In a message dated 9/9/2001 12:52:22 PM Eastern Daylight Time,
jgarvin at bendcable.com writes:
> We are not even on the same planet, so what's
>the point?
you're right, it looks like we both read different articles in our different
worlds
steven rowe
Author
Topic: 200109
(277 messages)
SRoweCanoe
On Barrier
Message 76 -
2001-09-09 at 20:02:05
John Garvin
Barrier and Barks and Rowe
Message 77 -
2001-09-10 at 01:13:07
steven rowe:
"you're right, it looks like we both read different articles in our
different worlds"
I'm confused. Are you saying I'm misreading any part of what Barrier
wrote? I'm prepared to quote it at length if I have to.
Barrier: "... Barks is being diminished in other ways, too, not least by
the sort of praise that stifles awareness of his most valuable
qualities. ... It was as Scrooge's creator that Barks was most readily
identified when he died...those stories *are* children's stories... But
the Uncle Scrooge stories are not Barks's best work...I don't blame
Barks because his work trailed off in the middle 1950s... There is no
cure for all these threats to Barks's standing as a comics creator,
except to keep asserting the value of his best work. (Barks's comic book
work from the mid 1940s to early 1950s.)"
Barrier's arguments get all muddled together and are not stated very
precisely, I admit, but careful reading makes it pretty obvious that
Barrier's biggest concern is that Barks's best work is being
overshadowed by many things. The paintings, obviously, but also Barks's
more famous, lesser work, on Uncle Scrooge.
Also, I must say that I disagree with Barrier's comments on Don Rosa's
work. Barrier does the same thing to Rosa that Barrier does to Barks's
later comic work and Barks's paintings: Barrier judges Rosa by the
yardstick of Barks's 1940s comic work. It may be true that Barks's
best, most polished stories have been (to quote Barrier) "constructed
with care so painstaking that it renders itself invisible (the very
quality so sadly absent from Don Rosa's earnest Barks homages of recent
years)." But what Barrier does not consider, cannot allow himself to
see, is that perhaps Rosa is not *trying* to construct his stories that
way. Does not the very *act* of "homage" necessitate a certain
opaqueness of structure? Barrier's tone when he says "sadly absent"
says it all: Rosa is not Barks, Rosa does not create stories like Barks
did in the 1940s, therefore Rosa is to be dismissed and marginalized.
But Don Rosa can't take too much umbrage at this because Barrier says
the exact same thing about Barks himself: Barks's later work, his Uncle
Scrooge stories and his paintings, are also to be dismissed out-of-hand.
"you're right, it looks like we both read different articles in our
different worlds"
I'm confused. Are you saying I'm misreading any part of what Barrier
wrote? I'm prepared to quote it at length if I have to.
Barrier: "... Barks is being diminished in other ways, too, not least by
the sort of praise that stifles awareness of his most valuable
qualities. ... It was as Scrooge's creator that Barks was most readily
identified when he died...those stories *are* children's stories... But
the Uncle Scrooge stories are not Barks's best work...I don't blame
Barks because his work trailed off in the middle 1950s... There is no
cure for all these threats to Barks's standing as a comics creator,
except to keep asserting the value of his best work. (Barks's comic book
work from the mid 1940s to early 1950s.)"
Barrier's arguments get all muddled together and are not stated very
precisely, I admit, but careful reading makes it pretty obvious that
Barrier's biggest concern is that Barks's best work is being
overshadowed by many things. The paintings, obviously, but also Barks's
more famous, lesser work, on Uncle Scrooge.
Also, I must say that I disagree with Barrier's comments on Don Rosa's
work. Barrier does the same thing to Rosa that Barrier does to Barks's
later comic work and Barks's paintings: Barrier judges Rosa by the
yardstick of Barks's 1940s comic work. It may be true that Barks's
best, most polished stories have been (to quote Barrier) "constructed
with care so painstaking that it renders itself invisible (the very
quality so sadly absent from Don Rosa's earnest Barks homages of recent
years)." But what Barrier does not consider, cannot allow himself to
see, is that perhaps Rosa is not *trying* to construct his stories that
way. Does not the very *act* of "homage" necessitate a certain
opaqueness of structure? Barrier's tone when he says "sadly absent"
says it all: Rosa is not Barks, Rosa does not create stories like Barks
did in the 1940s, therefore Rosa is to be dismissed and marginalized.
