From recla at hq.jcic.org Thu Apr 6 22:22:16 1995 From: recla at hq.jcic.org (Dennis Recla) Date: Fri, 17 Mar 1995 20:22:16 -48000 Subject: [gtank@hq.jcic.org: Re: Carl Barks] In-Reply-To: <9503180344.AA08774@Minsk.DoCS.UU.SE> Message-ID: On Sat, 18 Mar 1995, Per Starback wrote: > I got the following mail from a non-member today. I don't know who > Gerhard W. Tank is or what his connection to Unca Carl is, but I've > sent a copy of this back to him. > > > From: "Gerhard W. Tank" > > Subject: Re: Carl Barks > > > Just a brief message to let all of Carl's fans know, if you put it out on > the Gerhard is a local friend of Carl, and a member of this internet host site, as well as being one of the key members of the Rogue Area Computer Club. hq.jcic.org is the Josaphine County Internet Council. Here int Grants Pass, OR. Carls current home here in the wilds of Oregon along the Rouge River. Fortuntely we got an internet site (jcic) last November and are now able to communicate with the rest of the world. Even with Carl, here, I have a hell of a time trying to find U$ and the other duck comics every month. Having been a Scrooge fan for years, I knew there was some reason I was attracted to the Grants Pass area, besides my job moving here. ;-) For those wondering who Gerhard is.. Dennis Recla recla at hq.jcic.org From recla at hq.jcic.org Sun Apr 9 22:53:27 1995 From: recla at hq.jcic.org (Dennis Recla) Date: Mon, 20 Mar 1995 20:53:27 -48000 Subject: Carl Barks Oregon Citizen of the Year! Message-ID: Just got word that Carl has been selected as the Oregon Citizen of the year. The award will be presented Friday, in Portland. I'll forward more informatino as I get it. Dennis Recla Grants Pass, OR From recla at hq.jcic.org Sun Apr 9 22:58:39 1995 From: recla at hq.jcic.org (Dennis Recla) Date: Mon, 20 Mar 1995 20:58:39 -48000 Subject: Barks is Oregon Citizen of the Year Message-ID: Just got word that Carl has been selected as the Oregon Citizen of the year. The award will be presented Friday, in Portland. I'll forward more informatino as I get it. Dennis Recla Grants Pass, OR From gtank at hq.jcic.org Mon Apr 10 00:35:47 1995 From: gtank at hq.jcic.org (Gerhard W. Tank) Date: Mon, 20 Mar 1995 22:35:47 -48000 Subject: Barks is Oregon Citizen of the Year In-Reply-To: Message-ID: On Mon, 20 Mar 1995, Dennis Recla wrote: > > > Just got word that Carl has been selected as the Oregon Citizen of the > year. The award will be presented Friday, in Portland. I'll forward > more informatino as I get it. > > Dennis Recla > Grants Pass, OR > sorry Dennis. It will be in Salem at the state capital a week from Friday, i.e. March 30. Thanks for passing the message on. gwt> From gtank at hq.jcic.org Tue Apr 11 15:52:31 1995 From: gtank at hq.jcic.org (Gerhard W. Tank) Date: Wed, 22 Mar 1995 13:52:31 -48000 Subject: Thank you Message-ID: I delivered birthday greetings over lunch today to Carl Barks. He is greatful to those who sent greetings, and as I indicated, it did cause a smile to cross his face. To those who sent greetings you have my sincere appreciation. gwt From gtank at hq.jcic.org Tue Apr 11 19:50:54 1995 From: gtank at hq.jcic.org (Gerhard W. Tank) Date: Wed, 22 Mar 1995 17:50:54 -48000 Subject: Thank you Message-ID: My last thank you message ended back in my new mail inbox on the internet. It may have been because I used mixed case in the address-so I will again express my thanks to those farflung friends of Carl's works. It did indeed put a :-) on his face when he read them. We are now readying for his next honor which is to become the Oregon Citizen of the Year on 30.3.95. See, I can even use European calendar abbreviations. I may need it when I visit Norway, Germany and Austria this summer. Carl regrets that he cannot do anything more for his fans who have wished him well. The letters will go into his scrapbook. He is pleased that I have taken the initiative of taking care of this thankyou's for him. You still have time to write. It is now -5 days to 94. gwt From gtank at hq.jcic.org Thu Apr 13 14:57:18 1995 From: gtank at hq.jcic.org (Gerhard W. Tank) Date: Fri, 24 Mar 1995 12:57:18 -48000 Subject: Disney-comics digest #617. In-Reply-To: <199503242028.WAA08572@freenet.hut.fi> Message-ID: On Fri, 24 Mar 1995, Mike Pohjola wrote: > > > GERWARD: > > Err... You know Barks?-o The Barks? CARL Barks? In that case, send > him my warmest greetings and a humblest reguest that he will revisit > Finland as soon as possible. I was 100 miles from the nearest coast at > that time cursing myself. 94 is not little. If I will ever be that old, > I sure hope people will remember me. Even people, who I have never met. > Habby Birthday, Carl! > > -- > > Mike - The Finnish Trekkie > Thanks Mike. I will deliver this printed message to him on Sunday. He is greatful to be remembered. gwt From jgilbert at efn.org Sat Apr 1 02:10:59 1995 From: jgilbert at efn.org (Janet Gilbert) Date: Fri, 31 Mar 1995 16:10:59 -0800 (PST) Subject: Carl Barks Day Message-ID: Hello, everyone! I'm emerging from my lurking mode to report on Carl Barks Day here in Oregon. My husband Michael and I were thrilled to finally meet the "Ol' Duck Man" a few minutes before the ceremony. A short time later, Carl was honored by the Oregon State Senate with a special proclamation, which was then voted on by all the senators. (All voted "yes," BTW!) A reception followed, with a small display of art (including the DD Birthday litho, his latest, I think) and a big Donald Duck