FRANCOIS:
> Now I think I know... According to David, Gary Gabner is the author of
> the american script in the US version. And the editors of "Zio Paperone"
> attributes the story to G. Gabner (in part). Maybe they adapted the
> american version directly, and in such a case they have to credit Gary
> for the american dialogues they translated/used. But the original story
> is by Tom Anderson.
I have been thinking about this for quite some time now. A few years ago,
(when Byron was pulling the strings at Gladstone's) the person who changed
the dialogue got credit for "Americanizing dialogue". Why isn't this phrase
used
anymore? I think it's wrong to give, as in this case, Gary G. credit for
being one of the writers of the story, when someone else has put his soul
into the plot idea, the synopsis and the script. I mean, if I translated a
book from English into Swedish, I would be the translator of that book, but
Gary somehow became one of the authors.
Best,
Per-Erik
--------------------------------
End of Disney comics Digest V98 Issue #242
******************************************
Author
Topic: 199810
(197 messages)
Per-Erik Malmström
Sequel to Xmas on Bear Mountain
Message 16 -
1998-10-02 at 09:40:51
Kriton Kyrimis
Disney comics Digest V98 #242
Message 17 -
1998-10-02 at 12:32:38
DON:
Re: Dennis/Dionysis
Although I see no reason why Dionysis should change his name for the
sake of the list, I'd like to point out that "Dennis" is the "foreign"
version of his Greek name. If I remember correctly, st. Dennis, who
founded the French church, was a Greek named Dionysios, whom some
identify with st. Dionysios, the first Athenian to convert to
Christianity, and who is now the patron saint of Athens.
ARCHONTIS:
> KOMIX #124, October 1998, hit the stands of the Greek kiosks today and includes:
> ...
> 2) Scarpa's "Collossus of the Nile"--the single, 44-page version with
> BEAUTIFUL color.
I've only skimmed through it, but it would appear that the translation
is not up to the usual KOMIX standards, and that the translation they
used in "Mickey Mouse" back in the sixties (which, as it turns out, I
haven't kept, after all :-( ) was better. E.g., the phrase "they
liquified our colossus", which I still remember after all these years,
became "they turned our colossus into slime"!
FRANCOIS:
> How about the last pages of the first part?
> In the Gladstone version, the last two pages or so appears
> badly, with a strange inking. It's obviously not the original...
Like I said, I've only skimmed through it, but I got that impression
from the KOMIX edition, as well. At least they printed the complete
unedited version.
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"...to seek new life, to explore strange new worlds, to boldly go where no
particulate entity with any sentient characteristics whatsoever has gone
before."
-----
Re: Dennis/Dionysis
Although I see no reason why Dionysis should change his name for the
sake of the list, I'd like to point out that "Dennis" is the "foreign"
version of his Greek name. If I remember correctly, st. Dennis, who
founded the French church, was a Greek named Dionysios, whom some
identify with st. Dionysios, the first Athenian to convert to
Christianity, and who is now the patron saint of Athens.
ARCHONTIS:
> KOMIX #124, October 1998, hit the stands of the Greek kiosks today and includes:
> ...
> 2) Scarpa's "Collossus of the Nile"--the single, 44-page version with
> BEAUTIFUL color.
I've only skimmed through it, but it would appear that the translation
is not up to the usual KOMIX standards, and that the translation they
used in "Mickey Mouse" back in the sixties (which, as it turns out, I
haven't kept, after all :-( ) was better. E.g., the phrase "they
liquified our colossus", which I still remember after all these years,
became "they turned our colossus into slime"!
FRANCOIS:
> How about the last pages of the first part?
> In the Gladstone version, the last two pages or so appears
> badly, with a strange inking. It's obviously not the original...
Like I said, I've only skimmed through it, but I got that impression
from the KOMIX edition, as well. At least they printed the complete
unedited version.