But Don Rosa can't take too much umbrage at this because Barrier says
the exact same thing about Barks himself: Barks's later work, his Uncle
Scrooge stories and his paintings, are also to be dismissed out-of-hand.
Kriton Kyrimis
DCML digest, Vol 1 #658 - 11 msgs
Message 78 -
2001-09-10 at 09:17:20
ME:
> a female donkey than if you cross a male donkey with a human horse?
?!?!?
It appears that I've been affected by too many stories where humans are
drawn as animals. I obviously meant a female horse!
FRANCOIS:
> >* Sequence letter (a, b, c...)
>
> This indicates the order of the reprints in a comic-book. "a" for the first
> story, "b" for the second one etc.
Do you mean "order of appearance"? Many comic books contain original
stories, rather than reprints!
> Since you took a look at them, maybe you can try it?
Why do you think I'm asking for clarifications? ;-)
HARRY:
> I still think that the website (program) is only useful for people who do an
> occasional index.
On the other hand, hundreds of people doing an occasional index might
provide as much information as a dedicated indexer!
> People who index a LOT have better tools for doing that.
Sounds like you're arguing in my favor, that a tool is necessary, after all!
> Of course, if you don't explain *what* is confusing to you,
My main problem was that I had to understand something that, to me,
was human readavle but not human understandable. If I could pin-point what it
was that I couldn't understand, I wouldn't be confused--I'd be simply asking
for clarifications. I only had four questions on Francois' page, so I stated
them.
> http://home.wxs.nl/~fluks4/bolderbast/xf0short.html
> can you tell me what it is that confuses you so much?
Perhaps the thing that confuses me the most is that I have to produce
lines such as
AA99-01f ZM 49-11-13 1 BWa MGo MM Elefantastisk sprogtalent [xapp:GO,MM]
which are totally incomprehensible, even if by breaking them down into
individual fields, and looking up the description of each field I can
fugure out what they mean.
For someone who's done this a few dozen (hundred? thousand?) times,
this might be second nature. However, to someone like me, who's never
done this before, having to go back and forth between the examples and
the explanation is too much like work. And, to tell the truth, I'm not
at all certain that the simple explanation is enough for a first time
indexer to index, say, this month's issue of Komix. (What is the issue
code of Komix, e.g., and where do I find it? Or, for that matter, what
is my own "indexer code"? Should I make one up? If so, how do I check
that it's not already in use?)
I have no doubt that, at this moment, one component of Francois' web form
is actually Francois himself. However, if this form begins to get used,
I suspect that it will soon evolve into something that will eliminate
the need for filtering by a human.
> (Back then, I probably should have told you to ignore the "advanced tricks
> and obscure points" that others posted.)
Don't worry, I did! It's just that the poster of those advanced tricks
believed that he was explaining the simplicity of the format!
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
> a female donkey than if you cross a male donkey with a human horse?
?!?!?
It appears that I've been affected by too many stories where humans are
drawn as animals. I obviously meant a female horse!
FRANCOIS:
> >* Sequence letter (a, b, c...)
>
> This indicates the order of the reprints in a comic-book. "a" for the first
> story, "b" for the second one etc.
Do you mean "order of appearance"? Many comic books contain original
stories, rather than reprints!
> Since you took a look at them, maybe you can try it?
Why do you think I'm asking for clarifications? ;-)
HARRY:
> I still think that the website (program) is only useful for people who do an
> occasional index.
On the other hand, hundreds of people doing an occasional index might
provide as much information as a dedicated indexer!
> People who index a LOT have better tools for doing that.
Sounds like you're arguing in my favor, that a tool is necessary, after all!
> Of course, if you don't explain *what* is confusing to you,
My main problem was that I had to understand something that, to me,
was human readavle but not human understandable. If I could pin-point what it
was that I couldn't understand, I wouldn't be confused--I'd be simply asking
for clarifications. I only had four questions on Francois' page, so I stated
them.
> http://home.wxs.nl/~fluks4/bolderbast/xf0short.html
> can you tell me what it is that confuses you so much?