cake. We then met some of Carl's grandchildren and great-grandchildren, who were all extremely nice and shared some great memories about their Grandpa Carl. One grandson recalled with delight the Uncle Scrooge moneybags Carl gave them when they were little (with real money inside!). A granddaughter said Carl would pay them for good story ideas. (Sorry, didn't get around to asking if he ever bought any!) The grandchildren also shared their feeling about what it was like to have a "famous" grandpa that nobody really knew about. One granddaughter said she used to brag that her grandpa created Uncle Scrooge, but no one ever believed her. After a while, she quit telling people! Carl's grandson remembered that when he once told a teacher his grandpa created Uncle Scrooge, she thought he meant Ebenezer Scrooge. "And so--" A very happy time was had by all! --Janet Gilbert Eugene, Oregon (Home of the University of Oregon Fighting Ducks, whose mascot is Donald Duck. His pic is on the stadium and everything else around here!) From jjb at teleport.com Sat Apr 1 09:33:21 1995 From: jjb at teleport.com (Jay Brown and Jon Young) Date: Tue, 31 Mar 1995 23:33:21 -0800 Subject: Address list please Message-ID: <199504010727.XAA08890@desiree.teleport.com> On earth, there are but few who can withstand the torment of mankind From Trshman at ix.netcom.com Sat Apr 1 13:58:10 1995 From: Trshman at ix.netcom.com (R. B.) Date: Sat, 1 Apr 1995 03:58:10 -0800 Subject: Unsubscribe Message-ID: <199504011158.DAA27978@ix3.ix.netcom.com> Please unsubscribe me from this list. Thank you. From Cdoberman at aol.com Sun Apr 2 07:39:18 1995 From: Cdoberman at aol.com (Cdoberman@aol.com) Date: Sun, 2 Apr 1995 00:39:18 -0500 Subject: The Uncensored Mouse Message-ID: <950402003917_68876966@aol.com> I found a couple of issues of "The Uncensored Mouse" in a bin at an out of town comic store. I had never heard of this comic before, and I was excited to see that it contained unedited MM dailies starting with the first and running through April 26, 1930. It was published by Eternity Comics and only two issues were printed before they Mysteriously Stopped ;) The Publisher was Dave Olbrich, with Chirs Ulm, Mickie Villa and Tom Mason helping. The issues contain a lot of material I am sure Disney Co. doesn't want people like me to read because it may have a bad influence on my behavior. I understand that more of this type of material floats around. Does anyone know how I can find it? Wes "But, Mickey! It's SUICIDE! We'll be KILLED! How'll we ever land without wheels?" -- Captain Doberman From revry at pen.k12.va.us Sun Apr 2 14:14:24 1995 From: revry at pen.k12.va.us (Ronald A. Evry) Date: Sun, 2 Apr 95 8:14:24 EDT Subject: Disney-comics digest #626. In-Reply-To: <9504012320.AA21470@Minsk.DoCS.UU.SE>; from "disney-comics@minsk.docs.uu.se" at Apr 2, 95 1:20 am Message-ID: <199504021214.IAA68065@pen2.pen.k12.va.us> Hey all, I just received from the ASCII ART e-mail list an incredible collection of ASCII Duck Tales pix.... Not wanting to offend anybody by posting this here (it's over 500 lines long), anyone who wants me to forward it to them drop me a line at: revry at pen.k12.va.us and put "ASCII DUCKS" in the subject so I won't accidentally trash the note without reading it. --Ron From ADEBLIEC at drew.edu Sun Apr 2 17:09:09 1995 From: ADEBLIEC at drew.edu (ADEBLIEC@drew.edu) Date: Sun, 02 Apr 1995 10:09:09 -0500 (EST) Subject: Disney-comics digest #625. Message-ID: <01HOUY2VALTE9384OI@drew.edu> I got the new Previews magazine today which, for those of you who aren't aware solicits the comics for retailers to order through the distributors. This issue concerns the publications shipping in June 1995. And there is some very interesting things going on with Gladstone. (You could take the word "interesting" with a slight note of sarcasm if you wished.) They are raisiing their prices! The little explanation blurb says the following: "New Gladstone Comics Titles and Formats Shipping in June "Beginning this month, Gladstone is temporarily dividing its lines into two groups. Titles in the first group will be published in the standard Gladstone format of 32 pages and a slick cover wrap, with a new, higher price of $1.95 per book. Titles in the second groupd will be shortened by four pages (text and house ads), but will contain just as much full-color comic book material for a _reduced_ price of $1.50 ($2.25 for giants.)" A couple of questions come to my mind. Since when is $1.50 a reduced price? OK< the $2.25 is reduced (and a handsome savings at that), but $1.50 is the same price we're paying now. Sheesh. And now I have to pay an extra $.45 for the letters column and text pieces. They better have a lot more articles in there! So follow along with the rest of the solicitation: Donald Duck #292 includes Barks' "Noble Porpoises" and more Taliaferro strips, for $1.95. Uncle $crooge Adventures features "Beagle Bug-Off" by Vic Lockman and "The Money Counting Machine" by Daniel Branca for $1.95. BUT! Donald Duck and Mickey Mouse #1 is solicited at $1.50. Does this mean that this title won't be raising its price? Or is it only coming out in the text-less version? And do they rally think renaming it for the purposes of having another #1 issue will help? Also, Uncle Walt's Collectory (note spelling!) #1 is shown to be a $2.25 book, with a great cover by Don. So when will the second wave of books come out? They aren't solicited. Next month after these books come out? Also