Rich Bellacera sent:
>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.Ooops! I meant "5" out of 11! :-)
> http://users.cwnet.com/xephyr/ART/Dizbanners/Disney_Names_8-14-03.xls
This list HAS been updated since the last time I posted the notice. So if you saw
it last time, it's different now.
Thanks,
Rich Bellacera
---- Msg sent via CWNet - http://cwnet.com/
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Author
Topic: 200308
(787 messages)
Rich Bellacera
Duckburg or Mouseton (Mickey's home)?
Message 541 -
2003-08-21 at 20:41:05
Ari Seppi
Barks/Jippes Be Leery Of Lake Eerie
Message 542 -
2003-08-21 at 21:34:19
Dani?l:
>Jippes has inked two endings. Which version did they use?
>The sweet ending, the cynical ending, or both?
Both, the one used at the end of the story was the cynical
and the sweet was included as illustration for an article about the
story.
--
Ari Seppi (ari.seppi at iki.fi)
http://www.iki.fi/mani/
>Jippes has inked two endings. Which version did they use?
>The sweet ending, the cynical ending, or both?
Both, the one used at the end of the story was the cynical
and the sweet was included as illustration for an article about the
story.
--
Ari Seppi (ari.seppi at iki.fi)
http://www.iki.fi/mani/
Olaf Solstrand
Help needed for script...
Message 543 -
2003-08-21 at 21:56:31
D**I*L V** EI***REN:
> I think there's no reason at all to apologize, or to be reluctant.
> You're writing a script, so your email is as on-topic as can be.
> I find it interesting to hear what a creator currently is working on.
> I hope you'll keep us informed about the results of this "opera" story.
Sorry if I made any big expectations here, Dani?l... I should tell you already
now that this is not an opera story. The story has nothing to do with opera
whatsoever except that someone in the story at one point is singing a little
from an opera... (phew, I managed to say that without dropping big spoilers!)
Anyhow... The opera thing is just a tiny detail. So is the Latin i needed a
while ago. Yup, it's the same story.
As for your hope that I'll "keep us informed about the results": Thanks to
everybody for your help, I have now finished the script and sent it to Denmark.
Just had to write a little to turn Dani?l's expectations down. Wouldn't want
you thinking this would be a story entirely about opera, when it isn't.
Best,
Olaf the Blue
> I think there's no reason at all to apologize, or to be reluctant.
> You're writing a script, so your email is as on-topic as can be.
> I find it interesting to hear what a creator currently is working on.
> I hope you'll keep us informed about the results of this "opera" story.
Sorry if I made any big expectations here, Dani?l... I should tell you already
now that this is not an opera story. The story has nothing to do with opera
whatsoever except that someone in the story at one point is singing a little
from an opera... (phew, I managed to say that without dropping big spoilers!)
Anyhow... The opera thing is just a tiny detail. So is the Latin i needed a
while ago. Yup, it's the same story.
As for your hope that I'll "keep us informed about the results": Thanks to
everybody for your help, I have now finished the script and sent it to Denmark.
Just had to write a little to turn Dani?l's expectations down. Wouldn't want
you thinking this would be a story entirely about opera, when it isn't.
Best,
Olaf the Blue
Kai Saarto
Barks/Jippes Be Leery Of Lake Eerie
Message 544 -
2003-08-21 at 21:59:07
Daniel van Eijmeren wrote:
>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.
>
Actually Aku Ankka did an excellent job on this one. They used the
cynical ending, but right after the story there was an article about
Barks' 1970s JW stories with enviromental message. Included were the
scetches for both endings. A really nice surprise.
>I like Barks's Junior Woodchuck stories very much. I think they're
>underestimated because of being relatively unknown retirement work.
>
Personally, I don't rate Barks later stories very high - don't get me
wrong, I enjoy them more than most stories by others - but to me they
lack that certain "barksian magic" of his earlier work. Jippes imitates
Barks?s style quite well, so they are a good read, if not exactly classics.
>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.
>
Actually Aku Ankka did an excellent job on this one. They used the
cynical ending, but right after the story there was an article about
Barks' 1970s JW stories with enviromental message. Included were the
scetches for both endings. A really nice surprise.
>I like Barks's Junior Woodchuck stories very much. I think they're
>underestimated because of being relatively unknown retirement work.
