People discuss S-coded stories today...
ARTHUR F:
Let's see about naming your names:
>A couple of thieves, one short with mustache, other tall and bungler.
>They appeared in a lot of Strobl's S-coded stories from late 60s/early
>70's (Scrooge-newspaper-stories).
Not named individually as far as I can tell, they're the Desperate
Doe Boys - I think it should be "Dough Boys," but is misspelled in the =
*one*
story I have where they're named. They first appear in S 67185 ("A =
Cop's
Policeman," a Hubbard Fethry story), although there, they're both shown =
as
the same height. When they reappeared, the mustached one got much =
shorter.
>MDS's grandmother, her two talky crows
I haven't seen the grandma, nor have I found a story where the crows
are named. But on the other hand...
>her apprentice (an owl wearing rounded glasses)
Samson Hex.
>and the artist who made those stories where
>MDS and MA live in a castle with these secondary characters.
Jim Fletcher.
>- A duck wearing rounded glasses, who always annoyed Scrooge, trying
>to sell things to him. In Brazilian stories, he has an advertising =
agency.
Hustler Duck, a Dick Kinney creation.
>- His artist.
Varied, but was Al Hubbard at first.
FRANCOIS:
> in some stories (eg from Italy
> > or Denmark), there is only one crow in fact. I don't know when the
> second
> > appeared
Well, things started out with Barks, who gave Magica one *raven*
(actually a slightly sleeker, larger bird than a crow), called Ratface. =
This
is the character that we use now (and have always used) in Denmark.
Independently, the S-coded stories give Magica two *crows*
(identified as such), and I don't think either is supposed to be =
Ratface.
Somebody may as well mention that there are other ravens out there
-=A0Barks' story "Raven Mad" has Magica using a new raven named =
Raymond, and
DuckTales episodes give Magica a raven who's really her transformed
*brother*, Poe De Spell (a character I can't find canonical).
But back to the S-coded crows for a second...
LUCA:
>They started to act (created by Dick Kinney) in a story very well=20
>drawn by al Hubbard 4i like it a lot), titled "Paperoga l'immunizzato" =
>in TL, in Italy.
>Mad Madam Mim was not there yet. It can be considered the very first=20
>story of Magica's castle, even though, indeed, it's a Fethry story.
Are you talking about "Bewitched, Bothered, and Bewildered"? Magica
makes Fethry think he's going to be her student so that she can =
magically
enslave him, but instead Magica is turned into a giant frog at the end. =
If
so, that's actually S 66080, which means it came after other stories =
where
Mim had already appeared. Were the crows and castle in those?
David Gerstein
<(Email removed)>
Author
Topic: 199809
(311 messages)
Gerstein, David DK - ECN
Disney comics Digest V98 #236
Message 256 -
1998-09-25 at 12:09:15
Eirik
Sentral and South-America stories
Message 257 -
1998-09-25 at 12:49:19
I'm travelling to sentral and south-America in a few weeks. Before I go,
I'd like to re-read all the Duck stories that take place there. Mainly
Barks/Rosa-stories, but if there are any other good ones as well, please
mention them. Thanks in advance.
Eirik
(Email removed)
I'd like to re-read all the Duck stories that take place there. Mainly
Barks/Rosa-stories, but if there are any other good ones as well, please
mention them. Thanks in advance.
Eirik
(Email removed)
Fluks, H.W.
Cavazzano
Message 258 -
1998-09-25 at 13:35:32
Tristan:
> I searched though the DcD and I unfortunately couldnt find any other stories
> (published in america) with art by Cavazzano.
There is *one* other Cavazzano story published in the USA, in WD's Giant
#5. It's a heavily butchered version of "Paperino e il croccante al
diamante", trimmed from 29 pages to 18 pages. The story is from 1977,
and Cavazzano's art style was quite ugly at that time, IMO.
--Harry.
> I searched though the DcD and I unfortunately couldnt find any other stories
> (published in america) with art by Cavazzano.
There is *one* other Cavazzano story published in the USA, in WD's Giant
#5. It's a heavily butchered version of "Paperino e il croccante al
diamante", trimmed from 29 pages to 18 pages. The story is from 1977,
and Cavazzano's art style was quite ugly at that time, IMO.
--Harry.
Per-Erik Malmström
Secret of the Incas + signature...
