Hello
David Gerstein
I bought a magazine today because I saw your name under a story.
D 94163 - Maybe it's a bit old to put spoilers here? Has it been published
before?
The story is called very freely translated the Punch and Judy show of the
darkness (quaccccccck). Donald and HDL are in London. Don has read many
crime novels
so he begins to help the police (Scotland Yard?) in recovering a mystery,
well, maybe
it's not Donald who does the work...
End of eventual spoilers
David (How do I pronounce your last name? just wondering...) that is a
great story,
the artwork done by Colomer, whoever that is, is great too. (BTW how much
does the
writer make? Does he make some sketches of how the pages shall look, or
what?)
Egmonts press-mashine seems to have a lack of the black color, especially
on one
of the pages where two beafeaters have some rather blurred faces!
If any here are so lucky to find the story, congratulations! (I found it
here: AAE98-09)
Anders Christian
Author
Topic: 199809
(311 messages)
Anders Chr. Sivebaek
David's story
Message 211 -
1998-09-21 at 20:59:26
Fluks, H.W.
Casey and O'Hara
Message 212 -
1998-09-21 at 22:39:05
Donald M.:
According to our database information, Casey featured in one more
Gottfredson story: The Plumber's Helper. That's actually his first
appearance, and without O'Hara.
(It never occurred to me that Casey was created before O'Hara!)
The only appearance (we know of) of Casey in a Western comic was in WDC
284, in Murry's "The Return of the Phantom Blot".
There are also some French stories and a whole bunch of Italian stories
featuring Casey. Notable examples are "The Blot's Double Mystery", "The
Delta Dimension" and "The Chirikawa Necklace", all drawn by Scarpa.
After "The Gleam", there have been a few Gottfredson stories with O'Hara
and without Casey:
The Nazi Submarine (1943), The Search for Geeko ('46), The Santa Claus
Bandit ('48), Pflip's Strange Power ('48), Mickey's Dangerous Double
('53) and A Fatal Occupation ('54).
--Harry.
Harry Fluks, Leidschendam, The Netherlands
http://home.wxs.nl/~fluks4
http://members.xoom.com/bolderbast
According to our database information, Casey featured in one more
Gottfredson story: The Plumber's Helper. That's actually his first
appearance, and without O'Hara.
(It never occurred to me that Casey was created before O'Hara!)
The only appearance (we know of) of Casey in a Western comic was in WDC
284, in Murry's "The Return of the Phantom Blot".
There are also some French stories and a whole bunch of Italian stories
featuring Casey. Notable examples are "The Blot's Double Mystery", "The
Delta Dimension" and "The Chirikawa Necklace", all drawn by Scarpa.
After "The Gleam", there have been a few Gottfredson stories with O'Hara
and without Casey:
The Nazi Submarine (1943), The Search for Geeko ('46), The Santa Claus
Bandit ('48), Pflip's Strange Power ('48), Mickey's Dangerous Double
('53) and A Fatal Occupation ('54).
--Harry.
Harry Fluks, Leidschendam, The Netherlands
http://home.wxs.nl/~fluks4
http://members.xoom.com/bolderbast
SSchridde
Disney comics Digest V98 #229
Message 213 -
1998-09-21 at 22:39:32
Teme:
> And now for something completely different...
Python reference or coincidence?
-off-topic-mode off-
Soeren
--------------------------------
End of Disney comics Digest V98 Issue #233
******************************************
> And now for something completely different...
Python reference or coincidence?
-off-topic-mode off-
Soeren
--------------------------------
End of Disney comics Digest V98 Issue #233
******************************************
Paolo Castagno
Junkville Journal
Message 214 -
1998-09-21 at 23:36:22
Hello,
Donald D. Markstein wrote:
> Last week, I wrote a Mickey Mouse story that
> revived a little-used character from the 1930s --
> Detective Casey, who, as far as I know, was first seen
> in the "Phantom Blot" story.
He first appeared on 14 sep 1938 in "The Plumber's Helper" (YM 036),
without O'Hara, the one in the phantom Blot was his second appearance
> Does anybody know of other Casey appearances, by
> either Gottfredson or his successors?
I don't know if you are interested in it, but here in Italy Tito
Faraci and Giorgio Cavazzano are using this character in a sort of
mini-serial, where he appears almost as the only hero, playing the
same role of the unable cop.
> Interestingly, as I was researching Casey, I found
> no Gottfredson stories without him, that featured Chief
> O'Hara. As I said, I didn't delve very deeply into the
> Archives, but I thought it curious that O'Hara turned up
> only twice in all the stories I did check. Apparently,
> he was a less prominent character in the Gottfredson era
> than I thought.
No, he appeared even in other stories: "An Education for Eega Beeva"
(YM 116), "Pflip's Strange Power" (YM 117), "The Syndicate of Crime"
(YM 120) and "Mickey's Dangerous Double" (a Masterpiece! YM 131)
Ciao,
- Paolo
http://www.confor.it:2222/disney
Donald D. Markstein wrote:
> Last week, I wrote a Mickey Mouse story that
> revived a little-used character from the 1930s --
> Detective Casey, who, as far as I know, was first seen
> in the "Phantom Blot" story.
