A big "hello" to everyone out there!
My name is Henri Michaux, I am one of the editors of
"The Barks Bear Book" - Editions Enfin (1979).
I absolutely agree with the position of Michael
Barrier regarding the non-importance (and IMhO
uglyness) of Barks' paintings, reported by Don Rosa. I
think Barks should be remembered for the comics he did
before retiring, and only that.
I am looking for copies of the 3 Barks "Tom and Jerry"
scripts. I think at least one of them was drawn by
Carl Buettner. We might publish a second (very small)
volume of the Barks Bear Book, this time with a much
better quality with the 3 Tom & Jerry stories that
were missing in the first edition, but need better
reproduction than what we have.
"See" you soon.
Henri Michaux
__________________________________________________
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Author
Topic: 200106
(445 messages)
Henri Michaux
New to the list - Barks comics vs. other works
Message 61 -
2001-06-09 at 01:19:47
Dr. Archontis Pantsios
MIKY MAOUS...and more
Message 62 -
2001-06-09 at 12:15:10
Fellow Quackeroos:
Here're the contents of MIKY MAOUS, ALMANAKO, and MINNI:
1) MIKY MAOUS #1820, June 1, 20001
a) Mickey Mouse in "Il cavatappi di Tuzco", from "Topolino" #1047, 1975 (31
pages). Script & art: Romano Scarpa.
b) Morty & Ferdie in "Baby sitter modello", from "Topolino" #2231, 1998 (19
pages). Script: Antonella Pandini; Art: Nicola Tosolini.
c) Gyro Gearloose in "La casa in 4D", from "Topolino" #2247, 1998 (15
pages). Script: Giorgio Figus; Art: Paolo Campinoti.
d) Lil' Bad Wolf in "The Dress-Up" (5 pages). Story code and creators
unknown.
2) ALMANAKO #124, June 2001.
a) Indiana Goofy in "Il tesoro della montagna verde", from "Topolino" #2286,
1999 (36 pages). Script: Stefano Ambrosio; Art: Stefano Turconi.
b) Paperinik in "Il salvataggio impossibile", from "Paperinik" #48, 1997 (24
pages). Script: Giustina Porcelli; Art: Roberto Marini.
3) MINNI #57, June 2001.
a) Daisy Duck in "La storia di un sogno d' estate", from "Minni" #74, 1999
(23 pages). Script: Giustina Porcelli; Art: Paolo Campinoti.
b) Clarabell's Chronicles: "A Rebel without a Cause", from "Minni" #71 (34
pages). Script: Francois Corteggiani; Art: Giorgio Cavazzano.
'Til next week,
Archontis
----------------------------------------------------------------------------
-----------
Archontis L. Pantsios, Ph.D.
Assistant Academic Dean & Associate Professor of Economics
The American College of Thessaloniki
Thessaloniki, GREECE
tel.: +30 31 398 228
Here're the contents of MIKY MAOUS, ALMANAKO, and MINNI:
1) MIKY MAOUS #1820, June 1, 20001
a) Mickey Mouse in "Il cavatappi di Tuzco", from "Topolino" #1047, 1975 (31
pages). Script & art: Romano Scarpa.
b) Morty & Ferdie in "Baby sitter modello", from "Topolino" #2231, 1998 (19
pages). Script: Antonella Pandini; Art: Nicola Tosolini.
c) Gyro Gearloose in "La casa in 4D", from "Topolino" #2247, 1998 (15
pages). Script: Giorgio Figus; Art: Paolo Campinoti.
d) Lil' Bad Wolf in "The Dress-Up" (5 pages). Story code and creators
unknown.
2) ALMANAKO #124, June 2001.
a) Indiana Goofy in "Il tesoro della montagna verde", from "Topolino" #2286,
1999 (36 pages). Script: Stefano Ambrosio; Art: Stefano Turconi.
b) Paperinik in "Il salvataggio impossibile", from "Paperinik" #48, 1997 (24
pages). Script: Giustina Porcelli; Art: Roberto Marini.
