Hey Rich (and others),
> I am probably wrong, but I *thought* Sonny Seagull had debuted some
> time back in the USA and his name was given as "Sonny Seagull" at
> the time.
Um... (gulp!) I'm afraid I can't get around saying this: you ARE wrong. Please check the COA to avoid this kind of confusion... you'll see that no stories with the seagull character have yet been published here, aside from the newly released "Healthy Choice" (which hasn't yet been indexed for Inducks).
> Why would Gemstone rename such a character when [he] already had a
> clearly "English" name? Americans are well acquainted with the name "Sonny" and
> the word "Seagull." Why the change to Garvey Gull? It would seem logical to just
> retain a name that is already in use...
First of all, it's not already in use. So we didn't need to worry about contradicting anything we'd already published by renaming him. That said, we felt the name "Sonny Seagull" should be changed in the American comics for a couple of reasons.
As a name read aloud, Sonny sounds like "Sunny," suggesting a sweet Care Bear/Get Along Gang-like character, Sunny Seagull, rather than the fresh little rascal that this character actually is.
There's also the fact that "Sonny" is better known in North America not as a name, but as a generic old-time slang term for a kid: "Whatcha doin' there, Sonny?" It's a term one uses to start a conversation with a child one doesn't know. When a given story introduces the seagull character by having one of the Ducks address him by his first name (as is only natural), will new readers immediately understand that the two parties know one another? Maybe not!
By contrast, "Garvey Gull" is a tougher-sounding, somewhat shorter name that can't be mistaken for anything but a name.
So while Gemstone and Egmont more typically share English character names back and forth, we don't do it ALL the time. You can add Garvey/Sonny to the ranks of Miss Quackfaster/Typefast and Duck Avenger/Superduck.
Best, David
Author
Topic: 200607
(106 messages)
David Gerstein
Garvey Gull vs. Sonny Seagull
Message 46 -
2006-07-14 at 19:22:07
Jonathan H. Gray
About Face...
Message 47 -
2006-07-15 at 00:20:04
Simple question that Ive been meaning to ask but never have.
Why are the faces of the main and sub-characters (Mickey, Minnie, Goofy,
Horace, and Clarabelle) in Mickey Mouse's stories left uncolored? I know
that during Dell and Gladstone printing quality wasnt exactly the best to
pull this off, but after Disney started doing it I always wondered why it
never stuck. Especially considering that plenty of other countries that
print the duck and mice comics apply color instead of opting for black and
white as well. Just curious.
I know that the general answer was always "for consistency with the way the
Dell books used to look." But to be honest it can sometimes be a bit
distracting. in Egmont stories and everywhere else outside the USA, as fas
as I know, even other publishers have thier faces colored. I was always very
surprised that after Disney's tenure the standards of coloring at least for
the mouse world were never maintained at least in those regards.I could
perfectly understand whiteface on the classic stuff, but the more modern
Mickey stuff....I dunno how it would work or what would be best really, so
I'm just fishing for opinions on what others think..
Just curious about it is all.
Jonathan H. Gray
Why are the faces of the main and sub-characters (Mickey, Minnie, Goofy,
Horace, and Clarabelle) in Mickey Mouse's stories left uncolored? I know
that during Dell and Gladstone printing quality wasnt exactly the best to
pull this off, but after Disney started doing it I always wondered why it
never stuck. Especially considering that plenty of other countries that
print the duck and mice comics apply color instead of opting for black and
white as well. Just curious.
I know that the general answer was always "for consistency with the way the
Dell books used to look." But to be honest it can sometimes be a bit
distracting. in Egmont stories and everywhere else outside the USA, as fas
as I know, even other publishers have thier faces colored. I was always very
surprised that after Disney's tenure the standards of coloring at least for
the mouse world were never maintained at least in those regards.I could
perfectly understand whiteface on the classic stuff, but the more modern
Mickey stuff....I dunno how it would work or what would be best really, so
I'm just fishing for opinions on what others think..
Just curious about it is all.
Jonathan H. Gray
Stefan Persson
DONALD & HIS COUSINS
Message 48 -
2006-07-15 at 04:19:11
On 2006-07-14 08:46, Rich wrote:
> Presented primairily for your amusement, but also for your consideration.
