Quoting "M.J. Prior" <M.J.Prior at student.rug.nl>:
> I TL 2227-5 (P? fel sida!) KAP 235
> I TL 2147-1 (L?ng natt f?r kommissarie Klov?n) KAP 212
> I TL 2196-1 (P? spaning efter tomten) KAGJ 4
> I TL 2296-1 (Geniet i skuggan) J 2000-08
> I TL 2189-1 (Den otrolige Vladimir) KAP 224
> I TL 2238-4 (Svarte Petter som polis) J 1999-06
> I TL 2243-1 (Tidens flod) KAP 239
>
Dear Michiel;
Not only have these stories been printed in Norway, but many of them are among
my favorites. In fact, I think I TL 2147-1 is my number one favorite mouse
story ever! (if it can be called a mouse story, then...)
So, if the question was if SIGVALD has read this stories, we can conclude that
he has read many of them.
Best,
Olaf
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Author
Topic: 200308
(787 messages)
Olaf Solstrand
Olaf: "Topolino Noir"
Message 526 -
2003-08-20 at 21:01:34
Madame Jennifer Inantaz
DCML:Duck art and plea
Message 527 -
2003-08-20 at 22:34:27
Replying to Katies question: I have one pitiful Disney Duck print....but
it's one of the same as Katie's! 'Business Long Overdue'!.....>insert
maniacal laughter<
I haven't been to ebay to buy stuff, so there. (v.v)* But I have a print
with Goldie and Scrooge, and it's all minnnne...mine! *holds print while
curled into a corner* "precioussssss".....
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
On another note to the various people involved: Pleeeeeaaaase stop fighting,
and nitpicking at one another! It doesn't become you! I know you guys are
much better, and nicer that you sound sometimes.
I haven't read *every* single solitary messege, but most all of them sound
like very petty arguements. I don't care who started it.
I like Don Rosa, but I know others don't. I think of Rosa's and Barks'
stories as sort of canon, but I know others don't; and reasonably so, every
artist should be able to interpet the character as he or she chooses.
They're *stories*, they're not enough to fight about.
*sob* Can't we all instead rally our powers and use them against aliens or
Brutopians, or something?
_________________________________________________________________
<b>Get MSN 8</b> and enjoy automatic e-mail virus protection.
http://join.msn.com/?page=features/virus
it's one of the same as Katie's! 'Business Long Overdue'!.....>insert
maniacal laughter<
I haven't been to ebay to buy stuff, so there. (v.v)* But I have a print
with Goldie and Scrooge, and it's all minnnne...mine! *holds print while
curled into a corner* "precioussssss".....
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
On another note to the various people involved: Pleeeeeaaaase stop fighting,
and nitpicking at one another! It doesn't become you! I know you guys are
much better, and nicer that you sound sometimes.
I haven't read *every* single solitary messege, but most all of them sound
like very petty arguements. I don't care who started it.
I like Don Rosa, but I know others don't. I think of Rosa's and Barks'
stories as sort of canon, but I know others don't; and reasonably so, every
artist should be able to interpet the character as he or she chooses.
They're *stories*, they're not enough to fight about.
*sob* Can't we all instead rally our powers and use them against aliens or
Brutopians, or something?
_________________________________________________________________
<b>Get MSN 8</b> and enjoy automatic e-mail virus protection.
http://join.msn.com/?page=features/virus
Daniel Van Eijmeren
Jennifer's plea
Message 528 -
2003-08-21 at 00:34:58
JENNIFER INANTAZ, 20-08-2003:
> every artist should be able to interpet the character as he or
> she chooses. They're *stories*, they're not enough to fight about.
Agreed!
> *sob* Can't we all instead rally our powers and use them against
> aliens or Brutopians, or something?
Er... no! This sounds too much like starting a *real* war. Brrrr!!!
Let's all fight about comics again! It's safer. :-)
--- Dani?l
> every artist should be able to interpet the character as he or
> she chooses. They're *stories*, they're not enough to fight about.
Agreed!
> *sob* Can't we all instead rally our powers and use them against
> aliens or Brutopians, or something?
Er... no! This sounds too much like starting a *real* war. Brrrr!!!
Let's all fight about comics again! It's safer. :-)
--- Dani?l
Geo
Carl's 8th Grade education
Message 529 -
2003-08-21 at 01:20:46
This final exam is from about 17 years before Carl would have had his 8th Grade exam, but it gives a whole different perspective on the term 8th Grade education.
This is the eighth-grade final exam from 1895 in Salina, KS, USA. It was taken from the original document on file at the Smokey Valley Genealogical Society and Library in Salina, KS, and reprinted by the Salina Journal.
8th Grade Final Exam: Salina, KS - 1895
Grammar (Time, one hour)
1. Give nine rules for the use of Capital Letters.
2. Name the Parts of Speech and define those that have no Modifications.
3. Define Verse, Stanza and Paragraph.
4. What are the Principal Parts of a verb? Give Principal Parts of lie, play1 and run.
5. Define Case. Illustrate each Case.
6. What is Punctuation? Give rules for principal marks of Punctuation.
7-10. Write a composition of about 150 words and show therein that you understand the practical use of the rules of grammar.
Arithmetic (Time, 1.25 hours)
1. Name and define the Fundamental Rules of Arithmetic.
2. A wagon box is 2 ft. deep, 10 feet long, and 3 ft. wide. How many bushels of wheat will it hold?
3. If a load of wheat weighs 3942 lbs., what is it worth at 50 cts/bushel, deducting 1050 lbs. for tare?
4. District No. 33 has a valuation of $35,000. What is the necessary levy to carry on a school seven months at $50 per month, and have $104 for incidentals?
