Do anyone have a extra copy of a Don Rosa story?
If you have one please mail me. I can send you stories from my contry in
return.
Oyvind Sigerstad oifind at online.no
Author
Topic: 200011
(215 messages)
Øyvind K. Sigerstad
Do anyone have som Don Rosa stories?
Message 31 -
2000-11-05 at 21:18:18
Don Rosa
Digest #309
Message 32 -
2000-11-06 at 16:37:28
> From: "Fluks, H.W."
> Don:
> > "Incredible Shrinking Tightwad"
> Am I right in assuming that you did
> - a 3-part version for Egmont
> - a 1-part version (2 different splash panels)
> - an extra page's worth of panels for Gladstone
From: Kriton Kyrimis
> Perhaps they'll be printing the story in two parts, so that they can use
> both the uncensored version and the extra page that Don made to convert
> the story into a two-parter.
Er... both of these statements are either incorrect or are not stated
clearly. Let me explain --
With all my stories for Egmont, I simultaneously do TWO versions. One
version (well, just as regards a certain page or pages) is the 2-part or
3-part version and has big splash panels on the top half of the first pages
of the chapters with plot-recap caption boxes and a scene that usually
recreates the last panel in the previous chapter. The other version is a
1-part version with additional story and art for the top halves of those
pages mentioned above -- in place of the splash panels there are
multi-panel half-pages with some gag or bit of plot that is not essential
for the story and won't be missed by the readers that see the serialized
versions. Both of these versions are available to Egmont publishers or
other publishers, and my ongoing challenge is four-fold:
First, I am trying hard to let all publishers know that the 1-part version
is readily available to them on request. This does not work all the time,
even when the publisher knows it -- for example, In Holland they always
print the wrong 3-part version of the story in one piece, with the annoying
and inexplicable half-page splashes suddenly interrupting the plot -- they
seem to know it's wrong but they don't want to color the pages themselves
and just use the computer-coloring that Egmont has already done on the
serialized version. (This would be annoying to me since the readers would
think that *I* am inserting these meaningless and redundant half-page
panels into my stories, but the Dutch editors don't tell their readers the
names of the people who write and draw the stories anyway, so I try not to
worry about it.)
The second challenge is to get Egmont to send the correct art even when the
publishers correctly *ask* for the 1-part version. According to the
publishers, they only receive the correct art about half the time, at least
this is what they tell me, I dunno. I sometimes must supply the publishers
with the correct art they need. It seems to me that it would be simple if
Egmont always just sent *both* versions to the publishers, but I can
imagine this would cause great confusion with those publishers who are not
so adept at understanding comics as they should be.
The third challenge is to get Egmont to send the correct script with
whatever version of the art they send. I sometimes must supply the correct
dialogue, etc., to the publishers (I did this recently for KOMIX).
The fourth challenge is to get the publishers to recognize and care whether
they get the correct art they ask for. It seems to me that this should be
painfully obvious if the editor looks at the art that he is sent -- he'll
see those sudden redundant half-page splash pages in the story's middle and
know that something is wrong -- but apparently some publishers don't pay
that much attention or something because they will use the wrong art and
say they didn't notice any problem (i.e. the German Rosa albums).
But ALL of these problems are so easily avoided since the publishers only
need to send me an e-mail when they have a problem, which I will answer
within one or two hours, and immediately send them whatever art or script
they need, all at *my own expense*. I do this for selfish reasons because I
am anxious for my stories to look nice even if I don't get paid for their
re-use.... I have a lotta pride in that stuff and I've already gone to
extra effort to make alternate versions of my stories for however a
publisher wants to use them. So I figure I am only protecting my investment
in time and effort when I spend more time and effort and my own $ to help
them use my stories in such a way that does not embarrass me. And this pays
off well with some diligent publishers to whom I am grateful!
