I noticed in the new Diamond catalog that Egmont publishes comics in England
(Judge Dredd and 2000 AD), and these are available in the U.S. Do they
publish any Disney comics there, or is there a chance they might and make
them available for export? For that matter, has anyone heard anything about
a U.S. publisher picking up the Disney license? With the new Mickey Mouse
Works cartoon doing well on ABC TV, it seems that this would be a good time
to do it.
--your pal, Hoy Murphy
Author
Topic: 199905
(139 messages)
HoyMurphy
Disney comics Digest V99 #90
Message 76 -
1999-05-16 at 20:10:40
Marco Barlotti
Bottaro Sunday Page
Message 77 -
1999-05-17 at 00:39:17
At 13.17 16/05/99 +0300, Per-Erik Malmström wrote:
>
>> >LUCIANO BOTTARO--US (Sunday page-format), ca. 1971
>>
>> Is this the hazel-witch Sunday gag?
>
>Yep, sunds like a good description. The text is written in english,
>although it's definitely written by an Italian (maybe Bottaro?).
It is most probably by Bottaro, yes. This is a unique blueprint made by
Bottaro in 1971 as a (unfortunate) proposal for Uncle $crooge sunday gags.
"I Maestri Disney" #3 reports that it was bought by a German fan who paid
for it approximately 997 Euros. So it's now for sale for a little less...
Marco
>
>> >LUCIANO BOTTARO--US (Sunday page-format), ca. 1971
>>
>> Is this the hazel-witch Sunday gag?
>
>Yep, sunds like a good description. The text is written in english,
>although it's definitely written by an Italian (maybe Bottaro?).
It is most probably by Bottaro, yes. This is a unique blueprint made by
Bottaro in 1971 as a (unfortunate) proposal for Uncle $crooge sunday gags.
"I Maestri Disney" #3 reports that it was bought by a German fan who paid
for it approximately 997 Euros. So it's now for sale for a little less...
Marco
Leonardo Gori
Message sent by mistake
Message 78 -
1999-05-17 at 00:39:40
Dear friends,
Please ignore my earlier message in Italian. It concerned a private project
that has nothing to do with this list and it was sent to disney-comics in
error. Please do not enquire about it -- it was meant for other addressees.
I sincerely apologise for the mistake.
All the best.
Leonardo Gori
(Email removed)
http://www.agora.stm.it/L.Gori/home.htm
http://www.geocities.com/Area51/Shire/6371/
Please ignore my earlier message in Italian. It concerned a private project
that has nothing to do with this list and it was sent to disney-comics in
error. Please do not enquire about it -- it was meant for other addressees.
I sincerely apologise for the mistake.
All the best.
Leonardo Gori
(Email removed)
http://www.agora.stm.it/L.Gori/home.htm
http://www.geocities.com/Area51/Shire/6371/
Joakim Gunnarsson
Gottfredson strip, May 1937.
Message 79 -
1999-05-17 at 14:10:49
The Gottfredson-strip that Per-Erik mentioned beeing for sale in Galerie
Laqua is actually the *May* 13 strip from 1937, not from February.
Also interesting to note is that when the strip was published in the papers
back in '37 one of the texts was:
"The safari wishes to know if you and the memsahib like Africa!"
But on the original reproduced in Galerie Laqua the text is:
"The safari wishees to go, if you and the memsahib like em? Ah!"
So, now the question is:
Why was the text changed on the *original* strip after its publication in
the newspapers?
I don't remember if this story was used in WDC (Mickey in search of jungle
treasure). But if it was: What was the text there?
/Joakim Gunnarsson.
Laqua is actually the *May* 13 strip from 1937, not from February.
Also interesting to note is that when the strip was published in the papers
back in '37 one of the texts was:
"The safari wishes to know if you and the memsahib like Africa!"
But on the original reproduced in Galerie Laqua the text is:
"The safari wishees to go, if you and the memsahib like em? Ah!"
So, now the question is:
Why was the text changed on the *original* strip after its publication in
the newspapers?
I don't remember if this story was used in WDC (Mickey in search of jungle
treasure). But if it was: What was the text there?
/Joakim Gunnarsson.
Per-Erik Malmström
Disney comics Digest V99 #90
Message 80 -
1999-05-17 at 14:13:01
MARKUS (about G. Helnwein):
> He has also painted Donald Duck some times in
> oil and I guess that's why he is in the catalogue. He has never done a
comic book,
> however.
Ok, either his covers weren't good enough to get by or Stern (=Star) isn't
a comic book? Or maybe he only submited cover-ideas, and never drew the
final covers that we see on the mags?
/Per-Erik
> He has also painted Donald Duck some times in
> oil and I guess that's why he is in the catalogue. He has never done a
comic book,
> however.
Ok, either his covers weren't good enough to get by or Stern (=Star) isn't
a comic book? Or maybe he only submited cover-ideas, and never drew the
final covers that we see on the mags?
/Per-Erik
Fluks, H.W.
Helnwein
Message 81 -
1999-05-17 at 16:20:29
Per-Erik:
> MARKUS (about G. Helnwein):
> > He has also painted Donald Duck some times in
> > oil and I guess that's why he is in the catalogue. He has
> > never done a comic book, however.
> Ok, either his covers weren't good enough to get by or Stern
> (=Star) isn't a comic book?
I think "Stern" is a German non-comic magazine.
> Or maybe he only submited cover-ideas, and
> never drew the final covers that we see on the mags?
He did at least one drawing that was published as a cover on the Dutch
Donald Duck weekly. This information is not in the Inducks
(http://here.is/inducks) yet, since we're still working on indexing the
covers.
--Harry.
> MARKUS (about G. Helnwein):
> > He has also painted Donald Duck some times in
> > oil and I guess that's why he is in the catalogue. He has
> > never done a comic book, however.
> Ok, either his covers weren't good enough to get by or Stern
> (=Star) isn't a comic book?