>
Personally, I don't rate Barks later stories very high - don't get me
wrong, I enjoy them more than most stories by others - but to me they
lack that certain "barksian magic" of his earlier work. Jippes imitates
Barks?s style quite well, so they are a good read, if not exactly classics.
Fabio Blanco
Lars Jensen
Message 545 -
2003-08-21 at 23:19:18
Congratulations to our pal Lars Jensen for the Gyro Gearloose comic "Perilous Pet". I read just ago in Uncle Scrooge #319... Very funny, I laughed a lot!!!
Thanks,
FABIO
bonvolu postu al longtom at oeste.com.ar
Thanks,
FABIO
bonvolu postu al longtom at oeste.com.ar
Daniel J. Neyer
Rosa's Black Knight
Message 546 -
2003-08-22 at 00:26:26
I agree, Daniel, that the Black Knight had loads of story possibilities.
I was hoping Rosa had done another story featuring him in the years we
Yanks were without comics, but I take it he hasn't? Too bad; maybe he'll
decide to let BK "return" soon. I think he's the best original villain
Rosa's created--though, from Part One of 3 CABELLAROS RIDE AGAIN, I think
he may have a rival in Alfonso "Gold Hat" Bedoya (Like Don, I'm a
TREASURE OF THE SIERRA MADRE fan).
________________________________________________________________
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I was hoping Rosa had done another story featuring him in the years we
Yanks were without comics, but I take it he hasn't? Too bad; maybe he'll
decide to let BK "return" soon. I think he's the best original villain
Rosa's created--though, from Part One of 3 CABELLAROS RIDE AGAIN, I think
he may have a rival in Alfonso "Gold Hat" Bedoya (Like Don, I'm a
TREASURE OF THE SIERRA MADRE fan).
________________________________________________________________
The best thing to hit the internet in years - Juno SpeedBand!
Surf the web up to FIVE TIMES FASTER!
Only $14.95/ month - visit www.juno.com to sign up today!
Cord Wiljes
AW: Fanbase loss
Message 547 -
2003-08-22 at 01:36:40
I wrote (on http://www.dcml-talk.org/read.php?f=1&i=164&t=160):
>> 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?
Dani?l wrote:
> 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.
Yes, guilty as charged. But then I actually did not want to discuss Carl
Barks' fanbase specifically but the connection between availability and
public appreciation of artists' work in general. I just used Gottfredson
and Barks as two examples of one "forgotten" and one "possibly on the
verge of starting to be forgotten" great artists. I could also have used
Jean Cocteau ans Henry Ford, I suppose. But I expected Barks and
Gottfredson the better examples on DCML-talk.
BTW: It seems a little bit rash to call Gottfreson a "forgotten" artist.
But consider this:
+ If you want to buy a comic by Gottfredson anywhere in your home town.
Where would you go?
+ Ask any of your non-comic-fan friends or relatives "Who was Floyd
Gottfredson?"
+ If there would a question on a game show ("Who wants to be
amillionaire?") about Floyd Gottfredson: In what prize range would you
expect this question?
Cord
>> 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?
Dani?l wrote:
> 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.
Yes, guilty as charged. But then I actually did not want to discuss Carl
Barks' fanbase specifically but the connection between availability and
public appreciation of artists' work in general. I just used Gottfredson
and Barks as two examples of one "forgotten" and one "possibly on the
verge of starting to be forgotten" great artists. I could also have used
Jean Cocteau ans Henry Ford, I suppose. But I expected Barks and
Gottfredson the better examples on DCML-talk.
BTW: It seems a little bit rash to call Gottfreson a "forgotten" artist.
But consider this:
+ If you want to buy a comic by Gottfredson anywhere in your home town.
Where would you go?
+ Ask any of your non-comic-fan friends or relatives "Who was Floyd
Gottfredson?"
+ If there would a question on a game show ("Who wants to be
amillionaire?") about Floyd Gottfredson: In what prize range would you
expect this question?
Cord
Sigvald Grøsfjeld Jr.
Geography in Luck of the North
Message 548 -
2003-08-22 at 02:18:13
Harry Fluks:
> Wrong guess. The description about the North
> Pole originates in Brazil!
OK, they probably believe that everything north of the polar circle IS the
pole. I think that INDUCKS/COA should base their comments on closer sources
when it comes to polar Geography - like Norwegians.
Roy Kooijman:
> Well IMO it still is Alaska. I don't know
> enough about your points b, c or d so I
> cannot argue about those.
Then you should perhaps read about both Greenland and Alaska before making
up your opinion.