5. Find cost of 6720 lbs. coal at $6.00 per ton.
6. Find the interest of $512.60 for 8 months and 18 days at 7 percent.
7. What is the cost of 40 boards 12 inches wide and 16 ft. long at $20 per metre?
8. Find bank discount on $300 for 90 days (no grace) at 10 percent.
9. What is the cost of a square farm at $15 per acre, the distance around which is 640 rods?
10. Write a Bank Check, a Promissory Note, and a Receipt.
U.S. History (Time, 45 minutes)
1. Give the epochs into which U.S. History is divided.
2. Give an account of the discovery of America by Columbus.
3. Relate the causes and results of the Revolutionary War.
4. Show the territorial growth of the United States.
5. Tell what you can of the history of Kansas.
6. Describe three of the most prominent battles of the Rebellion.
7. Who were the following: Morse, Whitney, Fulton, Bell, Lincoln, Penn, and Howe?
8. Name events connected with the following dates: 1607, 1620, 1800, 1849, 1865.
Orthography (Time, one hour)
1. What is meant by the following: Alphabet, phonetic, orthography, etymology, syllabication?
2. What are elementary sounds? How classified?
3. What are the following, and give examples of each: Trigraph, subvocals, diphthong, cognate letters, linguals?
4. Give four substitutes for caret 'u.'
5. Give two rules for spelling words with final 'e.' Name two exceptions under each rule.
6. Give two uses of silent letters in spelling. Illustrate each.
7. Define the following prefixes and use in connection with a word: bi, dis, mis, pre, semi, post, non, inter, mono, sup.2
8. Mark diacritically and divide into syllables the following, and name the sign that indicates the sound: card, ball, mercy, sir, odd, cell, rise, blood, fare, last.
9. Use the following correctly in sentences: cite, site, sight, fane, fain, feign, vane, vain, vein, raze, raise, rays.
10. Write 10 words frequently mispronounced and indicate pronunciation by use of diacritical marks and by syllabication.
Geography (Time, one hour)
1. What is climate? Upon what does climate depend?
2. How do you account for the extremes of climate in Kansas?
3. Of what use are rivers? Of what use is the ocean?
4. Describe the mountains of North America.
5. Name and describe the following: Monrovia, Odessa, Denver, Manitoba, Hecla, Yukon, St. Helena, Juan Fernandez, Aspinwall and Orinoco.
6. Name and locate the principal trade centers of the U.S.
7. Name all the republics of Europe and give the capital of each.
8. Why is the Atlantic Coast colder than the Pacific in the same latitude?
9. Describe the process by which the water of the ocean returns to the sources of rivers.
10. Describe the movements of the earth. Give the inclination of the earth.
=======================
"I used to have a handle on life, but it broke."
---------------------------------
Do you Yahoo!?
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This is the eighth-grade final exam from 1895 in Salina, KS, USA. It was taken from the original document on file at the Smokey Valley Genealogical Society and Library in Salina, KS, and reprinted by the Salina Journal.
8th Grade Final Exam: Salina, KS - 1895
Grammar (Time, one hour)
1. Give nine rules for the use of Capital Letters.
2. Name the Parts of Speech and define those that have no Modifications.
3. Define Verse, Stanza and Paragraph.
4. What are the Principal Parts of a verb? Give Principal Parts of lie, play1 and run.
5. Define Case. Illustrate each Case.
6. What is Punctuation? Give rules for principal marks of Punctuation.
7-10. Write a composition of about 150 words and show therein that you understand the practical use of the rules of grammar.
Arithmetic (Time, 1.25 hours)
1. Name and define the Fundamental Rules of Arithmetic.
2. A wagon box is 2 ft. deep, 10 feet long, and 3 ft. wide. How many bushels of wheat will it hold?
3. If a load of wheat weighs 3942 lbs., what is it worth at 50 cts/bushel, deducting 1050 lbs. for tare?
4. District No. 33 has a valuation of $35,000. What is the necessary levy to carry on a school seven months at $50 per month, and have $104 for incidentals?
5. Find cost of 6720 lbs. coal at $6.00 per ton.
6. Find the interest of $512.60 for 8 months and 18 days at 7 percent.
7. What is the cost of 40 boards 12 inches wide and 16 ft. long at $20 per metre?
8. Find bank discount on $300 for 90 days (no grace) at 10 percent.
9. What is the cost of a square farm at $15 per acre, the distance around which is 640 rods?
10. Write a Bank Check, a Promissory Note, and a Receipt.
U.S. History (Time, 45 minutes)
1. Give the epochs into which U.S. History is divided.
2. Give an account of the discovery of America by Columbus.
3. Relate the causes and results of the Revolutionary War.
4. Show the territorial growth of the United States.
5. Tell what you can of the history of Kansas.
6. Describe three of the most prominent battles of the Rebellion.
7. Who were the following: Morse, Whitney, Fulton, Bell, Lincoln, Penn, and Howe?
8. Name events connected with the following dates: 1607, 1620, 1800, 1849, 1865.
Orthography (Time, one hour)
1. What is meant by the following: Alphabet, phonetic, orthography, etymology, syllabication?
2. What are elementary sounds? How classified?
3. What are the following, and give examples of each: Trigraph, subvocals, diphthong, cognate letters, linguals?
4. Give four substitutes for caret 'u.'
5. Give two rules for spelling words with final 'e.' Name two exceptions under each rule.
6. Give two uses of silent letters in spelling. Illustrate each.
7. Define the following prefixes and use in connection with a word: bi, dis, mis, pre, semi, post, non, inter, mono, sup.2
8. Mark diacritically and divide into syllables the following, and name the sign that indicates the sound: card, ball, mercy, sir, odd, cell, rise, blood, fare, last.
9. Use the following correctly in sentences: cite, site, sight, fane, fain, feign, vane, vain, vein, raze, raise, rays.
10. Write 10 words frequently mispronounced and indicate pronunciation by use of diacritical marks and by syllabication.
Geography (Time, one hour)
1. What is climate? Upon what does climate depend?
2. How do you account for the extremes of climate in Kansas?
3. Of what use are rivers? Of what use is the ocean?
4. Describe the mountains of North America.
5. Name and describe the following: Monrovia, Odessa, Denver, Manitoba, Hecla, Yukon, St. Helena, Juan Fernandez, Aspinwall and Orinoco.
