Keskustelujen arkisto

Olivier wrote:

> Imagine that, coming up with a great idea, spending weeks and months
> and years developing it, only to find you can't patent it because a
> "silly kids' comics" artist thought of it before you and it only took
> him a few days and he didn't even reap the benefits of it.

In the case of Karl Krøyer, he and his technicians developed their
method in 14 days' time. There were several technical challenges to it,
which, amongst other things, necessitated experiments on a scaled-down
model.

And, just for the record: The ship sank on September 14, 1964. After a
month of pumping polystyrene balls into its hull, Al-Kuwait/Al
Kuwait/El-Kuwait finally surfaced on December 31st, 1964. According to a
contemporary source (the Danish newspaper Politiken), there were 5000
sheep aboard, rather than the 6000 I see mentioned on countless
websites. And I still haven't seen any direct quotes from Krøyer
admitting he got the idea from Barks' story.

Lars

>I have a question regarding the fourth red frame starting from the bottom
>of
>the page: could someone translate & explain me the link between JFK &
>Barks,
>please?

No real connection there. It only says that many people remember where they
were when Kennedy got killed. And the it asks where were you when Barks
died. (25. august 2000 09.15).

Timo

^^''*''^^
Cartoonist - writer - donaldist -
Timo Ronkainen ---------------- -
YO-kyl? 52 A 26 --------------- -
20540 Turku ------------------- -
Finland ----------------------- -
timoro at hotmail.com
timoro2 at yahoo.com

?? Personal:
http://www.geocities.com/timoro2/

?? Ankkalinnan Pamaus:
http://www.perunamaa.net/ankistit/

?? Kvaak-sarjakuvaportaali:
http://www.kvaak.fi
.................................
"Rumble on, buxom bumble bee!
Go sit on a cowslip - far from me!"

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Hi

> I just started to re-read Barks' Atlantis story (US5), and I noticed
> that Donald's address is in this story, page 2, panels 4 & 6. It's
> 1313 Webfoot Walk. Is this accepted as Donald's address? Or
> did Barks contradict this by using other addresses in other
> stories?

In another story, where Donald works as a bill collector for Scrooge,
he's been given a note with this address, too, and notices when he walks
towards the door, that it's his own house.

At the moment, I do not remember more occasions where Barks mentioned
Donald's address. Perhaps in "Foxy fox", where US tries to trick Donald
and Jones into selling their house lots.

Best wishes,
Mads
--
Mads Jensen
http://www.ddfr.dk - Dansk Donaldist-Forening

Now it's time to say goodbye
To all our company...
M-I-C (see you next week!)
K-E-Y (Why? Because we LIKE you!)
M-O-U-S-E.

The best example of this (besides Don Rosa with Scrooges father) is IMHO
the Barks written U$#71 story, drawn by Strobl. Where the 4000 year old
swami withers down to dust in the end. This is not explicitly shown but
there's no doubt about that this is what happens to him.

Ola in a cloudy and rainy Stockholm +13

Daniel van Eijmeren:

If there's one thing that a lot of famous artists complain about, it's
the huge amount of fans coming to their door and mailbox, or the huge
amount of fans making their public life impossible. Even helpful Barks
seems to have MOVED from time to time, to get some rest.

Not every artist is begging for attention from fans, or for hours of
correspondence with anyone who's friendly. *And I wonder _how many_
artists are happy to just name themselves "Walt Disney", and enjoy
their private lives. (* Using the corrected statement.)

Me:

I realize there are lunatics that stalk artists from time to time. I
enjoy and love William Van Horn's work, but I won't camp outside his
house, follow him to the store, or break into his house to stare at him
while he's sleeping. I'm not talking about FAME as related to a
hollywood celebrity, I'm talking about name recognition connected to
CREDIBILITY, as in Don Rosa's latest U$ story is published this month,
and I'll buy it because I know his work is excellent and won't
disappoint, based on my past experience. It's not a matter of begging
for the fans' attention, but attracting the fan's money so an artist
can make the next mortgage payment or whatever bills there are.

As far as the fanatical go, I think they are few and far between. If I
ever have to run into that type of problem, I'll invest in a nice shot
gun or a large (scare you sh#tless type) dog. :) If you want to make
a decent living doing comics then you need to build up credibility with
readers. You won't be publish again if readers don't like your work. If
they don't like your work, readers won't buy it. The point of having
credibility and name recognition is to attract readers and make money.
At some point, you might want to strike out on your own or with another
publisher. It's tuff to do so if you don't have a following (not
groupies) of readers that enjoy, respect, and will buy your work.

That being said, most artists and writers in the business are more
likely to get hit by a bus before ever being harassed by a fan. I'm
sure they enjoy a nice quite private life as well. However any given
artist deals with this issue (if at all) is up to him or her. Unless
you go to conventions, book stores, etc to heavily promote your work, I
seriously doubt you'll ever be recognized in person.

Daniel van Eijmeren:

And I also wonder if there are artists who might think: "No royalties,
then no credits." I mean, why does one want to see his/her PERSONAL name
being printed and reprinted for free, into infinity, without *any*
control
on where and how?

I believe Rosa also has complained about comics being sold with all-too-
obvious credits using his name (on the covers?), and that he wanted to
be
paid for those credits, because he thought it was a way of misusing his
name. Correct me if I'm wrong. I don't remember the details, but I'm
sure
that others can fill me in.

