Stefan Diös: (**** SPOILERS **** for other people)
Talking about translations:
I just got the Swedish version of Don's "Cutty Sark" story. In the opening
page, there is a piece of Dutch text in a newspaper ("Schotsche veedrijver
loodst vastgeloopen stoomboot haven binnen"), and the nephews ask what it
means. The Swedish version of Scrooge's explanation seems to be translated
directly from the (19th-century) Dutch, in stead of from Don's English
script. Is that true?
--Harry.
(You know, the one from the Vishandel. 8-)
Author
Topic: 199902
(198 messages)
Fluks, H.W.
Stefan: American scripts
Message 121 -
1999-02-17 at 17:57:30
Mike Schneiderath
German Cutty Sark version
Message 122 -
1999-02-17 at 19:33:43
Hi everyone!
This weeks Micky Maus issue (#8/99) carries part one of Don Rosa=B4s "Cow=
boy
Captain of the Cutty Sark" story
And since there was a little discussion about that some weeks ago, here i=
s
my short opinion about the quality of the translation.
-The ship has it=B4s original name "Cutty Sark", and in a footnote on the
first page there is a explanation how the name is pronounced and that it
means
something like "short shirt" in scottish dialect.
-All the names of places, text in the artwork (like Batavia or "Vishandel
Fluks" ;-) and people (like Captain Moore) are kept intact too.
-Changes I spotted in the dialogue don=B4t seem to be essential and are
acceptable in my eyes.
So all in all this seems to be a very nice and accuate translation that e=
ven
stays close to the original when it comes to the "C.A.R." or the
"Longhorns - Hornlongs" parts. And most surprising was that Scrooge is
buying the "C.A.R." for 2 $, as it is in the original. (usually the curre=
ncy
in the German versions are "Taler", but maybe they thought that it was ok=
,
sicne the story doesn=B4t take place in Duckburg)
So thanks to Ehapa for the nice work and let us hope that they can keep u=
p
the quality for future stories.
Mike
-----------------------
http://www.duckhunt.de
--------------------------------
End of Disney comics Digest V99 Issue #31
*****************************************
This weeks Micky Maus issue (#8/99) carries part one of Don Rosa=B4s "Cow=
boy
Captain of the Cutty Sark" story
And since there was a little discussion about that some weeks ago, here i=
s
my short opinion about the quality of the translation.
-The ship has it=B4s original name "Cutty Sark", and in a footnote on the
first page there is a explanation how the name is pronounced and that it
means
something like "short shirt" in scottish dialect.
-All the names of places, text in the artwork (like Batavia or "Vishandel
Fluks" ;-) and people (like Captain Moore) are kept intact too.
-Changes I spotted in the dialogue don=B4t seem to be essential and are
acceptable in my eyes.
So all in all this seems to be a very nice and accuate translation that e=
ven
stays close to the original when it comes to the "C.A.R." or the
"Longhorns - Hornlongs" parts. And most surprising was that Scrooge is
buying the "C.A.R." for 2 $, as it is in the original. (usually the curre=
ncy
in the German versions are "Taler", but maybe they thought that it was ok=
,
sicne the story doesn=B4t take place in Duckburg)
So thanks to Ehapa for the nice work and let us hope that they can keep u=
p
the quality for future stories.
Mike
-----------------------
http://www.duckhunt.de
--------------------------------
End of Disney comics Digest V99 Issue #31
*****************************************
Francesco Spreafico
I Maestri Disney
Message 123 -
1999-02-17 at 21:45:21
ARCHONTIS:
>"Maybe not Murry"? I hope not! Murry may not have written a single story on
>his own, but I believe he's a legend in his own right. Plus, at the end of
>the story index in all issues, one reads "continued in the next issue
>dedicated to ___________". That makes someone expect the continuation of
>this cycle for some time to come...
Yes, but I keep hoping "Maybe not Murry" :-)
I'have nothing against him, and I really like some of his MM's stories...
but really... he doesn't belong to that issue series :)
>As much as I'd love to see an IMD issue on Rota featuring various articles
>and such, I can't think of a special story to go along that ZP hasn't
>printed in the last 3-4 years. There are some yet un-reprinted Rota stories
>in ZP, but most (all?) of Rota's truly great works have only recently
>appeared in ZP, right?