6. Name and locate the principal trade centers of the U.S.
7. Name all the republics of Europe and give the capital of each.
8. Why is the Atlantic Coast colder than the Pacific in the same latitude?
9. Describe the process by which the water of the ocean returns to the sources of rivers.
10. Describe the movements of the earth. Give the inclination of the earth.
=======================
"I used to have a handle on life, but it broke."
---------------------------------
Do you Yahoo!?
Yahoo! SiteBuilder - Free, easy-to-use web site design software
Sigvald Grøsfjeld Jr.
Somewhere in Nowhere - when will we see it?
Message 530 -
2003-08-21 at 01:39:18
Hi all!
Recently some people here have argued that I have been too critical towards
too many artist/creators. So in order to show more of my positive side I
will now present a few comments about the story "Somewhere in Nowhere":
When I visited our friend AC Siveb?k in Nr.Nissum this summer, one of the
very first things he showed me was a nice Italian book with "Somewhere in
Nowhere" in both English (b/w) and Italian (color). I have checked COA:
http://coa.inducks.org/coa/c1/story.php/0/I+TES+++3-1//Somewhere_+in_+Nowhere_
and have found that this story is based on a plot by Barks and John Lustig,
written by John Lustig and drawn by Pat Block. My impression is that both
Lustig and Block have done an excellent job in giving this story a real
Barksian touch. My congratulations to both!
From what I have heard Egmont was originally offered this story, but
rejected the offer because the price demanded for it was to high. Can this
be correct? I thought that Egmont usually pay a set amount of $ per page
regardless of the complexity of the art and regardless of who has drawn the
art. Another question is if there is any connection between the price
demanded for this story and Don Rosa's strike a few years later - as there
obviously is no reason to pay Lustig/Block any better than Don.
Anyway "Somewhere in Nowhere" was finally published by Disney Italia. This
has caused some confusion when the story was registered in COA/INDUCKS. In
stead of using the original title it's listed under its Italian title
"Paperino da qualche parte in mezzo al nulla" which look like "gibberish"
for most non-Italians. There is at least a few very good reasons that the
original title should be used instead:
a) When the story first saw print, it was printed in English as well as in
Italian.
b) The first page of the English b/w version comes BEFORE it's Italian
counterpart in that book.
c) The story is written/drawn by AMERICANS only, without any involvement
from any ITALIAN. The Italian title is thus a translation and *not*
ORIGINAL.
d) The American titles are used in the COA/INDUCKS entries for Don Rosa's
French stories.
From what I can see from COA "Somewhere in Nowhere" has by now been
published in a few countries around the world outside Italy - like Germany,
France, Brazil and the Netherlands. I suppose this means that Egmont can now
print this classic for free, just as they can with Don's American, Dutch and
French stories ? so why haven't we seen it yet in Scandinavia/Finland? Could
it be because Egmont didn't get that story initially?
Sigvald
Recently some people here have argued that I have been too critical towards
too many artist/creators. So in order to show more of my positive side I
will now present a few comments about the story "Somewhere in Nowhere":
When I visited our friend AC Siveb?k in Nr.Nissum this summer, one of the
very first things he showed me was a nice Italian book with "Somewhere in
Nowhere" in both English (b/w) and Italian (color). I have checked COA:
http://coa.inducks.org/coa/c1/story.php/0/I+TES+++3-1//Somewhere_+in_+Nowhere_
and have found that this story is based on a plot by Barks and John Lustig,
written by John Lustig and drawn by Pat Block. My impression is that both
Lustig and Block have done an excellent job in giving this story a real
Barksian touch. My congratulations to both!
From what I have heard Egmont was originally offered this story, but
rejected the offer because the price demanded for it was to high. Can this
be correct? I thought that Egmont usually pay a set amount of $ per page
regardless of the complexity of the art and regardless of who has drawn the
art. Another question is if there is any connection between the price
demanded for this story and Don Rosa's strike a few years later - as there
obviously is no reason to pay Lustig/Block any better than Don.
Anyway "Somewhere in Nowhere" was finally published by Disney Italia. This
has caused some confusion when the story was registered in COA/INDUCKS. In
stead of using the original title it's listed under its Italian title
"Paperino da qualche parte in mezzo al nulla" which look like "gibberish"
for most non-Italians. There is at least a few very good reasons that the
original title should be used instead:
a) When the story first saw print, it was printed in English as well as in
Italian.
b) The first page of the English b/w version comes BEFORE it's Italian
counterpart in that book.
c) The story is written/drawn by AMERICANS only, without any involvement
from any ITALIAN. The Italian title is thus a translation and *not*
ORIGINAL.
d) The American titles are used in the COA/INDUCKS entries for Don Rosa's
French stories.
From what I can see from COA "Somewhere in Nowhere" has by now been
published in a few countries around the world outside Italy - like Germany,
France, Brazil and the Netherlands. I suppose this means that Egmont can now
print this classic for free, just as they can with Don's American, Dutch and
French stories ? so why haven't we seen it yet in Scandinavia/Finland? Could
it be because Egmont didn't get that story initially?
Sigvald
Daniel Van Eijmeren
Fanbase loss
Message 531 -
2003-08-21 at 02:29:57
CORD WILJES to ETA BETA, 19-08-2003:
> recent topic on dcml-talk: How inportant is it for a work of art
> to remain inside the cultural kanon? In other words: If nobody
> can buy it, it will soon be forgotten.
> More here: http://www.dcml-talk.org/read.php?f=1&i=164&t=160
This is an on-topic DCML subject. At least it looks that way in the
message you posted at http://www.dcml-talk.org on 08-18-03 15:29.
<QUOTE>
Why do so many other great movies (and comics and books) have lost
their fanbase over time? And to take it a step further: How can we
find out if something is currently in the process of losing its
fanbase?