Timo Ronkainen:
> This particular story was reprinted in Finland
> quite recently in a hard cover collection with
> new translation (using Alaska instead of
> Greenland).
That was IMO unwise of them and even disrespectful to the Greenlandic
Eskimos.
> Collection had an expert preface by Finnish
> adventurer, mountain climber Veikka Gustafsson,
> where he mentioned that currents can drift
> icebergs pretty far from their "place of
> birth".
Did this so-called expert also tell you that people in Alaska look like
Greenlandic Eskimos, lives in igloos, eats whalemeat, wear Anoraks and uses
kayaks when moving around on water?
My opinion is that if the place looks like Greenland and the people look
like, and behave like people on Greenland - chance is that it is really
Greenland and Greenlanders that we see.
If the story wasn't changed by the US-editors and Barks is really to blame
for portraying Alaska exactly like Greenland - I can only see two reasons
for it; lack of Geographical knowledge at the time or American chauvinism.
IMO none of that should be nailed to Barks. Therefore this story should IMO
be set to Greenland. There are still enough of Barks' stories that are set
to Alaska. Furthermore I have learned from DCML that variety is exactly what
the Duck universe need ? that goes for geographical variation too, right?
Sigvald
> Wrong guess. The description about the North
> Pole originates in Brazil!
OK, they probably believe that everything north of the polar circle IS the
pole. I think that INDUCKS/COA should base their comments on closer sources
when it comes to polar Geography - like Norwegians.
Roy Kooijman:
> Well IMO it still is Alaska. I don't know
> enough about your points b, c or d so I
> cannot argue about those.
Then you should perhaps read about both Greenland and Alaska before making
up your opinion.
Timo Ronkainen:
> This particular story was reprinted in Finland
> quite recently in a hard cover collection with
> new translation (using Alaska instead of
> Greenland).
That was IMO unwise of them and even disrespectful to the Greenlandic
Eskimos.
> Collection had an expert preface by Finnish
> adventurer, mountain climber Veikka Gustafsson,
> where he mentioned that currents can drift
> icebergs pretty far from their "place of
> birth".
Did this so-called expert also tell you that people in Alaska look like
Greenlandic Eskimos, lives in igloos, eats whalemeat, wear Anoraks and uses
kayaks when moving around on water?
My opinion is that if the place looks like Greenland and the people look
like, and behave like people on Greenland - chance is that it is really
Greenland and Greenlanders that we see.
If the story wasn't changed by the US-editors and Barks is really to blame
for portraying Alaska exactly like Greenland - I can only see two reasons
for it; lack of Geographical knowledge at the time or American chauvinism.
IMO none of that should be nailed to Barks. Therefore this story should IMO
be set to Greenland. There are still enough of Barks' stories that are set
to Alaska. Furthermore I have learned from DCML that variety is exactly what
the Duck universe need ? that goes for geographical variation too, right?
Sigvald
Daniel Van Eijmeren
Help needed for script...
Message 549 -
2003-08-22 at 05:25:25
OL*F SOLSTR*ND to me, 21-08-2003:
> D**I*L V** EI***REN:
:-D (Others: This is a course "How not be seen on Google".)
>> I hope you'll keep us informed about the results of this "opera" story.
> Sorry if I made any big expectations here, Dani?l... I should tell you
> already now that this is not an opera story. [...] Just had to write a
> little to turn Dani?l's expectations down. Wouldn't want you thinking
> this would be a story entirely about opera, when it isn't.
I'm not familiar with opera. It's one of the few musical directions which
I haven't explored yet. So, I don't mind whether or not the story contains
opera.
What is the story about, instead? If you don't want to give away anything
of the storyline, can you at least make the story identifiable?
--- Dani?l
> D**I*L V** EI***REN:
:-D (Others: This is a course "How not be seen on Google".)
>> I hope you'll keep us informed about the results of this "opera" story.
> Sorry if I made any big expectations here, Dani?l... I should tell you
> already now that this is not an opera story. [...] Just had to write a
> little to turn Dani?l's expectations down. Wouldn't want you thinking
> this would be a story entirely about opera, when it isn't.
I'm not familiar with opera. It's one of the few musical directions which
I haven't explored yet. So, I don't mind whether or not the story contains
opera.
What is the story about, instead? If you don't want to give away anything
of the storyline, can you at least make the story identifiable?