Anyway, as for the "Incredible Shrinking Tightwad", I did not do extra art
just for Gladstone so that they could convert it into a 2-parter. That art
already existed. The extra art I did for Gladstone (and, therefore, free to
any publisher who used the story after them) was simply to expand one part
of the story that I thought was too abrupt when I had to trim pages from my
original script to fit it into the story-length limitations that Egmont
used to give me (3-parts, 8 pages per part, no more than 24 pages). Now
they have thankfully loosened that structure up so I can make two part
stories rather than 3-parters, with each part being whatever length needed
for the plot, and with the page length being anywhere up to 25-30 pages,
plus or minus. (You can't believe how much easier that makes plotting a
story for them! Thank you, Byron!)
> Don:
> > "Incredible Shrinking Tightwad"
> Am I right in assuming that you did
> - a 3-part version for Egmont
> - a 1-part version (2 different splash panels)
> - an extra page's worth of panels for Gladstone
From: Kriton Kyrimis
> Perhaps they'll be printing the story in two parts, so that they can use
> both the uncensored version and the extra page that Don made to convert
> the story into a two-parter.
Er... both of these statements are either incorrect or are not stated
clearly. Let me explain --
With all my stories for Egmont, I simultaneously do TWO versions. One
version (well, just as regards a certain page or pages) is the 2-part or
3-part version and has big splash panels on the top half of the first pages
of the chapters with plot-recap caption boxes and a scene that usually
recreates the last panel in the previous chapter. The other version is a
1-part version with additional story and art for the top halves of those
pages mentioned above -- in place of the splash panels there are
multi-panel half-pages with some gag or bit of plot that is not essential
for the story and won't be missed by the readers that see the serialized
versions. Both of these versions are available to Egmont publishers or
other publishers, and my ongoing challenge is four-fold:
First, I am trying hard to let all publishers know that the 1-part version
is readily available to them on request. This does not work all the time,
even when the publisher knows it -- for example, In Holland they always
print the wrong 3-part version of the story in one piece, with the annoying
and inexplicable half-page splashes suddenly interrupting the plot -- they
seem to know it's wrong but they don't want to color the pages themselves
and just use the computer-coloring that Egmont has already done on the
serialized version. (This would be annoying to me since the readers would
think that *I* am inserting these meaningless and redundant half-page
panels into my stories, but the Dutch editors don't tell their readers the
names of the people who write and draw the stories anyway, so I try not to
worry about it.)
The second challenge is to get Egmont to send the correct art even when the
publishers correctly *ask* for the 1-part version. According to the
publishers, they only receive the correct art about half the time, at least
this is what they tell me, I dunno. I sometimes must supply the publishers
with the correct art they need. It seems to me that it would be simple if
Egmont always just sent *both* versions to the publishers, but I can
imagine this would cause great confusion with those publishers who are not
so adept at understanding comics as they should be.
The third challenge is to get Egmont to send the correct script with
whatever version of the art they send. I sometimes must supply the correct
dialogue, etc., to the publishers (I did this recently for KOMIX).
The fourth challenge is to get the publishers to recognize and care whether
they get the correct art they ask for. It seems to me that this should be
painfully obvious if the editor looks at the art that he is sent -- he'll
see those sudden redundant half-page splash pages in the story's middle and
know that something is wrong -- but apparently some publishers don't pay
that much attention or something because they will use the wrong art and
say they didn't notice any problem (i.e. the German Rosa albums).
But ALL of these problems are so easily avoided since the publishers only
need to send me an e-mail when they have a problem, which I will answer
within one or two hours, and immediately send them whatever art or script
they need, all at *my own expense*. I do this for selfish reasons because I
am anxious for my stories to look nice even if I don't get paid for their
re-use.... I have a lotta pride in that stuff and I've already gone to
extra effort to make alternate versions of my stories for however a
publisher wants to use them. So I figure I am only protecting my investment
in time and effort when I spend more time and effort and my own $ to help
them use my stories in such a way that does not embarrass me. And this pays
off well with some diligent publishers to whom I am grateful!