Perhaps the thing that confuses me the most is that I have to produce
lines such as
AA99-01f ZM 49-11-13 1 BWa MGo MM Elefantastisk sprogtalent [xapp:GO,MM]
which are totally incomprehensible, even if by breaking them down into
individual fields, and looking up the description of each field I can
fugure out what they mean.
For someone who's done this a few dozen (hundred? thousand?) times,
this might be second nature. However, to someone like me, who's never
done this before, having to go back and forth between the examples and
the explanation is too much like work. And, to tell the truth, I'm not
at all certain that the simple explanation is enough for a first time
indexer to index, say, this month's issue of Komix. (What is the issue
code of Komix, e.g., and where do I find it? Or, for that matter, what
is my own "indexer code"? Should I make one up? If so, how do I check
that it's not already in use?)
I have no doubt that, at this moment, one component of Francois' web form
is actually Francois himself. However, if this form begins to get used,
I suspect that it will soon evolve into something that will eliminate
the need for filtering by a human.
> (Back then, I probably should have told you to ignore the "advanced tricks
> and obscure points" that others posted.)
Don't worry, I did! It's just that the poster of those advanced tricks
believed that he was explaining the simplicity of the format!
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
Kriton Kyrimis
DCML digest, Vol 1 #658 - 11 msgs
Message 79 -
2001-09-10 at 09:42:13
OLAF:
> >When replying, please edit your Subject line so it is more specific
> just a thought.. Ok. Bye.
The advice at the top of the digests is sound, but it's rather hard
to follow if one is replying to more than one of the messages in a
digest. In such cases, saying that one is replying to that particular
digest is actually the most descriptive subject line one can use, even
if it is not very informative. :(
BTW, if you look carefully, you'll notice that the subject line of this
message is *not* the subject line of the digest to which I'm replying!
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
> >When replying, please edit your Subject line so it is more specific
> just a thought.. Ok. Bye.
The advice at the top of the digests is sound, but it's rather hard
to follow if one is replying to more than one of the messages in a
digest. In such cases, saying that one is replying to that particular
digest is actually the most descriptive subject line one can use, even
if it is not very informative. :(
BTW, if you look carefully, you'll notice that the subject line of this
message is *not* the subject line of the digest to which I'm replying!
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
Kriton Kyrimis
Xanadu/TrallaLa
Message 80 -
2001-09-10 at 09:55:57
OLIVIER:
> First, Coleridge's text:
> http://etext.lib.virginia.edu/stc/Coleridge/poems/Kubla_Khan.html
Being Greek, I can't help wanting to point out the Greek pun on
Coleridge's initials that they make in these pages!
> * * * * * * * SPOILER re Don Rosa's story * * * * * * *
> Tralla La turns out to be Xanadu.
It's been some time since I last read this story, but wasn't it the
other way round?
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
> First, Coleridge's text:
> http://etext.lib.virginia.edu/stc/Coleridge/poems/Kubla_Khan.html
Being Greek, I can't help wanting to point out the Greek pun on
Coleridge's initials that they make in these pages!
> * * * * * * * SPOILER re Don Rosa's story * * * * * * *
> Tralla La turns out to be Xanadu.
It's been some time since I last read this story, but wasn't it the
other way round?
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
Fluks, H.W.
Den Bosch, the Dutch San Diego
Message 81 -
2001-09-10 at 11:19:51
I wrote:
> On 22 and 23 September there will be the annual Stripdagen (comic
> convention) in Den Bosch.
Daan Jippes will be getting the "Stripschapsprijs", a prize for his entire
work. There will also be an exhibition of Jippes' work.
--Harry.
> On 22 and 23 September there will be the annual Stripdagen (comic
> convention) in Den Bosch.
Daan Jippes will be getting the "Stripschapsprijs", a prize for his entire
work. There will also be an exhibition of Jippes' work.
--Harry.
Francois Willot
Disney comics digest
Message 82 -
2001-09-10 at 11:40:53
Hello Kriton,
> >* Sequence letter (a, b, c...)
>
> This indicates the order of the reprints in a
comic-book. "a" for the
first
> story, "b" for the second one etc.
>
>Do you mean "order of appearance"? Many comic books
contain original
>stories, rather than reprints!
Indeed, this is the order of appearance.
I have added a FAQ on the web page, where I copy &
paste questions and answers on this mailing list, so
people can find out answers to their questions there.
