KRISTIAN:
> What are the names of Huey, Dewey and Louie in Greek?
Hewey, Dewey, and Louie, would you believe?
If you want the Greek spelling, it's something like XIOYH, NTIOYH and
LIOYH, where the L is a lambda. (For those of you familiar with the Greek
alphabet, yes, Louie's name is actually pronounced "Lewey" in Greek.)
For those interested in seeing the Greek names of many Disney comics
characterts, have a look at my home page, and follow one of the two links,
depending on whether you have an iso-8859-7 font available or not.
--
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"She's not dead, Jim."
-----
Author
Topic: 200008
(301 messages)
Kriton Kyrimis
DCML digest, Vol 1 #219 - 4 msgs
Message 16 -
2000-08-04 at 13:21:00
Halsten Aastebol
3. essay on Barks 99 in `Dagsavisen'
Message 17 -
2000-08-04 at 15:37:56
At 03:18 11.07.00 -0700, Trygve Vatle wrote:
>For those interested and who knows Norwegian. The article can be found here:
>
>http://www.dagsavisen.no/kommentar/fritanker/2000/07/489918.shtml?string=barks
>
>Unfortantely, no drawing...
>
>
>Trygve
Here follows a translation of the essay by Anders Heger in Dagsavisen of 2.
July 2000:
***************
About a week ago a laconic message appeared on a net site for specially
interested: "Over the past 4 to 6 weeks Carl's health has steadily become
worse. He is very weak and tired, and spends the greater part of his day in
bed or resting in his chair. Carl has requested all medications that are
prolonging his life be stopped.He will no longer be given his chemotherapy
pills".
There must be some ten thousands of net surfers who has felt a strange
sadness upon reading the message. They know 'uncle Carl', at least they
feel they know him. Death is no tragedy. They know that this is about a man
who is 99 years of age, with a life achievement that will outlast his own
life span several times.
I met him once. By then, he was already near deaf, and I had to shout my
few words into his ear. None of those words contained what I really wanted
to tell him. First of all that he is one of our times' greatest adventure
writers. Secondly that he taught me how to read.
To read is sheer magic. It is to follow some scribbles with the eyes, while
becoming something else, realizing something new, experiencing something.
Anyone can teach us to combine letters to words. Anyone can bring the words
into his head. But only when we let the words take us to somewhere else we
become true readers.
I was 6 when it happened, and since then I have remained with the words. I
still remember in which panel I deciphered the code. It was in the middle
of a story about a stubborn old duck who was unrolling a ball of string
through Africa to prove that he was the richest in the world.
Carl Barks, who may just not reach the age of 100, created uncle Scrooge.
And cousin Gladstone. And the Beagle Boys, the money bin, Magica, Gyro
Gearloose and the universe in which they live: Duckburg. In many ways he
also created Donald, even though a man by the name of Walt Disney had
scribbled down a few Donald sketches before uncle Carl turned him into a
literary giant. Walt was a business man. Carl was only an employee, an
artist and a wage earner. Only an artist. Anyone who knows anything about
America will realize why one of them became famous while the other one had
to be laboriously discovered.
About Yggdrasil, the tree that in Norse mythology embraced the entire world
with it's branches, it was stated in a book I had as a child that: "It was
not possible to see, exactly because it was so big". Only as an adult did I
realize the meaning of this. What is everywhere becomes almost invisible.
Asphalt doesn't show in the city.
This is probably the reason why it takes so unreasonably long time to
discover some art forms. This is especially true when it comes to the old
man who is sitting in Oregon, USA, letting his life come to an end. Sure,
his work was distributed all over the world with the aid of the most
powerful commercial machinery. But just because of that, it became more
invisible. Donald was everywhere, he was more common than The Beatles and
Proysen [a Norwegian writer]. And what is everywhere cannot be art. Not
until later. It was only the kids in the street who asked each other if
there were any stories by "the good artist" this Wednesday. And to this
day, one can still meet people who will give you a strange look if you
state that it's possible to write Homeric stories about the worlds richest
duck travelling across the sea in search for a box of horseradish.
Since then I have watched 5 kids achieve the fantastic: to learn how to
read. I know what they have yet to discover, that it's not in the words,
but in the story that the art of reading is hidden. And all of them have
been helped into it by Carl Barks. One got his breakthrough in the story
about Magica de Spell and Odysseus. Another in the tale of Scrooge and the
pygmy indians who talk in the rhythm of Longfellow's poem. All of them
learned the classic tale about Jason and the argonauts, and the dream of
Shangri-la for the first time in a comic. Maybe they will discover that the
latter stems from one of the most famous books in the history of
literature. Just like they might also discover it was Charles Dickens who
first wrote about Scrooge. And if not, they still have had the pleasure of
reading how Donald drowned the fairy tail land with a billion bottle caps.
These are the great stories of our time, and sometime in the future they
will be ranked together with Dickens'. Who was also only popular
literature in his time.