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"...to seek new life, to explore strange new worlds, to boldly go where no
particulate entity with any sentient characteristics whatsoever has gone
before."
-----
Gerstein, David DK - ECN
Disney comics Digest V98 #242
Message 18 -
1998-10-02 at 12:32:56
FRANCOIS:
>Regarding the US credit, I have the impression that Gladstone
>is wrong about writers of Danish stories in more than 25 per cent of the
>cases... It's sad but (more or less) true... at least that's my
>impression. I read somewhere that the
>credit of the story where DD is driving a special car for Scrooge,
>attributed to Jim Kenner by Gladstone, is not by him.
All Egmont credits starting in 1997, when given, have been checked
and are accurate - with just *one* exception that will soon be corrected
(last month's Mickey story "Fishing for Trouble," written by Noel Van Horn
but credited to me).
And yes, several stories credited to Jim Kenner in 1995 and 1996
were not his work, although I'm not sure whether "Test Driver" is one of
them. I can check in the next few days. I do know that "The Moving Money
Bin" in US 301 is actually by Bob Langhans, though, although I think Byron
has already posted that on this list.
When it comes to the credit for the
"person-who-rewrites-a-story-in-American-English," unfortunately there has
never been a consistent terminology in the US comics. In the last 12 years
I've seen "dialog," "dialogue," "American dialogue," "American script,"
"script," and a few situations where an American rewriter - in one case, me
- is just listed as one of several story writers, with no more information
given.
IMHO, in the case of a story where no other credits are known,
crediting the American rewriter for "script," as such, gives the wrong
impression. It's happened to me, and later people told me they'd thought I
was the story's original author.
David Gerstein
<(Email removed)>
>Regarding the US credit, I have the impression that Gladstone
>is wrong about writers of Danish stories in more than 25 per cent of the
>cases... It's sad but (more or less) true... at least that's my
>impression. I read somewhere that the
>credit of the story where DD is driving a special car for Scrooge,
>attributed to Jim Kenner by Gladstone, is not by him.
All Egmont credits starting in 1997, when given, have been checked
and are accurate - with just *one* exception that will soon be corrected
(last month's Mickey story "Fishing for Trouble," written by Noel Van Horn
but credited to me).
And yes, several stories credited to Jim Kenner in 1995 and 1996
were not his work, although I'm not sure whether "Test Driver" is one of
them. I can check in the next few days. I do know that "The Moving Money
Bin" in US 301 is actually by Bob Langhans, though, although I think Byron
has already posted that on this list.
When it comes to the credit for the
"person-who-rewrites-a-story-in-American-English," unfortunately there has
never been a consistent terminology in the US comics. In the last 12 years
I've seen "dialog," "dialogue," "American dialogue," "American script,"
"script," and a few situations where an American rewriter - in one case, me
- is just listed as one of several story writers, with no more information
given.
IMHO, in the case of a story where no other credits are known,
crediting the American rewriter for "script," as such, gives the wrong
impression. It's happened to me, and later people told me they'd thought I
was the story's original author.
David Gerstein
<(Email removed)>
Dr. Archontis Pantsios
What's in a name?
Message 19 -
1998-10-02 at 14:04:43
KRITON:
>I wouldn't say irritated, but rather puzzled regarding whether this is
>actually happening or not. The whole business started when I asked him
>about this myself, when I started buying Komix a couple of years ago,
>and was surprised to see how they rendered his name. (The equivalent
>would be to spell it as "Rossa" in English.) The spelling I recommended
>in the list the other day is a lot closer to the correct American
>pronunciation.
And I should add that in the very first KOMIX issues when Rosa's stories had
first appeared (ca 1990), Rosa's name WAS indeed spelled "Roza" (with
"zeta"). At some point down the road, KOMIX's editors decided to switch from
phonetic, acoustic rendering of international names to grammatic, hence the
switch from "Roza" to "Rosa" (with a "sigma").