note that at the beginning of this rambling message, this move was called "temporary." Temporary to see which sells better? Temporary to let us get used to the price hike before moving all the prices to the higher level? And will the giants on the $1.95 books go to $3.50 now, or what? So many questions... -Augie P.S. Marvel tried this once already, and moved all their titles to the higher-priced version after a fraudulent three month test, which is what this seems to be. ------------------------------------------------------------------------ Augie De Blieck Jr. - "Sometime I wonder, why are we so blind to fate?" ADEBLIEC at drew.edu - -Billy Joel, Two Thousand Years Drew University - From ARCHIMEDES at delphi.com Sun Apr 2 22:26:18 1995 From: ARCHIMEDES at delphi.com (Bob Wright) Date: Sun, 02 Apr 1995 15:26:18 -0500 (EST) Subject: The Uncensored Mouse Message-ID: <01HOV9M7H81A8Y500J@delphi.com> On 2-APR-1995 00:40:41.8 Cdoberman said to ARCHIMEDES Cd> I found a couple of issues of "The Uncensored Mouse" in a bin at an Cd>out of town comic store. I had never heard of this comic before, and Cd>I was excited to see that it contained unedited MM dailies starting Cd>with the first and running through April 26, 1930. It was published Cd>by Eternity Comics and only two issues were printed before they Cd>Mysteriously Stopped ;) WES: There were only two issues printed before the Disney machine came down heavy on Eternity, as the books were unlicensed. Too bad. The early Mickey was a gutsy little competitor who never gave up. Kinda like U$. From FXer2 at aol.com Sun Apr 2 21:50:10 1995 From: FXer2 at aol.com (FXer2@aol.com) Date: Sun, 2 Apr 1995 15:50:10 -0400 Subject: BYE Message-ID: <950402155009_69231411@aol.com> I would like to to be removed from this mailing list From jeanwick at xor.cis.brown.edu Mon Apr 3 14:18:33 1995 From: jeanwick at xor.cis.brown.edu (Jean Wickenden) Date: Mon, 3 Apr 1995 08:18:33 -0400 Subject: No subject Message-ID: <199504031218.IAA13257@Brown.EDU> I would like to be removed from this list. Jean Wickenden - Librarian Cranston Calvert School (K-5) Newport, RI 02840 Phone : 401-847-1660 Email : JeanWick at k12.brown.edu From J_MARTIN at SMCVAX.SMCVT.EDU Mon Apr 3 21:09:36 1995 From: J_MARTIN at SMCVAX.SMCVT.EDU (J_MARTIN@SMCVAX.SMCVT.EDU) Date: Mon, 03 Apr 1995 15:09:36 -0400 (EDT) Subject: No subject Message-ID: <01HOWNBKNMSYQPFZ82@SMCVAX.SMCVT.EDU> From Vidar.Svendsen at misjonshs.no Mon Apr 3 21:23:32 1995 From: Vidar.Svendsen at misjonshs.no (Vidar Svendsen) Date: Mon, 3 Apr 1995 21:23:32 +0200 (METDST) Subject: Marco Rota Message-ID: A friend of me (the norwegian fan who called you about 2 week ago, Don) has made a norwegian Rota-index, and we'd like to know if he's forgotten any stories. BTW: My friend (Geir J. Netland), Erik Hoerthe and I have made a new norwegian CARL BARKS INDEX printed by "Donaldisten" The price is 50 Kr., and it can be ordered from: Donaldistene Westye Egebergsgate 8 c 0172 Oslo Tlf: 22 36 07 70 Ok, here's the Marco Rota index (sorry, we only have norwegian titles): J 277 DD og de ville vikingene DD 1982:12-15, 93: dd bilag nr 1 ????? DD Mitt liv i et eggeskall (album 1985) ????? DD sarasenernes natt (album 1986) D 5480 O.S og sjoeroeveroeya MM 1981: 11 D 9434 DD reisen til miklagard Eventyr m/tidsmaskinen 1, DD 1994: bilag 6 D 90243 DD eventyr med tidsmaskinen 1 Beste historier 5 D 92120 Modellflykrigen DD 1992: 40 D 92444 OS Robrik DD 1993: 13-14 D 92513 DD teskjemannen DD 1993: 38-39 D 93041 DD aquanauten DD 1993: 35 D 93302 OS moldvarpfolket DD 1994: 12-13 D 93481 Donald villand magiske runer DD 1994: 26-27 D 93504 DD strandlengsel DD 1994: 24 D 93376 DD redningsmannen DD 1994: 49 D 93577 OS loven er for alle DD 1994: 47 -Vidar From jorgenb at ifi.uio.no Mon Apr 3 21:31:55 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Mon, 3 Apr 1995 21:31:55 +0200 Subject: Marco Rota In-Reply-To: (message from Vidar Svendsen on Mon, 3 Apr 1995 21:23:32 +0200 (METDST)) Message-ID: <199504031931.25717.maud.ifi.uio.no@ifi.uio.no> >we'd like to know if he's forgotten any stories. The first one of the viking stories was printed in one issue of Donald Duck Ekstra in 1979. In this story Donald dreams everything. Nice list, BTW :) Jorgen From donrosa at iglou.com Tue Apr 4 06:44:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Tue, 4 Apr 95 00:44 EDT Subject: Disney-comics digest #628. Message-ID: >ALL: Since I talked to John Clark today concerning my finishing up the "Hearts of the Yukon" story for WALT DISNEY'S COLLECTORY / UNCLE $CROOGE IN THE YUKON #1, I asked him about the report that someone (who was it now?) posted on here yesterday about reading information about Gladstone's new pricing format. Frankly, the way it was described didn't quite make sense to me, and in truth that wasn't exactly the whole story. What Gladstone / Bruce Hamilton is doing is an experiment to find some way to offset the new price of paper. In case some of you weren't aware of it, the cost of paper has skyrocketed in the past year, and this is something which may effect the future of comic books in general (or already has, obviously). My reactions to this are mixed -- I am frankly ashamed that I contribute to the felling of trees for the purpose of printing such unessential matter as comic books... even though comic books are vital compared to the far worse sorts of magazines and utter junk that people waste paper printing, not to mention packaging, etc., etc. All comic book pricing