3) MINNI #57, June 2001.
a) Daisy Duck in "La storia di un sogno d' estate", from "Minni" #74, 1999
(23 pages). Script: Giustina Porcelli; Art: Paolo Campinoti.
b) Clarabell's Chronicles: "A Rebel without a Cause", from "Minni" #71 (34
pages). Script: Francois Corteggiani; Art: Giorgio Cavazzano.
'Til next week,
Archontis
----------------------------------------------------------------------------
-----------
Archontis L. Pantsios, Ph.D.
Assistant Academic Dean & Associate Professor of Economics
The American College of Thessaloniki
Thessaloniki, GREECE
tel.: +30 31 398 228
Olivier
Barks's comics & paintings
Message 63 -
2001-06-09 at 13:31:16
Carl Barks should certainly be remembered and honored
for his comic book work foremost.
As for the paintings, it's a matter of personal taste, but I think
"ugly" is going too far even if you don't like them-- an opinion
I respect, naturally.
Personally, I like the paintings-- not all, especially some of
the later ones, or "Wanderers in Wonderlands" for instance
(too crammed & forced).
But I do like such paintings as "Red Sails in the Sunset",
"Sport of Tycoons", "Flying Dutchman", "Sheriff of Bullet Valley",
"Terror of the River", ...
2 things to be deplored:
- it got out of control and became an ugly speculators' business
- (corollary) there has been no affordable book-- or maybe there have been
plans to do so (like the softcover version of the CBL) but it never came to be?
Olivier
for his comic book work foremost.
As for the paintings, it's a matter of personal taste, but I think
"ugly" is going too far even if you don't like them-- an opinion
I respect, naturally.
Personally, I like the paintings-- not all, especially some of
the later ones, or "Wanderers in Wonderlands" for instance
(too crammed & forced).
But I do like such paintings as "Red Sails in the Sunset",
"Sport of Tycoons", "Flying Dutchman", "Sheriff of Bullet Valley",
"Terror of the River", ...
2 things to be deplored:
- it got out of control and became an ugly speculators' business
- (corollary) there has been no affordable book-- or maybe there have been
plans to do so (like the softcover version of the CBL) but it never came to be?
Olivier
Wouter
Thank you for not showing offensive savages
Message 64 -
2001-06-09 at 13:39:11
> As you know, most Little Hiawatha stories are about Indians or some other
> such "colored" people. Yuck! What's next? Negro heroes in Donald Duck
> stories? Mickey Mouse turns out to be a Jew? I mean, how offensive can you
> get?
> Francesco:
> >>Er... this mail's s'posed to be somewhat... sarcastic... I guess... is
it not?
>
> Yes, I suppose so too. That's how I read it.
>
I am very sure it is and I also resent Hiawatha being drawn white.
It was very sharp sarcasm, sarcasm being so good that it gets people
wondering if it really is sarcasm, thats the best sarcasm there is.
Mike Pohjola, you are a master of sarcasm and I enjoyed reading your e-mail.
> such "colored" people. Yuck! What's next? Negro heroes in Donald Duck
> stories? Mickey Mouse turns out to be a Jew? I mean, how offensive can you
> get?
> Francesco:
> >>Er... this mail's s'posed to be somewhat... sarcastic... I guess... is
it not?
>
> Yes, I suppose so too. That's how I read it.
>
I am very sure it is and I also resent Hiawatha being drawn white.
It was very sharp sarcasm, sarcasm being so good that it gets people
wondering if it really is sarcasm, thats the best sarcasm there is.
Mike Pohjola, you are a master of sarcasm and I enjoyed reading your e-mail.
Scotty Arsenault
MIKY MAOUS...and more
Message 65 -
2001-06-09 at 13:44:27
Hello. I have a question, if anyone can help.
How can I subscribe to these books from the United States?
Thanks!