Just one thing.... "Happy birthday Paperino" :-) While the storyline plainly
sucks (I hate the idea of DD born from an egg fallen from a tree) the art is
*beautiful*, and it's not been reprinted since 1984!
>"Maybe not Murry"? I hope not! Murry may not have written a single story on
>his own, but I believe he's a legend in his own right. Plus, at the end of
>the story index in all issues, one reads "continued in the next issue
>dedicated to ___________". That makes someone expect the continuation of
>this cycle for some time to come...
Yes, but I keep hoping "Maybe not Murry" :-)
I'have nothing against him, and I really like some of his MM's stories...
but really... he doesn't belong to that issue series :)
>As much as I'd love to see an IMD issue on Rota featuring various articles
>and such, I can't think of a special story to go along that ZP hasn't
>printed in the last 3-4 years. There are some yet un-reprinted Rota stories
>in ZP, but most (all?) of Rota's truly great works have only recently
>appeared in ZP, right?
Just one thing.... "Happy birthday Paperino" :-) While the storyline plainly
sucks (I hate the idea of DD born from an egg fallen from a tree) the art is
*beautiful*, and it's not been reprinted since 1984!
Fethry.Duck
Barks and Hitchcock
Message 124 -
1999-02-17 at 23:00:24
I just saw a whole load of Alfred Hitchcock Presents episodes. One thing I
noted was some ideas used there which has also been used by Barks, so I
wondered if Barks were inspired by Hitch. Since I do not remember which
Barks stories this is I can't say if Hitch or Barks came first.
The first Hitch idea I saw was in an intro where Hitch introduces the square
egg, which Barks used in Lost in Andes.
The other idea was about a man on a cruise-ship which put all his money on
that the ship should sail a certain distance. When the ship sails to fast he
jumps overboard to slow the ship. Only problem nobody believes the woman who
see him jump. This one was based on Roald Dahl's "A Dip in the Pool". There
was one Barks story where Donald falls from a ship and because the ship
returns to pick him up he wins a lot of money.
I thought these two ideas were so distinct that I started thinking that
Barks picked up ideas from Hitch. Anybody know if this is so?
Trygve
_______________________________________________________
Get your free, private email at http://mail.excite.com/
noted was some ideas used there which has also been used by Barks, so I
wondered if Barks were inspired by Hitch. Since I do not remember which
Barks stories this is I can't say if Hitch or Barks came first.
The first Hitch idea I saw was in an intro where Hitch introduces the square
egg, which Barks used in Lost in Andes.
The other idea was about a man on a cruise-ship which put all his money on
that the ship should sail a certain distance. When the ship sails to fast he
jumps overboard to slow the ship. Only problem nobody believes the woman who
see him jump. This one was based on Roald Dahl's "A Dip in the Pool". There
was one Barks story where Donald falls from a ship and because the ship
returns to pick him up he wins a lot of money.
I thought these two ideas were so distinct that I started thinking that
Barks picked up ideas from Hitch. Anybody know if this is so?
Trygve
_______________________________________________________
Get your free, private email at http://mail.excite.com/
Francois Willot
I Maestri Disney
Message 125 -
1999-02-17 at 23:01:19
Archontis:
>Now, I really can't say that I blame him too much as far as "Le
>Zanzare Za-Za" is concerned. Given his so many great stories that
>appeared in the 80s, I can't see why IMD would choose to publish
>"Za-Za", other than simply to offer a glimpse at a very early,
>"crude" De Vita, that borrowed heavily from Barks' style.
I do like some of the early De Vita stories. I admit the art on these
"classic" stories often seems a bit strange (or is too much inspired by
Murry or Barks). In fact, I've read "Za-Za" long ago and always
considered it as a good story! Even if it's so much Barks-inspired (I
thought it *was* Barks, only 8 years ago!).
On the other hand, I usually dislike "special" stories with appearances
of Leonardo da Vinci, or "fantastic"/SF stories with gnomes, etc. but I
have to admit that De Vita did a wonderful job doing some in the 80s.