will soon rise, and Gladstone will raise the price of it's half-line of "normal" comics (done as they have been for the past few years) to $1.95. Everything about these issues will be the same as before except the unavoidable price increase. The other titles which will remain at $1.50 will, as reported, contain 4 fewer pages. But what Gladstone is doing hasn't been tried since the Fox comics of the late 1940's, the MARCH OF COMICS of the same period, or Gold Key's BEST OF DONALD AND $CROOGE type issues of the mid 60s. Old comic collectors will already know where I'm going with this. The Gladstone $1.50 comics will have no cover stock. The 4 pages being eliminated will be the wrap-around cover. The first page of the interior comic will have the "cover" of the comic. There will still be the same number of pages of stories, but there will be no letters page and fewer house-ads. The story credits will now be printed on the stories' first page as with all other comics. I think it was already mentioned on here which titles would be the $1.50 line -- mostly the lower sellers, I guess... DD, D&M and whichever. Also, there will be no more issues larger than these 28-32 pagers. (This is a reversal of a previous Hamilton idea from the late 80s that Gladstone comics would be more profitable at 64 pages with a price hike.) The future Gladstones will depend on which of these lines sells more profitably. If the "covered" issues sell better even with the higher price, the others will switch to that format. If the "coverless" issues are more profitable, all the Gladstones will go coverless. There's no sense in worrying or whining about it. It's a fact of economics and the American comic business where barely enough comics are bought in the first place to make it profitable. And there's no reason to decide not to buy the "coverless" issues in a misdirected protest, or to even buy extra of the "covered" ones. We collectors are a negligible force -- we just hafta see how the Great Unwashed Masses (which aren't very "Great" as "Masses" go)(but are probably suitably "Unwashed") will react to this change. (If readers decide they don't like EITHER style, I guess you won't be seeing the last chapters of the "Lo$", eh?) From homebrew at iglou.com Tue Apr 4 13:06:00 1995 From: homebrew at iglou.com (Daniel Shane) Date: Tue, 4 Apr 95 07:06 EDT Subject: Disney-comics digest #628. Message-ID: The issue of paper avilability is indeed critical. Some have concluded that in 10 years nobody will be able afford the stuff, and we'll all get our news and reading matter electronically. I don't know how close to the truth that is, but we'll all be paying a LOT more for anything on paper. From jonlo at ifi.uio.no Tue Apr 4 14:12:18 1995 From: jonlo at ifi.uio.no (Jon Cato Lorentzen) Date: Tue, 4 Apr 1995 14:12:18 +0200 Subject: Universal Solvent comment (Spoilers) Message-ID: <199504041212.27629.drott.ifi.uio.no@ifi.uio.no> Hi all. Non-Scandinavian readers beware... SPOILERS AHEAD! Ok. I have now read 2/3 of the Universal Solvent story by Rosa, and enjoyed it a lot, but something bugged me about the second part, when they reach the room at the center of the Earth. Scrooge falls of the vehicle and falls towards the center of the room, and past it, and then falls back upwards. This might seem logic, but being a physics-student, I don't know if this would happen. You see, this room is just like the inside of a hollow spherical shell, where the rest of the Earth is the shell. Inside this sphere there should be zero gravity, no forces at all. The Ducks should be completely weightless in the room. Things outside this room would be pulled towards it's center, but things inside will not. Anyway, it's been over a year since I learned this stuff, but that's how I remember it. It also makes for a great gag in the story. -jonC From borrelli at vxrmg9.icra.it Tue Apr 4 14:24:18 1995 From: borrelli at vxrmg9.icra.it (Antonella Borrelli G9-ICRA, Dip. di Fisica ROMATel.49914397) Date: Tue, 4 Apr 1995 14:24:18 +0200 Subject: No subject Message-ID: <9504041224.AA13948@Minsk.DoCS.UU.SE> i would like to be removed from this list From rivers at seismo.CSS.GOV Tue Apr 4 16:00:37 1995 From: rivers at seismo.CSS.GOV (Wilmer Rivers) Date: Tue, 4 Apr 95 10:00:37 EDT Subject: Universal Solvent (Spoilers!) Message-ID: <9504041400.AA23070@beno.CSS.GOV> Jon Cato Lorentzen warns: > Non-Scandinavian readers beware... SPOILERS AHEAD! and I herein reinforce this warning!!! Jon argues that once the Ducks have reached the hollowed-out room at the center of the earth, Scrooge would not fall out and then yo-yo back and forth past the exact center, since in a hollow sphere the gravitational potential is constant and its gradient (the gravita- tional field) is therefore zero. That would of course be true, but the room is not empty! The Universal Solvent itself rests at the exact center of the spherical room, and (as you will recall from the explanation of how it "dissolves" things) it has a mass equal to that of some of the rock which it has swallowed up inside the hollow room. Although the Solvent normally extrudes what it swallows, the very last extruded material now keeps falling back into the blob of Solvent that lies at the center of the room, and it gets re-absorbed. So this blob of liquid has a mass equal to that of a significant chunk of rock, and this is why Scrooge falls towards it (and back towards it again, after passing it). We must assume that the mass of rock