--- Dani?l
Daniel Van Eijmeren
Barks/Jippes Be Leery Of Lake Eerie
Message 550 -
2003-08-22 at 05:45:21
KAIU SAARTO to me, 21-08-2003
About "Be Leery Of Lake Eerie" by Barks/Jippes, D D 2002-023]
>> Barks was asked to brighten up the ending of the story, so that's
>> why there are two versions.
> Actually Aku Ankka did an excellent job on this one. They used the
> cynical ending, but right after the story there was an article about
> Barks' 1970s JW stories with enviromental message. Included were the
> scetches for both endings. A really nice surprise.
Was Jippes's inked version of the sweet ending not included? Only the
sketches?
According to what I've heard, Jippes was asked to ink both versions.
So, editors could choose the ending they want.
I'm curious if someone has seen the inked sweet version. (I think I've
only seen the inked cynical version, but I can't check at the moment.)
--- Dani?l
About "Be Leery Of Lake Eerie" by Barks/Jippes, D D 2002-023]
>> Barks was asked to brighten up the ending of the story, so that's
>> why there are two versions.
> Actually Aku Ankka did an excellent job on this one. They used the
> cynical ending, but right after the story there was an article about
> Barks' 1970s JW stories with enviromental message. Included were the
> scetches for both endings. A really nice surprise.
Was Jippes's inked version of the sweet ending not included? Only the
sketches?
According to what I've heard, Jippes was asked to ink both versions.
So, editors could choose the ending they want.
I'm curious if someone has seen the inked sweet version. (I think I've
only seen the inked cynical version, but I can't check at the moment.)
--- Dani?l
Danehog
Gemstone's Disney Christmas Parade
Message 551 -
2003-08-22 at 08:20:12
Looks interesting:
http://previews.diamondcomics.com/products/comics/sept_03/09_wd_christmas_para
de.html
I'm glad Gemstone's decided to carry on the tradition.
--
Dane
http://previews.diamondcomics.com/products/comics/sept_03/09_wd_christmas_para
de.html
I'm glad Gemstone's decided to carry on the tradition.
--
Dane
Kai Saarto
Disney-Comic Artwork Displayed
Message 552 -
2003-08-22 at 08:59:02
> Katie Sullivan:
>
> This sounds like a good topic for others to add to. What if any
> Disney comic art do you have permanently displayed in your house or
> office?
Wow. People have some impressive walls here. Only thing I got is a
framed reprint of Barks' "Black Gold, Yellow Gold" that was a gift to
the subscribers of the Finnish Uncle Scrooge magazine (Roope-seta), some
years ago. Still, I love the little piece.
>
> This sounds like a good topic for others to add to. What if any
> Disney comic art do you have permanently displayed in your house or
> office?
Wow. People have some impressive walls here. Only thing I got is a
framed reprint of Barks' "Black Gold, Yellow Gold" that was a gift to
the subscribers of the Finnish Uncle Scrooge magazine (Roope-seta), some
years ago. Still, I love the little piece.
Myklebust,Are
Geography in Luck of the North - again!
Message 553 -
2003-08-22 at 10:05:48
Hi!
Sorry for the confusion;
What I meant to write in my first mail was;
" Nothing indicates that the American publishers have changed the setting
FROM Greenland TO ALASKA. (I am here referring to Sigvald's statement;
"It's just that I have this strange feeling that the US publisher's for
some reason may have altered/censored this story at this point.")
A setting north for Alaska would certainly be more familiar to American
readers then Greenland, SO CARL BARKS PLACED THE ACTION IN THE STORY TO
THIS AREA."
Are Myklebust
Sorry for the confusion;
What I meant to write in my first mail was;
" Nothing indicates that the American publishers have changed the setting
FROM Greenland TO ALASKA. (I am here referring to Sigvald's statement;
"It's just that I have this strange feeling that the US publisher's for
some reason may have altered/censored this story at this point.")
A setting north for Alaska would certainly be more familiar to American
readers then Greenland, SO CARL BARKS PLACED THE ACTION IN THE STORY TO
THIS AREA."
Are Myklebust
Eta Beta
On strips
Message 554 -
2003-08-22 at 13:17:08
Gary
>> "Guys, just forget about seeing Gottfredson's classic mouse
>> reprinted in english language ever again..."
>>
>> Gary, am I being pessimistic or just plain realistic ?
>
>Don't blame you for being perturbed, but I don't believe anyone at
>Disney is thinking in such drastic terms.
