Keskustelujen arkisto

While I'm at it, let me comment on some recent messages.

Frank Stajano said:

>The interesting point for me, which I'd like to debate if I had the time,
>is the one about the editor's role. If the editor stops the author from
>doing stupid things before he does them, then it's editing (his job) and
>it's a good thing. If he okays the story and then it's later censored, it's
>bad. I think that's the core, and I agree with it, but it would be well
>worth elaborating, because the boundaries can get fuzzy.

This is a very interesting point to me, and I would also like to see it
discussed. Well, like Frank, I'm not about to start the discussion right
now, so I'll just highlight the subject once again. It's a little like
discussing the kind of "editing" I'm doing as a translator/dialog writer,
which also can be "good" or "bad" depending on how and why it's done and
what view you might have on the task of the "translator". Fuzzy boundaries
are everywhere!

And, Daniel van Eijmeren:

>In the last panel of "A Spicy Tale" (US 39), as in the CBL, Scrooge says:
>"I hope I can get this collar and chain cut off before somebody discovers
>what a fibber I am!"
>
>The lettering of "fibber I am!" looks slightly different from the rest of
>the balloon's dialogue. Is this coincidence or could there originally have
>been something else? Does the lettering look like being done by somebody
>else than Carl or Gare Barks?

I've also noticed this, as well as several other instances where the
lettering seems different. Offhand, and without any further information,
I'd say that the new lettering often looks like the one used in Tony Strobl
stories. I think it's obvious that Barks' dialog was changed now and
then... not too often, but it must have happened. I don't expect that the
original wordings can be restored, but it would be very interesting to find
out.

I think I mentioned some of these cases to the list a couple of years ago,
but nothing much came of it.

If the signature on my recent message about Barks illustrations wasn't
legible enough, it was, just like this one, from

Stefan Dios
Malmo, Sweden

Don's List with artists and characters for Bark's 100th Birthday:

Here's the list
that Byron sent me:

Uncle Scrooge -- Romano Scarpa
Magica de Spell -- Daniel Branca
Flintheart Glomgold -- Vicar
Beagle Boys / Money Bin -- Don Rosa
Gladstone Gander -- Cesar Ferioli
Gyro Gearloose -- William Van Horn
Gyro's Helper -- (perhaps) Marco Rota

Junior Woodchucks -- Kari Korhonen
(Who is? Any special story to remenber?)

Neighbor Jones -- Daan Jippes
April, May, and June -- Esteban

It is very interisting! It makes me
remenber that
some years ago, when Abril launched a Z? Carioca Special(Anos de Ouro do Z?
carioca), in 4 volmes, republishing the 2/3 first years off Carioca's comics
in Brazil...It contains some drawn from brazilian, non-Disney,
cartunists...and more special, specially for me, some gags from the
brazilian Disney creators...It is the first time I listen the name off most
off then! And it is, probably, one of the few times that the "brazilian
team" received a REAL credit.

It was a shame that "only" gags are published...with credits,
let me list it:

.Gag 1:
Joe work as a sattelite repairer
Writte by: Carlos Henrique F.Rangel (Hum...it is the first and only time I
listen something about him...)
Draw by: Jorge Kato (First brazilian Disney drawer)

.Gag 2:
Joe appear in some poses, to the gag, like when you pose for pictures
Writte and Draw: the GREAT Renato Canini (It's strange...nobody knows about
Canini on the lasts years!!!)

.Gag 3:
Joe do some sport, tennis!
Writte by: Arthur Faria Jr (You know him! He is great!)
Drawn by: Euclides Miyaura(our editor now)

.Gag 4:
Nestor speak about Joe and Rosinha long love
Writte by: Gerson Teixeira (another great writter)
Drawn by: Eli Leon (one of the "veterans" Disney artists)

.Gag 5:
Joe and some pollitical problem
Writte by: Luiz Antonio Aguiar(Hum...I don't know nothing about him...)
Drawn by: Luiz Podavim (a very good and careful drawer)

.Gag 6
Joe try again to keep some off Pedr?o's Jacas (brazilian fruit)
Writte by: Kaled Kaliu Kambour
Drawn by: Moacyr Rodrigues (Probably some of the best Disney comics covers
was made by him)

I know there are no special reason to you read it...but it is one off the
few times I see some credit on Brazil, so I think it is important to say...!
:)
Maybe Arthur can tell us about this gags, or maybe...not!

Thank You!
Fernando!
(Hum...I'm not sure, but I think that one story writte by me will be on the
brazilian newstands tomorrow...! I'm uneasy!!!)

At least, for now only in Italian; I plan to make an English version in a
couple of months.

The site is mainly about the late Scarpa, after 1970, a period that's
usually put aside considering his forst stories as the best. They are, but
even the rest is better than anything else (IMHO), so... :-)

I've written a short article about Bruto's continuity and put together
many panels showing some trends in Scarpa's stories (many more to come in
the future).
Of course there's a chronology, limited to the stories *written* by the
Master.

Oh, I was forgetting the URL : http://digilander.iol.it/sgrizzo/

--
Sprea

http://digilander.iol.it/sgrizzo/

G'day,

Daniel van Eijmeren wrote:

"In the last panel of "A Spicy Tale" (US 39), as in the CBL, Scrooge
says: "I hope I can get this collar and chain cut off before somebody
discovers what a fibber I am!"