Could it be, for example, that Carl Barks is currently losing his
fanbase? Sales figures of Disney comics are dwindling (at least in
Germany). So what will happen in the next 30 years? Will there still
be enough people interested in Barks' Duck stories so keeping them
in print is commercially successful?
</QUOTE>
Source: http://www.dcml-talk.org/read.php?f=1&i=164&t=160
BTW. I love those little smileys you're using there. They're very
funny and well-drawn!
--- Dani?l
> recent topic on dcml-talk: How inportant is it for a work of art
> to remain inside the cultural kanon? In other words: If nobody
> can buy it, it will soon be forgotten.
> More here: http://www.dcml-talk.org/read.php?f=1&i=164&t=160
This is an on-topic DCML subject. At least it looks that way in the
message you posted at http://www.dcml-talk.org on 08-18-03 15:29.
<QUOTE>
Why do so many other great movies (and comics and books) have lost
their fanbase over time? And to take it a step further: How can we
find out if something is currently in the process of losing its
fanbase?
Could it be, for example, that Carl Barks is currently losing his
fanbase? Sales figures of Disney comics are dwindling (at least in
Germany). So what will happen in the next 30 years? Will there still
be enough people interested in Barks' Duck stories so keeping them
in print is commercially successful?
</QUOTE>
Source: http://www.dcml-talk.org/read.php?f=1&i=164&t=160
BTW. I love those little smileys you're using there. They're very
funny and well-drawn!
--- Dani?l
Daniel Van Eijmeren
Harry's statements, Bas Heymans (Nitpicking)
Message 532 -
2003-08-21 at 03:53:30
HARRY "LUTHER" FLUKS, 19-08-2003:
> And here are some more off-topic statements about the mails of
> the past week, just "for the record": [...]
>
> 2. Everyone can use Inducks whenever they like,
Well, Mr. Nitpicker, not exactly whenever they like.
There are some server problems at COA, lately. :-)
> 3. I think the words "respect", "friendly", and "serious" have
> been misused too much lately.
> 4. The number of occurrences of "David Gerstein", "Olaf Solstrand"
> and "Don Rosa" on the Web indicate how many webpages and messsages
> are not only ABOUT them, but also TO and FROM them.
I've done a quick search *within* the DCML site. Here are some results:
- - - - - - -
search machine: http://www.google.nl
search command: [keyword] site:http://stp.ling.uu.se
note: results are incomplete, half of the DCML archive is missing
Barks 6,780
Rosa 6,070
Gottfredson 1,060
Jippes 863
Heymans + Heijmans 226 (214+12)
Donald 16,700
Mickey 11,500
Scrooge 6,710
universe 518
respect 280
serious 305
spelling 222
- - - - - - -
> 5. I think the work of Mau Heymans and Daan Jippes should be
> discussed more on DCML.
Well, go ahead then. I won't stop you. :-)
There's also Bas Heymans. Bas's stories are published often in the Dutch
weekly, lately. One recent beautiful story is about a pirate ship that
kidnaps Scrooge, Donald, and the nephews.
H 97246 Donald Duck: De schat van Zapp / Het geheimzinnige schip (23 p.)
English title/description: The treasure of Zapp / The mysterious ship
Plot & story: Jan Kruse
Art & ink: Bas Heymans
All appearances: Huey Dewey and Louie, Uncle Scrooge, Donald Duck
http://coa.inducks.org/coa/c1/story.php/0/H+97246
Is "De schat van Zapp" the working title, or something like that?
> 12. I've never heard of Reese's Peanut Butter Cups, but the name
> sounds delicious.
Gary is keeping them all for himself, the tightwad! :-)
--- Dani?l
> And here are some more off-topic statements about the mails of
> the past week, just "for the record": [...]
>
> 2. Everyone can use Inducks whenever they like,
Well, Mr. Nitpicker, not exactly whenever they like.
There are some server problems at COA, lately. :-)
> 3. I think the words "respect", "friendly", and "serious" have
> been misused too much lately.
> 4. The number of occurrences of "David Gerstein", "Olaf Solstrand"
> and "Don Rosa" on the Web indicate how many webpages and messsages
> are not only ABOUT them, but also TO and FROM them.
I've done a quick search *within* the DCML site. Here are some results:
- - - - - - -
search machine: http://www.google.nl
search command: [keyword] site:http://stp.ling.uu.se
note: results are incomplete, half of the DCML archive is missing
Barks 6,780
Rosa 6,070
Gottfredson 1,060
Jippes 863
Heymans + Heijmans 226 (214+12)
Donald 16,700
Mickey 11,500
Scrooge 6,710
universe 518
respect 280
serious 305
spelling 222
- - - - - - -
> 5. I think the work of Mau Heymans and Daan Jippes should be
> discussed more on DCML.
Well, go ahead then. I won't stop you. :-)
There's also Bas Heymans. Bas's stories are published often in the Dutch
weekly, lately. One recent beautiful story is about a pirate ship that
kidnaps Scrooge, Donald, and the nephews.
H 97246 Donald Duck: De schat van Zapp / Het geheimzinnige schip (23 p.)
English title/description: The treasure of Zapp / The mysterious ship
Plot & story: Jan Kruse
Art & ink: Bas Heymans
All appearances: Huey Dewey and Louie, Uncle Scrooge, Donald Duck
http://coa.inducks.org/coa/c1/story.php/0/H+97246
Is "De schat van Zapp" the working title, or something like that?
> 12. I've never heard of Reese's Peanut Butter Cups, but the name
> sounds delicious.
Gary is keeping them all for himself, the tightwad! :-)
--- Dani?l
Daniel Van Eijmeren
Barks/Jippes Be Leery Of Lake Eerie
Message 533 -
2003-08-21 at 04:28:41
ARI SEPPI to FRANCESCO SPREAFICO, 20-08-2003:
> [Van Horn's] recent Finnish publication in this week's Aku Ankka was
> pretty interesting story about Donald's new neighbours (D 2003-011)
> even though it was in tough company (Be Leery Of Lake Eerie by
> Barks/Jippes, D D 2002-023).
