From alexh3208 at aol.com Sun May 1 00:44:11 1994 From: alexh3208 at aol.com (alexh3208@aol.com) Date: Sat, 30 Apr 94 18:44:11 EDT Subject: unsubscribe Message-ID: <9404301844.tn06008@aol.com> unsubscribe From d91fe at mimas.pt.hk-r.se Sun May 1 03:17:32 1994 From: d91fe at mimas.pt.hk-r.se (Fredrik Ekman) Date: Sun, 1 May 94 03:17:32 +0200 Subject: Disney-comics digest #312. Message-ID: <9405010117.AA22224@mimas.pt.hk-r.se> Sigurdur wrote: > What artist? > Who was the artist who did the motorcar story 2 issues ago? Something > about Donald renting a bigger car to impress Daisy. Was it > the same one who did the "Donald as a Pizza delivery man" story? > Kinda weird, that rubbery style he uses. Ah, you're talking about William Van Horn. He is in my opinion definitely one of the top Duck artists today, even though everyone doesn't quite agree that he's up to Don's standards... ;-) There's a Van Horn index which lists more or less all his stories that have been published in the US, Holland and Scandinavia. You should be able to find a lot of the stories published in Iceland by looking in the Scandinavian column and do some guess-work from there. And while on the subject; twice before I have asked for "please more info about WVH, someone" and have been met by a more or less complete silence. What's the matter with you guys? I thought you knew everything. Is there really noone who can tell me a little of where WVH lives, how old he is, his background in and out of comics, how he came to work with Gladstone, et c, et c, et c? Or at least point me to other sources. /F From revry at tjhsst.vak12ed.edu Sun May 1 03:57:41 1994 From: revry at tjhsst.vak12ed.edu (Ronald A. Evry (Ronald)) Date: Sat, 30 Apr 94 21:57:41 EDT Subject: Disney-comics digest #314. In-Reply-To: <9404292323.AA26094@Minsk.DoCS.UU.SE>; from "disney-comics@Minsk.DoCS.UU.SE" at Apr 30, 94 1:23 am Message-ID: <9405010157.AA11448@tjhsst.vak12ed.edu> Since I brought up Dan O'Neill in the first place, I should also mention that "The Mouse" (we won't exactly call him Mickey here, because he wasn't ... not quite, anyway) makes a very important appearence in "The Collective Unconscience of Odd Bodkins." (1973, Chronicle Publishing) Oneill was (at the time) the youngest artist doin the US doing a nationally syndicated strip. They are really quite clever, and his work was a seminal influence on Bobby London, Ted Richards, Trina Robbins, Sherry Flenniken and the late Willy Murphy. I even see some influence on Van Horn's non-duck stuff. Then there was "Dan O'Neill's Comic and Stories." I'll see if I can dig some out of my basement and let you all in on the stuff. There was more than just "porno" versions of Disney characters rolling off of his pen. He truly breathed life into his lampoons, much more so than any Mouse artist since Iwerks or Gottfriedson. Ron From David.A.Gerstein at williams.edu Mon May 2 01:33:07 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 01 May 1994 19:33:07 -0400 Subject: Disney-comics digest #316. In-Reply-To: Your message of Mon, 02 May 1994 01:18:05 +0200 Message-ID: <9405012333.AA07719@hancock.cc.williams.edu> Dear Folks, Fredrik Ekman commented that "twice before I have asked for "please more info about WVH, someone" and have been met by a more or less complete silence. What's the matter with you guys? I thought you knew everything." I actually know next to nothing about Van Horn. From rumors I have heard, this may be a case like Barks where you can admire the work, but not its creator's current goals ($$$$ even when it puts others at a loss). I'm sorry... perhaps I opened my bill too far. BTW, to the van-horn index we can add a cover to THE DUCKBURG TIMES #24/25, late in '92. It illustrates their "Special DuckTales Issue" (that's the title of the cover) and shows Scrooge's top hat and cane, Launchpad's goggles, and (AAACK!) Webby's Quacky Patch Kid doll posed as if on display in a museum. No ducks are actually visible -- unlike its rival THE BARKS COLLECTOR, TDT does not have permission (at least not any more) to actually show Disney characters in anything other than silhouette. * * * * * On another tack: How much are Barks pencil sketches worth? I own the original sketch to the painting "Snow Fun" -- it's about a 12" by 7" picture of Donald with sled, full frontal view, drawn on tracing paper and signed by Barks. NO, I DO NOT AIM TO SELL IT!!! I'm just interested in getting it professionally matted and framed and would like to insure it first. You can E-Mail me with the answer, if you know. Barks' agents told me it was worth a heck of a lot when I met them at the San Diego Comic Con, but from what I've heard since, their opinion isn't worth a custard pie. (I bet if I had told them that this was a drawing of Fethry, they wouldn't have known the difference.) Your friend, David Gerstein From 72260.2635 at CompuServe.COM Mon May 2 05:04:53 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 01 May 94 23:04:53 EDT Subject: Disney-comics digest #315. Message-ID: <940502030453_72260.2635_EHB314-4@CompuServe.COM> TRYG: No, Marvel doesn't distribute its own comics on a national basis (i.e. newsstands, other public places). Local distribution companies (i.e.: the Mafia) has charge of that. Actually, the system may have been different back in the 50s... I would be surprised if Dell didn't control its own distribution somehow, but I think DC was owned by a company that distributed periodicals, and that was the reason why, in 1956, Marvel/Atlas was forced to cut back from publishing about 100 titles to about 6 -- because they were limited to that many by their competitor. From 72260.2635 at CompuServe.COM Mon May 2 05:09:42 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 01 May 94 23:09:42 EDT Subject: Disney-comics digest #316. Message-ID: <940502030941_72260.2635_EHB314-5@CompuServe.COM> SIGURDUR: The artist who drew the story in the Egmont issues of a few weeks back about Donald and Gladstone renting super-large cars was Freddy Milton. The code number in the splash-panel indicates it was a story he did for Oberon (Holland) in 1982. From H.W.Fluks at research.ptt.nl Mon May 2 10:43:14 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 02 May 1994 10:43:14 +0200 Subject: Tryg Message-ID: <199405020843.AA01635@athena.research.ptt.nl> Tryg said a while ago: > When I first started posting messages, I noticed that some regulars were > rather quick to jump on me when I said something in error. These same > folks would basically ignore anything else I had to say. So if you > want a response, just bait your message with a few boo boo's. (Bad > breath is better than no breath...) I regard myself a "regular" and I couldn't remember any of this. So I re-read some of the old digests where you came in. It appears to me the only "error" we corrected was the missing letters in your signature. But only after 10 of your letters we mentioned that. Most of your questions were answered elaborately (even when we discussed the matter before), so I can't figure out why you have the impression that we "ignored anything else you said". *Maybe* you didn't get answers to all your questions (like Fredrik didn't get an answer to his Van Horn questions), but that's because people don't usually post messages merely saying "I don't know". Apparently, sometimes e-mail gives you a wrong impression of the intentions of the sender. But always think positive. If a mailer seems rude, blame it on his/her problems with the English language, or on the fact that you can't express everything by e-mail. So, lurkers: send in messages if you want! Or keep lurking, IF for the right reason. But don't unsubscribe because you feel you have to contribute! And don't keep silent because you are impressed by all those "know-alls". --Harry. Harry PTT Research ()_() Dutch Disney comics freak Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl "Yeah... I've _heard_ of coral barques!" P.S. one of the questions *I* never got answered: what is April, May and June's *second* appearance? And when/where did they get their names? From trygve at maroon.tc.umn.edu Tue May 3 04:39:54 1994 From: trygve at maroon.tc.umn.edu (Tryg Helseth) Date: Mon, 2 May 94 20:39:54 CST Subject: Trigger the Terrible Message-ID: <84411.trygve@maroon.tc.umn.edu> HARRY: >Tryg said a while ago: >> When I first started posting messages, I noticed that some regulars were >> rather quick to jump on me when I said something in error. These same >> folks would basically ignore anything else I had to say. So if you >> want a response, just bait your message with a few boo boo's. (Bad >> breath is better than no breath...) > >I regard myself a "regular" and I couldn't remember any of this. So I re-read >some of the old digests where you came in. It appears to me the only >"error" we corrected was the missing letters in your signature. But only after >10 of your letters we mentioned that. You know, I wasn't even thinking about that...I'm suprised you let it go so long... :) >Most of your questions were answered elaborately (even when we discussed the >matter before), so I can't figure out why you have the impression that we >"ignored anything else you said". I went back and re-read that post I quoted. Nowhere in that message did I say that my questions went unanswered. In fact, I think that is one of the real strengths of this mail-list is that you CAN get answers to questions that you won't get elsewhere. In passage quoted above, I was referring to some specific incidents I remembered at the time; re-reading that now it seems I overstated the case. I was thinking of when I had entered some lengthy replies to questions others had asked. On several occasions I did not get any acknowledgement of that answer from the person who asked the question. Some of those answers required a bit of effort and some research on my part. (I can think of two of these incidents off hand--I'll leave it to you, Harry, to search the archives to figure out what they are...:) ) Ok, maybe my expectations are out of whack! Just because I try to thank people who answer my questions, why should I expect the same in return? >Apparently, sometimes e-mail gives you a wrong impression of the intentions >of the sender. But always think positive. If a mailer seems rude, blame it >on his/her problems with the English language, or on the fact that you can't >express everything by e-mail. I do agree with that. I do try to ignore what appears to be rudeness from a mailer if it happens once or twice; after that, however, I start to think that maybe it is rudeness. When it coincidentally happens from more that one person at the same time then I really get paranoid! -Trigger the Terrible From trygve at maroon.tc.umn.edu Tue May 3 04:40:30 1994 From: trygve at maroon.tc.umn.edu (Tryg Helseth) Date: Mon, 2 May 94 20:40:30 CST Subject: Marvelous Distribution Message-ID: <84439.trygve@maroon.tc.umn.edu> DON: > No, Marvel doesn't distribute its own comics on a national basis >(i.e. newsstands, other public places). Local distribution companies >(i.e.: the Mafia) has charge of that. The Mafia, eh? I suppose the LA gangs will be taking it over soon... :) > Actually, the system may have been different back in the 50s... >I would be surprised if Dell didn't control its own distribution >somehow, but I think DC was owned by a company that distributed >periodicals, and that was the reason why, in 1956, Marvel/Atlas was >forced to cut back from publishing about 100 titles to about 6 -- >because they were limited to that many by their competitor. Was that National Periodicals back then? Dell must have had some kind of control to keep DC from squeezing them out, unless they didn't consider them to be competition. There must have been a good reason why Western Publishing went with Dell for distributing their comics and stuck with them all those years... Then again, something must have changed in the '60s for Western to do their own distribution. Tryg From David.A.Gerstein at williams.edu Tue May 3 03:47:42 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Mon, 02 May 1994 21:47:42 -0400 Subject: April, May, and June In-Reply-To: Your message of Tue, 03 May 1994 01:18:07 +0200 Message-ID: <9405030147.AA04726@bigbird.cc.williams.edu> Dear Folks, Harry pointed out "one of the questions *I* never got answered: what is April, May and June's *second* appearance? And when/ where did they get their names?" The _Comic Book Price Guide_, for years now, has listed a Giant called DAISY DUCK AND UNCLE $CROOGE SHOWTIME as being the FIRST appearance of the nieces. It's from 1960, I believe. This is Kjell Crone's index for that comic (no mention of the nieces here): W Gia 33 FC 1 US+DA TS Bill and butterfly W Gia 33 01 16 DA+US TS PICNIC TIME KA 613102 W Gia 33 02 10 GG JB BAD DEED CLUB'S ANNUAL PICNIC W Gia 33 03 6 CD PM BEAR BAGGERS KA 612003 W Gia 33 04 6 GD AH DOING THE TOWN KA 613005 W Gia 33 05 10 GO JB THE BIG CARVE KA 612404 W Gia 33 06 10 DD AH THE SONG SEARCHERS KA 611701 W Gia 33 07 6 PL JB THE DANCING DOG KA 612002 W Gia 33 08 8 DA+US AH HAVE PENCIL,WILL TRAVEL KA 613503 My guess is that this may be the first time that the nieces were NAMED, leading to the confusion in Overstreet's guide. I actually do not recall the nieces being addressed by name in the earlier DDD issue in which they appeared (in a single story, "A Sticky Situation"). The idea of pairing Daisy and Scrooge has to be one of the weirder ones, although the single one drawn by Barks (the one in which she takes over for Scrooge when he gets stuck in his "money chute") is pretty good, particularly when you realize he didn't write it. That's my 0.02. I can't really contribute anything else, because I don't collect late-1950's Dells... I prefer to buy the 1940s ones, simply because I prefer the non-Barks stories of that era to the later non-Barks stories. Yours, David Gerstein "Uncle Scrooge was his usual charming self!" From ajd105 at rsphy1.anu.edu.au Tue May 3 06:18:18 1994 From: ajd105 at rsphy1.anu.edu.au (ajd105) Date: Tue, 3 May 1994 14:18:18 +1000 (EST) Subject: WVH Message-ID: <9405030418.AA13603@rsphysse.anu.edu.au> A non-text attachment was scrubbed... Name: not available Type: text Size: 1820 bytes Desc: not available Url : http://nafsk.se/pipermail/dcml/attachments/19940503/44a02e3e/attachment.pl From 72260.2635 at CompuServe.COM Tue May 3 06:44:25 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 03 May 94 00:44:25 EDT Subject: Disney-comics digest #317. Message-ID: <940503044424_72260.2635_EHB264-1@CompuServe.COM> HARRY: Had you asked that question before? Another reason questions might get ignored is that one doesn't SEE them. April, May and June? On checking, I see that these characters (first appearing in Barks' great "Flipism" story in 1953) made so very few appearances that I wonder how I ever knew who they were. At a glance, I see them used only 4 times by Barks... in addition to the Flipism tale, he used them in the two DAISY DUCK'S DIARY - FOUR COLORs #1055 & 1150, in 1959 & 1960, not naming them until #1150. But Barks did not WRITE these stories. Was his use of them in #1055 what the scripter had in mind, or did Barks just dig the obscure Daisy-nieces out of the back of his mind when the script called for dates for HD&L, as the girls were in 1953? And WHO named them in #1150? The anonymous scripter, I assume? And the 4th use I can find them used is in WDC&S #308, in Barks' penultimate Donald ten-pager where he redefines Daisy for future use (as he also reshaped Gladstone in the next issue, even though he only used the two one last time in WDC&S #312 in his final ten-pager). Were there other uses? Now I can't even figure out how I ever knew these characters since I don't think any of these four comics were ones that I ever had as a youth. From starback at Minsk.DoCS.UU.SE Tue May 3 15:17:18 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Tue, 3 May 94 15:17:18 +0200 Subject: Pros and Cons In-Reply-To: Don Rosa's message of 25 Apr 94 09:19:04 EDT <940425131904_72260.2635_EHB107-2@CompuServe.COM> Message-ID: <9405031317.AA07884@Minsk.DoCS.UU.SE> Don wrote: > Yes, I'll be at the cons in Europe I mentioned. Have I got them all? Frankfurt and Erlangen May 30--June 6. Book and library fair in Gothenburg October 26--30. Something in Oslo??? Alvsjo outside Stockholm November 5--6. > I might swear off American cons like in Oakland, however. [...] Do as you wish, but if you go to them anyway please tell us about it beforehand! That might increase the number of duck fans there. In the COMIX mailing list I read about a comics festival in Zurich April 30--May 23, and one of the artists there is Ulrich Schroeder (May 7--8) who has done some Disney work, so I added it too to the "upcoming" file. I've also updated the entries on Barks's stay in Sweden there. Before it seemed like Swedish fans would get no opportunity at all to see Barks during his visit here, but things have changed and NAFS(k) will be allowed to arrange a public meeting with Barks Sunday June 19. More information on this meeting will be sent out to NAFS(k) members later. I think it's hard to think of any questions I'd like to ask Barks. It seems like I've already seen him answer every question I could think of that I would be interested in his answer for. What will happen in all the other countries Barks will visit? At the NAFS(k) annual meeting recently I heard something about a panel discussion (?) and other stuff in Norway, but I don't remember exactly what I heard. I think Geir was involved in it though. Could you tell us more about this, Geir? -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From maittola at snakemail.hut.fi Tue May 3 22:28:15 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Tue, 3 May 1994 23:28:15 +0300 (EET DST) Subject: Disney-comics digest #314. In-Reply-To: <9404292330.AA26186@Minsk.DoCS.UU.SE> Message-ID: Don wrote: > There's no reason to mention anything to your Finnish Egmont > branch about the coloring of their comics. > Your publisher has no control over those colors -- if the color is good > or bad in one Egmont country, it will be identicle in ALL Egmont > countries I know that coloring is done by Egmont, but maybe they might improve it if people keeps complaining enough. Aku Ankka's (Donald Duck) circulation here in Finland is about 300 000 (and here lives only about 5 million people) so I could imagine that our publisher could make at least a soft kick to Egmonts butt. I just bought Walt Disney's Donald and $crooge TPB. The colouring is wonderful compared to Egmont's. So our publisher sents you 'NIL' copies of Aku Ankka. Maybe you could trade subscription for interview or something. /Mikko From BLEAVELL at DOVER.k12.ar.us Tue May 3 23:51:19 1994 From: BLEAVELL at DOVER.k12.ar.us (Ben Leavell) Date: Tue, 3 May 1994 15:51:19 CST Subject: No subject Message-ID: <59C20940FE6@DOVER> Jane,How do Iget on this thing From 72260.2635 at CompuServe.COM Wed May 4 06:04:44 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 04 May 94 00:04:44 EDT Subject: Disney-comics digest #318. Message-ID: <940504040444_72260.2635_EHB34-2@CompuServe.COM> ANDREW: Okay, I'll bite: tell us about the time you hunted down the only US #219 in Melbourne... and why you were a Don Rosa fan BEFORE you ever saw his work. From Geir.Hasnes at DELAB.SINTEF.no Wed May 4 10:29:52 1994 From: Geir.Hasnes at DELAB.SINTEF.no (Geir.Hasnes@DELAB.SINTEF.no) Date: Wed, 4 May 1994 09:29:52 +0100 Subject: Barks trip to Norway / Europe Message-ID: <9405040729.AA20069@figaro.er.sintef.no> PER: >I've also updated the entries on Barks's stay in Sweden there. Before >it seemed like Swedish fans would get no opportunity at all to see >Barks during his visit here, but things have changed and NAFS(k) will >be allowed to arrange a public meeting with Barks Sunday June 19. >More information on this meeting will be sent out to NAFS(k) members >later. I think it's hard to think of any questions I'd like to ask >Barks. It seems like I've already seen him answer every question I >could think of that I would be interested in his answer for. > >What will happen in all the other countries Barks will visit? At the >NAFS(k) annual meeting recently I heard something about a panel >discussion (?) and other stuff in Norway, but I don't remember exactly >what I heard. I think Geir was involved in it though. Could you tell >us more about this, Geir? Wow, you are lucky. I myself havent heard a word about what is going to happen in Norway, except for having had some revised schedules sent to me recently from the USA. I never hear anything from the Norwegian Duck authorities. So I have arranged for myself to be in Oslo in connection with my work those days Barks are in Oslo so that I will have the chance of at least seeing him live. ALL: My heavy work schedule has prevented me from mailing you the last month or so, but I have saved the digests and hope to work my way through them soon. Geir Hasnes From H.W.Fluks at research.ptt.nl Wed May 4 11:27:22 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Wed, 04 May 1994 11:27:22 +0200 Subject: Disney-comics digest #315. Message-ID: <199405040927.AA18760@athena.research.ptt.nl> Don asked: > My Lo$ stories are now the BACK-UP stories in [Dutch] DONALD DUCK > EXTRA??? Well, howcum? You think they weren't so popular? Or... maybe > they preferred having a Donald Duck cover than a character who was not > recognizeable as either Donald or $crooge. I don't know the reason for it. Maybe Thom Roep had something to say about your artwork... 8-) And about recognizability: on the Dutch cover of Lo$ 2 (the one you redrew for Gladstone), they let the main character, Pothole, look a lot like Scrooge. > What's been the lead features? A Van Horn story (D 91378) and some other Egmont story (D 90179, which I even haven't read yet). Lo$ parts 1, 2, and 4 *are* lead stories. --Harry. From shg at rhi.hi.is Wed May 4 13:46:47 1994 From: shg at rhi.hi.is (Sigurdur Hrafn Gislason) Date: Wed, 4 May 94 11:46:47 GMT Subject: family tree! In-Reply-To: <9405032329.AA26824@Minsk.DoCS.UU.SE>; from "disney-comics@Minsk.DoCS.UU.SE" at May 4, 94 1:29 am Message-ID: <9405041146.AA01373@hengill.rhi.hi.is> Whee, I just got my first part of Rosa's family tree. I look forward to many sleepless nights, wondering what stickers are coming in the next issue. Anyway I read some danish issues a while ago and noticed that the characters were presented there with a small background history. Some relative of Scrooge's binged himself to death in a royal larder? Another bricked himself in his treasury, when raiders were approaching? None of these tidbits appear in our icelandic version. Can someone tell me the english names of the family and their history? Concerning last Egmont issue. Was that long, 13 page story done by Van Horn? It was about Donald's relative who visits Donald right after jail. It was pretty good. Concerning Barks I was in my local Comic shop,talking to the owner. The owner is a young man my age and we have known each other for a long time. He was very eager to join, once I told him about you guys. He showed me some Barks stories puplished by Gladstone, in a rather large thin format. Each book was numbered and he had numbers from 1 till 21 or something. I naturally got very excited since I saw there stories there which I haven't seen since I was about 8. Then I looked at the price, ca.20 Us$ for each issue. You probably know of this books, are they really that expensive. I am not going to invest that much money. Sigurdur -- From Mattias.Hallin at jurenh.lu.se Wed May 4 15:50:01 1994 From: Mattias.Hallin at jurenh.lu.se (Mattias Hallin) Date: Wed, 04 May 1994 15:50:01 +0200 Subject: Goin' lurkin'... Message-ID: <01HBY3V6ARQS8WWP0R@castor.ldc.lu.se> HIYA, GANG! DEAR EV'R'BODY!! Y'ALL!!! From now on I'm afraid I'll have to switch myself to at least semi-lurker mode -- I've had, not my access, but my permit to so USE my Internet access somewhat restricted. In so many words: limited personal e-mail, and limited use-of-computer-time for personal e-mail, and only after-hours. This means that a) I've changed my subscription to the digests, and b) I'll probably collect those digests to take home and read and answer there, at my leisure and so on -- and thus won't be very fast on the reply-draw any more. But -- don't worry (or should that be "do"???) -- I'll still be aroun', though perhaps not so frequently as until now. Y'all take care! All my very best Mattias Oh, and yeah -- my ADDRESS is still good enough, so anyone who wants to e-mail to me besides the list (for off-topic or other reasons) can still do so, of course! !==============================================================================! !* Mattias Hallin ** ** Phone: +46 46-14 84 43 **! !* Trollebergsvagen 24 B ***** Work: Lund University, Box 117, S-221 00 Lund **! !* S-222 29 Lund, SWEDEN **************************** Phone: +46 46-10 71 37 **! !==============================================================================! !** "Say don't you remember? They called me 'Al'! It was 'Al' all the time! ***! !*** Say, don't you remember? I'm your pal!! Brother, can you spare a dime?" **! !==============================================================================! From rivers at seismo.CSS.GOV Wed May 4 16:50:19 1994 From: rivers at seismo.CSS.GOV (Wilmer Rivers) Date: Wed, 4 May 94 10:50:19 EDT Subject: CBL in Color pricing Message-ID: <9405041450.AA28907@beno.CSS.GOV> Sigurdur writes that he saw certain albums of the Carl Barks Library in Color series at a comics store in Iceland, where they were priced at about USA $20 each. He asked whether they really cost that much. No, they don't. Individual issues generally cost about $9 each, and a subscription to the set of 25 Donald Duck Adventures albums [you may have seen one of these, or maybe it was one of the other album series, such as the 51-album WDC&S series] costs $190 in the USA and $222 foreign. So you could get them from Gladstone for under half of what they cost in that store. Is this typical of the prices charged in Eurpoean stores for these albums? From starback at Minsk.DoCS.UU.SE Wed May 4 17:06:59 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Wed, 4 May 94 17:06:59 +0200 Subject: Two short items Message-ID: <9405041506.AA02384@Minsk.DoCS.UU.SE> Another thing I learnt at the NAFS(k) annual meeting that I forgot to mention is that it seems like chapter 12 of Don's Life of Scrooge series won't be published in Sweden. They've really messed it up then, by printing just chapters 3--11!! We have now a new insider on the list: Heidi Ace MacDonald, who is the comics editor for Disney Adventure Digest. Welcome! -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From starback at Minsk.DoCS.UU.SE Wed May 4 18:31:49 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Wed, 4 May 94 18:31:49 +0200 Subject: Barks trip to Norway / Europe In-Reply-To: Geir.Hasnes@DELAB.SINTEF.no's message of Wed, 4 May 1994 09:29:52 +0100 <9405040729.AA20069@figaro.er.sintef.no> Message-ID: <9405041631.AA06399@Minsk.DoCS.UU.SE> I mentioned that I thought that Geir knew something about the Norway part of Barks's trip later this year, but he wrote: Geir> I myself havent heard a word about what is going to happen in Geir> Norway, except for having had some revised schedules sent to me Geir> recently from the USA. I thought I heard your name mentioned in connection with that, but actually it was Geir *Arveng*. This is the second time I've confused you too. This is sooo embarrassing. Couldn't one of you get another name? :-) Anyway, what I've gathered from what NAFS(k) has heard about this is that Geir Arveng has arranged some kind of Barks exhibit at Tusenfrid (?) outside/in Oslo, and that maybe Barks will be there when it opens. -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" PS on my ending quote: A long, long time ago Tryg wrote > I like your tagline! (Wish I had thougt of it first... :) ) Digging through my archives I find that I've used it as a signature quote since August 1987 (the first time on a message on Edmund Hoyle and poker by the way). But it wasn't until October 1989 I noticed that I had misspelt it ("ramble" twice and no "gamble"). *Sigh*, it seems like it's very hard to spell in signatures... From David.A.Gerstein at williams.edu Thu May 5 04:43:09 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Wed, 04 May 1994 22:43:09 -0400 Subject: Disney comics in Egypt Message-ID: <9405050243.AA01823@hancock.cc.williams.edu> Dear Folks, A few months ago we were discussing _Miki_, the Egyptian Disney weekly, which mostly featured D- and S-coded stories according to whoever had it (I'm sorry, but I don't remember who this was). Apparently in the early 1970s, Egypt made its own stories as well. According to a book about Arab comics that's just reached my school, 1972 saw "Mickey and Red Cat in an Adventure on Mars." Sounds suspiciously like the first ITALIAN Disney story, although it takes a completely unique stance: MM leads a group of scientists (!) as well as "two children" (presumably Morty and Ferdie) on a rocket trip to Mars. Unfortunately, a villain named Red Cat and his band, disguised as scientists themselves, come along on the journey. Once on Mars, our heroes are captured by the Martians -- then the villains capture everyone (defeating the Martians even though they possess a ray which turns humans to animals). The Martians, who own a time machine, brought ancient Egyptians to Mars thousands of years before, and (!) they're still there. Mickey enlists the ancient Egyptians to contact ancient Egypt through some device in the time machine. The ancient Egyptians on the other end fire rockets -- shaped like mummies -- at Mars, and the mummies hit the palace, knocking out Red Cat and the other villains. The Martians plan to keep the ancient Egyptians as prisoners despite this victory, but Mickey persuades them to let them go back home in the time machine. They also want to turn Red Cat and his band into (non-humanized) cats with their ray, but Mickey also stops this. With Red Cat as a prisoner, MM heads for home. This sounds like a good candidate for the most completely implausible Disney comic story ever produced anywhere on the planet. Apparently it was characteristic in its use of ancient Egyptian characters, who are correspondent in modern Egyptian folklore to, perhaps, Paul Bunyan in ours. From the description of the story (far more detailed than mine) that was in this book, I'd guess that Red Cat = Peg-Leg Pete. The book reprinted a crossword puzzle from the Egyptian MM weekly. It suggests that the locally produced stories, if they're drawn by the same guys as the puzzle, are or at least were VERY poorly drawn. The crossword puzzle was, in fact, the poorest piece of officially-licensed Disney art I have ever seen in my life. There was also a reproduced cover. Weird. Showed MM celebrating Ramadan by lighting off a sky-rocket, and it was drawn firmly in a Depatie-Freleng "Pink Panther"-type cartoon style, with the sole exception of Mickey's face -- a generic side view, albeit with obvious pie-slices added to the pupils of his eyes. A strange experience... Yours, David Gerstein From David.A.Gerstein at williams.edu Thu May 5 05:20:26 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Wed, 04 May 1994 23:20:26 -0400 Subject: Hi, Heidi! In-Reply-To: Your message of Thu, 05 May 1994 01:18:10 +0200 Message-ID: <9405050320.AA05988@bigbird.cc.williams.edu> Dear Heidi MacDonald, Interesting to know that you're now on our newsgroup. I wonder a few things about DISNEY ADVENTURES. Is there any plan to include further stories with any of the "old" Disney characters -- by that, I mean Donald, Mickey, and pre-DuckTales Scrooge -- in this series? And is there any hope of the comic portion of the digest being expanded? That's the ideal way to allocate space for these characters. I'm wondering why Disney does not try to market its classic characters to kids today in the DA digest format. Something needs to be done, for as you'll see from reading this newsgroup, the classic Disney characters have a popularity in Europe that's just staggering compared to here, and it's due 100% to effective comic promotion of them. Here, very few people even know that the main Disney characters appear in comics. Sad, but true. DA could do a lot to change that, and it could do it the way that it's done in Europe -- by promoting the Barks versions of the Ducks, and (as in the few countries where MM is as popular as DD) the Gottfredson version of Mickey. (Yep, I bought "Return to Blaggard Castle" AND "Lost on a Desert Island" reprint -- it's that kinda thing that's best for Mickey!) If MM and DD (especially MM) don't sell well -- and at the Comic-Con I was told just that by DA staff -- it's only due to the lack of exposure they get. Kids, the main audience for DA, *need* to see these characters in comics -- and as the general public is unaware of Gladstone's products, this may be their only chance! I don't know exactly what you have to do with such format decisions, but I'll say it's good to have you here, and I'm hoping you can answer such questions for us. I've sent this letter out to the newsgroup in general, because I know others here will want to know, as well. (Ducks of a feather quack together) :-) Sincerely, David Gerstein "By gollies, that dream gave me an *idea*! I'm gonna build an *aeroplane* and learn how to *fly* like *Lindy!