He first appeared on 14 sep 1938 in "The Plumber's Helper" (YM 036),
without O'Hara, the one in the phantom Blot was his second appearance
> Does anybody know of other Casey appearances, by
> either Gottfredson or his successors?
I don't know if you are interested in it, but here in Italy Tito
Faraci and Giorgio Cavazzano are using this character in a sort of
mini-serial, where he appears almost as the only hero, playing the
same role of the unable cop.
> Interestingly, as I was researching Casey, I found
> no Gottfredson stories without him, that featured Chief
> O'Hara. As I said, I didn't delve very deeply into the
> Archives, but I thought it curious that O'Hara turned up
> only twice in all the stories I did check. Apparently,
> he was a less prominent character in the Gottfredson era
> than I thought.
No, he appeared even in other stories: "An Education for Eega Beeva"
(YM 116), "Pflip's Strange Power" (YM 117), "The Syndicate of Crime"
(YM 120) and "Mickey's Dangerous Double" (a Masterpiece! YM 131)
Ciao,
- Paolo
http://www.confor.it:2222/disney
Marco Barlotti
Casey without O'Hara
Message 215 -
1998-09-22 at 00:52:49
HARRY (to DON M.):
>There are also some French stories and a whole bunch of Italian stories
>featuring Casey. Notable examples are "The Blot's Double Mystery", "The
>Delta Dimension" and "The Chirikawa Necklace", all drawn by Scarpa.
I'd like to add a few RECENT stories having Casey ("Manetta") as the HERO.
Mickey Mouse does not appear in them, and neither does O' Hara (well,
almost). They are written by the great Tito Faraci and drawn by the equally
great Giorgio Cavazzano:
I TL 2147-1 (21-1-1997)
La lunga notte del commissario Manetta
I TL 2174-1 (29-7-1997)
Sfida a Topolinia
(a story in which the letter "e" NEVER appears!)
I TL 2183-1 (30-9-1997)
L'ispettore Manetta sul filo del rasoio
I TL 2196-1 (30-12-1997)
Manetta e l'indagine natalizia
Marco
http://marcobar.cce.unifi.it/DisneyIndex
http://marcobar.cce.unifi.it/Fumetti/BaldoCastoro
>There are also some French stories and a whole bunch of Italian stories
>featuring Casey. Notable examples are "The Blot's Double Mystery", "The
>Delta Dimension" and "The Chirikawa Necklace", all drawn by Scarpa.
I'd like to add a few RECENT stories having Casey ("Manetta") as the HERO.
Mickey Mouse does not appear in them, and neither does O' Hara (well,
almost). They are written by the great Tito Faraci and drawn by the equally
great Giorgio Cavazzano:
I TL 2147-1 (21-1-1997)
La lunga notte del commissario Manetta
I TL 2174-1 (29-7-1997)
Sfida a Topolinia
(a story in which the letter "e" NEVER appears!)
I TL 2183-1 (30-9-1997)
L'ispettore Manetta sul filo del rasoio
I TL 2196-1 (30-12-1997)
Manetta e l'indagine natalizia
Marco
http://marcobar.cce.unifi.it/DisneyIndex
http://marcobar.cce.unifi.it/Fumetti/BaldoCastoro
Don Rosa
DIGEST #233
Message 216 -
1998-09-22 at 03:21:56
From Kriton Kyrimis:
>>>>>>>>A long time ago, starting with this observation, I made a web page
with
the Greek names of all the Disney comics characters that I could think
of, including Don Rosa's Duck family tree. I even made an attempt to
show how to pronounce these names.
How about including Don Rosa's Duck Family Tree *and* Don Rosa? Somebody
(you?) once told me that the way my name is spelled in KOMIX, the Greek
editor is mispronouncing my name.... it's written in letters that are
closest to (on my keyboard) "Ntov Pooa"... and I'm told that means the s in
my last name is pronounced like an "s" of all things. Yet, being an Italian
name, the s in "Rosa" is pronounced like a "z". As in the city where the
Tower Leans.
And if all of that is true, how *should* KOMIX spell my name (though I
wonder if you can show us here)?
From: "Heitmann, Owen James -
>>>>I already knew that Egmont was a big company, but it was only
recently that I actually found out that they also produce Phantom comics,
which
I occasionally read. Does anybody know if there are any artists, or writers,
who have worked on both?
Egmont is the publisher of the PHANTOM comics only because just last year
they bought up the company that had published PHANTOM for decades. There
might be writers who have worked on both Disney stuff and the Phantom, but
it would have been when the comics were published by two publishers.
>>>>>>>>A long time ago, starting with this observation, I made a web page
with
the Greek names of all the Disney comics characters that I could think
of, including Don Rosa's Duck family tree. I even made an attempt to
show how to pronounce these names.
How about including Don Rosa's Duck Family Tree *and* Don Rosa? Somebody
(you?) once told me that the way my name is spelled in KOMIX, the Greek
editor is mispronouncing my name.... it's written in letters that are
closest to (on my keyboard) "Ntov Pooa"... and I'm told that means the s in
my last name is pronounced like an "s" of all things. Yet, being an Italian
name, the s in "Rosa" is pronounced like a "z". As in the city where the
Tower Leans.