within the Solvent is not **too** big, however, since ... Mild Spoiler for Part 3 follows! Scrooge is able to return it to the surface still inside the jar. This is OK, since the Solvent needs to contain only a small amount of mass in order to pull Scrooge back and forth; after all, as you point out, all the other gravitational forces cancel, so the little bit of rock held within the Solvent will suffice to make Scrooge fall towards it. Anyway, thanks for taking the physics so seriously! I wish someone would take up the torch passed by Tony Strobl and come up with a new comic to start kids thinking about science: "Donald Duck in Physics-Magic Land", or something. Former engineer Don Rosa, are you listening? Regards, Wilmer Rivers From marmelmm at dunx1.ocs.drexel.edu Tue Apr 4 16:36:47 1995 From: marmelmm at dunx1.ocs.drexel.edu (M. Mitchell Marmel) Date: Tue, 4 Apr 1995 10:36:47 -0400 Subject: Disney-comics digest #628. Message-ID: <199504041436.KAA02563@dunx1.ocs.drexel.edu> >of it, the cost of paper has skyrocketed in the past year, and this is >something which may effect the future of comic books in general (or already >has, obviously). An interesting sidenote to this is that recycling newsprint is actually becoming very profitable these days... >$1.50 comics will have no cover stock. The 4 pages being eliminated will be >the wrap-around cover. The first page of the interior comic will have the >"cover" of the comic. Hum! So no glossy cover, but decent white stock? Intertesting... Methinks that's going to give the books a bit of a 'fanzine' feel... >are probably suitably "Unwashed") will react to this change. Good question. Readers have been conditioned to expect covers in everything except cheap giveaways from Radio Shack and the like. >decide they don't like EITHER style, I guess you won't be seeing the last >chapters of the "Lo$", eh?) Don't even JOKE about THAT. Mitch ============================================================================ M. Mitchell Marmel \ Scattered, smothered, covered, chunked, Drexel University \ whipped, beaten, chained and pierced. Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!* Fibrous Materials Research Laboratory\ marmelmm at dunx1.ocs.drexel.edu ============================================================================ From deckerd at agcs.com Tue Apr 4 17:54:14 1995 From: deckerd at agcs.com (deckerd@agcs.com) Date: Tue, 4 Apr 1995 08:54:14 -0700 Subject: New Gladstone Format Message-ID: <9504041554.AA13947@stardust.> Thank you, Don, for explaining what Gladstone is doing with its new format. I got a brochure from Gladstone a couple of days ago, apparently sent out to all customers and subscribers, that didn't make the essential point clear enough for my muzzy brain to comprehend. Somehow I had the idea it would be 28 interior pages plus four slick cover pages, which seemed unlikely because interior comic-book pages have always been multiples of 16 (due to printing and binding procedures). Now I get it. All newsprint, no cover stock. In one sense it's a wonder nobody's tried this before as the ultimate cost-cutting measure (though the ultimate in sleazy cost- cutting had to be Marvel's one-page-turned-sideways-to- make-two-pages gimmick back in the '70s). Maybe the reason why nobody's tried it is because it's such a drastic departure from the public perception of what comic books are supposed to look like. This really sounds bad, to be honest. Slick cover stock does serve a purpose: protection. I foresee increased shipping damage, ink-smeared covers from handling. Not to mention buyer resistance: the book is going to _look_ cheaper and shabbier. I'm old enough to remember predictions by knowledgeable fans and professionals back in the early '70s that the basic 32- page newsprint comic book + four pages of slick cover stock was a dinosaur headed for extinction. Production costs were going up, sales were declining, distribution was drying up. At one point, Marvel was down to 17 pages of story content, the rest mostly paid advertising. The feeling was that the format had hit bottom: you couldn't drop another signature and go to 16 pages, you couldn't sell more advertising pages, you couldn't raise the price by some significant amount... oh no, the 32-page comic book was about to go the way of the Big Little Book. Without getting into the history of the last 20 years in comics, that didn't happen. I think the underlying reason is basically that the 32-page comic book is a convenient size, reflecting some convergence of factors like how many pages an artist can draw in a month and how much a reader will pay for some minimum amount of entertainment in a handy package. Today's comic books sell for amounts of money that we would have thought hideous two decades ago, while circulations have declined to shockingly small numbers, but the 32-pager has endured. Now the drastic rise in the price of paper may be what finally knocks it off. As I said, I really have a bad feeling about Hamilton's little experiment with "coverless" comics. But from what I've read elsewhere, isn't the sudden spike in paper prices due to temporary and unusual papermaking industry conditions, and the price is expected to decline as the industry corrects itself? Or something like that? --Dwight Decker From jjb at teleport.com Tue Apr 4 22:25:36 1995 From: jjb at teleport.com (Jay Brown and Jon Young) Date: Sat, 04 Apr 1995 12:25:36 -0800 Subject: I would like to be removed from this list