*" From 72260.2635 at CompuServe.COM Thu May 5 05:23:31 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 04 May 94 23:23:31 EDT Subject: Disney-comics digest #319. Message-ID: <940505032331_72260.2635_EHB184-1@CompuServe.COM> Okay -- Per... or Mattias... if they knew at the NAFS(k) meeting that chapter 12 of the Lo$ wouldn't be used, then the info came through Stefan Dios, and he or someone could PLEASE TELL ME WHY NOT! I don't believe I act very much like a prima donna... but for someone to take a story that I spent 2 1/2 years of GREAT EFFORT and planning on, and not use the beginning or ending... making the whole story absolutely POINTLESS... how should I react to that?!?!?!? They can't be serious, right? Chapter 11 had an ending that was VERY downbeat, so that chapter 12 could provide a gloriously HAPPY ENDING. Why should I take time out from my work schedule in October/November to visit a publisher that sabotages my work like this??? Somebody answer this for me! Also -- does anyone on here get the Danish issues? I just received #2000 with the last part of chapter 11 -- perhaps there is a hint there to tell me if Denmark will also be omitting my story's ending? At any rate, I'm getting on the FAX machine in just a moment to contact the main office in Copenhagen to see what's going on. But also in the Danish #2000 there is a history of ANDERS AND & CO telling all the highlights of the contents since 1949; and it seems to finish by devoting a full page to the first chapter of the Lo$ in 1992 -- what's being said on that page??? From mas at cs.bu.edu Thu May 5 05:34:36 1994 From: mas at cs.bu.edu (Mark Semich) Date: Wed, 4 May 1994 23:34:36 -0400 Subject: Hi, Heidi! In-Reply-To: <9405050320.AA05988@bigbird.cc.williams.edu> (message from David A Gerstein on Wed, 04 May 1994 23:20:26 -0400) Message-ID: <199405050334.XAA06563@csa.bu.edu> David Gerstein writes: > Here, very few people even know that the main Disney >characters appear in comics. Sad, but true. DA could do a lot to >change that, and it could do it the way that it's done in Europe -- by >promoting the Barks versions of the Ducks, and (as in the few >countries where MM is as popular as DD) the Gottfredson version of >Mickey. (Yep, I bought "Return to Blaggard Castle" AND "Lost on a >Desert Island" reprint -- it's that kinda thing that's best for >Mickey!) I also bought "Return to Blaggard Castle" and "Lost on a Desert Island." Does Disney Adventures have any plans to do any more classic-style stories like "Return to Blaggard Castle"? I enjoyed it very much, and would be curious to know if you got any reader reactions to it. From rivers at seismo.CSS.GOV Thu May 5 06:46:58 1994 From: rivers at seismo.CSS.GOV (Wilmer Rivers) Date: Thu, 5 May 94 00:46:58 EDT Subject: Mickey and Red Cat on Mars Message-ID: <9405050446.AA11058@beno.CSS.GOV> David Gerstein writes about "Mickey and Red Cat in an Adventure on Mars", a 1972 story from the Egyptian Disney weekly "Miki". This story is a real humdinger: > The Martians, who own a time machine, brought ancient > Egyptians to Mars thousands of years before, and (!) they're still > there. Mickey enlists the ancient Egyptians to contact ancient Egypt > through some device in the time machine. The ancient Egyptians on the > other end fire rockets -- shaped like mummies -- at Mars, and the > mummies hit the palace, knocking out Red Cat and the other villains. ... > This sounds like a good candidate for the most completely > implausible Disney comic story ever produced anywhere on the planet. Not only that, but it has a number of similarities to one of the story arcs in the Dr. Who TV series, which featured (if I remember correctly; ask the rec.arts.drwho newsgroup if you want the real details!) an invasion of present-day earth from Mars by the Egyptian god Anubis using a time machine. However, these episodes of Dr. Who would have been filmed years after the publication of the Egytian comic (if that indeed was in 1972), so the writer couldn't have borrowed the idea from the BBC. And I seriously doubt that the BBC borrowed the idea from the Egyptian comic book, so this whole weird concept must have occurred to 2 people independently... Wilmer Rivers From SI2_KB92017 at debet.nhh.no Thu May 5 11:13:22 1994 From: SI2_KB92017 at debet.nhh.no (Kjetil Bakken) Date: Thu, 5 May 1994 11:13:22 +0200 (WET-DST) Subject: Lo$ Message-ID: <940505111322.2043c0a0@debet.nhh.no> Last week the last part of chapter 11 was published here in Norway (and, I guess, in Denmark and Sweden as well). And there was nothing there indicating that was the end. On the contrary, in the last line it was written "Langt fra slutt" which means "Far from the end". So I think (and hope) that this is true, and that the publishers intend to print also chapter 12. I must say also, when I have this opportunity, that I admire Don Rosa's work a lot, not only Lo$ (which is a masterpiece), but his entire production. (The only one I didn't like was the story about the Winter Olympics in Lillehammer, sorry, Don!). No other artist has followed up Carl Barks this way, and it's obvious he puts a lot of work into his stories. Let's hope they don't spoil the Lo$ by not printing the last episode. What would the reason for that be? It's a crime, it's blasphemy! Good work, Don. And good luck to everyone. PS! Does any of the Norwegian/Swedish participants of this list know if the Norwegian fanzine "Donaldisten" is still being published, and - in case - where I can get it? ------------------------------------------------------------------------------ _ _ _ __ ( ) ( ) _ ( )_ _ (_ ) Norwegian School of Economics | |/'/' (_) __ | ,_)(_) | | and Business Administration | , < | | /'__'\| | | | | | | |\ \ | |( ___/| |_ | | | | Hatleberg B-508 (_) (_) _ | |'\____)'\__)(_)(___) 5035 Bergen-Sandviken ( )_| | '\___/' Kjetil Bakken E-mail: SI2_KB92017 at DEBET.NHH.NO Operator: OPR_KB at DEBET.NHH.NO ...men av og til var han litt utilpass om morningen. Det ville vart veldig fint om alle barn kunne f} lov til } prove PAMPERS BABY DRY! (C)1994 KB ------------------------------------------------------------------------------ From H.W.Fluks at research.ptt.nl Thu May 5 11:16:00 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Thu, 05 May 1994 11:16:00 +0200 Subject: April, May and June Message-ID: <199405050916.AA03321@athena.research.ptt.nl> Thank you David and Don for your answers about the second appearance of April, May and June. I asked that question looong ago, I think even before you both were on the list. If I summarize it, AM&J's chronology looks like this: 1. 1953 Barks' Flipism story, WDC 149 (not named yet) 2. 1959 Daisy Duck's Diary 1055, "The Double Date" (shown in the last panel, not named yet) 3. 1960 Daisy Duck's Diary 1150, "A Sticky Situation" (playing a bigger role in the story. They have names here according to Don) (AM&J also appear in a 1-page gag "Small Fryers") 4. 1960 Dell Giant #33 (Daisy D. and U$ Showtime). If this comic was published after DDD 1150, the Price Guide is wrong about it being the first (named) appearance of AM&J. 5. .... Some non-Barks comics? 6. 1966 Barks' "Daisy and Donald" story in WDC 308. AM&J have at least been the backup-stories in the Ludwig Von Drake comic. Was this before or after WDC 308? David quoted Crone's index for the Dell Giant comic. Only two stories are candidate to feature AM&J: W Gia 33 01 16 DA+US TS PICNIC TIME KA 613102 W Gia 33 08 8 DA+US AH HAVE PENCIL,WILL TRAVEL KA 613503 I have the Dutch version of the first one (If I'm not mistaken) and it contains no AM&J. Can someone tell us more about the 'pencil' story? I can't find it in Holland, and it has apparently been published in Scandinavia in 1961. --Harry. From d91fe at tethys.pt.hk-r.se Thu May 5 11:34:20 1994 From: d91fe at tethys.pt.hk-r.se (Fredrik Ekman) Date: Thu, 5 May 94 11:34:20 +0200 Subject: Van Horn story? Message-ID: <9405050934.AA01382@tethys.pt.hk-r.se> Sigurdur wrote: > Concerning last Egmont issue. > Was that long, 13 page story done by Van Horn? It was about Donald's > relative who visits Donald right after jail. > It was pretty good. I don't recognize that description. Do you have a code for the story? /F From James_Williams at ESS.NIAID.pc.niaid.nih.gov Thu May 5 14:31:55 1994 From: James_Williams at ESS.NIAID.pc.niaid.nih.gov (James Williams) Date: Thu, 05 May 94 07:31:55 EST Subject: Welcome Aboard Message-ID: <2dc8d92b@ESS.NIAID.pc.niaid.nih.gov> >We have now a new insider on the list: Heidi Ace MacDonald, who is the >comics editor for Disney Adventure Digest. Welcome! Heidi, Welcome aboard and thank you for joining! If you have any problems or questions about this list or CompuServe, just ask. I realized that when we met over on CompuServe, I never introduced myself. Consider this a belated introduciton. My name is James Williams. I'm 30 years old and work as a network administrator for the National Institutes of Health. I'm married to a wonderful woman who has never read a comic book, but has never done anything but encourage my reading comics. When I'm not working or reading comics, I can be found either writing or watching cartoons. Though I've read comic books all my life, I'm relatively new to Disney comics. I had the misfortune of reading some very bad Gold Key Disney comics as a kid. For years, I despised Mickey Mouse and Donald Duck. It wasn't until I discovered Carl Bark's work that I became interested in Disney. Now that I've introduced myself, I wanted to ask you two questions: First, how did you go from a columnist for the Comic Buyer's Guide (I have fond memories of 'Hey Kids Comics') to Comics Editor for Disney Adventure Digest? Second, What exactly does the Comics Editor for Disney Adventure Digest do? James Williams From h.j.bjornhaug at admin.uio.no Thu May 5 15:21:21 1994 From: h.j.bjornhaug at admin.uio.no (h.j.bjornhaug@admin.uio.no) Date: Thu, 5 May 1994 15:21:21 +0200 Subject: Van Horn story? In-Reply-To: Fredrik Ekman's message of Thu, 5 May 94 11:34:20 +0200 <9405050934.AA01382@tethys.pt.hk-r.se> Message-ID: <9405051321.AAadmin22444@admin.uio.no> Fredrik wrote: > Sigurdur wrote: > > Concerning last Egmont issue. > > Was that long, 13 page story done by Van Horn? It was about Donald's > > relative who visits Donald right after jail. > > It was pretty good. > > I don't recognize that description. Do you have a code for the story? The story is in the forthcoming Norwegian Donald Duck & co dated May 10th, and it's not by Van Horn. It's H-coded, and is probably by the same person who drew the #2000-story - whose name escapes me (Ab Heuken or something similar?). But Van Horn is present in the same Norwegian issue. It looks like him, at least. It's a Donald story in 3-strip (!), coded KD (and a number). What does KD stand for? Also in the same issue is a reprint of a Mickey Mouse continuation story from WDC375 with a pirate plot set in the 17.-18. century with Mickey, Minnie, Goofy and Pete. I have always (well, for almost 20 years) thought that that story and the other Mickey continuation stories by the same artist were by Paul Murry, but the editor's column says it's by Floyd Gottfredson! Can anyone give a definitive answer? --- Helge From H.W.Fluks at research.ptt.nl Thu May 5 18:34:20 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Thu, 05 May 1994 18:34:20 +0200 Subject: "Van Horn" story / codes KD and AR / Murry in WDC Message-ID: <199405051634.AA26900@athena.research.ptt.nl> Helge Slash That O Please wrote: > The story is in the forthcoming Norwegian Donald Duck & co dated > May 10th, and it's not by Van Horn. It's H-coded, and is probably > by the same person who drew the #2000-story - whose name escapes me > (Ab Heuken or something similar?). It's Mau Heymans. The (13-page) story probably is coded H 87048. I don't know the writer of this story. > But Van Horn is present in the same Norwegian issue. It looks like him, > at least. It's a Donald story in 3-strip (!), coded KD (and a number). The 'K' indicates that it is made for Disney Comics (note the capital C). The 'D' means that it was made for the comic 'Donald Duck Adventures'. Van Horn always drew his comics in 3 strips per page, when he worked for Disney Comics. The stories he later did for Egmont (Denmark), where 4- strip, because that's Egmont's standard (and of Dutch editor GP too). I think they are afraid that if the readers see a 3-line story, they would complain that they didn't get value for their money. In Holland, all 3-line American stories were re-formatted to 4-line stories. Only since the mid-80s, they started making exceptions for early Barks stories and Van Horn. > What does KD stand for? Yes, does someone know why Disney Comics used a 'K'? And why they used 'J' (and later 'KJ') from 1991 on? And another thing about story codes: isn't it strange that Gladstone's own stories are coded "AR" again? "AR" means "Another Rainbow", which was the parent company of Gladstone in their first run, but now it's "The Bruce Hamilton Company"... > Also in the same issue is a reprint of a Mickey Mouse continuation > story from WDC375 with a pirate plot set in the 17.-18. century with > Mickey, Minnie, Goofy and Pete. I have always (well, for almost 20 > years) thought that that story and the other Mickey continuation > stories by the same artist were by Paul Murry, but the editor's column > says it's by Floyd Gottfredson! The 3x8 pages MM stories are (almost) always drawn by Paul Murry. I don't have or know a reprint of WDC 375, but if the art looks a lot like the other 3x8-page stories, the editor is definitely wrong. --Harry. Harry PTT Research ()_() Dutch Disney comics freak Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl "Yeah... I've _heard_ of coral barques!" From lrn at daimi.aau.dk Thu May 5 18:52:09 1994 From: lrn at daimi.aau.dk (Lasse Reichstein Nielsen) Date: Thu, 5 May 1994 18:52:09 +0200 Subject: From RoC Message-ID: <199405051652.AA11921@tours.daimi.aau.dk> Here's a letter I wrote when Gary Leach was still on the list, and "Walt Disney Comics in Colour" had just been banned, but he left before I got around to posting it... >>> QUICK AND PAINLESS (Ducks and comics: a lethal cocktail) -------------------------------------------------------- Gary, I too lament the fate of the unborn WDCiC, but if you've still got money to burn, I do have a couple of ideas: 1.st: Would anyone care to explain to me why it's better to publish six titles once in a blue moon, instead of *the* comic every darn tuesday!? Considering the attention span of the average American young person, a higher frequency of publishing would make it easier not to forget that you are a regular buyer. Even I have to dig up the previous issues for every new chapter of the 'World of Tomorrow' serial. If, as I suspect, most of your sales are subscriptions, I wonder how many of them are for only one or two titles, not all of them, save maybe one? With a weekly Donald Duck as your only title, you would sell the equivalent of eight bi-monthly issues to all subscribers, and maybe they'll even grow accustomed to reading on a regular basis. I know; it's un-American, subversive, and probably downright undoable. At the very least though, some titles, like WDC&S, ought to be monthly. 2.nd: If you *must* have a new title with the profitable '#1' on the cover you could try an 'old' new title like the Digests; that may fool Disney into accepting it. But this time please don't use halfsized reprints of ordinary pages. 6 panel pages preformated for digest/pockets are available at very cheap discounts. In Denmark 264 paged Jumbo books are published every month, selling more than a million copies a year; it's the best selling book in Denmark. 'It a ly? :) <<< TALKIN' BACK: Sigurdur: ========= >Who was the artist who did the motorcar story 2 issues ago? Something >about Donald renting a bigger car to impress Daisy. Was it >the same one who did the "Donald as a Pizza delivery man" story? No, the pizza delivery story was by William van Horn, while H 8296 in whatever-your-Donald-is-called #16/94 is by Freddy Milton, the Famous Danish Artist. Though the code as far as I know means it was written in 1982, an early version of the script was published in Freddy's own fanzine "Carl Barks & Co." #3 in 1975, credited to B"orner and Milton. I see the Icelandic edition follows the Nordic ones, but as they are slightly different, I'd like to ask you to list the codes for all the stories from one issue; I'm curious how it compares to the others. I believe that DANISH-INDEX (which I will soon update, really) on LYSATOR will work just fine for your books too. If you like Freddy's stories, you can also try and find some of the Nordic Woody Woodpecker issues from 1982-85. He wrote a "duck story" with WW or the Gnuffs (a dragon family) for almost every issue. Elon: ===== >On an aside, there was a thread on duck heroes a while ago (Paperinik). >Has anybody seen stories in which Fethry Duck is a superhero (Batman-like, >but Fethry-style, if you know what I mean)? The name was "Morcego Vermelho" >in Brazil. I wonder if it could be a Brazil-only creation. >Though this one was not bad, I'm sorry to say that Brazilian made stories >are not good in my opinion. There was a series of stories (also published >in Denmark, I guess) in which the Disney characters formed a "space patrol"! The only B-coded stories I have seen, are a handful of Beagle Boys stories in pocket books, and they were no better or worse than most. I'm sorry to say I don't know those you describe; they sound funnier. Fabio: ====== >"Paperinik was created with a parodistic intent: during the Sixties, in >Italy were well spread a kind of comics called 'I neri' as a genre. Their >"heroes" were violent, ruthless law-breakers. Their names, very derivative >of the first one of them, Diabolik, always ended with a K: Satanik, >Demoniak and so on... >Besides, in the same period there was a revival of Fantomas, a French pulp >character of the first years of the century, whose first story with >Paperinik is reminiscent of (as for the name as Fantomius, the former owner >of the building were DD decides to become Paperinik, after reading that >guy's diary, and so on...)" ...and in German Paperinik = Phantomias. Don: ==== >Have I ever posted a list of the Whitmans I need to see if >anyone here can help me fill in the holes? I'll do so now. You're probably drowning in responses, but here's my checklist: U$ #179, WDC&S #480, HD&L #61+73, SG #64+68, and C&D #70+76+77. I only have one of each, and they'll take ages to reach you, but I'd be happy to swap with some "Captain Kentucky" books, if you still "have a garage full of the #$%@& things!" If anybody wants a copy of DD #231 (reprints all of DD #131, including Tony Strobl's "Flight of the Golden Butterfly"), "I'm givin' g'way free semple." My dealer sent me *eight* of'em! From TRYG.HELSETH at tstation.mn.org Thu May 5 13:48:00 1994 From: TRYG.HELSETH at tstation.mn.org (TRYG HELSETH) Date: Thu, 05 May 1994 11:48:00 GMT Subject: Signature boo boo's Message-ID: Subject: Signature boo boo's To: Disney-Comics at minsk.docs.uu.se Per Starback writes: PS>PS on my ending quote: A long, long time ago Tryg wrote PS>TH> I like your tagline! (Wish I had thougt of it first... :) ) PS>Digging through my archives I find that I've used it as a signature PS>quote since August 1987 (the first time on a message on Edmund Hoyle PS>and poker by the way). But it wasn't until October 1989 I noticed PS>that I had misspelt it ("ramble" twice and no "gamble"). *Sigh*, it PS>seems like it's very hard to spell in signatures... Ha Ha! I'm glad to see I'm not the only one who can carry around a messed up signature and not notice it! For nearly 30 years I thought that Mickey Mouse's nephews names were Mortie and Fredie (rather that Ferdie). "Fredie" was a familiar name to me, so I assumed that is what it was and never looked closely at it after that. When I first noticed "Ferdie" I thought it must be a misprint--then I checked my other comics and found I had been wrong all those years... Tryg Internet tryg.helseth at tstation.mn.org or trygve at maroon.tc.umn.edu --- p QMPro 1.51 p "Plain Awful! That's what the professah called it!" From meacham at gnhvax.commnet.edu Thu May 5 22:12:08 1994 From: meacham at gnhvax.commnet.edu (meacham@gnhvax.commnet.edu) Date: Thu, 5 May 1994 16:12:08 -0400 Subject: meacham@gnhvax.commnet.edu Message-ID: <9405052014.AA08820@Minsk.DoCS.UU.SE> SUBSCRIBE DISNEY-COMICS Chris Meacham From starback at Minsk.DoCS.UU.SE Thu May 5 22:29:07 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Thu, 5 May 94 22:29:07 +0200 Subject: April, May and June In-Reply-To: Harry Fluks's message of Thu, 05 May 1994 11:16:00 +0200 <199405050916.AA03321@athena.research.ptt.nl> Message-ID: <9405052029.AA09068@Minsk.DoCS.UU.SE> Harry summarized Daisy's nieces' history: > [...] > 4. 1960 Dell Giant #33 (Daisy D. and U$ Showtime). If this comic was > published after DDD 1150, the Price Guide is wrong about it > being the first (named) appearance of AM&J. Now I've checked the Swedish publications of the stories in Giant #33, and I didn't find Daisy's nieces anywhere. The only story I couldn't check was the 10-page Gyro story "Bad Deed Club's Annual Picnic", as it hasn't been published in Sweden. Are AM&J really in it, or is that Overstreet note totally off? > AM&J have at least been the backup-stories in the Ludwig Von Drake comic. > Was this before or after WDC 308? They are the title characters of some stories in Ludwig Von Drake #1-4 from December 1961 to May 1962, a long time before WDC 308 (May 1966). There's also the Phil DeLara's "Clubhouse Crashers" from Giant #38 (Nov. '60), his "The Bewitched Dolls" from Giant #39, and Bradbury's "The Toy Testers" from Giant #47 (Aug. '61). (I've been looking at "April, May, and June", "Daisy's nieces", and "Donald's nephews and Daisy's nieces" in Alberto Becattini's Disney Index.) -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "We want to see that horror picture---`Gore in the Gully'!" From d91fe at ananke.pt.hk-r.se Thu May 5 22:26:42 1994 From: d91fe at ananke.pt.hk-r.se (Fredrik Ekman) Date: Thu, 5 May 94 22:26:42 +0200 Subject: ... codes KD and AR ... Message-ID: <9405052026.AA21659@ananke.pt.hk-r.se> Harry wrote: > And another thing about story codes: isn't it strange that Gladstone's > own stories are coded "AR" again? "AR" means "Another Rainbow", which was > the parent company of Gladstone in their first run, but now it's "The Bruce > Hamilton Company"... But does Another Rainbow still exist or is it just renamed? From David.A.Gerstein at williams.edu Fri May 6 04:44:04 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Thu, 05 May 1994 22:44:04 -0400 Subject: Mouse Revival Update In-Reply-To: Your message of Fri, 06 May 1994 01:18:12 +0200 Message-ID: <9405060244.AA20579@bigbird.cc.williams.edu> Dear Folks, Great to have a nice LO-O-ONG digest today! First some old business. Now that we have Heidi MacDonald here, it has occurred to me that, somewhere, I read that she was the editor of Disney Comics' HOLIDAY PARADE #2. I wrote a letter to the WDC&S letter column about that, mainly because there is no letter column in annual titles. My guess is that you never saw it, Heidi. So, a VERY belated congratulations on that issue -- ranks with the best WDC&S issues done by Disney (which were the best things Disney Comics made, I think). You even printed a Br'er Rabbit story with the hillbilly dialect intact! And it's also the only time I EVER saw a MM story from one of the Firestone giveaways... Now some new news. I talked to Anina Bennett yesterday, and according to her, the Mouse scripters are all hard at work filling their 1994 quotas now. Multiple new stories featuring Sylvester Shyster and Eli Squinch as villains (one of them at a time, of course) are heading for the art department now, and the scripters are loving their Mouse stories for the first time in years! She quoted one writer verbatim: "You mean you don't want any more BORING Mickey stories?" In implementing this revival, Egmont has discovered that its writers thought it expected them to remain true to Murry at all costs. We suspect that in the past, Egmont may have had such rules. But as for now, a revitalization of the Mouse is in order, folks. Keep your eyes open for Squinch and Shyster, because they're going to be coming your way by the end of this year. Of course, the stories won't all be great, but the spirit is back. An unexceptional story with Gottfredson's Mickey is a lot better than an unexceptional one with a post-lobotomy Mickey... wouldn't you say? "WHOOPEE! HOTCHA! HOT DIGGETY DOG! YOWEE!" From 72260.2635 at CompuServe.COM Fri May 6 05:51:04 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 05 May 94 23:51:04 EDT Subject: Disney-comics digest #320. Message-ID: <940506035104_72260.2635_EHB76-1@CompuServe.COM> RoC: I would gladly give more than simply a set of those stupid CAPTAIN KENTUCKY magazines for those Whitman comics you have for me! Besides, where are you... Europe somewhere? I hope you'll send those by airmail otherwise they'll take MONTHS to get here. I'll, of course, pay that postage. The Whitmans are quite difficult to find... and I even thought that UNCLE $CROOGE #179 was particularly rare... but maybe not, if you found one all the way over in... Europe somewhere? But I will be VERY happy to once again have full sets of WDC&S and U$, which I haven't had since they began to be sold as "Whitman"s in the toy stores. From David.A.Gerstein at williams.edu Fri May 6 05:55:41 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Thu, 05 May 1994 23:55:41 -0400 Subject: WANTED: PREVIEWS of Gladstone's 15th month Message-ID: <9405060355.AA26851@bigbird.cc.williams.edu> Dear Folks, The new issues of DIAMOND PREVIEWS and ADVANCE COMICS have apparently been published for the new month. As usual, I'm stuck in Williamstown and have no comic shop accessible. Can someone tell me -- and all of us -- what either of these catalogs says about the new releases from Gladstone for this month? The ones I know for sure are: DONALD DUCK ADVENTURES #28 WALT DISNEY'S COMICS AND STORIES #593 UNCLE $CROOGE #288 I'm particularly interested in whether any backup stories to Rosa's LO$ are listed in U$ -- because one of my dialogues may be used in that issue. Yours, David Gerstein From Mattias.Hallin at jurenh.lu.se Fri May 6 09:09:11 1994 From: Mattias.Hallin at jurenh.lu.se (Mattias Hallin) Date: Fri, 6 May 94 09:09:11 +0200 Subject: RE Digest #319 Message-ID: <940506.090911.64005@macpost.lu.se> `ULLO, `ULLO, EVERYBODY! Here I am already -- with a few late comments on past subjects: SIGURDUR: Those albums your shop-owner friend showed you would EITHER be old issues of Gladstone`s pre-Disney-Disneys comic albums; OR part of their present intended-to-be-complete (or so it seems) Carl Barks Library in Color. You do know, I suppose, about their original Carl Barks Library, the complete reissue of Barks` duck comics, printed in black and white and presented in ten slip-cased sets, each consisting of three large-format hardcover books. (I paid US$ 810 for my complete set back in `87; and never regretted a single cent of that money) Well, now they`re making us hard-core suckers (one born ev`ry minute -- and I`m sure one of `em!) buy the same comics (and stories -- no, sorry 'bout that!) again, only this time printed in colour, and sold separatly as soft-cover comic albums, ranging in price between (I think) US$ 8.95 and 12.95, but certainly not 20, although I guess your friend might to have to charge you that much to cover his overheads. The least expensive way to get`em is probably to subscribe directly from Gladstone -- in that case you pay only the cover price plus a not-too-hefty postage and handling surcharge; the drawback being they ship`em to you surface mail, which is slow. Once they start coming, though, you`ll get`em just as regularly as if bought from the stand, though about two months behind schedule of course. They too, are worth the money, I guess, `though I haven`t really dared figger the final cost out -- I want mah poor achin` wallet t` be able t` git his nights rest, dontcha know?! All the best! Mattias !==============================================================================! !* Mattias Hallin ** ** Phone: +46 46-14 84 43 **! !* Trollebergsvagen 24 B ***** Work: Lund University, Box 117, S-221 00 Lund **! !* S-222 29 Lund, SWEDEN **************************** Phone: +46 46-10 71 37 **! !==============================================================================! !********************** "Oh, the world owes me a livin'" **********************! !==============================================================================! !========================================================================! !Mattias Hallin Phone: +46 (0)46-107137 (am) ! !Juridiska enheten +46 (0)46-109709 (pm) ! !Lund University Fax: +46 (0)46-104232 ! !Box 117, S-221 00 Lund, SWEDEN e-mail: ! !========================================================================! From gadducci at DI.UniPi.IT Fri May 6 09:35:26 1994 From: gadducci at DI.UniPi.IT (Fabio Gadducci) Date: Fri, 6 May 1994 10:35:26 +0300 Subject: WANTED: PREVIEWS of Gladstone's 15th month Message-ID: <9405060836.AA18920@Minsk.DoCS.UU.SE> > Dear Folks, > > The new issues of DIAMOND PREVIEWS and ADVANCE COMICS have >apparently been published for the new month. As usual, I'm stuck in >Williamstown and have no comic shop accessible. > > Can someone tell me -- and all of us -- what either of these >catalogs says about the new releases from Gladstone for this month? >The ones I know for sure are: > > DONALD DUCK ADVENTURES #28 > WALT DISNEY'S COMICS AND STORIES #593 > UNCLE $CROOGE #288 > > I'm particularly interested in whether any backup stories to >Rosa's LO$ are listed in U$ -- because one of my dialogues may be used >in that issue. > Hi all! Just a quick reply (I promise today I'll reply to all of you who still are waiting for an answer of some kind from me... :-) I haven't at hand the Diamond preview, but I remeber that there is a 11-page Tony Strobl backup story in US288. Are'nt you happy, all of you Strobl's fans?! :-) Fabio ================================================================ Fabio Gadducci Dip. di Informatica Home: +39-50-541725 Universita` di Pisa Off.: +39-50-887268 Corso Italia 40, 56100 PISA (ITALY) FAX: +39-50-887226 E-mail:gadducci at di.unipi.it ================================================================ From maittola at snakemail.hut.fi Fri May 6 12:53:10 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Fri, 6 May 1994 13:53:10 +0300 (EET DST) Subject: Disney-comics digest #320. In-Reply-To: <9405052329.AA12068@Minsk.DoCS.UU.SE> Message-ID: Don wrote: > I don't believe I act very much like a prima donna... but for someone > to take a story that I spent 2 1/2 years of GREAT EFFORT and planning > on, and not use the beginning or ending... making the whole story > absolutely POINTLESS... how should I react to that?!?!?!? They can't > be serious, right? Here in Finland the lo$ #11 ends with something like 'this story is not over yet!' so I believe they are going to print #12. However I've never seen chapters #1 and #2 printed in Finnish. Luckily I have now them in U$ #285-6. Maybe I should send some 'hatemail' to our publisher... BTW, as I wrote before, Byron Ericson (sp?) and Bob Foster are going to attend a local comic-con at the end of this month. Could someone post me some info about them? /Mikko From James_Williams at ESS.NIAID.pc.niaid.nih.gov Fri May 6 14:50:54 1994 From: James_Williams at ESS.NIAID.pc.niaid.nih.gov (James Williams) Date: Fri, 06 May 94 07:50:54 EST Subject: Standardization of Artwork Message-ID: <2dca2f1e@ESS.NIAID.pc.niaid.nih.gov> Harry Fluks wrote: >Van Horn always drew his comics in 3 strips per page, when he worked >for Disney Comics. The stories he later did for Egmont (Denmark), >where 4- strip, because that's Egmont's standard (and of Dutch editor >GP too). The stardardization of artwork in Disney comics has always bothered me. It wasn't until I read Scott McCloud's 'Understanding Comics' that I could explain why. A few years back, Will Eisner wrote a detailed study of comics and coined the phrase Sequential Art. In McCloud's book, he shows that this definition applies to movies, cartoon, and comics. Each is a story told by a sequence of artwork. Every frame in a movie or cartoon is the same size, so the only way to control pacing is through the use of time. Time doesn't exist in comics, so there has to be other ways to control the pacing. One of the ways to do this is by varing the size of different panels. McCloud goes on to show how the same scene can appear different to the reader just by changing the size of the panels. Are Egmont and GP limiting their artists abilities to tell stories by forcing them to use standard page layouts? One of the reasons that Don Rosa first caught my attention is because I noticed that in some rows he uses 3 or 4 panels (instead of the mandatory 2). Another way you can control the pacing is through the number of words used. A sequence of 4 panels with no words has a different pacing than a sequence of 4 panels each with 20 words. There is an unwritten rule in Disney comics that every panel must contain at least one piece of dialog. I'll ask again, is this limiting Disney artists abilities to tell stories? I'm not an artist, but I'd be curious to hear other peoples opinions -- especially Don Rosa's. David -- When you write a story for Egmont, aren't you writing a full script? If so, how much control does the artist actually have over the comic? Do they simply follow the script or are they able to make changes where they think appropriate? Do you even talk to the artist? Heidi -- How do you decide who draws which stories? Obviously, Egmont's eight panel page wouldn't work for Disney Adventure Digest. Does DAD have its own art standards? If so, how do you enforce them? James Williams From H.W.Fluks at research.ptt.nl Fri May 6 17:24:27 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Fri, 06 May 1994 17:24:27 +0200 Subject: Mouse Revival Update Message-ID: <199405061524.AA01194@athena.research.ptt.nl> David wrote: > Keep your > eyes open for Squinch and Shyster, because they're going to be coming > your way by the end of this year. But they alreay ARE... I have seen at least one Egmont story featuring Squinch, drawn by... Ferioli. --Harry. From mayerson at sidefx.sidefx.com Fri May 6 17:57:56 1994 From: mayerson at sidefx.sidefx.com (Mark Mayerson) Date: Fri, 6 May 1994 11:57:56 -0400 Subject: Standardization of Artwork Message-ID: <9405061557.AA11862@sidefx.sidefx.com> James Williams wrote: > Are Egmont and GP limiting their artists abilities > to tell stories by forcing them to use standard page layouts? One of > the reasons that Don Rosa first caught my attention is because I > noticed that in some rows he uses 3 or 4 panels (instead of the > mandatory 2). I don't think that this has a simple answer. I've read an interview with Alex Toth, one of the great comic book artists, who said that when he first went to work for Western he was very frustrated by the standard page layouts but that he came to appreciate them. On the other hand, Will Eisner couldn't be Will Eisner without the ability to break down the page his own way. Sometimes, built in limitations can be a blessing. Because there are 8 panels to a page, Barks was able to knock you backwards with a half page panel. Jack Kirby had to go to a full page or even two pages for the same effect, because he wasn't generally limited to small panels. (Does anybody out there remember Jim Steranko's 4 page panel in a Shield story in Strange Tales?) There's all kinds of other limitations. The drawing style is lifted from animation, where you get a black outline and a solid color interior. There's no interior shading on the characters, like Walt Kelly added to the Pogo characters or like straight cartoonists like Eisner used. As a result, Disney comics don't use lighting effects or shadows very much. That's certainly a story-telling limitation. In another sense, though, all these limitations add up to a definition of what Disney comics are supposed to look like. Or at least what we're used to them looking like. > There is an unwritten rule > in Disney comics that every panel must contain at least one piece of > dialog. I'll ask again, is this limiting Disney artists abilities to > tell stories? I can think of at least one page in Barks' Luck of the North, where Donald is contemplating what he's done to Gladstone, where there's a silent panel. I'm sure other people will come up with other examples. Are the Disney artists being limited? Absolutely. It means, though, that when they break the rules with a half page panel or a silent panel, it has greater meaning. ___________________________________________________________________ Mark Mayerson Side Effects Software Inc., Internet: mayerson at sidefx.com Toronto, Ontario, Canada (416) 366-4607 From morrow at physics.rice.edu Fri May 6 19:17:20 1994 From: morrow at physics.rice.edu (Stephen King's The Elmo) Date: Fri, 06 May 1994 12:17:20 CDT Subject: Guardians of the Lost Library Message-ID: <0097E062.53ED8180.25498@physics.rice.edu> U$A 27 just came out here in the States with Don's "Guardians of the Lost Library". A treasure hunt in the grand tradition, it concerns Scrooge's search for the Library of Alexandria, gateway to untold ancient wealth. Scrooge and his nephews cross four continents in the quest for the peripatetic volumes of knowledge and uncover some startling lost knowledge of their own. The odyssey is packed with Don's usual asides and sight gags in addition to the Barksian main story. Don's style does not lend itself to grand vistas, though, and so the ducks' discoveries are not as visually awe-inspiring as their first sighting of Cibola or Plain Awful. Nonetheless, this is not a Barks story, it is a Rosa story, and it is successful in that; this is among Don's best works. It is also nice to see Don work on a story which does not stem directly from previous Barks work. (In fact, a major plot point hinges on previous *Rosa* work.) It is something of a shame that Duck Tales is not being produced any more. Don has written Donald into a passive stay-at-home role, making this a perfect vehicle for the television series. The story has been affected by its own constraints. There are so many stops along the trail of the library that each one seems rushed, as does the opening. However, my mathematical inclinations appreciated the way the library dwindled six orders of magnitude in the chase. On the whole, "Guardians of the Lost Library" is a successful addition to an extraordinarily impressive body of work. greg -- "The very word insect is a combination of two ancient Greek words: `in', meaning `a' and `sect', meaning `repulsive little creature.' Thus not only are spiders insects, but so are crabs, jellyfish, the late Truman Capote, bats, clams, olives, and those unfortunate little dogs, `pugs', that appear to have been struck repeatedly in the face with a heavy flat object."