> DONALD & HIS COUSINS
> see: http://users.cwnet.com/xephyr/rich/images/DonaldsCousins.gif
For Gus cf. I TL 2523-6.
Stefan
> Presented primairily for your amusement, but also for your consideration.
> DONALD & HIS COUSINS
> see: http://users.cwnet.com/xephyr/rich/images/DonaldsCousins.gif
For Gus cf. I TL 2523-6.
Stefan
Elaine Ramshaw
Mickey's face
Message 49 -
2006-07-15 at 06:17:11
Since you asked for others' opinions.... Personally, I've always been
strongly in favor of the black-and-white Mickey & Co. This is due to the
fact that coloring in the white areas with a pinkish beige makes Mickey
Caucasian, while the b&w Mickey seems to me to be ethnically neutral. One of
the kids I provide comics for is African-American, and that helps sensitize
me on this issue.
Some years back I was watching a Disney Silly Symphony with some friends,
and one complained that the villain was black (a spider, I believe). I
pointed out with some exasperation that *Mickey Mouse* was equally black!
(Of course, I'm aware that this is due to the fact that he started out in
b&w cartoons.) But later I realized that the currently most-seen version of
Mickey with the white areas colored in is indeed Caucasian or "white."
strongly in favor of the black-and-white Mickey & Co. This is due to the
fact that coloring in the white areas with a pinkish beige makes Mickey
Caucasian, while the b&w Mickey seems to me to be ethnically neutral. One of
the kids I provide comics for is African-American, and that helps sensitize
me on this issue.
Some years back I was watching a Disney Silly Symphony with some friends,
and one complained that the villain was black (a spider, I believe). I
pointed out with some exasperation that *Mickey Mouse* was equally black!
(Of course, I'm aware that this is due to the fact that he started out in
b&w cartoons.) But later I realized that the currently most-seen version of
Mickey with the white areas colored in is indeed Caucasian or "white."
Gary Leach
Face color
Message 50 -
2006-07-15 at 20:44:16
Jonathan:
> Why are the faces of the main and sub-characters (Mickey, Minnie,
> Goofy, Horace, and Clarabelle) in Mickey Mouse's stories left
> uncolored? I know that during Dell and Gladstone printing quality
> wasnt exactly the best to pull this off, but after Disney started
> doing it I always wondered why it never stuck.
When Disney closed down their comics and Gladstone resumed publishing
the standard characters, we resumed doing them by what many readers
would soon refer to as "the Gladstone way" (basically the Dell/
Western way with updated production techniques). Disney continued to
approve story content, but otherwise they left us to it. When we
started up the Gemstone line we were called upon to pick up where
we'd left off. Being Gladstone vets, the "Gladstone way" came with us.
> In Egmont stories and everywhere else outside the USA, as fas as I
> know, even other publishers have thier faces colored.
True enough in the Egmont weeklies. However, their pocket book
material has the Dell-traditional-style black-and-white face schemes
for these characters. Same for pocket book material from Disney
Italy. Different strokes for different formats, I suppose.
Gary
> Why are the faces of the main and sub-characters (Mickey, Minnie,
> Goofy, Horace, and Clarabelle) in Mickey Mouse's stories left
> uncolored? I know that during Dell and Gladstone printing quality
> wasnt exactly the best to pull this off, but after Disney started
> doing it I always wondered why it never stuck.
When Disney closed down their comics and Gladstone resumed publishing
the standard characters, we resumed doing them by what many readers
would soon refer to as "the Gladstone way" (basically the Dell/
Western way with updated production techniques). Disney continued to
approve story content, but otherwise they left us to it. When we
started up the Gemstone line we were called upon to pick up where
we'd left off. Being Gladstone vets, the "Gladstone way" came with us.
> In Egmont stories and everywhere else outside the USA, as fas as I
> know, even other publishers have thier faces colored.
True enough in the Egmont weeklies. However, their pocket book
material has the Dell-traditional-style black-and-white face schemes
for these characters. Same for pocket book material from Disney
Italy. Different strokes for different formats, I suppose.