Message-ID: <199504042019.NAA12409@desiree.teleport.com> On earth, there are but few who can withstand the torment of mankind From 72702.421 at compuserve.com Wed Apr 5 00:23:04 1995 From: 72702.421 at compuserve.com (Heidi MacDonald) Date: 04 Apr 95 18:23:04 EDT Subject: Disney-comics digest #628. Message-ID: <950404222304_72702.421_FHP54-2@CompuServe.COM> The lurker speaks...would it be possible to change the address where I receive this newswire? If possible, I would like to receive it at COMIXACE at AOL.COM instead of CI$. Thanks. Heidi From jjb at teleport.com Wed Apr 5 01:44:30 1995 From: jjb at teleport.com (Jay Brown and Jon Young) Date: Sat, 04 Apr 1995 15:44:30 -0800 Subject: I would like to be removed from this list Message-ID: <199504042338.QAA23052@desiree.teleport.com> unsubscribe jjb at teleport.com On earth, there are but few who can withstand the torment of mankind From ADEBLIEC at drew.edu Wed Apr 5 04:36:17 1995 From: ADEBLIEC at drew.edu (ADEBLIEC@drew.edu) Date: Tue, 04 Apr 1995 21:36:17 -0500 (EST) Subject: Disney-comics digest #629. Message-ID: <01HOYEXWGRF6936M40@drew.edu> DON and ALL: That was me with the panicked price hike info. You're right when you said that what I wrote didn't sound like the whole truth. It's because PREVIEWS magazine, and the most recent CBG, did a horrific job of explaining the changes. I'm glad you cleared it up for me - thanks for asking. However, as loathe as I am to admit it, I think I would rather pay the $2 and get the slick cover stock. As someone else mentioned (Dwight?) it serves a valuable purpose in protecting the comic. My oily fingers' residue is more easily wiped off the slick stock than the normal newsprint or white paper. ;) BUT NO LETTERS PAGES?!? ACK! (sorry for screaming, but this is a letters hack worst nightmare.) All those other missives that won't see print now. ::sigh:: And don't you worry, Don. Come hell or high water, we will see all of Lo$ in America. Our will is unbreakable. Speaking of which, I just read the latest installment - chapter 8 - and was mightily impressed. And then I was shocked - impressed, even - to see many of the same thoughts I had echoes in your text page - notably the climax bit, the legend part, and the changed $crooge. I really enjoyed this issue, and had a _ton_ of fun finding the DUCK on the cover. It's getting trickier and trickier every month. -Augie ...feeling his wallet thin out... ------------------------------------------------------------------------ Augie De Blieck Jr. - "Sometime I wonder, why are we so blind to fate?" ADEBLIEC at drew.edu - -Billy Joel, Two Thousand Years Drew University - From donrosa at iglou.com Wed Apr 5 07:43:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Wed, 5 Apr 95 01:43 EDT Subject: Disney-comics digest #629. Message-ID: >JON & WILMER: Thanks for trying to help me, Wilmer, but your idea won't work. I think I state somewhere in the story that the Universal Solvent retains NONE of the dissolved matter... otherwise (as you mention) I knew $crooge would never be able to handle it once it was in that diamond-jar. I could say something like the glob of solvent was sucking in air and condensing its atoms thereby creating a slight draft toward itself. That's not a bad idea, and in fact is an idea that was a major part of the last version of this story in 1977... it's how I explained, in that version, why Lance Pertwillaby was not squished by air pressure when in the shaft (this current version handles that problem better, I believe). Actually, since the U.S. had condensed the atoms of the surrounding material and pushed the residue back into the walls of that little chamber, what we would have had was gravity directed AWAY from the glob of solvent. Since there would be a concentration of mass in the walls of that chamber, $crooge would have been walking on it like David Innes did in Pelucidar (walking around the inner shell of the hollow Earth). And if that wouldn't have been the case, and if the gravitational field was not effected by anything, what was left of it at the Earth's EXACT center would have been SO slight that, even if $crooge would have been drawn to the exact center of the Earth toward the glob, it would have been SO gradual that his speed would have been measured in inches/eon. No, the true scientific principle is one that Jon touched on. It's the one scientific principle that always outweighs all others by a tiny bit. It's the scientific principle known as "it made a great gag, so I did it that way".> I'm wondering if that comment about "the 1977 version of this story" confused anyone? As I discussed on here while doing that tale, many of my Duck stories are recreations of other comic strips I did as a hobby for my own amusement years ago. This particular story of a trip to the center of the Earth through a vertical shaft is one I did last in 1977 for a fanzine...and which I had previously done in 1959 after seeing that Pat Boone movie. I mean, that James Mason movie. That means I'm due to do a new version again around 2012. From DucksEtc. at eworld.com Wed Apr 5 08:26:20 1995 From: DucksEtc. at eworld.com (DucksEtc.