--Dave Barry elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov) From David.A.Gerstein at williams.edu Sat May 7 04:55:42 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Fri, 06 May 1994 22:55:42 -0400 Subject: Disney-comics digest #321. In-Reply-To: Your message of Sat, 07 May 1994 01:18:11 +0200 Message-ID: <9405070255.AA02219@bigbird.cc.williams.edu> Dear Folks, James Williams asked me: "David -- When you write a story for Egmont, aren't you writing a full script? If so, how much control does the artist actually have over the comic? Do they simply follow the script or are they able to make changes where they think appropriate? Do you even talk to the artist?" The artist can make minor changes where he thinks appropriate. For example, I just got my first script back in comic form, as drawn by Daniel Branca. I had accidentally had two close-ups of Scrooge on one page, one a line above the other. Mr. Branca made one of them into a regular, medium shot (he chose the better one to do that with, to, IMHO). Once in a while, the artist takes real license. In one scene, Magica De Spell came dashing through a room "by the astonished ducks," as I said (or something like that). Mr. Branca thought it was an even better idea for her to dash directly *over* the sitting Scrooge, knocking him to the floor on his face with a splat. Great -- I love it! I don't mind that kind of change... I wish I'd thought of it! But Mr. Branca is an experienced artist. I don't know how "greener" artists view their rights over a script. My first Mickey script is going to Noel Van Horn (William Van Horn's son), who recently started for Egmont as a Mickey artist. He's still developing his Mouse, so I was encouraged to actually submit a model sheet of how I imagined Mickey being drawn in the story. If any of you Euro-readers have the 1939 "Robinson Crusoe" story, that's the one I was thinking of when I drew up the model sheet... modern eyes, but pie-cut pupils in them. Best, David Gerstein From 72260.2635 at CompuServe.COM Sat May 7 06:27:23 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 07 May 94 00:27:23 EDT Subject: Disney-comics digest #321. Message-ID: <940507042722_72260.2635_EHB103-3@CompuServe.COM> MIKKO: Don't worry about seeing the Lo$ #12. I just asked Byron Erickson about the rumor I heard, and he said that all the publishers will "of course" be using #12... even Sweden, though they decided to delay that last chapter EIGHT months until Christmas (since it takes place on Christmas Day). They apparently wouldn't think of NOT using one of my stories anymore, he says... in reader surveys, they are the highest rated stories they use. Don't look for Bob Foster at the Finland show, or ANY European comic show, or EVER representing Egmont, anywhere. He quit Egmont last month and moved back to America. I haven't asked Byron about his attending... but I know he's very busy and has little interest in such shows for various reasons, so I'd be surprized if he was there, but I hope so. JAMES W.: I can't get too deeply into my philosophy of comic art tonight. But mainly, I think that all those fancy page lay-outs, to MY way of thinking, is bunk, and just a way for the artist and writer to skip doing lots and lots of work by putting less story in the same number of pages. It's become very popular in American super-hero comics since readers have become conditioned to not expecting very much plot in an entire issue, since the stories can last for months or years, and the American readers are only impressed by HUGE panels of fight scenes. Large panels don't give a sense of time any better than small panels... perhpas the reverse is true. Panels with no dialogue work much better for that, and I have never heard of any guidelines that tell us to never have panels without dialogue. The shape and size of my panels are only dictated but what I need to fit INSIDE each panel -- my main aim is to squeeze as MUCH plot and gags and everything into my alotted pages, quite the opposite aim of those super-hero comics. And if I need to have an empty "beat" of time, I simply have a small no-dialogue panel. Having a standardized page lay-out forces me (and others) to concentrate on more important aspects of storytelling... and I would fight back if they told me to switch to 3-tier lay-outs for the same pay rate, even though that would mean so much LESS work for the same amount of money. Can you imagine how mush EASIER it is to do the 3-tier lay-outs than 4-tier?! With the full 5-member Duck team, that could be 10-15 fewer times a Duck would be drawn per page! GREG: Since it sounds like people are buying their "Guardians of the Lost Library" issues now, and I just went out and bought my copy, and I must make some comments on this story that we ALL have looked forward to seeing in English. I think everyone knows I hate the dark, garish coloring in modern American comics. But it looked all the worse here because Gladstone received some rather "muddy" photostats of the art and the dark coloring just made it look worse. Lots of trouble was taken to color the story, but the dark colors and muddy art didn't make it look as good as it should've. Especially bad was the LETTERING! The letterer was not as good as Todd Klein who does Lo$... the lettering here was all much too large for the balloons, making them all look sloppy and crammed. Gladstone incorporated all my art and script changes, both for correcting errors and for including the original idea involving the Woodchuck symbol (which they only use in America). And the dialogue is 100% my original script...except in ONE BALLOON, which bothers me so much that I might ask for a public apology from someone. I don't wish to be known as the man who introduced the word "BARF" into Disney comicdom. I complained to Gladstone about this and the reason for this change will make your head swim! Disney thought my dialogue was "too graphic" (my dialogue had some obscure comment about a "technicolor yawn", a reference intended to merely confuse most younger readers)... and DISNEY THEMSELVES dictated that the word "BARF" be used instead!!! This might seem incredible, but if you deal with Disney and the changes they dictate for very long, you'll either go nuts or just learn to enjoy the bizarre aspects and self-contradictions in their every move. Well, I hope the muddy art, dark coloring and bad lettering won't hinder your enjoyment of this story... but then, how could it NOT? I mean, what's left? From smarsh02 at ozarks.sgcl.lib.mo.us Sat May 7 16:32:59 1994 From: smarsh02 at ozarks.sgcl.lib.mo.us (Scott D. Marshall) Date: Sat, 7 May 1994 09:32:59 -0500 (CDT) Subject: Unsubscribe Message-ID: I would like to unsubscribe to this because I don't have enough time to respond to any of the messages. From d91fe at titan.pt.hk-r.se Sun May 8 00:41:04 1994 From: d91fe at titan.pt.hk-r.se (Fredrik Ekman) Date: Sun, 8 May 94 00:41:04 +0200 Subject: Disney comics in Egypt Message-ID: <9405072241.AA22472@titan.pt.hk-r.se> 4 May, David wrote: > A few months ago we were discussing _Miki_, the Egyptian > Disney weekly, which mostly featured D- and S-coded stories according > to whoever had it (I'm sorry, but I don't remember who this was). That was me, mostly. > [...] > > The book reprinted a crossword puzzle from the Egyptian MM > weekly. It suggests that the locally produced stories, if they're > drawn by the same guys as the puzzle, are or at least were VERY poorly > drawn. The crossword puzzle was, in fact, the poorest piece of > officially-licensed Disney art I have ever seen in my life. > > There was also a reproduced cover. Weird. Showed MM > celebrating Ramadan by lighting off a sky-rocket, and it was drawn > firmly in a Depatie-Freleng "Pink Panther"-type cartoon style, with > the sole exception of Mickey's face -- a generic side view, albeit > with obvious pie-slices added to the pupils of his eyes. Was the puzzle and the cover made by the same artist, do you think? And I don't suppose you mean to say that the crossword picture was actually worse than Giuseppe Perego's art. Please don't destroy my illusions! The thick Arabian book I got from Even featured a few covers that were obviously locally produced and also indescribably ugly. I'm not all that familiar with Pink Panther, but I guess you could claim that these are made in that tradition. And the characters do have pie eyes on some of them, although the "slices" are very small. David, does the book you read say anything about if the same comics are read throughout the Arab world? You mention "the Egyptian MM weekly". Does this mean it's produced in Egypt and sold in other countries as well or is it local to Egypt? I suppose there are no pictures from the "Adventure on Mars" story in the book? It would really be interesting to see one of these Egyptian stories... /F From rivers at seismo.CSS.GOV Sun May 8 04:57:25 1994 From: rivers at seismo.CSS.GOV (Wilmer Rivers) Date: Sat, 7 May 94 22:57:25 EDT Subject: English-language version of "Guardians" Message-ID: <9405080257.AA03000@beno.CSS.GOV> Don Rosa writes: > And the dialogue is > 100% my original script...except in ONE BALLOON, which bothers me so > much that I might ask for a public apology from someone. I don't wish to > be known as the man who introduced the word "BARF" into Disney comicdom. > And I thought this was one of your English-language puns, for sure! By "telling barks from barfs", I thought you were referring to recogniz- ing stories by certain inferior Disney artists who shall go nameless (although on this list they usually don't). So what was your original line about the "technicolor yawn" supposed to have been? And would it have been preferable to have avoided "barf" by saying, oh, "telling howl from hurl"? Or whatever the current more-or-less-humorous expres- sion is for what stand-up comics sometimes call the "diced-carrot yodel" or the "porcelain hello" or... Wilmer Rivers From starback at Minsk.DoCS.UU.SE Sun May 8 08:29:04 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Sun, 8 May 94 08:29:04 +0200 Subject: Lo$ 12, Byron Erickson In-Reply-To: Don Rosa's message of 04 May 94 23:23:31 EDT <940505032331_72260.2635_EHB184-1@CompuServe.COM> Message-ID: <9405080629.AA07973@Minsk.DoCS.UU.SE> On the last chapter of Life of Scrooge not being published in Sweden: That's right, Don, that information came from Stefan Dios. Now you write that Byron Erickson has said that > all the publishers will "of course" be using #12... even Sweden, > though they decided to delay that last chapter EIGHT months until > Christmas (since it takes place on Christmas Day). They apparently > wouldn't think of NOT using one of my stories anymore, he says... in > reader surveys, they are the highest rated stories they use. Maybe things have changed or I misunderstood or Stefan had misunderstood, but I think he said it seemed like neither Lo$12 or "The Duck Who Never Was" would be published in Sweden. I sure hope the later info from Byron is correct instead. > I haven't asked Byron about his attending [a comics con in > Finland]... but I know he's very busy and has little interest in > such shows for various reasons, so I'd be surprized if he was there, > but I hope so. Also according to Stefan, there will be a panel on how to make comic books or something like that at the Book & Library fair in Gothenburg in October where Byron will be, as well as some more Egmont people, you (Don), Stefan, and Sture Hegerfors. This panel is not part of the open stuff that everyone at the fair can attend, but I hope I'll be able to sneak in anyway. -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From morrow at physics.rice.edu Sun May 8 19:52:51 1994 From: morrow at physics.rice.edu (Stephen King's The Elmo) Date: Sun, 08 May 1994 12:52:51 CDT Subject: Disney-comics digest #322. Message-ID: <0097E1F9.9F24BB80.25543@physics.rice.edu> Don Rosa <72260.2635 at CompuServe.COM> writes: [Re: "Guardians of the Lost Library"] > Well, I hope the muddy art, dark coloring and bad lettering >won't hinder your enjoyment of this story... but then, how could it NOT? I was enjoying the plot, dialog, gags, and meticulously detailed art too much to even notice. Perhaps I've been conditioned by years of exposure to poor reproduction...perhaps I'm just not a discerning reader...perhaps you're just a teeny-tiny too much of a perfectionist? Gladstone's such a marginal company that I'm just happy to have *any* regular Duck comics. greg -- "Cutting the space budget really restores my faith in humanity. It eliminates dreams, goals, and ideals and lets us get straight to the business of hate, debauchery, and self-annihilation."--unknown elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov) From David.A.Gerstein at williams.edu Sun May 8 19:58:25 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 08 May 1994 13:58:25 -0400 Subject: Disney-comics digest #322. In-Reply-To: Your message of Sun, 08 May 1994 01:18:08 +0200 Message-ID: <9405081758.AA10299@bigbird.cc.williams.edu> Dear Fredrik (and everyone), The Egyptian _Miki_ cover I saw reproduced in that book was not by the same artist as the crossword puzzle. In fact, the cover wasn't exactly bad, just weird. Since you mention the pie-cuts in the eyes as being very small on the one you saw, I would wager that this is either the same artist or someone influenced by that artist. The crossword puzzle which I saw reproduced was much, much worse than anything I have EVER seen by Giuseppe Perego. It in fact looks like Mickey as I drew him when I was about ten years old (although I drew him with pie-eyes then... I far preferred the 1930s version at that age, although since I've gotten used to the 1939-1942 FG Mouse as well). This was REEEEEAALLLLY bad, folks. I mean, Mickey's open mouth had been filled in with black, and the black actually went out of the mouth-outline in a few places. It is hard to believe this was actually published. There was also a Donald crossword puzzle shown from a different issue. A passable picture of Donald, dressed with a Pharaoh-like headdress, but obviously copied from a superior picture somewhere else. The Mickey drawing seemed to have been done from scratch. Ecccccch. No drawings from the Mars story were reproduced. The Egyptian comics of the day also featured a serial set in Ancient Egypt (with a human lead), though, and if the artist for the Mickey Mars story was the same as the artist on that (a few panels from which were reproduced), then it probably looked better than this crossword puzzle... Ah, what a weary world we live in. David Gerstein "I'm de Fuller Brush Man! I'm givin' g'way free semple!" From Mattias.Hallin at jurenh.lu.se Sun May 8 20:29:57 1994 From: Mattias.Hallin at jurenh.lu.se (Mattias Hallin) Date: Sun, 8 May 94 20:29:57 +0200 Subject: RE Digest #320 Message-ID: <940508.202957.64550@macpost.lu.se> DON: I checked with Stefan Dios -- he says that Lo$ 12 isn't so much cancelled as postponed. It seems that certain editors at the SWEDISH Egmont branch, Serieforlaget, don't pertickerly care for your work, in pertickler dey don' pertickerly care for Lo$ nor for the 60th birthday story. The latter actually HAS been cancelled altogether for publication in Sweden, but Stefan says his editors says they DO intend to publish Lo$ 12 here in Seden, too -- only they're waitin' for winter "since it's set at Christmas"; for whatever that argument is worth. So what they do is break their SCHEDULE for publishing Lo$. It seems their main reasons for disliking your work has nothing whatever to do with your particular kinda art, but rather that they feel you're aiming too high, beyond the severly limited intellectual capacaities of the poor little kiddies. That I think this so much hogwash, I shouldn't have to point out, I hope?! I've yet to meet a kid who liked being treated like an imbecille, or even worse, being TALKED DOWN TO by an adult, not to mention by the so-called childrens entertainment that same adult is using as a pry-bar to make the kid part with that week's allowance. Actually I think it's just exactly the other way round -- lit. hist. proves beyond doubt that almost all children's entertainment that lasted beyond last morning's bowl of Oatsie-Woatsies was of the kind that WAS/IS too deep for that selfsame kid to fathom entirely, and that does hold entertainment and/or other values even to adults who didn't grow up on it (the entertainment I mean -- not the Oatsie-Woatsies!!!). Anyway, also the Swedish publication of Lo$ 11 ended with the caption "To be continued" -- or words to that effect. So I don't think there's reason to panic just yet! All my best! Mattias !==============================================================================! !* Mattias Hallin ** ** Phone: +46 46-14 84 43 **! !* Trollebergsvagen 24 B ***** Work: Lund University, Box 117, S-221 00 Lund **! !* S-222 29 Lund, SWEDEN **************************** Phone: +46 46-10 71 37 **! !==============================================================================! !********************** "Oh, the world owes me a livin'" **********************! !==============================================================================! !========================================================================! !Mattias Hallin Phone: +46 (0)46-107137 (am) ! !Juridiska enheten +46 (0)46-109709 (pm) ! !Lund University Fax: +46 (0)46-104232 ! !Box 117, S-221 00 Lund, SWEDEN e-mail: ! !========================================================================! From d91fe at epimetheus.pt.hk-r.se Sun May 8 23:08:12 1994 From: d91fe at epimetheus.pt.hk-r.se (Fredrik Ekman) Date: Sun, 8 May 94 23:08:12 +0200 Subject: Heymans and Van Horn Message-ID: <9405082108.AA10845@epimetheus.pt.hk-r.se> Sigurdur, I don't quite remember, but someone's probably already answered this for you. Anyway, the story you referred to in last Egmont DD issue with Donald's criminal cousin is by Mau Heymans (I think, I'm no expert of his work myself). Anyway, it's certainly not by Van Horn. If you are having a problem telling the difference between these two artists; here's a good trick: Check the story code in the first panel of the story. The code of all Heymans stories do, so far as I know, always begin with the letter H. Van Horn's stories, on the other hand, always begin with some other letter (AR, K or D depending on how old it is). If you have any further questions about what the codes mean, I suggest you look up Harry's file on the subject on the FTP archive. /F From David.A.Gerstein at williams.edu Mon May 9 01:55:41 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 08 May 1994 19:55:41 -0400 Subject: Heymans and Van Horn In-Reply-To: Your message of Mon, 09 May 1994 01:18:12 +0200 Message-ID: <9405082355.AA16380@bigbird.cc.williams.edu> Dear Folks, The way I always tell Heymans from Van Horn is twofold. A) The pupils of the eyes in Heymans' ducks frequently leave the outlines of the eyes -- that is, the rim of the eye "breaks" a bit before the pupil. It's like this: XXXXXX XXX XXX XXXX XXX XX XX XX XX XX XX XX XX XX XX XX XX XX <--- See the "Break"? XX XXXX XX XXXXXX XX XXXXXX XX X XX XXXXXX XX XXXXXX XX XXX XX <--- And there's another XX XX XXXX Get the idea? What's more, Heymans gives the Ducks "pie-eyes" (by that, I mean the slit in the pupil, as you see above), while Van Horn hardly ever does (although he USED to do it all the time). And... B) Heymans' art maintains a "flowing" feeling to the linework, while Van Horn's work is scratchier (if you're a fan of the really old comic strips, compare "Mutt and Jeff" to "Krazy Kat" for a similar example. I'm sure you have those in Europe by the ton, while they're as good as forgotten in THIS swell country.... * * * * * On another tack, here's something I bet a lot of you are astonished I haven't asked before: Are the comics of Norway, Sweden, and Finland all made by divisions of Egmont? And for the most part, are they almost the same between one another from week to week with the exception of covers? I'm puzzled, because I thought so -- until I realized how the various countries are doing different things with Don's stories these days. What's the story here? Furthermore, how do the German ones fit in? It seems to me they use EVERYTHING Egmont produces, and, due to MM's larger popularity there, they add a Murry reprint almost every week, particularly when they don't have a new Egmont MM story to use. Or are ALL the countries listed above just wallowing in Murry as well? I don't get that impression... In any event, the German ones usually run about 40-48 pages, although it varies from week to week (with no affect on price). I believe that this makes an overall larger comic than you get in Finland, because I have a Finnish 45/1991 which is like a shorter version of the German for that week. Yeeesh! What's going ON? I used to think that aside from covers and the occasional "special supplement issues" (i. e. GotLL, Vicar time-travel stories, Grandma Duck 50th, reprints of 1st issues, "In Search of Jungle Treasure" reprint, etc.) that the various Egmont countries were the same. Or is one of these NOT an Egmont country? What's up, Doc? And last... I think it was Harry who mentioned having actually seen Eli Squinch show up in a recent Ferioli story -- this being the first sign of changes in Egmont's MM stories. Could you tell me, Harry, what this story is like, how Squinch is drawn, and what the code and page count is (if it's GOOD, that is)? Your friend, David Gerstein "I'm de Fuller Brush Man! I'm givin' g'way free semple!" From David.A.Gerstein at williams.edu Mon May 9 02:02:38 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 08 May 1994 20:02:38 -0400 Subject: Gladstone marginal? In-Reply-To: Your message of Mon, 09 May 1994 01:18:12 +0200 Message-ID: <9405090002.AA28682@bigbird.cc.williams.edu> Dear Folks, Greg Elmo said that Gladstone was such a "marginal" company that he was glad to have ANY regular Duck comics. Actually, Gladstone is doing pretty well right now from what I've been told. By "marginal" did you mean that they were barely making a name for themselves, Greg? Gosh, they're doing better than that! They would be expanding their line right now, only someone at Disney may be not allowing this (at least, he/she wasn't allowing it when the opportunity to add the WDCiC title came up). * * * * * I'm hoping Heidi MacDonald will chat with us soon. Please, Heidi, we're anxious to hear from you! Are you afraid of us? Gosh! Please don't be... you *have* been checking your E-Mail for our messages, haven't y'? Yours, David Gerstein From revry at nyx.cs.du.edu Mon May 9 02:57:19 1994 From: revry at nyx.cs.du.edu (Ronald Evry) Date: Sun, 8 May 94 18:57:19 MDT Subject: LONG POST - Dan O'Neill's C&S Message-ID: <9405090057.AA28215@nyx.cs.du.edu> Sorry about the length of this one...I'll probably go back to lurking after this... Okay folks --- I FOUND my copies of "Dan O'Neill's Comics and Stories" Vol. 2 Nos. 1 & 2 in my basement (I haven't the foggiest notion if there was ever a Vol. ONE...maybe he was referring to the two issues of "Air Pirates"), from 1975. They are fun books drawn in a moody, loose style, mostly featuring strips starring "Cub Calloway, Ace Reporter." No. 2 has a classic that was reprinted around in the UG press at the time involving the question of white sugar vs. honey ("bee poop"). There are also some "Odd Bodkins" reprints, and one strip that has a character who STRONGLY resembles the "Phantom Blot." But the most interesting (and most relevant to our thread here) is in the first issue; "O'Neill in the Dock!" A cartoon version of O'Neill himself is depicted behind a courtroom dock. He says, "Yer Honor..." "Walt Disney Productions has accused me and my friends of copyright and trademark infringements, unfair competition, trade dispargement, intentional interference with business ... and lately ... aggravated assault on MICKEY MOUSE!! ".. A mere $700,000.00 from my petty cash fund will satisfy their honor.." "To these charges, I must say POO-POO! ".. and WHY, your honor, do I say POO-POO to these charges.. ? "I say POO-POO because I can't say BULLSH*T in court .. ".Poo poo it is, yer honor" "I AIN'T GUILTY OF NO AGGRAVATED ASSAULT ON MICKEY MOUSE!!" "I'm guilty of the PREMEDITATED MURDER of MICKEY MOUSE!! "in the first degree .. " hee hee hee " O'Neill's explanation goes on for quite a few panels, revealing how his "Odd Bodkins" strip, which had been running from 1963 to 1970 was about to be cancelled because the publisher's friends at the country club didn't understand it. But when hordes of fans demanded the strips return, it was reluctantly put back. Eventually, O'Neill heard a rumor that someone "ABOVE the Governor's office" wanted Charlie (his publisher) to drop it again in six months. Angry, he decided on a plan of revenge: "Violate every copyright available ... get sued!! "Because if the strip was SUED ... CHARLIE would have to pay ... cuz CHARLIE OWNED the strip.." " .. I went to see my MOUTHPIECE. I said, 'WHO sues ANYBODY ..?" "Bill, my mouthpiece, said " " DISNEY!! " "So I fired my characters .. and hired some RED CHINESE comic strip characters .. MEAN ONES!! "I dressed them up like Disney characters and ran them out on stage!! "They were PERFECT lookalikes on the outside .. but INSIDE their bodies beat hearts of pure red commie meat!!" (Now you must understand that throughout his commentary, from the "mouthpiece" on, characters are spitting images of Gottfreidson's mouse and other early Disney images, except that their faces are covered with a black "stamp" that says "CENSORED by Court Order") O'Neill explains how the characters were a "hostile bunch" who quoted from the little red book. He himself showed them the "secret entrance" to the strip and went on a vacation. "I let them appear in their Disney suits .. until I figured they had done about $450,000 worth of damage.. ".. at $5000 an appearance.." O'Neill's mouthpiece gives him bad news. What he is doing is PROBABLY legal .. "This is PARODY!!" After a few month, O'Neill left the strip and started AIRPIRATES studio with four other artists. "We immediately drew upon the services of the Red Chinese comic strip characters .. and did two comic books Air Pirates #1 & #2 .. Mickey Mouse was a MOST INTERESTING mouse.. "He was in the dictionary .. he meant (A) a tyrademark for cartoon character created by Walt Disney (B) .. designates danceband music that is corny, unimaginitive, bland, etc. 2. childish, oversimplified.. unrelated to reality, etc. (a Mickey Mouse college course)" (pictured here is the MOUSE, standing in a giant copy of Webster's New World Dictionary 1974, censor stamp blocking his face, and waving in the air, saying " hi kids! ") "It suddenly occured to us .. Mickey Mouse was an ADJECTIVE in the living language .. you can't copyright or own an ADJECTIVE! Catherine the Great doesn't own "GREAT" .. neither does the GREAT Gatsby.. " O'Neill goes on to say that the MOUSE fascinated him now..."symbolically a MONSTER.. all the world knew him .. he represented AMERICA!! The worst of our national vices .. materialism and flag worship!" He continues to explain how publishers are afraid to parody Disney because of lawsuits -- "even if they win, it COSTS them to win .. so Disney wins by punishment. ..Parody loses.." O'Neill makes some jokes about his comics being pornographic and maybe causing someone to become a "mouse raper." Then he quotes ol' Joe Goebbels, "JOKES cease to be funny when they deal with the holiest goods of the nation .." Then he explains how you can't keep a magazine going for very long if you have to spend $10,000 an issue to defend yourself. There's more yet, but skipping to the end, he depicts himself in Jail next to a "Black Pete" type character (of course there's a "CENSORED" stamp on the character's face): "Hi mate! I'm in for RAPE and MURDER .. what are youse in for.." "uh .. .. I drew a picture of Mickey Mouse .." This comic is long out of print & probably will never be reprinted. Needless to say, it is a fascinating work that reads as well today as it did back then. O'Neill's art was sketchier than he did in "Odd Bodkins" or "Air Pirates," no doubt because he was pressed for time when producing these books. They helped pay his considerable legal expenses, and the message that Disney got across to artists the world over was "don't try to step on OUR toes or we'll squash you." Don't forget, this is the same company that went all the way to the Supreme Court to try to keep people from owning video tape recorders. Yet when they lost that case, they turned around and became the most successful company in the world in marketing pre-recorded video. There's an object lesson there: as time wears on and more and more of Disney's early material goes into the public domain, they will gradually lose the tight controls they now impose on characters that have already entered the domain of "folk legends." The answer is to widen licensing now, while they still can; encourage experimentation; stop holding the lid down on the steam kettle. Disney could be a name associated with creativity and be a powerful influence on new generations. The first steps along these lines have already proven to be highly profitable for them. The question is whether the company has more than a "Mickey Mouse" imagination. :) Ron From David.A.Gerstein at williams.edu Mon May 9 03:07:35 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 08 May 1994 21:07:35 -0400 Subject: July's Gladstones/Strobl popularity test Message-ID: <9405090107.AA22862@bigbird.cc.williams.edu> Dear Folks, From a friend back in California I heard what was coming up in a few months. These are: DDA #28: Double-sized issue, featuring "Sheriff of Bullet Valley" by Barks as well as "The Pirates of Slamcrashistan" [or some other such name, couldn't quite make it out] written by Bob Gregory. That's presumably drawn by Tony Strobl, then. I can't imagine that this takes up the rest of the comic... I'd guess there's a new Danish story too. WDC&S #593: "Donald's uncle Rumpus comes for a disastrous visit" in a 10-pager by William Van Horn... anyone know which one this is? Then we have the first part of Gottfredson's "Monarch of Medioka". There's one story from the albums that I don't mind seeing again, because that album was too expensive for any kid to afford and it was only on sale for a MONTH, right at the end of Gladstone's run). I think the story will reach a lot of folks who will really like it. US #288: LO$ "King of the Copper Hill", plus a backup drawn by Tony Strobl. * * * * * According to John Clark, the number of Strobl reprints will slow substantially soon. The large number recently (many of which have not actually come out yet, but which we've read about over the last while) are meant as an "acid test" of Strobl's popularity. I have noticed that they were paired with Barks, Rosa, etc. -- very sellable things. This means that a lot of people will buy them whether or not Strobl would sell on his own: good news for Gladstone, and then they can gauge Strobl's popularity based on readers' letters. After these, the foreign stories will again be the backups most of the time. (I say.... Whew!) So if