As Don has already pointed out, Greece makes use of a different alphabet
that makes the adoption of certain rules of thumb necessary. I remember
discussing on this very list a couple of years ago the "correct" Greek
rendering of the word "comics": in Greek, one could theoretically write the
sound of "cs" using either a single letter (called "ksi"), or a combination
of letters, k&s ("kapa" and "sigma"). However, there exists NO Greek word
with a "cs" sound that does not use the single letter "ksi" (except for
compound words). Yet, when "foreign" words are employed and have to be
written in Greek, this rule may break down. KOMIX used to write its own name
in Greek in its first few issues using "k&s", while now it uses the letter
"ksi". On the other hand, it writes Barks using "k&s".
Hey, you non-Greeks out there, try prounouncing MY name!!! :-))
Cheers,
Archontis---"ch" is supposed to stand for the Greek letter "chi". Non-Greeks
mispronounce it as is, but had I written it leaving out the c, they'd
totally mispronounce it!
>I wouldn't say irritated, but rather puzzled regarding whether this is
>actually happening or not. The whole business started when I asked him
>about this myself, when I started buying Komix a couple of years ago,
>and was surprised to see how they rendered his name. (The equivalent
>would be to spell it as "Rossa" in English.) The spelling I recommended
>in the list the other day is a lot closer to the correct American
>pronunciation.
And I should add that in the very first KOMIX issues when Rosa's stories had
first appeared (ca 1990), Rosa's name WAS indeed spelled "Roza" (with
"zeta"). At some point down the road, KOMIX's editors decided to switch from
phonetic, acoustic rendering of international names to grammatic, hence the
switch from "Roza" to "Rosa" (with a "sigma").
As Don has already pointed out, Greece makes use of a different alphabet
that makes the adoption of certain rules of thumb necessary. I remember
discussing on this very list a couple of years ago the "correct" Greek
rendering of the word "comics": in Greek, one could theoretically write the
sound of "cs" using either a single letter (called "ksi"), or a combination
of letters, k&s ("kapa" and "sigma"). However, there exists NO Greek word
with a "cs" sound that does not use the single letter "ksi" (except for
compound words). Yet, when "foreign" words are employed and have to be
written in Greek, this rule may break down. KOMIX used to write its own name
in Greek in its first few issues using "k&s", while now it uses the letter
"ksi". On the other hand, it writes Barks using "k&s".
Hey, you non-Greeks out there, try prounouncing MY name!!! :-))
Cheers,
Archontis---"ch" is supposed to stand for the Greek letter "chi". Non-Greeks
mispronounce it as is, but had I written it leaving out the c, they'd
totally mispronounce it!
Mitchell Marmel
What's in a name?
Message 20 -
1998-10-02 at 15:21:07
According to Dr. Archontis Pantsios:
> Archontis---"ch" is supposed to stand for the Greek letter "chi". Non-Greeks
> mispronounce it as is, but had I written it leaving out the c, they'd
> totally mispronounce it!
Mmm. I'd pronounce it 'ahr-kon-tiss', myself. Is that correct?
Mitch
> Archontis---"ch" is supposed to stand for the Greek letter "chi". Non-Greeks
> mispronounce it as is, but had I written it leaving out the c, they'd
> totally mispronounce it!
Mmm. I'd pronounce it 'ahr-kon-tiss', myself. Is that correct?
Mitch
Don Rosa
Digest #242
Message 21 -
1998-10-02 at 17:02:13
From: (Email removed)
>>>Don may see it that way, but if so, let me be blunt: he's wrong. If I was
to "attack" Don's work, to "sabotage" it, I would have to really dislike
Don, personally, and anything he represents. I don't, and I don't know of
anyone on the editorial-production end of doing comics who does.
Please, you guys, you know that's not what I meant, as I've already
explained... you'll only give ammunition to those who already try
desperately hard to misunderstand my point.