Anyway, as for the "Incredible Shrinking Tightwad", I did not do extra art
just for Gladstone so that they could convert it into a 2-parter. That art
already existed. The extra art I did for Gladstone (and, therefore, free to
any publisher who used the story after them) was simply to expand one part
of the story that I thought was too abrupt when I had to trim pages from my
original script to fit it into the story-length limitations that Egmont
used to give me (3-parts, 8 pages per part, no more than 24 pages). Now
they have thankfully loosened that structure up so I can make two part
stories rather than 3-parters, with each part being whatever length needed
for the plot, and with the page length being anywhere up to 25-30 pages,
plus or minus. (You can't believe how much easier that makes plotting a
story for them! Thank you, Byron!)
Luca Boschi
R: Lucca question
Message 33 -
2000-11-06 at 18:00:00
Hi, Vainio and all!
> Can you tell us more about the Lucca Con in general - what programs &
> exhibitions they had and were there many cartoonists present?
Well, first of all, the convention that yesterday was concluded was NOT the
"normal" Lucca Comics.
The Ente Max M. Garnier, owner of the Lucca logo and of all the things
connected with it, didn't organize it, because the Mayor of Lucca, dr.
Pietro Fazzi, decided that he wished to "control" the most important
convention of the Lucca area. In different ways, avoiding to respect the
laws of the Ente Garnier, he gave the role of coordinating a DIFFERENT BUT
SIMILAR exhibition and convention (Lucca Comics&Games 2000) to another guy,
Renato Genovese, who accepted, and to the (former?) secretary of Garnier,
Alessandra Palamidesi.
It was a mess, like I always said and wrote.
It's really a long story to describe HOW all this could happen. I was
fighting for some months to avoid this very, very bad situation, and with me
some Garnier's members, but, at least, the Mayor's wish was (quite)
fulfilled by Genovese and his staff, made even by some of our (former)
collaborators.
With a very bad mood among the former Lucca staff, with a lot of money we
still wait to be paid, and withe the promise to Genovese to get 40 millions
lire by the organizing of this year's Con. Incidentally, we still wait the
few money we should have get from the "true" Lucca Con and we didn't see a
coin from 1998 or even before...
The Lucca Common didn't give usa a penny for the last 1999 Lucca Comics
edition. We got all the money necessary to organize it from the stand's
landing and from the tickets.
The "general" public didn't know what happened, and in the two first days of
the convention they come to visit this "Lucca Con", that was very crowded.
Some of the publishers were there (not all: not Diabolik, Disney, Play
Press, Star Comics, Mare Nero and so on). And there was a very, very small
number of cartoonists, story men and artists. Very few hosts from foreign
countries, contacted moer by some publishers than by the "organization",
coming from Argentina (Robin Wood, Gomez, Juan Zanotto, Horacio Altuna) and
from Japan (two or three animators contacted by Yamato). Then, there were
some Bonelli's artists and story men, hosted by Bonelli Publisher.
Very, very few meetings with people, no international educational panels
(like in the past) and, most of all, NOT ANY AWARDS, becaouse noone was able
to organize a commitee ar/and an international jury.
So, even if the local press wrote a lot of "good" reviews on the Con (but
some of 'em, written by the "so called" columnist Massimo Mannari, in the
"Il Tirreno" newspaper, were really partial, they 'd to be considered "the
Con's voice", and so mostly fake and untrue), in the two following day the
Fair was empty. The same official sources were compelled to admit that there
were 2.000 visitors a day (but some retailers told me that there were maybe
few hundreds).
So, no Disney artists from Italy or/and from foreign countries, no comic
book and comic strips Masters like last years. Very few columnists and only
local TVs involved.
A very, very bad page in the italian comicdom page. Not totally resolved,
because now some courts shall decide about what happened.
Ciao! We hope something better (and the respect of the laws) in the future,
but... with this Mayor I think it shall be really difficolt.
Luca
> Can you tell us more about the Lucca Con in general - what programs &
> exhibitions they had and were there many cartoonists present?
Well, first of all, the convention that yesterday was concluded was NOT the
"normal" Lucca Comics.
The Ente Max M. Garnier, owner of the Lucca logo and of all the things
connected with it, didn't organize it, because the Mayor of Lucca, dr.