And if all of that is true, how *should* KOMIX spell my name (though I
wonder if you can show us here)?
From: "Heitmann, Owen James -
>>>>I already knew that Egmont was a big company, but it was only
recently that I actually found out that they also produce Phantom comics,
which
I occasionally read. Does anybody know if there are any artists, or writers,
who have worked on both?
Egmont is the publisher of the PHANTOM comics only because just last year
they bought up the company that had published PHANTOM for decades. There
might be writers who have worked on both Disney stuff and the Phantom, but
it would have been when the comics were published by two publishers.
Heitmann, Owen James - HEIOJ001
(No subject)
Message 217 -
1998-09-22 at 05:13:31
G'day,
Don Rosa wrote:
<said the same things about how my comic stories promoted drunkeness, violence,
prostitution, disrespect for the law, etc., etc....>
Oh, yes, I remember only too well the first time I read a Rosa story . . . By
the fifth page, I'd started swigging on the nearest bottle of hard liquor . . .
by the last page, I was a full-blown alcoholic. Of course, I had to resort to
selling my body in the streets to fund my alcohol dependency. I began to curse
the day that I had even heard of that depraved man who had so consciously
corrupted my innocent soul, subverting me from the straight and narrow into a
life of debauchery! It became worse when a policeman began to question me about
my activities. Prompted by the immoral comic books that I had read, I punched
him on the nose and blew a raspberry at him before running away! Oh, the shame!
I shudder even now to think of how badly I had been influenced by that
libertine heathen, (I can scarcely even bear to write his name) Don Rosa! I am
sure that many other survivors here on this mailing list could tell similar
stories.
On the other hand, maybe I shouldn't be making jokes (yes, that was meant to be
a joke of sorts) about this. I mean, jeez, it's probably a pretty sensitive
issue. Ah - but I have an excuse: I don't know what I'm talking about. I only
joined this list a few months ago, and the first time that I knew that anything
had been wrong was when Don Rosa wrote about his meeting with Barks. I had
always sort of assumed that they'd already met several times. Everything I know
about this "Dark Age" has come from pretty cryptic statements, so I don't even
know if I know what happened at all. Don wrote that there's no reason for him
to present his view of the last five years, and I fully agree with his reasons.
I'm sure if what I think happened had happened to me, I wouldn't want to talk
about it. But then Don then lists things like the Infamous Fax. Now, THERE is
one good reason to present Don's side of the story: so I would have possibly
the smallest idea of what he's talking about. I mean, "Infamous Fax"?!? I'm
really not a prying kind of person, but I would have rather had none of the
story than teasers like that.
Look, I'm not even sure that I really want to know what happened, since it
sounds like a pretty depressing business. But the use of a kind of exclusionist
code is a bit annoying (I guess I could have just ignored it, but then I
wouldn't have anything to write about). I suppose the fact that anyone can see
this list has got something to do with it. But, still . . .
(I hope that Don doesn't take this the wrong way, because I think he's great.)
Maybe I'll have something interesting to write about next time.
Cheers,
Owen.
Don Rosa wrote:
<said the same things about how my comic stories promoted drunkeness, violence,
prostitution, disrespect for the law, etc., etc....>
Oh, yes, I remember only too well the first time I read a Rosa story . . . By
the fifth page, I'd started swigging on the nearest bottle of hard liquor . . .
by the last page, I was a full-blown alcoholic. Of course, I had to resort to
selling my body in the streets to fund my alcohol dependency. I began to curse
the day that I had even heard of that depraved man who had so consciously
corrupted my innocent soul, subverting me from the straight and narrow into a
life of debauchery! It became worse when a policeman began to question me about
my activities. Prompted by the immoral comic books that I had read, I punched
him on the nose and blew a raspberry at him before running away! Oh, the shame!
I shudder even now to think of how badly I had been influenced by that
libertine heathen, (I can scarcely even bear to write his name) Don Rosa! I am
sure that many other survivors here on this mailing list could tell similar
stories.
On the other hand, maybe I shouldn't be making jokes (yes, that was meant to be
a joke of sorts) about this. I mean, jeez, it's probably a pretty sensitive
issue. Ah - but I have an excuse: I don't know what I'm talking about. I only
joined this list a few months ago, and the first time that I knew that anything
had been wrong was when Don Rosa wrote about his meeting with Barks. I had
always sort of assumed that they'd already met several times. Everything I know
about this "Dark Age" has come from pretty cryptic statements, so I don't even
know if I know what happened at all. Don wrote that there's no reason for him
to present his view of the last five years, and I fully agree with his reasons.
I'm sure if what I think happened had happened to me, I wouldn't want to talk
about it. But then Don then lists things like the Infamous Fax. Now, THERE is
one good reason to present Don's side of the story: so I would have possibly
the smallest idea of what he's talking about. I mean, "Infamous Fax"?!? I'm
really not a prying kind of person, but I would have rather had none of the
story than teasers like that.
Look, I'm not even sure that I really want to know what happened, since it
sounds like a pretty depressing business. But the use of a kind of exclusionist
code is a bit annoying (I guess I could have just ignored it, but then I
wouldn't have anything to write about). I suppose the fact that anyone can see
this list has got something to do with it. But, still . . .