Carl Barks brought comics up to the level of true art, just like the famous
writers he used in his panels. And he did it without the pompous fuss one
can see in ambitious "art"--comics of today. He was, like for instance
Homer or Snorre, most concerned about if the reader could follow him. This
way he became our first true friend in literature.
Like it says in the story about Scrooge and the scientist who wanted to
make smell free cabbage (he happened to invent a lethal ray instead):
"There are too many masters in the world. And too few good friends".
***************************
Regards
Halsten
>For those interested and who knows Norwegian. The article can be found here:
>
>http://www.dagsavisen.no/kommentar/fritanker/2000/07/489918.shtml?string=barks
>
>Unfortantely, no drawing...
>
>
>Trygve
Here follows a translation of the essay by Anders Heger in Dagsavisen of 2.
July 2000:
***************
About a week ago a laconic message appeared on a net site for specially
interested: "Over the past 4 to 6 weeks Carl's health has steadily become
worse. He is very weak and tired, and spends the greater part of his day in
bed or resting in his chair. Carl has requested all medications that are
prolonging his life be stopped.He will no longer be given his chemotherapy
pills".
There must be some ten thousands of net surfers who has felt a strange
sadness upon reading the message. They know 'uncle Carl', at least they
feel they know him. Death is no tragedy. They know that this is about a man
who is 99 years of age, with a life achievement that will outlast his own
life span several times.
I met him once. By then, he was already near deaf, and I had to shout my
few words into his ear. None of those words contained what I really wanted
to tell him. First of all that he is one of our times' greatest adventure
writers. Secondly that he taught me how to read.
To read is sheer magic. It is to follow some scribbles with the eyes, while
becoming something else, realizing something new, experiencing something.
Anyone can teach us to combine letters to words. Anyone can bring the words
into his head. But only when we let the words take us to somewhere else we
become true readers.
I was 6 when it happened, and since then I have remained with the words. I
still remember in which panel I deciphered the code. It was in the middle
of a story about a stubborn old duck who was unrolling a ball of string
through Africa to prove that he was the richest in the world.
Carl Barks, who may just not reach the age of 100, created uncle Scrooge.
And cousin Gladstone. And the Beagle Boys, the money bin, Magica, Gyro
Gearloose and the universe in which they live: Duckburg. In many ways he
also created Donald, even though a man by the name of Walt Disney had
scribbled down a few Donald sketches before uncle Carl turned him into a
literary giant. Walt was a business man. Carl was only an employee, an
artist and a wage earner. Only an artist. Anyone who knows anything about
America will realize why one of them became famous while the other one had
to be laboriously discovered.
About Yggdrasil, the tree that in Norse mythology embraced the entire world
with it's branches, it was stated in a book I had as a child that: "It was
not possible to see, exactly because it was so big". Only as an adult did I
realize the meaning of this. What is everywhere becomes almost invisible.
Asphalt doesn't show in the city.
This is probably the reason why it takes so unreasonably long time to
discover some art forms. This is especially true when it comes to the old
man who is sitting in Oregon, USA, letting his life come to an end. Sure,
his work was distributed all over the world with the aid of the most
powerful commercial machinery. But just because of that, it became more
invisible. Donald was everywhere, he was more common than The Beatles and
Proysen [a Norwegian writer]. And what is everywhere cannot be art. Not
until later. It was only the kids in the street who asked each other if
there were any stories by "the good artist" this Wednesday. And to this
day, one can still meet people who will give you a strange look if you
state that it's possible to write Homeric stories about the worlds richest
duck travelling across the sea in search for a box of horseradish.
Since then I have watched 5 kids achieve the fantastic: to learn how to
read. I know what they have yet to discover, that it's not in the words,
but in the story that the art of reading is hidden. And all of them have
been helped into it by Carl Barks. One got his breakthrough in the story
about Magica de Spell and Odysseus. Another in the tale of Scrooge and the
pygmy indians who talk in the rhythm of Longfellow's poem. All of them
learned the classic tale about Jason and the argonauts, and the dream of
Shangri-la for the first time in a comic. Maybe they will discover that the
latter stems from one of the most famous books in the history of
literature. Just like they might also discover it was Charles Dickens who
first wrote about Scrooge. And if not, they still have had the pleasure of
reading how Donald drowned the fairy tail land with a billion bottle caps.
These are the great stories of our time, and sometime in the future they
will be ranked together with Dickens'. Who was also only popular
literature in his time.
Carl Barks brought comics up to the level of true art, just like the famous
writers he used in his panels. And he did it without the pompous fuss one
can see in ambitious "art"--comics of today. He was, like for instance
Homer or Snorre, most concerned about if the reader could follow him. This
way he became our first true friend in literature.
Like it says in the story about Scrooge and the scientist who wanted to
make smell free cabbage (he happened to invent a lethal ray instead):
"There are too many masters in the world. And too few good friends".