"Dr. Archontis Pantsios" wrote:
> Fellow Quackeroos:
>
> Here're the contents of MIKY MAOUS, ALMANAKO, and MINNI:
>
> 1) MIKY MAOUS #1820, June 1, 20001
> a) Mickey Mouse in "Il cavatappi di Tuzco", from "Topolino" #1047, 1975 (31
> pages). Script & art: Romano Scarpa.
> b) Morty & Ferdie in "Baby sitter modello", from "Topolino" #2231, 1998 (19
> pages). Script: Antonella Pandini; Art: Nicola Tosolini.
> c) Gyro Gearloose in "La casa in 4D", from "Topolino" #2247, 1998 (15
> pages). Script: Giorgio Figus; Art: Paolo Campinoti.
> d) Lil' Bad Wolf in "The Dress-Up" (5 pages). Story code and creators
> unknown.
>
> 2) ALMANAKO #124, June 2001.
> a) Indiana Goofy in "Il tesoro della montagna verde", from "Topolino" #2286,
> 1999 (36 pages). Script: Stefano Ambrosio; Art: Stefano Turconi.
> b) Paperinik in "Il salvataggio impossibile", from "Paperinik" #48, 1997 (24
> pages). Script: Giustina Porcelli; Art: Roberto Marini.
>
> 3) MINNI #57, June 2001.
> a) Daisy Duck in "La storia di un sogno d' estate", from "Minni" #74, 1999
> (23 pages). Script: Giustina Porcelli; Art: Paolo Campinoti.
> b) Clarabell's Chronicles: "A Rebel without a Cause", from "Minni" #71 (34
> pages). Script: Francois Corteggiani; Art: Giorgio Cavazzano.
>
> 'Til next week,
>
> Archontis
>
> ----------------------------------------------------------------------------
> -----------
> Archontis L. Pantsios, Ph.D.
> Assistant Academic Dean & Associate Professor of Economics
> The American College of Thessaloniki
> Thessaloniki, GREECE
> tel.: +30 31 398 228
>
> _______________________________________________
> http://stp.ling.uu.se/mailman/listinfo/dcml
--
Scotty Arsenault
heebas.com - yerf.com
N I S H N A B O T N A
How can I subscribe to these books from the United States?
Thanks!
"Dr. Archontis Pantsios" wrote:
> Fellow Quackeroos:
>
> Here're the contents of MIKY MAOUS, ALMANAKO, and MINNI:
>
> 1) MIKY MAOUS #1820, June 1, 20001
> a) Mickey Mouse in "Il cavatappi di Tuzco", from "Topolino" #1047, 1975 (31
> pages). Script & art: Romano Scarpa.
> b) Morty & Ferdie in "Baby sitter modello", from "Topolino" #2231, 1998 (19
> pages). Script: Antonella Pandini; Art: Nicola Tosolini.
> c) Gyro Gearloose in "La casa in 4D", from "Topolino" #2247, 1998 (15
> pages). Script: Giorgio Figus; Art: Paolo Campinoti.
> d) Lil' Bad Wolf in "The Dress-Up" (5 pages). Story code and creators
> unknown.
>
> 2) ALMANAKO #124, June 2001.
> a) Indiana Goofy in "Il tesoro della montagna verde", from "Topolino" #2286,
> 1999 (36 pages). Script: Stefano Ambrosio; Art: Stefano Turconi.
> b) Paperinik in "Il salvataggio impossibile", from "Paperinik" #48, 1997 (24
> pages). Script: Giustina Porcelli; Art: Roberto Marini.
>
> 3) MINNI #57, June 2001.
> a) Daisy Duck in "La storia di un sogno d' estate", from "Minni" #74, 1999
> (23 pages). Script: Giustina Porcelli; Art: Paolo Campinoti.
> b) Clarabell's Chronicles: "A Rebel without a Cause", from "Minni" #71 (34
> pages). Script: Francois Corteggiani; Art: Giorgio Cavazzano.
>
> 'Til next week,
>
> Archontis
>
> ----------------------------------------------------------------------------
> -----------
> Archontis L. Pantsios, Ph.D.