you like Strobl, or if you don't, write in with your opinion, when you see these stories! They are (or will be, as in the cases of those surrounded by ): USA 26: "Uncle Scrooge and Money" DDA 26: "Donald in Mathmagic Land" (A 32-page section of various Strobl stories) : "This Is Your Life, Donald Duck" : "The Pirates of Slamcrashistan" : (That 11-pager, identity unknown) Good night, all! David Gerstein "I'm de Fuller Brush Man! I'm givin' g'way free semple!" From H.W.Fluks at research.ptt.nl Mon May 9 10:16:35 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 09 May 1994 10:16:35 +0200 Subject: Some news from Michel Nadorp Message-ID: <199405090816.AA16328@athena.research.ptt.nl> I met Michel Nadorp by coincidence in a comic shop last saturday. When I told him my name, he recognised me as "the guy who likes the Rosa stories". Could I be the only one? 8-) We discussed a few things, which I'll summarise here. Michel Nadorp is a Dutch artist, who works closely with the Dutch Disney editors. Sometimes he inks Jippes work and he has done a few stories of his own, but mostly he designs and draws the covers of the Dutch Disney publications. ("Michel" is pronounced like in the Beatles song.) New Barks story ~~~~~~~~~~~~~~~ The Barks script (we talked about it before) has been drawn by Van Horn now. It has a title like "Changing History" or so, and only the first (splash) panel is about the Trojan Horse. Michel had read the story in pencil form, and he will publish the first panel in his column in the Dutch fanzine Stripschrift. It may take a few months before Egmont publishes the story, and a few more months before some other publisher will... Covers ~~~~~~ Michel wasn't pleased that Don Rosa copied his concept of the cover of Life Of Scrooge 2, without mentioning it in the credits. He admits that he himself copies other people's ideas, but at least there are no credits given to him... Michel also was surprised about the lack of accuracy at Gladstone's. They credited one of his covers to Ben Verhagen. The WDC cover on "MM in Sky Island" was changed by Disney. Michel originally meant the island and the characters to be much bigger, but Disney put a lot of clouds around it, making the original picture smaller. Nadorp meets Rosa ~~~~~~~~~~~~~~~~~ Don: Michel says he met you once in San Diego. Do you remember him? He also met Bob Foster there, and that's how he was asked to do some covers for Disney Comics. But when Foster became Seidman, and Seidman became Palomino, he lost contact... Life of Scrooge (Lo$) in Holland ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The Lo$ stories will still be backup stories in the next DD Extras: Michel and Wilma van den Bosch already made the covers and there's no Lo$ cover among them. Michel thinks the Lo$ is considered one big serial, and that that's why the newer parts are not the lead stories. (It is usual to put only the first part of a serial in the front of a comic.) Donald's 2000th story ~~~~~~~~~~~~~~~~~~~~~ Ole "RoC" said: > (The Flux Soap ad is there, but there's only one Donald. Really.) The Flux Soap ad is one one of the 1-page panels, while I was talking about another 1-page panel, where Donald appears twice. It's the panel where the Ducks and a lot of familiar persons have a banquet. In fact, Geir (and some other Norwegians, I guess: it was a contest in Norway) tried to identify all the persons on that panel, and we wondered if *all* the characters could be identified. I asked Michel about this, but he didn't know. He said is was possible though that Mau Heymans (the artist of that story) put some non-existing people on the panel. --Harry. From H.W.Fluks at research.ptt.nl Mon May 9 10:28:09 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 09 May 1994 10:28:09 +0200 Subject: Guardians of the Lost Library Message-ID: <199405090828.AA16852@athena.research.ptt.nl> About everything has been said about Don's "Guardians of the Lost Library". I fully agree with the previous posters. I too enjoyed the story that much, that I didn't notice the bad colouring and lettering. Except on one point. On page 2, the oldest JW-guidebook is shown, and a nephew says "you can barely see the Woodchuck emblem any more!". But in Gladstone's version, we *do* see the emblem clearly, because it has a very different colour than the rest of the book... And one other (minor) remark: the end gag was a bit weak. Why would the nephews dance with Scrooge saying "Ha" four times? Isn't that overreacting? This reminded me of the Egmont stories where someone makes a joke and then everyone is laughing very exaggeratedly. But still, I liked the story very much. And I laughed when I saw the "Mickey Mouse" gag, and the "Barks from barfs" gag too. So what's wrong with "Barf"? Some people here use the word all the time... --Harry. From efferd at cs.tu-berlin.de Mon May 9 12:44:02 1994 From: efferd at cs.tu-berlin.de (Gilbert Roser) Date: Mon, 9 May 1994 12:44:02 +0200 Subject: Heymans and Van Horn In-Reply-To: <9405082355.AA16380@bigbird.cc.williams.edu> (message from David A Gerstein on Sun, 08 May 1994 19:55:41 -0400) Message-ID: <199405091044.MAA17549@rheuma.cs.tu-berlin.de> Date: Sun, 08 May 1994 19:55:41 -0400 From: David A Gerstein > Furthermore, how do the German ones fit in? It seems to me > they use EVERYTHING Egmont produces, and, due to MM's larger > popularity there, they add a Murry reprint almost every week, > particularly when they don't have a new Egmont MM story to use. Or > are ALL the countries listed above just wallowing in Murry as well? I > don't get that impression... > In any event, the German ones usually run about 40-48 pages, > although it varies from week to week (with no affect on price). I > believe that this makes an overall larger comic than you get in > Finland, because I have a Finnish 45/1991 which is like a shorter > version of the German for that week. In Germany MM is published by Ehapa which belongs to Egmont. It is right that they use mainly Egmont stories but for Murry stories they use them frequently. I don't know the reason but I'm sure that it isn't because of there are no MM stories by Egmont. There are so many Egmont stories which aren't published in Germany yet. (I think that these have minor quality. Why else aren't they published?) The German MM page number was until the eighties 42 and is nowadays about 46-54. -- Gilbert From jonlo at ifi.uio.no Mon May 9 13:01:30 1994 From: jonlo at ifi.uio.no (Jon Cato Lorentzen) Date: Mon, 9 May 1994 13:01:30 +0200 Subject: Barks Interview in Norway Message-ID: <199405091101.10283.surt.ifi.uio.no@ifi.uio.no> In the Norwegian newspaper VG this Saturday, there was a big 2-page article about Carl Barks. Most of the text was an Interview (I don't know if it was a press conference or a normal interview) about various things, but mainly the upcoming European Tour. Two places in the text, Barks talked badly of Rosa's work. The first time when asked about his feelings for Norway, he mentioned that the recent story about Lillehammer was not very good, and he thought that the artist portrayed Donald Duck more like Woody Woodchucker than the Donald he drew. The second slagging of Rosa came when Barks talked about one of his favourite stories, Plain Awful. Here he mentioned that recently a bad followup had been made by an engineer who drew the Ducks much to static and clumsy for his liking. Rosas name was never mentioned, but it wasn't very hard to see where the comments were aimed. Barks also mentioned his new story, Jumping Through History or something like that. The Norwegian Editors said it would probably be printed this autumn. Jon C. Lorentzen From AllenMT1 at bisdpo1.bisdnet.jhuapl.edu Mon May 9 15:41:00 1994 From: AllenMT1 at bisdpo1.bisdnet.jhuapl.edu (AllenMT1@bisdpo1.bisdnet.jhuapl.edu) Date: Mon, 09 May 1994 09:41:00 -0400 (EDT) Subject: GotLL Message-ID: <2DCE3FDF@bix-smtpgw-pc.jhuapl.edu> I must add my name to the list of those who did not notice the flaws in Gladstone's printing of GotLL that Don is disturbed about. Neither did my 10 year old daughter Megan, who has recently become an avid reader of Uncle Scrooge. She started out several years ago with Disney Comics' "Rescue Rangers" and "Tailspin", but later read through a few issues of several other titles and decided she liked Scrooge best. I haven't been able to get her to read any of the FG Mickey stories yet, but that's only a matter of time. She's working her way steadily through my Scrooge collection, but also is herself collecting the Lo$. She's only beginning to pay attention to the creators, but the stories she enjoys most are primarily Barks and Rosa. Her only complaints have dealt with the scarcity of female charactors and with occasional plot inconsistences in stories by some other authors/scripters. She has never cared for the "Ducktales" TV show, and actually resisted reading US for a while because of it. The shallow characterizations and generally simplistic storylines left her cold, and it took a while for her to over come her assumption that the comics were on the same level. Mark Allen From James_Williams at ESS.NIAID.pc.niaid.nih.gov Mon May 9 16:54:46 1994 From: James_Williams at ESS.NIAID.pc.niaid.nih.gov (James Williams) Date: Mon, 09 May 94 09:54:46 EST Subject: Standardization of Artwork Message-ID: <2dce40a6@ESS.NIAID.pc.niaid.nih.gov> Mark Mayerson, Thanks for a wonderful post. >I don't think that this has a simple answer. Agreed, but I think it is an important question and I hope it will lead to some fascinating discussions. When I voluntered to write the FAQ, the very first question I asked myself was what is a Disney comic. I thought about it a lot and realized that there was only one definition which worked for me -- any comic story (can't use book here because they publish a lot of comics which aren't in comic book format) printed by Disney or containing characters licensed from Disney. Other than that, the sky is the limit. One thing that I forgot to ask in my first post was why and when did Disney adopt these standard page layouts? Likewise, why did Egmont and GP adopt these? >Sometimes, built in limitations can be a blessing. Agreed. Because of the eight panels per page, Disney comics does more with a 10 page story than most American comics can do in 20 pages. >Because there are 8 panels to a page, Barks was able to knock you >backwards with a half page panel. Jack Kirby had to go to a full page >or even two pages for the same effect, because he wasn't generally >limited to small panels. Actually it is more complex than that. About the only thing Barks and Kirby had in common is that they both worked in comics. The style of artwork necessary for a Kirby super-heroes story (which centers around large amounts of action and cosmic settings) is very different than the requirements of a Barks story. Kirby's early work was packed with many panels per page. As he evolved the super-hero comic, he also invented new means to tell his stories better. Barks on the other hand devoted his time to telling the best stories possible using the given framework. I adore both men's work, but for totally different reasons. >As a result, Disney comics don't use lighting effects or shadows very >much. That's certainly a story-telling limitation. Agreed. But, I can think of one good example where playing with lighting and shadows would make for great Disney comics. Egmont is trying to revitalize Mickey Mouse by rehashing elements of Ted Osbourne's stories and Floyd Gottfredson's artwork. I'd rather see a new approach. Instead of copying Osbourne and Gottfredson, why not use some of their influences. Imagine instead that Egmont chose Dashil Hammet or Raymond Chandler as their influence for the writing and for the artwork use some of the old film noir movies of the 40s and 50s. I often wonder if one of the reasons that Disney comics don't sell well in the United State is because Disney comics are stagnate. It is not healthy for each new generation of comics to be based on the old. You've got to bring in concepts from outside of comics. Egmont and GP keep trying to churn out Barks and Gottfredson, but the people they have working for them aren't Barks and Gottfredson. Shortly after I discovered Disney comics, I discovered Don Rosa. I'll be frank, I hated Rosa's stories. I couldn't get over the artwork. It wasn't bad, it just wasn't like anything else in any other Disney comic. Don's artwork reminded me more of Robert Crumb than Carl Barks. As I've seen more of Egmont and GP's bland attempts to recreate Carl Barks, I've started to realize just how special Rosa's artwork is. Rosa's stories which turned me off 3 or 4 years ago are now amoung my favorite comics. I know this is getting long, so I'll close with one final comment. I'm one of the people who actively dislikes the 'Goofy Look at History' stories currently running in Gladstone's Donald and Mickey. I think they are poorly drawn and written, but there is one thing about them that I really like -- and that is that they use very un-Disney page layouts. James Williams From smarsh02 at ozarks.sgcl.lib.mo.us Mon May 9 17:10:59 1994 From: smarsh02 at ozarks.sgcl.lib.mo.us (Scott D. Marshall) Date: Mon, 9 May 1994 10:10:59 -0500 (CDT) Subject: Unsubscribe Message-ID: I want to unsubscribe From mayerson at sidefx.sidefx.com Mon May 9 19:09:27 1994 From: mayerson at sidefx.sidefx.com (Mark Mayerson) Date: Mon, 9 May 1994 13:09:27 -0400 Subject: Standardization of Artwork Message-ID: <9405091709.AA01619@sidefx.sidefx.com> James Williams wrote: > I often wonder if one of the reasons that Disney comics don't sell well > in the United State is because Disney comics are stagnate. It is not > healthy for each new generation of comics to be based on the old. > You've got to bring in concepts from outside of comics. Egmont and > GP keep trying to churn out Barks and Gottfredson, but the people > they have working for them aren't Barks and Gottfredson. I didn't read the Disney comics that Disney did when they turfed Gladstone out, but I suspect that they were trying to update things. That's why they hired mainstream comics people like Marv Wolfman. In this case, it didn't work. The older Disney fans were alienated and they didn't gain enough newer fans to offset the loss. Since I haven't read these comics, I can't judge if they botched the attempt or if U.S. Disney comics readers just didn't want to change. > Shortly after I discovered Disney comics, I discovered Don Rosa. I'll > be frank, I hated Rosa's stories. I couldn't get over the artwork. It > wasn't bad, it just wasn't like anything else in any other Disney > comic. Don's artwork reminded me more of Robert Crumb than Carl Barks. > As I've seen more of Egmont and GP's bland attempts to recreate Carl > Barks, I've started to realize just how special Rosa's artwork is. > Rosa's stories which turned me off 3 or 4 years ago are now amoung my > favorite comics. Of all the comics, Disney's have the strongest house style. I think this is because they were based on pre-existing animated cartoons, and every artist who worked on them in the 1940's and '50's had to match that look. A lot of the artists (Barks, Gottfredson, Bradbury) had actual animation experience so it wasn't difficult for them. I also had problems with Rosa's work because it was so different. However, I realized that I was a hypocrite. As a kid, I was conditioned to accept different artists on Marvel titles. In about a year, Captain America went from being drawn by Jack Kirby to Jim Steranko to John Romita to John Buscema to Gene Colan, and I just accepted it, enjoying the specific qualities of each artist on the character. It's only because Disney comics are so homogenous that Rosa sticks out, and I've learned to give Rosa the same leeway that I gave to the above artists, much to my reading pleasure. ___________________________________________________________________ Mark Mayerson Side Effects Software Inc., Internet: mayerson at sidefx.com Toronto, Ontario, Canada (416) 366-4607 From elon at VNET.IBM.COM Mon May 9 18:47:59 1994 From: elon at VNET.IBM.COM (Elon V. Brisola) Date: Mon, 9 May 94 18:47:59 BSC Subject: Hello amigos Message-ID: <9405092149.AA22115@Minsk.DoCS.UU.SE> Hi, I'm sorry to take this long. I was out in the middle of nowhere without email for a week. DAVID: (Fethry as a superhero) I don't know who Darkwing Duck is. I've seen only Rescue Rangers and some Donald Duck on TV, lately. But that doesn't sound like what I was talking about. Anyway, this hero Fethry thing is from the '70es. HARRY: (very old question) any Barks or Rosa here in Brazil? Never seen any Don Rosa work. I'm curious to see it, and sent a subscription request to Gladstone. I'll post my first impressions when (if) I get it. But, I've read lots of Barks, and many Gottfredson (sp?) stories, since I was a little kid. I hardly find any Barks story which I haven't already read in Portuguese... The comics nowadays have mostly I codes, or D codes (is that Denmark?), and B code. B coded stories used to be better in the '70es than they are now, IMO. All for now. The best for you, Elon From morrow at physics.rice.edu Tue May 10 01:52:31 1994 From: morrow at physics.rice.edu (John Jacob Jingleheimer Elmo) Date: Mon, 09 May 1994 18:52:31 CDT Subject: Disney-comics digest #324. Message-ID: <0097E2F5.08264620.25614@physics.rice.edu> David A Gerstein writes: > Greg Elmo "Elmo" is a handle; Greg's my real-world-name. Just FYI. > said that Gladstone was such a "marginal" company >that he was glad to have ANY regular Duck comics. > Actually, Gladstone is doing pretty well right now from what >I've been told. Doing well relative to Gladstone history, perhaps. Doing well? Not at all. "Well" is reaching more than two hundredths of a percent of the population. Dell used to pull a percent or more. The "Disney Afternoon" shows reach a percent. >By "marginal" did you mean that they were barely >making a name for themselves, Greg? Yep. Awareness of Gladstones is almost nil. Even in the full service comic stores near me which sell twenty or more copies of Bone, Gladstones are ordered in the low single digits and sell out within a week--and orders *never* go up. Thank the deity I use a subscription service or I'd never see all the issues. If Gladstone is to become large enough to resist Disney corporate stupidity, it's going to have to get aggressive: Direct mail inquiries to store owners, telling them to order more *because Gladstones sell out*; subscription ads in Disney Adventure Digest (1e6 copies a month!); pressure on Marvel to get the Gladstones in point-of-purchase displays, etc. The market exists; it just doesn't know the Gladstones do. greg -- "There is a God inside my PC. An Old-Testament God with lots of arbitrary rules and utterly no mercy." -- Joseph Campbell elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov) From deckerd at agcs.com Tue May 10 02:01:07 1994 From: deckerd at agcs.com (Dwight Decker) Date: Mon, 9 May 94 17:01:07 MST Subject: Duckmen young and old Message-ID: <9405100001.AA01269@gtephx.com> I find myself more than a little dismayed that Carl Barks seems to dislike Don Rosa's version of the ducks -- and is taking it so personally. Well, it may be that Barks worked on the ducks for so long that he has something of a personal interest in what's done with them...although I get the idea from Barks's public statements that his duckwork was ultimately just a job he happened to fall into. It also occurs to me that what may really rankle Barks isn't that Rosa is working on "his" ducks (after all, they belong to the corporate entity in Burbank), but that Rosa is explicitly building on Barks's work in particular. Barks couldn't care less if nearly 30 years after he retired somebody wrote a Duck story that had no relation to anything he ever did -- but Don is doing explicit sequels to Plain Awful and Tra La La. And Don Rosa is doing Don Rosa's versions of the stories. Rosa may be building on Barks, but he's doing it with his own distinct and personal sensibility, his own vision of the Ducks. I like Rosa's work, but I don't look at it as Carl Barks, Jr. It's Don Rosa. And I don't necessarily like everything Rosa's done -- I think Scrooge's legend really could have done without him exclaiming "Great Honk!" -- just as there are things in Barks I find jarring (the overuse of "hip talk" in his later stories...I just don't dig that crazy jive, man!). But Barks is Barks and Rosa is Rosa, and I find things to enjoy and appreciate in each of them that are distinctively there own. Lord knows the Europeans have come up with artists who have been able to imitate Barks's drawing style to the point that I've had to look twice to make sure a story wasn't a Barks story I'd never seen before -- but the stories usually were vapid to the point of instant forgetability. Rosa's stories, though...those you remember. There's something to them. He thinks about his stories. I'd rather have a Rosa story than a ton of second generations Barks imitations. So...I kinda feel Barks's public statements knocking Rosa are somewhat cranky and show bad grace, even if a 92-year-old man with Barks's record of accomplishment behind him does deserve a certain amount of understanding and forgiveness! --Dwight Decker From David.A.Gerstein at williams.edu Tue May 10 02:09:08 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Mon, 09 May 1994 20:09:08 -0400 Subject: Disney comic styles In-Reply-To: Your message of Tue, 10 May 1994 01:18:16 +0200 Message-ID: <9405100009.AA16744@bigbird.cc.williams.edu> Dear Folks, James said, "Instead of copying Osbourne and Gottfredson, why [shouldn't Egmont's creators] use some of their influences. Imagine instead that Egmont chose Dashil Hammet or Raymond Chandler as their influence for the writing and for the artwork use some of the old film noir movies of the 40s and 50s." I'm sorry to disagree with you on this, James, but let me explain why. Mickey Mouse's personality, in both the best of the cartoons and the (generally acknowledged) best of the comics, is based on EXUBERANCE. The best MM stories come when MM is like a mouse in his inquisitiveness, curiosity, flightiness and enthusiasm. A "film noir" aspect tends to work against that feeling. Scarpa manages it now and then (see "Kali's Nail", MM 254-255), but most of the time stays clear of it, because a grim aspect neutralizes what makes MM different from other adventure-oriented characters, if he stays in it for long. In some of the "Italian Disney Universe" stories by those other than Scarpa, they've gone overboard with this. In fact, perhaps the most direct statement came when Disney-Italy produced a straight MM version of "Casablanca" a few years back. Beautifully drawn, but MM didn't feel quite right in the role. I think that Paul Murry's Mickey, who started out enthusiastic in the early '50s but lost his depth later on, shows what happens to MM when he has no "life" and mouse-like energy. The same happens in Bill Walsh's later stories. MM gets upstaged by Goofy, Eega Beeva, or whoever. He becomes just a mickey mouse character. Or else he goes OUT of character, even when remaining interesting. The best MM story done by Disney Comics, "A Phantom Blot Bedtime Story," had this problem. Basically an excellent Blot scheme, but the attempts at creating a Hammett-like atmosphere in the story made Mickey into a very grim, angst-filled character. He sorta stopped being Mickey now and then. Egmont, it's true, makes some mediocre stories with the Ducks and MM, but they DO have some Duck stories I have really enjoyed, and their MMs are striding ahead right now. In the coming months I will be doing several MM stories, and for me, it's an HONOR to try fitting my feet into Gottfredson's footsteps. I don't think I'm causing stagnation if I do a good job. And if I do a mediocre job -- well, it isn't going to hurt anything in Europe, where Disney characters are loved and respected. I'll just try NOT to do a job like that, and if a story ends up poor, why, I'll just make sure Gladstone doesn't reprint it. I think that Disney comics have only stagnated, really, in America, and it's simply because our mainstream pop culture has drifted away from literate comics, and the alternative pop culture (I'm generalizing here -- what I mean is a LOT of alternative pop culture) likes literate things, but only when they're iconoclastic and bristling with rage and hate. I won't try to explain why I think this is -- it's not all due to television -- but that's no reason to attempt to force other countries, which are satisfied and enamored of their Disney comics, to endure things which are to them, "foreign." David Gerstein From David.A.Gerstein at williams.edu Tue May 10 02:35:50 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Mon, 09 May 1994 20:35:50 -0400 Subject: Comic page layouts In-Reply-To: Your message of Tue, 10 May 1994 01:18:16 +0200 Message-ID: <9405100035.AA18834@bigbird.cc.williams.edu> Dear Folks, Gilbert said: "One thing that I forgot to ask in my first post was why and when did Disney adopt these standard page layouts? Likewise, why did Egmont and GP adopt these?" The very first Disney newsstand comics came from newspaper strips, and at first they were 68-page chunks with approximately three daily strips printed per page, rearranged to make four three-panel rows. This was the industry standard in the mid-'30s for reprint comics. I believe that WDC&S is this way through about #8. But in the early '40s comics were beginning to explode with original material throughout the industry, not just reprints of newspaper strips (which had filled many companies' early comic books... I'm not talking about Disney strips only). Because it would have been near impossible to draw such tiny panels -- and because the format was itself kinda cramped -- most comics seemed to go with 6-panel pages with their early original stories. To match them, Dell began reprinting daily MM strips in exactly such pages (although it left the Sunday strips and Donald dailies in the more cramped format, and would continue to do so). Then when Dell started making their own stories -- the first being some by Ken Hultgren, followed by the first Barks ones -- they used the industry standard, 6-panel pages. Then came World War II. Actually, it had started in 1941, but it was in 1944 that paper shortages got really tough. The comics were forced to go from 68 to 52 pages (incl. covers). So that they could keep the same amount of total STORY in them, though, Dell (although not all companies) moved to 8-panel pages... they were in such a rush to do it that they even reformatted some stories that had been drawn in 6-panel format, to fit the new style (Barks' "Kite Weather" was one example, and Gottfredson's "Land of Long Ago" went from 6-panel pages to 8-panel ones partway through its serialization). In 1945 there was another such shortage, and the comics VERY briefly went down to 36 pages. Very briefly, you see the comics going into 12-panel pages (4 rows of 3 panels, not 2). This time, most artists were ahead of the game, but some 8-panel page stories got reformatted nonetheless (including a Barks Barney Bear story in OUR GANG). This stopped, though, and they went back to 52 8-panel pages as the war ended. In the 1950s Dell went down from 52 to 36 pages for good, and then when they couldn't cut pages any longer, they began adding ads. This time, they stayed with 8-panel pages, even though this meant you got less total "story" in the issues. At this time, 6-panel pages were being done overseas for the Italian pocketbook weekly, TOPOLINO. Because their comics were smaller, the Italians felt that they'd use 6-panel pages to make sure the pictures could be easily discerned even when dense and detailed. This continues to this day. Whitman used 6-panel pages when they made Digests in the 1970s... they even reformatted 8-panel stories, including many Barks ones, into 6-panel, although they seemingly did it at random (many stories were also used with the original layout). Interestingly, the first two times Gladstone used Italian 6-panel stories, they reformatted them into 8-panel stories so that they wouldn't be so long, but they stopped doing it after that. And Disney uses 6-panel pages for the comics in Disney Adventures, continuing the old tradition. It's a matter of using the size that permits the panels to be clearly enjoyed in whatever size the comic is printed in. When Gottfredson stories are reprinted now, the format varies. That's because sometimes we're actually seeing reprints as prepared for old WDC&S, with 8-panel pages ("The Lectro Box"), or reprints of the original strips -- sideways with three four-panel rows, or new reprints made after the style of early WDC&S (in which the strips are rearranged into 6 or 8-panel pages a la Dell, but it's Gladstone doing the rearranging -- i. e. "Monarch of Medioka"). I hope this explains it.... >gasp!< ;-) David Gerstein "I'm the Fuller Brush Man! I'm givin' g'way free semple!" From 72260.2635 at CompuServe.COM Tue May 10 06:22:37 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 10 May 94 00:22:37 EDT Subject: Disney-comics digest #324. Message-ID: <940510042237_72260.2635_EHB248-2@CompuServe.COM> HARRY: I'm rather puzzled by Michael Nadrop being upset that I swiped his idea for a cover for my Lo$. Why shouldn't I be upset that he swiped one of my stories as a topic for his cover? For pity's sake, why shouldn't I be absolutely enraged that they're even using my Lo$ in Holland without paying me a red cent? If he doesn't like his work immediately becoming the property of anyone else working on a Disney comic anywhere in the world, he'd better get another job. Perhaps they should have credited him with the cover idea on the Gladstone credits page? Perhaps the Dutch issues that use my work for free could give me a single line of credit for the hundreds of my pages they use? Perhaps there's nothing very fair in working on Disney comics, except to Disney. This is why I was a bit puzzled by Barks' growing hatred of me for doing sequels to his old tales -- I would never have suspected that anyone doing Disney comics would think they had any further private claim on material they freely signed over completely to Disney ownership. It was simply a reaction I just never expected for a moment. Your comment about the coloring in Gladstone's GotLL... I'm not sure I understand what you said about the scene when they see the cover of the ancient "Woodchuck Manual" in the glass case. I redrew that panel just for Gladstone to SHOW the emblem on the cover as I'd always intended that scene to show. Of course, you realize that's NOT the Woodchuck emblem, right? That;s why the cover had to be detached -- it's sitting upside down in the case... that's the Guardian symbol, not the Woodcheck emblem. As for the poor ending. There almost always has to be a final, closing gag, even if it's dreadfully weak. I worried that I was making a dreadful mistake in the few of my stories wherein I dared to end the tale WITHOUT that corny closing gag motif, as in my "Last Sled to Dawson" and several of the Lo$, particularly #8 & 11. In GotLL, the ending gag was the last bit I forced myself to come up with. The idea of the scrolls being overdue at the Library by 2000 years I think is sufficiently silly to be okay, but you didn't think the nephews should have been so happy with $crooge? Maybe not... they were just trying to make him feel better? But you saw that I needed them to be making lots of NOISE for the FINAL final gag with DD complaining he was missing his TV show. From H.W.Fluks at research.ptt.nl Tue May 10 10:02:00 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Tue, 10 May 1994 10:02:00 +0200 Subject: Rosa about Nadorp Message-ID: <199405100802.AA03703@athena.research.ptt.nl> Don: > I'm rather puzzled by Michael Nadrop Michel Nadorp actually 8-) > being upset that I swiped his idea for a cover for my Lo$. > [...] Perhaps they > should have credited him with the cover idea on the Gladstone credits > page? Yes, that's his point. Michel rather had NO credits than the WRONG credits. > Perhaps the Dutch issues that use my work for free could give me a > single line of credit for the hundreds of my pages they use? Yes of course they should! But they won't, as long as noone forces them... (But they don't say it's all Disney's work either.) > Your comment about the coloring in Gladstone's GotLL... [...] > Of course, you realize that's NOT the Woodchuck emblem, right? NO, I didn't! My only excuse is that I *read* the story only once (yet). But still, looking at the panel only, it is strange that the nephew says he can hardly see the emblem, while the reader can see it clearly (thinking it's the WJW symbol). --Harry. From lrn at daimi.aau.dk Tue May 10 10:05:14 1994 From: lrn at daimi.aau.dk (Lasse Reichstein Nielsen) Date: Tue, 10 May 1994 10:05:14 +0200 Subject: from RoC Message-ID: <199405100805.AA29766@stinne.daimi.aau.dk> Re: Disney-comics digest #316-21 LO$ TALK ======== William: > So, is there any chance that maybe, someone on the other side >of the ocean, who is getting their sets of the (what is it part 11?) >series, could possibly set aside a few extra copies they could make >available to folk like me in case we can't get them here when it >comes time? I'd be glad to trade or otherwise recompense for the >trouble. I'd like to have to full set eventually, even if it's >not all in English/American. I can get second hand copies of all Danish Rosa stories practically for free, all you impatient ones, but will you need them? Per: >Another thing I learnt at the NAFS(k) annual meeting that I forgot to >mention is that it seems like chapter 12 of Don's Life of Scrooge >series won't be published in Sweden. They've really messed it up >then, by printing just chapters 3--11!! Don: > Okay -- Per... or Mattias... if they knew at the NAFS(k) meeting >that chapter 12 of the Lo$ wouldn't be used, then the info came through >Stefan Dios, and he or someone could PLEASE TELL ME WHY NOT! I get 4 Egmont issues a week (groan) and they have all ended part 11 with a caption like "Not the End [Yet]". I doubt it seriously that no more chapters will appear. If it happens to be as a supplementary issue (not likely for a 15 pager) Swedes and Fins may miss out, like with chapter 1 and 2. Did I mention that Egmont uses your title for the final chapter 12, "The Richest Duck in the World", for chapter 11. The plot thickens. > Also -- does anyone on here get the Danish issues? I just >received #2000 with the last part of chapter 11 -- perhaps there is a >hint there to tell me if Denmark will also be omitting my story's >ending? At any rate, I'm getting on the FAX machine in just a moment to >contact the main office in Copenhagen to see what's going on. But also >in the Danish #2000 there is a history of ANDERS AND & CO telling all >the highlights of the contents since 1949; and it seems to finish by >devoting a full page to the first chapter of the Lo$ in 1992 -- what's >being said on that page??? You are named as a skilled artist and writer, and the only one except Barks who recieves mention. Have you been thinking about doing scripts for other artists? As David can tell, it's the next best thing to free money. And while there are many good artists, good stories are as rare as dirt on a golden moon. >RoC: > I would gladly give more than simply a set of those stupid >CAPTAIN KENTUCKY magazines for those Whitman comics you have for me! >Besides, where are you... Europe somewhere? I'm Danish, and you can be Chicken. >I hope you'll send those by airmail otherwise they'll take MONTHS to >get here. I'll, of course, pay that postage. My experiences with local B-class surface mail indicate that the delivery time increases with up to the square of the distance. Finnish AA taking well up to two weeks. >The Whitmans are quite difficult to find... and I even >thought that UNCLE $CROOGE #179 was particularly rare... but maybe not, >if you found one all the way over in... Europe somewhere? It's just the Lemmings story. Maybe the Norwegian donaldists bought more than their far share back in the 70's? However everything in it has been reprinted better by Disney Comics, and a complete run of U$ is out of my league. I'll try for a complete Captain K instead! *Heidi Ace MacDonald. I hope an unsubscribe message will not be your only contribution. Us 3-letter-joke-names got to stick together! Welcome aboard, Ace! Helge: >[...] a reprint of a Mickey Mouse continuation >story from WDC375 with a pirate plot set in the 17.