>>>>What he does see is his creations being sent out into the
cold, cruel world of publishing to fare as best they can, where they often
don't get the respect and attention they deserve.
This is a point that I have yet to dwell on, and it's really the crux of the
problem. The system of publication we're referring to, working for a central
editorial division which has virtually no direct link to the actual
publishers, is a pretty unique system in the "creative" world of
writing/drawing, and I can see how it can't help but lead to frustrations.
It's unavoidable. In any other system, the author works with the editor of
the publication -- but in this system I work in, I have no contact with
those editors (except with those who are nice enough and diligent enough to
offer me this contact, which happens frequently, but selectively). I work
closely with my editor, then he turns our work over to another division, and
this department sends the stories out to *another* set of editors.
Therefore, the people who create the stories, both artistically and
editorially, have no contact with the publishers. And that's the way it's
worked for decades, so it's natural that the publishers' editors might often
look upon these stories as "raw material" that appears on their desk from
nowhere in particular. And then this is further complicated if an individual
publishing branch has a viewpoint on the basic "universe" of the material
that is altogether different than that of the original writers. So, this
can't possibly be a system that could run altogether smoothly if that
original writer/artist/editor team is proud of their work. Usually it does,
but not always. (And maybe a lot less often if *all* the writers could
receive and read *all* the translations. What a mess that would make!)
>>>Don may see it that way, but if so, let me be blunt: he's wrong. If I was
to "attack" Don's work, to "sabotage" it, I would have to really dislike
Don, personally, and anything he represents. I don't, and I don't know of
anyone on the editorial-production end of doing comics who does.
Please, you guys, you know that's not what I meant, as I've already
explained... you'll only give ammunition to those who already try
desperately hard to misunderstand my point.
>>>>What he does see is his creations being sent out into the
cold, cruel world of publishing to fare as best they can, where they often
don't get the respect and attention they deserve.
This is a point that I have yet to dwell on, and it's really the crux of the
problem. The system of publication we're referring to, working for a central
editorial division which has virtually no direct link to the actual
publishers, is a pretty unique system in the "creative" world of
writing/drawing, and I can see how it can't help but lead to frustrations.
It's unavoidable. In any other system, the author works with the editor of
the publication -- but in this system I work in, I have no contact with
those editors (except with those who are nice enough and diligent enough to
offer me this contact, which happens frequently, but selectively). I work
closely with my editor, then he turns our work over to another division, and
this department sends the stories out to *another* set of editors.
Therefore, the people who create the stories, both artistically and
editorially, have no contact with the publishers. And that's the way it's
worked for decades, so it's natural that the publishers' editors might often
look upon these stories as "raw material" that appears on their desk from
nowhere in particular. And then this is further complicated if an individual
publishing branch has a viewpoint on the basic "universe" of the material
that is altogether different than that of the original writers. So, this
can't possibly be a system that could run altogether smoothly if that
original writer/artist/editor team is proud of their work. Usually it does,
but not always. (And maybe a lot less often if *all* the writers could
receive and read *all* the translations. What a mess that would make!)
Bhc
Disney comics Digest V98 #242
Message 22 -
1998-10-02 at 21:10:49
FRANCOIS:
>Regarding the US credit, I have the impression that Gladstone
>is wrong about writers of Danish stories in more than 25 per cent of the
>cases...
In about 70 percent of the cases where we got creator credits wrong in
Gladstone editions of foreign stories, the errors originated with Egmont.
Tempting as it is to shove the other 30 percent off onto Egmont also, some
of those fluffs were so outlandish we've just got to own up to them -
they've practically become part of Gladstone's legend.
>Now I think I know... According to David, Gary Gabner is the author of
>the american script in the US version.
That's it exactly.
>And the editors of "Zio Paperone"
>attributes the story to G. Gabner (in part). Maybe they adapted the
>american version directly...
If so, it's an interesting twist. We've never before heard of an American
rescripting being translated in turn.