(I hope that Don doesn't take this the wrong way, because I think he's great.)
Maybe I'll have something interesting to write about next time.
Cheers,
Owen.
Fluks, H.W.
Facts/Fax
Message 218 -
1998-09-22 at 12:00:55
Owen wrote (to Don R):
> "Infamous Fax"?!? I'm
> really not a prying kind of person, but I would have rather had none of the
> story than teasers like that.
A few months ago, another newcomer asked about the same thing. When I
tried to give a short summary, other people started discussing that old
stuff again, but mixing up facts with memories and rumours. With
disasterous results.
So I won't touch the subject again this time. If you want to know more,
try to scan the archives, or find someone who can explain in private
mail.
But I'm sure noone knows the entire story. Not even Don Rosa. Getting to
the bottom of this would take a lot of effort. And noone would enjoy
that, IMO.
--Harry.
> "Infamous Fax"?!? I'm
> really not a prying kind of person, but I would have rather had none of the
> story than teasers like that.
A few months ago, another newcomer asked about the same thing. When I
tried to give a short summary, other people started discussing that old
stuff again, but mixing up facts with memories and rumours. With
disasterous results.
So I won't touch the subject again this time. If you want to know more,
try to scan the archives, or find someone who can explain in private
mail.
But I'm sure noone knows the entire story. Not even Don Rosa. Getting to
the bottom of this would take a lot of effort. And noone would enjoy
that, IMO.
--Harry.
Kalle Hermansson
Disney and Phantom creators
Message 219 -
1998-09-22 at 14:12:52
OWEN:
>By the way, I already knew that Egmont was a big company, but it >was
only recently that I actually found out that they also produce >Phantom
comics, which I occasionally read. Does anybody know if >there are any
artists, or writers, who have worked on both?
Actually Egmont just (fall 1997) bought the swedish publisher Semic who
produced the Phantom comics and I don't think they cooperate in
producing anything. As for an example lies the swedish duck publisher
"Serieforlaget" in Malmoe (in southern Sweden, close to Copenhagen)
while former Semic still is situated in the capital Stockholm.
But there is a Phantomwriter namned Claes Reimerthi who also is a member
of NAFS(k) (the swedish donaldism club). He has even written some
articles about Don Rosa.
This was maybe not the answer on your question but if there actually is
someone who has done work for them both, I can't say.
Kalle
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
>By the way, I already knew that Egmont was a big company, but it >was
only recently that I actually found out that they also produce >Phantom
comics, which I occasionally read. Does anybody know if >there are any
artists, or writers, who have worked on both?
Actually Egmont just (fall 1997) bought the swedish publisher Semic who
produced the Phantom comics and I don't think they cooperate in
producing anything. As for an example lies the swedish duck publisher
"Serieforlaget" in Malmoe (in southern Sweden, close to Copenhagen)
while former Semic still is situated in the capital Stockholm.
But there is a Phantomwriter namned Claes Reimerthi who also is a member
of NAFS(k) (the swedish donaldism club). He has even written some
articles about Don Rosa.
This was maybe not the answer on your question but if there actually is
someone who has done work for them both, I can't say.
Kalle
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Fluks, H.W.
Don't Touch
Message 220 -
1998-09-22 at 15:05:55
Darrell Roden wrote:
> Does anybody know who did the cover for (Gold Key - March, 1979) Daisy
> and Donald #9? It's a great gag cover with Daisy decorating a cake with
> the words "Hands Off"and Donald looking rather frustrated. I had the great
> good fortune to obtain the original art and am in the process of framing it
> for my bride of (almost) ten years. I would like to credit the artist on
> the matting for the picture if possible.
Darell scanned a big part of this cover, and Marco Barlotti was so kind
to put it on his website:
http://marcobar.cce.unifi.it/Comics/scans/cover1.jpg
So now we can ask all of you: any idea who drew this?
Personally, I think it's Pete Alvarado.
--Harry.
> Does anybody know who did the cover for (Gold Key - March, 1979) Daisy
> and Donald #9? It's a great gag cover with Daisy decorating a cake with
> the words "Hands Off"and Donald looking rather frustrated. I had the great
> good fortune to obtain the original art and am in the process of framing it
> for my bride of (almost) ten years. I would like to credit the artist on
> the matting for the picture if possible.
Darell scanned a big part of this cover, and Marco Barlotti was so kind
to put it on his website:
http://marcobar.cce.unifi.it/Comics/scans/cover1.jpg
So now we can ask all of you: any idea who drew this?
Personally, I think it's Pete Alvarado.
--Harry.
Stahl, Joachim GE - EV
Disney comics Digest V98 #230
Message 221 -
1998-09-22 at 17:44:12
Don Rosa:
>>Even if some editor decided that the kiddie readers would not see any
significance in the names of Taliaferro & Osborne, would it drive the
little sweethearts stark raving mad to see two names that they saw now
special significance in but which would not conflict wirth the plot???
The people who were intended to see the tribute would have still seen
it, no kiddies would suffer brain hemorrage, and the story's purpose
would not have been sabotaged.<<
Please allow me to introduce myself: I am the comic editor of several
German Egmont-magazines, including the Weekly. I still love reading
Disney-comics after a couple of years of working as an Egmont editor.