And I don't blame you for being diplomatic, it's part of your
job :-)
>These days, perhaps more than
>ever before, Disney wants every property to count, and if classic
>Gottfredson Mickey has an audience they'll be more than happy to see
>that they're served
Catch 22 :
Gottfredson can be published if there is an audience for his
stuff, but nobody knows Gottfredson anymore after half a century
of absence...
Oh, yes, there's "us", of course, but we're not "audience", we're
perhaps... 20 ? 30 ?
We could try "evangelizing" people by distributing photostats of
Gottfredson stuff around, or publish them on the net, but I guess
the Disney Company would rather frown upon that...
It'd take an enterprising company with a regular licence to try
that, and still reading between the lines, it seems to me such
company doesn't exist, at the moment...
>under the proper terms and conditions, of course.
>(Aye, there's the rub!)
Indeed, here's the 3 perturbating points :
1. It takes a special licence to publish syndicated stuff
2. Some of it is banned anyway
3. The company is planning a makeover of Mickey in order
to restore the character to its rightful position (in
their own way of thinking) of merchandising icon.
It's especially point 3 that I'm worrying about, it seems to
me that reprinting Gottfredson's stuff wouldn't fit with the
concept of a "new image", they might actually want to bury
that old, politically uncorrect stuff as deep as nobody could
ever dig it out...
So, even if the famous enterprising company decided to acquire
the supplementary license, WHAT would they really be allowed
to print ?
Well, it might be just me, but to me it seems the situation
is really dire, without even the need to be pessimistic...
Cheers!
Eta Beta
=========================================================
"Paranoia is just an enlightened state of mind, we're
really being persecuted beyond our wildest delusions"
>> "Guys, just forget about seeing Gottfredson's classic mouse
>> reprinted in english language ever again..."
>>
>> Gary, am I being pessimistic or just plain realistic ?
>
>Don't blame you for being perturbed, but I don't believe anyone at
>Disney is thinking in such drastic terms.
And I don't blame you for being diplomatic, it's part of your
job :-)
>These days, perhaps more than
>ever before, Disney wants every property to count, and if classic
>Gottfredson Mickey has an audience they'll be more than happy to see
>that they're served
Catch 22 :
Gottfredson can be published if there is an audience for his
stuff, but nobody knows Gottfredson anymore after half a century
of absence...
Oh, yes, there's "us", of course, but we're not "audience", we're
perhaps... 20 ? 30 ?
We could try "evangelizing" people by distributing photostats of
Gottfredson stuff around, or publish them on the net, but I guess
the Disney Company would rather frown upon that...
It'd take an enterprising company with a regular licence to try
that, and still reading between the lines, it seems to me such
company doesn't exist, at the moment...
>under the proper terms and conditions, of course.
>(Aye, there's the rub!)
Indeed, here's the 3 perturbating points :
1. It takes a special licence to publish syndicated stuff
2. Some of it is banned anyway
3. The company is planning a makeover of Mickey in order
to restore the character to its rightful position (in
their own way of thinking) of merchandising icon.
It's especially point 3 that I'm worrying about, it seems to
me that reprinting Gottfredson's stuff wouldn't fit with the
concept of a "new image", they might actually want to bury
that old, politically uncorrect stuff as deep as nobody could
ever dig it out...
So, even if the famous enterprising company decided to acquire
the supplementary license, WHAT would they really be allowed
to print ?
Well, it might be just me, but to me it seems the situation
is really dire, without even the need to be pessimistic...
Cheers!
Eta Beta
=========================================================
"Paranoia is just an enlightened state of mind, we're
really being persecuted beyond our wildest delusions"
Eta Beta
On Scarpa
Message 555 -
2003-08-22 at 13:17:09
People wondered, recently, what's so good about Romano Scarpa's
art.
I couldn't join that interesting thread for lack of time, mostly
the time to read all the messages, but here's a piece of my mind,
worth the usual 2 cents, on the matter with practical examples :
If the question of the worthiness of Scarpa as an artist comes
after viewing "The Big Break In" in US 320, it is, imho, perfectly
justified.
Between his golden years '50-60s and the '80s "renaissance",
Scarpa did a lot of very "average" jobs, I suspect with not
much enthusiasm, with the "Studio" S-coded stories being the
lowest dip, both story and art-wise.