Pietro Fazzi, decided that he wished to "control" the most important
convention of the Lucca area. In different ways, avoiding to respect the
laws of the Ente Garnier, he gave the role of coordinating a DIFFERENT BUT
SIMILAR exhibition and convention (Lucca Comics&Games 2000) to another guy,
Renato Genovese, who accepted, and to the (former?) secretary of Garnier,
Alessandra Palamidesi.
It was a mess, like I always said and wrote.
It's really a long story to describe HOW all this could happen. I was
fighting for some months to avoid this very, very bad situation, and with me
some Garnier's members, but, at least, the Mayor's wish was (quite)
fulfilled by Genovese and his staff, made even by some of our (former)
collaborators.
With a very bad mood among the former Lucca staff, with a lot of money we
still wait to be paid, and withe the promise to Genovese to get 40 millions
lire by the organizing of this year's Con. Incidentally, we still wait the
few money we should have get from the "true" Lucca Con and we didn't see a
coin from 1998 or even before...
The Lucca Common didn't give usa a penny for the last 1999 Lucca Comics
edition. We got all the money necessary to organize it from the stand's
landing and from the tickets.
The "general" public didn't know what happened, and in the two first days of
the convention they come to visit this "Lucca Con", that was very crowded.
Some of the publishers were there (not all: not Diabolik, Disney, Play
Press, Star Comics, Mare Nero and so on). And there was a very, very small
number of cartoonists, story men and artists. Very few hosts from foreign
countries, contacted moer by some publishers than by the "organization",
coming from Argentina (Robin Wood, Gomez, Juan Zanotto, Horacio Altuna) and
from Japan (two or three animators contacted by Yamato). Then, there were
some Bonelli's artists and story men, hosted by Bonelli Publisher.
Very, very few meetings with people, no international educational panels
(like in the past) and, most of all, NOT ANY AWARDS, becaouse noone was able
to organize a commitee ar/and an international jury.
So, even if the local press wrote a lot of "good" reviews on the Con (but
some of 'em, written by the "so called" columnist Massimo Mannari, in the
"Il Tirreno" newspaper, were really partial, they 'd to be considered "the
Con's voice", and so mostly fake and untrue), in the two following day the
Fair was empty. The same official sources were compelled to admit that there
were 2.000 visitors a day (but some retailers told me that there were maybe
few hundreds).
So, no Disney artists from Italy or/and from foreign countries, no comic
book and comic strips Masters like last years. Very few columnists and only
local TVs involved.
A very, very bad page in the italian comicdom page. Not totally resolved,
because now some courts shall decide about what happened.
Ciao! We hope something better (and the respect of the laws) in the future,
but... with this Mayor I think it shall be really difficolt.
Luca
Fluks, H.W.
Rosa's shrinking producktion (again)
Message 34 -
2000-11-06 at 19:04:12
> From: Don Rosa [mailto:donrosa at iglou.com]
> Sent: Monday, November 06, 2000 3:37 PM
[to my and Kriton's statements]
> Er... both of these statements are either incorrect or are not stated
> clearly.
I had indeed some trouble expressing what I meant.
> for example, In Holland they always
> print the wrong 3-part version of the story in one piece,
> with the annoying
> and inexplicable half-page splashes suddenly interrupting the
> plot
One comfort may be that they do that for *all* stories. We Dutch have been
used to this kind of stories for decades. They started this when they
reprinted Murry sequences as 1 story, in the 70s.
> the Dutch editors don't tell their readers the
> names of the people who write and draw the stories anyway
Except in the OOM DAGOBERT albums, where your name is mentioned in the
editorials...
> But ALL of these problems are so easily avoided since the
> publishers only
> need to send me an e-mail when they have a problem
The Dutch editors (at least) are still not used to corresponding by e-mail
with foreigers. For instance, most communication with the Spanish studios is
done by fax...
> Now
> they have thankfully loosened that structure up so I can make two part
> stories rather than 3-parters, with each part being whatever
> length needed
> for the plot, and with the page length being anywhere up to
> 25-30 pages
I'm still dreaming of enlarged versions of some of your older stories. Every
time you expanded a story, it was a real improvement. I'd love to buy comic
albums ("graphic novels") with 44-page Rosa stories in them. And lots of
other people might too...
