...( To Gilles MAURICE ) Photo-comics have , at least
in my experience , tended to be called
" fumettis " in the United States , which I always
understood to be an Italian phrase . ( I assume you're
French ? ) I suppose the most " prominent " , arguably
, examples of them in the U.S.A. were
(1) - When Harvey Kurtzman's attempted
" new MAD " the James Warren-published
" HELP ! " magazine , did them in the early-middle
Sixties , these being comedic/satirical ones , often
with fairly well-known actors , as well as " HELP "
staff , in them - I believe that these ones introduced
the phrase to th U.S....and , in ( admitted )
emulation of this , Marvel Comics' 1970s attempt at a
MAD-style magazine , " CRAZY " , did them in the
Seventies...using Marvel staffers as the main/only
" actors " , so , they were rather more " amateur " .
(2) - I remember a 70s attempt at putting out recent
, popular , movies ( Grease . Star Trek The Motion
Picture ) in paperback fumettis , with word balloons
over movie stills... it didn't last long ,
I guess word-balloons against . I recall seeing ,
in the late 80s , attempted romance photo-comics
( I doubt that they used the word " fumetti " ,
actually...Likewise the movie adaptations . ) , I
don't
know whether they were reprinted Continental European
or British comics or originals . Actually , the
Pokemon movies have had English-language fumetti "
from-the-stills " adaptations fairly widely circulated
in the U.S. ( just as other Japanese productions have
had less widely circulated
" cell-comics "...like you theorize the non-BarksWorld
Disney comics , in the Disney Universe , being ! ) -
so , the growing popularity of manga stuff in general
has given that publishing format a bit more of a hold
in the U.S. , it seems that , otherwise , it's always
been pretty marginal over here , whether live-photos
or ani-cell reprints...And , I guess that " fumetti "
, as a
term , never went very much far beyond U.S. comics
fans ! ( There were such curiosities as John
Holstrom's old " PUNK " magazine/fanzine doing ones in
the late Seventies ,
with Joey Ramone ( R.I.P. ) and Debbie Harry
participating ! - These were , almost certainly .
inspired by Kurtzman's .
__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/
Author
Topic: 200105
(361 messages)
WL Lilly
Photo-Comics !!!!!!!!!
Message 1 -
2001-05-01 at 05:22:47
WL Lilly
Photo-Comics !!!!!!!!!
Message 2 -
2001-05-01 at 05:30:20
Note: forwarded message attached.
__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/
__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/
Gilles MAURICE
Calisota_online ! ! !
Message 3 -
2001-05-01 at 13:08:07
Olivier
The future & Scanning
Message 4 -
2001-05-01 at 18:01:42
Hi everyone!
(Warning: this message is pretty dull-- theoretical pondering
in the first part, technical considerations in the second)
Daniel:
>>I'm wondering if there are theories about time being the 4th dimension
>>(or higher). I once read in a magazine that a round 3 dimensional ball
>>going through a flat 2 dimensional universe [...] Creatures living in this
>>2 dimensional world, won't have the slightest idea to explain that
>>strange miracle. Maybe time does the same with us?
Right. I hate it when people talk of something as "the fourth dimension"
(that's the way "The Twilight Zone" is called in France).
*Time* is the fourth dimension.
Dimension: a measure in one direction; a parameter or coordinate variable
(Merriam/Webster: http://www.m-w.com/cgi-bin/dictionary )
An object is located by means of its coordinates in an x-dimension system
of reference.
For a line, there's one dimension. You can move right or left.
Add a second dimension and you can have waves.
A third, and it's the world we live in.
All these are *spatial* dimensions.
But in all these worlds, the object is (albeit implicitly) loacted in time as well:
it's at coordinates (a,b) at a certain moment. That's how we have movement.
In my opinion, time is always the (x+1)th dimension of any (x)-dimensional universe.
For a line, it's the second dimension.
In our world, it is the fourht dimension.
Even if you're considering a static object-- says, the drawing of a table on a piece
of paper (2 dimensions), time' is a factor: "static" is defined in opposition to "moving",
which implies time. It remains there throughout time.
Just as a point on a line (1D) can't imagine the possibility of a circle (or anything that
requires a second spatial dimension to exist), we cannot imagine what another fourth
(spatial or other, bar time) dimension might be.
Maybe this 4th dimension would make time travel or teleportation possible.
Corollary (which will connect this discussion to comics): is there really any such thing
as true 1D or 2D?
A sheet of paper or a line has a certain thickness.
That's something that intrigued me when I was a kid: the notion of contour-- and it still does.
There's no such thing as contour. Everything blends into everything else.
A knife cuts through an apple because it's thinner and stronger and sharper. But when you
think of it from a microscopic point of view, it's all particles and a lot of void, and what
really
gets cut is nothing but void (the bonds).
As for drawings, all the lines are just convenient representations. But what I got to call "ultimate
black"-- this line that delinetates objects-- does not exist.
I wonder how the animated films' use of a lighter shade for contour lines came to be,
but it's closer to the right thing.