>>NOT ME. I'd like to do a book on THE BEST Perego. I did a project on
>>P. L. De Vita, and I'd be absolutely delighted to do a book on
>>Hubbard or Turner.
>
>And I'd say AMEN to that! It's not easy to find collection of stories
>by such artists these days.
I'd love to see something on P. L. De Vita. His art is very good,
especially in the first stories (the early ones from the 50s, like "Don
Quichotte" and others).
Francesco:
> There are some yet un-reprinted Rota stories in ZP, but most (all?)
> of Rota's truly great works have only recently appeared in ZP,
> right?
>
> Just one thing.... "Happy birthday Paperino" :-) While the storyline
> plainly sucks (I hate the idea of DD born from an egg fallen from a
> tree) the art is *beautiful*, and it's not been reprinted since
> 1984!
Agreed. And the story is pleasant to read too.
Francois
>Now, I really can't say that I blame him too much as far as "Le
>Zanzare Za-Za" is concerned. Given his so many great stories that
>appeared in the 80s, I can't see why IMD would choose to publish
>"Za-Za", other than simply to offer a glimpse at a very early,
>"crude" De Vita, that borrowed heavily from Barks' style.
I do like some of the early De Vita stories. I admit the art on these
"classic" stories often seems a bit strange (or is too much inspired by
Murry or Barks). In fact, I've read "Za-Za" long ago and always
considered it as a good story! Even if it's so much Barks-inspired (I
thought it *was* Barks, only 8 years ago!).
On the other hand, I usually dislike "special" stories with appearances
of Leonardo da Vinci, or "fantastic"/SF stories with gnomes, etc. but I
have to admit that De Vita did a wonderful job doing some in the 80s.
>>NOT ME. I'd like to do a book on THE BEST Perego. I did a project on
>>P. L. De Vita, and I'd be absolutely delighted to do a book on
>>Hubbard or Turner.
>
>And I'd say AMEN to that! It's not easy to find collection of stories
>by such artists these days.
I'd love to see something on P. L. De Vita. His art is very good,
especially in the first stories (the early ones from the 50s, like "Don
Quichotte" and others).
Francesco:
> There are some yet un-reprinted Rota stories in ZP, but most (all?)
> of Rota's truly great works have only recently appeared in ZP,
> right?
>
> Just one thing.... "Happy birthday Paperino" :-) While the storyline
> plainly sucks (I hate the idea of DD born from an egg fallen from a
> tree) the art is *beautiful*, and it's not been reprinted since
> 1984!
Agreed. And the story is pleasant to read too.
Francois
Don Rosa
Digest #31
Message 126 -
1999-02-18 at 08:27:43
From: Stefan Diös
(I think that's Peeweegian for "Dios"?)
>>>Subject: American scripts
I think there was some discussion
about how American writers might "slack off" in their efforts to write
advanced dialog, knowing their stories might not see print in their own
country (or indeed, their own language) in any foreseeable future.
Specifically, Don Rosa's upcoming "Kalevala" story was discussed. I would
very much enjoy and appreciate if the proper meter was used, when
appropriate, like Barks and Rosa did in their respective Peeweegah stories.
I started work on that story this week, first carefully reading the English
version of the Kalevala, or a major portion of it, anyway (that sucker's
BIG)... and the runic meter has such a "beat" to it that I would often read
it outloud. And while reading I would jot down phrases or think up new
runometer phraseology that I planned on using in my story. In other words,
I'd already gotten too caught up in my own typical enthusiasm to have
remembered that I'd threatened not to write the dialogue in runometer rhythm
(identical to Peeweegah talk). It's just not my nature to cut corners or
eliminate effort on what I love doing.... so forget I ever said I would not
write this story in runometer. (sigh).
(I think that's Peeweegian for "Dios"?)
>>>Subject: American scripts
I think there was some discussion
about how American writers might "slack off" in their efforts to write
advanced dialog, knowing their stories might not see print in their own
country (or indeed, their own language) in any foreseeable future.
Specifically, Don Rosa's upcoming "Kalevala" story was discussed. I would
very much enjoy and appreciate if the proper meter was used, when
appropriate, like Barks and Rosa did in their respective Peeweegah stories.