***************************
Regards
Halsten
Don Rosa
DCML digest, Vol 1 #219 - 4 msgs
Message 18 -
2000-08-04 at 16:17:20
> From: john garvin
> Are living wooden puppets really more fantastic than a race of
menny-hoo-nees
> living in Hawaii?
Well, yes, in my opinion, a living wooden puppet and a big Blue Fairy and a
really big talking cricket dressed in an insect-size tuxedo are a lot more
fantastic than lost civilizations of square people or underground folks.
Barks often used stories where Gearloosian science performed impossible
wonders which is a "fiction" still based on the existence of the wonders of
real science. Yes, he told stories many ways, but still *within certain
bounds* and I do so as well, even though my ways are obviously not
*precisely* Barks', only based on his foundations. I still have my own
attitudes and preferences. I like his stories of places like Plain Awful
and I enjoy doing sequels to them when asked, but I, myownself, would never
create a Plain Awful or a Terry-Firmy land. My use of the word "fantasy"
refers to magic or pixie dust or the Easter Bunny or having a
one-Disney-Universe where Capt. Hook meets Lady and the Tramp or something.
That might be elements of some stories that have appeared in some Disney
titles somewhere, but not in a Barks story.
> Barks stories contained elements of the fantastic: Santa Clause and his
magic
> sleigh, many types of witchcraft and witches,
> And I don't think you can argue that all of
> these stories were done because he editors ordered him too.
How about the Barks story where Dumbo flew in to visit Grandma Duck?
Actually I *can* argue that all of his uses of Santa and witches and Dumbo
were done at his editors' orders and written by other authors because
that's what *Barks* claims in the interviews I've seen for 25 years, and I
believe him because it makes sense based on what the rest of his stories
are like. The stories with Santa ("Letter to Santa", "Toyland"), witches
("Trick or Treat", "Golden Xmas Tree") and the Dumbo weirdness were written
by others or contained the "fantasy" characters by decree of the boss. And
never a ghost in a single story. No occult. His "witch" doctors were all
like Magica -- using herbs and potions mixed in a big kettle as
preternatural means to achieve their wonders. See the nuance? No? To me
it's significant, but someone else may not analyze their fiction as much...
Fairy Tale "fantasy" as opposed to "science fiction". But I recall once
back in college I tried to explain to someone why could consider at least
the possibility of a Loch Ness Monster, but would not listen to his ideas
about werewolves, and I had no success there, so I should give up here as
well. My point was certainly never trying to tell anyone what they should
like to read -- in fact, your message is mixing two of my points together,
but they are sorta related, so that's okay. You can enjoy stories of Santa
meeting the Easter Bunny or Snow White meeting Baloo, but you won't ever
see every story in a Disney comic being based in a "fantasy" universe like
that, and that's good. Something for everybody.
> Are living wooden puppets really more fantastic than a race of
menny-hoo-nees
> living in Hawaii?
Well, yes, in my opinion, a living wooden puppet and a big Blue Fairy and a
really big talking cricket dressed in an insect-size tuxedo are a lot more
fantastic than lost civilizations of square people or underground folks.
Barks often used stories where Gearloosian science performed impossible
wonders which is a "fiction" still based on the existence of the wonders of
real science. Yes, he told stories many ways, but still *within certain
bounds* and I do so as well, even though my ways are obviously not
*precisely* Barks', only based on his foundations. I still have my own
attitudes and preferences. I like his stories of places like Plain Awful
and I enjoy doing sequels to them when asked, but I, myownself, would never
create a Plain Awful or a Terry-Firmy land. My use of the word "fantasy"
refers to magic or pixie dust or the Easter Bunny or having a
one-Disney-Universe where Capt. Hook meets Lady and the Tramp or something.
That might be elements of some stories that have appeared in some Disney
titles somewhere, but not in a Barks story.
> Barks stories contained elements of the fantastic: Santa Clause and his
magic
> sleigh, many types of witchcraft and witches,
> And I don't think you can argue that all of
> these stories were done because he editors ordered him too.
How about the Barks story where Dumbo flew in to visit Grandma Duck?
Actually I *can* argue that all of his uses of Santa and witches and Dumbo
were done at his editors' orders and written by other authors because
that's what *Barks* claims in the interviews I've seen for 25 years, and I
believe him because it makes sense based on what the rest of his stories
are like. The stories with Santa ("Letter to Santa", "Toyland"), witches
("Trick or Treat", "Golden Xmas Tree") and the Dumbo weirdness were written
by others or contained the "fantasy" characters by decree of the boss. And
never a ghost in a single story. No occult. His "witch" doctors were all
like Magica -- using herbs and potions mixed in a big kettle as
preternatural means to achieve their wonders. See the nuance? No? To me
it's significant, but someone else may not analyze their fiction as much...