On scanning:
I'm aware of what you said, Daniel, but thanks anyway.
>>If a scan of b/w (monographic) or greyscale art looks slightly yellowish,
>>it might be useful to turn the scan into greyscale with the software. In
>>the result, the yellowish paper will look white, while the b/w or
>>greyscale art still looks the same.
Doesn't solve the problem. What I called yellowish will be greyish instead of white
as it should be. That's what I want to correct.
I *love* old paper which is brown-yellowed by age. And it can have its charm
when scanned. But prefer having something that is as close as possible as what
the artist intended / drew, and clean up the scan so that the image is as truly
b&w as possible-- and as sharp as possible. Also, the drawing / text on the other side
of the page shows through, so I try to adjust the contrast / color / you-name-it
in order to get rid of it so that it doesn't come in the way. But there are some limits
to what can be done, technically and "ethically": a little tweaking of a few parameters
usually does the job and the art isn't affected; if it takes more and the art / colors suffer
from it, I leave it as it is.
I'll look for a nice example to put online so you can compare my clean-up job with
the original scan.
I said doing all this was the reason I didn't have more images of the Mickey strips online yet.
Actually, I have several panels which have been cleaned up for quite a while but have
been experimenting with the number of colors and the size of these panels.
That's how I managed to have this nice large scan of MM's first strip
(http://members.nbci.com/mouse_ducks/tc/mdl/md3001st.gif).
As you can see, I left all the little white specks on the dialogue and art. that's how it came out
on the paper. I just blacked out a few ones on Mickey's face when they really got in the way
and were really flaws. But you'll notice I left the white dots in the lines-- Mickey's hand
and shoes in panel 1, for instance. Or on panel 4, those two white specks on Mickey's back.
In this case, they are printing flaws but I left them because I don't intend to restore the strip
to its pristine state (right when the artist finished it). In the former (specks on the shoe's
contour
line in panel 1), they're dust specks that were left on the scanner's glass (I do clean it, but they
must have resisted). Checking whether all these specks are dust on the glass or part of the
printed image would be too long. And in this case, it doesn't spoil the art; it even seems like
part of the shoe (I don't know how to call it: a "white band" as on the other, between the top
and the sole).
Conclusion:
Don't worry. I make a point of doing my best to provide clean scans *and* respecting
the art.
Olivier
(Warning: this message is pretty dull-- theoretical pondering
in the first part, technical considerations in the second)
Daniel:
>>I'm wondering if there are theories about time being the 4th dimension
>>(or higher). I once read in a magazine that a round 3 dimensional ball
>>going through a flat 2 dimensional universe [...] Creatures living in this
>>2 dimensional world, won't have the slightest idea to explain that
>>strange miracle. Maybe time does the same with us?
Right. I hate it when people talk of something as "the fourth dimension"
(that's the way "The Twilight Zone" is called in France).
*Time* is the fourth dimension.
Dimension: a measure in one direction; a parameter or coordinate variable
(Merriam/Webster: http://www.m-w.com/cgi-bin/dictionary )
An object is located by means of its coordinates in an x-dimension system
of reference.
For a line, there's one dimension. You can move right or left.
Add a second dimension and you can have waves.
A third, and it's the world we live in.
All these are *spatial* dimensions.
But in all these worlds, the object is (albeit implicitly) loacted in time as well:
it's at coordinates (a,b) at a certain moment. That's how we have movement.
In my opinion, time is always the (x+1)th dimension of any (x)-dimensional universe.
For a line, it's the second dimension.
In our world, it is the fourht dimension.
Even if you're considering a static object-- says, the drawing of a table on a piece
of paper (2 dimensions), time' is a factor: "static" is defined in opposition to "moving",
which implies time. It remains there throughout time.
Just as a point on a line (1D) can't imagine the possibility of a circle (or anything that
requires a second spatial dimension to exist), we cannot imagine what another fourth
(spatial or other, bar time) dimension might be.
Maybe this 4th dimension would make time travel or teleportation possible.
Corollary (which will connect this discussion to comics): is there really any such thing
as true 1D or 2D?
A sheet of paper or a line has a certain thickness.
That's something that intrigued me when I was a kid: the notion of contour-- and it still does.
There's no such thing as contour. Everything blends into everything else.
A knife cuts through an apple because it's thinner and stronger and sharper. But when you
think of it from a microscopic point of view, it's all particles and a lot of void, and what
really
gets cut is nothing but void (the bonds).
As for drawings, all the lines are just convenient representations. But what I got to call "ultimate
black"-- this line that delinetates objects-- does not exist.
I wonder how the animated films' use of a lighter shade for contour lines came to be,
but it's closer to the right thing.
On scanning:
I'm aware of what you said, Daniel, but thanks anyway.
>>If a scan of b/w (monographic) or greyscale art looks slightly yellowish,
>>it might be useful to turn the scan into greyscale with the software. In
>>the result, the yellowish paper will look white, while the b/w or
>>greyscale art still looks the same.