Message 259 -
1998-09-25 at 14:47:28
(I have been told that my last mail wasn't readable, so here it is again.
Hopefully in a readable format!)
OWEN:
In the very
> last panel of the story, on the last page of the book, Van Horn's
signature in
> capital letters runs vertically up the far right panel border. (I expect
that
> you can practically see it from that vivid description.)
I wonder if that is written by Bill himself. I remember another story in
which the name of the artist appeared, Rosa's "War of the Wendigo". I
always thought that Don himself had put his name in the story, but it was
done by someone else at Egmont's.
Maybe they did the same thing with "Hail the Conquering Loser"? Actually,
Bill usually uses "WM VAN HORN", but maybe he made an exception in this
case. I don't know. Is the signature written in Bill's style?
TRISTAN:
> The Adventuros Uncle Scrooge Mcduck #2 (You know,
> that LONG standing comic seres) the editor states: "Egmonts authors
strive
> for homogeneity and to a great extent they achieve it [with the eception
of
> Branca, Vicar]" (Note this quote loses a lot of context, you may want to
go
> read the whole article).
First of all, that's not a quote! You have changed the sentence so much
that it has lost it's meaning. The foreword didn't have anything to do with
authors, and Vicar and Branca aren't authors--they're artists!
And when you put it like that, it sounds as if Geoff has a hard time
separating Rosa from other artists. Not much in that foreword is correct,
but what you wrote is even less correct.
Hope you'll get to see more of Cavazzano's work! He's a very good artist.
There are so many Italian artist with different styles, that I believe we
all have a little favourite lurking somewhere in Italy. Just have to find
him...
Best,
Per-Erik
Hopefully in a readable format!)
OWEN:
In the very
> last panel of the story, on the last page of the book, Van Horn's
signature in
> capital letters runs vertically up the far right panel border. (I expect
that
> you can practically see it from that vivid description.)
I wonder if that is written by Bill himself. I remember another story in
which the name of the artist appeared, Rosa's "War of the Wendigo". I
always thought that Don himself had put his name in the story, but it was
done by someone else at Egmont's.
Maybe they did the same thing with "Hail the Conquering Loser"? Actually,
Bill usually uses "WM VAN HORN", but maybe he made an exception in this
case. I don't know. Is the signature written in Bill's style?
TRISTAN:
> The Adventuros Uncle Scrooge Mcduck #2 (You know,
> that LONG standing comic seres) the editor states: "Egmonts authors
strive
> for homogeneity and to a great extent they achieve it [with the eception
of
> Branca, Vicar]" (Note this quote loses a lot of context, you may want to
go
> read the whole article).
First of all, that's not a quote! You have changed the sentence so much
that it has lost it's meaning. The foreword didn't have anything to do with
authors, and Vicar and Branca aren't authors--they're artists!
And when you put it like that, it sounds as if Geoff has a hard time
separating Rosa from other artists. Not much in that foreword is correct,
but what you wrote is even less correct.
Hope you'll get to see more of Cavazzano's work! He's a very good artist.
There are so many Italian artist with different styles, that I believe we
all have a little favourite lurking somewhere in Italy. Just have to find
him...
Best,
Per-Erik
Hochstetter
Homepage spoiler
Message 260 -
1998-09-25 at 14:56:34
Hi everyone,
I want to introduce my homepage. Besides many comic, especially Disney,
related links I have installed a button MARKETPLACE, where you are able
to buy/sell comics. This offer lives from your entry, so please use it
often...
Have look at http://privat.schlund.de/HochstetterUli/
and please let me a note in the guestbook!
Thanks for attention,
Uli
I want to introduce my homepage. Besides many comic, especially Disney,
related links I have installed a button MARKETPLACE, where you are able
to buy/sell comics. This offer lives from your entry, so please use it
often...
Have look at http://privat.schlund.de/HochstetterUli/
and please let me a note in the guestbook!
Thanks for attention,
Uli
Berglund
Disney comics Digest V98 #236
Message 261 -
1998-09-25 at 15:21:44
>I was wondering what the thoughts of people on the list are regarding the
>funniest - ie, actual laughter-producing - incident in a Disney story. For
>me, the pinnacle of absurdity was when I was reading an untitled story
>featuring the Witch and Beelzebub the Broom: the Witch was in bed, and in a
>little bed of its own beside her was Beelzebub! It looked absolutely
ridiculous!