Jippes has inked two endings. Which version did they use?
The sweet ending, the cynical ending, or both?
Barks was asked to brighten up the ending of the story,
so that's why there are two versions.
I like Barks's Junior Woodchuck stories very much. I think they're
underestimated because of being relatively unknown retirement work.
--- Dani?l
> [Van Horn's] recent Finnish publication in this week's Aku Ankka was
> pretty interesting story about Donald's new neighbours (D 2003-011)
> even though it was in tough company (Be Leery Of Lake Eerie by
> Barks/Jippes, D D 2002-023).
Jippes has inked two endings. Which version did they use?
The sweet ending, the cynical ending, or both?
Barks was asked to brighten up the ending of the story,
so that's why there are two versions.
I like Barks's Junior Woodchuck stories very much. I think they're
underestimated because of being relatively unknown retirement work.
--- Dani?l
Daniel Van Eijmeren
Egmont's English mini-booklet
Message 534 -
2003-08-21 at 05:14:19
OLAF SOLSTRAND to SIGVALD GROSFJELD, 19-08-2003:
> 1) They are calling this [16 page mini-booklet] an English course - but
> only a few of the words are explained. [...] Can this booklet possibly
> be used to learn English? Only if you know a lot already, and wants to
> learn slang a la Van Horn. But this booklet will probably attract those
> interested in learning English with Donald... which they can't.
Maybe it's a trick? As far as I know, Egmont isn't allowed to publish
English comics. Maybe the "English course" is a method to legally get
past that rule? An "English course" would make it an educational book,
instead of a comic. (I'm just guessing, does it make any sense?)
> 2) Egmont is publishing stories in the original American... Personally
> I think that is a good thing, but as a result of what I mentioned above:
> This is eventually not good for them. Norwegian magazines have always
> had terrible translations - their only advance was that we didn't know
> how lousy they were. Now, they're SHOWING US.
People who think translations should be improved, after reading the
mini-booklet, can let the editor know about their opinion. If enough
people do that, the editor might decide to improve the translations.
That way, the "English course" eventually would be good for the
Norwegian translations.
--- Dani?l
> 1) They are calling this [16 page mini-booklet] an English course - but
> only a few of the words are explained. [...] Can this booklet possibly
> be used to learn English? Only if you know a lot already, and wants to
> learn slang a la Van Horn. But this booklet will probably attract those
> interested in learning English with Donald... which they can't.
Maybe it's a trick? As far as I know, Egmont isn't allowed to publish
English comics. Maybe the "English course" is a method to legally get
past that rule? An "English course" would make it an educational book,
instead of a comic. (I'm just guessing, does it make any sense?)
> 2) Egmont is publishing stories in the original American... Personally
> I think that is a good thing, but as a result of what I mentioned above:
> This is eventually not good for them. Norwegian magazines have always
> had terrible translations - their only advance was that we didn't know
> how lousy they were. Now, they're SHOWING US.
People who think translations should be improved, after reading the
mini-booklet, can let the editor know about their opinion. If enough
people do that, the editor might decide to improve the translations.
That way, the "English course" eventually would be good for the
Norwegian translations.
--- Dani?l
Myklebust,Are
Geography in Luck of the North
Message 535 -
2003-08-21 at 09:13:48
Hi Timo!
Just one small correction, the Vikings reached Greenland and New
Foundland, but they didn't go so far as Alaska. In fact the Northwest
Passage (between Greenland and Alaska) wasn't "conquered" before in 1903 -
1906, when the Norwegian polar explorer Roald Amundsen (yup, the same guy
that reached the South Pole in 1911!) sailed through it.
And to you Sigvald Groesfjeld jr.;
I checked my copy of the "Luck of the North" and it is clearly - as others
have all ready pointed out - the action is taking place in Alaska and the
Arctic Ocean. Nothing indicates that the American publishers should have
changed the setting to Greenland. A setting north for Alaska would
certainly be more familiar to American readers then Greenland.
You will find Eskimos, living in their traditional way, on the coast of
Greenland, as well as in the northern parts of Canada AND Alaska.
The fact that the Danish Disney publisher Guthenburghus (now Egmont)
changed this setting to Greenland should be quite obvious since Greenland
is a more familiar place for European readers (and also to the fact that
Greenland is a Danish territory!).
BWT:
One of Carl Barks inspirations to the story "Luck of the North" could have
been the famous American silent documentary film "Nanook of the North" (!)
from 1922, re-released with sound in 1947, a film about the Eskimo Nanook
and his family living in the northern parts of Canada.
Best,
Are Myklebust
Just one small correction, the Vikings reached Greenland and New
Foundland, but they didn't go so far as Alaska. In fact the Northwest
Passage (between Greenland and Alaska) wasn't "conquered" before in 1903 -
1906, when the Norwegian polar explorer Roald Amundsen (yup, the same guy
that reached the South Pole in 1911!) sailed through it.
And to you Sigvald Groesfjeld jr.;
I checked my copy of the "Luck of the North" and it is clearly - as others
have all ready pointed out - the action is taking place in Alaska and the
Arctic Ocean. Nothing indicates that the American publishers should have
changed the setting to Greenland. A setting north for Alaska would
certainly be more familiar to American readers then Greenland.
You will find Eskimos, living in their traditional way, on the coast of
Greenland, as well as in the northern parts of Canada AND Alaska.
The fact that the Danish Disney publisher Guthenburghus (now Egmont)
changed this setting to Greenland should be quite obvious since Greenland
is a more familiar place for European readers (and also to the fact that
Greenland is a Danish territory!).
BWT:
One of Carl Barks inspirations to the story "Luck of the North" could have
been the famous American silent documentary film "Nanook of the North" (!)
from 1922, re-released with sound in 1947, a film about the Eskimo Nanook
and his family living in the northern parts of Canada.
Best,
Are Myklebust
Klartekst
Pockets in Scrooge's Coat?