PER-ERIK:
>I think it's wrong to give, as in this case, Gary G. credit for
>being one of the writers of the story, when someone else has put his soul
>into the plot idea, the synopsis and the script. I mean, if I translated a
>book from English into Swedish, I would be the translator of that book, but
>Gary somehow became one of the authors.
Let's be clear about this: Gary Gabner is not a translator, nor has he ever
sought credit for anything other than what he's actually done on any story.
And having dabbled in rescripting myself, I know what it's like to face
blank word balloons and a rudimentary English script and then try to figure
out how to fill those balloons in a way that will play in the good ol' USA.
One may choose to quibble over how appropriate it may be to credit a
rescripter as an author, but one thing is for sure, a rescripter has to
face a hell of a lot of writing and thinking and soul-searching and
sweating (particularly against deadlines) before his/her job's done. If
another publisher chooses to base a version of a story on an "Americanized"
rescripting, the rescripter goddam well ought to be credited for something!
Gary
****************************
"It's either very new cheese or very old meat." - Oscar Madison
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
>Regarding the US credit, I have the impression that Gladstone
>is wrong about writers of Danish stories in more than 25 per cent of the
>cases...
In about 70 percent of the cases where we got creator credits wrong in
Gladstone editions of foreign stories, the errors originated with Egmont.
Tempting as it is to shove the other 30 percent off onto Egmont also, some
of those fluffs were so outlandish we've just got to own up to them -
they've practically become part of Gladstone's legend.
>Now I think I know... According to David, Gary Gabner is the author of
>the american script in the US version.
That's it exactly.
>And the editors of "Zio Paperone"
>attributes the story to G. Gabner (in part). Maybe they adapted the
>american version directly...
If so, it's an interesting twist. We've never before heard of an American
rescripting being translated in turn.
PER-ERIK:
>I think it's wrong to give, as in this case, Gary G. credit for
>being one of the writers of the story, when someone else has put his soul
>into the plot idea, the synopsis and the script. I mean, if I translated a
>book from English into Swedish, I would be the translator of that book, but
>Gary somehow became one of the authors.
Let's be clear about this: Gary Gabner is not a translator, nor has he ever
sought credit for anything other than what he's actually done on any story.
And having dabbled in rescripting myself, I know what it's like to face
blank word balloons and a rudimentary English script and then try to figure
out how to fill those balloons in a way that will play in the good ol' USA.
One may choose to quibble over how appropriate it may be to credit a
rescripter as an author, but one thing is for sure, a rescripter has to
face a hell of a lot of writing and thinking and soul-searching and
sweating (particularly against deadlines) before his/her job's done. If
another publisher chooses to base a version of a story on an "Americanized"
rescripting, the rescripter goddam well ought to be credited for something!
Gary
****************************
"It's either very new cheese or very old meat." - Oscar Madison
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
Marco Barlotti
Back again to Klondike...
Message 23 -
1998-10-03 at 00:38:19
FRANCOIS:
>I guess you are not a member of the non-digest list (David also
>talked about this sequel to "Christmas on Bear Mountain").
Right!
> In fact, I knew
>this one, but I think I've never seen the other one you mention, inspired
>by "Back to the Klondike" (is there Goldie in it? or a new lady appears?).
>
Yes, Goldie is in it. Not a very good story IMHO...
Marco
>I guess you are not a member of the non-digest list (David also
>talked about this sequel to "Christmas on Bear Mountain").
Right!
> In fact, I knew
>this one, but I think I've never seen the other one you mention, inspired
>by "Back to the Klondike" (is there Goldie in it? or a new lady appears?).
>
Yes, Goldie is in it. Not a very good story IMHO...
Marco
Berglund
Disney comics Digest V98 #242
Message 24 -
1998-10-03 at 01:01:56
DON ROSA:
>Therefore, regardless of the fact that this great lady is well
>deserving of my respect and recognition, but due to the fact that I might
>have difficulty pronouncing her name, rather than try to learn how to
>pronounce it, I'll follow your example and from now on I'll just call her
>"Bob".