@eworld.com) Date: Tue, 04 Apr 95 23:26:20 PDT Subject: Thanks for Welcome; Van Horn Index & Oak Island Message-ID: <9504042326.tn07555@eworld.com> To the handful of people (Jorgen, Fredrik and Dave) who wished me welcome when I joined the mailing list: Many thanks and I sincerely apologize for not responding before now. A killer cold, a frantic (and feverish) bout with my tax returns and other fun things kept me from responding. Sorry. I'll try to respond a bit faster next time. FREDRIK: As to that Van Horn list you mentioned, I'd be happy to look at it. I've already talked to Bill Van Horn about it and he's willing to go over it as well. (Actually if he goes over it there's not much need for me to review it.) I do have the Van Horn Index that I downloaded from the mailing list archive. I don't know if that's the latest version you have, though. So send a new one or let me know if this one is good. ( A word of warning: I have to send things to Bill by snail mail to Canada and I don't know how fast he'll get back to me once it arrives. So it could take awhile.) DAVE RAWSON: Thanks for the kind words about my pizza story in Donald Duck Adventures #29. I wrote that story four years ago and originally sold it to Disney Comics. When Disney Comics hit the skids Egmont purchased the story from Disney and was nice enough to pay me some extra money for it as well. The story was originally quite a bit longer--18 or 20 pages, I can't remember now--and it was supposed to be three-tier. A couple of scenes had to be cut and the story had to be reformatted so that Van Horn could draw it as a four-tier to fit Egmont's needs. It was nice to finally have something back in print in the U.S. By the way, I enjoyed your tour guide story in the same issue. It was fast, funny and well constructed. Gee! Should we be paying for each other for these compliments or should we just keep a running tally? Any more Disney stories of yours coming up here in the U.S.? (Yes, I've already heard about and ordered a copy of your CHIAROSCURO: The Private Lives of Leonardo da Vinci. But you're welcome to plug it again if you want. (Gee! I think I'm one up on you on the tally sheet now. How much do I get?) I've got a story drawn by Vicar that's coming up in DD #31. (It was actually written even before the Pizza story. Sigh. It takes so long for these things to get reprinted over here.) For some reason one of the trade papers is describing it as a Junior Woodchuck story. It's not. Instead it's another fued story between Donald and his neighbor Jones. (Or at least that's the way it was written. Vicar apparently didn't draw Jones to look much like Jones and so I think Gladstone is calling him something else here.) Other than that, I don't know of anything else of mine coming up this millenium in the U.S. If there is Gladstone sure hasn't told me. Hopefully something else will show up soon. Writing for Egmont is great, but it's sure frustrating not to see it in print here. By the way Dave, I noticed quite awhile back that you sent an advance copy of your tour guide story to Comics Buyer's Guide for review. How did you get a copy of the art with a lettered script in English? I'd love to do the same for whenever one of my stories shows up here. Did you get it from Gladstone or Egmont? OAK ISLAND TREASURE REVISTED: I noticed that a few weeks ago people were talking about the Oak Island treasure and the possibility of doing a story about it. As Don Rosa noted someone already has done an Uncle Scrooge story about it. I don't think the author's name was ever mentioned, though. I believe the story that Don is talking about was written by Huck Aiken. (Sorry, I can't be 100 percent sure of the spelling of Huck's last name. It might be Aicken.) I believe the story was originally written as a 48-pager, but Disney Comics wanted it expanded to 62 pages to fill a graphic novel. Van Horn was approached to draw it, but turned it down. (For the most part, Bill really prefers shorter stories.) I doubt that finding an artist to draw it was really a factor in it's nonappearance here. At that time the Jamie Diaz Studio was churning out pages for Disney. So the story could have always been assigned to Diaz t if no one else was available to draw the story. Whatever the merits of the script were--its chances of appearing in America were pretty much killed I suspect when Disney decided a few months later not to produce any graphic novels with original material. All graphic novels were pretty much either adaptions of movies or compilations of previously published movies. (I was working on a Mickey Mouse graphic novel at the time. Maybe I'll finish it for Egmont one of these days.) Anyway, it sounds like Huck's story was sold to Egmont so hopefully it'll see print one of these days. Or has someone seen it in print already? From gtank at hq.jcic.org Wed Apr 5 06:37:58 1995 From: gtank at hq.jcic.org (Gerhard Tank) Date: Tue, 4 Apr 1995 21:37:58 -0700 (PDT) Subject: Barks Message-ID: April 4,1995: The following Associated Press article appeared in tonights newspaper: CARL BARKS HONORED AT CAPITOL Donald Duck Launched Cartoonist's Long Career SALEM (Oregon) ----But Friday was special for fans of Uncle Scrooge and Donald Duck at the Capitol, where senators paid tribute to world-renowned cartoonist and Grants Pass-area resident Carl Barks. Senator Brady Adams, R-Grants Pass, introduced a memorial bill on the Senate floor, honoring Barks for his seven-decade career and for representing Oregon "throughout the world with humor and charm". Barks, who began animating Donald Duck cartoons for the Walt Disney studios in the 1930's and created the Duckburg characters of Uncle Scrooge and others, is still at it. Since turning to comic books in the 1940s and 50s, he con- tinued to produce popular oil paintings. He made several