Hi!
- Marco Barlotti:
Many thanks for putting scans of Daisy's "La Gara nel
Deserto" (B 870069), a story written by me which I
didn't have in its original Brazilian published version.
The artist who drew it is Irineu S. Rodrigues (great
artist, BTW).
For those who are interested, the scans are at:
>http://marcobar.cce.unifi.it/Comics/Scans/B870069a.jpg
>http://marcobar.cce.unifi.it/Comics/scans/B870069b.jpg
-- A!
Author
Topic: 199810
(197 messages)
Arthur Faria Jr.
B 870069 on the net!
Message 76 -
1998-10-11 at 09:29:01
Tristan Havelick
Disney ML
Message 77 -
1998-10-11 at 09:35:17
Folks on the ML: this is a CC'd message to Gladstone.
I wanted to thank you for clearing some of the stuff regarding Gladstone's
marketing. When did Marvel stop working with you? I feel we at the ML may
have been a bit too harsh. I think everyone knows that Gladstone has been
disney's best publishing company ever; I honestly think that the loss of
the newsstand market scared us all. Anyway, I have three direct questions
for you.
-- Why were you forced to lose the newsstand market? Simple demand?
-- Why did you go to the full prestige format? If you look back a few
ML's, you can read my points on this issue. With that, I dd not mean to
imply that Gladstone was only out to get extra money with the new format.
When I said:
"That way, if someone had been collecting WDC and US, spending $3-4 a
month for years, would suddenly be spending $14 a month just to keep their
runs going. This looks pretty good from gladstone's point of veiw."
I did not mean to imply that Gladstone was greedy; If I was presented with
these numbers, I probably would have done the same thing
-- Will you be able to re-instate your lisence at years end?
Perhaps at team-up between Gladstone and another publisher (DC, Archie, Even
Egmont) like you had with Marvel would do the Disney comics market some
good. Frankly, I'd hate to see Gladstone leave us again. I just wish
sometimes that equal focus when to the young, pontential readers, as you
give to those who read Dell's when they were a kid.
Thanks
=-<Tristan
I wanted to thank you for clearing some of the stuff regarding Gladstone's
marketing. When did Marvel stop working with you? I feel we at the ML may
have been a bit too harsh. I think everyone knows that Gladstone has been
disney's best publishing company ever; I honestly think that the loss of
the newsstand market scared us all. Anyway, I have three direct questions
for you.
-- Why were you forced to lose the newsstand market? Simple demand?
-- Why did you go to the full prestige format? If you look back a few
ML's, you can read my points on this issue. With that, I dd not mean to
imply that Gladstone was only out to get extra money with the new format.
When I said:
"That way, if someone had been collecting WDC and US, spending $3-4 a
month for years, would suddenly be spending $14 a month just to keep their
runs going. This looks pretty good from gladstone's point of veiw."
I did not mean to imply that Gladstone was greedy; If I was presented with
these numbers, I probably would have done the same thing
-- Will you be able to re-instate your lisence at years end?
Perhaps at team-up between Gladstone and another publisher (DC, Archie, Even
Egmont) like you had with Marvel would do the Disney comics market some
good. Frankly, I'd hate to see Gladstone leave us again. I just wish
sometimes that equal focus when to the young, pontential readers, as you
give to those who read Dell's when they were a kid.
Thanks
=-<Tristan
Mikko Kotisaari
Don Rosa and the date-line
Message 78 -
1998-10-11 at 12:18:34
In Don Rosa`s story "Island at the Edge of
Time" there is a small but a critical mistake: the island of the story
is located 30 degrees north latitude and the line of longitude is180
degrees, northwest of island Kure.That`s exactly right.
However, the date-line isn`t there as Uncle Scrooge claims.The line
doesn`t follow 180 degrees longitude but makes a curve to west there. As
a result, the date on the whole island is the same because the whole
island is situated on the same side - east - of the date-line.
So what`s the bottom line: the island doesn`t belong to Uncle Scrooge
nor to the pilot Keoki but to their rival Flintheart Glomgold !
Mikko Kotisaari
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Time" there is a small but a critical mistake: the island of the story
is located 30 degrees north latitude and the line of longitude is180
degrees, northwest of island Kure.That`s exactly right.
However, the date-line isn`t there as Uncle Scrooge claims.The line
doesn`t follow 180 degrees longitude but makes a curve to west there. As
a result, the date on the whole island is the same because the whole
island is situated on the same side - east - of the date-line.
So what`s the bottom line: the island doesn`t belong to Uncle Scrooge
nor to the pilot Keoki but to their rival Flintheart Glomgold !