I think "Stern" is a German non-comic magazine.
> Or maybe he only submited cover-ideas, and
> never drew the final covers that we see on the mags?
He did at least one drawing that was published as a cover on the Dutch
Donald Duck weekly. This information is not in the Inducks
(http://here.is/inducks) yet, since we're still working on indexing the
covers.
--Harry.
Luca Boschi
Is Joe Torcivia reading?
Message 82 -
1999-05-18 at 18:56:27
Hi, all, Dave Gerstein, Joe Torcivia, Rich Bellacera...
I have a question for you: reading articles (and an old interview)
about and with Del Connell, I know that he wrote (or, at least,
conceived) stories of the short-lived Phantom Blot series, around
1965.
I assume that the idea was developed by him and Chase Craig.
Particularly, from an article written by Joe Torcivia, introducing
Super Goof, I read that he conceived the character of Super Goof in
1964 and turned his script over the artist Paul Murry to illustrate.
Super Goof made his debut in P. Blot of April 1965.
It really seems that all the stories of P. Blot come from the same
hand... It's true?
If someone shall be able to answet this question, I'll be very
grateful to him.
Bye!
Luca
David DK - ECN wrote:
>
> PER (and everyone):
> You quote the following info from the dcomics pages...
> > _Uncensored Mouse_ was a reprint from Eternity Comics of very
> > early Mickey strips, that supposedly were in the public domain.
> > It seems like some of the earliest strips actually are, but two
> > of those published by Eternity had been printed in 1930's
> > _Mickey Mouse Book_ before appearing in newspapers, and thus
> > were registered for copyright differently, and are still
> > protected. Hence the demise of their series.
>
> As the contributor of the info, I should update it to say that
> _Mickey Mouse Book_ actually appeared *late* in 1930, when the strips were
> already in newspapers. But the important thing is that as a part of the
> book, the strips were still copyrighted less than a year after their
> creation, and this protected them effectively.
> As to whether there are more than two issues of UM, no more than two
> were ever printed, but galley proofs to #3 exist.
>
> IMHO, the tragic thing about UNCENSORED MOUSE is that it had a noble
> goal: to do justice to Mickey Mouse. Unfortunately, in an attempt to make
> the stuff sell, it played up its nature as "forbidden fruit... the stuff
> you're not supposed to see." The marketing tactic extended all the way to
> selling the comics sealed in plastic, so you couldn't even open them in the
> shops. Eternity gave people the impression that the early Mickey was a dirty
> comic; something that had *rightfully* been suppressed. To quote a
> description from someone's eBay auction that's going on now... "This has
> graphic action! More brutal and shocking than what you'd expect from Mickey.
> Bagged individually, to prevent destroying the dreams of the Mickey fan that
> may happen upon it!"
> Oh, sure. Did they destroy the dreams of last year's readers of
> WDC&S 626 and 627 (when much of the same material, minus cannibals but with
> Mickey's harmlessly mischievous behavior unchanged, was mostly reprinted)? I
> think not.
>
> UNCENSORED MOUSE, genuinely containing some great strips and
> articles and intended as a tribute to Gottfredson, was packaged in such a
> way that it only dirtied his reputation. What a shame.
>
> David Gerstein
--------------------------------
End of Disney comics Digest V99 Issue #92
*****************************************
I have a question for you: reading articles (and an old interview)
about and with Del Connell, I know that he wrote (or, at least,
conceived) stories of the short-lived Phantom Blot series, around
1965.
I assume that the idea was developed by him and Chase Craig.
Particularly, from an article written by Joe Torcivia, introducing
Super Goof, I read that he conceived the character of Super Goof in
1964 and turned his script over the artist Paul Murry to illustrate.
Super Goof made his debut in P. Blot of April 1965.
It really seems that all the stories of P. Blot come from the same
hand... It's true?
If someone shall be able to answet this question, I'll be very
grateful to him.
Bye!
Luca
David DK - ECN wrote:
>
> PER (and everyone):
> You quote the following info from the dcomics pages...
> > _Uncensored Mouse_ was a reprint from Eternity Comics of very
> > early Mickey strips, that supposedly were in the public domain.
> > It seems like some of the earliest strips actually are, but two
> > of those published by Eternity had been printed in 1930's
> > _Mickey Mouse Book_ before appearing in newspapers, and thus
> > were registered for copyright differently, and are still
> > protected. Hence the demise of their series.
>
> As the contributor of the info, I should update it to say that
> _Mickey Mouse Book_ actually appeared *late* in 1930, when the strips were
> already in newspapers. But the important thing is that as a part of the
> book, the strips were still copyrighted less than a year after their
> creation, and this protected them effectively.
> As to whether there are more than two issues of UM, no more than two
> were ever printed, but galley proofs to #3 exist.
>
> IMHO, the tragic thing about UNCENSORED MOUSE is that it had a noble
> goal: to do justice to Mickey Mouse. Unfortunately, in an attempt to make
> the stuff sell, it played up its nature as "forbidden fruit... the stuff
> you're not supposed to see." The marketing tactic extended all the way to
> selling the comics sealed in plastic, so you couldn't even open them in the
> shops. Eternity gave people the impression that the early Mickey was a dirty
> comic; something that had *rightfully* been suppressed. To quote a
> description from someone's eBay auction that's going on now... "This has
> graphic action! More brutal and shocking than what you'd expect from Mickey.
> Bagged individually, to prevent destroying the dreams of the Mickey fan that
> may happen upon it!"
> Oh, sure. Did they destroy the dreams of last year's readers of
> WDC&S 626 and 627 (when much of the same material, minus cannibals but with
> Mickey's harmlessly mischievous behavior unchanged, was mostly reprinted)? I
> think not.
>
> UNCENSORED MOUSE, genuinely containing some great strips and
> articles and intended as a tribute to Gottfredson, was packaged in such a
> way that it only dirtied his reputation. What a shame.