I started work on that story this week, first carefully reading the English
version of the Kalevala, or a major portion of it, anyway (that sucker's
BIG)... and the runic meter has such a "beat" to it that I would often read
it outloud. And while reading I would jot down phrases or think up new
runometer phraseology that I planned on using in my story. In other words,
I'd already gotten too caught up in my own typical enthusiasm to have
remembered that I'd threatened not to write the dialogue in runometer rhythm
(identical to Peeweegah talk). It's just not my nature to cut corners or
eliminate effort on what I love doing.... so forget I ever said I would not
write this story in runometer. (sigh).
Halsten Aastebxl
Barks and Hitchcock
Message 127 -
1999-02-18 at 10:11:11
At 13:00 17.02.99 -0800, (Email removed) wrote:
>The first Hitch idea I saw was in an intro where Hitch introduces the square
>egg, which Barks used in Lost in Andes.
"Lost in The Andes" was first printed in Donald Duck Four Color 223, April
1949. It was probably written in the later part of 1948.
>There
>was one Barks story where Donald falls from a ship and because the ship
>returns to pick him up he wins a lot of money.
>
>Trygve
>
This story is titled "The Not-So-Ancient Mariner" and was printed as a
Donald & Daisy 10-pager in Walt Disney's Comics & Stories 312, September
1966. This is the last story Barks wrote for WDC.
Halsten
>The first Hitch idea I saw was in an intro where Hitch introduces the square
>egg, which Barks used in Lost in Andes.
"Lost in The Andes" was first printed in Donald Duck Four Color 223, April
1949. It was probably written in the later part of 1948.
>There
>was one Barks story where Donald falls from a ship and because the ship
>returns to pick him up he wins a lot of money.
>
>Trygve
>
This story is titled "The Not-So-Ancient Mariner" and was printed as a
Donald & Daisy 10-pager in Walt Disney's Comics & Stories 312, September
1966. This is the last story Barks wrote for WDC.
Halsten
Fluks, H.W.
Barks and Hitchcock
Message 128 -
1999-02-18 at 10:29:00
> "Lost in The Andes" was first printed in Donald Duck Four
> Color 223, April
> 1949. It was probably written in the later part of 1948.
Barks delivered it to the editor on October 21, 1948.
> "The Not-So-Ancient Mariner" in Walt Disney's Comics & Stories
> 312, September 1966.
Was finished January 5, 1966.
--Harry.
http://members.xoom.com/bolderbast/
http://www.wxs.nl/~fluks4/
> Color 223, April
> 1949. It was probably written in the later part of 1948.
Barks delivered it to the editor on October 21, 1948.
> "The Not-So-Ancient Mariner" in Walt Disney's Comics & Stories
> 312, September 1966.
Was finished January 5, 1966.
--Harry.
http://members.xoom.com/bolderbast/
http://www.wxs.nl/~fluks4/
Stefan Diös
Disney comics Digest V99 #31
Message 129 -
1999-02-18 at 16:46:12
Questions about translations are always welcome... two popped up in the last
Digest:
ARMANDO asked about a Monty Python reference in "A Little Something
Special". Well, since directly addressed, I'll answer part 2) of his
question, without really answering it:
>2) How did other translators deal with the passage in question? (Art thou
>there, Stefan?)
My honest answer is that I don't have a clue to what you're talking about.
Any reference to Monty Python is lost on me... sure, I have seen a few of
their movies, and quite some TV shows as well, but they are not classics to
me like I know they are to many others... including some of my friends, who
will reel off long passages, verbatim, whether anyone wants to hear or not.
Of course I have nothing but the utmost respect for that kind of insanity,
but I'm sorry to admit there are precious few quotes that I would
immediately recognize as coming from Monty Python.
In this particular case, I don't even know which line you're referring to.
My first guess would be that I tried to translated it more or less
literally, unless I thought it somehow didn't fit into the context. Whether
that's enough to keep the Python reference intact, I don't know... and if it
is, it's surely not my doing! Again, this shows how much a writer can help
by telling me in advance of any such references!