-18. century with >Mickey, Minnie, Goofy and Pete. I have always (well, for almost 20 >years) thought that that story and the other Mickey continuation >stories by the same artist were by Paul Murry, but the editor's column >says it's by Floyd Gottfredson! > >Can anyone give a definitive answer? Yes, you are right, and they are wrong; it's Murry. Norwegian DD also credited "An education for Thursday" to FG, though it was Bill Wright's version for the One Shot magazine (or was that Murry too, as some sources say?) Apparently noone in Scandinavia remembers who FG really is, though word is out that he's good. Harry: >>Keep your eyes open for Squinch and Shyster, because they're going >>to be coming your way by the end of this year. >But they alreay ARE... I have seen at least one Egmont story featuring Squinch, >drawn by... Ferioli. Darn, if I can remember what a Squinch is, but... Tell me, Harry, does it have a code? Does anybody here play Magic: the Gathering(TM)? I have a Library of Alexandria card that allows you to draw more cards. It has been named "The Junior Woodchucks' Guide" (Gr"onsp"attebogen) Unknown writer: "You mean you don't want any more BORING Mickey stories?" From maittola at snakemail.hut.fi Tue May 10 13:33:21 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Tue, 10 May 1994 14:33:21 +0300 (EET DST) Subject: Disney-comics digest #324. In-Reply-To: <9405092329.AA23838@Minsk.DoCS.UU.SE> Message-ID: David wrote: > Are the comics of Norway, Sweden, and Finland all made by > divisions of Egmont? And for the most part, are they almost the same > between one another from week to week with the exception of covers? Aku Ankka and all related titles are published in Finland by Helsinki-Media (former Sanoma Oy). H-M is really big company. It publishes the best selling Finnish daily paper called Helsingin Sanomat and biggest 'yellow-paper' Ilta Sanomat. In these they print old Mickey Mouse and Donald Duck strips and 'sundays'. It also publishes Finlands largest weekly magazine called (surprise!) Aku Ankka. They also publish pocket-size Uncle $crooge (Roope-Set{) (100 pages - mostly Italian stories) monthly and Aku Ankka's pocket-book (over 250 pages - Italian stories) about monthly. They have also published 'Best of Donald Duck' album series for YEARS. All stories are by Barks. It's quite similar to Gladstone's Carl Bark's Library in Color, altough the price much lower. Also are available many hardcovers. The most recent is reprint of Aku Ankkas from 1951-1952 which includes also Barks' interview made last year. I think Helsinki-Media has nothing to do with Egmont. They have propably just bought rights to Egmont-stories and to all other Disney-stuff. Aku Ankka is quite similar to Swedish Kalle Anka. I think usually they are identical, but sometimes they publish something different. Aku Ankka is 32-36 page long (including covers). The stories are mostly D-stories with sometimes a H-story. Only AR-stories they have printed are by Rosa or WVH. They also reprint old stories by Barks and Murry for example. I have read Aku Ankka from the end of the 1980. I know that 1981 Aku Ankka's are peprints of 1980 Kalle Anka's. With at least one exeption: Back to the Klondyke which they decided to reprint here in 1981. Barks-Rosa: In Barks interview, printed in Aku Ankka last year, they asked Barks what he thinked about current disney writers/artists. He replied that he is only familiar with Don Rosa's and Van Horn's work. He said that he likes both (he's being polite here) but the Van Horn's style is closer to his own. He also said that Rosa's artwork is much more detailed, sometimes even too detailed. I think Barks has right of some degree to be upset at Rosa. I think I would be too if somebody would start to make sequels to MY stories. BTW, I didn't like Return to Plain Awful that much either. However, if somebody would show Barks what OTHER people are doing to ducks maybe he would start to respect Rosa more. Anyway, I like Rosa's stories very much. The Guardians of the Lost Library is one of the best duck-stories, and one of the best comic- stories I have ever read. After 'War Of the Wendigo' was published in Finland our publisher received more 'thank-you-mail' than ever before. There are lots of Rosa fans in Finland. That doesn't show in sales because most of the readers are subscribers. (That way people gets comics cheaper and publisher makes more profit. Also by subscription people in Finland often gets books BEFORE they hit the newstands.) /Mikko From H.W.Fluks at research.ptt.nl Tue May 10 13:57:41 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Tue, 10 May 1994 13:57:41 +0200 Subject: The return of Eli Squinch Message-ID: <199405101157.AA16472@athena.research.ptt.nl> David: > Keep your eyes open for Squinch and Shyster, because they're going > to be coming your way by the end of this year. I said: > But they alreay ARE... I have seen at least one Egmont story featuring > Squinch, drawn by... Ferioli. And David and Ole asked for more information about it. I don't have the story nearby, but from my own version of the Dutch index (not on ftp yet, I think): The story is coded D 91420. Its title can be translated as "Shark Reef". It's 16 pages (2 episodes of 8 pages). Dutch publication: Groot Winterboek 1993. The Dutch named Eli Squinch "Udo J. Uitzuiger", while his name in the old MM stories was "Eli Gluip". Apparently, they didn't recognise him. But I'm sure it's Squinch. I also checked Ole's Danish index, and he doesn't credit the story ("Hajrevets Hemmelighed") to Ferioli. This probably means I still can't recognise Ferioli's work good enough...? --Harry. From starback at Minsk.DoCS.UU.SE Tue May 10 15:51:41 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Tue, 10 May 94 15:51:41 +0200 Subject: Looking through ooold marked messages Message-ID: <9405101351.AA22347@Minsk.DoCS.UU.SE> FTP suggestions ~~~~~~~~~~~~~~~ Aeons ago Torsten suggested that the big Gladstone (and Disney) index at the ftp site should be split up in several files, as it's a bit uncomfortable to handle at the size it's in now. (Takes too much time to transfer the whole of it if you just want to look up a particular book.) I thought that was a good idea, but then I forgot everything about it. Noone can accuse me of being fast, but now at last I've made such a move, and divided the "gladstone-disney.index" file into "wdc.index", "us.index", etc. in a new directory "gladstone-index". (Well, really the index is on Disney Comics comics as well, but I couldn't think of a better name...) Does anyone like one big file better? I haven't deleted it yet. Back in Time for a Dime! ~~~~~~~~~~~~~~~~~~~~~~~~ Yes, Harry, when you mention it I recognize that we discussed that DTM code before. I think it an irritating hole in the Rosa index that we don't know the code of this story. Is there noone here who has this book? Surely Don has it, at least... H 90164 Donald Duck "Held 2000" ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ So whatabout that FLUX soap? Did you get Mau Heymans to include it as a reference to you, Harry? On FAQs and such ~~~~~~~~~~~~~~~~ RoC wrote: > Next to this we could have an encyclopedia, with entries being added as > we go, about all the creators, abbreviations, publishers, book titles, > famous stories, and named objects, characters, and events in Duckburg. > Anyone could join with their favorite subjects, and it would just have > to be alphabetized. Easy job up for grabs... I just want to add that it's already possible to do exactly that. Send me a text on the money bin, Mickey stories from France, Phil DeLara or whatever, and I'll put it on the ftp server. And at last thanks to Wilmer Rivers for his post on Penny Wise. It all makes sense now! -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From efferd at cs.tu-berlin.de Tue May 10 11:22:28 1994 From: efferd at cs.tu-berlin.de (Gilbert Roser) Date: Tue, 10 May 1994 11:22:28 +0200 Subject: Hello amigos In-Reply-To: <9405092149.AA22115@Minsk.DoCS.UU.SE> (elon@VNET.IBM.COM) Message-ID: <199405100922.LAA03044@masern.cs.tu-berlin.de> Date: Mon, 9 May 94 18:47:59 BSC From: "Elon V. Brisola" DAVID: (Fethry as a superhero) I don't know who Darkwing Duck is. I've seen only Rescue Rangers and some Donald Duck on TV, lately. But that doesn't sound like what I was talking about. Anyway, this hero Fethry thing is from the '70es. I remember a story in which Fethry helps Donald to prevent his secret being "Paperinik" as he disguises himself as "Paperinik" and shows himself along with Donald. Is it that what You meant? --Gilbert From morrow at physics.rice.edu Tue May 10 18:20:52 1994 From: morrow at physics.rice.edu (John Jacob Jingleheimer Elmo) Date: Tue, 10 May 1994 11:20:52 CDT Subject: Disney-comics digest #324. Message-ID: <0097E37F.1A452580.25637@physics.rice.edu> David A Gerstein writes: > Greg Elmo "Elmo" is a handle; Greg's my real-world-name. Just FYI. > said that Gladstone was such a "marginal" company >that he was glad to have ANY regular Duck comics. > Actually, Gladstone is doing pretty well right now from what >I've been told. Doing well relative to Gladstone history, perhaps. Doing well? Not at all. "Well" is reaching more than two hundredths of a percent of the population. Dell used to pull a percent or more. The "Disney Afternoon" shows reach a percent. >By "marginal" did you mean that they were barely >making a name for themselves, Greg? Yep. Awareness of Gladstones is almost nil. Even in the full service comic stores near me which sell twenty or more copies of Bone, Gladstones are ordered in the low single digits and sell out within a week--and orders *never* go up. Thank the deity I use a subscription service or I'd never see all the issues. If Gladstone is to become large enough to resist Disney corporate stupidity, it's going to have to get aggressive: Direct mail inquiries to store owners, telling them to order more *because Gladstones sell out*; subscription ads in Disney Adventure Digest (1e6 copies a month!); pressure on Marvel to get the Gladstones in point-of-purchase displays, etc. The market exists; it just doesn't know the Gladstones do. greg -- "It is useless for sheep to pass resolutions in favor of vegetarianism while wolves remain of a different opinion." --William Ralph Inge D.D. elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov) From H.W.Fluks at research.ptt.nl Tue May 10 19:35:52 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Tue, 10 May 1994 19:35:52 +0200 Subject: Soap ad in "Kerel 2000" Message-ID: <199405101735.AA27958@athena.research.ptt.nl> " Per Starback about H 90164 Donald Duck "Hero 2000": > So whatabout that FLUX soap? Did you get Mau Heymans to include it as > a reference to you, Harry? No, Mau doesn't even know me. Have you ever heard of Lux soap? (I still like to THINK he referred to me, though 8-) --Harry. From d91fe at gnetis.pt.hk-r.se Tue May 10 23:30:23 1994 From: d91fe at gnetis.pt.hk-r.se (Fredrik Ekman) Date: Tue, 10 May 94 23:30:23 +0200 Subject: July's Gladstones... Message-ID: <9405102130.AA03755@gnetis.pt.hk-r.se> David wrote: > WDC&S #593: "Donald's uncle Rumpus comes for a disastrous > visit" in a 10-pager by William Van Horn... anyone know which one this > is? Umm... quite frankly... I have no idea. The most obvious would be that it is one of the unpublished Danish stories, but none of the ones in the Van Horn index includes no uncle. Of course, it COULD be that I've missed one, but with Ole watching my every move, striking like a hawk as soon as I make even the slightest mistake, that doesn't seem very probable. /F From efferd at cs.tu-berlin.de Tue May 10 11:22:28 1994 From: efferd at cs.tu-berlin.de (Gilbert Roser) Date: Tue, 10 May 1994 11:22:28 +0200 Subject: Hello amigos In-Reply-To: <9405092149.AA22115@Minsk.DoCS.UU.SE> (elon@VNET.IBM.COM) Message-ID: <199405100922.LAA03044@masern.cs.tu-berlin.de> Date: Mon, 9 May 94 18:47:59 BSC From: "Elon V. Brisola" DAVID: (Fethry as a superhero) I don't know who Darkwing Duck is. I've seen only Rescue Rangers and some Donald Duck on TV, lately. But that doesn't sound like what I was talking about. Anyway, this hero Fethry thing is from the '70es. I remember a story in which Fethry helps Donald to prevent his secret being "Paperinik" as he disguises himself as "Paperinik" and shows himself along with Donald. Is it that what You meant? --Gilbert From trygve at maroon.tc.umn.edu Wed May 11 02:03:43 1994 From: trygve at maroon.tc.umn.edu (Tryg Helseth) Date: Tue, 10 May 94 18:03:43 CST Subject: from RoC Message-ID: <75905.trygve@maroon.tc.umn.edu> OLE wrote: >*Heidi Ace MacDonald. > I hope an unsubscribe message will not be your only contribution. >Us 3-letter-joke-names got to stick together! Welcome aboard, Ace! > I don't understand this. Could you please explain to me what you mean by "3-letter-joke-names?" Do you mean Heidi is a "HAM?" For that matter, would you mind explaining your name? Why do you capitalize it that way? Does "LRC" have some special meaning? Who is Lasse Reichstein Nielsen? Is that you or someone else? (At least I think I get the Lasse / Spot joke, but oLe / RoC is beyond my understanding... :) ) Desparately in need of a clue... Tryg From David.A.Gerstein at williams.edu Wed May 11 01:44:55 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Tue, 10 May 1994 19:44:55 -0400 Subject: Bill Wright and "An Education for Thursday" In-Reply-To: Your message of Wed, 11 May 1994 01:18:12 +0200 Message-ID: <9405102344.AA28219@bigbird.cc.williams.edu> Dear Folks, I hope to clear up a few things about the Gottfredson story "An Education for Thursday." It was first printed in comics in 1942's WDC&S 22-24, under the title mentioned above. This was a 6-panel version made from Gottfredson's original strips. In Feb. 1950, a completely different reformatting was made as MMOS 269 (or thereabouts). The story has the new title "MM's Surprise Visitor." It has been made into 8-panel pages using GOTTFREDSON'S art, NOT a redrawn version!!! It's EXACTLY like the version in WDC&S 22-24, only laid out differently! I believe the confusion comes because some of the panels were enlarged into half-page panels in this version, and in THOSE panels alone, it appears that Bill Wright added some things to the scenes to make them more detailed. But on the whole, this is Gottfredson's original version, if rather mutilated. About 1962, the story was redrawn by Paul Murry and used again. This version was clearly a direct redraw from the 1942 printing, right down to panel layout on many pages, and the fact that the pages have 6 panels. This is the version which has been reprinted in an Oberon Dubbelalbum, which I saw when visiting Disney Comics in Burbank in 1991. According to Thom Roep, Oberon has always used the Murry version of the story. As far as I can figure out, Norway's special edition used the 48-page 1950 version, with SOME added art by Bill Wright, but in fact very little. It's important to note that the original version of "Thursday" was INKED by Bill Wright... so the style isn't SO different. But if you compare the 1950 version with Wright's "MM and Pluto Battle the Giant Ants" of the same year, the difference is clear. I am very glad that this 1950 version was published. It was one of the most popular of all Dell MMs and therefore is quite easy to find. So although the story is banned in the United States, I was easily able to add it to my collection one day when I had a yen to read it, and then later find another copy quickly to give a friend for his birthday. It's really very funny, but also VERY stereotyped.... I'm not saying I don't wince to hear Thursday referred to as a "monkey" or as a "jungle ape" (the latter by Minnie). He's just an exuberant KID who isn't used to life in Calisota! David Gerstein "I'm de Fuller Brush Man! I'm givin' g'way free semple!" (But NOT of "An Education for Thursday" 1950 edition... I didn't say it was THAT easy to find ;-) From H.W.Fluks at research.ptt.nl Wed May 11 12:34:36 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Wed, 11 May 1994 12:34:36 +0200 Subject: From Daniel van Eijmeren Message-ID: <199405111034.AA18360@athena.research.ptt.nl> [Remember I mailed a while ago about Daniel? I sent him a lot of digests by snail-mail, in printed form. He read them all, and gave me an answer by snail-mail to post on the list. So I'm being the Lasse for him this time. --Harry] Hi everybody, My name is Daniel van Eijmeren. I'm 20 years old, student, and I'm living in Maassluis (nearby Rotterdam) in Holland. I'm a devoted fan of Carl Barks and Don Rosa. I'm very pleased with the fact that Rosa is a member of this list. I own the Carl Barks Library and a lot of Dutch weeklies, etc. The Rosa-stories I read are all in Dutch, so I just can't wait for a [English] Don Rosa Library. Thanks to Harry (who sent me digests via regular post for about two years) I'm able to read all your comments. Again thanks to Harry it is now possible for me to comment on this list. I have to say that my comments are not quite recent because I have to read all those digests first and then send my comments on a diskette via regular post to Harry. (The comments I have now are from digests of 28 August 1993 to 10 March 1994.) I hope it doesn't bother you. Harry Gladstone's "Birthday Bugaboo": ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Harry Gladstone didn't actually use the [Barks] half page itself, but it gave him an impression to work with. So the story might be Barks-like. (I haven't seen the story.) It was me who told Harry that the Barks-page was used in the story, but I had misread the article in the CBL. This has caused much rumours on this list, so I'm very sorry about that. Don Rosa (or should I say: Mr. Rosa?): ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I want to thank you first for the Kentuckies I recieved from you via Harry. Although it is difficult to understand the gags related to Louisville itself, I like the stories very much. It's a pity that Barks is so negative about your duck-stories, I could only think of two reasons why he is. The first one being that Barks probably doesn't like people who put too much depth to his stories and maybe he feels like he's been stolen when people put facts and situations from *his* stories into *their* stories. The second reason why Barks might be so negative in the media now is that he recently came up with a new story and it's quite possible that people now will prefer *your* stories over *his* new story. For Barks, being a comic writer again, you are a real competitor. And the fact that you use much of his stories, also can give him the impression that he is fighting with *himself*. Without your stories it would already be a difficult task to compete with his own old stories. What do you think about these theories? For me, the only thing I can say is: Keep up doing your stories like you want to do them. I like them *very much*, you are one of the very few writers who makes me read their stories again and again. And every time I find new gags. In my very long comment to you I have some questions as well: [**** **** SPOILERS for American readers! Lo$ parts 5 & 6 **** ****] - In the half-page panel in Lo$ 6 is an elephant which hides a drawing of Mickey Mouse under its paw. Is this your answer to the question on the list: Please, use Mickey at least once in your stories and I'll never ask for it again? - In Lo$ 5, in the interior of the castle of the McDucks, there is much lying around and there are also chairs and tables. Scrooge becomes angry when a Whiskerville carves a chair and he says that he wanted to sell the furniture. In Barks's "Old castle's secret" the castle is almost empty inside. Is this because Scrooge had indeed sold the furniture? Did you intend this that way? [**** **** END OF SPOILERS **** ****] Banned cartoons (David): ~~~~~~~~~~~~~~~~~~~~~~~~ In January this year, David mentioned cartoons which are now banned by Disney. Two years ago I spent a lot of time copying hired Disney-videotapes on my own tapes. Those tapes were made in 1985 or so, and not meant for sale. So I couldn't buy them. (The recent Disney-videotapes in Holland are meant for sale, but they are Dutch synchronized. I don't like that.) Anyway, among those tapes are cartoons which are now banned. For example: "Commando Duck", "Mother Goose goes to Hollywood", "Broken Toys", "Uncle Donald's Ants" and "Spare the Rod". I still haven't made an index of the cartoons, so I don't know if I have more. These cartoons are (as far as I know) uncut. "Commando Duck" might be because it seems somewhat shorter, but it shows Japanese. I also have the (banned?) cartoon "Spirit of '43" with a Scrooge-like character in it. David, if you want them copied on tape, I am willing to do that. (My VHS-videorecorder uses the systems Pal, Secam and NTSC4.45.) But then, I hope you are willing to copy your laserdisc with the Mouse-cartoons. (I have no laserdisc system.) I WANT TO MAKE IT CLEAR THAT I DON'T *WANT* TO VIOLATE COPYRIGHT-LAWS. But the way how Disney distributes their cartoons makes me do it. Because I *want* those cartoons, but they are not available here with original soundtrack otherwise than copying them from hired old tapes. If the Mouse- laserdisc was on videotape, I sure would have bought it. So, I am willing to *buy* all that stuff, but it's not for sale! That's the way Disney treats their appreciators. The lost but not least giveaways: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ When I bought the CBL complete I was sure that I had every story of Barks in original state. But very soon it was clear to me that it was far from that. A lot of stories (mostly giveaways) have been redrawn. I had no other idea than that these stories were lost. But reading this list I learned that all these stories still exist and the places where they exist are known. Why didn't the CBL use them? Is there a way to get these original stories? Does anyone of you have one or more? Will the "CBL in color" include some of them (not reprinted in CBL)? I would be very grateful if anyone would help me getting them. (Another example of willing to buy, but not for sale...) A few years ago I had a chance to speak with Jippes himself and he told me that he had to draw a lot of art himself for "Race to the South Seas" because he had to work with very bad xeroxes in different standard colours. He said that only the ducks were somewhat clear to be seen, but he had to draw the sea and the natives himself. Now my opinion is that "South seas" is a *Jippes-story*, written by Carl Barks. The censored CBL: ~~~~~~~~~~~~~~~~~ In november 1993, David gave an updated list of changes in the CBL. It included some stories of which he didn't know what the status in the CBL was. Here are my conclusions: * Land of the totempoles: CBL unchanged. * Land beneath the ground: Changes due to restoration in CBL. Original panel without added caption is printed apart from the story. * Island in the sky: I *think* the dialogue is partly censored in the CBL. Original dialogue of Columbus is shown. * How green was my lettuce: (Silhouette of Scrooge is *deleted* not added.) Balloons are added, changed and deleted to fill in the original art. The "original" pasted art is also shown in CBL. I think the CBL did the restoration very good. * : In the CBL is also a sign, which says "toys". It this what you mean? Is this sign added? Why? * : CBL unchanged. * Darkest Africa, Atom bomb, Stormy visit, Kites, Pets: Status in CBL is the same. * (USGTD 1): Logo "Uncle Scrooge" added on first page in CBL. Not mentioned before: * A Cold Bargain: CBL has changed heads of Brutopians? I heard something was censored. * Peaceful Hills: Original art in CBL? * Balloonatics (WDC): In CBL page 7 is the only one restored, or are there more? * Treasure of Marco Polo: Dialogue censored, but I think parts of it are mentioned somewhere else in CBL. * The golden river: Page deleted by Barks is added in the story in CBL, the panel he drew to replace the page is shown somewhere else. No art itself is changed. * Trick or treat: On page one a caption is shortened due to restoration of the original art. * (WDC 63): The "rings" shown above the heads of the ducks (last panel) are deleted in CBL. They were supposedly added by the editor before first publication. Did the CBL have an evidence for that? * Captain Blight's Mystery Ship: Uncensored in CBL The bird Gyro: ~~~~~~~~~~~~~~ [Dutch] Donald Duck Weekly says Gyro Gearloose is a *crane*. I can't imagine that Barks intended Gyro to be chicken, he drew "human-chickens" very differently. Did anyone notice that Gyro has *human* feet? Ulp! I realize that I have just written a sort of digest myself. Does my very long comment anger anyone? It's very long because I have to comment on lots of digests at once. I heard that some people here have to pay per byte, and I just don't want them selling their houses or cancel their vacations due to the costs they have to make for this. I hope you all will accept me on this list, if you don't... let me know. But if you do... see you next time! (About a couple of weeks.) Best wishes to all of you. (Harry, thanks!) --- Daniel. Date: 8 May 1994. "They didn't have stones there!" (The very bad Dutch translation of Harry's quote.) Harry PTT Research ()_() Dutch Disney comics freak Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl "Yeah... I've _heard_ of coral barques!" From morrow at physics.rice.edu Wed May 11 18:05:45 1994 From: morrow at physics.rice.edu (M-O-O-N spells Elmo, laws yes) Date: Wed, 11 May 1994 11:05:45 CDT Subject: Eisner Awards Message-ID: <0097E446.281334A0.25672@physics.rice.edu> Nominees have been announced for the Eisner Awards, which are awards for comic book professionals in America, chosen by comic book professionals in America. William Van Horn was nominated as best cartoonist for his work in WDC&S. Don "No Respect" Rosa was not nominated. greg -- "REALISTIC ORIGIN COMICS: BATMAN. Young Bruce Wayne was walking home with his parents one night, when a mugger stepped out of the shadows and murdered his parents in front of him. Bruce never truly got over the trauma, and after a childhood full of reform schools, he was placed into Arkham Asylum after claiming that a bat had told him that he had to dress up in a funny costume and beat criminals into submission."--Mike Schiffer et al. elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov) From d91fe at neptunus.pt.hk-r.se Wed May 11 20:58:02 1994 From: d91fe at neptunus.pt.hk-r.se (Fredrik Ekman) Date: Wed, 11 May 94 20:58:02 +0200 Subject: Eisner Awards Message-ID: <9405111858.AA13151@neptunus.pt.hk-r.se> Greg wrote: > William Van Horn was nominated as best cartoonist for his work in WDC&S. > Don "No Respect" Rosa was not nominated. Could you please tell us poor non-English-as-first-language-speaking devils exactly what "cartoonist" signifies in this particular context? /F From mayerson at sidefx.sidefx.com Wed May 11 21:17:23 1994 From: mayerson at sidefx.sidefx.com (Mark Mayerson) Date: Wed, 11 May 1994 15:17:23 -0400 Subject: Rosa self-caricature? Message-ID: <9405111917.AA25048@sidefx.sidefx.com> I recently bought a book from Krause publications called Comic Book Superstars, covering biographical data for American comics creators. Besides biographical information on Don Rosa, there was a photo of him sporting a moustache and goatee. This surprised me since the only image I had of Don were self caricatures (clean shaven) that he used to do for Information Center columns in Rocket's Blast and elsewhere. So.....there's a character in Guardians of the Lost Library named Hassan Ben Fhedyet who sports a moustache and goatee. What's the story, Don? Is that you? ___________________________________________________________________ Mark Mayerson Side Effects Software Inc., Internet: mayerson at sidefx.com Toronto, Ontario, Canada (416) 366-4607 From trygve at maroon.tc.umn.edu Thu May 12 01:02:21 1994 From: trygve at maroon.tc.umn.edu (Tryg Helseth) Date: Wed, 11 May 94 17:02:21 CST Subject: Rosa self-caricature? Message-ID: <72524.trygve@maroon.tc.umn.edu> Mark Mayerson wrote: >So.....there's a character in Guardians of the Lost Library named >Hassan Ben Fhedyet who sports a moustache and goatee. What's the story, >Don? Is that you? That character, Hassan Ben Fhedyet, doesn't look anything like the self-caricaricatures that Don did in the RBCC... HBF is thin and drawn (drawn thin? ) to go along with his name. Tryg From 72260.2635 at CompuServe.COM Thu May 12 06:42:56 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 12 May 94 00:42:56 EDT Subject: Disney-comics digest #326. Message-ID: <940512044255_72260.2635_EHB247-1@CompuServe.COM> SWEDEN: Yes, Sweden WILL be getting the Lo$ part 12, only it will be delayed until Christmas (since it's a Christmas story -- I can't argue with that). But also Sweden will delay my DD's special 60th Birthday story for one year since their editor has already written a special birthday story. This is not something in my control or any of my business, but my story was both clearly a story celebrating a "special" birthday, not the umpty-first. Also, it deals specifically with the 60th Birthday... it will need some rewriting and page deletions to remove that reference. HARRY: I see now what you meant about the nephew saying he could "barely recognize the JW emblem" on the book in the case when it looked quite clear. As the upside-down Guardian symbol, it was barely recognizeable as just a shape... but only *I* knew that since I wrote the story! As a JW symbol, which is what everyone in the story thought it was, there wasn't much reason for anyone to say it wasn't recognizeable. Hm. I guess I shouldn't have worded that just so. RoC: The "official" Egmont title to Lo$ #11 WAS "The Richest Duck in the World". Sometimes Byron and I don't quite agree on everything, but he's the boss; he chose that as the title for #11 and the title for #12 will be "The Recluse of McDuck Mansion". If I ultimately decide I don't like those titles, I'll suggest others to Gladstone and see what they think when it comes time for them to reprint them. "TRDitW" has a very special ring to it, and I wanted that as the title of the final chapter; my title for #11 was "The Empire-Builder from Calisota". By the way, are you saying that you've mailed those comics to me now? By air-mail? I look forward to receiving them! I'm sure you included your address so I can send you some CAPTAIN KENTUCKYs... but don't you want more, such as postage??? MIKKO: Yes, Egmont most certainly owns your Finnish publisher of Disney comics and all those other best-selling publications. Egmont is a @#$#&% big company -- they own over 100 publishers and TV/movie production companies around the world. And how do you know they received lots of favorable mail for my "Wendigo" story? Did they announce that in the comic or something? They never tell me stuff like that. DANIEL van E.: Of course, thanks for the kind words! As to your specific questions -- my putting a squished MM on the bottom of the elephant's foot in Lo$ #6 was just a joke between me and Byron Erickson. He was SUPPOSED to delete that. He thought the publishers would get a chuckle out of it, then THEY would delete it. Nobody deleted it and it was published in all editions! Gah! I know I kid a lot about how much more I like DD than MM... but I don't mean to be that disrespectful to poor MM. As for the comment in Lo$ #5 about $crooge selling all the furniture from the castle -- yes, I DO put an enormous amount of detailed references to old stories, many of which you won't spot for years... but THAT wasn't one of them. It was just something funny for $crooge to be saying in that panel. MARK M.: You know, you're the SECOND person to ask me if that guy in "GotLL" was supposed to be ME. And I can't figure this out. Why would anyone think it's ME? Does it look like it was drawn to LOOK like someone??? Why ME? Nah, it's not me -- I have a full red beard, not a black pencil-thin moustache and tiny goatee. And I'm not thin as a rail. And I'm not Egyptian. And I don't have a lil' black nose. Why would that be me? BARKS' NASTY COMMENTS: I'm steeling myself for a deluge of this sort of thing during Barks' European tour. There is evidence that the whole idea for this tour came from how much attention I've been getting in Europe, and he seems to offer at least two unsolicited more-and-more direct attacks on me with each interview he gives. I'm delighted he's going to Europe to enjoy how wildly popular his work is there, and I've always freely admitted that I thought all the attention I get was that the Europeans saw me as his "proxy" and I was all they had... but now they have the real thing. But I DO sorta resent the fact that he can't enjoy that popularity without taking swipes at me for no apparent reason -- maybe that's his revenge on me, in his eyes? I dunno, but as much as it hurts, I CAN'T react to it publicly. He is Barks. The way I'm trying to look at it nowadays is that if my lifelong idol fears me so much that he goes out of his way to make these mean-spirited and, perhaps, cowardly sneak attacks on me, I should take that as a supreme complement? At least that might help cut down on the nightmares I get each night that I hear his latest remark about me. Ah, well. From maittola at snakemail.hut.fi Thu May 12 11:53:53 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Thu, 12 May 1994 12:53:53 +0300 (EET DST) Subject: threethings Message-ID: William Van Horn index update: According to an advertisment in U$ #252 the 'Run-Down Runner' story in DDAD #10 is written by John Lustig. Family-Tree: Aku Ankka published some comments regarding Don Rosa's family tree. They also published a Barks' small (old?) version. According to that Gus Goose is as much Donald's cousin as Gladstone. Can someone confirm this or did our publisher mess things up? Universe Poll in rec.arts.comics.misc: Some guy is running a poll in racm about favourite Universes. You can vote three universes, best gets 5pts, second 3pts and third 1pt. So, vote for 'Barks-verse (Disney)'. Send votes (before 17th) to: misc209 at csc.canterbury.ac.nz /M From niko at otto.ramz.ing.tu-bs.de Thu May 12 14:02:59 1994 From: niko at otto.ramz.ing.tu-bs.de (Nikolaus Andresen) Date: Thu, 12 May 94 14:02:59 +0200 Subject: I'm visiting Vancouver! Message-ID: <9405121202.AA07354@otto.ramz.ing.tu-bs.de> Hi there Barks and Gottfredson-freaks! I know I'm not one of the regular posters ( mostly when I have requests :-) ) but nevertheless I've got another question: Are there any canadian members from the region around Vancouver or US-members from the west down to California in this list ? Me, I'm one of the german members of this list and I'm going for a summer-job abroad to Vancouver from July to September, and maybe I'll travel around a bit down to the states. If anyone is interested to be visited :-) and have a chat with a big Barks and Gottfredson fan, just let me know! Cheers Nikolaus Andresen From morrow at physics.rice.edu Thu May 12 21:07:01 1994 From: morrow at physics.rice.edu (M-O-O-N spells Elmo, laws yes) Date: Thu, 12 May 1994 14:07:01 CDT Subject: Disney-comics digest #326. Message-ID: <0097E528.A559FE20.25738@physics.rice.edu> Fredrik Ekman writes: >Greg wrote: >> William Van Horn was nominated as best cartoonist for his work in WDC&S. >> Don "No Respect" Rosa was not nominated. >Could you please tell us poor non-English-as-first-language-speaking >devils exactly what "cartoonist" signifies in this particular context? I double-checked. The actual cateogry is "Writer/Artist or Cartoonist". I suspect the difference between Wartist and Cartoonist is style and humor content. Cartoonists use "cartoony" art (big-foot style, caricatures, funny animals, etc.) and produce mostly humorous work. The complete category nominations are: 12. Best Writer/Artist or Cartoonist Phil Foglio, XXXenophile (Palliard Press) [also Buck Godot (Palliard) --gm.] Roberta Gregory, Naughty Bits (Fantagraphics) Stan Sakai, Usagi Yojimbo (Fantagraphics/Mirage) Dave Sim, Cerebus (Aardvark-Vanaheim) Jeff Smith, Bone (Cartoon Books) William Van Horn, Walt Disney's Comics and Stories, Donald Duck Adventures (Gladstone) Of these, Phil Foglio, Stan Sakai, Jeff Smith, and William Van Horn are cartoonists. Incidentally, I'm familiar with the work of everyone on this list except Roberta Gregory. Every single one of them is a good-to-excellent read. (My vote would go to Foglio.) Word-of-mouth on Gregory is also excellent. greg -- "The use of unnecessary force in the apprehension of the Blues Brothers has been approved."