>
> David Gerstein
--------------------------------
End of Disney comics Digest V99 Issue #92
*****************************************
Francois Willot
I Maestri Disney #11
Message 83 -
1999-05-19 at 02:47:03
A few days ago, I have received issue #11 of "I Maestri Disney", the
only one that I was missing.
This is a very interesting issue dedicated to the work of Giorgio
Cavazzano. It contains two stories of "Basil l'investigatopo" ("Basil
from Baker Street"). These were produced in France for Edi-Monde, and
apparently never published before in Italy.
The issue also contains information about the French Disney comics work
of Giorgio Cavazzano. Not only the first stories he did in the beginning
of the 80s, but also the "Clarabelle stories" from the mid and late 80s,
and the many covers Cavazzano has been doing for "Super Picsou G=E9ant"
and "Mickey-Parade" (also some for "Le Journal de Mickey"), for several
years now.
While reading it, I have found several instances where the editors of
IMD have clearly used the French part of the Disney comics database.
Here's what I've found:
Page 6 of IMD #11:
<< [...] redazione del JM (per la maggior parte Jean-Luc Cochet, Yannick
Hodbert, meno frequentamente Fran=E7ois Pasquet o Patrice Croci) [...] >>.
At http://www2.ec-lille.fr/~willot/new/Texte/creator.htm:
<< redaction (Email removed)@The editors of the "Journal de Mickey" (most of the
time Yannick Hodbert and Jean-Luc Cochet; exceptionnally Fran=E7ois
Pasquet and Patrice Croci) >>
IMD, page 71:
<< Schizzo [...] per la copertina del n. 208 di Mickey Parade, ispirate
a quella di Le Journal de Mickey n. 154 (1955) ripresa a sua volta di un
precedente albo a fumetti americano >>.
At http://stp.ling.uu.se/cgi-bin/starback/dcml/story?FC+MP+208:
<< Id=E9e reprise de la couverture fran=E7aise de JM 154 (1955, qui
elle-m=EAme s'inspire d'une couverture am=E9ricaine ant=E9rieure, non
identifi=E9e; info Harry Fluks). Cette couverture am=E9ricaine s'inspire
elle-m=EAme certainement d'un gag Donald de Taliaferro et Karp (24/2/40).
// Un croquis pr=E9liminaire fut publi=E9 dans "The Art of Giorgio
Cavazzano", p. 117. >>
(Only the beginning of the sentence, but without the credit to Harry
Fluks).
On page 6 of IMD, again, Pierre-Yves Gabrion is mentionned as one of the
writers of Giorgio Cavazzano's Disney stories. The story
F JM 81020, Un tr=E9sor dans les =E9toiles
indeed is credited to Pierre-Yves Gabrion and Michel Pi=E9doue in the
database (http://stp.ling.uu.se/cgi-bin/starback/dcml/story?F+JM+81020).=20
But this is not exact. Due to a technical problem of conversion, wrong
data about this story was reported from my database into the "general"
database.
At http://www2.ec-lille.fr/~willot/sto/jm1.htm, one can find the true,
correct information:
F JM 81020 is by either Michel Piedoue or Pierre-Yves Gabrion:
<<
JM 1581/F JM 81020
5-10/Un tr=E9sor dans les =E9toiles
US/GY,DD,HDL,BB,US
Michel Pi=E9doue^Pierre-Yves Gabrion/Michel Pi=E9doue^Pierre-Yves
Gabrion/Giorgio Cavazzano/Giorgio Cavazzano
>>
The symbol "^" means "or" as is explained in the legend file
(http://www2.ec-lille.fr/~willot/leg.htm):
<< ^ (entre deux noms) =3D "ou" >>.
As far as I know, nobody knows if F JM 81020 was really written by
Gabrion. It may very well be Michel Pi=E9doue.
(I have to add that they have forgotten a name in the list of the
authors of Giorgio Cavazzano: Louis Cance wrote "L'h=F4tel des c=EEmes",
F JM 82045, which was erroneously attributed to Michel Motti by Franco
Fossati in his Italian Disney Index. And, as far as I know, Giorgio
Cavazzano never did any cover for Picsou Magazine (see page 108 of
IMD)).
Should I be glad that "I Maestri Disney" have used my information, or
should I be sad to see that they didn't mention any credit?
I hope they can and will add aknowledgements to *all* their sources in
the future...
Francois
http://www2.ec-lille.fr/~willot
only one that I was missing.
This is a very interesting issue dedicated to the work of Giorgio
Cavazzano. It contains two stories of "Basil l'investigatopo" ("Basil
from Baker Street"). These were produced in France for Edi-Monde, and
apparently never published before in Italy.
The issue also contains information about the French Disney comics work
of Giorgio Cavazzano. Not only the first stories he did in the beginning
of the 80s, but also the "Clarabelle stories" from the mid and late 80s,
and the many covers Cavazzano has been doing for "Super Picsou G=E9ant"
and "Mickey-Parade" (also some for "Le Journal de Mickey"), for several
years now.
While reading it, I have found several instances where the editors of
IMD have clearly used the French part of the Disney comics database.
Here's what I've found:
Page 6 of IMD #11:
<< [...] redazione del JM (per la maggior parte Jean-Luc Cochet, Yannick
Hodbert, meno frequentamente Fran=E7ois Pasquet o Patrice Croci) [...] >>.
At http://www2.ec-lille.fr/~willot/new/Texte/creator.htm:
<< redaction (Email removed)@The editors of the "Journal de Mickey" (most of the
time Yannick Hodbert and Jean-Luc Cochet; exceptionnally Fran=E7ois
Pasquet and Patrice Croci) >>
IMD, page 71:
<< Schizzo [...] per la copertina del n. 208 di Mickey Parade, ispirate
a quella di Le Journal de Mickey n. 154 (1955) ripresa a sua volta di un
precedente albo a fumetti americano >>.