Gary
Marc Newman
Barks/Don
Message 51 -
2006-07-16 at 20:23:43
Don,
Did you know the name Carl Barks by 1969? If so, you were maybe one of
what, 300 people? That's right about the time that the Thompsons et al
were writing articles about him and a few fans were writing to him and
scoring some amazing original art. When did you first learn his name
and how? (More modern readers have to realize that Barks was never
credited back then and was known simply as "the good duck artist"
amongst early fans.)
Marc Newman
www.HouseofComics.com
"Super-Selection of Silver and Bronze Age Comics"
> Barks has always had a very strong influence on my own writing style,
> which surprises people who don't know better, and think of him as just
> an artist. I've been a fan of his for more than 50 years -- starting
> about when I learned to read, as a matter of fact. By 1969, when I
> began writing professionally (feature stories in the Sunday morning
> New Orleans Times-Picayune), I was already seeing faint echoes of him
> in my own writing.
>
> Quack, Don
Did you know the name Carl Barks by 1969? If so, you were maybe one of
what, 300 people? That's right about the time that the Thompsons et al
were writing articles about him and a few fans were writing to him and
scoring some amazing original art. When did you first learn his name
and how? (More modern readers have to realize that Barks was never
credited back then and was known simply as "the good duck artist"
amongst early fans.)
Marc Newman
www.HouseofComics.com
"Super-Selection of Silver and Bronze Age Comics"
> Barks has always had a very strong influence on my own writing style,
> which surprises people who don't know better, and think of him as just
> an artist. I've been a fan of his for more than 50 years -- starting
> about when I learned to read, as a matter of fact. By 1969, when I
> began writing professionally (feature stories in the Sunday morning
> New Orleans Times-Picayune), I was already seeing faint echoes of him
> in my own writing.
>
> Quack, Don
Donald D. Markstein
DCML Digest, Vol 41, Issue 19
Message 52 -
2006-07-17 at 15:38:33
> Did you know the name Carl Barks by 1969? If so, you were maybe one
> of what, 300 people? That's right about the time that the Thompsons
> et al were writing articles about him and a few fans were writing to
> him and scoring some amazing original art. When did you first learn
> his name and how? (More modern readers have to realize that Barks was
> never credited back then and was known simply as "the good duck
> artist" amongst early fans.)
Yes, I did. In fact, I mentioned his name in a small-circulation fanzine
that came out no later than 1968. I think it was '67 or so that I
learned his name (I was 20 years old). I knew him by his work from early
childhood, of course (the exact phrase "the good artist" wasn't part of
my vocabulary -- in fact, I don't recall exactly "who" I thought of him
as -- but I could identify his work). It was when he had a letter
published in the Jerry Bails/Roy Thomas version of ALTER EGO, before the
Thompsons started seriously publicizing him, that I found a name to
attach to him. I don't know about that 300 figure, but whatever number
of fans knew his name before 1969, I was one of them.
In 1970, the Sunday magazine newspaper section that I worked for
published my picture as a new staff member (Actually, I'd been there a
year), which I believe is the first time I had my picture published as
an adult. (I was in a "his kids" picture in a feature story about my
father, also a local writer, that came out in the '50s.) It showed me
reading a 1943 issue of WDC&S, with a Barks cover, and if I recall
correctly, Barks's name was mentioned in the accompanying copy.
Quack, Don
> of what, 300 people? That's right about the time that the Thompsons
> et al were writing articles about him and a few fans were writing to
> him and scoring some amazing original art. When did you first learn
> his name and how? (More modern readers have to realize that Barks was
> never credited back then and was known simply as "the good duck
> artist" amongst early fans.)
Yes, I did. In fact, I mentioned his name in a small-circulation fanzine
that came out no later than 1968. I think it was '67 or so that I
learned his name (I was 20 years old). I knew him by his work from early
childhood, of course (the exact phrase "the good artist" wasn't part of
my vocabulary -- in fact, I don't recall exactly "who" I thought of him
as -- but I could identify his work). It was when he had a letter
published in the Jerry Bails/Roy Thomas version of ALTER EGO, before the
Thompsons started seriously publicizing him, that I found a name to
attach to him. I don't know about that 300 figure, but whatever number
of fans knew his name before 1969, I was one of them.
In 1970, the Sunday magazine newspaper section that I worked for
published my picture as a new staff member (Actually, I'd been there a
year), which I believe is the first time I had my picture published as
an adult. (I was in a "his kids" picture in a feature story about my
father, also a local writer, that came out in the '50s.) It showed me
reading a 1943 issue of WDC&S, with a Barks cover, and if I recall
correctly, Barks's name was mentioned in the accompanying copy.