"Edmund: So you're a 'chap', are you Bob?"
"Bob: Oh yes, sir. (laughs)"
"Edmund: You wouldn't say you were a girl at all?"
"Bob: Oh, definitely not, sir. I understand cricket, I fart in bed,
everything."
"Edmund: Let me put it another way, Bob, you are a girl. And you're a girl
with
as much talent for disguise as a giraffe in dark glasses trying to get
into a 'Polar Bears Only' golf club."
Sorry about the off-topic, I couldn't resist putting in that reference to
BlackAdder... :-)
/Martin B.
Malmo, Swe
>Therefore, regardless of the fact that this great lady is well
>deserving of my respect and recognition, but due to the fact that I might
>have difficulty pronouncing her name, rather than try to learn how to
>pronounce it, I'll follow your example and from now on I'll just call her
>"Bob".
"Edmund: So you're a 'chap', are you Bob?"
"Bob: Oh yes, sir. (laughs)"
"Edmund: You wouldn't say you were a girl at all?"
"Bob: Oh, definitely not, sir. I understand cricket, I fart in bed,
everything."
"Edmund: Let me put it another way, Bob, you are a girl. And you're a girl
with
as much talent for disguise as a giraffe in dark glasses trying to get
into a 'Polar Bears Only' golf club."
Sorry about the off-topic, I couldn't resist putting in that reference to
BlackAdder... :-)
/Martin B.
Malmo, Swe
Tristan Havelick
Various
Message 25 -
1998-10-03 at 11:38:26
Francois:
What is the story code on the sequell to "Micro Ducks..."? Has it been
published in the USA yet?
--
Don Rosa:
You mentioned that European comic companies give you subscriptions to their
comics. I was curious, you may not know, but is this a perk limited to
yourself, or can every-day Americans like myself get subscriptions to
European comics? I belive I wrote egmont about this, but they never
replied.
--
All:
I was wondering if anyone had access to an exta copy of Don Rosa's "Son of
the Sun" (US 219), and "Life and Times #1.." (US 285) and any issues of US
after it went to the Prestige format, with the exception of the most recent
(My local comic shop stop subscribing when the price went up, I have a
subscription now, but..."
I have a few doubles in my collection, and a would be willing to comb trough
a few shops to see if I can find some of the comics on you want list for a
trade. Thanks.
=-<Tristan
What is the story code on the sequell to "Micro Ducks..."? Has it been
published in the USA yet?
--
Don Rosa:
You mentioned that European comic companies give you subscriptions to their
comics. I was curious, you may not know, but is this a perk limited to
yourself, or can every-day Americans like myself get subscriptions to
European comics? I belive I wrote egmont about this, but they never
replied.
--
All:
I was wondering if anyone had access to an exta copy of Don Rosa's "Son of
the Sun" (US 219), and "Life and Times #1.." (US 285) and any issues of US
after it went to the Prestige format, with the exception of the most recent
(My local comic shop stop subscribing when the price went up, I have a
subscription now, but..."
I have a few doubles in my collection, and a would be willing to comb trough
a few shops to see if I can find some of the comics on you want list for a
trade. Thanks.
=-<Tristan
Paolo Castagno
Topolino
Message 26 -
1998-10-03 at 16:01:09
Hello,
Usually I don't like stories published on Topolino, but in the last
few issues there are some that deserve some words: first of all Super
Goofy is back: he appears in 2 stories very funny, I really liked the
first one!. Hope to see him again, and they published even 3 pages of
editorial (few words, to be honest) explaining his return!
Then yet one more story from Massimo de Vita from the serial "Once
upon a time in America...".