Doesn't solve the problem. What I called yellowish will be greyish instead of white
as it should be. That's what I want to correct.
I *love* old paper which is brown-yellowed by age. And it can have its charm
when scanned. But prefer having something that is as close as possible as what
the artist intended / drew, and clean up the scan so that the image is as truly
b&w as possible-- and as sharp as possible. Also, the drawing / text on the other side
of the page shows through, so I try to adjust the contrast / color / you-name-it
in order to get rid of it so that it doesn't come in the way. But there are some limits
to what can be done, technically and "ethically": a little tweaking of a few parameters
usually does the job and the art isn't affected; if it takes more and the art / colors suffer
from it, I leave it as it is.
I'll look for a nice example to put online so you can compare my clean-up job with
the original scan.
I said doing all this was the reason I didn't have more images of the Mickey strips online yet.
Actually, I have several panels which have been cleaned up for quite a while but have
been experimenting with the number of colors and the size of these panels.
That's how I managed to have this nice large scan of MM's first strip
(http://members.nbci.com/mouse_ducks/tc/mdl/md3001st.gif).
As you can see, I left all the little white specks on the dialogue and art. that's how it came out
on the paper. I just blacked out a few ones on Mickey's face when they really got in the way
and were really flaws. But you'll notice I left the white dots in the lines-- Mickey's hand
and shoes in panel 1, for instance. Or on panel 4, those two white specks on Mickey's back.
In this case, they are printing flaws but I left them because I don't intend to restore the strip
to its pristine state (right when the artist finished it). In the former (specks on the shoe's
contour
line in panel 1), they're dust specks that were left on the scanner's glass (I do clean it, but they
must have resisted). Checking whether all these specks are dust on the glass or part of the
printed image would be too long. And in this case, it doesn't spoil the art; it even seems like
part of the shoe (I don't know how to call it: a "white band" as on the other, between the top
and the sole).
Conclusion:
Don't worry. I make a point of doing my best to provide clean scans *and* respecting
the art.
Olivier
Olivier
Facts , Quiz hint , 3 Caballeros
Message 5 -
2001-05-01 at 18:57:11
Gilles:
>>the Duck universe before the Mouse universe, and the Mouse universe
>>before the forest's universe.
Why? Why not Duck & Mouse in parallel?
Is it because you prefer the ducks? If so, why not simply the ducks?
Mickey's strips were the first ones (1930), and Barks acknowledged
Gottfredson's influence. So I think they should be considered the same
way, on the same level. Then all the other authors, who buold on these
foundations-- Don Rosa in pole position because of the logical continuity
& universe he strives to preserve.
>>drafts & original versions
Why last-- after video games?! If you rank the comics above the cartoon shorts
& the the games, why rank drafts & original versions below?
The original versions are not on the same level as the comics, they *are* the comics.
Drafts: should come next. But if it's been written out of the final version, why include
the fact? (Besides scholar purposes-- studying the story's composition, ie, its evolution)
>>I consider the hidden Mickeys as real things, even if DonRosa says it is a joke
I don't understand "real things". Do you mean, for instance, that a hidden-Mickey cactus
really *is* Mickey-shaped, not that it *looks like* Mickey from a certain angle?
Don't know. I think I prefer the second solution.
To anyone who has Don Rosa's "Return of the Three Caballeros"
(Mr Don Rosa, if you have time to check):
What does Panchito reply, p 11 panel 5?
(The balloon is blank in PM 351)
Olivier
Quiz Time!
Reminder & hints:
"Don't worry! *We* ' ll get you out!"
1/ Barks story
2/ not a 10-pager
3/ another ball of thread comes mighty handy!
>>the Duck universe before the Mouse universe, and the Mouse universe
>>before the forest's universe.
Why? Why not Duck & Mouse in parallel?
Is it because you prefer the ducks? If so, why not simply the ducks?
Mickey's strips were the first ones (1930), and Barks acknowledged
Gottfredson's influence. So I think they should be considered the same
way, on the same level. Then all the other authors, who buold on these
foundations-- Don Rosa in pole position because of the logical continuity
& universe he strives to preserve.
>>drafts & original versions
Why last-- after video games?! If you rank the comics above the cartoon shorts
& the the games, why rank drafts & original versions below?
The original versions are not on the same level as the comics, they *are* the comics.
Drafts: should come next. But if it's been written out of the final version, why include
the fact? (Besides scholar purposes-- studying the story's composition, ie, its evolution)
>>I consider the hidden Mickeys as real things, even if DonRosa says it is a joke
I don't understand "real things". Do you mean, for instance, that a hidden-Mickey cactus
really *is* Mickey-shaped, not that it *looks like* Mickey from a certain angle?
Don't know. I think I prefer the second solution.
To anyone who has Don Rosa's "Return of the Three Caballeros"
(Mr Don Rosa, if you have time to check):
What does Panchito reply, p 11 panel 5?