Let me know if anything else is puzzling you, or isn't
clear enough.
Francois
__________________________________________________
Do You Yahoo!?
Get email alerts & NEW webcam video instant messaging with Yahoo! Messenger
http://im.yahoo.com
> >* Sequence letter (a, b, c...)
>
> This indicates the order of the reprints in a
comic-book. "a" for the
first
> story, "b" for the second one etc.
>
>Do you mean "order of appearance"? Many comic books
contain original
>stories, rather than reprints!
Indeed, this is the order of appearance.
I have added a FAQ on the web page, where I copy &
paste questions and answers on this mailing list, so
people can find out answers to their questions there.
Let me know if anything else is puzzling you, or isn't
clear enough.
Francois
__________________________________________________
Do You Yahoo!?
Get email alerts & NEW webcam video instant messaging with Yahoo! Messenger
http://im.yahoo.com
Fluks, H.W.
Kriton's problems DCML digest, Vol 1 #658 - 11 msgs
Message 83 -
2001-09-10 at 11:55:18
Kriton:
> > >When replying, please edit your Subject line so it is more specific
> The advice at the top of the digests is sound, but it's rather hard
> to follow if one is replying to more than one of the messages in a
> digest.
If you don't want to sum up your subjects on 1 subject line, I think it's
preferrable to put replies to different subjects into different messages.
> In such cases, saying that one is replying to that particular
> digest is actually the most descriptive subject line one can use, even
> if it is not very informative. :(
Especially to non-digest readers (like me) it says nothing at all.
Anyway, it's not a very big issue to me. Don Rosa, for instance, has been
doing it since 1994 (though with him you can usually guess the subjects 8-).
> "I think I'll take this opportunity to remove my ears."
Vincent van Gogh? Mr. Spock in the dressing room?
--Harry.
> > >When replying, please edit your Subject line so it is more specific
> The advice at the top of the digests is sound, but it's rather hard
> to follow if one is replying to more than one of the messages in a
> digest.
If you don't want to sum up your subjects on 1 subject line, I think it's
preferrable to put replies to different subjects into different messages.
> In such cases, saying that one is replying to that particular
> digest is actually the most descriptive subject line one can use, even
> if it is not very informative. :(
Especially to non-digest readers (like me) it says nothing at all.
Anyway, it's not a very big issue to me. Don Rosa, for instance, has been
doing it since 1994 (though with him you can usually guess the subjects 8-).
> "I think I'll take this opportunity to remove my ears."
Vincent van Gogh? Mr. Spock in the dressing room?
--Harry.
Timo Ronkainen
Daily Mickey Mouse strip
Message 84 -
2001-09-10 at 12:15:56
> 9. daily Mickey Mouse strip (Ole R. Nielsen)
>Has anyone seen the MM dailies lately? By chance I discovered the name of
>the artist, a "T. Lewis" more famous
>for his work on "Over the Hedge".
>http://umweb2.unitedmedia.com/comics/hedge/html/about_author.html
How come they then don´t mention Mickey Mouse -strip at all in
www.kingfeatures.com ?
Don't they want it to be in any newspapers?
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kylä 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
timoro at hotmail.com
timoro at sunpoint.net
¨¨ Personal:
http://www.geocities.com/timoro2/
¨¨ Ankkalinnan Pamaus:
http://welcome.to/ankistit
.................................
"Rumble on, buxom bumble bee!
Go sit on cowslip - far from me!"
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
>Has anyone seen the MM dailies lately? By chance I discovered the name of
>the artist, a "T. Lewis" more famous
>for his work on "Over the Hedge".
>http://umweb2.unitedmedia.com/comics/hedge/html/about_author.html
How come they then don´t mention Mickey Mouse -strip at all in
www.kingfeatures.com ?
Don't they want it to be in any newspapers?
Timo
^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kylä 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
timoro at hotmail.com
timoro at sunpoint.net
¨¨ Personal:
http://www.geocities.com/timoro2/
¨¨ Ankkalinnan Pamaus:
http://welcome.to/ankistit
.................................
"Rumble on, buxom bumble bee!
Go sit on cowslip - far from me!"