--Harry.
> Sent: Monday, November 06, 2000 3:37 PM
[to my and Kriton's statements]
> Er... both of these statements are either incorrect or are not stated
> clearly.
I had indeed some trouble expressing what I meant.
> for example, In Holland they always
> print the wrong 3-part version of the story in one piece,
> with the annoying
> and inexplicable half-page splashes suddenly interrupting the
> plot
One comfort may be that they do that for *all* stories. We Dutch have been
used to this kind of stories for decades. They started this when they
reprinted Murry sequences as 1 story, in the 70s.
> the Dutch editors don't tell their readers the
> names of the people who write and draw the stories anyway
Except in the OOM DAGOBERT albums, where your name is mentioned in the
editorials...
> But ALL of these problems are so easily avoided since the
> publishers only
> need to send me an e-mail when they have a problem
The Dutch editors (at least) are still not used to corresponding by e-mail
with foreigers. For instance, most communication with the Spanish studios is
done by fax...
> Now
> they have thankfully loosened that structure up so I can make two part
> stories rather than 3-parters, with each part being whatever
> length needed
> for the plot, and with the page length being anywhere up to
> 25-30 pages
I'm still dreaming of enlarged versions of some of your older stories. Every
time you expanded a story, it was a real improvement. I'd love to buy comic
albums ("graphic novels") with 44-page Rosa stories in them. And lots of
other people might too...
--Harry.
UNDBKB
Rosa Stories
Message 35 -
2000-11-06 at 20:35:31
> Do anyone have a extra copy of a Don Rosa story?
> If you have one please mail me. I can send you stories from my contry in
> return.
>
> Oyvind Sigerstad oifind at online.no
This e-mail address did not work!
What stories would you like?
From: Barry in the U.S.A.
> If you have one please mail me. I can send you stories from my contry in
> return.
>
> Oyvind Sigerstad oifind at online.no
This e-mail address did not work!
What stories would you like?
From: Barry in the U.S.A.
Stephane Haubois
Welcome To "DCML"! (Digest mode)
Message 36 -
2000-11-08 at 18:08:47
>Welcome to the DCML at stp.ling.uu.se mailing list! Note that the Disney
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>Web page noted above.
>
>
>
>Comics Mailing List is only about Disney comics, not Disney animation
>or other Disney stuff.
>
>This is a public forum. Everyone is welcome on the list, and the list
>archives are available on the web, so don't write anything here that
>you don't want public.
>
>To post to this list, send your email to:
>
> dcml at stp.ling.uu.se
>
>General information about the mailing list is at:
>
> http://stp.ling.uu.se/mailman/listinfo/dcml
>
>If you ever want to unsubscribe or change your options (eg, switch to
>or from digest mode, change your password, etc.), visit your
>subscription page at:
>
> http://stp.ling.uu.se/mailman/options/dcml/haubois.st at voila.fr
>
>You can also make such adjustments via email by sending a message to:
>
> DCML-request at stp.ling.uu.se
>
>with the word `help' in the subject or body (don't include the
>quotes), and you will get back a message with instructions.
>
>You must know your password to change your options (including changing
>the password, itself) or to unsubscribe. It is:
>
> stefin
>
>If you forget your password, don't worry, you will receive a monthly
>reminder telling you what all your stp.ling.uu.se mailing list
>passwords are, and how to unsubscribe or change your options. There
>is also a button on your options page that will email your current
>password to you.
>
>You may also have your password mailed to you automatically off of the
>Web page noted above.
>
>
>
Oyvind J. Karstad
Question for Don Rosa
Message 37 -
2000-11-08 at 20:50:12
Don Rosa:
What are you working on now?
Oyvind J. Karstad
What are you working on now?
Oyvind J. Karstad
Apostolis Trikourakis
Question for Don Rosa
Message 38 -
2000-11-08 at 21:28:16
Oyvind Karstad wrote:
>>>Don Rosa:
>>>What are you working on now?