Fairy Tale "fantasy" as opposed to "science fiction". But I recall once
back in college I tried to explain to someone why could consider at least
the possibility of a Loch Ness Monster, but would not listen to his ideas
about werewolves, and I had no success there, so I should give up here as
well. My point was certainly never trying to tell anyone what they should
like to read -- in fact, your message is mixing two of my points together,
but they are sorta related, so that's okay. You can enjoy stories of Santa
meeting the Easter Bunny or Snow White meeting Baloo, but you won't ever
see every story in a Disney comic being based in a "fantasy" universe like
that, and that's good. Something for everybody.
Archontis Pantsios
Huey, Dewey, and Louie in Greek?
Message 19 -
2000-08-04 at 16:51:17
KRISTIAN:
> Hi - just a quick question for the Greek members of DCML:
Here's the reply of a Greek in the U.S. (10 more days left before I return
to Greece and I become a Greek living in Greece again!)
>What are the
> names of Huey, Dewey and Louie in Greek?
Well, they're....Huey, Dewey, and Louie!
Cheers,
Archontis
------------------------------
Archontis L. Pantsios, Ph.D.
Visiting Associate Professor
Department of Economics
Binghamton University
Binghamton, New York 13902
USA
tel: (607)777-4726
fax: (607)777-2681
------------------------------
> Hi - just a quick question for the Greek members of DCML:
Here's the reply of a Greek in the U.S. (10 more days left before I return
to Greece and I become a Greek living in Greece again!)
>What are the
> names of Huey, Dewey and Louie in Greek?
Well, they're....Huey, Dewey, and Louie!
Cheers,
Archontis
------------------------------
Archontis L. Pantsios, Ph.D.
Visiting Associate Professor
Department of Economics
Binghamton University
Binghamton, New York 13902
USA
tel: (607)777-4726
fax: (607)777-2681
------------------------------
M. Mitchell Marmel
Ms. Vixen in MMC?
Message 20 -
2000-08-04 at 16:55:27
I was going through the remnants of my collection the other day
(basement flood-don't ask), and ran across a Disney Publishing Mickey
Mouse comic from about 8-9 years ago featuring a curvy jewel thief
named Ms. Vixen. Did she ever make any other appearances?
-MMM-
--
'68 Mercedes 220D "Rommel" http://www.dhc.net/~pmhack/mercedes/220d681.htm
'71 Mercedes 250/8 "Iltis" http://www.pages.drexel.edu/~marmelmm/250/250.htm
'61 Mercedes 220b "Blue Max"
http://www.pages.drexel.edu/grad/marmelmm/Max/bluemax.html
WdHel: "Zur Hoelle, es laeuft!"
Club mbz.org Delaware Valley Non-Section
Club mbz.org Virtual Non-Section
ICQ # 58305217
(basement flood-don't ask), and ran across a Disney Publishing Mickey
Mouse comic from about 8-9 years ago featuring a curvy jewel thief
named Ms. Vixen. Did she ever make any other appearances?
-MMM-
--
'68 Mercedes 220D "Rommel" http://www.dhc.net/~pmhack/mercedes/220d681.htm
'71 Mercedes 250/8 "Iltis" http://www.pages.drexel.edu/~marmelmm/250/250.htm
'61 Mercedes 220b "Blue Max"
http://www.pages.drexel.edu/grad/marmelmm/Max/bluemax.html
WdHel: "Zur Hoelle, es laeuft!"
Club mbz.org Delaware Valley Non-Section
Club mbz.org Virtual Non-Section
ICQ # 58305217
M. Mitchell Marmel
Followup: Ms. Vixen Story Code
Message 21 -
2000-08-04 at 17:13:43
KM 2390 1 c H?ctor Saavedra Carlos Valenti MM Mickey Drops In On
Paris To Meet Ms. Vixen! [first published:1990-10]
-MMM-
--
============================================================================
M. Mitchell Marmel \ Scattered, smothered, covered, chunked,
Drexel University \ whipped, beaten, chained and pierced.
Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!*
Fibrous Materials Research Center \ marmelmm at drexel.edu
============================================================================
TaliVisions: http://www.pages.drexel.edu/grad/marmelmm/Talivisions/index.html
ICQ # 58305217
Paris To Meet Ms. Vixen! [first published:1990-10]
-MMM-
--
============================================================================
M. Mitchell Marmel \ Scattered, smothered, covered, chunked,
Drexel University \ whipped, beaten, chained and pierced.
Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!*
Fibrous Materials Research Center \ marmelmm at drexel.edu
============================================================================
TaliVisions: http://www.pages.drexel.edu/grad/marmelmm/Talivisions/index.html
ICQ # 58305217
Daniel Van Eijmeren
The Golden Christmas Tree, and the way how Carl Barks did his work
Message 22 -
2000-08-04 at 17:19:57
DON ROSA, 3 AUGUST 2000:
> [Golden Christmas Tree] Then the story goes on to involve Donald in
> a very boring tale of talking trees and "saving all the world's
> Christmas Trees" and other really too-cute, too-obvious, surreal
> stuff. I never liked that story and I was delighted to find out in
> later years that Barks did not write it, [...]