Quack, Don
Luca Boschi
DCML Digest, Vol 41, Issue 19
Message 53 -
2006-07-17 at 16:25:12
Hi, all!
After a long time, few lines by me... About today's topics on Barks'
name, Marc Newman writes;
> Did you know the name Carl Barks by 1969? If so, you were maybe
> one of what, 300 people?
Oh, no. Many, many more. All the Italian Disney fans just knew Barks'
name at least from Summer 1968. He was properly credited in the
popular newspaper sold book "Via e dollari di Paperon de' Paperoni",
which introduced some of the most important Barks' Uncle Scrooge
classic stories. Maybe it was the very first time that Barks' name
was joinde with some comics by him 8after the "Lemonade King" famous
mention). Incidentally that book in Italian was a real hit, in the
best selling collection "Gli Oscar", whic begun in 1962 with a
Hemingway novel.
Ciao,
Luca
After a long time, few lines by me... About today's topics on Barks'
name, Marc Newman writes;
> Did you know the name Carl Barks by 1969? If so, you were maybe
> one of what, 300 people?
Oh, no. Many, many more. All the Italian Disney fans just knew Barks'
name at least from Summer 1968. He was properly credited in the
popular newspaper sold book "Via e dollari di Paperon de' Paperoni",
which introduced some of the most important Barks' Uncle Scrooge
classic stories. Maybe it was the very first time that Barks' name
was joinde with some comics by him 8after the "Lemonade King" famous
mention). Incidentally that book in Italian was a real hit, in the
best selling collection "Gli Oscar", whic begun in 1962 with a
Hemingway novel.
Ciao,
Luca
Lars Jensen
Duck comics in Uk
Message 54 -
2006-07-17 at 22:29:28
Victor wrote:
> Of course, some [United Kingdom] comics shops sell the USA
> ducks from Gemstone, but to pay 7? (That's what I've seen them
> for) for a comicbook is a bit overpriced, especially when in Sweden
> you can get a swedish Kalle Anka (Donald Duck) at 68 page format
> (in secound hand) for about 40 US-cent.
Comparing the price for an imported brand-new prestige format comic
book (essentially, a modern trade paperback) with the price for a
domestic second-hand traditional comic is a bit unfair, don't you think?
> Is it because of that they want books, and litterature.
> Well, publish some Barks/Rosa then.
> Here is a list of what a first thick good fact comic could include [...]
> 359 pages, yes, but it would perhaps make comic-sceptic parents to
> buy it to their children (And then make again a comic-nation)
I don't know what Brits would want from a Disney comic, but I'm not sure
they would want "books and literature". (By "books and literature", do you
mean "stories for a more adult readership"?) Also, the problem with your
list is that it is a list for a one-shot publication. I can't imagine that
any publisher would buy a comics license from Disney and then only publish
one book. Try this thought experiment: have enough stories (of the kind you
think will sell in the UK) been made that a monthly could be kept going for
at least five years? If not, then I'm afraid many publishers would reject
the feasibility of publishing a continuing title like you describe.
> Of course, 100 % fact based comics are MUCH better, it's because
> of that I like duck comics , especially Barks/Rosa (And other fact comics)
What are "fact based comics"?
Lars
> Of course, some [United Kingdom] comics shops sell the USA
> ducks from Gemstone, but to pay 7? (That's what I've seen them
> for) for a comicbook is a bit overpriced, especially when in Sweden
> you can get a swedish Kalle Anka (Donald Duck) at 68 page format
> (in secound hand) for about 40 US-cent.
Comparing the price for an imported brand-new prestige format comic
book (essentially, a modern trade paperback) with the price for a
domestic second-hand traditional comic is a bit unfair, don't you think?
> Is it because of that they want books, and litterature.
> Well, publish some Barks/Rosa then.
> Here is a list of what a first thick good fact comic could include [...]