Mikko Kotisaari
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Cebarat
Disney comics Digest V98 #2
Message 79 -
1998-10-11 at 23:17:20
HOY MURPHY wrote regarding possible alternative homes for the American Disney
comics license:
<<Since DC Comics just purchased Wildstorm as
a separate imprint, perhaps they would be interested in the license? They
have a fairly successful kids line with the Hanna-Barbera/Cartoon
Network/Warner Brothers books, but maybe they wouldn't want to work out a
deal
with Disney.>>
I have no doubt that DC would be MUCH easier for Disney to work with than
Marvel (in light of the execrable job Marvel did with the animation-based
comics a few years back). The question is, would Time Warner want to work
that closely with Disney?
<<Dark Horse Comics has a lot of licensed properties, but they're
mostly movie and television licenses, and they print next to no kids
comics.>>
They have printed comics based on the old Tex Avery cartoon shorts. However,
this doesn't seem like an ideal fit to me.
<<Maybe Steve Geppi, who owns Diamond Distribution?>>
Probably the most realistic alternative, next to Archie (and the latter is a
contender only because of its track record in marketing such comics -- their
record in handling outside properties is mixed). Geppi is a known Disney
comics fan, and his connection to Diamond would help. But again, would Geppi
want to work with Disney in that capacity?
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
comics license:
<<Since DC Comics just purchased Wildstorm as
a separate imprint, perhaps they would be interested in the license? They
have a fairly successful kids line with the Hanna-Barbera/Cartoon
Network/Warner Brothers books, but maybe they wouldn't want to work out a
deal
with Disney.>>
I have no doubt that DC would be MUCH easier for Disney to work with than
Marvel (in light of the execrable job Marvel did with the animation-based
comics a few years back). The question is, would Time Warner want to work
that closely with Disney?
<<Dark Horse Comics has a lot of licensed properties, but they're
mostly movie and television licenses, and they print next to no kids
comics.>>
They have printed comics based on the old Tex Avery cartoon shorts. However,
this doesn't seem like an ideal fit to me.
<<Maybe Steve Geppi, who owns Diamond Distribution?>>
Probably the most realistic alternative, next to Archie (and the latter is a
contender only because of its track record in marketing such comics -- their
record in handling outside properties is mixed). Geppi is a known Disney
comics fan, and his connection to Diamond would help. But again, would Geppi
want to work with Disney in that capacity?
-- Christopher E. Barat
(Email removed)
http://members.aol.com/cebarat/home.htm
Francois Willot
PICSOU again!
Message 80 -
1998-10-12 at 21:51:32
Kriton:
>Oddly enough, Picsou appears to be cheaper here than in France, as
>it only costs 500 drs (cheaper than Komix!) while at current exchange
>rates it would cost about 750-800 drs (15 F) in France! Perhaps it has
>something to do with the magazine being sold several months after its
>publication date; today I bought the June issue.
Strange indeed!
BTW, I'm glad you like the magazine so much. It's good but still not
perfect of course. I'd like to see something else than only Barks and
Rosa. Not that I don't like Rosa stories (I like them), and mind you I
love Barks' stories, but I'd love to see other things from very
different times and countries too.
Some of you may wonder why I didn't announce the last issue of Picsou as
I alway do (that's a bit presomptuous from me actually, maybe nobody
noticed it). Anyway, I only get a copy on friday, and gave it to Harry.
It contains the original version (uncut) of Tricks or Treat and a
drawing by Don with the monster that the Western editors deleted.
The issue which will be published for MM's birthday will be a special
one, but I don't want to say more, this would spoil the fun...
Francois
>Oddly enough, Picsou appears to be cheaper here than in France, as
>it only costs 500 drs (cheaper than Komix!) while at current exchange
>rates it would cost about 750-800 drs (15 F) in France! Perhaps it has
>something to do with the magazine being sold several months after its
>publication date; today I bought the June issue.
Strange indeed!
BTW, I'm glad you like the magazine so much. It's good but still not
perfect of course. I'd like to see something else than only Barks and
Rosa. Not that I don't like Rosa stories (I like them), and mind you I
love Barks' stories, but I'd love to see other things from very
different times and countries too.
Some of you may wonder why I didn't announce the last issue of Picsou as
I alway do (that's a bit presomptuous from me actually, maybe nobody
noticed it). Anyway, I only get a copy on friday, and gave it to Harry.
It contains the original version (uncut) of Tricks or Treat and a
drawing by Don with the monster that the Western editors deleted.