Just a short note, more is known: The editors had made Carl Barks
do some changes in the fight sequences between Donald and the witch.
The original version is lost.
DON ROSA, 2 AUGUST 2000:
> Remember this Duckburg world is not a "Disney World"... it was
> created by Dell and by Barks. I find it's a bigger challenge and
> a more satisfying accomplishment to produce (hopefully) entertaining
> stories under such limiting parameters of logic and actual history.
> Plus, that's the way Barks did it (unless ordered to do otherwise
> by his editors) and that's the way I likes it.
Just like my own above note on "The Golden Christmas Tree", I find
this is a much too short summary on how Barks did his work.
I'll call it a fabulous miracle if there's even only one person in this
universe who can tell me (or anyone else) even half the knowlegde on
how Barks did it. (Or on Rembrandt, or on Bach, etc. etc.)
As an artist yourself, you would be very disappointed if you would find
a book about yourself, containing only one page saying "This is how Don
Rosa makes his stories." And I would fully agree with you on that.
Please don't take me wrong about this matter. The reason why I say this
is that there are many people who believe you on your word in what you
say. It's a position of dignity, something to be proud of. So, *please*
try to be a bit careful when you write about other persons than yourself.
(It's not the first time that you write like you did in what I've quoted
from your posting. So, that's why I'm saying this all.)
I have the feeling (also out of my own experience, which indeed was
a huge mistake from me) that you expect that from other people, too,
when they talk about you. And again, I would fully agree with you on that.
Best wishes (and I really mean that!)
--- Daniel
> [Golden Christmas Tree] Then the story goes on to involve Donald in
> a very boring tale of talking trees and "saving all the world's
> Christmas Trees" and other really too-cute, too-obvious, surreal
> stuff. I never liked that story and I was delighted to find out in
> later years that Barks did not write it, [...]
Just a short note, more is known: The editors had made Carl Barks
do some changes in the fight sequences between Donald and the witch.
The original version is lost.
DON ROSA, 2 AUGUST 2000:
> Remember this Duckburg world is not a "Disney World"... it was
> created by Dell and by Barks. I find it's a bigger challenge and
> a more satisfying accomplishment to produce (hopefully) entertaining
> stories under such limiting parameters of logic and actual history.
> Plus, that's the way Barks did it (unless ordered to do otherwise
> by his editors) and that's the way I likes it.
Just like my own above note on "The Golden Christmas Tree", I find
this is a much too short summary on how Barks did his work.
I'll call it a fabulous miracle if there's even only one person in this
universe who can tell me (or anyone else) even half the knowlegde on
how Barks did it. (Or on Rembrandt, or on Bach, etc. etc.)
As an artist yourself, you would be very disappointed if you would find
a book about yourself, containing only one page saying "This is how Don
Rosa makes his stories." And I would fully agree with you on that.
Please don't take me wrong about this matter. The reason why I say this
is that there are many people who believe you on your word in what you
say. It's a position of dignity, something to be proud of. So, *please*
try to be a bit careful when you write about other persons than yourself.
(It's not the first time that you write like you did in what I've quoted
from your posting. So, that's why I'm saying this all.)
I have the feeling (also out of my own experience, which indeed was
a huge mistake from me) that you expect that from other people, too,
when they talk about you. And again, I would fully agree with you on that.
Best wishes (and I really mean that!)
--- Daniel
M. Mitchell Marmel
Followup: Ms. Vixen Story Code
Message 23 -
2000-08-04 at 17:33:44
At 10:13 AM -0400 8/4/00, M. Mitchell Marmel wrote:
>KM 2390 1 c H?ctor Saavedra Carlos Valenti MM Mickey Drops In On
>Paris To Meet Ms. Vixen! [first published:1990-10]
Whups! That was the cover code. Here's the story code:
Disney comics story KM ??90c
Mickey Mouse: The Case of the Foxy Felon
Story code
KM ??90c
Number of pages
12
Written by
Marv Wolfman
Pencilled by
H?ctor Saavedra
Inked by
Rub?n Torreiro
Layout
3-tier
Hero
Mickey Mouse
Some appearing characters
Minnie Mouse, Goofy, Professor Ecks, Professor Doublex
First published
1990-10
Publications
USA
MMA 05
>KM 2390 1 c H?ctor Saavedra Carlos Valenti MM Mickey Drops In On
>Paris To Meet Ms. Vixen! [first published:1990-10]
Whups! That was the cover code. Here's the story code:
Disney comics story KM ??90c
Mickey Mouse: The Case of the Foxy Felon
Story code
KM ??90c
Number of pages
12
Written by
Marv Wolfman
Pencilled by
H?ctor Saavedra
Inked by
Rub?n Torreiro
Layout
3-tier
Hero
Mickey Mouse
Some appearing characters
Minnie Mouse, Goofy, Professor Ecks, Professor Doublex
First published
1990-10
Publications
USA
MMA 05
Wouter
Cousin Gladstone
Message 24 -
2000-08-04 at 18:39:39
After Scrooge McDuck, Carl Barks created another family-member of Donald who would re-appear frequently: Gladstone Gander.