(The balloon is blank in PM 351)
Olivier
Quiz Time!
Reminder & hints:
"Don't worry! *We* ' ll get you out!"
1/ Barks story
2/ not a 10-pager
3/ another ball of thread comes mighty handy!
Anders Christian Siveb¾k
International worker's day
Message 6 -
2001-05-01 at 19:23:01
Hi all
That's been what i was doing 3 hours of this day.
I wonder if I told you people here that I write a column to the local
school paper here. In 4 of the 5 issues this year there was one by me,
about Ducks. This fact has become a bit known here, people know that I
know about Donald and friends. There wouldn't be much to write about about
this day (would there? ideas?), but Donald is a worker, we know that -
just not for long time each time... His most permanent work appointments
are at Scrooge inc. and .. this requires lookinbg up in the dictionary:
maragrine factory (?) - I saw this place mentioned as the skunk oil
factory, but it sounds strange. In some danish stories Donald has been
working there, and it's generally a known fact - Donald works at that
factory when he hasn't got some other (crazy) idea.
Hilsen/Yours
Anders Christian Siveb?k
Donaldist
That's been what i was doing 3 hours of this day.
I wonder if I told you people here that I write a column to the local
school paper here. In 4 of the 5 issues this year there was one by me,
about Ducks. This fact has become a bit known here, people know that I
know about Donald and friends. There wouldn't be much to write about about
this day (would there? ideas?), but Donald is a worker, we know that -
just not for long time each time... His most permanent work appointments
are at Scrooge inc. and .. this requires lookinbg up in the dictionary:
maragrine factory (?) - I saw this place mentioned as the skunk oil
factory, but it sounds strange. In some danish stories Donald has been
working there, and it's generally a known fact - Donald works at that
factory when he hasn't got some other (crazy) idea.
Hilsen/Yours
Anders Christian Siveb?k
Donaldist
Bhc1
DCML digest, Vol 1 #513 - 13 msgs
Message 7 -
2001-05-01 at 21:58:19
Daniel:
>I'm wondering if there are theories about time being the 4th dimension
>(or higher). I once read in a magazine that a round 3 dimensional ball
>going through a flat 2 dimensional universe, would be experienced as a
>spot suddenly appearing, getting bigger and then suddenly getting
>smaller before it disappears completely again. Creatures living in this
>2 dimensional world, won't have the slightest idea to explain that
>strange miracle. Maybe time does the same with us?
Wouldn't it be an interesting exercise to suppose that the Disney
universe is real in a different dimension, a dimension that intrudes
on ours through the creative endeavors of such folks as Carl Barks,
Floyd Gottfredson, William Van Horn, Marco Rota, Don Rosa, etc.? That
the very creative processes of CB, FG, etc., are in fact extrusions
into our universe of that other dimension, to be observed and enjoyed
and marvelled at as they pass through and leave their marks, even
though those marks are spotty and, from our perspective, riddle with
inconsistency?
Sure would explain a lot, and not just about Disney.
--
Gary
****************************
"Good night, and may God Bless...good night." - Red Skelton
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com/gladstone
>I'm wondering if there are theories about time being the 4th dimension
>(or higher). I once read in a magazine that a round 3 dimensional ball
>going through a flat 2 dimensional universe, would be experienced as a
>spot suddenly appearing, getting bigger and then suddenly getting
>smaller before it disappears completely again. Creatures living in this
>2 dimensional world, won't have the slightest idea to explain that
>strange miracle. Maybe time does the same with us?
Wouldn't it be an interesting exercise to suppose that the Disney
universe is real in a different dimension, a dimension that intrudes
on ours through the creative endeavors of such folks as Carl Barks,
Floyd Gottfredson, William Van Horn, Marco Rota, Don Rosa, etc.? That
the very creative processes of CB, FG, etc., are in fact extrusions
into our universe of that other dimension, to be observed and enjoyed
and marvelled at as they pass through and leave their marks, even
though those marks are spotty and, from our perspective, riddle with
inconsistency?
Sure would explain a lot, and not just about Disney.
--
Gary
****************************
"Good night, and may God Bless...good night." - Red Skelton
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com/gladstone
Luca Boschi
Abranz, Bradbury and so on
Message 8 -
2001-05-02 at 03:01:14
Hi, all!
Some monts ago, some of us were speking about the possibilithat in the 60s
some stories produced by the Studio were coproduced by different artists,
joined together. Some of us, like Eta Beta, wrote that maybe some stories
starring $crooge were a mix among Carey, Abranz and some unknown inker...
Well, some days ago, at the Torino comic convention I found an old
"Almanacco Topolino" where one of them was printed. It has no code (as usual
in that period) but its Italian title is PIPPO CLOWN DA NOLEGGIO, four pages
long. (AT # 3, March 1966).
Well, if Goofy is drawn by Jack Bradbury (is possible to compare it with the
story TOPOLINO E LA POSTA DEL MULO, printed in the same book some pages
later) all the secondary characters are "pure" Fred Abranz. Mickey looks
like if he were drawn by two different artists, or if the inker (the same
Abranz? So it seems) changed his look a little bit in the panels.