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
Dr. Archontis Pantsios
MIKY MAOUS
Message 85 -
2001-09-10 at 12:47:32
Fellow Quackeroos:
Here's what hit the (Thessaloniki) stands in the past 2 weeks:
1) MIKY MAOUS #1832, August 24, 2001
a) "Alla ricerca della pietra zodiacale: il tesoro del pirata Barbagialla",
(part 10), from "Topolino" #1789, 1990 (27 pages). Script: Bruno Sarda; Art:
Franco Valussi.
b) Fethry Duck in "Il grande ritorno", from "Topolino" #2332, 2000 (21
pages). Script: Bruno Concina; Art: Giuseppe Della Santa.
c) Pluto in "Il postino provocatore", from "Topolino" #2323, 2000 (13
pages). Script: Luca Boschi; Art: Donald Soffritti.
d) Uncle Scrooge in "The Moving Mail-Box", US #197 (11 pages). Creators
unknown.
2) MIKY MAOUS #1833, August 31, 2001
a) "Alla ricerca della pietra zodiacale: l' ariete magico", (part 11) from
"Topolino" #1790, 1990 (26 pages). Script: Bruno Sarda; Art: Franco Valussi.
b) Gyro Gearloose in "L' imperatore luminoso", from "Topolino" #2241, 1998
(26 pages). Script: Paola Mulazzi; Art: Marina Baggio.
c) Gladstone Gander in "Il week-end a tutti i costi", from "Topolino" #2334,
2000 (7 pages). Script: Bruno Sarda; Art: Pier Paolo Rovero.
d) Lil' Bad Wolf in "The Precious Trap", S-1253 (7 pages). Script & Art: The
Disney Studio.
Cheers,
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's what hit the (Thessaloniki) stands in the past 2 weeks:
1) MIKY MAOUS #1832, August 24, 2001
a) "Alla ricerca della pietra zodiacale: il tesoro del pirata Barbagialla",
(part 10), from "Topolino" #1789, 1990 (27 pages). Script: Bruno Sarda; Art:
Franco Valussi.
b) Fethry Duck in "Il grande ritorno", from "Topolino" #2332, 2000 (21
pages). Script: Bruno Concina; Art: Giuseppe Della Santa.
c) Pluto in "Il postino provocatore", from "Topolino" #2323, 2000 (13
pages). Script: Luca Boschi; Art: Donald Soffritti.
d) Uncle Scrooge in "The Moving Mail-Box", US #197 (11 pages). Creators
unknown.
2) MIKY MAOUS #1833, August 31, 2001
a) "Alla ricerca della pietra zodiacale: l' ariete magico", (part 11) from
"Topolino" #1790, 1990 (26 pages). Script: Bruno Sarda; Art: Franco Valussi.
b) Gyro Gearloose in "L' imperatore luminoso", from "Topolino" #2241, 1998
(26 pages). Script: Paola Mulazzi; Art: Marina Baggio.
c) Gladstone Gander in "Il week-end a tutti i costi", from "Topolino" #2334,
2000 (7 pages). Script: Bruno Sarda; Art: Pier Paolo Rovero.
d) Lil' Bad Wolf in "The Precious Trap", S-1253 (7 pages). Script & Art: The
Disney Studio.
Cheers,
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
Xanadu/TrallaLa
Message 86 -
2001-09-10 at 13:01:37
Kriton:
> > First, Coleridge's text:
> > http://etext.lib.virginia.edu/stc/Coleridge/poems/Kubla_Khan.html
> Being Greek, I can't help wanting to point out the Greek pun on
> Coleridge's initials that they make in these pages!
The Greek word at the top spells S.T.C. phonetically
(but instead of an English "ci" it's a Greek/French "ce").
I tried the Greek-to-English translator at
http://www.kypros.org/cgi-bin/lexicon
but it answered me in Greek! (Go figure...)
So what's it mean? (Please)
Olivier
> > * * * * * * * SPOILER re Don Rosa's story * * * * * * *
> It's been some time since I last read this story, but wasn't it the
> other way round?
Hum...
Well, X is something that is already known.
Then comes the discovery of T.
And then they realize that T=X.
Hence, "T turns out to be X".
> > First, Coleridge's text:
> > http://etext.lib.virginia.edu/stc/Coleridge/poems/Kubla_Khan.html
> Being Greek, I can't help wanting to point out the Greek pun on
> Coleridge's initials that they make in these pages!