But when was his first appereance? As far as I know, it was the story about him and Donald making bets about swimming in the winter and drinking loads of lemonade in 1948, but I can have missed a story earlier.
What I noticed was that Gladstone was reasonable taller than Donald, which makes sence, since he's a goose. But there are a lot of storys in which they have the same seize. Has Carl Barks himself made storys in which their size is different or just other animators?
And how about his luck? In the first storys Gladstone hasn't got an unusual amount of luck, he's just quite lazy. When did this luck thing get along?
Just some questions I've asked myself, maybe you can help me with it"?
But when was his first appereance? As far as I know, it was the story about him and Donald making bets about swimming in the winter and drinking loads of lemonade in 1948, but I can have missed a story earlier.
What I noticed was that Gladstone was reasonable taller than Donald, which makes sence, since he's a goose. But there are a lot of storys in which they have the same seize. Has Carl Barks himself made storys in which their size is different or just other animators?
And how about his luck? In the first storys Gladstone hasn't got an unusual amount of luck, he's just quite lazy. When did this luck thing get along?
Just some questions I've asked myself, maybe you can help me with it"?
Daniel Van Eijmeren
Correction to previous posting!!
Message 25 -
2000-08-04 at 21:52:15
[Correction to my previous posting "The Golden Christmas Tree, and
the way how Carl Barks did his work". Please read that one first.]
I wrote to Don Rosa:
> [...] So, *please* try to be a bit careful when you write about
> other persons than yourself.
>
> (It's not the first time that you write like you did in what I've
> quoted from your posting. So, that's why I'm saying this all.)
>
> I have the feeling (also out of my own experience, which indeed
> was a huge mistake from me) that you expect that from other people,
> too, when they talk about you. And again, I would fully agree with
> you on that.
That second paragraph in this quote makes the meaning of the third
paragraph unclear. When adding that second paragraph afterwards,
I did not realize that.
So, a better third paragraph would be:
- - - -
I have the feeling (also out of my own experience, which indeed was
a huge mistake from me) that you expect other people are careful,
too, when they talk about you. And again, I would fully agree with
you on that.
- - - -
I hope this will appear in the same digest as my previous posting.
Best wishes
--- Daniel
the way how Carl Barks did his work". Please read that one first.]
I wrote to Don Rosa:
> [...] So, *please* try to be a bit careful when you write about
> other persons than yourself.
>
> (It's not the first time that you write like you did in what I've
> quoted from your posting. So, that's why I'm saying this all.)
>
> I have the feeling (also out of my own experience, which indeed
> was a huge mistake from me) that you expect that from other people,
> too, when they talk about you. And again, I would fully agree with
> you on that.
That second paragraph in this quote makes the meaning of the third
paragraph unclear. When adding that second paragraph afterwards,
I did not realize that.
So, a better third paragraph would be:
- - - -
I have the feeling (also out of my own experience, which indeed was
a huge mistake from me) that you expect other people are careful,
too, when they talk about you. And again, I would fully agree with
you on that.
- - - -
I hope this will appear in the same digest as my previous posting.
Best wishes
--- Daniel
Clément Le Hyaric
DCML digest, Vol 1 #219
Message 26 -
2000-08-05 at 02:20:34
Don Rosa wrote:
"Barks limited himself more than I do in another sense in that he never
allowed himself (for reasons I've never heard) to use ghosts or witches or
the occult, whereas I like to use Sir Quackly as the occasional link $crooge
has with his ancestors. No, Barks' Magica DeSpell was NOT a witch with
occult powers, she was a sorceress, a normal person who needed to use old
wands and to learn ancient spells to perform magic... she used preternatural
powers, not supernatural powers".
John Garvin wrote:
"Are living wooden puppets really more fantastic than a race of
menny-hoo-nees living in Hawaii? No, I think the Barks universe is very
much a "fantasy" one, unless one chooses to ignore a great many Barks
stories. You might choose to tell your stories that way, but you can hardly
claim that that's the way "Barks did it." Barks did it many ways. He often
used "logic and actual history" and often used whimsy and pure fantasy. And
I don't think you can argue that all of these stories were done because he
editors ordered him too".