The issue which will be published for MM's birthday will be a special
one, but I don't want to say more, this would spoil the fun...
Francois
Kriton Kyrimis
Disney comics Digest V98 #250
Message 81 -
1998-10-13 at 12:39:26
FRANCOIS:
> BTW, I'm glad you like the magazine so much. It's good but still not
> perfect of course. I'd like to see something else than only Barks and
> Rosa. Not that I don't like Rosa stories (I like them), and mind you I
> love Barks' stories, but I'd love to see other things from very
> different times and countries too.
So, are you saying that Picsou is a Barks & Rosa magazine, just like
the June issue seemed to suggest?
> The issue which will be published for MM's birthday will be a special
> one, but I don't want to say more, this would spoil the fun...
Then again, maybe not, unless they plan to celebrate Mickey's birthday
(when is it, BTW?) by publishing Uncle Scrooge stories. I hope they
don't do a compilation of Don's panels containing squashed mice!
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"Did it hurt?"
"Did what hurt... Oh, yes, it was agony!"
-----
> BTW, I'm glad you like the magazine so much. It's good but still not
> perfect of course. I'd like to see something else than only Barks and
> Rosa. Not that I don't like Rosa stories (I like them), and mind you I
> love Barks' stories, but I'd love to see other things from very
> different times and countries too.
So, are you saying that Picsou is a Barks & Rosa magazine, just like
the June issue seemed to suggest?
> The issue which will be published for MM's birthday will be a special
> one, but I don't want to say more, this would spoil the fun...
Then again, maybe not, unless they plan to celebrate Mickey's birthday
(when is it, BTW?) by publishing Uncle Scrooge stories. I hope they
don't do a compilation of Don's panels containing squashed mice!
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"Did it hurt?"
"Did what hurt... Oh, yes, it was agony!"
-----
Fluks, H.W.
Picsou and Breda
Message 82 -
1998-10-13 at 12:42:38
Francois:
> Some of you may wonder why I didn't announce the last issue of Picsou as
> I alway do (that's a bit presomptuous from me actually, maybe nobody
> noticed it).
>
I noticed! I always plan a trip to Antwerpen (Belgium) after you announce a
new Picsou. But this time I don't need to go there to get my copy... 8-)
While I'm mailing: here's some news from the Dutch comic convention in
Breda, last weekend.
- The fanzine STRIPSCHRIFT has published an article about, and an interview
with, Don Rosa. Pieter van Cleef wrote it (and did the interview by e-mail).
It's the first time that Don Rosa and his work are discussed in the Dutch
language (except for a few short introductions in the comic albums
themselves). I think Pieter did a good job. The magazine does not contain
new Rosa art (as was originally planned). But it contains the URLs of some
of "our" web sites, including Per Starback's, D.U.C.K.Hunt, Daniel van
Eijmeren's and mine.
- Pieter van Cleef plans to do more articles like this, about various
foreign (non-Dutch) Disney comics creators. The next one will be Marco Rota,
and he's also thinking of William Van Horn. (BTW, will mr. Rota be in
Lucca?)
- Daan Jippes has finished (re)drawing four Barks scripts. Two of them are
Donald Duck stories (I mentioned them before on this list), and the other
two are Junior Woodchuck stories. Jippes has serious plans to redraw ALL the
Barks scripts, maybe even including King Scrooge the First.
- Dutch artist Sander Gulien showed us his new story. He is still improving
on his artwork! In this particular case, the layout of the story was done by
Jippes.
- The Dutch artists are no longer allowed to draw the text balloons in their
art. They are supposed to make spots where the editors can add them, but the
full panel should be filled with art. Apparently, the editors think it's
easier to *add* the balloons than it is to *change* them.
We had a party with some of the Dutch writers and artists on Saturday night
(Jonker, Heymans, Heymans, De Graaff, Stavenuiter, Jippes, Gulien) and we
discussed a lot of things, but at the moment I don't remember any more
interesting things to put on this mailing list...
--Harry.
http://www.wxs.nl/~fluks4/ (updated soon)
http://members.xoom.com/bolderbast/ (updated recently, now containing
Barks/Rosa/.. indexes with story titles from all countries!)
--------------------------------
End of Disney comics Digest V98 Issue #250
****************************************
> Some of you may wonder why I didn't announce the last issue of Picsou as
> I alway do (that's a bit presomptuous from me actually, maybe nobody
> noticed it).
>
I noticed! I always plan a trip to Antwerpen (Belgium) after you announce a
new Picsou. But this time I don't need to go there to get my copy... 8-)
While I'm mailing: here's some news from the Dutch comic convention in
Breda, last weekend.
