
> whatever).
No need to say sorry for "mixing universes"! This is all a matter of
opinion and taste, depending on what you prefer to believe. For me,
that's one thing I like so much about the Disney universe. Even though
I can be very 'faithful' to Barks' universe, I like to step in other
ones from time to time and read a good Al Hubbard Fethry Duck story
for example. (please, reprint them Gladstone!)
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
> I have a question for all you Wolf-readers Is there one or two Bears in
> the forest outside Duckburg were the Wolfs and the Rabbits Live?
Relating to this, I think that if the forest from the wolf and rabbit
stories in the Barks universe does exist, it would be somewhere nearby
Grandma's farm. Of course a subject like this is personal taste, but I
don't find Zeke Wolf's appearance in the Barks art-only story "Sheepish
Cowboys" strange at all. That is... as long as the animal *stay* there
in the wood and as long as the city they sometimes refer to is something
like Animalville or whatever-the-name-may-be, but certainly no Duckburg.
In that light, I find the thought of a mysterious wood nearby Grandma's
farm even very interesting. Perhaps it's the Black Forest, which Barks
referred to a few times?
As for *Dumbo* appearing in another Barks art-only story... there are
of course *limits*! :-)
ANDERS SIVEBEAK, 4 August 1998:
> sorry about my mixing the universes I was just thinking in therms of
> the norwegian book Donaldismen where there is a drawing, where all
> those animals are put just outside the city border (or frontier,
> whatever).
No need to say sorry for "mixing universes"! This is all a matter of
opinion and taste, depending on what you prefer to believe. For me,
that's one thing I like so much about the Disney universe. Even though
I can be very 'faithful' to Barks' universe, I like to step in other
ones from time to time and read a good Al Hubbard Fethry Duck story
for example. (please, reprint them Gladstone!)
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
Daniel Van Eijmeren
Minimum of needed contributions
Message 298 -
1998-08-17 at 00:22:08
ANDERS SIVEB%K:
> For some months now, summaries has been presently not available. Why?
I think the server and/or the programme that run the site currently is
not working.
> I don't think it says in the welcoming message how many mailing lists
> are supposed to be posted a day, or how many mails there, at least has
> to be on a list?
There's no minimum of messages you have to sent, there are many members
who read the messages but never contribute ("lurking"). I think that
about 30 to 40 members often contribute, while there is a total of a few
hundred members.
Of course, contributions must have a certain content in them, but I must
admit that I for myself often violate that rule shamefully! :-)
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
> For some months now, summaries has been presently not available. Why?
I think the server and/or the programme that run the site currently is
not working.
> I don't think it says in the welcoming message how many mailing lists
> are supposed to be posted a day, or how many mails there, at least has
> to be on a list?
There's no minimum of messages you have to sent, there are many members
who read the messages but never contribute ("lurking"). I think that
about 30 to 40 members often contribute, while there is a total of a few
hundred members.
Of course, contributions must have a certain content in them, but I must
admit that I for myself often violate that rule shamefully! :-)
Greetings,
--- Daniel
A Guidebook to the Carl Barks Universe
http://www.caiw.nl/~dve/barks/index.html
Kosarin
Disney comics Digest V98 #199
Message 299 -
1998-08-17 at 01:33:14
My favorite story is 'The Secret of Atlantis'.
Nick Kosarin
Nick Kosarin
Ventnor
Re Mythtic Mystery
Message 300 -
1998-08-17 at 06:16:14
I was interested to read that the story "Mythtic Mystery" was abbreviated,
because of advertisements. I was wondering if someone could say exactly
where the cuts occur, because the Australian editions of this story (and all
Australian Disney comics in fact) never had any advertisements, except,
sometimes, on the back page. Also, the title of the story in the Oz editions
is definitely "Mythtic Mystery". I've never noticed any lack of continuity
in this story, so maybe the Australian version is complete???
David King.
P.S. If anyone is interested in seeing Australian Disney comics, I have
about 20 duplicates dating from the early 60s to mid 70s, ranging in
condition from fair to very good. Any offers?
--------------------------------
End of Disney comics Digest V98 Issue #200
******************************************
because of advertisements. I was wondering if someone could say exactly
where the cuts occur, because the Australian editions of this story (and all
Australian Disney comics in fact) never had any advertisements, except,
sometimes, on the back page. Also, the title of the story in the Oz editions
is definitely "Mythtic Mystery". I've never noticed any lack of continuity
in this story, so maybe the Australian version is complete???
David King.
P.S. If anyone is interested in seeing Australian Disney comics, I have
about 20 duplicates dating from the early 60s to mid 70s, ranging in
condition from fair to very good. Any offers?
--------------------------------
End of Disney comics Digest V98 Issue #200
******************************************