At http://stp.ling.uu.se/cgi-bin/starback/dcml/story?FC+MP+208:
<< Id=E9e reprise de la couverture fran=E7aise de JM 154 (1955, qui
elle-m=EAme s'inspire d'une couverture am=E9ricaine ant=E9rieure, non
identifi=E9e; info Harry Fluks). Cette couverture am=E9ricaine s'inspire
elle-m=EAme certainement d'un gag Donald de Taliaferro et Karp (24/2/40).
// Un croquis pr=E9liminaire fut publi=E9 dans "The Art of Giorgio
Cavazzano", p. 117. >>
(Only the beginning of the sentence, but without the credit to Harry
Fluks).
On page 6 of IMD, again, Pierre-Yves Gabrion is mentionned as one of the
writers of Giorgio Cavazzano's Disney stories. The story
F JM 81020, Un tr=E9sor dans les =E9toiles
indeed is credited to Pierre-Yves Gabrion and Michel Pi=E9doue in the
database (http://stp.ling.uu.se/cgi-bin/starback/dcml/story?F+JM+81020).=20
But this is not exact. Due to a technical problem of conversion, wrong
data about this story was reported from my database into the "general"
database.
At http://www2.ec-lille.fr/~willot/sto/jm1.htm, one can find the true,
correct information:
F JM 81020 is by either Michel Piedoue or Pierre-Yves Gabrion:
<<
JM 1581/F JM 81020
5-10/Un tr=E9sor dans les =E9toiles
US/GY,DD,HDL,BB,US
Michel Pi=E9doue^Pierre-Yves Gabrion/Michel Pi=E9doue^Pierre-Yves
Gabrion/Giorgio Cavazzano/Giorgio Cavazzano
>>
The symbol "^" means "or" as is explained in the legend file
(http://www2.ec-lille.fr/~willot/leg.htm):
<< ^ (entre deux noms) =3D "ou" >>.
As far as I know, nobody knows if F JM 81020 was really written by
Gabrion. It may very well be Michel Pi=E9doue.
(I have to add that they have forgotten a name in the list of the
authors of Giorgio Cavazzano: Louis Cance wrote "L'h=F4tel des c=EEmes",
F JM 82045, which was erroneously attributed to Michel Motti by Franco
Fossati in his Italian Disney Index. And, as far as I know, Giorgio
Cavazzano never did any cover for Picsou Magazine (see page 108 of
IMD)).
Should I be glad that "I Maestri Disney" have used my information, or
should I be sad to see that they didn't mention any credit?
I hope they can and will add aknowledgements to *all* their sources in
the future...
Francois
http://www2.ec-lille.fr/~willot
Søren Krarup Olesen
Sergio Asteriti
Message 84 -
1999-05-19 at 02:53:56
"Oyvind J. Karstad" wrote:
> I TL 1697-A, Topolino e la foresta da salvare
> I AT 251-B, Topolino Kid e la trib=F9 fasulla,
> both were drawn by Sergio Asteriti.
> What I think is weird is that the drawings are totally different.
> But the second story is drawn in a more "normal" style,
> almost like a S-coded story.
=20
> Does anybody know why?
They are as you said both by Asteriti, however, in many Scandinavian
(and possibly even German) reprints the I AT stories were redrawn by
this "anonymous" artists, which looks a bit like Josep Tello Gonzalez.
I think more than half of the I AT stories in the Danish pockets were
redrawn for unknown reasons. They are generally easy to recocnize,
because the written code includes the year, here I/AT 251-1977.
S=F8ren
> I TL 1697-A, Topolino e la foresta da salvare
> I AT 251-B, Topolino Kid e la trib=F9 fasulla,
> both were drawn by Sergio Asteriti.
> What I think is weird is that the drawings are totally different.
> But the second story is drawn in a more "normal" style,
> almost like a S-coded story.
=20
> Does anybody know why?
They are as you said both by Asteriti, however, in many Scandinavian
(and possibly even German) reprints the I AT stories were redrawn by
this "anonymous" artists, which looks a bit like Josep Tello Gonzalez.
I think more than half of the I AT stories in the Danish pockets were
redrawn for unknown reasons. They are generally easy to recocnize,
because the written code includes the year, here I/AT 251-1977.
S=F8ren
Dr. Archontis Pantsios
Story of the "week" (3)
Message 85 -
1999-05-19 at 13:05:49
Fellow Quackeroos:
Professional and family duties are taking their toll on me and I really have
to stretch the concept of the "week". Despite not having the time to read
but a handful of stories in the past few days, here's my pick for this
edition of "Story of the Week":
"La deriva dei monumenti", TL #1118, 1977, 36 3-tier pages. Art: Giorgio
Cavazzano, Story: Giorgio Pezzin. Greek re-print: "Miky Maous" #1297, 1991.
*Story's Synopsis*: Uncle Scrooge and his nephews are vacationing in Venice
(expenses paid by John Rockerduck), and while they're touring St. Marcus
Square, a sudden flood forces them to seek refuge at higher elevations! They
soon learn that the waters at Venice rise every day 2m high, and subside 6
hours later. Scrooge sees a chalenge at solving the problem and orders his
technicians back in Duckburg to come back with a solution. A few days later
Scrooge presents the following plan to Venice's city council: the floods are
caused by the gradual lowering of the ground level that lets the tide come
in. In order to save Venice's beautiful monuments Scrooge proposes building
a tunnel under the great monuments, and insert in their bases a huge rubber
mattress in the form of a sausage(!). By inflating the mattress with
pressurized gas, the monuments can rise above water when the tides come in!
The city council approves enthusiastically Scrooge's plan, and construction
works get under way. The project is soon completed and tried successfully
with the first flood: Venice's Basilica rises majestically above the
flooding waters!