>
>
Oh, I'd have to refer to... just about any background gag in a Don Rosa
story!
Of course, I could never decide *which* "insane detail" is the funniest (I
don't believe it's possible to decide).
However, I'm not sure if the background details are what give me the most
pleasure when reading a story. They give the story edge (like those insane
mini-cartoons crammed into the sides of MAD Magazine pages :-), but what
gives me the most pleasure is when a verbal pun (or a twisted chain of
events) is delivered in *just* the right moment. Again I refer to Rosa (&
Barks) for this....
/Martin Berglund
Malmo, Sweden
>funniest - ie, actual laughter-producing - incident in a Disney story. For
>me, the pinnacle of absurdity was when I was reading an untitled story
>featuring the Witch and Beelzebub the Broom: the Witch was in bed, and in a
>little bed of its own beside her was Beelzebub! It looked absolutely
ridiculous!
>
>
Oh, I'd have to refer to... just about any background gag in a Don Rosa
story!
Of course, I could never decide *which* "insane detail" is the funniest (I
don't believe it's possible to decide).
However, I'm not sure if the background details are what give me the most
pleasure when reading a story. They give the story edge (like those insane
mini-cartoons crammed into the sides of MAD Magazine pages :-), but what
gives me the most pleasure is when a verbal pun (or a twisted chain of
events) is delivered in *just* the right moment. Again I refer to Rosa (&
Barks) for this....
/Martin Berglund
Malmo, Sweden
Luca Boschi
On the Crows and on Gennarino
Message 262 -
1998-09-25 at 17:28:11
Hi, Dave Gerstein!
You ask:
> LUCA:
> >(...) "Paperoga l'immunizzato"
> >in TL, in Italy.
> >Mad Madam Mim was not there yet. It can be considered the very first
> >story of Magica's castle, even though, indeed, it's a Fethry story.
> Are you talking about "Bewitched, Bothered, and Bewildered"?
Yes, it is.
> so, that's actually S 66080, which means it came after other stories where
> Mim had already appeared. Were the crows and castle in those?
Yes. In Italy we saw them for the very first time. Indeed, it's SURE
that before Jim Fletcher started to draw Kinney's stories, Hubbard
just did it, with his own. It's true for Hustler Duck, drawn by
Hubbard (whi created his look) only one time, the first one. And also
for the" Magica living around Duckburg" stories. Fletcher drew the
very first story with Magica and Mim only when Magica "called" her
(from the past), needing a colleague's help (this story was published
in Italy in AT, I might check my collection to find its translated
title). In the beginning, the serial was conceived with Magica only
talking with her Magic Glass (but this concept didn't permit too much
possibilities of "action" in the plots).
Indeed, the Hubbard's story (since it was distributed like a Fethry's
one) was forced to wait a little bit too much in the Studio's shelves,
before being distributed. So, in the meantime, Fletcher works have
started to be distributed with their codes. Which doesn't mean a
necessary subsequence of events described in the stories' serial.
Indeed, in this story, the two crows has no name. And I may add one
more information, the Bark's crow, named by him Ratface, has a black
beack, while the two crows have it colored in orange. Later, the only
one crow describet in italian stories has been renamed "Gennarino"
(very common name in Naples, coming from Saint Gennaro, a "fantastic
saint" who it seem never have been exsisted in the rality, but in whom
thousands of people trust. Every year he makes a miracle (a very
subcultural situation, I'll prefear not to talk about this argument,
since I think it's a real terrible shame for Italy; if I add details,
you'll be with me). The Gennarino name was given to him by Abramo
barosso, a very clever story man, later in 1963 or '64 (indeed, I know
the story which introduces him).
At least, david, thank you for all the informations about your Andold.
Your story (and Rota's) shall hit the newsstands in November.
Bye!
Luca Boschi
>
You ask:
> LUCA:
> >(...) "Paperoga l'immunizzato"
> >in TL, in Italy.
> >Mad Madam Mim was not there yet. It can be considered the very first
> >story of Magica's castle, even though, indeed, it's a Fethry story.
> Are you talking about "Bewitched, Bothered, and Bewildered"?
Yes, it is.
> so, that's actually S 66080, which means it came after other stories where
> Mim had already appeared. Were the crows and castle in those?