> 359 pages, yes, but it would perhaps make comic-sceptic parents to
> buy it to their children (And then make again a comic-nation)
I don't know what Brits would want from a Disney comic, but I'm not sure
they would want "books and literature". (By "books and literature", do you
mean "stories for a more adult readership"?) Also, the problem with your
list is that it is a list for a one-shot publication. I can't imagine that
any publisher would buy a comics license from Disney and then only publish
one book. Try this thought experiment: have enough stories (of the kind you
think will sell in the UK) been made that a monthly could be kept going for
at least five years? If not, then I'm afraid many publishers would reject
the feasibility of publishing a continuing title like you describe.
> Of course, 100 % fact based comics are MUCH better, it's because
> of that I like duck comics , especially Barks/Rosa (And other fact comics)
What are "fact based comics"?
Lars
M.J. Prior
"100% fact based comics"
Message 55 -
2006-07-18 at 15:47:31
Victor:
> Of course, 100 % fact based comics are MUCH better,
Maybe you should add textballoons to the pictures in your
encyclopaedia. Never a dull moment!
Surprisingly, only three stories on your list appear to be
based on facts to me, and then only very loosely.
("Guardians", "Charts", "Crusaders") In each case, the
author had to add large chunks of fiction to the facts to
write an entertaining story.
Notwithstanding the fact that these stories are also among
my own favourites, I strongly object to the notion that
stories with a base in fact are to be preferred above
stories with a purely fictional content. After all, it's
the story itself that counts, not the facts on which it's
based. And I honestly don't understand how you've come to
see "Voodoo Hoodoo" as a "100% fact based comic".
Greetings,
Michiel Prior.
> Of course, 100 % fact based comics are MUCH better,
Maybe you should add textballoons to the pictures in your
encyclopaedia. Never a dull moment!
Surprisingly, only three stories on your list appear to be
based on facts to me, and then only very loosely.
("Guardians", "Charts", "Crusaders") In each case, the
author had to add large chunks of fiction to the facts to
write an entertaining story.
Notwithstanding the fact that these stories are also among
my own favourites, I strongly object to the notion that
stories with a base in fact are to be preferred above
stories with a purely fictional content. After all, it's
the story itself that counts, not the facts on which it's
based. And I honestly don't understand how you've come to
see "Voodoo Hoodoo" as a "100% fact based comic".
Greetings,
Michiel Prior.
Rob Klein
Knowing of Carl Barks
Message 56 -
2006-07-19 at 10:21:34
I not only knew about Carl Barks by 1969, but I had met him at his house by
then. I grew up reading the US and Dutch Disney comics with Barks stories,
from the late '40s through the end of Barks' 1960s printings. I started buying
them for myself in 1952 (or asking my parents to buy for me), but I had already
inherited all Barks' Disney comics from older cousins who lived in my house (or
next door)(other than a couple of giveaways). When moving to Los Angeles in
1966 for university, I also discovered Malcom Willits' and Leonard
Browns' "Collectors' Book Store". I was already a great fan of "The Good
Artist" and they told me his name was Carl Barks. I showed them that I had
been photocopying ALL of Barks' comic book story pages and magazine cover
pages, to make my own "Carl Barks Library". They also sold me the few Barks
giveaways I didn't have (except "Donald Ducks Atomb Bomb" and "Donald Duck
Tells About Kites", which I only have in original Dutch printings but not US
(only reprints). Malcom and Leonard also helped me out with my library, by
letting me have photostated, all Barks' original drawn inked pages that they
were auctioning off for him. That is how I was able to make my library almost
complete, including The "Milkman Story" and The 1945 Christmas story (later
titled "Silent Night", for which I also re-created the missing half-page from
Carl's description of what he had on it). The latter work also got me started
writing stories and drawing storyboards for Oberon (Dutch Disney comics)in
1986, and also the same for Gutenberghus/Egmont in 1989.
When Malcom and Leonard saw that I was hand-colouring all 6700 pages, they
thought I was quite extreme as a Barks fan, and that Carl, himself, might
appreciate that. First, in 1966, they let me talk to him on the telephone, and
with his permission, gave me his street address. We talked on the phone a few
times, and wrote letters back and forth, until 1969, when I and my sister went
to visit him at his new home in Goleta, California. He wanted to see the
finished, hardbound volumes I had coloured. We spent all day with Carl and
Garé, and she even made us lunch (sandwiches). Garé and Carl took pictures of
3 of the 4 of us in various combinations and Carl and me in front of my books.