> Assistant Academic Dean & Associate Professor of Economics
> The American College of Thessaloniki
> Thessaloniki, GREECE
> tel.: +30 31 398 228
>
> _______________________________________________
> http://stp.ling.uu.se/mailman/listinfo/dcml
--
Scotty Arsenault
heebas.com - yerf.com
N I S H N A B O T N A
Anders Christian Sivebaek
Mike and foreigners
Message 66 -
2001-06-09 at 14:01:10
Hi
BTW Untill I maybe hear that your mail was an example of the maybe very
black
finnish humor, I will presume that it was not, and will therforbe very
surprised to
have encountered yet another person with this set of opinions. There
was also a
person with maybe the same attitudes at mu high school... Yikes...
Isn't it true what I wrote, haven't Mickey and Donald and Scrooge met
many foreigners,
who were not white on their adventures in stories by all artists, both
new and old?
Is there anything wrong with that, as long as we show them as the
people they are, and
not with some made-up opinions? We should certainly not look at them as
heathens IMO.
To me their religion can be as good as mine, as long as I haven't seen
any prrof for any of
them. We earthlings need to believe, if we don't we might not find life
worth living.
And we might not find life worth living if it's becomes filled with
people who hates everyone
who has a different culture or nationality.
A. C. Sivebaek
acsive at mail.mira.dk
BTW Untill I maybe hear that your mail was an example of the maybe very
black
finnish humor, I will presume that it was not, and will therforbe very
surprised to
have encountered yet another person with this set of opinions. There
was also a
person with maybe the same attitudes at mu high school... Yikes...
Isn't it true what I wrote, haven't Mickey and Donald and Scrooge met
many foreigners,
who were not white on their adventures in stories by all artists, both
new and old?
Is there anything wrong with that, as long as we show them as the
people they are, and
not with some made-up opinions? We should certainly not look at them as
heathens IMO.
To me their religion can be as good as mine, as long as I haven't seen
any prrof for any of
them. We earthlings need to believe, if we don't we might not find life
worth living.
And we might not find life worth living if it's becomes filled with
people who hates everyone
who has a different culture or nationality.
A. C. Sivebaek
acsive at mail.mira.dk
Francesco Spreafico
Thank you for not showing offensive savages
Message 67 -
2001-06-09 at 14:43:01
From: "Olivier" <mouse-ducks at wanadoo.fr>
> >>Er... this mail's s'posed to be somewhat... sarcastic... I guess... is it
not?
>
> Yes, I suppose so too. That's how I read it.
Me too, but after reading Anders' mail I wasn't sure I was right :-)
--
Sprea
> >>Er... this mail's s'posed to be somewhat... sarcastic... I guess... is it
not?
>
> Yes, I suppose so too. That's how I read it.
Me too, but after reading Anders' mail I wasn't sure I was right :-)
--
Sprea
Anders Christian Sivebaek
Rob
Message 68 -
2001-06-09 at 14:50:48
But Rob, you haven't read Don's newest story.
It's a great Barks-reference story. It's done for the Barks-hommage
series, it includes Barks-creations and many treasures and rooms from
barks-stories. But still the story is the greatest gag-story from Don
I've seen, partly because of these Barks-reference - and that's my
reason to have it as a favorite.
A. C. Sivebaek
acsive at mail.mira.dk
It's a great Barks-reference story. It's done for the Barks-hommage
series, it includes Barks-creations and many treasures and rooms from
barks-stories. But still the story is the greatest gag-story from Don
I've seen, partly because of these Barks-reference - and that's my
reason to have it as a favorite.
A. C. Sivebaek
acsive at mail.mira.dk
Anders Christian Sivebaek
Rob 2
Message 69 -
2001-06-09 at 15:01:21
>This is something that is
>a natural and automatic result, which cannot be avoided. Naturally,
having
>to tie a plot around the connecting of events to the linking of the
details
>of previous events would result in the use of less originality than
>inventing all new details and tying a completely new plot around these
new
>details.