Yes. In Italy we saw them for the very first time. Indeed, it's SURE
that before Jim Fletcher started to draw Kinney's stories, Hubbard
just did it, with his own. It's true for Hustler Duck, drawn by
Hubbard (whi created his look) only one time, the first one. And also
for the" Magica living around Duckburg" stories. Fletcher drew the
very first story with Magica and Mim only when Magica "called" her
(from the past), needing a colleague's help (this story was published
in Italy in AT, I might check my collection to find its translated
title). In the beginning, the serial was conceived with Magica only
talking with her Magic Glass (but this concept didn't permit too much
possibilities of "action" in the plots).
Indeed, the Hubbard's story (since it was distributed like a Fethry's
one) was forced to wait a little bit too much in the Studio's shelves,
before being distributed. So, in the meantime, Fletcher works have
started to be distributed with their codes. Which doesn't mean a
necessary subsequence of events described in the stories' serial.
Indeed, in this story, the two crows has no name. And I may add one
more information, the Bark's crow, named by him Ratface, has a black
beack, while the two crows have it colored in orange. Later, the only
one crow describet in italian stories has been renamed "Gennarino"
(very common name in Naples, coming from Saint Gennaro, a "fantastic
saint" who it seem never have been exsisted in the rality, but in whom
thousands of people trust. Every year he makes a miracle (a very
subcultural situation, I'll prefear not to talk about this argument,
since I think it's a real terrible shame for Italy; if I add details,
you'll be with me). The Gennarino name was given to him by Abramo
barosso, a very clever story man, later in 1963 or '64 (indeed, I know
the story which introduces him).
At least, david, thank you for all the informations about your Andold.
Your story (and Rota's) shall hit the newsstands in November.
Bye!
Luca Boschi
>
Bhc
Disney comics Digest V98 #235
Message 263 -
1998-09-25 at 18:10:14
Stefan Dios and Joachim Stahl have both put in their two very enlightening
and informative cents on editing Disney stories in and within their
milieus. I also think Don offered a sensible response to Joachim, from the
creator's point of view and from Don's point of view specifically.
Let me drop another penny in the bucket.
Don loves to use a word, sabotage, with quotes around it, to describe what
happens when folks like Joachim and Stefan (and Gladstone's own John Clark)
get their hands on his stories. As the ever erudite Inego Montoya might say
to Mr. Rosa, "You keep using that word. I do not think it means what you
think it means." Even within quotes.
From Webster's Third New International Dictionary (Unabridged):
Sabotage/ 1: malicious destruction of or damage to property with the
intention of injuring a business or imparing the economic system of
weakening a government or nation in the time of war or national emergency
2: willful effort by indirect means to hinder, prevent, undo, or discredit
: any act or process tending to hamper or hurt.
"Malicious destruction", "intention of injuring", "willful effort...to
hinder", "any act or process...to hamper or hurt". Pretty strong stuff.
Don, to my experience, is not one to believe that Stefan, Joachim, or even
John, are out to get him, so I take his use of the word, in quotes, as
shorthand for "any stupid thing that get done to my stories for some
damn-fool reason or another that maybe can't be avoided but ought to be."
This may sound pretty harsh, too, but it reflects how any creator can
reasonably be expected to feel when something isn't handled the way he or
she would like.
Trouble is, how many folks are up on this shorthand? How many have the
capacity to overlook the meaning the word conjures in their own minds,
irrespective of what either Don means or even Webster's outlines?
Gary
****************************
"It's either very new cheese or very old meat." - Oscar Madison
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
and informative cents on editing Disney stories in and within their
milieus. I also think Don offered a sensible response to Joachim, from the
creator's point of view and from Don's point of view specifically.
Let me drop another penny in the bucket.
Don loves to use a word, sabotage, with quotes around it, to describe what
happens when folks like Joachim and Stefan (and Gladstone's own John Clark)
get their hands on his stories. As the ever erudite Inego Montoya might say
to Mr. Rosa, "You keep using that word. I do not think it means what you
think it means." Even within quotes.
From Webster's Third New International Dictionary (Unabridged):
Sabotage/ 1: malicious destruction of or damage to property with the
intention of injuring a business or imparing the economic system of
weakening a government or nation in the time of war or national emergency
2: willful effort by indirect means to hinder, prevent, undo, or discredit
: any act or process tending to hamper or hurt.