Then, HARRY:
>I just got the Swedish version of Don's "Cutty Sark" story. In the =
>opening
>page, there is a piece of Dutch text in a newspaper ("Schotsche =
>veedrijver
>loodst vastgeloopen stoomboot haven binnen"), and the nephews ask what =
>it
>means. The Swedish version of Scrooge's explanation seems to be =
>translated
>directly from the (19th-century) Dutch, in stead of from Don's English
>script. Is that true?
Hmm. In the script I got from Egmont, Don's text read, "Scottish cowboy
pilots grounded steamship into port". That's more or less exactly what my
Swedish text says, unless I got some maritime terms wrong (which I'm sure
happened further on in the story, despite some excellent guidance). You mean
to say that this is different from the Dutch text in any significant way?
Otherwise, yes, you're right: in a case like this I would normally try to
figure out what the real text meant and base my translation on that, rather
than just translate the translation. It happens that a language is shown
that I absolutely cannot decipher; typically some Chinese characters or
something like that. In those cases I just have to trust the English dialog
I'm given (which also would be what's relevant to the story), but I always
wonder whether those characters really are correct, or just some nonsense.
Maybe they even mean something else! (The best example to date, including
some Swahili (I guess?!?), is scheduled to come up in Egmont Weekly #15, if
I may be so bold as to reveal some future plans.)
Here, I'm afraid you'll have to tell me where the big difference is between
the Dutch and the English/Swedish version. I'm certainly no Dutch scholar,
but like we discussed before, written Dutch is fairly easy to comprehend...
it's half German, half English, half French, and the rest is pure Swedish...
so I never checked any dictionaries, but from what I could see, it looked
close enough to what Don and I wrote.
Then again, it's all Dutch to me...
Stefan Dios
Malmo, Sweden
Digest:
ARMANDO asked about a Monty Python reference in "A Little Something
Special". Well, since directly addressed, I'll answer part 2) of his
question, without really answering it:
>2) How did other translators deal with the passage in question? (Art thou
>there, Stefan?)
My honest answer is that I don't have a clue to what you're talking about.
Any reference to Monty Python is lost on me... sure, I have seen a few of
their movies, and quite some TV shows as well, but they are not classics to
me like I know they are to many others... including some of my friends, who
will reel off long passages, verbatim, whether anyone wants to hear or not.
Of course I have nothing but the utmost respect for that kind of insanity,
but I'm sorry to admit there are precious few quotes that I would
immediately recognize as coming from Monty Python.
In this particular case, I don't even know which line you're referring to.
My first guess would be that I tried to translated it more or less
literally, unless I thought it somehow didn't fit into the context. Whether
that's enough to keep the Python reference intact, I don't know... and if it
is, it's surely not my doing! Again, this shows how much a writer can help
by telling me in advance of any such references!
Then, HARRY:
>I just got the Swedish version of Don's "Cutty Sark" story. In the =
>opening
>page, there is a piece of Dutch text in a newspaper ("Schotsche =
>veedrijver
>loodst vastgeloopen stoomboot haven binnen"), and the nephews ask what =
>it
>means. The Swedish version of Scrooge's explanation seems to be =
>translated
>directly from the (19th-century) Dutch, in stead of from Don's English
>script. Is that true?
Hmm. In the script I got from Egmont, Don's text read, "Scottish cowboy
pilots grounded steamship into port". That's more or less exactly what my
Swedish text says, unless I got some maritime terms wrong (which I'm sure
happened further on in the story, despite some excellent guidance). You mean
to say that this is different from the Dutch text in any significant way?
Otherwise, yes, you're right: in a case like this I would normally try to
figure out what the real text meant and base my translation on that, rather
than just translate the translation. It happens that a language is shown
that I absolutely cannot decipher; typically some Chinese characters or
something like that. In those cases I just have to trust the English dialog
I'm given (which also would be what's relevant to the story), but I always
wonder whether those characters really are correct, or just some nonsense.
Maybe they even mean something else! (The best example to date, including
some Swahili (I guess?!?), is scheduled to come up in Egmont Weekly #15, if
I may be so bold as to reveal some future plans.)
Here, I'm afraid you'll have to tell me where the big difference is between
the Dutch and the English/Swedish version. I'm certainly no Dutch scholar,
but like we discussed before, written Dutch is fairly easy to comprehend...
it's half German, half English, half French, and the rest is pure Swedish...
so I never checked any dictionaries, but from what I could see, it looked
close enough to what Don and I wrote.