The news spread all over the world in a flash and reach the ears of the
Beagle Boys back in Duckburg. Grandpa Beagle concocts a plan to rob Venice's
monuments of their precious treasures, and they immediately set out for
Venice with the first plane (all using the same ticket!--I'll tell you later
how they treat plane-stowaways!)
Here's the Beagles' plan: when the next tide comes in, they'll cut the chain
that holds St. Marcus Basilica to the ground, and they'll tow it away as
it'll be seating on a giant "raft" floating like a...duck!
Their plan works without a hitch, and when Venice wakes up after the next
flood, it's dumbfounded to discover that the Basilica has disappeared, while
the rest of the monuments are scattered all around! Scrooge is held
responsible for the disaster and promises to find the Basilica. To that end,
he embarks in a submarine hoping to locate the sunk Basilica, thinking that
the rubber mattress got punctured. Out in the Adriatic Sea, they finally
meet up with the huge mattress, and discover the truth: the Beagles are
pulling the Basilica with a tug-boat! The kids come up with a sure-fire plan
to get the Basilica back: by pulling the mattress' valves open, they'll turn
the mattress into a turbine that will take the Basilica back to Venice on
its own! Indeed, as the giant "ballon" deflates, the Basilica heads for
Venice, tugging the Beagles along as it finally lands on its old place! The
Beagles are arrested and the Ducks are chased out of Venice as they try to
come with new ideas about how to save the monuments...
*Observations*: This is one of the better Cavazzano-drawn stories, and
Pezzin's entertaining script really contributed greatly in enhancing its
overall quality.
Funny scenes: restaurant tables mounted on floating rafts, waiters and
tourists dressed-up in frog-suits, the Beagles traveling on the plane-wings
after being discovered as stow-aways (one of them arrives frozen in Venice).
Overall grade: B+
Cheers,
Archontis
Professional and family duties are taking their toll on me and I really have
to stretch the concept of the "week". Despite not having the time to read
but a handful of stories in the past few days, here's my pick for this
edition of "Story of the Week":
"La deriva dei monumenti", TL #1118, 1977, 36 3-tier pages. Art: Giorgio
Cavazzano, Story: Giorgio Pezzin. Greek re-print: "Miky Maous" #1297, 1991.
*Story's Synopsis*: Uncle Scrooge and his nephews are vacationing in Venice
(expenses paid by John Rockerduck), and while they're touring St. Marcus
Square, a sudden flood forces them to seek refuge at higher elevations! They
soon learn that the waters at Venice rise every day 2m high, and subside 6
hours later. Scrooge sees a chalenge at solving the problem and orders his
technicians back in Duckburg to come back with a solution. A few days later
Scrooge presents the following plan to Venice's city council: the floods are
caused by the gradual lowering of the ground level that lets the tide come
in. In order to save Venice's beautiful monuments Scrooge proposes building
a tunnel under the great monuments, and insert in their bases a huge rubber
mattress in the form of a sausage(!). By inflating the mattress with
pressurized gas, the monuments can rise above water when the tides come in!
The city council approves enthusiastically Scrooge's plan, and construction
works get under way. The project is soon completed and tried successfully
with the first flood: Venice's Basilica rises majestically above the
flooding waters!
The news spread all over the world in a flash and reach the ears of the
Beagle Boys back in Duckburg. Grandpa Beagle concocts a plan to rob Venice's
monuments of their precious treasures, and they immediately set out for
Venice with the first plane (all using the same ticket!--I'll tell you later
how they treat plane-stowaways!)
Here's the Beagles' plan: when the next tide comes in, they'll cut the chain
that holds St. Marcus Basilica to the ground, and they'll tow it away as
it'll be seating on a giant "raft" floating like a...duck!
Their plan works without a hitch, and when Venice wakes up after the next
flood, it's dumbfounded to discover that the Basilica has disappeared, while
the rest of the monuments are scattered all around! Scrooge is held
responsible for the disaster and promises to find the Basilica. To that end,
he embarks in a submarine hoping to locate the sunk Basilica, thinking that
the rubber mattress got punctured. Out in the Adriatic Sea, they finally
meet up with the huge mattress, and discover the truth: the Beagles are
pulling the Basilica with a tug-boat! The kids come up with a sure-fire plan
to get the Basilica back: by pulling the mattress' valves open, they'll turn
the mattress into a turbine that will take the Basilica back to Venice on
its own! Indeed, as the giant "ballon" deflates, the Basilica heads for
Venice, tugging the Beagles along as it finally lands on its old place! The
Beagles are arrested and the Ducks are chased out of Venice as they try to
come with new ideas about how to save the monuments...
*Observations*: This is one of the better Cavazzano-drawn stories, and
Pezzin's entertaining script really contributed greatly in enhancing its
overall quality.
Funny scenes: restaurant tables mounted on floating rafts, waiters and
tourists dressed-up in frog-suits, the Beagles traveling on the plane-wings
after being discovered as stow-aways (one of them arrives frozen in Venice).
Overall grade: B+
Cheers,
Archontis
Luca Boschi
Is Joe Torcivia reading? I think not...
Message 86 -
1999-05-24 at 03:28:09
Hi, all, Dave Gerstein, Joe Torcivia and all who have and answer for
the following "quiz".
Some days ago I posted a mail with this question: having read articles
(and an old interview) about and with Del Connell, I learned that he
wrote (or, at least, conceived) stories for the short-lived Phantom
Blot series, around 1965.
I assume that the idea was developed by him and Chase Craig.
Particularly, from an article written by Joe Torcivia, introducing
Super Goof, I learn that he created the character of Super Goof in
1964 and he turned his script over the artist Paul Murry to
illustrate.
Super Goof made his debut in " The P. Blot" of April 1965.
It really seems that all the stories of P. Blot come from the same
mind, from the same concept... Is this true?