- The fanzine STRIPSCHRIFT has published an article about, and an interview
with, Don Rosa. Pieter van Cleef wrote it (and did the interview by e-mail).
It's the first time that Don Rosa and his work are discussed in the Dutch
language (except for a few short introductions in the comic albums
themselves). I think Pieter did a good job. The magazine does not contain
new Rosa art (as was originally planned). But it contains the URLs of some
of "our" web sites, including Per Starback's, D.U.C.K.Hunt, Daniel van
Eijmeren's and mine.
- Pieter van Cleef plans to do more articles like this, about various
foreign (non-Dutch) Disney comics creators. The next one will be Marco Rota,
and he's also thinking of William Van Horn. (BTW, will mr. Rota be in
Lucca?)
- Daan Jippes has finished (re)drawing four Barks scripts. Two of them are
Donald Duck stories (I mentioned them before on this list), and the other
two are Junior Woodchuck stories. Jippes has serious plans to redraw ALL the
Barks scripts, maybe even including King Scrooge the First.
- Dutch artist Sander Gulien showed us his new story. He is still improving
on his artwork! In this particular case, the layout of the story was done by
Jippes.
- The Dutch artists are no longer allowed to draw the text balloons in their
art. They are supposed to make spots where the editors can add them, but the
full panel should be filled with art. Apparently, the editors think it's
easier to *add* the balloons than it is to *change* them.
We had a party with some of the Dutch writers and artists on Saturday night
(Jonker, Heymans, Heymans, De Graaff, Stavenuiter, Jippes, Gulien) and we
discussed a lot of things, but at the moment I don't remember any more
interesting things to put on this mailing list...
--Harry.
http://www.wxs.nl/~fluks4/ (updated soon)
http://members.xoom.com/bolderbast/ (updated recently, now containing
Barks/Rosa/.. indexes with story titles from all countries!)
--------------------------------
End of Disney comics Digest V98 Issue #250
****************************************
Francois Willot
Disney comics Digest V98 #250
Message 83 -
1998-10-13 at 15:20:04
Kriton Kyrimis wrote:
KRITON
> So, are you saying that Picsou is a Barks & Rosa magazine, just like
> the June issue seemed to suggest?
Yes, Picsou has been a Barks-and-Rosa-only magazine for several months
now.
> Then again, maybe not, unless they plan to celebrate Mickey's birthday
> (when is it, BTW?) by publishing Uncle Scrooge stories.
Maybe in November this year, I'm not sure.
Francois
KRITON
> So, are you saying that Picsou is a Barks & Rosa magazine, just like
> the June issue seemed to suggest?
Yes, Picsou has been a Barks-and-Rosa-only magazine for several months
now.
> Then again, maybe not, unless they plan to celebrate Mickey's birthday
> (when is it, BTW?) by publishing Uncle Scrooge stories.
Maybe in November this year, I'm not sure.
Francois
Willot Eleve Promo 98
Ronald Neilson
Message 84 -
1998-10-13 at 21:34:32
Here is some data I have about "exotic" stories published in France.
The only British story published in France I know of is "The Reluctant
Pirate" that was printed in Mickey-Parade in 1983. It is most likely
taken from an Italian "Classici di WD". I have the impression that the
editors didn't know what they were publishing at the time.
This story always puzzled me until I got Alberto Becatrtini's "Disney
Comics" book. At the beginning
I though it was some weird Italian artist like Adriana Cristina. How
could I imagine it was British?
Regarding Italiann stories, I've never seen any story by Adriana Cristina,
Federicho Pedrocchi,
Angelo Bioletto, Mario Sbatella or Walter Cremonini in a French publication.
A very odd story reprinted in Super Picsou is "Paperino e i
marziani", that was attributed to Michele Rubino (does someone know who
did it? Maybe Marco has it in the FSB?). I think it's the most awful art
I've never seen.
Other exotic stories in Super Picsou are two Argentinian ones by Luis
Destuet from the 50s. The versions are identical to the Italian ones
published in "Topolino" and then reprinted in "Super Almanacco Topolino".
The oldest Italian production I know of that was published in France is
"Paperino e le onorificenze" from 1952, the first Bottaro story.
The oldest story from Topolino published in France is I TL 99-A, a Carpi
story about Donald selling bricks in China for Scrooge.
The first Italian story published in France is the Scarpa story where
Goofy gets super powers and is a boxer (sounds similar to an old US story
BTW). It was published in the Journal de Mickey in 1957.