The Greek word at the top spells S.T.C. phonetically
(but instead of an English "ci" it's a Greek/French "ce").
I tried the Greek-to-English translator at
http://www.kypros.org/cgi-bin/lexicon
but it answered me in Greek! (Go figure...)
So what's it mean? (Please)
Olivier
> > * * * * * * * SPOILER re Don Rosa's story * * * * * * *
> It's been some time since I last read this story, but wasn't it the
> other way round?
Hum...
Well, X is something that is already known.
Then comes the discovery of T.
And then they realize that T=X.
Hence, "T turns out to be X".
Kriton Kyrimis
Kriton's problems DCML digest, Vol 1 #658 - 11 msgs (Fluks,
Message 87 -
2001-09-10 at 13:57:43
HARRY:
> If you don't want to sum up your subjects on 1 subject line, I think it's
> preferrable to put replies to different subjects into different messages.
It' s not that I don't want to, it's that I can't, unless the postings
to which I'm replying happen to be related. To make many individual
replies, would mean that I'd either have to go back and forth between
reading the digest and replying, running the risk of missing parts of
the digest and missing the feeling of listening to a dicsussion that
reading the digest gives me, or run the risk of forgetting to reply to
some of the postings. Annotating the digest with my replies seems to be
the simplest way to avoid both problems.
> > "I think I'll take this opportunity to remove my ears."
>
> Vincent van Gogh? Mr. Spock in the dressing room?
Captain Picard, would you believe? :-)
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
> If you don't want to sum up your subjects on 1 subject line, I think it's
> preferrable to put replies to different subjects into different messages.
It' s not that I don't want to, it's that I can't, unless the postings
to which I'm replying happen to be related. To make many individual
replies, would mean that I'd either have to go back and forth between
reading the digest and replying, running the risk of missing parts of
the digest and missing the feeling of listening to a dicsussion that
reading the digest gives me, or run the risk of forgetting to reply to
some of the postings. Annotating the digest with my replies seems to be
the simplest way to avoid both problems.
> > "I think I'll take this opportunity to remove my ears."
>
> Vincent van Gogh? Mr. Spock in the dressing room?
Captain Picard, would you believe? :-)
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I think I'll take this opportunity to remove my ears."
-----
Don Rosa
DCML digest # (fill in the blank)
Message 88 -
2001-09-10 at 16:04:09
From: "Fluks, H.W." <H.W.Fluks at kpn.com>
> > >When replying, please edit your Subject line so it is more specific
>>>Especially to non-digest readers (like me) it says nothing at all.
Anyway, it's not a very big issue to me. Don Rosa, for instance, has been
doing it since 1994
...and I'll continue to do it that way. No disagreement with anyone who
personally likes to write detailed subject-lines, but just to indicate a
different attitude to the matter: I've always thought of those
subject-lines as a puzzling nuisance. In fact, even when I send personal
e-mail, unless it's a reply (in which case, the subject-line is
automatically created as a "re:" to the other person's subject-line), what
I type into the subject-line is always something like "%%%%" or "@@@@". I
want the reader to discover my subject as he reads, the same way he would
if I were talking directly to him. I don't preface every sentence I speak
in a conversation by saying "This next group of comments will deal with the
weather:". It's enough for me to see a list of the names of the
contributors to a particular Digest.... what they are writing about, I'll
see when I read each of their messages. And knowing what they are writing
about beforehand does not cause me to read or not read their message ... I
read 100% of the Digest regardless of what the subject-lines say or don't
say about each writer's entry. Actually, I guess I usually don't even look
at the Digest contents-list... I skip it altogether.
I virtually never post comments here unless I am asked a specific question.
Even in this case, I would've stayed outta the way except my name was
"invoked". On the rare occasion that I do introduce a new subject about
some sorta news item, I usually do put a title on my message to fill that
space. But about 99% of the time I am only referring to a previous Digest,
ergo "re: DCML digest # (fill in the blank)".
On the other hand, I could have put new titles on every message for the
past 3 years, and typed less than I've just done to explain why I don't do
all that typing. That's the kinda guy I am!
So if you like to put titles on your messages, great... but I'll always
use barebones titles that simply refer to a previous Digest #.