Mybe also Bob Ogle was involved in the creative process?
Thank you in advance!
Bye!
Luca
--------------------------------
End of Disney comics Digest V99 Issue #93
*****************************************
the following "quiz".
Some days ago I posted a mail with this question: having read articles
(and an old interview) about and with Del Connell, I learned that he
wrote (or, at least, conceived) stories for the short-lived Phantom
Blot series, around 1965.
I assume that the idea was developed by him and Chase Craig.
Particularly, from an article written by Joe Torcivia, introducing
Super Goof, I learn that he created the character of Super Goof in
1964 and he turned his script over the artist Paul Murry to
illustrate.
Super Goof made his debut in " The P. Blot" of April 1965.
It really seems that all the stories of P. Blot come from the same
mind, from the same concept... Is this true?
Mybe also Bob Ogle was involved in the creative process?
Thank you in advance!
Bye!
Luca
--------------------------------
End of Disney comics Digest V99 Issue #93
*****************************************
Don Rosa
Question from a student:
Message 87 -
1999-05-24 at 09:12:34
Here is a message I just received. If anyone can give this guy some help,=
please write directly to him (don't post to the ML, he is not a member).
Bj=F8rn Jervell Hansen
(Email removed)
I am a duck-fan who is about to finish my university degree in
statistics. In the preface I would like to have a quote of some sort, and
the other day I found out that I really wanted it to be a duck-quote,
preferebly a Donald Duck-quote.
Now, I am quite familiar with Donald Duck, being a (in norwegian
terms) medium duck-fan, but I can't think of a place where I have seen on=
e
of the inhabitans in Duckburg (sp?) saying something that I could claim i=
s
connected to statistics.=20
If you had a quote you just happen to remeber, I would be very happy.
please write directly to him (don't post to the ML, he is not a member).
Bj=F8rn Jervell Hansen
(Email removed)
I am a duck-fan who is about to finish my university degree in
statistics. In the preface I would like to have a quote of some sort, and
the other day I found out that I really wanted it to be a duck-quote,
preferebly a Donald Duck-quote.
Now, I am quite familiar with Donald Duck, being a (in norwegian
terms) medium duck-fan, but I can't think of a place where I have seen on=
e
of the inhabitans in Duckburg (sp?) saying something that I could claim i=
s
connected to statistics.=20
If you had a quote you just happen to remeber, I would be very happy.
Ventnor1
Origin of Super Goof
Message 88 -
1999-05-24 at 11:04:03
I'm not sure whether this has been discussed on the list before, but I was
wondering whether anyone knew some inside information pertaining to the
origin of Super Goof. When we first meet him, in his encounter with the
Phantom Blot, his powers are illusory; but when we see him next, in the "Dr
Cyclocks" story, he has full-blown superhero powers, produced by the
"goobers". My guess is that the original idea of Super Goof was considered
to be too unwieldy, and that the goober idea was introduced instead; is this
correct?
David King.
wondering whether anyone knew some inside information pertaining to the
origin of Super Goof. When we first meet him, in his encounter with the
Phantom Blot, his powers are illusory; but when we see him next, in the "Dr
Cyclocks" story, he has full-blown superhero powers, produced by the
"goobers". My guess is that the original idea of Super Goof was considered
to be too unwieldy, and that the goober idea was introduced instead; is this
correct?
David King.
Botto Armando
Zio Paperone, Maestri Disney (long...)
Message 89 -
1999-05-24 at 11:21:47
Just came back from a short holiday in Disney-comics-less London... It never
fails to surprise me how little appreciated Disney comics are in the
countries where Barks, Gottfredson, Rosa stories can be read in their
original language. (By the way, what are the latest news on the front of the
renewal of the Disney license in the U.S.? I'm afraid that "no news, good
news" does not apply to this subject...)
However, I was promptly cheered up by the arrival of my subscription copies
of "Zio Paperone" and "Maestri Disney"... Both issues prompted some remarks
and questions to me, so here they are, together with a summary of the
contents:
ZP 116: Gyro Gearloose issue (Rota cover & back cover)
- letter column:
1. excerpts from a letter from Jack Bradbury himself, thanking ZP people for
their article about him, and providing info about his relationships with
Carl Barks.
2. a reader pointing out a mistake in Don's "Cash Flow" (page 22: Donald's
car should crash after falling from the cliff, as the behaviour of the
cannonball on page 12 seems to suggest). The editors of ZP agree, and
formulate the hypothesis that Don sometimes willingly inserts small
contradictions in his stories, to keep the reader's level of attention high.
Don...?
3. a reader commenting on the famous "Whatever happened to Scrooge" sketch
by Don (the one where Uncle Scrooge is said to have died in 1967). The
reader's question is: Don, in 1991, chose 1967 because it was the year of
Carl Barks's retirement, but in 1994 " Horsing around with history" came
out; so, maybe Don changed his mind and "resurrected" Scrooge? Well... I
have an idea of what Don's answer will be... However, the editors did not
reply, but they printed a reproduction of the sketch, and asked for comments
from all the readers. We'll see whatever happens...
- article about Gyro, by Luca Boschi; among many interesting things, Gyro is
said to be an eagle. Hmmm... I don't want to start the discussion again, but
I think this is a very controversial subject ;-)
- H 89174 (The Pied Piper of Duckburg), with introductory article by Luca
Boschi.
- 3 Barks 4-pagers (from Uncle Scrooge 7, 25, and 36). By the way, back to
the topic of eagle-Gyro vs. chicken-Gyro... in the US 36 story (Duckburg's
Day of Peril), at some point Gyro exclaims "I'll be a sawed-off,
chicken-faced sparrow bird!" Should we take it as a hint? (Maybe I *do* want
to start the discussion again... ;-)
- Barks 1-pager (W US 4-03).
- D 7058 (A Stitch in Time), Branca.
- D 93511 (The Duplicates), Printz-Pahlson/Branca.