Apart from Carl Barks' work, I prefer the Dutch short-stories and the
long Topolino-adventures, especially the older ones of de Vita, Scarpa,
or Cavazzano. The most talented young artist for me is Silvia Ziche. I
am very curious what she will produce within the next few years! But of
course I'm looking forward every week to the newly-created Egmont
material of Van Horn, Vicar, Rosa, and Branca, too.
Returning yesterday from a rainy holiday-week in the beautiful
Austrian Alps, I was quite surprised to find me, the innocent, harmless
observer of the ML, all of a sudden as the target of some serious
discussion!
Maybe I should try to explain why the translator of "W.H.A.D.D..."
decided to change and I didn't decide to rechange the names of
Taliaferro and Osborne. Our German "Entenhausen", just like its pendants
in most European languages, is not located at the US west-coast (which
makes perfect sense to me, or did anyone see any talking ducks and dogs
there? Even in Disneyland they are silent!), but in some nowhere-land.
Scrooge/Dagobert is not swimming in dollars but in "Taler", which used
to be one of the German currencies from the 16th century until 1908 when
it finally was replaced by the fabulous Deutschmark.
When the German Weekly (which was a Monthly then) started in 1951,
the editors were afraid that the grown-ups didn't want their children to
read foreign "trash". Therefore those smart guys asked a German
intellectual, who had never read a comic before, to do all the
translations.
Erika Fuchs changed the colloquial American text a lot. In those days
the colloquial German was the local dialect, and there were too many of
them to be used in a comic magazine that would be sold throughout the
Westzone. Therefore she decided to let the Duckburgians speak a more
literate German, and she gave every main character an individual voice,
ranging from Uncle Scrooge, who would use a very correct and sometimes
old-fashioned German, to the Beagle Boys, who talked in some funny
gangsta-slang. I'm sure Fuchs' wonderful translations are one of the
reasons why the Disney comics have been so successful in the
German-speaking region. Of course we editors and translators try until
today to keep her good tradition alive.
I'm sorry, but Taliaferro and Osborne, who without any doubt would
have deserved the honor of being mentioned in a special jubilee
JW-story, are names that simply don't fit into our German Duck-universe.
"Entenhausen" is no melting pot like New York with lots of different
names; all the characters have funny German names that tend to
alliterate. I assume the 95 % of our readers, which are 7 - 10 years
old, would have had problems to read them, just like the average
English-speaking kid would have problems to pronounce "Joachim Stahl"
correctly. And there is no way that the kids could have asked their
parents or looked in an encyclopedia for the meaning of these names -
the parents don't know, the common German encyclopedia don't know
either. Furthermore, 95 % of the remaining 5 % who could have pronounced
Taliaferro and Osbourne correctly, still wouldn't have had a clue what
these names mean. They would have wondered instead why that stupid
Egmont editor gave the characters such a weird name that maybe didn't
cause them brain hemorrhage but at least some frustration.
You know, dear readers, an editor's life is hard; maybe that's the
reason why the editors' average life-expectancy is the second lowest of
all professions - only saloonkeepers' lives are shorter than those of
editors (no kidding!).
By the way, dear Don, obviously the story that you fear to have been
"sabotaged" still makes perfect sense without these two names. At least
our young readers thought so as I could see in lots of letters to the
editor. Congratulations!
BHC:
>>So editors work under a lot of pressure, pressure than can sometimes
force editorial material into odd and unappealing shapes.<<
Generally your comments are completely right, and that's the reason why
we guys are dying so young. But I'm glad to say that our colleagues at
ECN in Copenhagen are doing a very good job and deliver the tons of
material to all the different local editors early enough that our
translators can take as much time as they need to do a pretty good job,
I think. There is even time enough to redraw some panels - for example,
if by mistake a Duckburgian jet-fighter is marked with the US-white star
like in one of Don Rosa's stories that I remember.
>>Even if some editor decided that the kiddie readers would not see any
significance in the names of Taliaferro & Osborne, would it drive the
little sweethearts stark raving mad to see two names that they saw now
special significance in but which would not conflict wirth the plot???
The people who were intended to see the tribute would have still seen
it, no kiddies would suffer brain hemorrage, and the story's purpose
would not have been sabotaged.<<
Please allow me to introduce myself: I am the comic editor of several
German Egmont-magazines, including the Weekly. I still love reading
Disney-comics after a couple of years of working as an Egmont editor.
Apart from Carl Barks' work, I prefer the Dutch short-stories and the
long Topolino-adventures, especially the older ones of de Vita, Scarpa,
or Cavazzano. The most talented young artist for me is Silvia Ziche. I
am very curious what she will produce within the next few years! But of
course I'm looking forward every week to the newly-created Egmont
material of Van Horn, Vicar, Rosa, and Branca, too.
Returning yesterday from a rainy holiday-week in the beautiful
Austrian Alps, I was quite surprised to find me, the innocent, harmless
observer of the ML, all of a sudden as the target of some serious
discussion!