Then again, it's all Dutch to me...
Stefan Dios
Malmo, Sweden
Francesco Spreafico
I Maestri Disney
Message 130 -
1999-02-18 at 18:53:41
FRANCOIS:
>I'd love to see something on P. L. De Vita. His art is very good,
>especially in the first stories (the early ones from the 50s, like "Don
>Quichotte" and others).
Agreed. But the two stories by PLdV I like most are "Paperino e il cane
Dollarosus" (I TL 285-A) and "Paperino e il corno dell'abbondanza" (I TL
302-A and I TL 303-B)
The strange thing is that the former is written by Cimino and has his usual
plot... the same identical plot he's been using for almost forty years now
:-)
Francesco
>I'd love to see something on P. L. De Vita. His art is very good,
>especially in the first stories (the early ones from the 50s, like "Don
>Quichotte" and others).
Agreed. But the two stories by PLdV I like most are "Paperino e il cane
Dollarosus" (I TL 285-A) and "Paperino e il corno dell'abbondanza" (I TL
302-A and I TL 303-B)
The strange thing is that the former is written by Cimino and has his usual
plot... the same identical plot he's been using for almost forty years now
:-)
Francesco
Luca Boschi
I Maestri Disney
Message 131 -
1999-02-18 at 19:09:05
Hi, Archontis and All!
You wrote:
> I can't see why IMD would choose to publish
> >"Za-Za", other than simply to offer a glimpse at a very early,
> >"crude" De Vita, that borrowed heavily from Barks' style.
And Francois:
> I've read "Za-Za" long ago and always
> considered it as a good story! Even if it's so much Barks-inspired (I thought it *was* Barks, only 8 years ago!).
I agree with you. It's important to show how an artist gets his
peculiar style. How he improves his art becoming a MAESTRO. And Lidia
Cannatella (and Disney Italia) is with us, indeed.
> On the other hand, I usually dislike "special" stories with appearances
> of Leonardo da Vinci, or "fantastic"/SF stories with gnomes, etc. but I
> have to admit that De Vita did a wonderful job doing some in the 80s.
I agree.
> I'd love to see something on P. L. De Vita. His art is very good,
> especially in the first stories (the early ones from the 50s, like "Don
> Quichotte" and others).
Maybe you'll have a surprise, soon. A special about him, with his very
early art, that for me is a "must". I'll let you know, if it happens.
> Francesco:
> > Just one thing.... "Happy birthday Paperino" :-) While the storyline
> > plainly sucks (I hate the idea of DD born from an egg fallen from a
> > tree) the art is *beautiful*, and it's not been reprinted since
> > 1984!
It's not true. There have been two more reprints from that time. One
in 1994, on a special "Paperino Mese" (I made all the intruDUCKtions)
and two years later in special "Io Paperino" dedicated to the best
Duck artists. Maybe on ZP you'll see it in 2004!
Luca
You wrote:
> I can't see why IMD would choose to publish
> >"Za-Za", other than simply to offer a glimpse at a very early,
> >"crude" De Vita, that borrowed heavily from Barks' style.
And Francois:
> I've read "Za-Za" long ago and always
> considered it as a good story! Even if it's so much Barks-inspired (I thought it *was* Barks, only 8 years ago!).
I agree with you. It's important to show how an artist gets his
peculiar style. How he improves his art becoming a MAESTRO. And Lidia
Cannatella (and Disney Italia) is with us, indeed.
> On the other hand, I usually dislike "special" stories with appearances
> of Leonardo da Vinci, or "fantastic"/SF stories with gnomes, etc. but I
> have to admit that De Vita did a wonderful job doing some in the 80s.
I agree.
> I'd love to see something on P. L. De Vita. His art is very good,
> especially in the first stories (the early ones from the 50s, like "Don
> Quichotte" and others).
Maybe you'll have a surprise, soon. A special about him, with his very
early art, that for me is a "must". I'll let you know, if it happens.
> Francesco:
> > Just one thing.... "Happy birthday Paperino" :-) While the storyline
> > plainly sucks (I hate the idea of DD born from an egg fallen from a
> > tree) the art is *beautiful*, and it's not been reprinted since
> > 1984!