(I'm just about 60 years old, and have never owned a camera). Carl and Garé
kept the pictures, and it had been their idea to take them in the first place.
(I've been all over the World and never kept photos of people or places). Now
I regret it. Before Barks' things were auctioned off, I asked a family member
to pull out those photos for me and my sister, as the family was supposed to
see them first. She told me that, unfortunately, the family never got access
to the photos before the auction.
In any case, I ended up visiting Carl and Garé two more times. I NEVER asked
him to draw me a drawing, so he never did. I never asked him for his autograph.
But he he and Garé were very nice people, and I think I had a different
experience meeting him as one person to another, rather than a "drooling fan"
worshipping an idol.
In 1991, when my drawing had gotten to what I thought was a presentable state,
I sent him photocopies of several of my stories. I had not writtten to him or
contacted him since 1973 (When I had moved To The Netherlands and started
working in The Third World). He wrote back saying that he'd wondered what had
happened to me. He said he enjoyed the stories and artwork very much, and got
some good laughs, and was glad that I was able to do work that I enjoy. THAT
is worth more to me than autographs or even personal drawings.
In any case, Malcom and Leonard had turned me on to Duckburg Times, Mike
Barrier, The Barks Collector and other fanzines in the late '60s and
early '70s, so there were at least several hundred people in USA in the
late '60s who knew Carl Barks' name, and probably at least a few thousand in
the early '70s. I believe that there were at least a hard core of fans in The
Netherlands who knew his name in the late #60s. I imagine there were similar
groups in Denmark, Sweden and Norway and Italy. Not sure about Germany (but
probably there,
too).
---------------------------------------------
This message was sent using Endymion MailMan.
http://www.endymion.com/products/mailman/
then. I grew up reading the US and Dutch Disney comics with Barks stories,
from the late '40s through the end of Barks' 1960s printings. I started buying
them for myself in 1952 (or asking my parents to buy for me), but I had already
inherited all Barks' Disney comics from older cousins who lived in my house (or
next door)(other than a couple of giveaways). When moving to Los Angeles in
1966 for university, I also discovered Malcom Willits' and Leonard
Browns' "Collectors' Book Store". I was already a great fan of "The Good
Artist" and they told me his name was Carl Barks. I showed them that I had
been photocopying ALL of Barks' comic book story pages and magazine cover
pages, to make my own "Carl Barks Library". They also sold me the few Barks
giveaways I didn't have (except "Donald Ducks Atomb Bomb" and "Donald Duck
Tells About Kites", which I only have in original Dutch printings but not US
(only reprints). Malcom and Leonard also helped me out with my library, by
letting me have photostated, all Barks' original drawn inked pages that they
were auctioning off for him. That is how I was able to make my library almost
complete, including The "Milkman Story" and The 1945 Christmas story (later
titled "Silent Night", for which I also re-created the missing half-page from
Carl's description of what he had on it). The latter work also got me started
writing stories and drawing storyboards for Oberon (Dutch Disney comics)in
1986, and also the same for Gutenberghus/Egmont in 1989.
When Malcom and Leonard saw that I was hand-colouring all 6700 pages, they
thought I was quite extreme as a Barks fan, and that Carl, himself, might
appreciate that. First, in 1966, they let me talk to him on the telephone, and
with his permission, gave me his street address. We talked on the phone a few
times, and wrote letters back and forth, until 1969, when I and my sister went
to visit him at his new home in Goleta, California. He wanted to see the
finished, hardbound volumes I had coloured. We spent all day with Carl and
Garé, and she even made us lunch (sandwiches). Garé and Carl took pictures of
3 of the 4 of us in various combinations and Carl and me in front of my books.
(I'm just about 60 years old, and have never owned a camera). Carl and Garé
kept the pictures, and it had been their idea to take them in the first place.
(I've been all over the World and never kept photos of people or places). Now
I regret it. Before Barks' things were auctioned off, I asked a family member
to pull out those photos for me and my sister, as the family was supposed to
see them first. She told me that, unfortunately, the family never got access
to the photos before the auction.
In any case, I ended up visiting Carl and Garé two more times. I NEVER asked
him to draw me a drawing, so he never did. I never asked him for his autograph.