Maybe I should try to explain why the translator of "W.H.A.D.D..."
decided to change and I didn't decide to rechange the names of
Taliaferro and Osborne. Our German "Entenhausen", just like its pendants
in most European languages, is not located at the US west-coast (which
makes perfect sense to me, or did anyone see any talking ducks and dogs
there? Even in Disneyland they are silent!), but in some nowhere-land.
Scrooge/Dagobert is not swimming in dollars but in "Taler", which used
to be one of the German currencies from the 16th century until 1908 when
it finally was replaced by the fabulous Deutschmark.
When the German Weekly (which was a Monthly then) started in 1951,
the editors were afraid that the grown-ups didn't want their children to
read foreign "trash". Therefore those smart guys asked a German
intellectual, who had never read a comic before, to do all the
translations.
Erika Fuchs changed the colloquial American text a lot. In those days
the colloquial German was the local dialect, and there were too many of
them to be used in a comic magazine that would be sold throughout the
Westzone. Therefore she decided to let the Duckburgians speak a more
literate German, and she gave every main character an individual voice,
ranging from Uncle Scrooge, who would use a very correct and sometimes
old-fashioned German, to the Beagle Boys, who talked in some funny
gangsta-slang. I'm sure Fuchs' wonderful translations are one of the
reasons why the Disney comics have been so successful in the
German-speaking region. Of course we editors and translators try until
today to keep her good tradition alive.
I'm sorry, but Taliaferro and Osborne, who without any doubt would
have deserved the honor of being mentioned in a special jubilee
JW-story, are names that simply don't fit into our German Duck-universe.
"Entenhausen" is no melting pot like New York with lots of different
names; all the characters have funny German names that tend to
alliterate. I assume the 95 % of our readers, which are 7 - 10 years
old, would have had problems to read them, just like the average
English-speaking kid would have problems to pronounce "Joachim Stahl"
correctly. And there is no way that the kids could have asked their
parents or looked in an encyclopedia for the meaning of these names -
the parents don't know, the common German encyclopedia don't know
either. Furthermore, 95 % of the remaining 5 % who could have pronounced
Taliaferro and Osbourne correctly, still wouldn't have had a clue what
these names mean. They would have wondered instead why that stupid
Egmont editor gave the characters such a weird name that maybe didn't
cause them brain hemorrhage but at least some frustration.
You know, dear readers, an editor's life is hard; maybe that's the
reason why the editors' average life-expectancy is the second lowest of
all professions - only saloonkeepers' lives are shorter than those of
editors (no kidding!).
By the way, dear Don, obviously the story that you fear to have been
"sabotaged" still makes perfect sense without these two names. At least
our young readers thought so as I could see in lots of letters to the
editor. Congratulations!
BHC:
>>So editors work under a lot of pressure, pressure than can sometimes
force editorial material into odd and unappealing shapes.<<
Generally your comments are completely right, and that's the reason why
we guys are dying so young. But I'm glad to say that our colleagues at
ECN in Copenhagen are doing a very good job and deliver the tons of
material to all the different local editors early enough that our
translators can take as much time as they need to do a pretty good job,
I think. There is even time enough to redraw some panels - for example,
if by mistake a Duckburgian jet-fighter is marked with the US-white star
like in one of Don Rosa's stories that I remember.
Daniel Van Eijmeren
Carl Barks Studio on my website
Message 222 -
1998-09-22 at 20:25:30
DON MARKSTEIN, 18 September 1998:
You wrote about my Barks-website that it still contains a present-tense
article on the Carl Barks Studio. You were right on that. I thought
I already put it into history by mentioning an end-date above it, but
having looked again at it, this was still not clear enough. I've now put
an update above the article which tells what Barks' is doing today and
that more information should be included.
After your first letter on it some weeks ago, I realised it still wasn't
very clear that I work "according to my sources", of which a decription
can be found behind each "credits for this chapter" link below each page.
For that reason I've put a message on top of the opening page of the site
to make this clear.
As I already told you in private, I have already taken action to get the
information double-checked. Corrections or additional information will
be included on the page as soon as I get it back.
As for Don Rosa, I look at his disagreements with Grandey and Morby as a
personal matter. So, if that should be covered, it should be done on a
Rosa webpage since my site is only about Barks.
However, I *have* done an attempt to get more information on this matter
by telling what I knew on this Mailing List in or around March this year.
I even proved in these mails that Don Rosa's words have indeed been
manipulated by Grandey and Morby, but to my amazement I got a very
negative reaction on mentioning it. At that moment I decided the subject
was too touchy and so I left this attempt alone.
There are some rumours of Barks' words being manipulated as well, so if I
get that confirmed I *will* cover this subject, but as long as I have no
confirmation of that, I won't touch the word-manipulation subject at all.
The main emphasis of my site lies on Barks' work, it's not meant as a
collection of statements on his personal life. I'm sure Barks or the
people around him can do much better work on statements on this subject
in either a press-release, an interview or a message to this list, than
I will ever be able to.
The Carl Barks Studio page I edited out of that article is just a quick
overview on the history of the Carl Barks Studio with a lot of quotes by
Grandey and Morby. Everyone is free to think of their words what they
want. Personally I think their attitude to the business they're involved
in is strange and that they sound like only loving the comics and
paintings as a replacement for *stocks*, but my opinion is not what
the page is about.