As I know, Don is working on the new "Life and Times" chapter, which is
taking place in Panama, 1902
Best Wishes
Apostolis Trikourakis, Athens
E-mail: komix43 at hotmail.com & komix at compulink.gr
Web Site: http://www.geocities.com/komixgreekpage
DCML member
>>>Don Rosa:
>>>What are you working on now?
As I know, Don is working on the new "Life and Times" chapter, which is
taking place in Panama, 1902
Best Wishes
Apostolis Trikourakis, Athens
E-mail: komix43 at hotmail.com & komix at compulink.gr
Web Site: http://www.geocities.com/komixgreekpage
DCML member
Georgios Balanikas
Definite day of publication of Carl Bark's S.I.N. story
Message 39 -
2000-11-09 at 00:24:11
Update for the definite day of "Somewhere in Nowhere " story publication:
It will be between 16th and 20th of November and it will be presented at the
Expocomic Show in Rome.
It is a great possibility that Patrick Block himself will be present.
This edition will be hardbound (third in the Il Tresori series), bilingual
,Italian and English, including also an article about the artists and how
the story was made with some roughs with CB notes.
Georgios
It will be between 16th and 20th of November and it will be presented at the
Expocomic Show in Rome.
It is a great possibility that Patrick Block himself will be present.
This edition will be hardbound (third in the Il Tresori series), bilingual
,Italian and English, including also an article about the artists and how
the story was made with some roughs with CB notes.
Georgios
Hans Kiesl
The Comics Journal: Barks tribute
Message 40 -
2000-11-09 at 14:31:20
The Comics Journal #227 has a special section on Carl Barks.
Quote from their website:
Remembering the Good Duck Artist Bruce Hamilton, Geoffrey Blum, Don
Rosa, R. C. Harvey, Gary Groth and an all-star
assembly of comicdom's finest pay their respects to
one of the most influential cartoonists of the
Twentieth Century, in a special section containing
tributes, commentary, artwork and interview excerpts
from the Man himself.
http://www.tcj.com/1_frontdesk/stands.html
Anyone got that issue? Is it worth buying?
-Hans-
Quote from their website:
Remembering the Good Duck Artist Bruce Hamilton, Geoffrey Blum, Don
Rosa, R. C. Harvey, Gary Groth and an all-star
assembly of comicdom's finest pay their respects to
one of the most influential cartoonists of the
Twentieth Century, in a special section containing
tributes, commentary, artwork and interview excerpts
from the Man himself.
http://www.tcj.com/1_frontdesk/stands.html
Anyone got that issue? Is it worth buying?
-Hans-
Kristian PEDERSEN
Election
Message 41 -
2000-11-09 at 15:48:49
This is a very silly association to get, but the current presidential
election reminds me of a contest between Scrooge McDuck and Flintheart
Gloomgold. I mean, Bush and Gore are so close that it's ridiculous. In my
mind's eye I can't help seeing the Florida votes in two gigantic piles on
the floor, with the contestants anxiously watching from the sidelines...
Kristian :)
election reminds me of a contest between Scrooge McDuck and Flintheart
Gloomgold. I mean, Bush and Gore are so close that it's ridiculous. In my
mind's eye I can't help seeing the Florida votes in two gigantic piles on
the floor, with the contestants anxiously watching from the sidelines...
Kristian :)
Don Rosa
Digest #313
Message 42 -
2000-11-09 at 15:56:52
> From: "Oyvind J. Karstad"
> Don Rosa:
> What are you working on now?
> From: "Apostolis Trikourakis"
> As I know, Don is working on the new "Life and Times" chapter, which is
> taking place in Panama, 1902
I'm slow, but not *that* slow! I finished that story about a month ago,
before I left on my German tour.
This week I'm working on private commissions and today I am finishing a
pin-up for PICSOU for that "Lo$" story about Panama 1906 (not 1902) which I
did for France. Next I need to design another special cover for AKU ANKKA
for when they use my "Attaaaaack!" story in the #1/2001 issue. Only then
will I try to figure out what my next story will be, but I guess it will be
something for Egmont.
> Don Rosa:
> What are you working on now?