- H 9389 (Dagobert Quadraat), Jonker/Heymans. Well, seems 1993 was a good
year for writing stories with multiple Scrooges!
- W DD 39-02 (Million Dollar Rock). Phil de Lara is credited of being also
the writer of this story. Can anybody confirm?
- article about Phil de Lara, by Alberto Becattini. Very interesting, as
usual. But... in the attached De Lara chronology, it's anticipated that the
"Castle Heirs" story (from DD 42) will be published in ZP 119 (next August).
Please, WHY? It's one of the few De Lara stories already re-re-re-reprinted
in Italy (also in SAPNS 3, even though the chronology doesn't mention
that)...
- Rosa Chronology, 1991-1992; not completely accurate, as "War of the
Wendigo" is listed as "the only Rosa story yet unpublished in the U.S."...
- coming in next month's issue: article about, and Grandma Duck story by,
Riley Thompson; Barks's Atlantis story from US 5; stories by Verhagen and
Vicar; Don Rosa double feature - "On a Silver Platter" and "The Curse of
Nostrildamus". Which makes me wonder: can we hope someone is translating
Don's longer stories yet unpublished in Italy (Treasure under Glass, Hearts
of the Yukon, Shrinking Tightwad, Once and Future Duck, Last Lord of
Eldorado, Space Varmints, Black Knight, Cutty Sark)? With all due respect
for Branca's art, the 19 pages devoted to "A stitch in time" could have been
employed much better...
MD 15: G.B. Carpi (special tribute issue)
- 5 pages from the unfinished story "ZP e il mistero della lira celtica".
- I TL 234-A, "Astralpippo n. 9999!" (complete reprint: 61 pages).
- "Paperina Butterfly" (16-pager from a 1994 Disney book).
- I TL 1927-B, "Paperino e il mistero di Lucca" (layouts by Carpi + finished
painted-story, by various drawers).
- various articles and tributes by Boschi, Becattini, and many others.
- coming in next issue: Luciano Bottaro (alas, it's official then... no more
Paul Murry! Are there any other changes foreseen for the near future?), with
I TL 139-B, "Paperino e la scoperta dell'Italia" (can we hope for its full
80 pages, Luca?).
- advertisement for original Carpi art, sold by PAN Distribuzione. Prices
are not reported, but they should be about 150$ for a regular story page,
about 300$ for a splash panel.
Lastly, speaking about Carpi, a very important meeting will take place on
June 3rd in Genoa: an official tribute to the late Maestro, with the
presence of the most important Italian comics experts. I'm very pleased by
the fact that the meeting will be held in the City Hall, with the Mayor of
Genoa opening the event - Carpi deserved such a tribute from his hometown!
Ciao to all,
Armando
fails to surprise me how little appreciated Disney comics are in the
countries where Barks, Gottfredson, Rosa stories can be read in their
original language. (By the way, what are the latest news on the front of the
renewal of the Disney license in the U.S.? I'm afraid that "no news, good
news" does not apply to this subject...)
However, I was promptly cheered up by the arrival of my subscription copies
of "Zio Paperone" and "Maestri Disney"... Both issues prompted some remarks
and questions to me, so here they are, together with a summary of the
contents:
ZP 116: Gyro Gearloose issue (Rota cover & back cover)
- letter column:
1. excerpts from a letter from Jack Bradbury himself, thanking ZP people for
their article about him, and providing info about his relationships with
Carl Barks.
2. a reader pointing out a mistake in Don's "Cash Flow" (page 22: Donald's
car should crash after falling from the cliff, as the behaviour of the
cannonball on page 12 seems to suggest). The editors of ZP agree, and
formulate the hypothesis that Don sometimes willingly inserts small
contradictions in his stories, to keep the reader's level of attention high.
Don...?
3. a reader commenting on the famous "Whatever happened to Scrooge" sketch
by Don (the one where Uncle Scrooge is said to have died in 1967). The
reader's question is: Don, in 1991, chose 1967 because it was the year of
Carl Barks's retirement, but in 1994 " Horsing around with history" came
out; so, maybe Don changed his mind and "resurrected" Scrooge? Well... I
have an idea of what Don's answer will be... However, the editors did not
reply, but they printed a reproduction of the sketch, and asked for comments
from all the readers. We'll see whatever happens...
- article about Gyro, by Luca Boschi; among many interesting things, Gyro is
said to be an eagle. Hmmm... I don't want to start the discussion again, but
I think this is a very controversial subject ;-)
- H 89174 (The Pied Piper of Duckburg), with introductory article by Luca
Boschi.
- 3 Barks 4-pagers (from Uncle Scrooge 7, 25, and 36). By the way, back to
the topic of eagle-Gyro vs. chicken-Gyro... in the US 36 story (Duckburg's
Day of Peril), at some point Gyro exclaims "I'll be a sawed-off,
chicken-faced sparrow bird!" Should we take it as a hint? (Maybe I *do* want
to start the discussion again... ;-)
- Barks 1-pager (W US 4-03).
- D 7058 (A Stitch in Time), Branca.
- D 93511 (The Duplicates), Printz-Pahlson/Branca.
- H 9389 (Dagobert Quadraat), Jonker/Heymans. Well, seems 1993 was a good
year for writing stories with multiple Scrooges!
- W DD 39-02 (Million Dollar Rock). Phil de Lara is credited of being also
the writer of this story. Can anybody confirm?
- article about Phil de Lara, by Alberto Becattini. Very interesting, as
usual. But... in the attached De Lara chronology, it's anticipated that the
"Castle Heirs" story (from DD 42) will be published in ZP 119 (next August).
Please, WHY? It's one of the few De Lara stories already re-re-re-reprinted
in Italy (also in SAPNS 3, even though the chronology doesn't mention
that)...