But he he and Garé were very nice people, and I think I had a different
experience meeting him as one person to another, rather than a "drooling fan"
worshipping an idol.
In 1991, when my drawing had gotten to what I thought was a presentable state,
I sent him photocopies of several of my stories. I had not writtten to him or
contacted him since 1973 (When I had moved To The Netherlands and started
working in The Third World). He wrote back saying that he'd wondered what had
happened to me. He said he enjoyed the stories and artwork very much, and got
some good laughs, and was glad that I was able to do work that I enjoy. THAT
is worth more to me than autographs or even personal drawings.
In any case, Malcom and Leonard had turned me on to Duckburg Times, Mike
Barrier, The Barks Collector and other fanzines in the late '60s and
early '70s, so there were at least several hundred people in USA in the
late '60s who knew Carl Barks' name, and probably at least a few thousand in
the early '70s. I believe that there were at least a hard core of fans in The
Netherlands who knew his name in the late #60s. I imagine there were similar
groups in Denmark, Sweden and Norway and Italy. Not sure about Germany (but
probably there,
too).
---------------------------------------------
This message was sent using Endymion MailMan.
http://www.endymion.com/products/mailman/
SRoweCanoe
Knowing of Carl Barks
Message 57 -
2006-07-20 at 03:09:42
i certainly knew the name Carl Barks by 1969 (the year I joined fandom), but
then one of the earliest things I was doing in fandom was reading the
Thompson's NEWFANGLES
steven rowe
then one of the earliest things I was doing in fandom was reading the
Thompson's NEWFANGLES
steven rowe
Niels Houlberg Hansen
A Question about Dutch Zorro stories
Message 58 -
2006-07-20 at 13:57:23
Hello
In 1964-1965 the Dutch Donald Duck publisher produced a lot of Zorro
stories (all drawn by Hans Kresse):
http://coa.inducks.org/comp2.php?code=h&imageVisu=&keyw=&keywt=i&exactpg
=&pg1=&pg2=&bro2=&pagel=l&pagelx=n&hero=zorro&xapp=&xa2=&creat=&art=&ink
=&writ=&plot=&pub1=&pub2=&part=&ser=&xref=&xrefd=&repabb=&repabbc=au&inc
ludeParts=&vpages=on&vtitle=on&vhero=on&vart=on&vpubdate=on&vdesc2=on&vd
esc=uk&vnl=on&sort1=auto&sort2=none
After they had been published every week for a year, they suddenly
disappeared.
Was there a Zorro "fever" in the Netherlands in 1964-1965?
(Perhaps the late-1950s Disney Zorro series was broadcast in Dutch TV in
those years?)
Maybe it's silly question, but I was just wondering about it.........
Kind regards
Niels
In 1964-1965 the Dutch Donald Duck publisher produced a lot of Zorro
stories (all drawn by Hans Kresse):
http://coa.inducks.org/comp2.php?code=h&imageVisu=&keyw=&keywt=i&exactpg
=&pg1=&pg2=&bro2=&pagel=l&pagelx=n&hero=zorro&xapp=&xa2=&creat=&art=&ink
=&writ=&plot=&pub1=&pub2=&part=&ser=&xref=&xrefd=&repabb=&repabbc=au&inc
ludeParts=&vpages=on&vtitle=on&vhero=on&vart=on&vpubdate=on&vdesc2=on&vd
esc=uk&vnl=on&sort1=auto&sort2=none
After they had been published every week for a year, they suddenly
disappeared.
Was there a Zorro "fever" in the Netherlands in 1964-1965?
(Perhaps the late-1950s Disney Zorro series was broadcast in Dutch TV in
those years?)
Maybe it's silly question, but I was just wondering about it.........
Kind regards
Niels
M.J. Prior
Dutch Zorro stories
Message 59 -
2006-07-20 at 15:40:12
Niels Houlberg Hanssen:
> After they had been published every week for a year, they
> suddenly disappeared. Was there a Zorro "fever" in the
> Netherlands in 1964-1965? (Perhaps the late-1950s Disney
> Zorro series was broadcast in Dutch TV in those years?)
I don't know when Disney's Zorro TV series (1957-9) was
first broadcast in the Netherlands, but I know it's still
frequently repeated on Belgian TV. Zorro's always been
very popular, but to speak of a sudden Zorro "fever" in
1964-5 seems a bit overdone.