It's not true. There have been two more reprints from that time. One
in 1994, on a special "Paperino Mese" (I made all the intruDUCKtions)
and two years later in special "Io Paperino" dedicated to the best
Duck artists. Maybe on ZP you'll see it in 2004!
Luca
Francesco Spreafico
I Maestri Disney
Message 132 -
1999-02-18 at 20:40:42
LUCA:
>> > Just one thing.... "Happy birthday Paperino" :-) While the storyline
>> > plainly sucks (I hate the idea of DD born from an egg fallen from a
>> > tree) the art is *beautiful*, and it's not been reprinted since
>> > 1984!
>
>It's not true. There have been two more reprints from that time. One
>in 1994, on a special "Paperino Mese" (I made all the intruDUCKtions)
>and two years later in special "Io Paperino" dedicated to the best
>Duck artists. Maybe on ZP you'll see it in 2004!
Wow! I had no idea! Can anybody tell me the issue number of that Paperino
Mese? I'll certainly be looking for it at the next Cartoomics, in Milan...
Francesco
>> > Just one thing.... "Happy birthday Paperino" :-) While the storyline
>> > plainly sucks (I hate the idea of DD born from an egg fallen from a
>> > tree) the art is *beautiful*, and it's not been reprinted since
>> > 1984!
>
>It's not true. There have been two more reprints from that time. One
>in 1994, on a special "Paperino Mese" (I made all the intruDUCKtions)
>and two years later in special "Io Paperino" dedicated to the best
>Duck artists. Maybe on ZP you'll see it in 2004!
Wow! I had no idea! Can anybody tell me the issue number of that Paperino
Mese? I'll certainly be looking for it at the next Cartoomics, in Milan...
Francesco
Fluks, H.W.
Stefan: Cutty Sark
Message 133 -
1999-02-18 at 21:08:59
Stefan:
> >("Schotsche veedrijver
> >loodst vastgeloopen stoomboot haven binnen")
> In the script I got from Egmont, Don's text read,
> "Scottish cowboy pilots grounded steamship into port".
> I'm afraid you'll have to tell me where the big
> difference is between
> the Dutch and the English/Swedish version.
There's no big difference. But the Dutch and Swedish texts look more similar
to each other than to the English version!
I was triggered by the Swedish word for "loodst" (lotsar or something). This
is literally the same word (the Swedish got it from the Dutch!), while the
English uses a different word.
> written Dutch is fairly easy to comprehend...
> it's half German, half English, half French, and the rest is
> pure Swedish...
Correction: Swedish is half Dutch! (See the "loods" example above!) As far
as I know, all we got from the Swedish are kna"ckebro"d and ombudsman...
(Volvo, Saab, Ericsson, Abba, and Ikea don't count.)
--Harry.
("Ik praat ueberhaupt maar 1 woord Duits." - H. Finkers)
> >("Schotsche veedrijver
> >loodst vastgeloopen stoomboot haven binnen")
> In the script I got from Egmont, Don's text read,
> "Scottish cowboy pilots grounded steamship into port".
> I'm afraid you'll have to tell me where the big
> difference is between
> the Dutch and the English/Swedish version.
There's no big difference. But the Dutch and Swedish texts look more similar
to each other than to the English version!
I was triggered by the Swedish word for "loodst" (lotsar or something). This
is literally the same word (the Swedish got it from the Dutch!), while the
English uses a different word.
> written Dutch is fairly easy to comprehend...
> it's half German, half English, half French, and the rest is
> pure Swedish...
Correction: Swedish is half Dutch! (See the "loods" example above!) As far
as I know, all we got from the Swedish are kna"ckebro"d and ombudsman...
(Volvo, Saab, Ericsson, Abba, and Ikea don't count.)
--Harry.
("Ik praat ueberhaupt maar 1 woord Duits." - H. Finkers)
Marco Barlotti
Luc(c)a
Message 134 -
1999-02-19 at 00:20:45
At 17.33 18/02/99 +0100, Fluks, H.W. wrote:
>Luca:
>
LB> Indded, you can find
LB> Gianni Bono in Lucca Comics (19- 21 of March).