"Malicious destruction", "intention of injuring", "willful effort...to
hinder", "any act or process...to hamper or hurt". Pretty strong stuff.
Don, to my experience, is not one to believe that Stefan, Joachim, or even
John, are out to get him, so I take his use of the word, in quotes, as
shorthand for "any stupid thing that get done to my stories for some
damn-fool reason or another that maybe can't be avoided but ought to be."
This may sound pretty harsh, too, but it reflects how any creator can
reasonably be expected to feel when something isn't handled the way he or
she would like.
Trouble is, how many folks are up on this shorthand? How many have the
capacity to overlook the meaning the word conjures in their own minds,
irrespective of what either Don means or even Webster's outlines?
Gary
****************************
"It's either very new cheese or very old meat." - Oscar Madison
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
Harry Fluks
Dutch comics
Message 264 -
1998-09-25 at 21:31:34
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Next month's Donald Duck Extra in Holland reprints Don Rosa's =
"W.A.T.E.E.N.T.I.T.E.L." (can be re-translated as "what a title"). I'm =
sure you all know which story I mean. 8-)
On page 5, the first woodchucks are mentioned, and they are called =
Osborne and Taliaferro...
BTW, the story is a backup story: the main story of the comics is a =
beautitul looking Rota story, "The Day of the Nightmare" (I haven't read =
it yet).
Next week's Dutch weekly has a story (H 97224) that has a strange art =
style: it seems to be drawn by Sander Gulien, but at some places it =
looks like Bernado/Penalva. Quite a nice-looking result, though.
--Harry.
(Today I updated my database website http://members.xoom.com/bolderbast =
. New in this version: Brazilian data, thanks to Arthur Faria!)
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------ =_NextPart_000_01BDE8CC.9FD43960--
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: quoted-printable
Next month's Donald Duck Extra in Holland reprints Don Rosa's =
"W.A.T.E.E.N.T.I.T.E.L." (can be re-translated as "what a title"). I'm =
sure you all know which story I mean. 8-)
On page 5, the first woodchucks are mentioned, and they are called =
Osborne and Taliaferro...
BTW, the story is a backup story: the main story of the comics is a =
beautitul looking Rota story, "The Day of the Nightmare" (I haven't read =
it yet).
Next week's Dutch weekly has a story (H 97224) that has a strange art =
style: it seems to be drawn by Sander Gulien, but at some places it =
looks like Bernado/Penalva. Quite a nice-looking result, though.
--Harry.
(Today I updated my database website http://members.xoom.com/bolderbast =
. New in this version: Brazilian data, thanks to Arthur Faria!)
------ =_NextPart_000_01BDE8CC.9FD43960
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------ =_NextPart_000_01BDE8CC.9FD43960--
Tristan Havelick
Disney comics Digest V98 #236
Message 265 -
1998-09-25 at 22:52:23
>First of all, that's not a quote! You have changed the sentence so much
>that it has lost it's meaning. The foreword didn't have anything to do with
>authors, and Vicar and Branca aren't authors--they're artists!
>And when you put it like that, it sounds as if Geoff has a hard time
>separating Rosa from other artists. Not much in that foreword is correct,
>but what you wrote is even less correct.
ACK!! I feel so stupid. I wront the second half of that message at about
11pm last night, and I was getting very tired. I guess I wasnt paying too
much attention. I think when I used the word "authors, I mistyped it and I
should have said "editors". What a stupid mistake. I'm sorry! The proper
quote should be, in its entirety,
"Pick up any dozen of the Danish-produced duck tales, and you may have a
hard time sorting out artists. Daniel Branca's work is recognizable, so's
that of Vicar, but Egmonts editors strive for homogeneity, and to a great
extent they achieve they achieve it. . . Only Rosa, like Barks in his heyday
is given free reign."
All I was saying is that Cavazzano should be there with Branca and Vicar,
for he is a very recognizable artist. I'll try to get it right the first
time from now on. :-)
>Hope you'll get to see more of Cavazzano's work! He's a very good artist.
>There are so many Italian artist with different styles, that I believe we
>all have a little favourite lurking somewhere in Italy. Just have to find
>him...