(If someone wants to comment on this, he's welcome of course...).
Francois
The only British story published in France I know of is "The Reluctant
Pirate" that was printed in Mickey-Parade in 1983. It is most likely
taken from an Italian "Classici di WD". I have the impression that the
editors didn't know what they were publishing at the time.
This story always puzzled me until I got Alberto Becatrtini's "Disney
Comics" book. At the beginning
I though it was some weird Italian artist like Adriana Cristina. How
could I imagine it was British?
Regarding Italiann stories, I've never seen any story by Adriana Cristina,
Federicho Pedrocchi,
Angelo Bioletto, Mario Sbatella or Walter Cremonini in a French publication.
A very odd story reprinted in Super Picsou is "Paperino e i
marziani", that was attributed to Michele Rubino (does someone know who
did it? Maybe Marco has it in the FSB?). I think it's the most awful art
I've never seen.
Other exotic stories in Super Picsou are two Argentinian ones by Luis
Destuet from the 50s. The versions are identical to the Italian ones
published in "Topolino" and then reprinted in "Super Almanacco Topolino".
The oldest Italian production I know of that was published in France is
"Paperino e le onorificenze" from 1952, the first Bottaro story.
The oldest story from Topolino published in France is I TL 99-A, a Carpi
story about Donald selling bricks in China for Scrooge.
The first Italian story published in France is the Scarpa story where
Goofy gets super powers and is a boxer (sounds similar to an old US story
BTW). It was published in the Journal de Mickey in 1957.
(If someone wants to comment on this, he's welcome of course...).
Francois
Jeff Conner
My post of 10 Oct.
Message 85 -
1998-10-14 at 01:28:16
I just received the Digest and my post (Gary's Rant) looks awfully
confusing to me. If anyone has any doubts where Gary's post ends and my
response begins, please ask me. I tried replying using my WebTv and I
don't have all the nuances of it down yet. Please bear with me.
Sincerely,
Jeff C
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
confusing to me. If anyone has any doubts where Gary's post ends and my
response begins, please ask me. I tried replying using my WebTv and I
don't have all the nuances of it down yet. Please bear with me.
Sincerely,
Jeff C
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Tristan Havelick
Marketing: Gladstone vs. Egmont
Message 86 -
1998-10-14 at 06:35:12
Kriton:
I loved your post in DCD 98 #250. In an earlier message, I mentioned that
Egmont seemed to know a lot more about marketing than Gladstone. You have
PROVED without a doubt my hypothisis. I calculated the per-page cost of
each publishers comics and my jaw droped. It made me wish I'd been born a
Frenchman rather than an American. Here's how it worked out:
Publisher Price Pages $/page
Gladstone: $6.95 64 $0.109
Egmont: $2.68 100 $0.027
This means I can buy four times the amount of comics from Egmont than I can
from Gladstone! Now, I am aware that this is somewhat caused by supply and
demand, but even at American comics aimed at kids (archie, some mavels etc).
I can get 3 times the comics that I can get from Gladstone. I can't imagine
that the writers for Archie get paid much less than Don Rosa does (correct
me if I'm wrong), so story quality probably doesn't matter much.
I just went to the Archie comics website, and they have over 15 diffrent
tittles, the non-digest kind of which cost $1.75. This makes me believe
that the rising cost of paper is avoidable to an extent.
Here's what I purpose to our friends at Gladstone: Keep the WDC line in the
64 page prestige foromat to please us collectors who like our high-quality,
costly, books . Then take Uncle Scrooge, and maybe Donald Duck and make
them a "new European" style book with 100 or so pages and a cover price of
around $4.25-4.50. Use cheap paper. Use staple bounding, and overall: aim
it at kids like Kriton proposes. Obviously aiming archie comics at comics
at kids has created a stable market. perhaps gladstone could benifit from
the same. And don't tell me that Archie comics are more applealing to kids
than Disney's. When I was 11 years old, ruining my parent's comics; I
always liked the Disney's better. We all did. Any kid who saw two comics
aimed at him, staring Donald Duck, or Archie at the same price which do you
think he'd buy. And any kid would pay a couple quarters more for 35 more
pages of comics given the choice between 2 Archies and one of the 100 page
Uncle Scrooge. Am I rambling? Anyway, like I have said, Gladstone needs to
shift some of their market to kids in order to be successful once again..