Message 536 -
2003-08-21 at 15:09:38
Inspired by Olaf's success as a Disney writer, I sent a synopsis of a Scrooge
story to Egmont. They liked it and want to put it into production!!!
Actually, much of the credit for this goes to Olaf who looked at my first draft
before I sent it in and pointed out about 200 things that were wrong with
it. The
result was a quantum leap in writing quality. Since then mr. Solstrand has
continued to be very generous with his time and advice. Thank you, Olaf.
And, dear list members, you know what this is leading up to, don't you?
That's right. I too have a question that I need help with.
My question is this:
Does anyone know if it has ever been established that Scrooge's
coat has pockets? Have we ever seen him carry anything in his pockets?
Have the pockets ever actually been shown in a Barks story?
I am waiting eagerly for someone to shed some light on this.
Nils from Norway
story to Egmont. They liked it and want to put it into production!!!
Actually, much of the credit for this goes to Olaf who looked at my first draft
before I sent it in and pointed out about 200 things that were wrong with
it. The
result was a quantum leap in writing quality. Since then mr. Solstrand has
continued to be very generous with his time and advice. Thank you, Olaf.
And, dear list members, you know what this is leading up to, don't you?
That's right. I too have a question that I need help with.
My question is this:
Does anyone know if it has ever been established that Scrooge's
coat has pockets? Have we ever seen him carry anything in his pockets?
Have the pockets ever actually been shown in a Barks story?
I am waiting eagerly for someone to shed some light on this.
Nils from Norway
Cord Wiljes
AW: Barks consistency
Message 537 -
2003-08-21 at 15:20:16
Nils from Norway recently sent some very insightful comments on the
topic of continuity in Barks' duck stories.
Here are excerpts taken from Donald Ault's compilation "Carl Barks
Conversations" which contains lots of highly interesting interviews with
the grand master. So here is what Barks thought about continuity.
The interview was taken in 1973 by Donald Ault (typos by me, sorry):
p. 45/46:
CB: I just built each story as a little story and wound it up with a
comical ending without worrying about whether it made any sense. [If
Uncle Scrooge loast all his money in one episode,] the next time I
wanted to use him and his money I just went ahead and used them. I
didn't think it was necessary to worry as to whether he got it back from
this previous episode or not. The episodes were not even connected; they
were different comic books. Each one sold for a dime.
p. 48/49:
DA: When you first introduced your characters - Scrooge, Gladstone, Gyro
Gearloose, the Beagle Boys - you treated them as if they'd been around.
It really fascinated me. Do you have any thoughts why you did that,
because it seerns like a pattern?
CB: I guess I did it so as to save myself a heck of a lot of
introducing. I would introduce them in such a way that you knew what
they were and then let the story develop their character. As you read
more of the story you began to understand more about the guy. Instead of
trying to do it all in one series of pages, why it was just sort of fed
to you a little time, like vitamin pills.
DA: The sense of reality of the stories - I got the feeling that the
events going on between or outside the stories, and every once in a
while you get a glimpse into this world. And yet you rarely made a
reference between stories. The ducks would never say, "Remember when i
to get the Golden Helmet." But when you were introducing new characters,
quite often there would be this indication that things had be on that
the reader hadn't known about. You never thought about that?
CB: I think that what has happened now is that over the years all
stories have been read and the relation of one story to another has come
apparent to all of you readers, and you can see the connection to the
characters and the build-up of the characters and all. Now when I was
working, I was working from the other end of the line. All of these
charkters were all strangers to me, and each story had to stand by
itself; and when I was developing these characters, I rernember having
thoughts like "Should I mention something about a previous story that
had taken place?" And always I discarded that idea because I felt
there's no worse in picking up a comic book on the stand and starting to
read and finding that you are reading something that is continued from
some earlier book that you don't have and have no means of getting. I
find a frustration in that. I notice that is used a lot in these Marvel
comics, but I wouldn't go in for that stuff. I felt that each story had
to be a complete story in itself, and whatever introduction of a
character that took was just an incidental part of the story. lf I used
that character again, he was just introduced in the part that he was
going to play in that story, not on the strength of what he had been in
the past. Take a character like Gyro. He was an inventor, but I didn't
go back and rehash a bunch of his earlier inventions in order to show
what a great inventor he was. I let him go ahead and show what he could
do in this story in which he was acting
DA: But when Scrooge had his own comic, you did sort of assume that knew
who he was, since he was the main character?
CB: Well, I tried to guard against it, but occasionally it did get to
where, carelessly, I just let things go as if whoever was reading it
would know who in the hell he was. That was bad.
DA: So when you were doing the Uncle Scrooge comics-am I putting words
in your mouth-you were sort of introducing him every time you wrote the
comic, as if this were the first time anyone had ever read an Uncle
Scrooge comic?
CB: I wasn't exactly that so much as to say that, well, here is a rich
guy -he's got such and such an influence over Donald or over the events
in this story. It's hard to put it into words. He was not deliberately
introduced as a new character each time, but he was treated as an
understandable character; that is, you understood that he was a guy with
certain characteristics. I felt he should be handled in such a way that
the reader need to ever have known about Unde Scrooge before, that he
could still gather enough out of this role that Scrooge was playing that
he would still get sense out of it.
DA: Scrooge wasn't ever exactly the same character in any two stories,
was he? There were certain aspects of his character that were added just
fo one particular story, and he would have those characteristics for
that story alone. For example, in the Klondike story he had a bad
memory, but he had a noticeably bad memory in only one story. In more
subtle ways, in other stories, he would have certain characteristics
that were totally developed, explored, and then dropped after that one
story.
CB: Each was a gimmick, each was the vehicle or the running gag of the
story. Like the story in which he was addicted to nutmeg tea. I'm
beginning to get some clippings out of some underground comic called
Creem that implies that he was a drug addict because he was addicted to
nutmeg and that nutmeg taken in sufficient quantities can have an effect
on your
DA: That's true, supposedly.