I agree with you whole-heartedly. It almost makes me want to study Italian,
so I can understand the stories that the Italian artists draw for. . . But
I'm busy enough with Russian at the moment. It amazes me that there was
never an International comics exchange (America <--> Europe)before Gladstone
came along. I decided to go back and look at some other Italian stuff, and
I read. "The Last Babaloo" in US 242, after enjoying it again, I noticed
that Scrapa wrote it in the early 60's! and it took 30 years before it was
printed here in the United States. Sad really.
>that it has lost it's meaning. The foreword didn't have anything to do with
>authors, and Vicar and Branca aren't authors--they're artists!
>And when you put it like that, it sounds as if Geoff has a hard time
>separating Rosa from other artists. Not much in that foreword is correct,
>but what you wrote is even less correct.
ACK!! I feel so stupid. I wront the second half of that message at about
11pm last night, and I was getting very tired. I guess I wasnt paying too
much attention. I think when I used the word "authors, I mistyped it and I
should have said "editors". What a stupid mistake. I'm sorry! The proper
quote should be, in its entirety,
"Pick up any dozen of the Danish-produced duck tales, and you may have a
hard time sorting out artists. Daniel Branca's work is recognizable, so's
that of Vicar, but Egmonts editors strive for homogeneity, and to a great
extent they achieve they achieve it. . . Only Rosa, like Barks in his heyday
is given free reign."
All I was saying is that Cavazzano should be there with Branca and Vicar,
for he is a very recognizable artist. I'll try to get it right the first
time from now on. :-)
>Hope you'll get to see more of Cavazzano's work! He's a very good artist.
>There are so many Italian artist with different styles, that I believe we
>all have a little favourite lurking somewhere in Italy. Just have to find
>him...
I agree with you whole-heartedly. It almost makes me want to study Italian,
so I can understand the stories that the Italian artists draw for. . . But
I'm busy enough with Russian at the moment. It amazes me that there was
never an International comics exchange (America <--> Europe)before Gladstone
came along. I decided to go back and look at some other Italian stuff, and
I read. "The Last Babaloo" in US 242, after enjoying it again, I noticed
that Scrapa wrote it in the early 60's! and it took 30 years before it was
printed here in the United States. Sad really.
Francois Willot
Disney comics Digest V98 #236
Message 266 -
1998-09-25 at 23:18:53
Gerstein, David DK - ECN wrote:
>
> Well, things started out with Barks, who gave Magica one *raven*
> (actually a slightly sleeker, larger bird than a crow), called Ratface. This
> is the character that we use now (and have always used) in Denmark.
> Independently, the S-coded stories give Magica two *crows*
> (identified as such), and I don't think either is supposed to be Ratface.
In France, the two crows are named, and one of them is called "Algorabe"
(maybe the other is "Melchior", I don't remember, I haven't my issues to
check). In France, Barks' raven is simply one of the two Fletcher crows
(the distinction between crows and ravens is not clear here, since a
crow is simply called a "big raven", and perhaps that's why I never know
the difference). It just seems that sometimes one disappears for no
reason...
But if both have a name in France (Algorabe and Melchior?), maybe they
also have one in English.
Harry wrote:
>There is *one* other Cavazzano story published in the USA, in WD's
>Giant #5. It's a heavily butchered version of "Paperino e il croccant
> al diamante", trimmed from 29 pages to 18 pages. The story is from
>1977, and Cavazzano's art style was quite ugly at that time, IMO.
As you all know, Cavazzano's art was made for the Topolino (pocket-book)
format, and this publication in a comic-book is not suited for his
style, since the pages are not small enough in a comic-book.
I know Frank and Luca are the experts on Cavazzano, and they can correct
me if I'm wrong, but I think the period around 1977 is the turning point
where Cavazzano became Cavazzano, and maybe the modern Disney Comics did
begin with him in the late 70s... Personnally I don't find it *that*
ugly, just a bit "destroyed", but hey what a change! It was not another
Asteriti or Gatto this time! (All very classical and sometimes a bit
boring too...).
Francois
>
> Well, things started out with Barks, who gave Magica one *raven*
> (actually a slightly sleeker, larger bird than a crow), called Ratface. This
> is the character that we use now (and have always used) in Denmark.
> Independently, the S-coded stories give Magica two *crows*
> (identified as such), and I don't think either is supposed to be Ratface.