And a curiosity: in tha last issue there is a story from Enrico
Faccini "Sgrizzo papero del futuro" whose last panel is *identical* to
the last one from Barks' Big-Top Bedlam (W OS 300-02).
Ciao,
- Paolo
http://www.confor.it:2222/disney
--------------------------------
End of Disney comics Digest V98 Issue #243
******************************************
Usually I don't like stories published on Topolino, but in the last
few issues there are some that deserve some words: first of all Super
Goofy is back: he appears in 2 stories very funny, I really liked the
first one!. Hope to see him again, and they published even 3 pages of
editorial (few words, to be honest) explaining his return!
Then yet one more story from Massimo de Vita from the serial "Once
upon a time in America...".
And a curiosity: in tha last issue there is a story from Enrico
Faccini "Sgrizzo papero del futuro" whose last panel is *identical* to
the last one from Barks' Big-Top Bedlam (W OS 300-02).
Ciao,
- Paolo
http://www.confor.it:2222/disney
--------------------------------
End of Disney comics Digest V98 Issue #243
******************************************
Jeff Conner
WDC&S 633 Solicitation
Message 27 -
1998-10-03 at 18:23:02
Just read the solication for WDC&S 633 in the latest
Previews due in December. An all Donald Duck issue.
*sigh* I guess that Gladstone has given up completely on
getting new readers, and is now completely going after
the collectors/duck nuts. While i look froward to
reading "Donald Duck's Best Christmas", it would be nice
to see some other non-duck Christmas stories.
BTW, is there no possibility of ever seeing a new
"Christmas Parade"? My favorite Disney title, by far.
I don't know if I'm the only one, but I've often
wondered how I would handle the North American Disney
comics line. Quite a bit different than Gladstone, I
assure you. When I have some time, I'll post that, if
that's okay with the group.
Ciao yall,
Jeff C
---------------------------------
Make Your Own Comics Page--NEAT!!
Comics Cornucopia http://www.sdsc.edu/~jeff/comics
SJ Mercury Comics http://comics.mercurycenter.com
Phillynews Comics http://interactive.phillynews.com/comics
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Previews due in December. An all Donald Duck issue.
*sigh* I guess that Gladstone has given up completely on
getting new readers, and is now completely going after
the collectors/duck nuts. While i look froward to
reading "Donald Duck's Best Christmas", it would be nice
to see some other non-duck Christmas stories.
BTW, is there no possibility of ever seeing a new
"Christmas Parade"? My favorite Disney title, by far.
I don't know if I'm the only one, but I've often
wondered how I would handle the North American Disney
comics line. Quite a bit different than Gladstone, I
assure you. When I have some time, I'll post that, if
that's okay with the group.
Ciao yall,
Jeff C
---------------------------------
Make Your Own Comics Page--NEAT!!
Comics Cornucopia http://www.sdsc.edu/~jeff/comics
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Dan Shane
Disney comics Digest V98 #243
Message 28 -
1998-10-03 at 20:30:50
To All on the list:
Don Rosa lost his computer this morning when his power supply blew. I'll=
be
repairing it for him, but you won't hear from Don for close to 2 weeks, a=
s
he'll be in Spain (how come we don't call it Espa=F1a like the Spaniards =
do?).
Hopefully I'll ahve everything fixed and ready for him when he returns.
Don Rosa lost his computer this morning when his power supply blew. I'll=
be
repairing it for him, but you won't hear from Don for close to 2 weeks, a=
s
he'll be in Spain (how come we don't call it Espa=F1a like the Spaniards =
do?).
Hopefully I'll ahve everything fixed and ready for him when he returns.
Tristan Havelick
Disney comics Digest V98 #243
Message 29 -
1998-10-03 at 21:25:58
Paolo:
>Usually I don't like stories published on Topolino, but in the last
>few issues there are some that deserve some words: first of all Super
>Goofy is back: he appears in 2 stories very funny, I really liked the
>first one!. Hope to see him again, and they published even 3 pages of
>editorial (few words, to be honest) explaining his return!