=-<Tristan
I loved your post in DCD 98 #250. In an earlier message, I mentioned that
Egmont seemed to know a lot more about marketing than Gladstone. You have
PROVED without a doubt my hypothisis. I calculated the per-page cost of
each publishers comics and my jaw droped. It made me wish I'd been born a
Frenchman rather than an American. Here's how it worked out:
Publisher Price Pages $/page
Gladstone: $6.95 64 $0.109
Egmont: $2.68 100 $0.027
This means I can buy four times the amount of comics from Egmont than I can
from Gladstone! Now, I am aware that this is somewhat caused by supply and
demand, but even at American comics aimed at kids (archie, some mavels etc).
I can get 3 times the comics that I can get from Gladstone. I can't imagine
that the writers for Archie get paid much less than Don Rosa does (correct
me if I'm wrong), so story quality probably doesn't matter much.
I just went to the Archie comics website, and they have over 15 diffrent
tittles, the non-digest kind of which cost $1.75. This makes me believe
that the rising cost of paper is avoidable to an extent.
Here's what I purpose to our friends at Gladstone: Keep the WDC line in the
64 page prestige foromat to please us collectors who like our high-quality,
costly, books . Then take Uncle Scrooge, and maybe Donald Duck and make
them a "new European" style book with 100 or so pages and a cover price of
around $4.25-4.50. Use cheap paper. Use staple bounding, and overall: aim
it at kids like Kriton proposes. Obviously aiming archie comics at comics
at kids has created a stable market. perhaps gladstone could benifit from
the same. And don't tell me that Archie comics are more applealing to kids
than Disney's. When I was 11 years old, ruining my parent's comics; I
always liked the Disney's better. We all did. Any kid who saw two comics
aimed at him, staring Donald Duck, or Archie at the same price which do you
think he'd buy. And any kid would pay a couple quarters more for 35 more
pages of comics given the choice between 2 Archies and one of the 100 page
Uncle Scrooge. Am I rambling? Anyway, like I have said, Gladstone needs to
shift some of their market to kids in order to be successful once again..
=-<Tristan
Fluks, H.W.
Tristan: Marketing: Gladstone vs. Egmont
Message 87 -
1998-10-14 at 11:35:26
Tristan:
> Kriton:
> I loved your post in DCD 98 #250. In an earlier message, I mentioned that
> Egmont seemed to know a lot more about marketing than Gladstone. You have
> PROVED without a doubt my hypothisis.
If you don't know the difference between Egmont and Hachette (France), how
can we expect you to know anything about marketing?
Why does everyone here keep telling Gladstone what to do? Don't you think
Gladstone has already done their best, and that they KNOW what they are
doing? Isn't Gary's mail about the situation clear enough?
> I can't imagine
> that the writers for Archie get paid much less than Don Rosa does,
> so story quality probably doesn't matter much.
And you think that story quality has a direct connection to the amount of
money the writers get? (If you pay them more, the quality will be better?)
> And don't tell me that Archie comics are more applealing to kids
> than Disney's. When I was 11 years old, ruining my parent's comics; I
> always liked the Disney's better. We all did.
That must have been years ago. Times have changed, and today's USA market is
NOT what it was in the 50s and 60s.
> Am I rambling? Anyway, like I have said, Gladstone needs to
> shift some of their market to kids in order to be successful once again..
I think you are rambling, yes.
I *do* agree that comics should be made for children. I don't like the
current "collectors only" Gladstone products. But I am convinced that
Gladstone tried to reach the children. And they didn't succeed. So the
collector's market is all there's left.
Today's USA is not what it used to be. And USA is not Europe either. Not
even Europe is Europe: in two different European countries, the commercial
success of Disney comics is totally different. For instance, they are very
popular in Holland, while almost non-existing in Belgium (which is next
door). They have tried to make the Belgian kinds enthousiastic, but with no
success. I think it's a matter of tradition and culture. In any case, it's
not the fault of the publishers.
--Harry.
Harry Fluks, Leidschendam, The Netherlands
> Kriton:
> I loved your post in DCD 98 #250. In an earlier message, I mentioned that
> Egmont seemed to know a lot more about marketing than Gladstone. You have
> PROVED without a doubt my hypothisis.
If you don't know the difference between Egmont and Hachette (France), how
can we expect you to know anything about marketing?
Why does everyone here keep telling Gladstone what to do? Don't you think
Gladstone has already done their best, and that they KNOW what they are
doing? Isn't Gary's mail about the situation clear enough?
> I can't imagine
> that the writers for Archie get paid much less than Don Rosa does,
> so story quality probably doesn't matter much.
And you think that story quality has a direct connection to the amount of
money the writers get? (If you pay them more, the quality will be better?)