But still we know it's harder to do so, I at least heard that several
times, that it's harder to build a story on another because you have to
reference to it, but not repeat it. I once read a swedish article which
in my eyes critizised Don's back to Plain Awfull for being a repetition
of, not a sequel for Lost in The Andes. I for one don't agree, but
maybe others do.
>I believe there is a place for Both types of stories by him. Those of
us
>who wish to read about and visualise what happened before and after
one of
>Barks' classical stories, or learn more about the details relating to
them
>will likely enjoy Don's historical stories more. Those of us who
enjoy,
>even more, Don's cereativity in stories not related to specific Barks
>references, will enjoy Don's unrelated stories more. This way,
everyone
>can be happy to some degree. The only problem comes between the
groups of
>fans who want Don to produce a higher percentage of his stories (or
story
>pages) in their particular genre of choice.
Then we're lucky that Don has said that he hears from many fans, who
each like a story best. I imagine there's a fan for every story, I mean
there are fans who love one story and others who love another, and
there might be such for every Rosa, Barks, Klein or any artist.
Don and others know this and therefore make the stories that they
themselves like the best doing. I hear Don likes
best to the long historic stories, and luckily I'm one who loves those.
I'm glad this latest gag-story (can I anyway call it that?) is so good.
eg. the Anb Eye of Detail hadn't got me jumping, whereas the A matter
of Soem Gravity had both me and friends laughing at the genius plot and
design of pages.
So, being a long-story fan I look forward to that coming story from
Don.
Has that lost crown belonged to a french king btw? A fellow fan
wondered, and if I ask here, more people will hear the answer.
> A. C. Sivebaek
> acsive at mail.mira.dk
>
>a natural and automatic result, which cannot be avoided. Naturally,
having
>to tie a plot around the connecting of events to the linking of the
details
>of previous events would result in the use of less originality than
>inventing all new details and tying a completely new plot around these
new
>details.
But still we know it's harder to do so, I at least heard that several
times, that it's harder to build a story on another because you have to
reference to it, but not repeat it. I once read a swedish article which
in my eyes critizised Don's back to Plain Awfull for being a repetition
of, not a sequel for Lost in The Andes. I for one don't agree, but
maybe others do.
>I believe there is a place for Both types of stories by him. Those of
us
>who wish to read about and visualise what happened before and after
one of
>Barks' classical stories, or learn more about the details relating to
them
>will likely enjoy Don's historical stories more. Those of us who
enjoy,
>even more, Don's cereativity in stories not related to specific Barks
>references, will enjoy Don's unrelated stories more. This way,
everyone
>can be happy to some degree. The only problem comes between the
groups of
>fans who want Don to produce a higher percentage of his stories (or
story
>pages) in their particular genre of choice.
Then we're lucky that Don has said that he hears from many fans, who
each like a story best. I imagine there's a fan for every story, I mean
there are fans who love one story and others who love another, and
there might be such for every Rosa, Barks, Klein or any artist.
Don and others know this and therefore make the stories that they
themselves like the best doing. I hear Don likes
best to the long historic stories, and luckily I'm one who loves those.
I'm glad this latest gag-story (can I anyway call it that?) is so good.
eg. the Anb Eye of Detail hadn't got me jumping, whereas the A matter
of Soem Gravity had both me and friends laughing at the genius plot and
design of pages.
So, being a long-story fan I look forward to that coming story from
Don.
Has that lost crown belonged to a french king btw? A fellow fan
wondered, and if I ask here, more people will hear the answer.
> A. C. Sivebaek
> acsive at mail.mira.dk
>
Anders Christian Sivebaek
No and article
Message 70 -
2001-06-09 at 15:11:04
No
Franceso, I'm afraid it is not supposed to be sarcastic or ironic.
Or maybe it is?
Maybe it's that black (negro?!) finnish humor (sorry, pun intended)
You read as a joke, Olivier?
well, i would hope too, but I don't think it is.
Sadly I encountered such a set of attitudes before, as said.
Oh, I'd love to read that Michael Barrier article.
and I agree, let's forgot about the horrible studio. I still can't find
word for what I
think of them in danish. I guess the english word might be just plain
evilness.