>
HF>Any information about who else is coming?
I am, at least on the 19th...
Bruno Concina is going to talk about his new book "how to script Disney
stories" (OK that's not the title but I guess that's the content anyway...)
and I can't miss that. Also the meeting on the 50 years of TL seems
promising (when is it scheduled?)
Marco
>Luca:
>
LB> Indded, you can find
LB> Gianni Bono in Lucca Comics (19- 21 of March).
>
HF>Any information about who else is coming?
I am, at least on the 19th...
Bruno Concina is going to talk about his new book "how to script Disney
stories" (OK that's not the title but I guess that's the content anyway...)
and I can't miss that. Also the meeting on the 50 years of TL seems
promising (when is it scheduled?)
Marco
Francois Willot
About Pier Lorenzo De Vita
Message 135 -
1999-02-19 at 01:00:01
Hello all!
Francesco wrote:
>But the two stories by PLdV I like most are "Paperino e il
>cane Dollarosus" (I TL 285-A) and "Paperino e il corno >dell'abbondanz=
a" (I TL 302-A and I TL 303-B)
>
>The strange thing is that the former is written by Cimino and has his =
>usual plot... the same identical plot he's been using for almost >fort=
y years now :-)
I also like both stories very much! These were published in the first
issues of Mickey-Parade in the late 60s (and in the "Classici" series).
With the help of the "Mickey-Parade" index, here are the others I
remember well, because they are so good:
I TL 344-A La grotta di Aladino (writ: Pavese)
I TL 280-A Zio Paperone e il tesoro di Capitan Kidd (Catalano)
I TL 223-A Le straordinarie avventure di Paperino Girandola (Martina)
I TL 210-A Paperino e l=92oro di Reno ovvero l=92anello dei Nani Lung=
hi
(Martina)
I AT 121-A Per un dollaro in meno (Dalmasso) [with a reference to
"Sheriff of Bullet Valley"]
The first four stories were also reprinted in the "Classici". The fifth
one is a bit different than the others from "Topolino", but with a very
good drawing too.
Luca on P. L. De Vita:
>> I'd love to see something on P. L. De Vita. His art is very good,
>> especially in the first stories (the early ones from the 50s, like
>>"Don Quichotte" and others).
>
>Maybe you'll have a surprise, soon. A special about him, with his >ver=
y early art, that for me is a "must". I'll let you know, if it
>happens.
Thanks. Indeed, I am very interested by this!
Francois
--------------------------------
End of Disney comics Digest V99 Issue #32
*****************************************
Francesco wrote:
>But the two stories by PLdV I like most are "Paperino e il
>cane Dollarosus" (I TL 285-A) and "Paperino e il corno >dell'abbondanz=
a" (I TL 302-A and I TL 303-B)
>
>The strange thing is that the former is written by Cimino and has his =
>usual plot... the same identical plot he's been using for almost >fort=
y years now :-)
I also like both stories very much! These were published in the first
issues of Mickey-Parade in the late 60s (and in the "Classici" series).
With the help of the "Mickey-Parade" index, here are the others I
remember well, because they are so good:
I TL 344-A La grotta di Aladino (writ: Pavese)
I TL 280-A Zio Paperone e il tesoro di Capitan Kidd (Catalano)
I TL 223-A Le straordinarie avventure di Paperino Girandola (Martina)
I TL 210-A Paperino e l=92oro di Reno ovvero l=92anello dei Nani Lung=
hi
(Martina)
I AT 121-A Per un dollaro in meno (Dalmasso) [with a reference to
"Sheriff of Bullet Valley"]
The first four stories were also reprinted in the "Classici". The fifth
one is a bit different than the others from "Topolino", but with a very
good drawing too.
Luca on P. L. De Vita:
>> I'd love to see something on P. L. De Vita. His art is very good,
>> especially in the first stories (the early ones from the 50s, like
>>"Don Quichotte" and others).
>
>Maybe you'll have a surprise, soon. A special about him, with his >ver=
y early art, that for me is a "must". I'll let you know, if it
>happens.
Thanks. Indeed, I am very interested by this!
Francois
--------------------------------
End of Disney comics Digest V99 Issue #32
*****************************************