> And don't tell me that Archie comics are more applealing to kids
> than Disney's. When I was 11 years old, ruining my parent's comics; I
> always liked the Disney's better. We all did.
That must have been years ago. Times have changed, and today's USA market is
NOT what it was in the 50s and 60s.
> Am I rambling? Anyway, like I have said, Gladstone needs to
> shift some of their market to kids in order to be successful once again..
I think you are rambling, yes.
I *do* agree that comics should be made for children. I don't like the
current "collectors only" Gladstone products. But I am convinced that
Gladstone tried to reach the children. And they didn't succeed. So the
collector's market is all there's left.
Today's USA is not what it used to be. And USA is not Europe either. Not
even Europe is Europe: in two different European countries, the commercial
success of Disney comics is totally different. For instance, they are very
popular in Holland, while almost non-existing in Belgium (which is next
door). They have tried to make the Belgian kinds enthousiastic, but with no
success. I think it's a matter of tradition and culture. In any case, it's
not the fault of the publishers.
--Harry.
Harry Fluks, Leidschendam, The Netherlands
Willot Eleve Promo 98
Tristan: Marketing: Gladstone vs. Egmont
Message 88 -
1998-10-14 at 21:23:39
HARRY wrote:
> [The publishers] have tried to make the Belgian kinds enthousiastic, but
> with no success. I think it's a matter of tradition and culture. In any case,
> it's not the fault of the publishers.
I think that this is the fault of "Tintin" and other
Belgium comis. They are the local comics, and are related to the Belgium
culture more than the Disney comics produced by Western. The same thing
happens in France with French/Belgium comics.
Francois
--------------------------------
End of Disney comics Digest V98 Issue #251
******************************************
> [The publishers] have tried to make the Belgian kinds enthousiastic, but
> with no success. I think it's a matter of tradition and culture. In any case,
> it's not the fault of the publishers.
I think that this is the fault of "Tintin" and other
Belgium comis. They are the local comics, and are related to the Belgium
culture more than the Disney comics produced by Western. The same thing
happens in France with French/Belgium comics.
Francois
--------------------------------
End of Disney comics Digest V98 Issue #251
******************************************
Michael Naiman
Comics in America
Message 89 -
1998-10-15 at 01:23:14
With all of the whining going on about the cost of product, per page cost
etc. let's not forget that when you are able to have a print run of
hundreds of thousands of copies per title ,your per unit cost is going to
be much less.
Another very large problem here in the States is that the only place you
can find comics these days are in the exclusive specialty stores. Gone are
the days of wire racks in drug stores, supermarkets, and corner groceries.
With a kiosk on every corner in Europe, they're everywhere! Hiding comics
only in comic book stores do not expose the masses to what is available.
If we had a reasonably priced product in the $1.50-$2 range aimed at
smaller kids and had them sprinkled around the landscape in every
conceivable outlet, the Disney books might have a chance. I call these
lower priced books "shut-me-ups"...Mom or Dad will buy them as they roll
Junior or Missy around in their shopping cart or carriage just to keep them
quiet. But at least they are now exposed to the product.
The stories coming out of Europe are much better than in years past. There
is no reason they wouldn't be successful today if offered in a properly
priced package. It will, however, take someone with deep pockets to make it
go. Gladstone has done an admirable job with the difficulties it has faced.
etc. let's not forget that when you are able to have a print run of
hundreds of thousands of copies per title ,your per unit cost is going to
be much less.
Another very large problem here in the States is that the only place you
can find comics these days are in the exclusive specialty stores. Gone are
the days of wire racks in drug stores, supermarkets, and corner groceries.
With a kiosk on every corner in Europe, they're everywhere! Hiding comics
only in comic book stores do not expose the masses to what is available.
If we had a reasonably priced product in the $1.50-$2 range aimed at
smaller kids and had them sprinkled around the landscape in every
conceivable outlet, the Disney books might have a chance. I call these
lower priced books "shut-me-ups"...Mom or Dad will buy them as they roll
Junior or Missy around in their shopping cart or carriage just to keep them
quiet. But at least they are now exposed to the product.
The stories coming out of Europe are much better than in years past. There
is no reason they wouldn't be successful today if offered in a properly
priced package. It will, however, take someone with deep pockets to make it
go. Gladstone has done an admirable job with the difficulties it has faced.
DeanMary
The Gladstone Situation
Message 90 -
1998-10-15 at 02:01:16
Harry Fluks recently wrote:
Why does everyone here keep telling Gladstone what to do? Don't you
think
Gladstone has already done their best, and that they KNOW what they are
doing? Isn't Gary's mail about the situation clear enough?