This email is of course another matter, so I can say here that they IMO
pretty screw up their reputation with comments as can be found on that
page. For that reason I'm surprised that you see the page as praising,
but you're of course as free how to think of it as I am.
However, sometimes I get the feeling that I can only talk about Grandey
and Morby if I use some extra lines of despising them. I don't know
these people and I've never been personally involved with them, neither
positive or negative, so I even think I don't have the *right* to do
so. But maybe you do? If so, I'm sorry that you felt offended by the
page and I can at least hope you got some joy of all the (about 80)
other ones on the site.
For people who don't know what I'm talking about, the Carl Barks Studio
page can be found at:
http://members.xoom.com/dve/cbs.htm
The opening page of the site (*not* about the Carl Barks Studio, but
for example containing an investigation on lost and unpublished works)
can be found at:
http://www.caiw.nl/~dve/barks/index.html
Greetings,
--- Daniel "I became frustrated with the stockmarket."
"I began dumping stocks and buying ducks."
Bill, according to my copy of "Magical Moments
& Memories" Issue No. 12, Summer 1996.
You wrote about my Barks-website that it still contains a present-tense
article on the Carl Barks Studio. You were right on that. I thought
I already put it into history by mentioning an end-date above it, but
having looked again at it, this was still not clear enough. I've now put
an update above the article which tells what Barks' is doing today and
that more information should be included.
After your first letter on it some weeks ago, I realised it still wasn't
very clear that I work "according to my sources", of which a decription
can be found behind each "credits for this chapter" link below each page.
For that reason I've put a message on top of the opening page of the site
to make this clear.
As I already told you in private, I have already taken action to get the
information double-checked. Corrections or additional information will
be included on the page as soon as I get it back.
As for Don Rosa, I look at his disagreements with Grandey and Morby as a
personal matter. So, if that should be covered, it should be done on a
Rosa webpage since my site is only about Barks.
However, I *have* done an attempt to get more information on this matter
by telling what I knew on this Mailing List in or around March this year.
I even proved in these mails that Don Rosa's words have indeed been
manipulated by Grandey and Morby, but to my amazement I got a very
negative reaction on mentioning it. At that moment I decided the subject
was too touchy and so I left this attempt alone.
There are some rumours of Barks' words being manipulated as well, so if I
get that confirmed I *will* cover this subject, but as long as I have no
confirmation of that, I won't touch the word-manipulation subject at all.
The main emphasis of my site lies on Barks' work, it's not meant as a
collection of statements on his personal life. I'm sure Barks or the
people around him can do much better work on statements on this subject
in either a press-release, an interview or a message to this list, than
I will ever be able to.
The Carl Barks Studio page I edited out of that article is just a quick
overview on the history of the Carl Barks Studio with a lot of quotes by
Grandey and Morby. Everyone is free to think of their words what they
want. Personally I think their attitude to the business they're involved
in is strange and that they sound like only loving the comics and
paintings as a replacement for *stocks*, but my opinion is not what
the page is about.
This email is of course another matter, so I can say here that they IMO
pretty screw up their reputation with comments as can be found on that
page. For that reason I'm surprised that you see the page as praising,
but you're of course as free how to think of it as I am.
However, sometimes I get the feeling that I can only talk about Grandey
and Morby if I use some extra lines of despising them. I don't know
these people and I've never been personally involved with them, neither
positive or negative, so I even think I don't have the *right* to do
so. But maybe you do? If so, I'm sorry that you felt offended by the
page and I can at least hope you got some joy of all the (about 80)
other ones on the site.
For people who don't know what I'm talking about, the Carl Barks Studio
page can be found at:
http://members.xoom.com/dve/cbs.htm
The opening page of the site (*not* about the Carl Barks Studio, but
for example containing an investigation on lost and unpublished works)
can be found at:
http://www.caiw.nl/~dve/barks/index.html
Greetings,
--- Daniel "I became frustrated with the stockmarket."
"I began dumping stocks and buying ducks."
Bill, according to my copy of "Magical Moments
& Memories" Issue No. 12, Summer 1996.
Daniel Van Eijmeren
Big Shot, a non-Disney Barks-painting?
Message 223 -
1998-09-22 at 21:06:06
In private mail I got scans sent to me of most likely a non-Disney
painting. It's called Big Shot. Please take a look at:
http://members.xoom.com/dve/bigshot.htm
If you can tell me whether it's really by Carl Barks, please contact me
at "(Email removed)" as the address I now use soon will disappear.
Greetings,
--- Daniel
painting. It's called Big Shot. Please take a look at:
http://members.xoom.com/dve/bigshot.htm
If you can tell me whether it's really by Carl Barks, please contact me
at "(Email removed)" as the address I now use soon will disappear.
Greetings,
--- Daniel
Daniel Van Eijmeren
Everlasting digital
Message 224 -
1998-09-22 at 21:09:21
EVERLASTING DIGITAL:
Thanks to everyone answering my question!
DIRK DJUGA , 16 August 1998:
> 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.
And then to think that, even if we could make all colours looking the
same, people all have different *eyes* (varying from colour-blind to
different colour-interpretations).
Greetings,
--- Daniel
Thanks to everyone answering my question!