***
I think Don is right when he says Barks' Duck universe is not a fantasy
universe: although Barks' stories often involve "fantastic elements", these
elements are uncommon and meant for confronting Ducks to an unusual
situation. The role of these elements is only to start up the story (or to
give it a background), letting the action continue with logic rules, and
Ducks evolve in actual history. If Barks' universe was a fantasy universe,
Ducks wouldn't be amazed at fantastic events, and the reader would not
consider them anymore as "fantastic" ones. So I think Barks' universe is an
"alternative universe" more than a fantasy one. Moreover, in my opinion, Don
Rosa perpetuate perfectly Barks' way of doing: he puts his characters into
very unusual and amazing situations, but makes them act in accordance with
the true laws of logic and physics (and according to the real history), even
when it's difficult. And this is what brings so pleasure (and laugh) to the
reader, like in this story (my Don's favourite) in which Magica DeSpell
changes the direction of the gravity for these poor Uncle Scrooge and Donald
Duck (sorry I don't know the english title of this story, I can only give
you its french translation: "Un probl?me sans gravit?" - D 96001).
Clement Le Hyaric-
"Barks limited himself more than I do in another sense in that he never
allowed himself (for reasons I've never heard) to use ghosts or witches or
the occult, whereas I like to use Sir Quackly as the occasional link $crooge
has with his ancestors. No, Barks' Magica DeSpell was NOT a witch with
occult powers, she was a sorceress, a normal person who needed to use old
wands and to learn ancient spells to perform magic... she used preternatural
powers, not supernatural powers".
John Garvin wrote:
"Are living wooden puppets really more fantastic than a race of
menny-hoo-nees living in Hawaii? No, I think the Barks universe is very
much a "fantasy" one, unless one chooses to ignore a great many Barks
stories. You might choose to tell your stories that way, but you can hardly
claim that that's the way "Barks did it." Barks did it many ways. He often
used "logic and actual history" and often used whimsy and pure fantasy. And
I don't think you can argue that all of these stories were done because he
editors ordered him too".
***
I think Don is right when he says Barks' Duck universe is not a fantasy
universe: although Barks' stories often involve "fantastic elements", these
elements are uncommon and meant for confronting Ducks to an unusual
situation. The role of these elements is only to start up the story (or to
give it a background), letting the action continue with logic rules, and
Ducks evolve in actual history. If Barks' universe was a fantasy universe,
Ducks wouldn't be amazed at fantastic events, and the reader would not
consider them anymore as "fantastic" ones. So I think Barks' universe is an
"alternative universe" more than a fantasy one. Moreover, in my opinion, Don
Rosa perpetuate perfectly Barks' way of doing: he puts his characters into
very unusual and amazing situations, but makes them act in accordance with
the true laws of logic and physics (and according to the real history), even
when it's difficult. And this is what brings so pleasure (and laugh) to the
reader, like in this story (my Don's favourite) in which Magica DeSpell
changes the direction of the gravity for these poor Uncle Scrooge and Donald
Duck (sorry I don't know the english title of this story, I can only give
you its french translation: "Un probl?me sans gravit?" - D 96001).
Clement Le Hyaric-
Don Rosa
DCML digest, Vol 1 #220 - 10 msgs
Message 27 -
2000-08-05 at 15:14:55
From: "Daniel van Eijmeren"
>>>Just like my own above note on "The Golden Christmas Tree", I find
this is a much too short summary on how Barks did his work.
As an artist yourself, you would be very disappointed if you would find
a book about yourself, containing only one page saying "This is how Don
Rosa makes his stories."
So, *please* try to be a bit careful when you write about other persons
than yourself.
As usual, I'm not remotely close to understanding what irks you. Obviously
anyone would have the sense to know that I had no intention of summing up
Barks' entire working methodology or 60-70 year career in two sentences in
one paragraph. I would not be disappointed in a book that had one page
about "This is how Don Rosa makes his stories" if that's all the room the
book had to devote to the subject in the course of all else it contained.
I'm not writing a doctorate thesis here, none of us are, we are exchanging
brief messages. I don't actually even have time to do *that* much, but I
sometimes fit it in. So, *please* relax.
>>>Just like my own above note on "The Golden Christmas Tree", I find
this is a much too short summary on how Barks did his work.
As an artist yourself, you would be very disappointed if you would find
a book about yourself, containing only one page saying "This is how Don
Rosa makes his stories."
So, *please* try to be a bit careful when you write about other persons
than yourself.
As usual, I'm not remotely close to understanding what irks you. Obviously
anyone would have the sense to know that I had no intention of summing up
Barks' entire working methodology or 60-70 year career in two sentences in
one paragraph. I would not be disappointed in a book that had one page
about "This is how Don Rosa makes his stories" if that's all the room the
book had to devote to the subject in the course of all else it contained.
I'm not writing a doctorate thesis here, none of us are, we are exchanging
brief messages. I don't actually even have time to do *that* much, but I
sometimes fit it in. So, *please* relax.
Thierry Fernand
DCML digest, Vol 1 #220 - 10 msgs
Message 28 -
2000-08-05 at 19:27:04
Don Rosa wrote:
> Remember this Duckburg world is not a "Disney World"...
> it was created by Dell and by Barks. I find it's a bigger
> challenge and a more satisfying accomplishment to produce
> (hopefully) entertaining stories under such limiting
> parameters of logic and actual history.