"The lettering of "fibber I am!" looks slightly different from the rest
of the balloon's dialogue. Is this coincidence or could there originally
have been something else?"

Donald Ault has verified that the change was made before the original printing.

My instant assumption is that the original dialogue had Scrooge referring to
himself as a "liar". Since this is bad behaviour for a Disney character to
promote, it was changed to the weaker "fibber". I admit that this is only a
guess, but it does seem to fit with some of the type of changes that are known
to have been made in Barks' stories.

But I do like Daniel's thoughts about the chain and collar being a
visualisation of Scrooge's addiction!

Cheers,

Owen Heitmann

Hey, Ugo!

> I guess you mean the old movie with Spencer Tracy and Sidney Poitier, called
> in Italy "Indovina chi viene a cena?"

Oh, yes! Too many people had supper in the movies!
Sorry!

Luca

> From: Fernando Ventura [mailto:fernandopventura at uol.com.br]
> Sent: Tuesday, December 12, 2000 3:13 PM

> Junior Woodchucks -- Kari Korhonen
> (Who is? Any special story to remenber?)

Kari Korhonen is a very good story writer! This month's Dutch DD Extra has
two stories written by him. Especially the story based on "Groundhog Day" is
very good! This story was drawn by Branca (in his best mood). Bee-autiful.

I haven't seen much of Korhonen's *artwork*, so I can't judge that.

--Harry.

Kari Korhonen is a very talented young Finnish cartoonist (I think he's 26
or something like that). He draws VERY well and it's nice to see him
do that again. He did draw some of his first Disney stories (one-pagers
and such) and has done some other stuff for the Finnish Aku Ankka.

---Jyrki Vainio, Finland

From: Kriton Kyrimis <kyrimis at cti.gr>
> Or even, when he did that "Sun" story,
> what color socks was he wearing?
>>>Why would I not be surprised if Don answered this? :-)

I knew the answer, but I figured it wasn't worth mentioning.
I was wearing NO socks. I never wear socks at home.

From: "Luca Boschi" <cnotw at zen.it>
>>>> Not giving credit where credit is due will very likely continue
People who does it on regular schedule is/are LOUSY and BAD people not
deserving respect (nt mine, indeed). I'd like that someone can change this
bad trend and these thieves' behaviour.

I must be scanning these Digests too fast because I'm not sure what this is
about. But I'm guessing it refers to something like a Disney publisher
somewhere taking articles that appeared in a Gladstone or ZP issue and
using them without giving credit?
I agree with what you say in principal, but just to make sure this is not
thought of as being as heinous as you suggest... these publishers ARE
giving credit to the author of the article -- Walt Disney. Anything, and I
mean *anything* that appears inside a licensed Disney comic is the sole
property of the Di$ney Company and Disney "shall be deemed its author". I
wrote a whole series of articles about my "Lo$" for Gladstone for free just
as a favor to them and to please myself... but I later saw those articles
translated into other languages and I realized I had given all that effort
to a corporation who has deemed itself "the author" of my work, and those
other publishers have signed contracts that accept that fact and pay Disney
for the privilege to act on that fact. Yes, I agree that a publisher
*should* give credit and hire people who either recognize that moral
obligation or who can write new articles themselves, but to do so is
behavior above and beyond Disney's interpretation of the copyright law as
they have described it to their licensees. Using an article out of a Disney
comic without giving the original writer credit is bad, but not one iota as
bad as using the full story of a writer and artist who worked much longer
and harder and still get no credit for all that labor, and that also still
happens, though it's happening less and less often in an increasingly
"enlightened" Disney-licensee world. But it still happens -- they recently
published a handsome Polish hardback collection of my entire "Lo$" and the
only creator's name that appears anywhere in the entire book is "Marco
Rota". I had written his name in the book's frontpiece-artwork due to the
fact that I borrowed the pose from one of his drawings and wanted to give
him some sort of credit for that. I knew no one else would so I had to do
it in such a way that it could not be removed anywhere the art was used.
(But I guess I should have hidden my own name in there somewhere, as well?
Nah, it's not important...)
Anyway, when a Disney licensed publisher in Poland or Brutopia or somewhere
gives us writers and artists credit for our work, that should be considered
a really nice gesture, good for them. But when they don't, they can't be
cursed too much for simply following the letter of the rules that we who do
work for Disney publications are apparently accepting when we supply our
creations, however indirectly, to that corporation.
(This sort of discussion always reminds me of the time back in 1986-87 when
the Gladstone folks were writing an article about me to appear with "The
Son of the Sun" story -- they had planned to print some panels from my
"Captain Kentucky" and "Pertwillaby Papers" strips, but realized they
couldn't because Disney said that they owned *anything* that appeared
inside a Disney licensed comic. My reaction to that (since I had just moved
to a house in the country) was "So I want to send you a photo of a junked
truck in my back yard for you to publish. Then I can call Disney up and
tell them to come and get their damn wreck outta my yard.")

From: "Paolo Castagno" <p.castagno at libero.it>
>>>BTW, I'm also curious to see Beagle Boys origins in Rosa's story!!!

Oh, well, I will only briefly touch on it in the new story. I already told
the detailed "origin" of the BB (*my* version) in chapter 2 of the "Lo$"
back around 1992.