That's Good. I've never really liked strait "Goofy" sories, but I always
got a kick out of Super Goof stories. I Don't appriciate them on the same
level as I do Barks, Rosa and other famous Duck artists, but they are fun to
read :-).
Man, it's got to be nice, being able to pick and choose what new disney
comic series you want to buy. Here, the selection is pretty limited now
that Gladstone has gone to the Prestige format :-(.
All:
I found a book in the bookstore last night called, _The Comic Book
Book_, and itt had a chapter on Barks! I read most of it, and it was very
interesting. Unfortunately it mentioned all kinds of interesting sounding
stories, with no tittle or refrence to where they actually exist. Has
anyone read this book?
=-<Tristan
>Usually I don't like stories published on Topolino, but in the last
>few issues there are some that deserve some words: first of all Super
>Goofy is back: he appears in 2 stories very funny, I really liked the
>first one!. Hope to see him again, and they published even 3 pages of
>editorial (few words, to be honest) explaining his return!
That's Good. I've never really liked strait "Goofy" sories, but I always
got a kick out of Super Goof stories. I Don't appriciate them on the same
level as I do Barks, Rosa and other famous Duck artists, but they are fun to
read :-).
Man, it's got to be nice, being able to pick and choose what new disney
comic series you want to buy. Here, the selection is pretty limited now
that Gladstone has gone to the Prestige format :-(.
All:
I found a book in the bookstore last night called, _The Comic Book
Book_, and itt had a chapter on Barks! I read most of it, and it was very
interesting. Unfortunately it mentioned all kinds of interesting sounding
stories, with no tittle or refrence to where they actually exist. Has
anyone read this book?
=-<Tristan
Tristan Havelick
European 3 Part Stories
Message 30 -
1998-10-04 at 11:06:19
Tonight I decided that I was going to improve my Don Rosa collection. So I
load up my spreadsheet, my comic database, a couple copies of my favorite
web browser tuned to two of the best comic stores on the web, and my 1994
copy of Overstreet Comic Price Guide; the later three to be used to see how
much this little venture would set me back, and whether or not it would be
cost effective to buy Gladstone's DR Albums.
Anyway, in looking through my copy of the DcD, I found that many of the
story codes on Don's stories have an "A" when published in the US, and its
non-existantance in several European tittles. On some, the "A" version is
obviously better... (ie, added panels etc), but sometimes the non-"A"
version says: [3 part version]. Does this mean, for instance, that my copy
of Hearts of Yukon in WDG #1 is shorter than the European version (and
thereby, Im missing out) or is my copy better than a European version in
that the non-A version is simply the same story split up between three
issues? If the former is true, I would be interested in working some trades
with my European friends here for the longer versions of the stories.
BTW - I realize that the "A" versions have been published in some European
contries as well, that is not my point.
Thanx,
=-<Tristan
load up my spreadsheet, my comic database, a couple copies of my favorite
web browser tuned to two of the best comic stores on the web, and my 1994
copy of Overstreet Comic Price Guide; the later three to be used to see how
much this little venture would set me back, and whether or not it would be
cost effective to buy Gladstone's DR Albums.
Anyway, in looking through my copy of the DcD, I found that many of the
story codes on Don's stories have an "A" when published in the US, and its
non-existantance in several European tittles. On some, the "A" version is
obviously better... (ie, added panels etc), but sometimes the non-"A"
version says: [3 part version]. Does this mean, for instance, that my copy
of Hearts of Yukon in WDG #1 is shorter than the European version (and
thereby, Im missing out) or is my copy better than a European version in
that the non-A version is simply the same story split up between three
issues? If the former is true, I would be interested in working some trades
with my European friends here for the longer versions of the stories.
BTW - I realize that the "A" versions have been published in some European
contries as well, that is not my point.
Thanx,
=-<Tristan