DIRK DJUGA , 16 August 1998:
> 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.
And then to think that, even if we could make all colours looking the
same, people all have different *eyes* (varying from colour-blind to
different colour-interpretations).
Greetings,
--- Daniel
Daniel Van Eijmeren
Mythtic Mystery and other lost art
Message 225 -
1998-09-22 at 21:20:42
I've "upgraded" my visual "Mythtic Mystery" (US 34) reconstruction by
mentioning what was probably cut, instead of only leaving blank spaces
for cut parts.
Before, you first had to read a huge amount of text in order to understand
the pictures. Now you can jump right in. The URL is:
http://members.xoom.com/dve/mythtic.htm
BTW. If you want to know *why* I think so, then take a look at:
http://members.xoom.com/dve/unpub03.htm#us34
I've mentioned the story at this URL before, but recently I discovered
having confused some page-numbers. So, if you've visited it before and
liked it (or did not understand because of the error), please visit it
AGAIN.
DAVID KING, 17 August 1998:
> 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.
As you already told me in private e-mail, the page-count of both
comic-versions is the same. In making a non-advertisement version,
replacing ads with gags probably meant changing one plate for part of
the press run. Having one edition with ads and another with the story
as originally drawn (16 instead of 14 pages) would have required
changing all plates. I think that's the reason why both are the same.
HALSTEN AASTEB to me, 17 August 1998:
>> What I'd like to know is if people really have *enjoyed* this
>> story without knowing that two pages of material were cut away by
>> the editor because of ads. I never did. The ducks are blown to the
>> planet because of a hammer, but then there's suddenly a reversal
>> hammer, the end.
> I knew about the cuttings when I first read the story, and it has
> always made it difficult to appreciate what's left.
I already didn't enjoy it *before* I knew it was cut. The same for
"Madcap Mariner" (WDC 249), "The Cube" (OS 1184), How Green Was My
Lettuce (US 51) and the dogcatcher story (DD 45). It's even quite
the opposite: I like the stories much more now I know that they were
not intended to be so cramped, although the thought of the loss of
pages from these stories keeps on being unbearable.
BIRTEN SCHEEL, 17 August 1998:
>> ["The Milkman"] This story was rejected by the editor because Donald
>> was too mean to the villian, but recently I wondered if another
>> thing in story-line was also a reason: Donald is not punished for his
>> agression at all, even quite the contrary because he is even *rewarded*
>> for it.
> But why should Donald be punished? He tries to do his job as a milkman
> the best he can and this pig villain does everything to trouble him
> in his daily work. I think pig villain gets what he deserves!!
I do so, too, but one should not return evil for evil, not do to others
what you don't want to be done to yourself, but turn the other cheek,
preach, preach, etc. etc. :-)
Greetings,
--- Daniel
http://www.caiw.nl/~dve/barks/index.html
mentioning what was probably cut, instead of only leaving blank spaces
for cut parts.
Before, you first had to read a huge amount of text in order to understand
the pictures. Now you can jump right in. The URL is:
http://members.xoom.com/dve/mythtic.htm
BTW. If you want to know *why* I think so, then take a look at:
http://members.xoom.com/dve/unpub03.htm#us34
I've mentioned the story at this URL before, but recently I discovered
having confused some page-numbers. So, if you've visited it before and
liked it (or did not understand because of the error), please visit it
AGAIN.
DAVID KING, 17 August 1998:
> 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.
As you already told me in private e-mail, the page-count of both
comic-versions is the same. In making a non-advertisement version,
replacing ads with gags probably meant changing one plate for part of
the press run. Having one edition with ads and another with the story
as originally drawn (16 instead of 14 pages) would have required
changing all plates. I think that's the reason why both are the same.
HALSTEN AASTEB to me, 17 August 1998:
>> What I'd like to know is if people really have *enjoyed* this
>> story without knowing that two pages of material were cut away by
>> the editor because of ads. I never did. The ducks are blown to the
>> planet because of a hammer, but then there's suddenly a reversal
>> hammer, the end.
> I knew about the cuttings when I first read the story, and it has
> always made it difficult to appreciate what's left.
I already didn't enjoy it *before* I knew it was cut. The same for
"Madcap Mariner" (WDC 249), "The Cube" (OS 1184), How Green Was My
Lettuce (US 51) and the dogcatcher story (DD 45). It's even quite
the opposite: I like the stories much more now I know that they were
not intended to be so cramped, although the thought of the loss of
pages from these stories keeps on being unbearable.
BIRTEN SCHEEL, 17 August 1998:
>> ["The Milkman"] This story was rejected by the editor because Donald
>> was too mean to the villian, but recently I wondered if another
>> thing in story-line was also a reason: Donald is not punished for his
>> agression at all, even quite the contrary because he is even *rewarded*
>> for it.
> But why should Donald be punished? He tries to do his job as a milkman
> the best he can and this pig villain does everything to trouble him
> in his daily work. I think pig villain gets what he deserves!!
I do so, too, but one should not return evil for evil, not do to others
what you don't want to be done to yourself, but turn the other cheek,
preach, preach, etc. etc. :-)
Greetings,
--- Daniel
http://www.caiw.nl/~dve/barks/index.html