This coproduction is even more recognizable becouse some characters don't
match in the panels. The Bradbury's one are smaller than the Abranz' ones.
Goofy and the baker in the first page are a good example. So: I assume that
Jack drew all "his" Goofys and Mickeys only by pencils. Later, Abranz (maybe
with another guy) drew the remaining things and inked the pages.
Do you know something more about?
Well, in the book I find also the only Mad Madam Mim story "a solo" drawn by
Hubbard that I know. Drawn for the Studio Program, it's MAGA MAGO' CUOCA DI
BORDO (no code but S 65139). Seven pages long.
Bye,
Luca
Some monts ago, some of us were speking about the possibilithat in the 60s
some stories produced by the Studio were coproduced by different artists,
joined together. Some of us, like Eta Beta, wrote that maybe some stories
starring $crooge were a mix among Carey, Abranz and some unknown inker...
Well, some days ago, at the Torino comic convention I found an old
"Almanacco Topolino" where one of them was printed. It has no code (as usual
in that period) but its Italian title is PIPPO CLOWN DA NOLEGGIO, four pages
long. (AT # 3, March 1966).
Well, if Goofy is drawn by Jack Bradbury (is possible to compare it with the
story TOPOLINO E LA POSTA DEL MULO, printed in the same book some pages
later) all the secondary characters are "pure" Fred Abranz. Mickey looks
like if he were drawn by two different artists, or if the inker (the same
Abranz? So it seems) changed his look a little bit in the panels.
This coproduction is even more recognizable becouse some characters don't
match in the panels. The Bradbury's one are smaller than the Abranz' ones.
Goofy and the baker in the first page are a good example. So: I assume that
Jack drew all "his" Goofys and Mickeys only by pencils. Later, Abranz (maybe
with another guy) drew the remaining things and inked the pages.
Do you know something more about?
Well, in the book I find also the only Mad Madam Mim story "a solo" drawn by
Hubbard that I know. Drawn for the Studio Program, it's MAGA MAGO' CUOCA DI
BORDO (no code but S 65139). Seven pages long.
Bye,
Luca
WL Lilly
Photo-Comics !!!!!!!!!
Message 9 -
2001-05-02 at 04:41:58
--- WL Lilly <liljerryandtheyadayadakiddz at yahoo.com>
wrote:
> ...( To Gilles MAURICE ) Photo-comics have , at
> least
> in my experience , tended to be called
> " fumettis " in the United States , which I always
> understood to be an Italian phrase . ( I assume
> you're
> French ? ) I suppose the most " prominent " ,
> arguably
> , examples of them in the U.S.A. were
> (1) - When Harvey Kurtzman's attempted
> " new MAD " the James Warren-published
> " HELP ! " magazine , did them in the early-middle
> Sixties , these being comedic/satirical ones , often
> with fairly well-known actors , as well as " HELP "
> staff , in them - I believe that these ones
> introduced
> the phrase to th U.S....and , in ( admitted )
> emulation of this , Marvel Comics' 1970s attempt at
> a
> MAD-style magazine , " CRAZY " , did them in the
> Seventies...using Marvel staffers as the main/only
> " actors " , so , they were rather more " amateur "
> .
> (2) - I remember a 70s attempt at putting out
> recent
> , popular , movies ( Grease . Star Trek The Motion
> Picture ) in paperback fumettis , with word balloons
> over movie stills... it didn't last long ,
> I guess word-balloons against . I recall seeing ,
> in the late 80s , attempted romance photo-comics
> ( I doubt that they used the word " fumetti " ,
> actually...Likewise the movie adaptations . ) , I
> don't
> know whether they were reprinted Continental
> European
> or British comics or originals . Actually , the
> Pokemon movies have had English-language fumetti "
> from-the-stills " adaptations fairly widely
> circulated
> in the U.S. ( just as other Japanese productions
> have
> had less widely circulated
> " cell-comics "...like you theorize the
> non-BarksWorld
> Disney comics , in the Disney Universe , being ! ) -
> so , the growing popularity of manga stuff in
> general
> has given that publishing format a bit more of a
> hold
> in the U.S. , it seems that , otherwise , it's
> always
> been pretty marginal over here , whether live-photos
> or ani-cell reprints...And , I guess that " fumetti
> "
> , as a
> term , never went very much far beyond U.S. comics
> fans ! ( There were such curiosities as John
> Holstrom's old " PUNK " magazine/fanzine doing ones
> in
> the late Seventies ,
> with Joey Ramone ( R.I.P. ) and Debbie Harry
> participating ! - These were , almost certainly .