--The Blues Brothers elmo (morrow at physics.rice.edu,morrow at fnal.fnal.gov) From maittola at snakemail.hut.fi Fri May 13 10:59:57 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Fri, 13 May 1994 11:59:57 +0300 (EET DST) Subject: Disney-comics digest #327. In-Reply-To: <9405122329.AA08073@Minsk.DoCS.UU.SE> Message-ID: Don wrote: > Yes, Egmont most certainly owns your Finnish publisher of Disney > comics and all those other best-selling publications. I have to check that out somehow, but I think 'Helsinki Media Company Oy' is mainly owned by Finnish people, Egmont may have big bunch of its stocks tough. > And how do you know they received lots of favorable mail for my > "Wendigo" story? Did they announce that in the comic or something? They > never tell me stuff like that. In Aku Ankka there is sometimes (not in every issue) a sort of letter-column called 'Toimituksen oma nurkka'. After the Wendigo-story they 'announced' that they have never received so much fan-mail for any story. They also published a fan-letter right after your 'first' story (not Son Of the Sun) in Finland was published. The writer asked who the incredible artist-with-odd-style was and they answered it was 'young American called Don Rosa.' In last week's issue there is discussion about your Family-Tree. People are complaining like 'Since I was three I have known Granny Duck is $crooges sister...' (for some reason $crooges last name in Finland is Duck not McDuck). They also talked about Dumbella-Della 'incident'. /M From James_Williams at ESS.NIAID.pc.niaid.nih.gov Fri May 13 14:27:16 1994 From: James_Williams at ESS.NIAID.pc.niaid.nih.gov (James Williams) Date: Fri, 13 May 94 07:27:16 EST Subject: Disney-comics digest #324. Message-ID: <2dd36414@ESS.NIAID.pc.niaid.nih.gov> Mikko wrote: >I think Barks has right of some degree to be upset at Rosa. I think I >would be too if somebody would start to make sequels to MY stories. I disagree. Anyone doing stories featuring Scrooge or Gyro are building on Barks. When Barks did his stories and created new characters, they became part of the Disney Duck Universe. Part of the magic of comics is having multiple writers and artists work on the same characters or stories. If I wrote comics, I'd be thrilled to create a comic book character (or story) that out lived me. James Williams From gadducci at DI.UniPi.IT Fri May 13 17:28:05 1994 From: gadducci at DI.UniPi.IT (Fabio Gadducci) Date: Fri, 13 May 1994 18:28:05 +0300 Subject: varia Message-ID: <9405131629.AA06858@Minsk.DoCS.UU.SE> Dear folks, just some scattered remarcks on a few topics. I'm sorry with all of you (mainly David and Don) who are still waiting for a personal answer: I'll try to send you a personal mail asap. And about David: some time ago he wrote > James said, "Instead of copying Osbourne and Gottfredson, why >[shouldn't Egmont's creators] use some of their influences. Imagine >instead that Egmont chose Dashil Hammet or Raymond Chandler as their >influence for the writing and for the artwork use some of the old film >noir movies of the 40s and 50s." > > I'm sorry to disagree with you on this, James, but let me >explain why. Mickey Mouse's personality, in both the best of the >cartoons and the (generally acknowledged) best of the comics, is based >on EXUBERANCE. The best MM stories come when MM is like a mouse in his >inquisitiveness, curiosity, flightiness and enthusiasm. A "film noir" >aspect tends to work against that feeling. Scarpa manages it now and >then (see "Kali's Nail", MM 254-255), but most of the time stays clear >of it, because a grim aspect neutralizes what makes MM different from >other adventure-oriented characters, if he stays in it for long. > In some of the "Italian Disney Universe" stories by those >other than Scarpa, they've gone overboard with this. In fact, perhaps >the most direct statement came when Disney-Italy produced a straight >MM version of "Casablanca" a few years back. Beautifully drawn, but >MM didn't feel quite right in the role. Well, to be honest, I really like that version of "Casablanca". A great story by Cavazzano -one of his best ever-, who also wrote -adapted- the script. Mickey there is really exuberant (as you say), Goofy is great, while the grim aspects are really in the background. Anyway, since you'll never see it (Disney banned the story... don't ask me way!!), there is no reason to keep on talking... :-) Gilbert wrote: > From: "Elon V. Brisola" > > DAVID: (Fethry as a superhero) > I don't know who Darkwing Duck is. I've seen only Rescue Rangers and some > Donald Duck on TV, lately. But that doesn't sound like what I was talking > about. Anyway, this hero Fethry thing is from the '70es. > > >I remember a story in which Fethry helps Donald to prevent his secret being >"Paperinik" as he disguises himself as "Paperinik" and shows himself along >with Donald. >Is it that what You meant? The story you are referring to is Italian, even if I do not remember now the authors (it was a stupid-but-not-so-bad-drawn story of the late Seventies, anyway). David was referring to Paperbat (the Italian name): a very silly character, Brasilian I think, which is quite appreciated in South America (or so I'm told). Even more, they have a whole group of superhero characters, including Super-Goofy, his nephew Gilberto (Italian name), Paperinika (SuperDaisy, more or less: a bad Italian character created by Martina and Cavazzano, as far as I remember) and some other ones, even more silly. Ronald wrote: >Okay folks --- I FOUND my copies of "Dan O'Neill's Comics and Stories" Vol. 2 >Nos. 1 & 2 in my basement (I haven't the foggiest notion if there was ever a >Vol. ONE...maybe he was referring to the two issues of "Air Pirates"), from >1975. I have a copy of "Dan O'Neill's Comics and Stories" Vol. 1 No. 1, dated January 1948, even if I'm quite sure it is from 1974... :-) Btw, can someone of you find old underground comix for me? I'm willing to pay, honestly... And Greg, about Eisner Awards: >Incidentally, I'm familiar with the work of everyone on this list except >Roberta Gregory. Every single one of them is a good-to-excellent read. >(My vote would go to Foglio.) Word-of-mouth on Gregory is also excellent. Instead, my vote would go to Roberta Gregory. Like her previous works on Wimmen's Comix, Naughty Bits by R.G. (published by Fantagraphics) is a really excellent read. Try it!! Let's stop commercials here... Fabio PS Yes, Don: I received the magazines, but only two days ago. I'll send you my impressions next week, after the Rome convention (I won't be there, but I have a good secret agent...) ================================================================ Fabio Gadducci Dip. di Informatica Home: +39-50-541725 Universita` di Pisa Off.: +39-50-887268 Corso Italia 40, 56100 PISA (ITALY) FAX: +39-50-887226 E-mail:gadducci at di.unipi.it ================================================================ From lrn at daimi.aau.dk Sun May 15 16:36:50 1994 From: lrn at daimi.aau.dk (Lasse Reichstein Nielsen) Date: Sun, 15 May 1994 16:36:50 +0200 Subject: from RoC Message-ID: <199405151436.AA22542@tours.daimi.aau.dk> DIGESTS #322-325 Harry about Donald's 2000th story: ================================== >Ole "RoC" said: >> (The Flux Soap ad is there, but there's only one Donald. Really.) > >The Flux Soap ad is one one of the 1-page panels, while I was talking about >another 1-page panel, where Donald appears twice. It's the panel where >the Ducks and a lot of familiar persons have a banquet. On the FLUX page there are about 24 Donalds, but on the other I can find only ONE, unless you are referring to the suspicious-looking guy wearing top hat, false(?) beard, and sunglasses? Has the double been removed in the Egmont editions, or have I just gone blind? Mikko about Finnish Aku Ankka: ============================== >In Barks interview, printed in Aku Ankka last year, they asked Barks >what he thinked about current disney writers/artists. He replied >that he is only familiar with Don Rosa's and Van Horn's work. He >said that he likes both (he's being polite here) but the Van Horn's >style is closer to his own. He also said that Rosa's artwork is much >more detailed, sometimes even too detailed. I think exactly those lines were quoted here. The new issue #18 has a page with a schedule for Barks' Euro-tour, something about the family-tree and something else about Marco Rota's 50 years' story? I know exactly how Don feels, when he's trying to guess what a foreign comics says, and nothing but names make any sense... Harry about The return of Eli Squinch: ====================================== >[...] >And David and Ole asked for more information about it. I don't have the story >nearby, but from my own version of the Dutch index (not on ftp yet, I think): > >The story is coded D 91420. Its title can be translated as "Shark Reef". >It's 16 pages (2 episodes of 8 pages). Dutch publication: Groot Winterboek >1993. "Secret of the Shark Reef" is in Danish AA #42+43/92. >The Dutch named Eli Squinch "Udo J. Uitzuiger", while his name in the old >MM stories was "Eli Gluip". Apparently, they didn't recognise him. But I'm >sure it's Squinch. Well, he didn't recognize Mickey and Goofy either. I'm not even sure if Bad Pete did. Except for decent, but uninspired, art and a gag stolen from Herge's "Tintin and The Treasure of Red Rackham" it is not a very interesting story. >I also checked Ole's Danish index, and he doesn't credit the story ("Hajrevets >Hemmelighed") to Ferioli. This probably means I still can't recognise >Ferioli's work good enough...? Even I can't! But it appears to be by Miguel. I assume he works for Tello-Team, as some stories credited to them are similar to his style. Also it's one of those "Zoom Transport" stories that, I think it was Gary who said so, were being produced by Tello-Team. Fredrik about Van Horn story in WDC&S #593: =========================================== >David wrote: [...] anyone know which one this is? > >Umm... quite frankly... I have no idea. The most obvious would be that >it is one of the unpublished Danish stories, but none of the ones in >the Van Horn index includes no uncle. Of course, it COULD be that I've >missed one, but with Ole watching my every move, striking like a hawk >as soon as I make even the slightest mistake, that doesn't seem very >probable. Odd. I don't recall it either, so maybe it's unpublished here too. You should not be able to make many mistakes if you read your Kalle Anka & C:o every week like me. All Scandinavian/Nordic issues always print his stories, and in Norway even the old 6-panel-a-page stories are being reprinted. Tryg about RoC: =============== >OLE wrote: > >>*Heidi Ace MacDonald. >> I hope an unsubscribe message will not be your only contribution. >>Us 3-letter-joke-names got to stick together! Welcome aboard, Ace! > >> > >I don't understand this. Could you please explain to me what you mean by >"3-letter-joke-names?" Do you mean Heidi is a "HAM?" For that matter, >would you mind explaining your name? Why do you capitalize it that way? >Does "LRC" have some special meaning? Who is Lasse Reichstein Nielsen? Is >that you or someone else? (At least I think I get the Lasse / Spot joke, >but oLe / RoC is beyond my understanding... :) ) > >Desparately in need of a clue... No, I'm not an ORN either. Heidi is an "Ace". oLe -> It supposed to be a guy with a big nose who doesn't see too well with his right eye. You try and draw yourself in ASCII! Ole Reichstein Nielsen -> My first, middle and last name. I don't have net-access so... Lasse Reichstein Nielsen -> My brothers first, middle and last name. He sends and recieves mail for me. RoC -> My handle. Could mean "Reader of Comics" or "Right on, Commander!" or "Republic of China" or "Red 'ot Chili-peppers" or... Spot -> My brothers handle. Not from Kurt Vonnegut's "Slaughterhouse 5", but Frank Miller's "Batman: The Dark Knight Returns". LRC -> "Lower Right Corner": where to contact me. But if YOU got a Lasse / Spot joke, please tell me (us)! From rivers at seismo.CSS.GOV Sun May 15 20:39:32 1994 From: rivers at seismo.CSS.GOV (Wilmer Rivers) Date: Sun, 15 May 94 14:39:32 EDT Subject: Washington Post on Mickey Message-ID: <9405151839.AA11602@beno.CSS.GOV> The magazine section of today's issue of the Washington Post newspaper contains a long article by Peter Carlson about the Walt Disney Corpora- tion and their theme parks (since they are considering building a fifth one, near Washington). This article also contains some interesting comments about Mickey himself, and I think the members of this list would want to read those. I hope the Internet police will allow me to extract those remarks from the much longer article, which of course is copyrighted by the Washington Post. Most of the comments about Mickey are quotes from John Hench, who is identified as "working for Disney since the '30s, painting backgrounds on 'Dumbo', winning an Oscar for special effects on '20,000 Leagues under the Sea', designing portions of all four Disney theme parks" (including Disneyland, where the interview took place). His comments on Mickey begin with the character's creation, after Disney's distri- butor had stolen from him the rights to Oswald Rabbit. -------- begin Washington Post's copyrighted material here ---------- Disney responded by creating a new character, a mouse named Mickey. His chief animator, Ub Iwerks, simply erased Oswald's long narrow ears, replaced them with new round ears and fiddled a bit with the face. Presto, a mouse! That little change - from long ears to round ears - made Mickey's head basically a series of three interlocking circles. And that, says John Hench, is the secret of Mickey's unprecedented international success. Hench ought to know: He's been Mickey's "official portrait artist" for 40 years. "There's power in that kind of arrangement of circles," he says. "His contemporary, Felix the Cat, has got a lot of points on him and I think that activates a very old concept - that you can get hurt around sharp points. Round forms are definitely more friendly." Round forms recall a mother's breast and a pregnant torso and a baby's face and other good things, Hench says. He swears he's seen ancient fertility symbols that looked like Mickey. "They were carried as some kind of magic." [Carlson then discusses how Mickey has changed from the mischievous Iwerks character to today's bland corporate representative.] "As Mickey's personality softened, his appearance changed," wrote Har- vard biologist Stephen Jay Gould in _The Panda's Thumb_. Gould traced Mickey's evolution from a ratty rodent with a long, pointy snout to a cute little creature with the round, soft features and big eyes of a human baby. Why does a Harvard biologist pay attention to such mat- ters? Because the cute-ification of Mickey illustrates a famous evolu- tionary theory theory, which holds that human beings - stuck with off- spring requiring years of labor-intensive nurturing - are biologically programmed to get all gooey and gaga over animals with babyish fea- tures. That, he says, is why we love the Mouse: Mickey "reflects the unconscious discovery of this biological principle by Disney and his artists." Hench disagrees slightly: He says the artists _consciously_ made Mickey look like a cute little kid. [Carlson and Hench run into a group of kids gathered around the Disney- land employee in the Mickey costume.] Hench acknowledges, however, that the costumed Mickeys bother him. "The walk-around Mickey is, to my mind, a monstrous distortion of what the real figure should be. They have to get a human being in there, and human beings are built differently." He shrugs. "But it still works." Hench sits on a park bench, takes out a piece of paper and starts sketching Mickey. With a couple quick strokes, he creates the famous ears. "They're always circles, no matter which way he looks," he says. Then he adds Mickey's rounded hairline and pointed widow's peak. "This gives him his eternally surprised expression - surprised and delighted somehow." He smiles. "And he _is_ delighted. He's a kind of pro-life symbol." ----------------------------------------------------------------------- Wilmer Rivers From David.A.Gerstein at williams.edu Mon May 16 03:25:55 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 15 May 1994 21:25:55 -0400 Subject: Washington Post on Mickey In-Reply-To: Your message of Mon, 16 May 1994 01:18:13 +0200 Message-ID: <9405160125.AA23296@hancock.cc.williams.edu> Dear Folks, Stephen Jay Gould's comments about Mickey Mouse, explaining why America allegedly loves the character in his current state more than ever, really bothered me. "Human beings - stuck with off-spring requiring years of labor-intensive nurturing - are biologically programmed to get all gooey and gaga over animals with babyish features. That, he says, is why we love the Mouse." Excuse my irritation, but worship of THIS type of paean to the post-lobotomy MM results in MM products which turn off everyone but mothers of newborn babies. Anyone who thinks that designing MM with fetuslike features endears him to kids and everyone else BUT mothers of newborn babies is VERY WRONG. Mickey's popularity first began to fall when his screen self got lobotomized in 1934. It took the second (and fatal, in terms of his popularity with older kids) plunge when the character was infantized in the late 1940s. (I don't pinpoint the "infantization" as being when he got the whites in his eyes, but I mean when he got the pink face, big cheeks, and high forehead after WWII.) In this country Mickey is not a beloved CHARACTER. He is a beloved IMAGE. I think that the "Perils of Mickey" campaign, based on a MM who is an attractive character but not babylike, and its recent success show that Disney may realize this at last. But I don't think re-iteration of S. J. Gould's comments show anything but why new mothers love Mickey, and you can bet that most of them are not interested in him for his complex character traits. David Gerstein "I'll put Minnie's silk parachute in my pocket so nobody'll see me carrying it! Else they might think I was a *baby!*" [roughly paraphrased] From David.A.Gerstein at williams.edu Mon May 16 05:02:01 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sun, 15 May 1994 23:02:01 -0400 Subject: Disney-comics digest #329. In-Reply-To: Your message of Mon, 16 May 1994 01:18:13 +0200 Message-ID: <9405160302.AA16822@bigbird.cc.williams.edu> Dear Folks, Sounds to me like the character in Egmont's "Secret of Shark Reef" isn't really Eli Squinch, just a rather loose plagiarism of the character. Squinch, as he is to be used regularly in the new Egmont stories, is being defined strictly from his earlier, Gottfredson appearances. Although he was last seen in stories made nearly sixty years ago, he's being treated now as if he's never been gone! Maybe the character in "Shark Reef" was in fact Don Rosa's villain from "His Majesty McDuck"!! (Who, if you'll forgive me, Don, was very like a hybrid of Eli Squinch and Sylvester Shyster... perhaps that's why I like him so much!) Akers MacCovet, I mean. What's MacCovet called in the foreign editions of Don's story? "Ye've been stickin' your big nose into too many things that *aren't* your *business*, whippersnapper! And you're going to *pay* for it!" "Oh, *sorry* to have bothered ya, Mr. Squinch! Such a shame that you've gotta be leavin'!" From 72773.661 at CompuServe.COM Mon May 16 08:17:21 1994 From: 72773.661 at CompuServe.COM (Mark Clegg) Date: 16 May 94 02:17:21 EDT Subject: Disney-comics digest #328. Message-ID: <940516061720_72773.661_FHM31-1@CompuServe.COM> You requested a source for undergrounds. As I live a couple of blocks from Bob Sidebottom's Comic Collector Shop I can probably acquire them for you. Bob was a major distributor of underground comics in the early '70s and I believe they still have a good selection available. Knowing Bob's policies (even though Bob himself is now dead) they will probably be a little pricey. Let me know what you're looking for and I'll see what I can do. From maittola at snakemail.hut.fi Mon May 16 09:57:51 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Mon, 16 May 1994 10:57:51 +0300 (EET DST) Subject: Disney-comics digest #328. In-Reply-To: <9405132329.AA14009@Minsk.DoCS.UU.SE> Message-ID: > I disagree. Anyone doing stories featuring Scrooge or Gyro are > building on Barks. I meant the direct sequels Don makes. Like Return to Xanadu or 'Plain Awful'. But what is important is that *I* don't care if Don makes those sequels, I love them! (Well, Plain Awful sequel isn't so great). So you disagree with Barks, not with me. /Mikko From maittola at snakemail.hut.fi Mon May 16 10:05:08 1994 From: maittola at snakemail.hut.fi (Mikko Henri Juhani Aittola) Date: Mon, 16 May 1994 11:05:08 +0300 (EET DST) Subject: Disney-comics digest #329. In-Reply-To: <9405152329.AA07420@Minsk.DoCS.UU.SE> Message-ID: Finnish AA: > The new issue #18 has a page with a schedule for Barks' Euro-tour, > something about the family-tree and something else about Marco Rota's > 50 years' story? I don't have the book right here, but I think in that Marco Rota's story $crooge and his sister (!) Granny Duck found baby-Donald in the middle of the road just coming out of egg. (!) Sounds quite bad...eh? /Mikko From H.W.Fluks at research.ptt.nl Mon May 16 11:24:37 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 16 May 1994 11:24:37 +0200 Subject: Disney comics Database: an example file (not too big) Message-ID: <199405160924.AA11244@athena.research.ptt.nl> Here's one of the output files of the Disney comics Database (DcD). Just to give you an impression of the progress. I took one of the shortest files. Next is a list of all title heroes in the DcD. At the moment, the entire Gladstone/Disney index and Kjell Crone's Western index (plus some additions to that) are in the DcD. Behind every entry, the occurrences are listed: per code (AR, S, K etc.). "Rest" means that the entry is not (yet) listed in a story file, but is in a "remainder" category. Especially covers are here (because they ususally don't have a code) and Donald Duck newspaper strips (because I haven't put them in a separate file yet). Mickey Mouse newspaper strips (by Gottfredson c.s.) are not counted in this list. I have a similar list for creators. A lot of error correcting has still to be done. I will come back with some specific questions later. Any remarks or other reactions are very welcome. If someone wants to review (parts of) the DcD, ask me, and I'll send him some results (those files are too big to send to the mailing list). --Harry. Output generated by DIZNICRE creators program version 0.1 (c) Harry Fluks 1994 -- (none) [K: 4, S: 2, W: 289, Rest: 2] A+D Daisy and Donald [D: 1, W: 6] AMJ April, May and June [W: 10] B+M The Beagle Boys and Mad Madam Mim [W: 4] BAM Bambi [W: 12] BB The Beagle Boys [D: 10, W: 11] BO Bongo [W: 21] BR Brer Rabbit [D: 4, W: 29, Rest: 5] BU Bucky Bug [W: 50, Rest: 3] BW The (Big) Bad Wolf [W: 95] CD Chip 'n' Dale [D: 1, K: 2, W: 81, Rest: 7] CDR Chip 'n' Dale Rescue Rangers [K: 20, S: 6, Rest: 12] D+A Donald and Daisy [W: 5] D+M Donald and Mickey [K: 1, W: 5] DA Daisy (Duck), Daisy Duck's Diary [D: 1, H: 1, W: 107] DB Disney Babies [S: 1] DD Donald Duck [AR: 25, D: 107, H: 36, I: 2, K: 75, S: 1, W: 1264, Z: 49, Rest: 268] DT Duck Tales [AR: 8, K: 29, S: 19, W: 1, Rest: 18] DU Dumbo [W: 19] FD Family Duck (covers) [W: 44] FM Family Mouse (covers) [W: 1] GA ?? [W: 1] GD Grandma Duck [D: 2, H: 1, K: 1, W: 129] GJ Gus and Jaq, Jaq and Gus [W: 3] GO Goofy [D: 6, I: 2, K: 32, S: 15, W: 274, Rest: 12] GU Gus Goose [H: 1, W: 1, Rest: 1] GY Gyro Gearloose [D: 4, H: 2, K: 1, W: 140, Rest: 1] HDL Huey, Dewey and Louie (Junior Woodchucks) [D: 2, K: 5, S: 6, W: 128, Rest: 4] HH ?? [D: 1] HW Hazel the Witch [W: 1] JC Jiminy Cricket [W: 39] JO Joe Carioca [W: 1] LD ?? [W: 1] LH Little Hiawatha [W: 57] LT Lady and the Tramp [W: 8] LVD Ludwig Von Drake [D: 1, K: 4, W: 8] LW Li'l Bad Wolf [D: 7, K: 2, W: 135, Rest: 3] M+D Mickey and Donald [K: 1, Rest: 21] M+G Mickey and Goofy [K: 1, S: 2, W: 31, Rest: 1] M+P Mickey and Pluto [W: 8] MA Mad Madam Mim [W: 4] MD Moby Duck [W: 1] MF Morty and Ferdie [W: 17] MI Minnie Mouse [W: 17] MM Mickey Mouse [D: 1, H: 1, I: 6, K: 5, S: 1, W: 796, Z: 2, Rest: 95] OG (unknown in Western files) [W: 12] PB The Phantom Blot [W: 3] PI Pinocchio [W: 13] PL Pluto [K: 1, W: 218, Rest: 1] PP Peter Pan [W: 11] SC Scamp [D: 1, S: 1, W: 64, Rest: 7] SD The Seven Dwarfs [W: 15] SG Super Goof [D: 6, K: 2, W: 12, Rest: 1] SW Snow White [W: 7] TB Tinker Bell [W: 13] TH Thumper [W: 15] TLP The Three Little Pigs [W: 13, Rest: 2] US Uncle Scrooge / Scrooge McDuck [AR: 22, D: 96, H: 8, I: 3, K: 42, S: 1, W: 396, Rest: 74] WUZ The Wuzzles [S: 4] WtP Winnie the Pooh [W: 2, Rest: 22] --end-- From H.W.Fluks at research.ptt.nl Mon May 16 11:41:07 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 16 May 1994 11:41:07 +0200 Subject: Mikko in Disney-comics digest #327. Message-ID: <199405160941.AA12428@athena.research.ptt.nl> Mikko: > William Van Horn index update: > > According to an advertisment in U$ #252 the 'Run-Down Runner' > story in DDAD #10 is written by John Lustig. Experiences with other stories have taught me not to trust the advertisements of Disney Comics... > Family-Tree: > > Aku Ankka published some comments regarding Don Rosa's > family tree. They also published a Barks' small (old?) > version. According to that Gus Goose is as much Donald's > cousin as Gladstone. Can someone confirm this or did > our publisher mess things up? Rosa used Barks' original tree (the one Barks used for his own reference; published in the Carl Barks Library). But he changed a few things, such as the name of Donald's sister and the place of Gus in the tree. --Harry. From H.W.Fluks at research.ptt.nl Mon May 16 14:07:38 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 16 May 1994 14:07:38 +0200 Subject: Ole in Disney-comics digest #329. Message-ID: <199405161207.AA19838@athena.research.ptt.nl> Ole about Donald's 2000th story: > On the FLUX page there are about 24 Donalds, but on the other I can > find only ONE, unless you are referring to the suspicious-looking guy > wearing top hat, false(?) beard, and sunglasses? That's the one I meant. Remember the Barks story where Donald is disguised this way? about The return of Eli Squinch: > Well, he didn't recognize Mickey and Goofy either. I'm not even sure > if Bad Pete did. Maybe the writer didn't even mean him to be Squinch. But the artist made Squinch out of him. He definitely looks 100% like Squinch. about Egmont artists: > [...] But it appears to be by Miguel. I assume he works for > Tello-Team, as some stories credited to them are similar to his style. > Also it's one of those "Zoom Transport" stories that, I think it was > Gary who said so, were being produced by Tello-Team. Could you tello us some more about "Tello-Team"? Is this a new studio? I thought Tello worked for the studio "Recreo". Did he start a studio on his own? --Harry. From 72260.2635 at CompuServe.COM Tue May 17 04:48:33 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 16 May 94 22:48:33 EDT Subject: Disney-comics digest #330. Message-ID: <940517024832_72260.2635_EHB224-1@CompuServe.COM> HARRY: I didn't know you sent me those Dutch Rosas. They showed up a few days ago -- thanks very much! Putting them away, I noticed something that made me think about the comment you said Michael Nadrop made about being irritated that I swiped his cover idea. When they reprinted my "His Majesty McDuck", he swiped MY cover idea (I guess it was him) and did a cover that was a tracing of my cover, line for line, except in his style (i.e.: he left out lotsa the lines). At least I substantially changed his cover, only leaving the characters in the same general positions. (Oh, I know, his gripe was about the fact that he wasn't given credit -- which is still a mighty silly gripe considering they don't give ANY credits. Oh, well...) By the way, Tello does have his own studio of Disney comic artists in Spain. His name is pronounced "Tell-you". I met him during my very first trip over to Europe. When he left the room for a moment, I asked the editor (good ol' Nancy Dejgaard, now retired), "Tell me that fellow's name again, please". She said, "Tello." I said, "Yes, tell me." She says "Tello" again. I say, "Yes, please TELL ME, okay?" "TELLO!" "Oh, never mind!" (That's a true story. I almost decided these Europeans are crazy!) From trygve at maroon.tc.umn.edu Tue May 17 04:52:17 1994 From: trygve at maroon.tc.umn.edu (Tryg Helseth) Date: Mon, 16 May 94 21:52:17 CDT Subject: Between a RoC and a hard place Message-ID: <88377.trygve@maroon.tc.umn.edu> > >> >>I don't understand this. Could you please explain to me what you mean by >>"3-letter-joke-names?" Do you mean Heidi is a "HAM?" > No, I'm not an ORN either. Heidi is an "Ace". >>For that matter, would you mind explaining your name? Why do you >>capitalize it that way? Does "LRC" have some special meaning? Who is >>Lasse Reichstein Nielsen? Is that you or someone else? (At least I think >>I get the Lasse / Spot joke, but oLe / RoC is beyond my understanding... :) ) > No, I'm not an ORN either. Heidi is an "Ace". >oLe -> It supposed to be a guy with a big nose who doesn't see too well > with his right eye. You try and draw yourself in ASCII! Oh, I get it now! I didn't even think of it as a visual joke. >Ole Reichstein Nielsen -> My first, middle and last name. > I don't have net-access so... > >Lasse Reichstein Nielsen -> My brothers first, middle and last name. > He sends and recieves mail for me. > >RoC -> My handle. Could mean "Reader of Comics" or "Right on, Commander!" > or "Republic of China" or "Red 'ot Chili-peppers" or... Hey, I was going to guess "Republic of China..." :) How about "Replies or Comments..." >Spot -> My brothers handle. Not from Kurt Vonnegut's "Slaughterhouse 5", > but Frank Miller's "Batman: The Dark Knight Returns". > >LRC -> "Lower Right Corner": where to contact me. Well that certainly beats LuRCing! >But if YOU got a Lasse / Spot joke, please tell me (us)! I don't know how "Lasse" is pronounced, but it looks very similar to "Lassie," the dog from the book "Lassie, Come Home!" Since "Spot" is a common English name for a dog, I just put the two together... :) Thanks for filling me in on this mystery--I have certainly LeaRNed mORe thaN I bargined for. Now I have to figure out how to draw myself in ASCII... Tryg Helseth Minneapolis, MN, USA or "More hay, Trigger? No thanks, Roy, I'm Stuffed!" From ajd105 at rsphy1.anu.edu.au Tue May 17 07:49:37 1994 From: ajd105 at rsphy1.anu.edu.au (ajd105) Date: Tue, 17 May 1994 15:49:37 +1000 (EST) Subject: no subject (file transmission) Message-ID: <9405170549.AA18431@rsphysse.anu.edu.au> A non-text attachment was scrubbed... Name: not available Type: text Size: 5097 bytes Desc: not available Url : http://nafsk.se/pipermail/dcml/attachments/19940517/eb6ec994/attachment.pl From lrn at daimi.aau.dk Tue May 17 12:06:11 1994 From: lrn at daimi.aau.dk (Lasse Reichstein Nielsen) Date: Tue, 17 May 1994 12:06:11 +0200 Subject: From RoC Message-ID: <199405171006.AA01291@cora.daimi.aau.dk> Bill Wright and "An Education for Thursday" ------------------------------------------- David: > I hope to clear up a few things about the Gottfredson story >"An Education for Thursday." >[...] > As far as I can figure out, Norway's special edition used the >48-page 1950 version, with SOME added art by Bill Wright, but in fact >very little. It's important to note that the original version of >"Thursday" was INKED by Bill Wright... so the style isn't SO >different. But if you compare the 1950 version with Wright's "MM and >Pluto Battle the Giant Ants" of the same year, the difference is >clear. Thanks, I guess I owe Norwegian DD an apology: the 1950 story is a re-lay-outed version of the original 1940 strips. And in December, 1950 came a follow-up (panels are shown on the back of Norwegian issue) where Mickey and Goofy, the Great Totem, visit Thursday and Friday, by Bill Wright alone? Daniel "DozenTrip" (a joke in German:) -------------------------------------- Daniel: >Hi everybody, >[...................;] >Did anyone notice that Gyro has *human* feet? > >Ulp! I realize that I have just written a sort of digest myself. Does my >very long comment anger anyone? It's very long because I have to >comment on lots of digests at once. I heard that some people here have to >pay per byte, and I just don't want them selling their houses or cancel >their vacations due to the costs they have to make for this. >I hope you all will accept me on this list, if you don't... let me know. >But if you do... see you next time! (About a couple of weeks.) Hi Daniel. Don't worry about the length of your letters: If you only post twice a month, you are entitled to go on and on and on... :) That's what I do anyway: TRDitW ------ Don: > The "official" Egmont title to Lo$ #11 WAS "The Richest Duck in >the World". Sometimes Byron and I don't quite agree on everything, but >he's the boss; he chose that as the title for #11 and the title for #12 >will be "The Recluse of McDuck Mansion". If I ultimately decide I don't >like those titles, I'll suggest others to Gladstone and see what they >think when it comes time for them to reprint them. "TRDitW" has a very >special ring to it, and I wanted that as the title of the final chapter; >my title for #11 was "The Empire-Builder from Calisota". I think Byron is right, the title fits better that way, though the "the-Somebody-of-Somewhere" title rule is bent a little. Apparently they see chapter 11 as the end and chapter 12 as an epilog. I am looking forward to read the whole story again from start to end; you wouldn't know when the last chapter is scheduled in Denmark? > By the way, are you saying that you've mailed those comics to me >now? By air-mail? I look forward to receiving them! I'm sure you >included your address so I can send you some CAPTAIN KENTUCKYs... but >don't you want more, such as postage??? I sent the WHITMANs this Friday, so they'll be back home soon. Unless CAPTAIN KENTUCKY can fly over here by hisself, you'll have to pay postage too. Throw in some rocks and wrap it all in used drawing paper, if it makes you feel better=) Young Americans --------------- Mikko: > They also published a fan-letter right after your 'first' > story (not Son Of the Sun) in Finland was published. The > writer asked who the incredible artist-with-odd-style was > and they answered it was 'young American called Don Rosa.' I already mentioned two stories about a Norwegian viking, Grote Pyr ("Big Pete"), by Dutch artist Dick Matena here. A third album, drawn in a much later style, and first published in 1988(?) is called... "De Zoon van de Zon". Can you correct me on the date, Harry? Eisner Awards: -------------- Fabio: >Instead, my vote would go to Roberta Gregory. Like her previous works on >Wimmen's Comix, Naughty Bits by R.G. (published by Fantagraphics) is a >really excellent read. Try it!! Would she be related to 'our' Bob Gregory? Quiz ---- Norwegian DD runs a question each week in issues #16-21, with a Barks lithography for prize. The first 5 questions are here: 1) Has both Carl Barks and Don Rosa done a Donald Duck story, where part of the action takes place in Norway? 