In France, the two crows are named, and one of them is called "Algorabe"
(maybe the other is "Melchior", I don't remember, I haven't my issues to
check). In France, Barks' raven is simply one of the two Fletcher crows
(the distinction between crows and ravens is not clear here, since a
crow is simply called a "big raven", and perhaps that's why I never know
the difference). It just seems that sometimes one disappears for no
reason...
But if both have a name in France (Algorabe and Melchior?), maybe they
also have one in English.
Harry wrote:
>There is *one* other Cavazzano story published in the USA, in WD's
>Giant #5. It's a heavily butchered version of "Paperino e il croccant
> al diamante", trimmed from 29 pages to 18 pages. The story is from
>1977, and Cavazzano's art style was quite ugly at that time, IMO.
As you all know, Cavazzano's art was made for the Topolino (pocket-book)
format, and this publication in a comic-book is not suited for his
style, since the pages are not small enough in a comic-book.
I know Frank and Luca are the experts on Cavazzano, and they can correct
me if I'm wrong, but I think the period around 1977 is the turning point
where Cavazzano became Cavazzano, and maybe the modern Disney Comics did
begin with him in the late 70s... Personnally I don't find it *that*
ugly, just a bit "destroyed", but hey what a change! It was not another
Asteriti or Gatto this time! (All very classical and sometimes a bit
boring too...).
Francois
Francois Willot
Dutch comics
Message 267 -
1998-09-25 at 23:44:10
Harry Fluks wrote:
> On page 5, the first woodchucks are mentioned, and they are called Osborne and Taliaferro...
Hmm, I'm afraid it's not Taliaferro and Osborne in Picsou, I'll have to
check that. I hope it's not the name of two translators...
> BTW, the story is a backup story: the main story of the comics is a beautitul looking Rota story, "The Day of the Nightmare" (I haven't read it yet).
It's probably the second Rota story published in the special Rota issue
of Picsou. A very good one. Another recent and beautiful Rota story is
one with Donald as a poor mexican, I don't know if it was published in
Holland (also 2... are there).
> (Today I updated my database website http://members.xoom.com/bolderbast . New in this version: Brazilian data, thanks to Arthur Faria!)
Many thanks to Arthur Faria Jr. from me for the data provided. This
index is quite big, and contains every original titles and the names of
many artists, and sometimes authors. Is it the first index about
Brazilian stories??? Thanks again, Arthur (& Harry for the conversion)!
Francois
> On page 5, the first woodchucks are mentioned, and they are called Osborne and Taliaferro...
Hmm, I'm afraid it's not Taliaferro and Osborne in Picsou, I'll have to
check that. I hope it's not the name of two translators...
> BTW, the story is a backup story: the main story of the comics is a beautitul looking Rota story, "The Day of the Nightmare" (I haven't read it yet).
It's probably the second Rota story published in the special Rota issue
of Picsou. A very good one. Another recent and beautiful Rota story is
one with Donald as a poor mexican, I don't know if it was published in
Holland (also 2... are there).
> (Today I updated my database website http://members.xoom.com/bolderbast . New in this version: Brazilian data, thanks to Arthur Faria!)
Many thanks to Arthur Faria Jr. from me for the data provided. This
index is quite big, and contains every original titles and the names of
many artists, and sometimes authors. Is it the first index about
Brazilian stories??? Thanks again, Arthur (& Harry for the conversion)!
Francois
M. Mitchell Marmel
Disney comics Digest V98 #235
Message 268 -
1998-09-26 at 00:54:41
At 11:10 AM -0400 9/25/98, (Email removed) wrote:
>Trouble is, how many folks are up on this shorthand? How many have the
>capacity to overlook the meaning the word conjures in their own minds,
>irrespective of what either Don means or even Webster's outlines?
I dunno. I keep thinking of Bugs Bunny telling his nephew, "And there I
wuz, the victim of sab-oh-tah-gee!"
But I'm odd.
-MMM-
'66 Mercedes 230S "Hapsburg Horror"
'82 Nissan "Thunderbolt Greaseslapper"
WdHel: "Zur Hoelle, es laeuft!"
MBCA Delaware Valley Section
>Trouble is, how many folks are up on this shorthand? How many have the
>capacity to overlook the meaning the word conjures in their own minds,
>irrespective of what either Don means or even Webster's outlines?
I dunno. I keep thinking of Bugs Bunny telling his nephew, "And there I
wuz, the victim of sab-oh-tah-gee!"