By telling Gladstone what to do, do you mean we are blaming Gladstone?
If that is the case I don't think so. Are we though offering up some
ideas that Gladstone might try? Absolutely yes!
I think most of us on the list have ideas of how Gladstone could
have/could still do things differently. Heck, I bet Gladstone can look
back on things themselves and see things they perhaps should have done
differently.
I thank Gladstone for keeping Disney comics going in the US for as long
as they have. However I don't think that Gary and the others at
Gladstone consider themselves God-like and to have done every thing the
exact, perfect way. I still think that Disney comics can be at least
relatively sucessful in the US. May I be naive about that? Possibly.
I don't for one second want to put on airs that I understand what it is
like to publish comic books in the US. However I bet many others on
this list are "naive" along with me and have not been conivinced yet
that there is no way for Disney comics in the US to be sucessful.
Perhaps the number one reason I believe that is the existance of Archie
comics in the US. Tristan Havelick wrote:
I just went to the Archie comics website, and they have over 15
diffrent
tittles, the non-digest kind of which cost $1.75.
I have a hard time believing that there is a market for 15 different
Archie comics but not a market for a handful of Disney ones. One of the
main arguments given for why Disney comics can't make it in the US is
that they are not considered "cool" or attractive to kids anymore. If
that is the case, how can you explain the situation with Archie comics?
Now I have nothing against Archie comics and read some when I was a
kid. I have a hard time believing though that in 1998 Archie comics
would be more cool than some Disney comics. Plus, add the fact that
there is next to no marketing of Archie characters. Compare that with
the case of Disney! My 9 year old nephew reads no comic books. He
doesn't even know who the Archie characters are but easily knows Donald
Duck, Mickey, Goofy, etc. So even if a publisher of Disney comics did
next to no marketing you still have built in recognition of the Disney
characters in the US.
Well, I have rambled on enough now. I'd be interested in hearing the
views of other people on the list. I'd especially like if someone has a
theory of how Archie comics can make it but Disney comics can't. I hope
no one takes this as a shot against Gladstone. I wish them all the best
with the renewal of their license. However, if they don't get it
renewed, I still think Disney comics have a chance. I haven't given up
yet.
Dean Rekich
Why does everyone here keep telling Gladstone what to do? Don't you
think
Gladstone has already done their best, and that they KNOW what they are
doing? Isn't Gary's mail about the situation clear enough?
By telling Gladstone what to do, do you mean we are blaming Gladstone?
If that is the case I don't think so. Are we though offering up some
ideas that Gladstone might try? Absolutely yes!
I think most of us on the list have ideas of how Gladstone could
have/could still do things differently. Heck, I bet Gladstone can look
back on things themselves and see things they perhaps should have done
differently.
I thank Gladstone for keeping Disney comics going in the US for as long
as they have. However I don't think that Gary and the others at
Gladstone consider themselves God-like and to have done every thing the
exact, perfect way. I still think that Disney comics can be at least
relatively sucessful in the US. May I be naive about that? Possibly.
I don't for one second want to put on airs that I understand what it is
like to publish comic books in the US. However I bet many others on
this list are "naive" along with me and have not been conivinced yet
that there is no way for Disney comics in the US to be sucessful.
Perhaps the number one reason I believe that is the existance of Archie
comics in the US. Tristan Havelick wrote:
I just went to the Archie comics website, and they have over 15
diffrent
tittles, the non-digest kind of which cost $1.75.
I have a hard time believing that there is a market for 15 different
Archie comics but not a market for a handful of Disney ones. One of the
main arguments given for why Disney comics can't make it in the US is
that they are not considered "cool" or attractive to kids anymore. If
that is the case, how can you explain the situation with Archie comics?
Now I have nothing against Archie comics and read some when I was a
kid. I have a hard time believing though that in 1998 Archie comics
would be more cool than some Disney comics. Plus, add the fact that
there is next to no marketing of Archie characters. Compare that with
the case of Disney! My 9 year old nephew reads no comic books. He
doesn't even know who the Archie characters are but easily knows Donald
Duck, Mickey, Goofy, etc. So even if a publisher of Disney comics did
next to no marketing you still have built in recognition of the Disney
characters in the US.
Well, I have rambled on enough now. I'd be interested in hearing the
views of other people on the list. I'd especially like if someone has a
theory of how Archie comics can make it but Disney comics can't. I hope
no one takes this as a shot against Gladstone. I wish them all the best
with the renewal of their license. However, if they don't get it
renewed, I still think Disney comics have a chance. I haven't given up
yet.
Dean Rekich