2) Has Donald Duck #1/1948 - the first Norwegian Donald book - been reprinted more than one time? 3) Has Donald's dog, Bolivar, had the same name ever since he appeared in the March 1949 issue of Donald? 4) Is Grandma Duck a grandchild to Cornelius Coot? 5) Is the Phantom Blot 60 years old this year. ... more will follow. Don Rosa: "Egmont is a @#$#&% big company" From H.W.Fluks at research.ptt.nl Tue May 17 18:47:29 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Tue, 17 May 1994 18:47:29 +0200 Subject: Thursday, Matena, Norwegian #1 (Re: From RoC) Message-ID: <199405171647.AA13147@athena.research.ptt.nl> Ole about "An education for Thursday": > And in December, 1950 > came a follow-up (panels are shown on the back of Norwegian issue) > where Mickey and Goofy, the Great Totem, visit Thursday and Friday, > by Bill Wright alone? Could this be the story "Tom-tom Island" from Mickey Mouse Four Color 304, drawn by Riley Thompson? > Young Americans > --------------- > Mikko: > > They also published a fan-letter right after your 'first' > > story (not Son Of the Sun) in Finland was published. The > > writer asked who the incredible artist-with-odd-style was > > and they answered it was 'young American called Don Rosa.' > > I already mentioned two stories about a Norwegian viking, Grote Pyr > ("Big Pete"), by Dutch artist Dick Matena here. A third album, drawn > in a much later style, and first published in 1988(?) is called... > "De Zoon van de Zon". Can you correct me on the date, Harry? It took a while before I saw the connection with Mikko's story: "De Zoon van de Zon" is Dutch for "The Son of the Sun". I'll look up the date in a Dutch comic book catalogue. > Quiz > ---- > 2) Has Donald Duck #1/1948 - the first Norwegian Donald book - been > reprinted more than one time? The Dutch once published an article with the covers of all kinds of foreign Disney magazines. The Scandinavian ones were all first issues or 'facsimiles' of first issues. On the Norwegian first issue, a text was written: "Congratulations on your world record. Carl Barks" Which world record was he referring to? --Harry. From mayerson at sidefx.sidefx.com Tue May 17 21:31:00 1994 From: mayerson at sidefx.sidefx.com (Mark Mayerson) Date: Tue, 17 May 1994 15:31:00 -0400 Subject: Riley Thompson Message-ID: <9405171931.AA04784@sidefx.sidefx.com> Harry Fluks wrote: > Could this be the story "Tom-tom Island" from Mickey Mouse Four Color 304, > drawn by Riley Thompson? I'm probably showing my ignorance here, but I was unaware that Riley Thompson did any comic book work. Can anyone tell me of other stories he might have done? While I'm asking, did Fred Moore ever do any comics, Mickey or otherwise? For those who may not be familiar with the above names, both were Disney animators. Riley Thompson directed four cartoons, three of which are referred to as the "drunk" Mickey's: The Symphony Hour, The Little Whirlwind, and Mickey's Birthday Party. The fourth cartoon is Put Put Troubles, a Donald. (I'm doing this from memory, so if I've screwed up the attributions, I apologize in advance.) I have heard that the drunk reference is due to how Mickey is animated and the liking for alcohol shared by the animators on these cartoons (Fred Moore, Ward Kimball and Walt Kelly). Fred Moore was the animator most responsible for redesigning Mickey from the classic early '30's look to the sleeker Mickey with pupils in his eyes. While many fans won't agree that Moore's drawings were an improvement, I think that they are exquisite. This is not to knock Gottfredson or the early '30's cartoons, but I do love the way Mickey is drawn in The Little Whirlwind. Any info on the comic book work done by Thompson or Moore would be much appreciated. ___________________________________________________________________ Mark Mayerson Side Effects Software Inc., Internet: mayerson at sidefx.com Toronto, Ontario, Canada (416) 366-4607 From d91fe at elara.pt.hk-r.se Wed May 18 01:14:00 1994 From: d91fe at elara.pt.hk-r.se (Fredrik Ekman) Date: Wed, 18 May 94 01:14:00 +0200 Subject: Best Writer/Artist or Cartoonist Message-ID: <9405172314.AA18798@elara.pt.hk-r.se> Greg wrote: > William Van Horn was nominated as best cartoonist for his work in WDC&S. > Don "No Respect" Rosa was not nominated. And later, in reply to me: > I double-checked. The actual cateogry is "Writer/Artist or Cartoonist". > I suspect the difference between Wartist and Cartoonist is style and > humor content. OK, but why would this make us upset that Don won't get no award. Sure, I agree that he deserves one and I agree that this category would be appropriate, but why can't we instead be overjoyed that ANY quality Disney comics get this kind of attention? Please keep us informed as to the results. /F From David.A.Gerstein at williams.edu Wed May 18 01:59:30 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Tue, 17 May 1994 19:59:30 -0400 Subject: Disney-comics digest #331. In-Reply-To: Your message of Wed, 18 May 1994 01:18:10 +0200 Message-ID: <9405172359.AA26180@bigbird.cc.williams.edu> Dear Folks, Ole about "An education for Thursday": > And in December, 1950 > came a follow-up (panels are shown on the back of Norwegian issue) > where Mickey and Goofy, the Great Totem, visit Thursday and Friday, > by Bill Wright alone? Harry Fluks about that follow-up: >Could this be the story "Tom-tom Island" from Mickey Mouse Four Color 304, >drawn by Riley Thompson? OWOO!! Riley Thompson drew that? After watching "The Little Whirlwind," "Mickey's Birthday Party" and "The Nifty Nineties" (that, btw, is the other "drunk" MM -- not "Symphony Hour"), I thought that Thompson only deserved praise in my book. "Tom-Tom Island" ranks among the worst Disney comics ever to appear in English, in my opinion. Mickey travels to Tom-Tom Island on an invitation from Friday and Thursday, to discover that F and T are only two of an entire race of identical natives. Forget about their long friendship -- the natives, now that they have Mickey and Goofy there, hope to devour them. "An Education for Thursday" is one of the most prejudiced MM stories of all time, but compared to it, "Tom-Tom Island" is practically a _Mein Kampf_ in its racist tone. "The Little Whirlwind" is a sudden departure from all MM cartoons done before it since about 1934. It is a solo vehicle for Mickey -- the only one in its era -- and is absolutely magnificent. The film Mickey suddenly acts 100% like the FG Mouse, and I think that's why it stands out as the best and most interesting MM of the period. Certainly the only film Mickey with any real depth. The lobotomy was completely reversed, if only for one film. Mickey calls Minnie "Toots," even. I love it! David Gerstein "Boopa-Doopa Um Tota!" From David.A.Gerstein at williams.edu Wed May 18 05:33:45 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Tue, 17 May 1994 23:33:45 -0400 Subject: My new addresses Message-ID: <9405180333.AA10444@bigbird.cc.williams.edu> Dear Folks, In just a week I'm leaving for home -- that is, I'm heading from college in Williamstown, Massachusetts, to my parents' house in Santa Barbara, California. My home address is going to change to this: David Gerstein 620 E. Valerio St. Santa Barbara, CA 93103 USA I'm giving it now, so that if anyone had some reason to send something, it will come to the right address. To settle my debts: Right now I owe Fabio Gadducci a handful of my own, home-drawn comics. I owe Boris a copy of UNCLE SCROOGE ADVENTURES 26. The latter will be sent tomorrow, and the others in the next week. But am I still charted to send someone else something else? I don't welch on trades, folks. Fabio, I couldn't get through to John Clark to see what he thought of "Foreign Correspondent" -- he's away for the week, so I'll write you from home when I find out. Lucky it isn't Thanksgiving yet, else I might forget to buy my turkey in the melee and end up trying to swindle it from someone while dressed as the Duke of Baloni! Your pal, David Gerstein "I'd never like my friends t' know that Mickey Mouse couldn't fill the bill on a job!" From smarsh02 at ozarks.sgcl.lib.mo.us Wed May 18 06:33:29 1994 From: smarsh02 at ozarks.sgcl.lib.mo.us (Scott D. Marshall) Date: Tue, 17 May 1994 23:33:29 -0500 (CDT) Subject: Unsubscribe Message-ID: I want to unsubscribe From 72260.2635 at CompuServe.COM Wed May 18 06:47:48 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 18 May 94 00:47:48 EDT Subject: Disney-comics digest #331. Message-ID: <940518044747_72260.2635_EHB254-3@CompuServe.COM> ANDREW D.: Wow! All that trouble to find an U$ #219! It's a mighty strange feeling to find out that things like that concerning one of my comics is going on on the opposite side of the planet, and I'm completely unaware of it. My use of the name "Fonebone" harkens back to where I assume Jeff Smith got it from as well. It's a name oft used by Don Martin ("MAD's maddest artist") in his stuff dating back over 30 years at least. You want some CAPTAIN KENTUCKYs? What's your address? RoC: Wow! I can't wait to get those comics. THANX. I'll let you know when they show up. And your address is on the package, of course. PER: Had I failed to pass along the name and COMPUSERVE address of another party interested in receiving these Digests? Here: Stephanie Cranfill - 72122,1344 From 72260.2635 at CompuServe.COM Wed May 18 06:51:53 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 18 May 94 00:51:53 EDT Subject: Disney-comics digest #331. Message-ID: <940518045153_72260.2635_EHB254-4@CompuServe.COM> Oh, I was going to comment on those Norwegian contest questions. I'm sorry to see one about my Family Tree (Grandma being Cornelius Coot's granddaughter). I mean, *I* liked that bit, but I'm happy to allow the Disney Duck readers to accept or reject my "Duck Universe" as they see fit; that question seems to FORCE my vision on them. (I'm also sorry to see a question involving my "Lillehammer" story. After all, it was only "imaginary".) From 72773.661 at CompuServe.COM Wed May 18 08:22:55 1994 From: 72773.661 at CompuServe.COM (Mark Clegg) Date: 18 May 94 02:22:55 EDT Subject: Disney-comics digest #330. Message-ID: <940518062254_72773.661_FHM47-3@CompuServe.COM> David: It is only the popularity of the image of Mickey that Stephen Jay Gould was trying to explain with his theories. That image has become known all over the world. I doubt that the stories have penetrated that far or if they are the cause of his popularity. From starback at Minsk.DoCS.UU.SE Wed May 18 16:15:29 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Wed, 18 May 94 16:15:29 +0200 Subject: Riley Thompson Message-ID: <9405181415.AA26524@Minsk.DoCS.UU.SE> Harry mentioned that "Tom-Tom Island" from Mickey Mouse Four Color 304 was drawn by Riley Thompson, which led to questions from Mark and David, who knew Riley Thompson only for his work in animation. (I don't think I've seen "The Little Whirlwind", btw. That seems to be a loss!) I knew nothing about him except that I recognized his name as a not very prolific Disney comics artists and I didn't know what he had done, but here is what I've found (as Mark asked about it): (I've listed all American reprints I know of.) FC 282 (Donald Duck One-Shot also containing Barks's Pixilated Parrot): DD Pig in a Poke (26 pages) FC 286 (Mickey Mouse One-Shot): MM and the Uninvited Guest (28 pages) (Probably inked by Buettner according to Becattini.) Reprinted in Gladstone's Mickey Mouse Digest 4. FC 291 (Donald Duck One-Shot also containing Barks's Magic Hourglass): DD The Spirit of '76 (20 pages) FC 304 (Mickey Mouse One-Shot): MM Tom-Tom Island (29 pages) FC 308 (Donald Duck One-Shot also containing Barks's Dangerous Disguise): Kjell Cron'e calls the last one-pager "The bird house" and says it is drawn by Riley Thompson. Alberto Becattini calls it "Power Tools" and says it's by an unknown artist whom he calls "(MICKEY 6)". FC 331 (Alice in Wonderland): Alice in Wonderland (48 pages, inked by Bob Grant?) Reprinted in Dell Junior Treasure 1 (1955), Gold Key's Alice in Wonderland (1965), and Whitman's Alice in Wonderland (1982). Christmas Parade 2 (November 1950): Pluto's Sweater (8 pages) Reprinted in Gold Key's CP 5 and Disney's Holiday Parade 1. Becattini and Cron'e agree, but our Gladstone/Disney index says that it's McSavage's art. Is that what the credits say? Gus and Jaq (The Castle Caper OR Visiting Cinderella) (8 pages) Reprinted in WDCD 17. Pencilled by RT and inked by Buettner according to Becattini. Christmas Parade 4 (November 1952): Brer Rabbit (Glass bottom boat OR Monsters of the deep) (8 pages) WDC 121--124, 126--128: The Grandma Duck stories. WDC 126: Donald Duck story. My sources are Kjell Crone's index (available at the ftp site), Alberto Becattini's book The Disney Index (vol. 1), NAFS(k)uriren #9 (with short (then) new info on various artists), and "our" Gladstone and Disney Comics index. As you can see not many of these stories have been reprinted recently. I'm looking forward to the bright future when we'll just have to write something like "For stories by Riley Thompson, list publications in the USA" to automatically connect to the Master Index, extract the information and then present it. -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From H.W.Fluks at research.ptt.nl Wed May 18 17:39:04 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Wed, 18 May 1994 17:39:04 +0200 Subject: Riley Thompson and Matena's vikings Message-ID: <199405181539.AA22212@athena.research.ptt.nl> Riley Thompson ~~~~~~~~~~~~~~ " Per Starback wrote: > I'm looking forward to the bright future when we'll just have to write > something like "For stories by Riley Thompson, list publications in > the USA" to automatically connect to the Master Index, extract the > information and then present it. Well, in the near future we will have something that looks remotely similar: a program that can be called like "DIZNIREP W RT" and then will list all stories written and/or drawn by RT for editor Western, with all the USA reprints listed. I almost could have produced your list, except for two "minor" things: 1. The program DIZNIREP has a few bugs (it's too slow and lists too much) 2. I don't have all the data in the database. Crone and Gladstone data is included, but I still don't have that @#$% Becattini index 8-( David is reviewing the data in the Disney comics Database, and I expect the first version to be available next week (on ftp). Matena's Vikings ~~~~~~~~~~~~~~~~ Ole asked about a Dick Matena story (sorry, non-disney stuff here). There were four stories in the series "Grote Pyr" (Peer Viking in German). Story 1: album 1973, reprinted 1987 Story 2: album 1976, reprinted 1988 Story 3: album 1979!, reprinted 1988. The reprint album was only in German, Danish and Finnish (not even in Dutch). This is "The Son of the Sun" Story 4: first published in a comic magazine in 1989. Album reprint (German only) in 1991. "The Iron Lady" Apparently, that Viking was more popular in Germany and Denmark than in Holland. The only disney-comics related remark I can make about Matena is that he still draws Li'l Wolf stories. He admitted a few years ago in an interview that he was surprised the editors still bought his stuff. He only does it for the money, so that he can spend the rest of his time making experimental comics that don't sell. You can imagine what the quality of his Wolf stories is... --Harry. From David.A.Gerstein at williams.edu Thu May 19 06:17:46 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Thu, 19 May 1994 00:17:46 -0400 Subject: Riley Thompson In-Reply-To: Your message of Thu, 19 May 1994 01:18:08 +0200 Message-ID: <9405190417.AA19811@bigbird.cc.williams.edu> Dear Folks, Okay, it's official. Riley Thompson is my least favorite Duck artist. Out of EVERYONE. That Italian guy included, who drew the pocket book intermezzos!! (Fabio, I've lost his name again...) Thompson's art on such stories as "Pig in a Poke" and "Spirit of '76" (both of which I own) is not exactly poor comic art all the time (although in some cases it IS), but the problem is that Thompson clearly drew some poses of Donald using Daffy Duck as a model, but just not blackening him in! This is absolutely the ugliest version of Donald I have ever seen in my life. The stories are pretty bad too, each of them involving at least one completely improbable bit. Plots? Sure, I'll give 'em. In "Pig in a Poke" HDL get a pet pig, and it drives Donald crazy, so they try to earn its keep by entering it in a carnival's competition. When it doesn't win, HDL get into the pen themselves, take off their clothes, and act like ANIMAL ducks!! The pig, meanwhile, suddenly is on its hind legs acting as their HUMAN owner! And they win, and so the pig stays. In "Spirit of '76," Donald reads about the Revolution and gets the idea that he's going to educate the nephews by doing everything just as the colonists did. He continues with this in spite of logic, in spite of EVERYTHING -- I believe at one point the Ducks are starving, or something, and Donald could get food for them in a certain way but won't do it because the colonists couldn't do it two hundred years before!! Donald is just TOO monomaniacal here... kinda fits the Daffy appearance. Urlgk. Now that I've sufficiently described these, I hope that you see just how poor these are. Art is worse than Jim Fletcher's.... David Gerstein From David.A.Gerstein at williams.edu Sat May 21 20:03:18 1994 From: David.A.Gerstein at williams.edu (David A Gerstein) Date: Sat, 21 May 1994 14:03:18 -0400 Subject: My new E-Mail address Message-ID: <9405211803.AA27710@hancock.cc.williams.edu> Hi, Folks! This will be my last letter to all of you from Williamstown for a while. I'm going to be heading home in two days to Santa Barbara, California, and so my future mail will come to you from this address, which is also the one you should use when writing to me: gerstein at math.ucsb.edu Per, please start sending the Digests to that address now. It's doubtful that I'll have time to read more of them (as much as I'd like to, fer gosh sakes) until I get home. There will be a marked decrease in the number of letters you get from me over the summer, because the new address is my Dad's office computer, and I don't get to his office too offen (er, "often"). But a long trek doesn't bother me any more than it would bother Andold Wild Duck, so I can shake it. (Follow me, Bo!) By the way, while we're on the subject of Andold, a few of us noticed the Asterix similarities in those stories, and how the names are all anagrams. Andold = Donald. Aydis = Daisy. Well: Bo = Ob (elix) <---- !!!!! These Italians are crazy! * * * * * And on that note, I must be off. In a minimum of time, you'll begin to hear from me again, and I may have more news from Gladstone by that time to share with you. We'll see what happens. "I always come back! Like a bad penny! Or a ghost!" "GHOST??! Merciful goodness! What have I DONE?!" >SLAM!< Your friend, David Gerstein "I'm de Fuller Brush Man! I'm givin' g'way free semple!" P. S. Fabio and Boris will have genuine TANGIBLE mail from me soon! Honest! From Knut.Hunstad at veg.sintef.no Sun May 22 13:27:08 1994 From: Knut.Hunstad at veg.sintef.no (Knut Hunstad) Date: Sun, 22 May 1994 13:27:08 +0200 Subject: DD: My life in an eggshell Message-ID: <199405221127.AA10375@vegnett.veg.sintef.no> Hello again! I finally found my copy of the norwegian version of the 50-years story for DD: "My life in an eggshell". Supposed to be the true story about DD, told by himself. After rereading it for the first time in almost 10 years, I still don't like it very much. As previously pointed out, DD is found in the middle of the road after his nest fell down and he slipped out of the egg. He was found by $crooge and his (older) sister (!!!) Grandma Duck. The name was invented by Grandma after $crooge saying the baby reminded him of his old friend from Alaska: Ronald (anyone heard of him before?). Donald grew up on the farm. In this story it seems that Uncle $crooge lived at the farm most of the time, too. This doesn't quite sum up with Don Rosa's version, where $crooge travels around and doesn't return to Duckburg until Donald is several years old. Later the story tells about his nephews. This part is more correct, saying they just stand knocking on his door one day. Except I thought the letter was from his sister, not his cousine (as this story tells). In the last case they wouldn't be real nephews. And how on earth did his family suddenly find out what happened to him? After this, $crooge manages to find out that Donald IS actually his nephew. The rest of the story consists mainly of stand-up-comedian-like frames where he tells about his many travels, employments etc. I didn't find many references to classic storys here! Some pictures clearly referred to his roles in movies during the WWII, though. All in all this sums up to beeing a pitiful attempt to invent a "true" story about DD, totally disregarding most of what has been common knowledge for a long time. I almost regret I helped support such ignorancy by buying this story. I am eagerly awaiting next weeks "Donald Duck & Co.", where we'll get the 12.th (and last?) part of the life of $crooge. That's what I call a good story! Knut Hunstad Trondheim, Norway khun at veg.sintef.no From 72260.2635 at CompuServe.COM Mon May 23 14:13:15 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 23 May 94 08:13:15 EDT Subject: Disney-comics digest #335. Message-ID: <940523121314_72260.2635_EHB133-1@CompuServe.COM> Knut: Well, thank you very much. I also greatly dislike that "My Life in an Eggshell" or whatever it's called (having flipped through it in various foreign languages), and I regret that it will soon be inflicted on America. I don't have to tell you what a "sick" idea it is to think that all the Disney Ducks were the product of their parents suddenly devolving or something, and flying off to build nests and lay eggs in trees. I can't imagine the editor that allowed this whole idea. It's certainly not a matter of me being a better writer or artist that enables me to come up with stories that are vastly superior to that sort of stupidity. It's simply a matter of me having vastly more respect for the characters and the readers that compels me to spend a little more time thinking up a story that reflects that attitude. The other writers surely think I'm a fool for spending so much energy and thought on something that pays so little and which Disney does not give credits on and steals all our royalties from. But that's the only way I CAN do this work. It'd be MORE difficult to force myself to do a story like that "Life in an Eggshell" thing, I think. RoC: Yes, I received the Whitmans you sent, last Thursday I think it was. It takes me a few days to find myself heading into town (from out here in the country) to the post office, but when I do I will send you a set of CAPTAIN KENTUCKYs by airmail. I assume I should sign them? Or do you want them "clean". NEWS: If anyone on here finds this sort of news interesting: Marvel Comics, who now publishes part of and distributes all of America's Disney comics, just purchased HARVEY comics and all thier characters. From shg at rhi.hi.is Mon May 23 19:27:01 1994 From: shg at rhi.hi.is (Sigurdur Hrafn Gislason) Date: Mon, 23 May 1994 17:27:01 +0000 (GMT) Subject: Gladstone is not related to Scrooge! In-Reply-To: <9405102330.AA10070@Minsk.DoCS.UU.SE> from "disney-comics@Minsk.DoCS.UU.SE" at May 11, 94 01:30:38 am Message-ID: <9405231727.AA15874@hengill.rhi.hi.is> My friend came up with an interesting point. According to Rosa's Duck family tree, Gladstone is not in linear descent from Scrooge and therefore should not be eligable for inheritance. Puts a new twist on all these "Which is going to inherit my fortune" stories from Disney. Sigurdur From 72260.2635 at CompuServe.COM Tue May 24 07:20:28 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 24 May 94 01:20:28 EDT Subject: Disney-comics digest #336. Message-ID: <940524052027_72260.2635_EHB163-1@CompuServe.COM> SIGURDUR: My Duck Family Tree is precisely the same as Barks' original design as regards Gladstone's relation to $crooge (which is practically none). In his private notes, that Family Tree that he did for his own information and the one we see in the Barks Library from time to time, was done some years after Barks' first decision about Gladstone's lineage: in that version, Barks apparently wanted to make Gladstone into an actual nephew of $crooge, and had $crooge's sister Matilda adopt GG when his parents "died of over-eating at a free lunch picnic". In my version, we decided there was no reason to forcefully introduce this "death" business, so we left GG where he was, as the son of $crooge's sister's sister-in-law, as Barks originally created him. But anyway... what stories about $crooge's inheritance are you referring to? From H.W.Fluks at research.ptt.nl Tue May 24 10:10:07 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Tue, 24 May 1994 10:10:07 +0200 Subject: DD's life in an eggshell Message-ID: <199405240810.AA04743@athena.research.ptt.nl> Knut Hunstad wrote: > I finally found my copy of the norwegian version of the 50-years story for > DD: "My life in an eggshell". FYI: This story is from Italy, drawn (and written, if I'm not mistaken) by Marco Rota. > [Donald's name] > was invented by Grandma after $crooge saying the baby reminded him of his > old friend from Alaska: Ronald (anyone heard of him before?). In Holland, the old friend is a "Cowboy from California". The story was originally published when Ronald Reagan was USA president. > Later the story tells about his nephews. This part is more correct, saying > they just stand knocking on his door one day. Except I thought the letter > was from his sister, not his cousine (as this story tells). Information from our ftp file 'huey-dewey-louie': HDL first appear in a newspaper strip where Donald gets a letter from his _cousin_ Della. In the cartoon, where they appeared shortly thereafter, the letter is from Donald's _sister_ Dumbella. In neither case the letter states explicitly that the writer is HDL's mother. > The rest of the story consists mainly of stand-up-comedian-like frames where > he tells about his many travels, employments etc. I didn't find many > references to classic storys here! The story is FULL of references to DD cartoons (WWII and others), Barks stories and some stories my Rota himself. I haven't read the story for a while, but I remember scenes with DD and a frog, DD bull fighting and DD in the mountains (referring to the forest fire story in Vacation Parade #1). > All in all this sums up to beeing a pitiful attempt to invent a "true" story > about DD, totally disregarding most of what has been common knowledge for a > long time. Here I don't agree. There is no "common knowledge" disregarded, at least not European knowledge. I only heard on this mailing list that Grandma is _not_ Scrooge's sister, and I'm sure everyone else in Holland (including the Dutch editor) thinks she _is_. Rota just didn't do his research as thoroughly as Rosa does. And you must admit: the story is beautifully drawn. --Harry. Harry PTT Research ()_() Dutch Disney comics freak Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl "Yeah... I've _heard_ of coral barques!" From Mattias.Hallin at jurenh.lu.se Wed May 25 15:39:08 1994 From: Mattias.Hallin at jurenh.lu.se (Mattias Hallin) Date: Wed, 25 May 1994 15:39:08 +0200 Subject: HELP!(?) Message-ID: <01HCRFA84KHW9ED9ZN@castor.ldc.lu.se> I'm in trouble -- I can't git mah li'l ol' paws on a copy of U$A #27 (the GotLL issue), 'cause mah dealer's got a wrong shipment from his distributor, and IS trying to straighten things out, but maybe he can't -- and IF he can't, could someone get me a copy, then? Agiainst reasonable renumeration, of course and without saying! Don't do someting rash just yet -- I'll yell again if and when neccessary! All my best Mattias !==============================================================================! !* Mattias Hallin ** ** Phone: +46 46-14 84 43 **! !* Trollebergsvagen 24 B ***** Work: Lund University, Box 117, S-221 00 Lund **! !* S-222 29 Lund, SWEDEN **************************** Phone: +46 46-10 71 37 **! !==============================================================================! !********** "A flier! A frier! I must shave the women and children!" **********! !