In this specific story the line art appears to be even somewhat
"mangled", I thought it must have been some technical problem
in the Gemstone reprint at first but no, I fished out the original
italian publication and it looks only slightly better because
the b&w pages and the less-covering ink in the colour ones
allow the thin, half-cancelled lines to show better than in the
Gemstone's "thick-coloured" print, but it's still nasty.
This is definitely not the kind of story that could gain Romano
Scarpa new fans, imho, it's strictly for die-hard ones like
yours truly... ;-)
Also, it's difficult to gain Scarpa new fans when his stories
are often miscredited to Giorgio Cavazzano.
Here's the current german Donald Duck :
S 67145 - The Sunken City
story/zeichnungen : Romano Scarpa, Giorgio Cavazzano
precise credit is
story : unknown
art : Romano Scarpa
ink : Giorgio Cavazzano
Cavazzano was still apprenticing at Scarpa's at the time, it's
sure fair enough to credit him for partecipating to the creation
of this story, but I suspect he's credited more prominently
than he deserved, here, just because he's a big name now...
And here we only have a printed credit that is just "vague",
but Scarpa's stories have been plain wrongly credited to Cavazzano
several times in the past.
Indeed, errors were mostly bona fide, it was objectively difficult
to tell Scarpa from Cavazzano in the early to mid '70s, but it was
Cavazzano's style at the time that mimicked Scarpa, not the other
way 'round. And that was only natural, what with Cavazzano having
been Scarpa's "pupil" for some 10 years...
So, since this is still about what Gemstone should publish in
order to give Scarpa a better chance on the american market, the
recommendation is again the same, boring one, I'm afraid...
Go for the "classic" 1955-1965 stuff. While I join the chorus
of people maintaining that Scarpa's mouse is generally better than
his ducks, there's still a lot of gems where the lentils came
from, and I don't mean Babylon... ;-)
One story I believe could make a nice Big Break-In :-) is for
instance "Columbus' Butterfly" (I TL 327-A +)
Cheers!
Eta Beta
art.
I couldn't join that interesting thread for lack of time, mostly
the time to read all the messages, but here's a piece of my mind,
worth the usual 2 cents, on the matter with practical examples :
If the question of the worthiness of Scarpa as an artist comes
after viewing "The Big Break In" in US 320, it is, imho, perfectly
justified.
Between his golden years '50-60s and the '80s "renaissance",
Scarpa did a lot of very "average" jobs, I suspect with not
much enthusiasm, with the "Studio" S-coded stories being the
lowest dip, both story and art-wise.
In this specific story the line art appears to be even somewhat
"mangled", I thought it must have been some technical problem
in the Gemstone reprint at first but no, I fished out the original
italian publication and it looks only slightly better because
the b&w pages and the less-covering ink in the colour ones
allow the thin, half-cancelled lines to show better than in the
Gemstone's "thick-coloured" print, but it's still nasty.
This is definitely not the kind of story that could gain Romano
Scarpa new fans, imho, it's strictly for die-hard ones like
yours truly... ;-)
Also, it's difficult to gain Scarpa new fans when his stories
are often miscredited to Giorgio Cavazzano.
Here's the current german Donald Duck :
S 67145 - The Sunken City
story/zeichnungen : Romano Scarpa, Giorgio Cavazzano
precise credit is
story : unknown
art : Romano Scarpa
ink : Giorgio Cavazzano
Cavazzano was still apprenticing at Scarpa's at the time, it's
sure fair enough to credit him for partecipating to the creation
of this story, but I suspect he's credited more prominently
than he deserved, here, just because he's a big name now...
And here we only have a printed credit that is just "vague",
but Scarpa's stories have been plain wrongly credited to Cavazzano
several times in the past.
Indeed, errors were mostly bona fide, it was objectively difficult
to tell Scarpa from Cavazzano in the early to mid '70s, but it was
Cavazzano's style at the time that mimicked Scarpa, not the other
way 'round. And that was only natural, what with Cavazzano having
been Scarpa's "pupil" for some 10 years...
So, since this is still about what Gemstone should publish in
order to give Scarpa a better chance on the american market, the
recommendation is again the same, boring one, I'm afraid...
Go for the "classic" 1955-1965 stuff. While I join the chorus
of people maintaining that Scarpa's mouse is generally better than
his ducks, there's still a lot of gems where the lentils came
from, and I don't mean Babylon... ;-)
One story I believe could make a nice Big Break-In :-) is for
instance "Columbus' Butterfly" (I TL 327-A +)
Cheers!
Eta Beta