> > >When replying, please edit your Subject line so it is more specific
>>>Especially to non-digest readers (like me) it says nothing at all.
Anyway, it's not a very big issue to me. Don Rosa, for instance, has been
doing it since 1994
...and I'll continue to do it that way. No disagreement with anyone who
personally likes to write detailed subject-lines, but just to indicate a
different attitude to the matter: I've always thought of those
subject-lines as a puzzling nuisance. In fact, even when I send personal
e-mail, unless it's a reply (in which case, the subject-line is
automatically created as a "re:" to the other person's subject-line), what
I type into the subject-line is always something like "%%%%" or "@@@@". I
want the reader to discover my subject as he reads, the same way he would
if I were talking directly to him. I don't preface every sentence I speak
in a conversation by saying "This next group of comments will deal with the
weather:". It's enough for me to see a list of the names of the
contributors to a particular Digest.... what they are writing about, I'll
see when I read each of their messages. And knowing what they are writing
about beforehand does not cause me to read or not read their message ... I
read 100% of the Digest regardless of what the subject-lines say or don't
say about each writer's entry. Actually, I guess I usually don't even look
at the Digest contents-list... I skip it altogether.
I virtually never post comments here unless I am asked a specific question.
Even in this case, I would've stayed outta the way except my name was
"invoked". On the rare occasion that I do introduce a new subject about
some sorta news item, I usually do put a title on my message to fill that
space. But about 99% of the time I am only referring to a previous Digest,
ergo "re: DCML digest # (fill in the blank)".
On the other hand, I could have put new titles on every message for the
past 3 years, and typed less than I've just done to explain why I don't do
all that typing. That's the kinda guy I am!
So if you like to put titles on your messages, great... but I'll always
use barebones titles that simply refer to a previous Digest #.
Michael Naiman
Still looking
Message 89 -
2001-09-10 at 17:41:09
Hi All!
I am still looking for all three issues of the German published
MICKY MAUS comicbook that contains the story
"Guardians of the Lost Library."
I have the large album sized version..I need the individual comics.
I will gladly pay the market value for these.
Michael Naiman
I am still looking for all three issues of the German published
MICKY MAUS comicbook that contains the story
"Guardians of the Lost Library."
I have the large album sized version..I need the individual comics.
I will gladly pay the market value for these.
Michael Naiman
Simo Malinen
50 years Dutch Donald Duck weekly
Message 90 -
2001-09-10 at 18:14:43
From H.W.Fluks at kpn.com Wed Sep 5 13:26:05 2001
>
>I made a new wesite, about 50 years of Dutch
"Donald Duck"weekly. The URL is:
>http://members.tripod.lycos.nl/bolderbast/xindexeng.html
Hi Harry!
Fine pages, but maybe you should add there that Mau Heymans only
pencilled (and wrote) that artwork sample in "New Era 1983-1992" -page.
Peter Colle (Dutch too?) was the inker of that story
(H 95114) - and I think he also should be credited for that
fine artwork.
Quite like Tony Strobl some decades ago Mau Heymans seems to
draw lots of stories whereas many times he leaves the inking
work to the other artists. By Inducks not only Peter Colle
but also Bas Heymans, Frans Leenheer and Comicup Studios
(Spanish staff artists) are inking Mau's stories.
- Simo
_ _ _
Joka viikko uusia loistavia soitto??ni? ja logoja osoitteessa www.iobox.fi!
>
>I made a new wesite, about 50 years of Dutch
"Donald Duck"weekly. The URL is:
>http://members.tripod.lycos.nl/bolderbast/xindexeng.html
Hi Harry!
Fine pages, but maybe you should add there that Mau Heymans only
pencilled (and wrote) that artwork sample in "New Era 1983-1992" -page.
Peter Colle (Dutch too?) was the inker of that story
(H 95114) - and I think he also should be credited for that
fine artwork.
Quite like Tony Strobl some decades ago Mau Heymans seems to
draw lots of stories whereas many times he leaves the inking
work to the other artists. By Inducks not only Peter Colle
but also Bas Heymans, Frans Leenheer and Comicup Studios
(Spanish staff artists) are inking Mau's stories.
- Simo
_ _ _
Joka viikko uusia loistavia soitto??ni? ja logoja osoitteessa www.iobox.fi!