> Plus, that's the way Barks did it (unless ordered to do
> otherwise by his editors) and that's the way I likes it.
Clement le Hyaric:
> I think Don is right when he says Barks' Duck universe is
> not a fantasy universe
I too think that Don is rigth. I've always seen Barks'
universe as a real word; Donald and other Duckies as humans.
Barks' universe (and lots of other Duck artists' universes)
are not a kind of ("childish"?) Disney fairy tales. They are
somehow anti-Disney.
In most of Barks' ten-pagers the Ducks live in an ordinary
American city. In the long adventures, the stories are based
on history: the fountain of youth story or "Ghost of the
Grotto" contain long explanations of everything.
I love "Letter to Santa" but have always been disappointed by
the end of the story (the appearance of Santa). This ending
seems impossible to me, at least in Barks' universe. I would
not be surprised if this idea was imposed to him by his
editors. "Trick or Treat" or "the Golden Christmas Tree" are
"wrong" as well, even if both stories contain some magical
and typical Barks pages. I'm convinced that Barks would never
have done a story like "Trick or Treat" if it was not a
command of its editors.
Favio
*******************************
Disney Comics Online:
http://members.forez.com/livia
Disney Comics Made in Brazil
http://members.forez.com/brazil
Al Taliaferro
http://www.geocities.com/Paris/Cinema/9080
______________________________________________________
Bo?te aux lettres - Caramail - http://www.caramail.com
> Remember this Duckburg world is not a "Disney World"...
> it was created by Dell and by Barks. I find it's a bigger
> challenge and a more satisfying accomplishment to produce
> (hopefully) entertaining stories under such limiting
> parameters of logic and actual history.
> Plus, that's the way Barks did it (unless ordered to do
> otherwise by his editors) and that's the way I likes it.
Clement le Hyaric:
> I think Don is right when he says Barks' Duck universe is
> not a fantasy universe
I too think that Don is rigth. I've always seen Barks'
universe as a real word; Donald and other Duckies as humans.
Barks' universe (and lots of other Duck artists' universes)
are not a kind of ("childish"?) Disney fairy tales. They are
somehow anti-Disney.
In most of Barks' ten-pagers the Ducks live in an ordinary
American city. In the long adventures, the stories are based
on history: the fountain of youth story or "Ghost of the
Grotto" contain long explanations of everything.
I love "Letter to Santa" but have always been disappointed by
the end of the story (the appearance of Santa). This ending
seems impossible to me, at least in Barks' universe. I would
not be surprised if this idea was imposed to him by his
editors. "Trick or Treat" or "the Golden Christmas Tree" are
"wrong" as well, even if both stories contain some magical
and typical Barks pages. I'm convinced that Barks would never
have done a story like "Trick or Treat" if it was not a
command of its editors.
Favio
*******************************
Disney Comics Online:
http://members.forez.com/livia
Disney Comics Made in Brazil
http://members.forez.com/brazil
Al Taliaferro
http://www.geocities.com/Paris/Cinema/9080
______________________________________________________
Bo?te aux lettres - Caramail - http://www.caramail.com
Stefan Persson
Weeklies in Europe before the war
Message 29 -
2000-08-06 at 12:40:38
>From: "Didier Ghez" <dghez at hotmail.com>
>To: dcomics at strindberg.ling.uu.se
>Subject: Weeklies in Europe before the war
>Date: Sun, 06 Aug 2000 09:42:23 GMT
>I am trying to find good illustrations for the Yugoslavian and Swedish
>weeklies that were published at the time.
The Swedish "Musse Pigg-tidningen" (which I suppose you're referring to),
was published bi-weekly. I can't help you with any pictures, though...
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
>To: dcomics at strindberg.ling.uu.se
>Subject: Weeklies in Europe before the war
>Date: Sun, 06 Aug 2000 09:42:23 GMT
>I am trying to find good illustrations for the Yugoslavian and Swedish
>weeklies that were published at the time.
The Swedish "Musse Pigg-tidningen" (which I suppose you're referring to),
was published bi-weekly. I can't help you with any pictures, though...
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Didier Ghez
Weeklies in Europe before the war
Message 30 -
2000-08-06 at 12:42:23
Hi,
I am preparing an article on Disney weeklies in the pre-war era in Europe.
Alberto Beccatini's book is of course the best reference on the matter, but
I am trying to find good illustrations for the Yugoslavian and Swedish
weeklies that were published at the time.
Would any member have some issues that he/she could photograph for me ?
Thanks a million in advance.
Didier
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
I am preparing an article on Disney weeklies in the pre-war era in Europe.
Alberto Beccatini's book is of course the best reference on the matter, but
I am trying to find good illustrations for the Yugoslavian and Swedish
weeklies that were published at the time.
Would any member have some issues that he/she could photograph for me ?
Thanks a million in advance.
Didier
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com