I like the paintings, but no doubt the stories is what I love from
Carl.
A. C. Sivebaek
acsive at mail.mira.dk
"One rock - another rock" (I'm not sure if that quote is correct - I
only have the danish version of Lost in The Andes)
Franceso, I'm afraid it is not supposed to be sarcastic or ironic.
Or maybe it is?
Maybe it's that black (negro?!) finnish humor (sorry, pun intended)
You read as a joke, Olivier?
well, i would hope too, but I don't think it is.
Sadly I encountered such a set of attitudes before, as said.
Oh, I'd love to read that Michael Barrier article.
and I agree, let's forgot about the horrible studio. I still can't find
word for what I
think of them in danish. I guess the english word might be just plain
evilness.
I like the paintings, but no doubt the stories is what I love from
Carl.
A. C. Sivebaek
acsive at mail.mira.dk
"One rock - another rock" (I'm not sure if that quote is correct - I
only have the danish version of Lost in The Andes)
Don Rosa
DCML digest #559
Message 71 -
2001-06-09 at 15:59:39
From: "Rob Klein" <bi442 at lafn.org>
>>>>I also agree with Soeren Krarup Oleson, that Don Rosa's "best" (at
least my
favourite of his) stories are those which are not slavishly tied to the
information Barks provided in previous stories.
>>>Naturally, having
to tie a plot around the connecting of events to the linking of the details
of previous events would result in the use of less originality than
inventing all new details and tying a completely new plot around these new
details.
I don't ever disagree with someone who dislikes my stories or dislikes my
"Lo$" stories... but I always must make sure that they don't step beyond
their own preferences and cross into a description of my labor. I raise my
eyebrow at the term "less originality". As I've often pointed out, it takes
far more work and creativity, and more original thought and planning for me
to create a sequel to a Barks story or a historically detailed adventure
than if I simply did a "gag" story with no references to past stories or
actual events. I don't mean it's twice as complicated, it's about five or
TEN times more difficult to do those stories. I could get at least 2 or 3
times more work done if I stuck to the short "gag" stories -- that means 2
or 3 times mor PAY with 1/2 to 1/3 as much work. But the job would be
boring to me, and I'm not interested. I just wanted to let you know that my
Barks sequels require me to be *much* more creative and original than a
story of Donald having another tiff with Neighbor Jones. I don't mind if
not everyone likes those stories... I know it's impossible to please
everyone... but don't suggest that they are not more difficult to produce
(which "the use of less originality" seems to imply, and if I'm wrong,
sorry).
By the way, I didn't get into the matter when it first came up, but I was
also very puzzled when someone said they liked my "Beagle Boys vs. the
Money Bin" because there were *not* lots of Barks references. Cripes, there
were scads of them! I'm tempted to go count all of the large and small
references to old Barksian facts and adventures... I think I'd come up with
50 or 75 easily.
>>>>I also agree with Soeren Krarup Oleson, that Don Rosa's "best" (at
least my
favourite of his) stories are those which are not slavishly tied to the
information Barks provided in previous stories.
>>>Naturally, having
to tie a plot around the connecting of events to the linking of the details
of previous events would result in the use of less originality than
inventing all new details and tying a completely new plot around these new
details.
I don't ever disagree with someone who dislikes my stories or dislikes my
"Lo$" stories... but I always must make sure that they don't step beyond
their own preferences and cross into a description of my labor. I raise my
eyebrow at the term "less originality". As I've often pointed out, it takes
far more work and creativity, and more original thought and planning for me
to create a sequel to a Barks story or a historically detailed adventure
than if I simply did a "gag" story with no references to past stories or
actual events. I don't mean it's twice as complicated, it's about five or
TEN times more difficult to do those stories. I could get at least 2 or 3
times more work done if I stuck to the short "gag" stories -- that means 2
or 3 times mor PAY with 1/2 to 1/3 as much work. But the job would be
boring to me, and I'm not interested. I just wanted to let you know that my
Barks sequels require me to be *much* more creative and original than a
story of Donald having another tiff with Neighbor Jones. I don't mind if
not everyone likes those stories... I know it's impossible to please
everyone... but don't suggest that they are not more difficult to produce
(which "the use of less originality" seems to imply, and if I'm wrong,
sorry).