> inspired by Kurtzman's . )
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Auctions - buy the things you want at great
> prices
> http://auctions.yahoo.com/
>
__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/
wrote:
> ...( To Gilles MAURICE ) Photo-comics have , at
> least
> in my experience , tended to be called
> " fumettis " in the United States , which I always
> understood to be an Italian phrase . ( I assume
> you're
> French ? ) I suppose the most " prominent " ,
> arguably
> , examples of them in the U.S.A. were
> (1) - When Harvey Kurtzman's attempted
> " new MAD " the James Warren-published
> " HELP ! " magazine , did them in the early-middle
> Sixties , these being comedic/satirical ones , often
> with fairly well-known actors , as well as " HELP "
> staff , in them - I believe that these ones
> introduced
> the phrase to th U.S....and , in ( admitted )
> emulation of this , Marvel Comics' 1970s attempt at
> a
> MAD-style magazine , " CRAZY " , did them in the
> Seventies...using Marvel staffers as the main/only
> " actors " , so , they were rather more " amateur "
> .
> (2) - I remember a 70s attempt at putting out
> recent
> , popular , movies ( Grease . Star Trek The Motion
> Picture ) in paperback fumettis , with word balloons
> over movie stills... it didn't last long ,
> I guess word-balloons against . I recall seeing ,
> in the late 80s , attempted romance photo-comics
> ( I doubt that they used the word " fumetti " ,
> actually...Likewise the movie adaptations . ) , I
> don't
> know whether they were reprinted Continental
> European
> or British comics or originals . Actually , the
> Pokemon movies have had English-language fumetti "
> from-the-stills " adaptations fairly widely
> circulated
> in the U.S. ( just as other Japanese productions
> have
> had less widely circulated
> " cell-comics "...like you theorize the
> non-BarksWorld
> Disney comics , in the Disney Universe , being ! ) -
> so , the growing popularity of manga stuff in
> general
> has given that publishing format a bit more of a
> hold
> in the U.S. , it seems that , otherwise , it's
> always
> been pretty marginal over here , whether live-photos
> or ani-cell reprints...And , I guess that " fumetti
> "
> , as a
> term , never went very much far beyond U.S. comics
> fans ! ( There were such curiosities as John
> Holstrom's old " PUNK " magazine/fanzine doing ones
> in
> the late Seventies ,
> with Joey Ramone ( R.I.P. ) and Debbie Harry
> participating ! - These were , almost certainly .
> inspired by Kurtzman's . )
>
> __________________________________________________
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> prices
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>
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Olaf Solstrand
Thanks for all your help...
Message 10 -
2001-05-02 at 13:47:50
Hello!
Thanks to YOUR help, I've been able to finish the script "Gyro Gearloose:
The Best Of All Inventions". The story is MY theory of how Little Helper was
invented, and within a few days I will send it to Egmont Serieforlaget AS.
It took some time, but I'm really happy I did it the way I did. One thing
you will notice if you ever get to read the story, is *lots* of details! One
example: In the opening picture, which shows Gyro's workshop, I've placed a
gramophone. The gramophone plays the line "do the chairs in your parlor seem
empty and bare", which is picked from "Are you lonesome tonight"! (the
artists are not exactly gonna love me...)
I have also used lots of the help you have given me, both when it comes to
the sign outside Gyro's workshop (I picked "Gyro Gearloose - Inventor of
anything"), the inventions floating around (I picked a think box, the
silence machine, the tree tonic and a baseballbat/ball), Genius street (no
number given...) etcetera etcetera etcetera. All I can say is that my story
would be a lot more messy without DCML, so thanks!
-olaf-
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Thanks to YOUR help, I've been able to finish the script "Gyro Gearloose:
The Best Of All Inventions". The story is MY theory of how Little Helper was
invented, and within a few days I will send it to Egmont Serieforlaget AS.
It took some time, but I'm really happy I did it the way I did. One thing
you will notice if you ever get to read the story, is *lots* of details! One
example: In the opening picture, which shows Gyro's workshop, I've placed a
gramophone. The gramophone plays the line "do the chairs in your parlor seem
empty and bare", which is picked from "Are you lonesome tonight"! (the
artists are not exactly gonna love me...)
I have also used lots of the help you have given me, both when it comes to
the sign outside Gyro's workshop (I picked "Gyro Gearloose - Inventor of
anything"), the inventions floating around (I picked a think box, the
silence machine, the tree tonic and a baseballbat/ball), Genius street (no
number given...) etcetera etcetera etcetera. All I can say is that my story
would be a lot more messy without DCML, so thanks!
-olaf-
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Olaf Solstrand
Carl Barks stories...
Message 11 -
2001-05-02 at 14:08:04
I believe that most Carl Barks stories take place at the same time as they
are written. But not all of them. His mid'60s stories are the exception. In
some cases. My theories:
- IF the story is written after 1956/57 AND Huey/Dewey/Louie is there as
young boys, the story must have taken place earlier, if it took place at
all.
- IF the story is written after 1967 AND Scrooge is still alive, the story
must have taken place earlier, if it took place at all. (I know Barks
retired in 1966, but in general)
I don't believe in the story "Horsing around in history" at all. It's a good
story, but a fairy tale. Just like Don Rosa's "From Duckburg to Lillehammer"
and thousands of other stories taking place in modern time.
