Keskustelujen arkisto

It has taken some time, but I finally have straightened out my mail server with Cox. A couple of months ago, I had asked if anyone had any information regarding references to the subject of tatting (frivolit?, occhi, schiffchenspitze, lavoro de lanzadera, orkis, chiacchierino, lavoro a navetta, in other languages).

One reference was given to the 1952 story of "The Golden Helmet". Many thanks for the reference to the kind list-member who responded with this reference. The panels are posted on my website at:
http://www.tribbler.com/tatman/
Select menus Misc/Misc. Info/In Print/1952
then click on the "Click HERE" notice in that location.

There are other references according to less-informed sources, and, if anyone can quote them, please do so directly to me if they would be so kind at:
tatmeister at cox.net

Again, thanks to those who were willing to share their knowledge,

Dan the Tatmeister =0)

Hello folks

Could one of the experts out there tell me: did Barks
do a strip about Donald as a magician? I seem to
remember one, though I might be mistaken.

I ought to look it up on INDUCKS, but in the past I
haven't been able to make it work properly...guess I'm
just a dum-dum...

Best wishes

VIC

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On Tue, 19 Feb 2002 14:17:34 +0000 (GMT) Vic Pratt <thebeesong at yahoo.co.uk>
wrote:
>Hello folks
>
>Could one of the experts out there tell me: did Barks
>do a strip about Donald as a magician? I seem to
>remember one, though I might be mistaken.
>
Yes, in WDC 82 Donald had learned some simple tricks, like rabbit out of a hat
and sawing a person in two. He first performs the tricks with HDL as an
audience, and then he performs for Daisy, but this time the tricks are
sabotaged by the boys.
This i a very funny story!

Halvor

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Oyvind J. Karstad wrote:

"I think Toy Story 2 was excellent, *at least* as good as the first movie.
(BTW, I wouldn't call Toy Story and A Bug's Life Disney movies.
They're made by the independent company Pixar.)
When I think about it, the reason that this sequel did work,
could be that both movies start and end with the same conditions."

Actually, both of those films, while not made in Disney's studios, are very much Disney in
that they used Disney concept artists, story board artists, character designers, etc.
Pixar has imported, wholesale, the Disney approach to storytelling, and through their
partnership with Disney, has imported a good deal of their technicians and artisans as
well.

And I disagree that these movies end with the same conditions: one of my criteria for
determining whether a screenplay is well written, is the degree to which the central
character (as a result of his own actions in response to situations the film presents to
him) grows and changes. If the protagonist has not changed significantly, either in the
way he thinks or feels or sees the world, by the end of the movie, then it's probably not a
very strong story. This is certainly not always true, but it is true of the great films:
Kane in Citizen Kane, Rick in Casablanca, Dorthy in Wizard of Oz, Luke in Star Wars,
Michael in the Godfather, and yes, Woody in Toystory. Toy Story 1 is all about how Woody
changes from being selfish, self centered, and insecure, to being a selfless friend who
truly cares about others. This lack of profound character change and growth is probably
the main reason I have never liked series television (broad generalization here) because it
does require the type of story telling you are talking about, where by the end of each
episode, things are back to the way they were at the beginning, with nothing changed.
Probably the biggest obstacle that a sequel faces, now that I think of it, is finding a way
to continue the story after this "change" has taken place. Many of the later Disney films,
for instance, follow this character-arc type of story very strongly. Think of how each
story focuses on the central character and is really about the changes that character goes
through as they mature, and learn: Beast, Ariel, Simba, Alladin, Kuzco, or Hercules. This
is probably why, technical achievement aside, the early Disny films based on fairy tales
have never moved me: their central characters, like Snow White, Cinderella, and Sleeping
Beauty, are ciphers and have no arc at all. Oh they go through changes, to be sure, but
those changes are external and happen "to" them, and are not the result of choices the
protagonists make. Pure adventure stories, like Tarzan, Atlantis, Black Cauldron, Great
Mouse Detective, the Rescuers (and Down Under), Robin Hood, 101 Dalmations, etc. tend to
have "flat" characters as well.

To bring this back on topic, Barks, like most creators working in comics, had pretty much
the same constraints as those working in series television, which Oyvind referred to:
Everything had to be returned to the same state in which it began. You're not going to
find great sweeping character arcs in any Disney duck comic. But that's probably not what
kids in the 40's and 50's were looking for, eh?

Hello Duck people

Thanks, Halvor and Francois. I think WDCS 82 is the
one I remember, a very funny ten-pager. I must have
read it in the Gladstone reprint series. I shall dig
it out of the cupboard and read it again.

Incidentally, am I the only one who thinks that Barks'
best works were his ten-pagers for WDCS?

Best wishes

VIC

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I can't find the origin of this "Paul Bunyan" Disney cover (which is for
sale):
http://www.planchesbd.com/zeichnerseiten/don_rosa.htm

Can anyone help?

MICHIEL:

> So black people ARE allowed in Disney comics!
> ...
> Question: Has only the artwork been changed, or did they change
> the text as well?

The racial changes to which I was referring consisted merely of
coloring a few random characters in crowd scenes brown; the artwork
remained the same. To my eyes, these people looked caucasian (as much
as someone with a dog snout can look caucasian), making them stick out
rather crudely. My feeling when seeing such scenes was that someone
politically-correct-inclined instructed the colorist to color x% of the
people in crowd scenes black, because x% of the people in the U.S. are
black.

As for black people really being allowed in Disney comics, remember
"Voodoo Hoodoo", where the natives had to be redrawn to tone down their
racial characteristics before the story could be reprinted.

VIC:

> Incidentally, am I the only one who thinks that Barks'
> best works were his ten-pagers for WDCS?

Possibly. :-)

SHAD:

> The "politicly correct" blanket term for all really short people
> is 'little people,'

Hmmm.. I believe I've heard references to "little people", referring
to people who aren't worth mentioning specifically. Aren't the "little
people" part of Irish folk lore, as well?

> like the dwarfs in "Lord of the Rings"

These people were actually "dwarves". Perhaps Peter Jackson will film
"Snow White and the Seven Dwarves" as a sequel to both "The Lord of the
Rings" and "Snow White and the Seven Dwarfs"!

Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
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