CB: The reason I chose nutmeg was that it was something that grew in the
tropics and gave him an excuse to go to the tropics. God, otherwise I
could have said, "codfish tails," and sent him to Iceland.
DA: But t his craving for nutmeg tea never appeared again.
CB: No, no. It was just a gimmick to make a story. (laughs)
Cord
topic of continuity in Barks' duck stories.
Here are excerpts taken from Donald Ault's compilation "Carl Barks
Conversations" which contains lots of highly interesting interviews with
the grand master. So here is what Barks thought about continuity.
The interview was taken in 1973 by Donald Ault (typos by me, sorry):
p. 45/46:
CB: I just built each story as a little story and wound it up with a
comical ending without worrying about whether it made any sense. [If
Uncle Scrooge loast all his money in one episode,] the next time I
wanted to use him and his money I just went ahead and used them. I
didn't think it was necessary to worry as to whether he got it back from
this previous episode or not. The episodes were not even connected; they
were different comic books. Each one sold for a dime.
p. 48/49:
DA: When you first introduced your characters - Scrooge, Gladstone, Gyro
Gearloose, the Beagle Boys - you treated them as if they'd been around.
It really fascinated me. Do you have any thoughts why you did that,
because it seerns like a pattern?
CB: I guess I did it so as to save myself a heck of a lot of
introducing. I would introduce them in such a way that you knew what
they were and then let the story develop their character. As you read
more of the story you began to understand more about the guy. Instead of
trying to do it all in one series of pages, why it was just sort of fed
to you a little time, like vitamin pills.
DA: The sense of reality of the stories - I got the feeling that the
events going on between or outside the stories, and every once in a
while you get a glimpse into this world. And yet you rarely made a
reference between stories. The ducks would never say, "Remember when i
to get the Golden Helmet." But when you were introducing new characters,
quite often there would be this indication that things had be on that
the reader hadn't known about. You never thought about that?
CB: I think that what has happened now is that over the years all
stories have been read and the relation of one story to another has come
apparent to all of you readers, and you can see the connection to the
characters and the build-up of the characters and all. Now when I was
working, I was working from the other end of the line. All of these
charkters were all strangers to me, and each story had to stand by
itself; and when I was developing these characters, I rernember having
thoughts like "Should I mention something about a previous story that
had taken place?" And always I discarded that idea because I felt
there's no worse in picking up a comic book on the stand and starting to
read and finding that you are reading something that is continued from
some earlier book that you don't have and have no means of getting. I
find a frustration in that. I notice that is used a lot in these Marvel
comics, but I wouldn't go in for that stuff. I felt that each story had
to be a complete story in itself, and whatever introduction of a
character that took was just an incidental part of the story. lf I used
that character again, he was just introduced in the part that he was
going to play in that story, not on the strength of what he had been in
the past. Take a character like Gyro. He was an inventor, but I didn't
go back and rehash a bunch of his earlier inventions in order to show
what a great inventor he was. I let him go ahead and show what he could
do in this story in which he was acting
DA: But when Scrooge had his own comic, you did sort of assume that knew
who he was, since he was the main character?
CB: Well, I tried to guard against it, but occasionally it did get to
where, carelessly, I just let things go as if whoever was reading it
would know who in the hell he was. That was bad.
DA: So when you were doing the Uncle Scrooge comics-am I putting words
in your mouth-you were sort of introducing him every time you wrote the
comic, as if this were the first time anyone had ever read an Uncle
Scrooge comic?
CB: I wasn't exactly that so much as to say that, well, here is a rich
guy -he's got such and such an influence over Donald or over the events
in this story. It's hard to put it into words. He was not deliberately
introduced as a new character each time, but he was treated as an
understandable character; that is, you understood that he was a guy with
certain characteristics. I felt he should be handled in such a way that
the reader need to ever have known about Unde Scrooge before, that he
could still gather enough out of this role that Scrooge was playing that
he would still get sense out of it.
DA: Scrooge wasn't ever exactly the same character in any two stories,
was he? There were certain aspects of his character that were added just
fo one particular story, and he would have those characteristics for
that story alone. For example, in the Klondike story he had a bad
memory, but he had a noticeably bad memory in only one story. In more
subtle ways, in other stories, he would have certain characteristics
that were totally developed, explored, and then dropped after that one
story.
CB: Each was a gimmick, each was the vehicle or the running gag of the
story. Like the story in which he was addicted to nutmeg tea. I'm
beginning to get some clippings out of some underground comic called
Creem that implies that he was a drug addict because he was addicted to
nutmeg and that nutmeg taken in sufficient quantities can have an effect
on your
DA: That's true, supposedly.
CB: The reason I chose nutmeg was that it was something that grew in the
tropics and gave him an excuse to go to the tropics. God, otherwise I
could have said, "codfish tails," and sent him to Iceland.
DA: But t his craving for nutmeg tea never appeared again.
CB: No, no. It was just a gimmick to make a story. (laughs)
Cord
Wdposter
DCML Digest, Vol 6, Issue 53
Message 538 -
2003-08-21 at 19:27:12
I have a page from a junior woodchucks story, pencils with text baloons but
no text. I will post to my aol space and if someone could tell me what story
it is from that would be cool. Also if someone knows who the artist was that
would be spledid also! Regards, Martin
http://members.aol.com/wdposter/woodchucks.jpg
the picture wont be uploaded till later today or tomorrow. MM
no text. I will post to my aol space and if someone could tell me what story
it is from that would be cool. Also if someone knows who the artist was that
would be spledid also! Regards, Martin
http://members.aol.com/wdposter/woodchucks.jpg
the picture wont be uploaded till later today or tomorrow. MM
Rich Bellacera
Duckburg or Mouseton (Mickey's home)?