By the way, I didn't get into the matter when it first came up, but I was
also very puzzled when someone said they liked my "Beagle Boys vs. the
Money Bin" because there were *not* lots of Barks references. Cripes, there
were scads of them! I'm tempted to go count all of the large and small
references to old Barksian facts and adventures... I think I'd come up with
50 or 75 easily.
John Garvin
DCML digest, Vol 1 #559 - 15 msgs
Message 72 -
2001-06-09 at 16:39:16
Don Rosa: >So I was particularly pleased that,
amid the many other superb observations, Barrier expounds something I've
always thought -- that Mr. Barks should be remembered strictly for the work
he did in writing and drawing comic books stories prior to 1967, and not at
all for his paintings and other "collectibles" endeavors of his final
years.<
This is just impossibly narrow minded and comes from the fact that you, and evidently Mr. Barrier,
come to Barks's work from your childhood memories of reading his stories. It seems incredibly
presumptious that you would dismiss the later work of a great creator and artist just because it was
not "comic book stories." Barks had a full time painting career from 1970 to 1997, give or take.
That's 27 years. His comics career went from 1942 to 1967, give or take. That's 25 years. I argue
that some of Barks best, most inspired, most creative work, came from his painting years, NOT his
comics years. The difference between you and I, Mr. Rosa, is that you grew up reading Barks comic
books, and my first exposure to Barks was his oil paintings in the 1977 price guide. I possess and
have read, all Barks comics. I also possess and have studied, ALL Barks paintings. While it is true
that his later painting work is not very good, the same can certainly be said of his later comics
work. To dismiss this important part of Barks life and career is really nothing more than ignorance
at best, arrogance at worst.
amid the many other superb observations, Barrier expounds something I've
always thought -- that Mr. Barks should be remembered strictly for the work
he did in writing and drawing comic books stories prior to 1967, and not at
all for his paintings and other "collectibles" endeavors of his final
years.<
This is just impossibly narrow minded and comes from the fact that you, and evidently Mr. Barrier,
come to Barks's work from your childhood memories of reading his stories. It seems incredibly
presumptious that you would dismiss the later work of a great creator and artist just because it was
not "comic book stories." Barks had a full time painting career from 1970 to 1997, give or take.
That's 27 years. His comics career went from 1942 to 1967, give or take. That's 25 years. I argue
that some of Barks best, most inspired, most creative work, came from his painting years, NOT his
comics years. The difference between you and I, Mr. Rosa, is that you grew up reading Barks comic
books, and my first exposure to Barks was his oil paintings in the 1977 price guide. I possess and
have read, all Barks comics. I also possess and have studied, ALL Barks paintings. While it is true
that his later painting work is not very good, the same can certainly be said of his later comics
work. To dismiss this important part of Barks life and career is really nothing more than ignorance
at best, arrogance at worst.
Rob Klein
Racism & Censorship
Message 73 -
2001-06-09 at 17:47:02
Although I am not one of the people in the world who are best at judging
other peoples' intent, it appeared to me that Mike Pohjola's comments were
sarcastic, and his peeve is with censorship. I find it hard to believe
that Mike would have such exaggerated racist values. I've heard nothing
but good things about him from other list members who have met him. - Rob
Klein
other peoples' intent, it appeared to me that Mike Pohjola's comments were
sarcastic, and his peeve is with censorship. I find it hard to believe
that Mike would have such exaggerated racist values. I've heard nothing
but good things about him from other list members who have met him. - Rob
Klein
Anders Christian Sivebaek
Finnish Fanzines and pro gradus
Message 74 -
2001-06-09 at 18:55:35
So i conclude there are at least two fanzines in Finland sometimes
telling about the ducks?