Duckburg today:
As an answer to the question "Didn't all of the nephews inherit Scrooge?"
Yes, they did. But I find it likely that ONE of them has the daily care of
the money (except from the money in the vault, which is a Scrooge post
mortem memorial), ONE is a family man (perhaps merried to Gyro's daughter)
and ONE is "stormogul"/whatever you call it in the Junior Woodchucks.
Perhaps I will write a story about it someday. But, it's just a theory.
Gotta go now.
-olaf-
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
are written. But not all of them. His mid'60s stories are the exception. In
some cases. My theories:
- IF the story is written after 1956/57 AND Huey/Dewey/Louie is there as
young boys, the story must have taken place earlier, if it took place at
all.
- IF the story is written after 1967 AND Scrooge is still alive, the story
must have taken place earlier, if it took place at all. (I know Barks
retired in 1966, but in general)
I don't believe in the story "Horsing around in history" at all. It's a good
story, but a fairy tale. Just like Don Rosa's "From Duckburg to Lillehammer"
and thousands of other stories taking place in modern time.
Duckburg today:
As an answer to the question "Didn't all of the nephews inherit Scrooge?"
Yes, they did. But I find it likely that ONE of them has the daily care of
the money (except from the money in the vault, which is a Scrooge post
mortem memorial), ONE is a family man (perhaps merried to Gyro's daughter)
and ONE is "stormogul"/whatever you call it in the Junior Woodchucks.
Perhaps I will write a story about it someday. But, it's just a theory.
Gotta go now.
-olaf-
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Luca Boschi
R: Barks celebration stories
Message 12 -
2001-05-02 at 14:42:03
Hi, Timo (an all)!
About the first, among the Barks celebration stories, that was printed in
Aku Ankka (17), can you tell us its story code? How many pages is it long?
> There was also a list of stories to come, with writers. Branca, Rota, Vicar
> and Esteban has scripters. Others have done their own stories.
> Writers are Geoffrey Blum for Branca; Pat & Carol McGreal for Rota and
> Esteban; and John Lustig for Vicar.
And the Scarpa's one, obviously!
Thanks,
Ciao!
Luca
About the first, among the Barks celebration stories, that was printed in
Aku Ankka (17), can you tell us its story code? How many pages is it long?
> There was also a list of stories to come, with writers. Branca, Rota, Vicar
> and Esteban has scripters. Others have done their own stories.
> Writers are Geoffrey Blum for Branca; Pat & Carol McGreal for Rota and
> Esteban; and John Lustig for Vicar.
And the Scarpa's one, obviously!
Thanks,
Ciao!
Luca
Timo Ronkainen
R: Barks celebration stories
Message 13 -
2001-05-02 at 17:14:14
>Aku Ankka (17), can you tell us its story code? How many pages is it long?
Code is: D 2000-189. It has 12 pages.
>And the Scarpa's one, obviously!
Well, yes, certainly.
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kylä 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
timoro at hotmail.com
timoro at sunpoint.net
¨¨ Personal:
http://members.nbci.com/_XMCM/timoro/
¨¨ Ankkalinnan Pamaus:
http://welcome.to/ankistit
.................................
"Rumble on, buxom bumble bee!
Go sit on cowslip - far from me!"
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Code is: D 2000-189. It has 12 pages.
>And the Scarpa's one, obviously!
Well, yes, certainly.
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kylä 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
timoro at hotmail.com
timoro at sunpoint.net
¨¨ Personal:
http://members.nbci.com/_XMCM/timoro/
¨¨ Ankkalinnan Pamaus:
http://welcome.to/ankistit
.................................
"Rumble on, buxom bumble bee!
Go sit on cowslip - far from me!"
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Michael Rhode
'The Three Caballeros' Reunite
Message 14 -
2001-05-02 at 18:36:33
Tuesday May 1, 9:59 am Eastern Time
Press Release
SOURCE: Walt Disney Television Animation
Not really comics, but after Don's recent story, this will probably be of
interest. Mike
'The Three Caballeros' Reunite for Cinco de Mayo Episode Of 'Disney's House
of Mouse'
Famed Feathered Trio Join Voices for First Time Since 1944 Premiere In
Special, Saturday May 5 Episode on ABC Television
Network
BURBANK, Calif., May 1 /PRNewswire/ -- ``The Three Caballeros,'' Disney's
famed trio of songbirds, reunites for a special Cinco de Mayo episode of
``Disney's
House of Mouse.'' The episode airs Saturday, May 5 (12:30 PM, ET/6:00 AM,
PT) on the ABC Television Network.
(Photo: http://www.newscom.com/cgi-bin/prnh/20010501/LATU003 )
The ever-volatile Donald Duck becomes perturbed when nobody remembers his
role alongside his ``Three Caballeros'' partners, parrot Jose Carioca and
rooster
Panchito. Thus, Donald sets out to redefine himself as the star of the
singing group throughout the episode. The trio combines their singing voices
for a dynamic rendition
of ``We Are The Caballeros.''