> From: "Apostolis Trikourakis"
> As I know, Don is working on the new "Life and Times" chapter, which is
> taking place in Panama, 1902
I'm slow, but not *that* slow! I finished that story about a month ago,
before I left on my German tour.
This week I'm working on private commissions and today I am finishing a
pin-up for PICSOU for that "Lo$" story about Panama 1906 (not 1902) which I
did for France. Next I need to design another special cover for AKU ANKKA
for when they use my "Attaaaaack!" story in the #1/2001 issue. Only then
will I try to figure out what my next story will be, but I guess it will be
something for Egmont.
Erik Bergwall
Don story in sweden
Message 43 -
2000-11-09 at 16:35:04
Hi.
Is it someone that knows when "Attaaack!" are getting published in Sweden?
Regards,
Erik Bergwall
www.dizzni.com
erik.bergwall at telia.com
Is it someone that knows when "Attaaack!" are getting published in Sweden?
Regards,
Erik Bergwall
www.dizzni.com
erik.bergwall at telia.com
Apostolis Trikourakis
Digest #313
Message 44 -
2000-11-09 at 23:24:47
Don Rosa wrote:
>>>I'm slow, but not *that* slow! I finished that story about a month ago,
>>>before I left on my German tour.
Sorry Don, I didn't knew that!
>>>I am finishing a
>>>pin-up for PICSOU for that "Lo$" story about Panama 1906 (not 1902)
I realized my mistake about the wrong year AFTER I sent the mail.
BTW, which is the new chapter's tittle?
Best Wishes
Apostolis Trikourakis, Athens
E-mail: komix43 at hotmail.com & komix at compulink.gr
Web Site: http://www.geocities.com/komixgreekpage
DCML member
>>>I'm slow, but not *that* slow! I finished that story about a month ago,
>>>before I left on my German tour.
Sorry Don, I didn't knew that!
>>>I am finishing a
>>>pin-up for PICSOU for that "Lo$" story about Panama 1906 (not 1902)
I realized my mistake about the wrong year AFTER I sent the mail.
BTW, which is the new chapter's tittle?
Best Wishes
Apostolis Trikourakis, Athens
E-mail: komix43 at hotmail.com & komix at compulink.gr
Web Site: http://www.geocities.com/komixgreekpage
DCML member
Paolo Castagno
Definite day of publication of Carl Bark's S.I.N. story
Message 45 -
2000-11-10 at 09:47:51
Georgios Balanikas wrote:
>
> Update for the definite day of "Somewhere in Nowhere " story publication:
> It will be between 16th and 20th of November and it will be presented at the
> Expocomic Show in Rome.
I'll surely be there (BTW, is there any other list member who
will visit Expocartoon?)!
> It is a great possibility that Patrick Block himself will be present.
May I ask you where yuor news are from? (Just curious).
> This edition will be hardbound (third in the Il Tresori series), bilingual
> ,Italian and English, including also an article about the artists and how
> the story was made with some roughs with CB notes.
And please let me add that in the previous 2 issues the articles
were very interesting, and the "editorial" look was also very
good.
- Paolo
--
http://members.xoom.it/inducks mailto:p.castagno at libero.it
"Per la Martina! E' un esplosivo incontrollabile!"
(Archimede in S 72147)
>
> Update for the definite day of "Somewhere in Nowhere " story publication:
> It will be between 16th and 20th of November and it will be presented at the
> Expocomic Show in Rome.
I'll surely be there (BTW, is there any other list member who
will visit Expocartoon?)!
> It is a great possibility that Patrick Block himself will be present.
May I ask you where yuor news are from? (Just curious).
> This edition will be hardbound (third in the Il Tresori series), bilingual
> ,Italian and English, including also an article about the artists and how
> the story was made with some roughs with CB notes.
And please let me add that in the previous 2 issues the articles
were very interesting, and the "editorial" look was also very
good.
- Paolo
--
http://members.xoom.it/inducks mailto:p.castagno at libero.it
"Per la Martina! E' un esplosivo incontrollabile!"
(Archimede in S 72147)