Rosa also has complained that editors/translators change his stories,
and
that readers as a result would think it was credited artist Rosa himself
who made the "error". Without those credits, readers will just blame the
*Disney company* instead of Don Rosa. So, that would be an advantage,
too.

Me:

Disney is pretty heavy-handed when it comes to controlling their
properties. Ethically, Rosa should own the rights to his work for
Disney. And when Disney or a licensee publishes his work, they would
buy the specific publishing rights (North American, Danish, etc) from
Rosa to publish or republish that one time and provide Rosa just
compensation (royalties or a flat payment). But when an artist creates
material for Disney or a licensee, he/she sells ALL of the rights to
Disney. In other words, you create a Disney comic, the publisher buys
it from you to do whatever they they want. Regardless of if they screw
up the story or not, editors/translators have the rights to do as they
please. (Not they they should or make a habit of it.) No one has to
work for a Disney publisher, but if you do, that's some of the (I'm
sure of) many little things that you have to put up with and expect. So
if you're going to be thin-skinned, then don't work for a Disney
publisher. Errors and blame are to be expected where ever you go,
whoever you work for. I know Rosa cares a great deal for his work, but
when a publisher makes an error with his work, I'm sure he won't cry
himself to sleep at night over it. :P If it results in criticism from
fans, I'm sure Rosa will let the publishers know of it or make note of
the error in this forum or somewhere else online. (Not that he has to,
but because he cares enough to do so.) Ethically, I think I'd be
incumbent a pond the publisher to contact Rosa or whoever to get it
right. Assuming they are able to schedule enough time to do so.

What I said before:

> It's frustrating some of the reactions I get just mentioning comic
> books, let alone any Disney material. It's not like I'm even obsessive
> or anything. (Or I don't think I am.) But it's not easy mentioning
> comic books in everyday conversation unless it involves a movie.

Daniel van Eijmeren:

I'm wondering if the Duck "family tree", "life story" and "mammal duck"
attempts are partly based on such frustrations. ("Look! This man isn't
a fantasy Duck! He has a *pedigree*, just like your dog!")

Now me:

I brought up the stigma "Disney Comics are only for kids", because in
the USA, adults are expected not to read Disney Comic books. In fact,
your expected to grow out of comic books all together by high school.
In both respects, I'm an oddity. This sometimes makes conversation a
bit difficult because most people focus their interests in other
things. If I brought up the Duck family tree to a stranger, more likely
than not the other person won't know or care to know. I'll live. :P I
also made the statement 'Disney editors in Europe are quite lucky
because they don't have to deal with the stigma of "Disney Comics are
only for kids"' because I have been left under the impression the
adults in Europe actively purchase and enjoy Disney comics in much
larger numbers then would ever be seen here in the US. You correct me
if I'm wrong on that account.

Chris Hilbig

Hello

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Hi all!

Here are the previews for upcoming Gemstone comics from Previews Volume XIV
#7.

Donald Duck Adventures #8--- Three long Disney adventure stories: Donald in
"Kappa Kappa Kappa," in which he and the boys discover an underwater kingdom;
Mickey in "You Can Count On Mickey," a Halloween story in which trick or
treating is tricker than you think; and Uncle Scrooge in "Planet of the Oafs," an
interplanetary adventure starring Scrooge and his nephews. SC, 5x7, 128 pages.
FC $7.95

Donald Duck and Friends #320--- This special Halloween issue leads with
Donald as "I, Monster," in which our hero is turned into a beast! Then it's Goofy's
turn in the Mickey Mouse thriller, "Werewolf Worries!" Finally, Donald stars
in "Homefront Hero!" Cover by Daniel Branca illustrating "I, Monster!" FC, 32
pages. $2.95

Mickey Mouse and Friends #269--- This special Halloween issue leads with an
adaptation of the cartoon "Runaway Brain," in which Mickey exchanges
personalities with a Black pete-like monster! Then Goofy tries his hand at witchcraft in
"Bell, Book, and Goofy!" Pat and Shelly Block's "Pie-Eyed Pippers" rounds out
the issue, with a cover illustrating "Runaway Brain." FC, 32 pages. $2.95

Uncle Scrooge #334--- Don Rosa's long-awaited "Quest for Kalevala" leads the
book, which sports a pin-up illustrating the story on the back cover! European
stories featuring Grandma Duck, Gyro Gearloose, and Uncle Scrooge round out
the issue, along with a classic Carl Barks Uncle Scrooge tale, "The Lost
Peg-Leg Mine!" SC, 7x10, 64 pages, FC. $6.95

Walt Disney's Comics and Stories #649--- William Van Horn's classic Halloween
adventure, "It's in the Bag," leads this issue, which also features "A Ring
for Donald" (a vintage Donald Duck story by Daan Jippes), and a Beagle Boys
short by Pat and Shelly Block. Mickey Mouse, Li'l Bad Wolf, and Chip 'n' Dale
tales round out the book. SC, 7x10, 64 pages, FC. $6.95

All in all, looks like a promising month, though hopefully Bucky Bug will one
day kick off that do-gooder Li'l Bad Wolf for a while at least. :P

Derek Smith

Dear List:
Has anyone read "The Black Knight Glorps Again?" If so, what did you
think of it? I'm always curious to hear other people's reactions to Rosa's
stories, while I wait for my own in the hopefully not too distant future.
Sincerely,
Anthony