But I'm odd.
-MMM-
'66 Mercedes 230S "Hapsburg Horror"
'82 Nissan "Thunderbolt Greaseslapper"
WdHel: "Zur Hoelle, es laeuft!"
MBCA Delaware Valley Section
Bhc
Disney comics Digest V98 #236
Message 269 -
1998-09-26 at 01:29:29
Tristan:
>I also noticed that at one point in this story, one of the natives of a
>forigien contry refers to Scrooge as a European, rather than an American. I
>found this ironic with all the transation rights talk lately. I was
>surprised that Gladstone didn't change it to American, as most European
>translators would certainly do the opposite.
This "native of a foreign country" was remarkably discerning, pegging
Scrooge as European upon the very moment of meeting him. To make such a
quick and accurate identification, it must be presumed that this remarkable
individual has met many Europeans. No doubt he's met a few Americans, too,
none of which I suspect ever spoke with a Scottish brogue. Scrooge does
have such a brogue, to some degree or another, and as this would seem to be
the only piece of hard evidence the native could have acquired so quickly
concerning Scrooge's origin, it is logical to presume he's met a few
Scotsmen and is aware that Scotland is part of Europe.
That's the fun way to explain it, anyway. Truth be told, we just figure
Scrooge has dual citizenship in Scotland and the U.S., and so as far as
we're concerned a writer can call him European, Scottish, or American, as
the mood strikes.
Gary
****************************
"It's either very new cheese or very old meat." - Oscar Madison
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
>I also noticed that at one point in this story, one of the natives of a
>forigien contry refers to Scrooge as a European, rather than an American. I
>found this ironic with all the transation rights talk lately. I was
>surprised that Gladstone didn't change it to American, as most European
>translators would certainly do the opposite.
This "native of a foreign country" was remarkably discerning, pegging
Scrooge as European upon the very moment of meeting him. To make such a
quick and accurate identification, it must be presumed that this remarkable
individual has met many Europeans. No doubt he's met a few Americans, too,
none of which I suspect ever spoke with a Scottish brogue. Scrooge does
have such a brogue, to some degree or another, and as this would seem to be
the only piece of hard evidence the native could have acquired so quickly
concerning Scrooge's origin, it is logical to presume he's met a few
Scotsmen and is aware that Scotland is part of Europe.
That's the fun way to explain it, anyway. Truth be told, we just figure
Scrooge has dual citizenship in Scotland and the U.S., and so as far as
we're concerned a writer can call him European, Scottish, or American, as
the mood strikes.
Gary
****************************
"It's either very new cheese or very old meat." - Oscar Madison
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
RMorris306
Scrooge's nationality et al.
Message 270 -
1998-09-26 at 02:52:39
In a message dated 9/25/98 4:17:39 AM, Tristan writes:
<<
I also noticed that at one point in this story, one of the natives of a
forigien contry refers to Scrooge as a European, rather than an American. I
found this ironic with all the transation rights talk lately. I was
surprised that Gladstone didn't change it to American, as most European
translators would certainly do the opposite.>>
But Scrooge IS a European. (At least by birth; was there ever any mention of
his becoming an American citizen? I'd guess, considering all the Federally
licensed properties he owns, he'd have found it to his advantage just as
Rupert Murdoch did.) At least, last I looked, Scotland was considered part of
Europe.
Off-topic: Does anyone have Dana Gabbard's e-mail address? He was a regular
on the list when I first joined it, but I haven't seen his posts lately. He
had a very good letter in the Comics Buyer's Guide.
Rich Morrissey
<<
I also noticed that at one point in this story, one of the natives of a
forigien contry refers to Scrooge as a European, rather than an American. I
found this ironic with all the transation rights talk lately. I was
surprised that Gladstone didn't change it to American, as most European
translators would certainly do the opposite.>>
But Scrooge IS a European. (At least by birth; was there ever any mention of
his becoming an American citizen? I'd guess, considering all the Federally
licensed properties he owns, he'd have found it to his advantage just as
Rupert Murdoch did.) At least, last I looked, Scotland was considered part of
Europe.
Off-topic: Does anyone have Dana Gabbard's e-mail address? He was a regular
on the list when I first joined it, but I haven't seen his posts lately. He
had a very good letter in the Comics Buyer's Guide.
Rich Morrissey