In fact, a Zorro comic appeared in the Dutch weekly "Pep"
from 1962 till 1968, and it was indeed inspired on
Disney's TV series. First, the magazine simply published
American Zorro stories (mostly by Alex Toth), but from
1964-5 "Pep" produced its own stories, drawn by the famous
Dutch artist Hans G. Kresse.
So the answer to your question seems to be: No, the Zorro
stories didn't suddenly appear and disappear, they were
merely a Dutch continuation of the American stories. But I
really don't know anything about why Hans Kresse stopped
drawing them. Your assumption that their apparition in the
weekly has something to do with the popularity of the TV
series seems a good one.
Here are some links (including one to Inducks, because the
link you provided was a bit messed-up):
http://users.fmg.uva.nl/pbakker/pep/zorro.html
http://lambiek.net/artists/k/kresse.htm
http://coa.inducks.org/comp2.php?lg=0&default_o=1&znl=on&xapp=ZOR
Greetings,
Michiel Prior.
> After they had been published every week for a year, they
> suddenly disappeared. Was there a Zorro "fever" in the
> Netherlands in 1964-1965? (Perhaps the late-1950s Disney
> Zorro series was broadcast in Dutch TV in those years?)
I don't know when Disney's Zorro TV series (1957-9) was
first broadcast in the Netherlands, but I know it's still
frequently repeated on Belgian TV. Zorro's always been
very popular, but to speak of a sudden Zorro "fever" in
1964-5 seems a bit overdone.
In fact, a Zorro comic appeared in the Dutch weekly "Pep"
from 1962 till 1968, and it was indeed inspired on
Disney's TV series. First, the magazine simply published
American Zorro stories (mostly by Alex Toth), but from
1964-5 "Pep" produced its own stories, drawn by the famous
Dutch artist Hans G. Kresse.
So the answer to your question seems to be: No, the Zorro
stories didn't suddenly appear and disappear, they were
merely a Dutch continuation of the American stories. But I
really don't know anything about why Hans Kresse stopped
drawing them. Your assumption that their apparition in the
weekly has something to do with the popularity of the TV
series seems a good one.
Here are some links (including one to Inducks, because the
link you provided was a bit messed-up):
http://users.fmg.uva.nl/pbakker/pep/zorro.html
http://lambiek.net/artists/k/kresse.htm
http://coa.inducks.org/comp2.php?lg=0&default_o=1&znl=on&xapp=ZOR
Greetings,
Michiel Prior.
Marvinw
Duck comics in UK---and Beyond !!
Message 60 -
2006-07-21 at 19:24:33
Lars Jensen mentioned that the high price (7 Pounds) for imported Gemstone english language prestige comics in the UK should not be unfairly compared.
That price amounts to the cover price plus about 5 or 6 Dollars for shipping, and so it is not exhorbitant unless the seller is set up to use bulk transport.
Gemstone does not have overseas subscriptions, however now in the internet era, english language comics may be ordered online to be sent to almost anywhere.
There are many sites that sell comics, but I prefer newenglandcomics.com located in Boston, perhaps the closest location across the pond to Europe and further east, and they seem to have the quickest delivery time of about a week.
They use the U.S. Postal Global Priority Envelope and charge 10 dollars for shipping, but the envelope holds about 10 comics meaning that if many comics are ordered together, the shipping cost could be only one dollar each. Aside from shipping, this site and most others charge just the cover price or less if several comics are ordered at one time.
Marvin Winitz
That price amounts to the cover price plus about 5 or 6 Dollars for shipping, and so it is not exhorbitant unless the seller is set up to use bulk transport.
Gemstone does not have overseas subscriptions, however now in the internet era, english language comics may be ordered online to be sent to almost anywhere.
There are many sites that sell comics, but I prefer newenglandcomics.com located in Boston, perhaps the closest location across the pond to Europe and further east, and they seem to have the quickest delivery time of about a week.
They use the U.S. Postal Global Priority Envelope and charge 10 dollars for shipping, but the envelope holds about 10 comics meaning that if many comics are ordered together, the shipping cost could be only one dollar each. Aside from shipping, this site and most others charge just the cover price or less if several comics are ordered at one time.
Marvin Winitz