- Rosa Chronology, 1991-1992; not completely accurate, as "War of the
Wendigo" is listed as "the only Rosa story yet unpublished in the U.S."...
- coming in next month's issue: article about, and Grandma Duck story by,
Riley Thompson; Barks's Atlantis story from US 5; stories by Verhagen and
Vicar; Don Rosa double feature - "On a Silver Platter" and "The Curse of
Nostrildamus". Which makes me wonder: can we hope someone is translating
Don's longer stories yet unpublished in Italy (Treasure under Glass, Hearts
of the Yukon, Shrinking Tightwad, Once and Future Duck, Last Lord of
Eldorado, Space Varmints, Black Knight, Cutty Sark)? With all due respect
for Branca's art, the 19 pages devoted to "A stitch in time" could have been
employed much better...
MD 15: G.B. Carpi (special tribute issue)
- 5 pages from the unfinished story "ZP e il mistero della lira celtica".
- I TL 234-A, "Astralpippo n. 9999!" (complete reprint: 61 pages).
- "Paperina Butterfly" (16-pager from a 1994 Disney book).
- I TL 1927-B, "Paperino e il mistero di Lucca" (layouts by Carpi + finished
painted-story, by various drawers).
- various articles and tributes by Boschi, Becattini, and many others.
- coming in next issue: Luciano Bottaro (alas, it's official then... no more
Paul Murry! Are there any other changes foreseen for the near future?), with
I TL 139-B, "Paperino e la scoperta dell'Italia" (can we hope for its full
80 pages, Luca?).
- advertisement for original Carpi art, sold by PAN Distribuzione. Prices
are not reported, but they should be about 150$ for a regular story page,
about 300$ for a splash panel.
Lastly, speaking about Carpi, a very important meeting will take place on
June 3rd in Genoa: an official tribute to the late Maestro, with the
presence of the most important Italian comics experts. I'm very pleased by
the fact that the meeting will be held in the City Hall, with the Mayor of
Genoa opening the event - Carpi deserved such a tribute from his hometown!
Ciao to all,
Armando
Luca Boschi
Gyro the eagle..?
Message 90 -
1999-05-24 at 14:58:46
to Armando Botto and all:
Ciao a tutti!
About ZP, I want to explain:
> - article about Gyro, by Luca Boschi; among many interesting things, Gyro is
> said to be an eagle. Hmmm... I don't want to start the discussion again, but
> I think this is a very controversial subject ;-)
You're absolutely right! I don't think he is an eagle (Emil Eagle is,
but not Gyro! He's a sort of rooster, a chicken or so... I'd like to
know more things about).
The fact is that I DIDN'T write those lines. They have been added, in
the usual way, during the editing process.
Also in the previous issue of ZP, announcing the "Gyro issue", the
same sentence was included.
So...
This is the truth!
Enough said!
Luca
> - 3 Barks 4-pagers (from Uncle Scrooge 7, 25, and 36). By the way, back to
> the topic of eagle-Gyro vs. chicken-Gyro... in the US 36 story (Duckburg's
> Day of Peril), at some point Gyro exclaims "I'll be a sawed-off,
> chicken-faced sparrow bird!" Should we take it as a hint? (Maybe I *do* want
> to start the discussion again... ;-)
> Please, WHY? It's one of the few De Lara stories already re-re-re-reprinted
> in Italy (also in SAPNS 3, even though the chronology doesn't mention
> that)...
Because it's a wonderful story, written and inked by Vic Lockman, to
whom an article is dedicated. You'll be surprised.
> Don's longer stories yet unpublished in Italy (Treasure under Glass, Hearts
> of the Yukon, Shrinking Tightwad, Once and Future Duck, Last Lord of
> Eldorado, Space Varmints, Black Knight, Cutty Sark)?
Yes. Two of 'em in the next months. And others... Don't let me say
more.
> I TL 139-B, "Paperino e la scoperta dell'Italia" (can we hope for its full
> 80 pages, Luca?).
Yes. The only complete printing after its debut in 1956. Very
interesting, I think.
Ciao to all,
Luca
Ciao a tutti!
About ZP, I want to explain:
> - article about Gyro, by Luca Boschi; among many interesting things, Gyro is
> said to be an eagle. Hmmm... I don't want to start the discussion again, but
> I think this is a very controversial subject ;-)
You're absolutely right! I don't think he is an eagle (Emil Eagle is,
but not Gyro! He's a sort of rooster, a chicken or so... I'd like to
know more things about).
The fact is that I DIDN'T write those lines. They have been added, in
the usual way, during the editing process.
Also in the previous issue of ZP, announcing the "Gyro issue", the
same sentence was included.
So...
This is the truth!
Enough said!
Luca
> - 3 Barks 4-pagers (from Uncle Scrooge 7, 25, and 36). By the way, back to
> the topic of eagle-Gyro vs. chicken-Gyro... in the US 36 story (Duckburg's
> Day of Peril), at some point Gyro exclaims "I'll be a sawed-off,
> chicken-faced sparrow bird!" Should we take it as a hint? (Maybe I *do* want
> to start the discussion again... ;-)
> Please, WHY? It's one of the few De Lara stories already re-re-re-reprinted
> in Italy (also in SAPNS 3, even though the chronology doesn't mention
> that)...
Because it's a wonderful story, written and inked by Vic Lockman, to
whom an article is dedicated. You'll be surprised.
> Don's longer stories yet unpublished in Italy (Treasure under Glass, Hearts
> of the Yukon, Shrinking Tightwad, Once and Future Duck, Last Lord of
> Eldorado, Space Varmints, Black Knight, Cutty Sark)?
Yes. Two of 'em in the next months. And others... Don't let me say
more.
> I TL 139-B, "Paperino e la scoperta dell'Italia" (can we hope for its full
> 80 pages, Luca?).
Yes. The only complete printing after its debut in 1956. Very
interesting, I think.
Ciao to all,
Luca