That's so great! For you, I mean, but as I can't read it it doesn't do
much for me. Unless
Of course one of you here would be kind to tell if there's something
new and interesting in the
magazine we haven't heard.
What are the things in the fanzines? Articles, reviews of comics,
analysis or other?
Are you familiar with the at least 2 pro gradu/doctor grates in
litterature that have been made by
readers there?
One by a name I am not fast enough to read, about intertextuality in
Don Rosas story.
(Don proudly browses through it on the interview made by Fievel A
Elliot.). I presume it's about
all the references to movies, books, history, Barks stories, previous
Rosa-stories and other you
see in Rosas stories. Gosh I would love to be bale to read such a
thing!
The other one is about the weekly in different langauges. The person
making it, has
compared english prrofs from egmont with Aku Ankka (suomi), Micky Maus
(german),
Donald Duck (norwegian too) and Kalle Anka (swedish). These languages
have very different
traditions of translating I suppose. Some do translations very close to
original (eg. Norway, from what
I've read), and others do more free translations (sweden and finland
perhaps) and others do some
strange, for-children translations in the weekly and other more-adult
ones in the albums.
It would interest me to read that one too.
Anyone who knows the names of these persons, or how to get to know more
about the things mentioned in the pro gradus (is that the word, maybe
only in latin?) - maybe it could be called the final and very big,
essay?
A. C. Sivebaek
acsive at mail.mira.dk
telling about the ducks?
That's so great! For you, I mean, but as I can't read it it doesn't do
much for me. Unless
Of course one of you here would be kind to tell if there's something
new and interesting in the
magazine we haven't heard.
What are the things in the fanzines? Articles, reviews of comics,
analysis or other?
Are you familiar with the at least 2 pro gradu/doctor grates in
litterature that have been made by
readers there?
One by a name I am not fast enough to read, about intertextuality in
Don Rosas story.
(Don proudly browses through it on the interview made by Fievel A
Elliot.). I presume it's about
all the references to movies, books, history, Barks stories, previous
Rosa-stories and other you
see in Rosas stories. Gosh I would love to be bale to read such a
thing!
The other one is about the weekly in different langauges. The person
making it, has
compared english prrofs from egmont with Aku Ankka (suomi), Micky Maus
(german),
Donald Duck (norwegian too) and Kalle Anka (swedish). These languages
have very different
traditions of translating I suppose. Some do translations very close to
original (eg. Norway, from what
I've read), and others do more free translations (sweden and finland
perhaps) and others do some
strange, for-children translations in the weekly and other more-adult
ones in the albums.
It would interest me to read that one too.
Anyone who knows the names of these persons, or how to get to know more
about the things mentioned in the pro gradus (is that the word, maybe
only in latin?) - maybe it could be called the final and very big,
essay?
A. C. Sivebaek
acsive at mail.mira.dk
Georges Fante
DCML digest, Vol 1 #559 - 15 msgs
Message 75 -
2001-06-09 at 20:09:26
John Garvin wrote:
>I argue that some of Barks best, most inspired,
>most creative work, came from his painting years,
>NOT his comics years.
In my humble opinion, you're wrong. As Barks himself
said in an interview conducted by Geoffrey Blum, his
comic book stories are the work he will be most
remembered of ("definitely"). That is also my opinion.
I have nothing against the paintings except that they
are too much sophisticated and "lêchées" for me. In
Barks' oils, I don't see the poetry I see in Barks'
comic book stories.
Georges Fante
__________________________________________________
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>I argue that some of Barks best, most inspired,
>most creative work, came from his painting years,
>NOT his comics years.
In my humble opinion, you're wrong. As Barks himself
said in an interview conducted by Geoffrey Blum, his
comic book stories are the work he will be most
remembered of ("definitely"). That is also my opinion.
I have nothing against the paintings except that they
are too much sophisticated and "lêchées" for me. In
Barks' oils, I don't see the poetry I see in Barks'
comic book stories.
Georges Fante
__________________________________________________
Do You Yahoo!?
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/