Message 539 -
2003-08-21 at 20:05:57
Hi,
Here's what I have received from List Members concerning Mickey's hometown:
Czech: Kacerovo (Duckburg)
English (USA): Mouseton (formerly: Mouseville)*
Finnish: Ankkalinna (Duckburg)
French: Mickeyville (Mouseton)*
Greek: Miku Siti [Mickey City] (Mouseton)
Indonesian: formerly: Kota Tikus (MouseTon); now: Kota Bebek (Duckburg)
Italian: Topolinia (Mouseton)*
Norwegian: Andeby (Duckburg)
Polish: Myszogrod (Mouseton)*
Portuguese(Brazil): Patópolis (Duckburg)
Swedish: Ankeborg (Duckburg)
Out of eleven languages represented, only four give Mickey and his gang a seperate
hometown from Donald.
Obviously there are a lot of missing references (Dutch, Danish, etc.), so if you
would like to contribute your language's version of Mickey's hometown, please send
it to me.
QUESTION: Is it correct to place Mouseton in the state of Calisota with Duckburg?
Also, for those who missed the post last time, here is a Microsoft Excel
spreadsheet of many of the recurring Disney characters in comics:
http://users.cwnet.com/xephyr/ART/Dizbanners/Disney_Names_8-14-03.xls
If you have any additions or corrections please submit them to me and I will
update the list.
Thanks,
Rich Bellacera
(Email removed)
---- Msg sent via CWNet - http://cwnet.com/
Here's what I have received from List Members concerning Mickey's hometown:
Czech: Kacerovo (Duckburg)
English (USA): Mouseton (formerly: Mouseville)*
Finnish: Ankkalinna (Duckburg)
French: Mickeyville (Mouseton)*
Greek: Miku Siti [Mickey City] (Mouseton)
Indonesian: formerly: Kota Tikus (MouseTon); now: Kota Bebek (Duckburg)
Italian: Topolinia (Mouseton)*
Norwegian: Andeby (Duckburg)
Polish: Myszogrod (Mouseton)*
Portuguese(Brazil): Patópolis (Duckburg)
Swedish: Ankeborg (Duckburg)
Out of eleven languages represented, only four give Mickey and his gang a seperate
hometown from Donald.
Obviously there are a lot of missing references (Dutch, Danish, etc.), so if you
would like to contribute your language's version of Mickey's hometown, please send
it to me.
QUESTION: Is it correct to place Mouseton in the state of Calisota with Duckburg?
Also, for those who missed the post last time, here is a Microsoft Excel
spreadsheet of many of the recurring Disney characters in comics:
http://users.cwnet.com/xephyr/ART/Dizbanners/Disney_Names_8-14-03.xls
If you have any additions or corrections please submit them to me and I will
update the list.
Thanks,
Rich Bellacera
(Email removed)
---- Msg sent via CWNet - http://cwnet.com/
Kimba1962
DCML Digest, Vol 6, Issue 54
Message 540 -
2003-08-21 at 20:30:23
Joe Torcivia wrote re the "change of license" of the Disney newspaper strips:
> If the contents of a strip has already been reformatted for comic book
> publication, is that version eligible because it HAS been published as a
comic book
> story? Or, is it ineligible because of its comic strip origins?
If the "ban" is on ALL material that originally appeared in the newspaper,
then I'm thinking that even a reformatted strip story would be ineligible.
> Can the Dick Moores/Bill Wright serialized version of "MM Outwits the
Phantom
> Blot" created for 1950s issues of WDC&S be used? It is legitimately comic
> BOOK art, though adapted from a comic strip.
If it was created specifically for a comic BOOK, then it probably could be
used. (Anyone in Timonium want to float a "trial balloon" by suggesting
reprinting one of the re-do's? I figure it's worth the effort; the worst
Disney can do is say "no.")
> An afterthought: Steve Geppi was quoted early on to be considering a set of
> WDC&S archives, at least for the earliest issues. How would the exclusion
of
> all strip material affect such a project?
We may be in "special permission" territory here, a la Disney allowing Barks
and Gottfredson to do paintings based on their work. Since an archival
project is not quite the same as a monthly comic book, Geppi may be able to
get Disney to green-light this "history-themed" project. Of course, Disney is
more rigid on such things than it used to be...
Personally, I think the main reason Disney imposed its "ban" is that it still
wants to do some non-comics marketing of the "Classic Mickey" imagery, as it
did with the short-lived "The Perils of Mickey" line a few years ago. In
order to get back the rights to reprint strips, might Gemstone have to
negotiate with folks who manufacture beach towels and T-shirts?
Chris Barat
> If the contents of a strip has already been reformatted for comic book
> publication, is that version eligible because it HAS been published as a
comic book
> story? Or, is it ineligible because of its comic strip origins?
If the "ban" is on ALL material that originally appeared in the newspaper,
then I'm thinking that even a reformatted strip story would be ineligible.
> Can the Dick Moores/Bill Wright serialized version of "MM Outwits the
Phantom
> Blot" created for 1950s issues of WDC&S be used? It is legitimately comic
> BOOK art, though adapted from a comic strip.
If it was created specifically for a comic BOOK, then it probably could be
used. (Anyone in Timonium want to float a "trial balloon" by suggesting
reprinting one of the re-do's? I figure it's worth the effort; the worst
Disney can do is say "no.")
> An afterthought: Steve Geppi was quoted early on to be considering a set of
> WDC&S archives, at least for the earliest issues. How would the exclusion
of
> all strip material affect such a project?
We may be in "special permission" territory here, a la Disney allowing Barks
and Gottfredson to do paintings based on their work. Since an archival
project is not quite the same as a monthly comic book, Geppi may be able to
get Disney to green-light this "history-themed" project. Of course, Disney is
more rigid on such things than it used to be...
Personally, I think the main reason Disney imposed its "ban" is that it still
wants to do some non-comics marketing of the "Classic Mickey" imagery, as it
did with the short-lived "The Perils of Mickey" line a few years ago. In
order to get back the rights to reprint strips, might Gemstone have to
negotiate with folks who manufacture beach towels and T-shirts?
Chris Barat