==============================================================================! From starback at Minsk.DoCS.UU.SE Wed May 25 23:35:35 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Wed, 25 May 94 23:35:35 +0200 Subject: Disney comics Database Message-ID: <9405252135.AA01287@Minsk.DoCS.UU.SE> I've just gotten a bunch of files from Harry which I have now put up on ftp (pub/comics/disney at ftp.lysator.liu.se). It's the first version of the Disney comics Database. That is, it's not the "raw" input files, and not the programs that do stuff with them, but the lists what those programs make out of it. I called the new subdirectory for this stuff "index", as this is where all index stuff will be in the future. I guess most of the index files in the top Disney comics directory will go away in the future, but I haven't deleted anything yet. The files there are: * LEGEND See this file for more detailed explanation. * creators.dbl Abbreviations for the creators. * heroes.dbl Abbreviations for the title characters. * gl-*.dbl The Gladstone (and Disney Comics) index, listing the contents of each book. * w-cb.dbl Carl Barks reprint index. (Only stuff made for Western.) * ar.dbl Reprint index of Gladstone stories ("Another Rainbow"). * d.dbl Reprint index of "Danish" stories. * f.dbl Reprint index of French stories. * h.dbl Reprint index of Dutch stories. * i.dbl Reprint index of Italian stories. * k.dbl Reprint index of Disney Comics stories. * s.dbl Reprint index of Disney Studio stories. * y*.dbl Reprint indexes of daily newspaper strips. * z*.dbl Reprint indexes of newspaper Sunday pages. * w-*.dbs Story files (without reprint information) of Western stories (Dell/Gold Key) (Thanks a lot for all your work, Harry! Just a short question... What's all this copyright business at the beginning of some of the output files? Surely all these programs and data are to be free?!) And another ftp thing. I think I forgot to announce a new version of the don-rosa.index from David when I put it there. His changes are described as > May 11, 1994 David: Updated info on covers, several corrections > (especially reversal of cover data for WiC 6 and WiC > 7), and new criteria for titled vs. untitled covers. -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From 72260.2635 at CompuServe.COM Thu May 26 06:33:50 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 26 May 94 00:33:50 EDT Subject: Disney-comics digest #338. Message-ID: <940526043350_72260.2635_EHB150-1@CompuServe.COM> MATTIAS: Ah, you there? I just received a NAFS(k)uriren #24, plus several newsletters. As always, even though there's nothing like this in America and I'm fascinated by a whole lil' magazine devoted to Disney/Barks, I still am frustrated since I can't read a word of it. Of course, I browzw through it and "read" parts, hoping the gibberish will magically make sense to me... and I can at least guess what the subjects are and what generally is (probably) being discussed. And you can't sit there and translate the whole thing for me... so how do I select parts of particular interest that I need translated? That's right, the parts that say "blah blah blah blah Don Rosa blah blah blah" are my easy first choices. Anyway, there's a paragraph on this "Kvacket" no.4/93 that has the words "Don Rosa", "Barks", "Atlanta", "Barks' agent", etc., that is, for reasons you might guess, of particular interest to me! What is being said there??????? From Knut.Hunstad at veg.sintef.no Thu May 26 16:59:39 1994 From: Knut.Hunstad at veg.sintef.no (Knut Hunstad) Date: Thu, 26 May 1994 16:59:39 +0200 Subject: DD's life in an eggshell Message-ID: <199405261459.AA23923@vegnett.veg.sintef.no> Hello again! >> [Donald's name] >> was invented by Grandma after $crooge saying the baby reminded him of his >> old friend from Alaska: Ronald (anyone heard of him before?). >In Holland, the old friend is a "Cowboy from California". The story was >originally published when Ronald Reagan was USA president. Together, those two explanations seem to be connected. But I must say I didn't quite get that point by reading the norwegian version! About HDL: Guess I should have checked the archives first... >> The rest of the story consists mainly of stand-up-comedian-like frames where >> he tells about his many travels, employments etc. I didn't find many >> references to classic storys here! > >The story is FULL of references to DD cartoons (WWII and others), Barks >stories and some stories my Rota himself. I haven't read the story for a >while, but I remember scenes with DD and a frog, DD bull fighting and DD >in the mountains (referring to the forest fire story in Vacation Parade #1). OK, I'll try to be more precise. You are right in correcting me, there are several scenes obiously related to some DD-movies, especially from the WWII-period. I even got a feeling I've seen two of the frames more or less the same way in some movie. What I meant was that there were very many scenes where I didn't see any resemblence to stories I can remember. True enough, Donald has had several of the jobs you see in this story. But I can't remember any of the scenes in the way they are told here. Anyone remember Donald ever sunk a Titanic-like ship at the dock while working at the shipyard? Donald meeting Dolly for the first time while he is running after HDL? About DD and the frog: when you mention it, I _do_ remember some cartoon where he thinks a frog under his shirt is his heart. And I'm sure I have seen HDL save DD after almost drowning, too. Actally most of the scenes seem to me quite "likely", but not enough to recognize any (or more than a few) actual stories. I'd be interested in seeing if anyone could dig up some references to the stories they recognize here. Where did you see DD bullfighting like that, BTW? >> All in all this sums up to beeing a pitiful attempt to invent a "true" story >> about DD, totally disregarding most of what has been common knowledge for a >> long time. >Here I don't agree. There is no "common knowledge" disregarded, at least not >European knowledge. I only heard on this mailing list that Grandma is _not_ >Scrooge's sister, and I'm sure everyone else in Holland (including the >Dutch editor) thinks she _is_. I remember when I was little some grown-up told me he thought the same. Since then I have been quite curious about this and I _do_ think I would have noticed if any such reference had been made in something I've read since then (probably about mid-70's). I can't remember seeing anything against it either, though. So I don't think that this is a common feeling in Norway. But I'll check this up in a norwegian comics newslist. >Rota just didn't do his research as thoroughly as Rosa does. >And you must admit: the story is beautifully drawn. Yes and no. The parts where the frames are parts of a story are OK, but I don't like the long series of one-frame gags. I miss the details that make you see something new each time you read the story. My point is that even if I might not quite be able to explain why, this story didn't give me that feeling of a good story when I first read it and not when I read it again after 10 years either. Here I must say that much might get lost in translation. Norwegian comic translators don't exactly have a high star in my books! And my main objection still remains: why do civilized ducks suddenly build a nest in the wood and leave an egg there totally unattended? I think it's that start of the story that made me sceptic and negative to the whole story from the very beginning. >--Harry. > >Harry PTT Research ()_() Dutch Disney comics freak >Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl > > "Yeah... I've _heard_ of coral barques!" Just curious: what's coral barques? Knut Hunstad, Norwegian DD enthusiast khun at veg.sintef.no From SI2_KB92017 at debet.nhh.no Thu May 26 18:44:58 1994 From: SI2_KB92017 at debet.nhh.no (Kjetil Bakken) Date: Thu, 26 May 1994 18:44:58 +0200 (WET-DST) Subject: Lo$ #12 Message-ID: <940526184458.20401554@debet.nhh.no> Here in Norway Lo$ #12 is coming up next week. ------------------------------------------------------------------------------ _ _ _ __ ( ) ( ) _ ( )_ _ (_ ) Norwegian School of Economics | |/'/' (_) __ | ,_)(_) | | and Business Administration | , < | | /'__'\| | | | | | | |\ \ | |( ___/| |_ | | | | Hatleberg B-508 (_) (_) _ | |'\____)'\__)(_)(___) 5035 Bergen-Sandviken ( )_| | '\___/' Kjetil Bakken E-mail: SI2_KB92017 at DEBET.NHH.NO ------------------------------------------------------------------------------ From H.W.Fluks at research.ptt.nl Fri May 27 12:40:59 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Fri, 27 May 1994 12:40:59 +0200 Subject: Disney comics Database (DcD) Message-ID: <199405271041.AA28418@athena.research.ptt.nl> Per wrote: > I've just gotten a bunch of files from Harry which I have now put up > on ftp (pub/comics/disney at ftp.lysator.liu.se). > > It's the first version of the Disney comics Database. I'll take this opportunity to thank David for his extensive review! Also, Ole and David sent me updates for the "gladstone-disney.index", which I didn't put there, but here in the DcD. We now have a lot of entries of Chip 'n' Dale Rescue Rangers, and the second run of Gladstone is almost complete! (We are only missing _one_ WDC entry...). Thank you both. There are still some errors and incomplete data in the DcD. So any comment is very welcome. Also if you don't like the format or want some data (not) included: let me know. A few seconds after I mailed the files to Per I noticed I forgot to include Ole's new creator abbreviations, and I forgot to include DHi = Don Hinrichsen. That'll be corrected in version 2.. (Note that a lot of creators now have 3 characters in stead of 2. I thought it would be better to reserve 2 characters only for artists that appear very often or are very well known [like CB, DR].) > That is, it's > not the "raw" input files, and not the programs that do stuff with > them, but the lists what those programs make out of it. I could send the raw data and programs too, but I thought I'd wait until the first comments are processed. > I called the new subdirectory for this stuff "index", as this is where > all index stuff will be in the future. I guess most of the index > files in the top Disney comics directory will go away in the future, > but I haven't deleted anything yet. The DcD also covers the data from subdirectory "crone", except for the Swedish reprint data. I plan to make a Swedish database to include this information, then the crone files would become superfluous. > What's all this copyright business at the beginning of some of the > output files? Surely all these programs and data are to be free?! All files with extension ".dbl" start with a line like "output created by DIZNIxxx version 1.0 (c) HWF 1994". The (c) was meant for the _programs_ (diznirep, diznicom and diznicre). This does not mean the programs are not free to use or extend, but I would like to keep my name in them (I spent a lot of time making them). But you are right that the (c) stuff shouldn't be in the output files. I'll correct that. --Harry. From H.W.Fluks at research.ptt.nl Fri May 27 13:50:16 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Fri, 27 May 1994 13:50:16 +0200 Subject: DD's life in an eggshell Message-ID: <199405271150.AA01424@athena.research.ptt.nl> Knut Hunstad wrote, when I quoted an HDL-file from ftp: > About HDL: Guess I should have checked the archives first... Don't be ashamed not to have checked them. The archives are getting quite big, and one can't expect everyone to have read them all. About the Rota story "DD's life in an eggshell", I said > The story is FULL of references to DD cartoons (WWII and others), Barks > stories and some stories my Rota himself. I haven't read the story for a > while I re-read the story yesterday and I must admit that there are not that much references. I guess the story became better in my memory... Knut: > About DD and the frog: when you mention it, I _do_ remember some cartoon > where he thinks a frog under his shirt is his heart. That's from Barks' story about G-2, the jumping frog, WDC 108. > Where did you see DD bullfighting like that, BTW? It looks a lot like DD in "Dangerous Disguise" (with secret-agent Tripe-X) from Four Color Comic 308. The previous panel shows madame Triple-X. > The parts where the frames are parts of a story are OK, but I > don't like the long series of one-frame gags. I miss the details that make > you see something new each time you read the story. Ah, you want details? Then you must be a fan of Rosa, not Rota.. 8-) > My point is that even if I might not quite be able to explain why, this > story didn't give me that feeling of a good story when I first read it Well, it _did_ give me that feeling, but I change my mind now that I read it again. > Just curious: what's coral barques? I got my signature quote from the story "Treasure under Glass" by Don Rosa. Long ago, Per Starback spotted the joke and posted it on this list. In a panel where HDL are diving and seeing an old ship on the sea bottom, they say: - It's just another empty barque! [ A barque is some kind of ship ] - Maybe it was one that cut _coral_ for building forts on the keys where they had no stone! - Yeah... I've _heard_ of coral barques! The joke is that "coral barques" sounds like some well-known Duck comic artist who did many very good Duck stories between 1942 and 1967. Harry PTT Research ()_() Dutch Disney comics freak Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl "Yeah... I've _heard_ of coral barques!" From maittola at snakemail.hut.fi Sat May 28 20:28:15 1994 From: maittola at snakemail.hut.fi (Mikko Aittola) Date: Sat, 28 May 1994 21:28:15 +0300 (EET DST) Subject: Byron in Finland Message-ID: So I visited the Finnish comic-con. Like Don posted before, Bob Foster didn't attend. But Byron 'Editor-In-Chief' Erickson was there. Byron demoed some new Mickey series written by himself ( drawn, if I heard right, Ben Verhagen (sp?) ) called 'Island' or something. Mickey wears the classic shorts with two 'buttons'. They are really trying to bring the 'old' Mickey back! He also told about the upcoming 'journey to the centre of the earth' story by Don Rosa. Byron first answered questions made by Finnish Aku Ankka editor Paula Antila and artist Jukka Murtosaari (has done some covers for Disney). He also was willing to answer to public's questions, but only me and one high-school boy were brave enough. I didn't exactly know what to ask Byron, so I decided to ask things conserning mainly Finnish editors. Byron usually commented (or throwed in a joke) something. I asked why they don't give any credits to artists in Egmont books, but they really didn't give acceptable answer. After they started to get information about the creators they planned to publish it, but Disney told them no. For a while they didn't get the info about creators at all, and now they get it again, but... I also asked about upcoming Barks-Van Horn series, but they didn't know exactly when it is published. They didn't print Lo$ 1 and 2 in Finland because it was too expensive. Aku Ankka gets a compilation of Egmont material which they use, but Lo$ 1&2 wasn't part of the normal compilation, so they didn't print it. BTW, Lo$ 12 should be out next week in Finland. I talked also a while with Byron and Paula privately. Paula asked Byron if Don is a slow artist because of his details. Byron answered something like: 'No, he just spends too much time on the internet or talks with someone by phone =) .' And Paula commented 'Yeah, everytime I speak with this Norwegian editor he mentions that he just talked with Don.' Paula also told me that Bark's management sent 1,5 page long letter to Germany's editors about Barks' and Rosa's trips to Europe. They wanted to make sure Mr. Rosa isn't even near Germany when Barks is there. I carefully tiptoed or mentioned to Paula that maybe they could send Finnish Aku Ankkas to Don. Paula also would like to have more information about this mailing list. I think I'm going to write to her and include some material from 'our' ftp site. -------> So, is it ok to include, for example, Harry's compilation of Don Rosa's comments. Should I censore it or mark things like Don's phone number with 'Not Public Information' ????? Answer me!! /Mikko PS. I haven't seen WDC #592 yet, but I think it includes Van Horn story 'D 92172'. I don't remember the title. From 72260.2635 at CompuServe.COM Sun May 29 06:49:49 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 29 May 94 00:49:49 EDT Subject: Disney-comics digest #341. Message-ID: <940529044949_72260.2635_EHB195-1@CompuServe.COM> MIKKO: My phone number isn't private. It's (502)2313399. It's in all the phone books. Living in America and doing Duck comics doesn't mean I need to have an unlisted phone number. I need to find out about this 5-page letter that the CB Studio sent out to make sure I was "no where near Germany" when Barks was there, as if he had the right to dictate where I go when I decide to. This is all getting TOO strange for words. Why do these people have such a deathly fear of me??? ALL: In case there isn't a new Digest to reply to before Monday, this may be my last message on here for a week or so. Since Barks wasn't able to stop me, I leave Monday (same day HE does) for a trip to Europe. I'll be in Germany until the following Monday. From lrn at daimi.aau.dk Sun May 29 20:13:27 1994 From: lrn at daimi.aau.dk (Lasse Reichstein Nielsen) Date: Sun, 29 May 1994 20:13:27 +0200 Subject: From RoC Message-ID: <199405291813.AA10880@anemone> Tryg: ======= >I don't know how "Lasse" is pronounced, but it looks very similar to >"Lassie," the dog from the book "Lassie, Come Home!" Since "Spot" is a >common English name for a dog, I just put the two together... :) I also thought it was a dogs name, from "Slaughterhouse 5". >Thanks for filling me in on this mystery--I have certainly LeaRNed >mORe thaN I bargained for. Now I have to figure out how to draw myself >in ASCII... Try g. Harry: ======== ME> Quiz ME> ---- ME> 2) Has Donald Duck #1/1948 - the first Norwegian Donald book - been ME> reprinted more than one time? > >The Dutch once published an article with the covers of all kinds of foreign >Disney magazines. The Scandinavian ones were all first issues or 'facsimiles' >of first issues. On the Norwegian first issue, a text was written: > > "Congratulations on your world record. Carl Barks" > >Which world record was he referring to? And which facsimile of a first issue had Barks' name on it? >Well, in the near future we will have something that looks remotely similar: >a program that can be called like "DIZNIREP W RT" and then will list all >stories written and/or drawn by RT for editor Western, with all the USA >reprints listed. A command line based program with 8 letters in it's name, I like your program better and better:) >I almost could have produced your list, except for two "minor" things: > >1. The program DIZNIREP has a few bugs (it's too slow and lists too much) >2. I don't have all the data in the database. Crone and Gladstone data > is included, but I still don't have that @#$% Becattini index 8-( When I get it from Fabio, I can copy it for you, if you haven't got anything to type in the summer holidays. >Matena's Vikings >[...] >Story 3: album 1979!, reprinted 1988. The reprint album was only in German, > Danish and Finnish (not even in Dutch). This is "The Son of the Sun" >Story 4: first published in a comic magazine in 1989. Album reprint (German > only) in 1991. "The Iron Lady" So "The Iron Lady" is drawn 10 years later again? Is it BTW political? And those titles are coincidental unless Don has read more than just Asterix and Tintin as I suspect. David: ======== > Okay, it's official. Riley Thompson is my least favorite Duck >artist. Out of EVERYONE. That Italian guy included, who drew the >pocket book intermezzos!! (Fabio, I've lost his name again...) Guiseppe Perego. (Hi Fabio, we've discussed a price in dollars, but of course you'll want Lire, right? And I'll consider you Santa Claus:) And thanks to all the contributors on this Micky-Mouse-PC-or-BC discussion, I'll just add that "MM and his Talking Dog" (11/18-11/30, 1946) looks like it's going to be the first longer FG story - more than a page - in Danish DD in a very long time. Don: ====== > Yes, I received the Whitmans you sent, last Thursday I think it >was. It takes me a few days to find myself heading into town (from out >here in the country) to the post office, but when I do I will send you a >set of CAPTAIN KENTUCKYs by airmail. I assume I should sign them? Or do >you want them "clean". I'm gonna read'em, not eat'em! Please sign and color them, and feel free to fill in all the details you like:) Sigurdur: =========== >My friend came up with an interesting point. According to Rosa's Duck >family tree, Gladstone is not in linear descent from Scrooge and therefore >should not be eligable for inheritance. Puts a new twist on all these >"Which is going to inherit my fortune" stories from Disney. Can you name any lineary descedents from Scrooge? But actually you have a point; Donald and his sister Della are the only children of Scrooge's only sister to have children (Hortensia?) Della then had HD&L, which accounts for 4 of the possible heirs. Why she is not among them is unknown, and why Gladstone, son of a sister to Scrooge's sisters husband is, while Feathry, son of a brother to Hortensia's husband, is not, is yet-to-be-revealed. Which should guide you in answering the last QUESTIONs in the Norwegian weekly DD's Jubilee Competition (I'll just recap the first): 1) Has both Carl Barks and Don Rosa done a Donald Duck story, where part of the action takes place in Norway? 2) Has Donald Duck #1/1948 - the first Norwegian Donald book - been reprinted more than one time? 3) Has Donald's dog, Bolivar, had the same name ever since he appeared in the March 1949 issue of Donald? 4) Is Grandma Duck a grandchild to Cornelius Coot? 5) Is the Phantom Blot 60 years old this year. 6) Does Donald have more than one cousin? 7) Has more than 2000 Donald books been published in Norway_ The number of YES and NOs in the 7 answers should be sent before June 9.th to: DONALD DUCK & Co Postboks 1548 Vika 0117 Oslo Norway (marked "jubileumskonkurranse") You can win a genuine Barks lithography ("Blizzard Tonight") My "official guess" is 5 yes, and 2 no, though it's tricky. Also in Norwegian DD #22: Lo$ part XII, "The Hermit on the Manor" The coloring and printing is superb, even ROSEBUD shows. Does this story take place on Christmas Day, 1947? The Danish editors have been carefully editing out references to specific years, and I've got this theory about Don's perpetual 1955 universe, that the stories happen in causal realtime BEFORE that date (and before the infinite multiverse implosion). A Donald pin in durable plastic and gold. Last issue had the poster from "The Wise Little Hen" and next issue will have the story itself in a supplementary issue, and "The Duck Who Never Was" and the start of a "Darkest Africa" serial and a DD scrap book with stickers and... On page 30 of Danish AA&Co. #21/94: "Comic creator Carl Barks comes to Denmark! The most famous creator of Donald Duck comics is without question the American Carl Barks. So what's more natural than to let Donald meet Carl Barks on his birthday?! That's why Carl Barks comes to Denmark on June the 9.th to celebrate Donald - and it is no less than a sensation! Carl Barks has never actually been outside the borders of America before. But now he has agreed to go on a longer European "birthday tour", where he arrives in Denmark on the very day! Did we forget to mention that Carl Barks is 93 years old... Lots of Carl Barks stories in Anders And & Co. Of course we'll celebrate Donald Duck's birthday - and Carl Barks' visit in Denmark - with some of Carl Barks' very best stories. Almost every story from his hand is today a classic, so you've got something to look forward to! Here is a summary of the Carl Barks stories, which will appear in coming issues: * The Exciting Duel of the Hang Gliders ("Hang Gliders be Hanged!") * In Dark Africa ("Darkest Africa") - a 3 part serial. Has never been published before! * Who Goes into the Trap? ("The Mighty Trapper") * Brilliant - But in Vain! ("Canon Ball") * The Condemnation Expert ("Master Wrecker") Do you want to know more about Carl Barks? Then look forward to Anders And & Co. nr. 23 - the big birthday issue - where we'll tell more about this fantastic comic creator!" ... competition on opposing page: "Who is Carl Barks? A) a famous movie star or B) a famous comic creator. From 72260.2635 at CompuServe.COM Mon May 30 05:25:15 1994 From: 72260.2635 at CompuServe.COM (Don Rosa) Date: 29 May 94 23:25:15 EDT Subject: Disney-comics digest #342. Message-ID: <940530032514_72260.2635_EHB149-1@CompuServe.COM> "RoC": I have "virtually" sent out your magazines. The post offices are closed here for the long weekend holidays, but I'll try to get my wife to send the package next week while I'm in Germany. That's odd, eh? I should mail it from Germany if I knew what my schedule was. So, the concluding chapter of the "Lo$" is out? You didn't say much about it -- I'll hafta find out any reactions to it when I return. Was it a good ending after 1 1/2 years??? Yes, the entire story takes place on Christmas Day, 1947. I knew the European editors would change it, but the sign on the TV store (on the page where you see that Donald & HDL have been watching the opening sequence on TV) is supposed to say "SALE! Closeout on 1947 model TVs!" You noticed those were old style TVs? Another of my instructions that I knew they wouldn't follow is that the opening pages, being a TV news show, should be in black & white and no color (except the caption boxes); did they do that right??? (Sigh)... poor Barks is gonna sizzle when he sees all the Rosa plastered through the most recent Duck comics. Now... as I said yesterday, I'll now disappear from here until June 7. From H.W.Fluks at research.ptt.nl Mon May 30 09:15:21 1994 From: H.W.Fluks at research.ptt.nl (Harry Fluks) Date: Mon, 30 May 1994 09:15:21 +0200 Subject: Knut Hunstad's mail Message-ID: <199405300715.AA23348@athena.research.ptt.nl> (Knut: you sent this to me, not to the list. Since you obviously meant to send it to the list, I'll forward it.) ----- Begin message from Knut.Hunstad at veg.sintef.no 27-May-94 Date: Fri, 27 May 1994 15:37:58 +0200 From: Knut.Hunstad at veg.sintef.no (Knut Hunstad) Subject: Re: DD's life in an eggshell For those who don't want to read anything more about my likings/dislikings of Rota I'll start with the relationship Grandma Duck-$. Having had the question up in a norwegian news list I have gotten several answers from other faithful norwegian DD-readers through several decades. None of them can remember anything other than the: "My life in an eggshell" suggesting that GD is $'s sister. >It looks a lot like DD in "Dangerous Disguise" (with secret-agent Tripe-X) >from Four Color Comic 308. The previous panel shows madame Triple-X. I don't know if the Four Color Comic series has been printed in Norway, but I'll try to check it out. >> The parts where the frames are parts of a story are OK, but I >> don't like the long series of one-frame gags. I miss the details that make >> you see something new each time you read the story. > >Ah, you want details? Then you must be a fan of Rosa, not Rota.. 8-) The first part was right: I like Rosa's style very much. But I was trying to say that as long as there was a continuos story I can agree that Rota has a style of his own that has its value. Only that style didn't work out in one-frame shots, somehow (not easy trying to discuss such things in a foreign language pr. email, but I hope the meaning gets through anyway). Actually I am one of few norwegian DD-lovers I know that likes the DD Pocket series we have in Norway. Very many italian stories in them. The quality is _very_ varying, but I find enough good stories to justify buying them. Actually I have the whole collection (about 156 at the moment). I don't have a clue about under what name they may be presented in other countries. About "coral barques". I had the feeling somehow the answer would be something like that... >Harry PTT Research ()_() Dutch Disney comics freak >Fluks Leidschendam (_) H.W.Fluks at research.ptt.nl > > "Yeah... I've _heard_ of coral barques!" Knut Hunstad khun at veg.sintef.no "I'm an expert. I have seen about this on TV!" ----- End forwarded message From maittola at snakemail.hut.fi Mon May 30 13:41:32 1994 From: maittola at snakemail.hut.fi (Mikko Aittola) Date: Mon, 30 May 1994 14:41:32 +0300 (EET DST) Subject: Disney-comics digest #342. In-Reply-To: <9405292329.AA08139@Minsk.DoCS.UU.SE> Message-ID: Don wrote: > My phone number isn't private. It's (502)2313399. Yes I know, but what if I send it to AA, and they print it. You receive phonecalls from Finland in Finnish like three in the morning that says: plah plah plah Don Rosa plah plah disney plah plah. What I need to know is can they print anything from that file without your permission. > I need to find out about this 5-page letter that the CB Studio > sent out to make sure I was "no where near Germany" when Barks was > there, as if he had the right to dictate where I go when I decide to. According to Paula it was 1.5 (page and half) long. It was something about Barks threatening to cancel the whole thing if they don't agree with his terms. Finnish AA 21/94: Featured story by Rosa and Jan Kruse. ( 'H 87178 Give Unto Others' ) Somebody wrote: > * In Dark Africa ("Darkest Africa") - a 3 part serial. Has never been > published before! Finland decided to publish this in one part form. According to Paula they had to reschelude many stories in Aku Ankka. For example recolor some older story etc. So, some future numbers of AA are different from its 'sister'books. /Mikko From starback at Minsk.DoCS.UU.SE Mon May 30 17:53:45 1994 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Mon, 30 May 94 17:53:45 +0200 Subject: A Duckman's View of Europe Message-ID: <9405301553.AA07406@Minsk.DoCS.UU.SE> According to the Comics Buyer's Guide article on Barks's European tour it would begin today (Monday) with Barks going to Reykjavik, but later I've heard that it won't begin until tomorrow. Is there anything about Barks's tour in Icelandic media, Sigurdur? Here in Sweden fans will be allowed to see Barks for 45 minutes or something like that Sunday June 19. Information is soon being sent out to members of NAFS(k) and Serieframjandet about how to attend. I've heard some more about what will happen in Denmark and Norway too, but I'm not sure I got it all right. The exhibition on Barks in Norway I mentioned will be June 7--12 and Barks will open it. Before that there will some a panel discussion on Barks June 6. At Nationalmuseum (?) in Copenhagen there will be a Barks exhibition June 1--20. What will be there? Original pages? Oils? "Just" lithographs? I don't know, but I'd like a chance to see some of Barks's oils, so if they've managed to get some of those there, I'll consider going there. Barks will be there June 10 to sign?? (A new litho??) The official celebration of Donald's birthday will not be until the next Saturday (June 11). -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From bjorn-are.davidsen at s.televerket.tele.no Tue May 31 10:20:12 1994 From: bjorn-are.davidsen at s.televerket.tele.no (bjorn-are.davidsen@s.televerket.tele.no) Date: Tue, 31 May 1994 10:20:12 +0200 Subject: LO?12 Message-ID: <"2068 94/05/31 10:20*/G=bjorn-are/S=davidsen/OU=s/O=televerket/PRMD=tele/ADMD=TELEMAX/C=NO/"@MHS> Don! After having read Lo$12 I just have to unlurk myself! Congratulations on your well done project! Of course not everyone will agree with your overall vision of Scrooge's life, especially regarding his retirement and return to business and adventure. Personally I think it really does solve a lot of problems related to Barks introduction and later elaborations on Scrooge, when he decided to use him in more than one story, gradually building up the mythology of his past. Barks' use of Scrooge in "Christmas on Bear Mountain" was after all not due to a lot of consideration of his past or present. That only came later and made CoBM somewhat of a problem (is analomy the right word?) chronicling Scrooge's past, concidering his present in the fifties and sixties. However, I think you managed to solve much of the problem! I also liked your presentation of Citizen Duck! That may be lost on the kids (or perhaps American kids will understand), but is another example of how you give additional value and reading joy to us more grey haired readers. Even if I think Lo$10 is the very best of the series, the final chapter had it's great moments! I liked very much the beginning, the part where they enter the bin for the first time, and the ending looking backward and forward at the same time. I think I'll have to read it once or twice more to get the proper perspective, but I think one difficulty is that the reader (if this is not the first Scrooge story one read) knows too much in advance. The content in Scrooges money bin is no surprise. That is a plot problem when you make it one of the climaxes of the story. The Beagle Boys was not very cleverly disguised (they never are). It was also no surprise that Scrooge would beat them, which he even did a bit too easily. Another thing which disturbs me somewhat is that Scrooge is a bit too different from the way Barks drew him in CoBM. I guess that is a problem when you try to be consistent to your own (and Barks' later) way of drawing Scrooge, but it didn't quite seem right (I do not know if I have any clever solutions to that problem!). However, do not misunderstand! The final part of Lo$ was well done and overall very satisfying! Bjorn Are From ricke at microsoft.com Tue May 31 09:18:55 1994 From: ricke at microsoft.com (Rick Engle) Date: Tue, 31 May 94 09:18:55 TZ Subject: New on the scene, Pat Block in Disney Comics... Message-ID: <9405311233.AA16836@netmail2.microsoft.com> I had the pleasure of meeting Patrick Block, a brand new artist for Disney Comics in Virginia this weekend at a signing. His 1st publishing is in the latest Donald Duck Adventures where he did the cover and the first story. I'm impressed with his drawing, it looks very much an older Barks style. I'm curious to see what others have thought of his first contributions. It will be nice to have the addition here in the US of a new artist so that we can get speedier first-run issues and not have to wait for them to be first published elsewhere internationally. Its also going to be nice to get a new stream of original duck stories. Regards, Rick From James_Williams at ESS.NIAID.pc.niaid.nih.gov Tue May 31 16:52:53 1994 From: James_Williams at ESS.NIAID.pc.niaid.nih.gov (James Williams) Date: Tue, 31 May 94 09:52:53 EST Subject: New on the scene, Pat Block in Disney Comics... Message-ID: <2deb4135@ESS.NIAID.pc.niaid.nih.gov> >It will be nice to have the addition here in the US of a new artist so >that we can get speedier first-run issues and not have to wait for them >to be first published elsewhere internationally. Its also going to be >nice to get a new stream of original duck stories. This is something I've never understood about Gladstone Comics. Why don't they publish more original material? Smaller (and very similar) companies like Archie Comics and Harvey Comics publish new material every month. James Williams From WBACHERE at fox.nstn.ns.ca Tue May 31 21:20:47 1994 From: WBACHERE at fox.nstn.ns.ca (Wayne Bacheresse) Date: Tue, 31 May 94 15:20:47 AST Subject: No subject Message-ID: <55255.WBACHERE@fox.nstn.ns.ca> unsubscribe disney-comics at minsk.docs.uu.se From WBACHERE at fox.nstn.ns.ca Tue May 31 21:22:55 1994 From: WBACHERE at fox.nstn.ns.ca (Wayne Bacheresse) Date: Tue, 31 May 94 15:22:55 AST Subject: No subject Message-ID: <55380.WBACHERE@fox.nstn.ns.ca> Subscribe Disney-comics at minsk.docs.uu.se