A film entitled ``The Three Caballeros'' brought the trio to international
prominence with its world premiere in Mexico City on December 21, 1944 and
its subsequent
successful run in the United States beginning February 3, 1945. The film's
advanced psychedelic sequences garnered attention for new generations with a
re-release of
an abridged version of the film in 1977 and its recent home video editions.
Though Donald Duck, Jose Carioca and Panchito have appeared separately and
in pairings
over the past six decades, the trio hasn't been seen united on film or
television in original animated sequences since the film's debut.
Billed as ``the tooniest place on Earth,'' ``Disney's House of Mouse'' is
the gathering place for animated characters each Saturday. Hosted by Master
of Ceremonies
Mickey Mouse and his longtime quintet of pals, the ``nightclub'' provides
``staged'' entertainment for a very-recognizable audience. From Winnie the
Pooh and Jiminy
Cricket to Hades and Jafar, the clientele comes into the ``House of Mouse''
to enjoy musical guests, cartoon shorts and Mickey's comical introductions
from the stage.
Home viewers also are privy to the weekly backstage pandemonium as Mickey,
Donald Duck, Goofy, Minnie Mouse, Daisy Duck and Pluto attempt to ensure
that
``the show goes on.''
``Disney's House of Mouse'' is produced by Walt Disney Television Animation.
Roberts Gannaway and Tony Craig are Executive Producers.
For high resolution digital images, log onto ABCMedianet.com
SOURCE: Walt Disney Television Animation
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
Press Release
SOURCE: Walt Disney Television Animation
Not really comics, but after Don's recent story, this will probably be of
interest. Mike
'The Three Caballeros' Reunite for Cinco de Mayo Episode Of 'Disney's House
of Mouse'
Famed Feathered Trio Join Voices for First Time Since 1944 Premiere In
Special, Saturday May 5 Episode on ABC Television
Network
BURBANK, Calif., May 1 /PRNewswire/ -- ``The Three Caballeros,'' Disney's
famed trio of songbirds, reunites for a special Cinco de Mayo episode of
``Disney's
House of Mouse.'' The episode airs Saturday, May 5 (12:30 PM, ET/6:00 AM,
PT) on the ABC Television Network.
(Photo: http://www.newscom.com/cgi-bin/prnh/20010501/LATU003 )
The ever-volatile Donald Duck becomes perturbed when nobody remembers his
role alongside his ``Three Caballeros'' partners, parrot Jose Carioca and
rooster
Panchito. Thus, Donald sets out to redefine himself as the star of the
singing group throughout the episode. The trio combines their singing voices
for a dynamic rendition
of ``We Are The Caballeros.''
A film entitled ``The Three Caballeros'' brought the trio to international
prominence with its world premiere in Mexico City on December 21, 1944 and
its subsequent
successful run in the United States beginning February 3, 1945. The film's
advanced psychedelic sequences garnered attention for new generations with a
re-release of
an abridged version of the film in 1977 and its recent home video editions.
Though Donald Duck, Jose Carioca and Panchito have appeared separately and
in pairings
over the past six decades, the trio hasn't been seen united on film or
television in original animated sequences since the film's debut.
Billed as ``the tooniest place on Earth,'' ``Disney's House of Mouse'' is
the gathering place for animated characters each Saturday. Hosted by Master
of Ceremonies
Mickey Mouse and his longtime quintet of pals, the ``nightclub'' provides
``staged'' entertainment for a very-recognizable audience. From Winnie the
Pooh and Jiminy
Cricket to Hades and Jafar, the clientele comes into the ``House of Mouse''
to enjoy musical guests, cartoon shorts and Mickey's comical introductions
from the stage.
Home viewers also are privy to the weekly backstage pandemonium as Mickey,
Donald Duck, Goofy, Minnie Mouse, Daisy Duck and Pluto attempt to ensure
that
``the show goes on.''
``Disney's House of Mouse'' is produced by Walt Disney Television Animation.
Roberts Gannaway and Tony Craig are Executive Producers.
For high resolution digital images, log onto ABCMedianet.com
SOURCE: Walt Disney Television Animation
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
Rich
Creator Birthdays
Message 15 -
2001-05-02 at 21:08:59
Can anyone point me to a site that lists the birthdates of the following
Disney Creators?
Barks, Carl
Cavazzano, Giorgio
Gottfredson, Floyd
Hubbard, Al
Iwerks, Ub
Murry, Paul
Rosa, Don
Scarpa, Romano
Taliaferro, Al
Van Horn, William
Thank you,
Rich Bellacera
xephyr at jps.net
Disney Creators?
Barks, Carl
Cavazzano, Giorgio
Gottfredson, Floyd
Hubbard, Al
Iwerks, Ub
Murry, Paul
Rosa, Don
Scarpa, Romano
Taliaferro, Al
Van Horn, William
Thank you,
Rich Bellacera
xephyr at jps.net