tours with his work, including a swing through Europe last year. Adams' bill passed by unanimous vote, and the 94 year old Barks got a standing ovation. Later, the shy but robust artist held court at a crowded reception, receiving praise and signing auto- graphs with a laugh and a smile. "Well, I guess I've got to do it once in a while, so people don't forget me," he quipped. (In attendance at the ceremony were several grandchildren and great grandchildren) From jonlo at ifi.uio.no Wed Apr 5 11:02:54 1995 From: jonlo at ifi.uio.no (Jon Cato Lorentzen) Date: Wed, 5 Apr 1995 11:02:54 +0200 Subject: More on the solvent.. Message-ID: <199504050902.21139.gjalp.ifi.uio.no@ifi.uio.no> Again, more SPOILERS below... The problem with the Universal Solvent pulling Scrooge could be solved like this. Both the solvent and Scrooge has some mass. As both are in a space with no gravitation, they would be drawn towards each other, so Scrooge would be pulled downwards towards the fluid, while the solvent would be pulled upwards towards Scrooge. This way Scrooge could do his little jig around the fluid. And I'll be going to the great north for my Easter vacation today, so see you all in some weeks, and have a nice holiday. -jonC From gtank at hq.jcic.org Wed Apr 5 16:08:59 1995 From: gtank at hq.jcic.org (Gerhard Tank) Date: Wed, 5 Apr 1995 07:08:59 -0700 (PDT) Subject: Barks (fwd) Message-ID: ---------- Forwarded message ---------- Date: Tue, 4 Apr 1995 21:37:58 -0700 (PDT) From: Gerhard Tank To: disney-comics Cc: Larry Brewer Subject: Barks This message re-sent because of internet connection failure last night. April 4,1995: The following Associated Press article appeared in tonights newspaper: CARL BARKS HONORED AT CAPITOL Donald Duck Launched Cartoonist's Long Career SALEM (Oregon) ----But Friday was special for fans of Uncle Scrooge and Donald Duck at the Capitol, where senators paid tribute to world-renowned cartoonist and Grants Pass-area resident Carl Barks. Senator Brady Adams, R-Grants Pass, introduced a memorial bill on the Senate floor, honoring Barks for his seven-decade career and for representing Oregon "throughout the world with humor and charm". Barks, who began animating Donald Duck cartoons for the Walt Disney studios in the 1930's and created the Duckburg characters of Uncle Scrooge and others, is still at it. Since turning to comic books in the 1940s and 50s, he con- tinued to produce popular oil paintings. He made several tours with his work, including a swing through Europe last year. Adams' bill passed by unanimous vote, and the 94 year old Barks got a standing ovation. Later, the shy but robust artist held court at a crowded reception, receiving praise and signing auto- graphs with a laugh and a smile. "Well, I guess I've got to do it once in a while, so people don't forget me," he quipped. (In attendance at the ceremony were several grandchildren and great grandchildren) From mikep at freenet.hut.fi Wed Apr 5 17:20:37 1995 From: mikep at freenet.hut.fi (Mike Pohjola) Date: Wed, 5 Apr 1995 18:20:37 +0300 Subject: Duck heroes Message-ID: <199504051520.SAA31095@freenet.hut.fi> [ little SPOILERS here ] DON and others: I have now read to parts of Journey to Center of the Earth and I just wandered if this was actually the first time the Ducks saved the Earth. Was it? I've only read so far that I've seen the ducks trapped between earth (wind) and fire. Now my speculation is, that the air that is with them will first stop the earth and then slowly the oxygen will run out and the fire will die. Then the ducks could use the Corbamite (I don't know the name of the black pudding, 'cause it was in Finnish in my Finnish issues) to get out. Is this what happens? -- Mike - The Finnish Trekkie From revry at pen.k12.va.us Wed Apr 5 18:53:51 1995 From: revry at pen.k12.va.us (Ronald A. Evry) Date: Wed, 5 Apr 95 12:53:51 EDT Subject: Disney-comics digest #629. In-Reply-To: <9504042320.AA13674@Minsk.DoCS.UU.SE>; from "disney-comics@minsk.docs.uu.se" at Apr 5, 95 1:20 am Message-ID: <199504051653.MAA70325@pen2.pen.k12.va.us> The idea of printing comics with no cover stock is not new at all. Back in the 60's Gold Key tried it on a few GIANT-SIZED books, which are now very difficult to find in nice shape. --Ron From marmelmm at dunx1.ocs.drexel.edu Wed Apr 5 19:57:51 1995 From: marmelmm at dunx1.ocs.drexel.edu (M. Mitchell Marmel) Date: Wed, 5 Apr 1995 13:57:51 -0400 Subject: Old 97? Message-ID: <199504051757.NAA23726@dunx1.ocs.drexel.edu> As I was sitting on a stopped commuter train in Philadelphia this morning, I flashed back on one of my all-time favorite U$ stories. It concerned an old steam engine that was to be retired in favor of a new streamlined train. The new train, with U$ aboard, got trapped in deep water when the electric motors shorted out. Donald and HD&L got the train out by pushing it with the old steamer, using a train of flatcars which were submerged so as not to publically humiliate the new train... Anybody remember this one? Mitch ============================================================================ M. Mitchell Marmel \ Scattered, smothered, covered, chunked, Drexel University \ whipped, beaten, chained and pierced. Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!* Fibrous Materials Research Laboratory\ marmelmm at dunx1.ocs.drexel.edu ============================================================================ From train at zork.tiac.net Wed Apr 5 23:20:19 1995 From: train at zork.tiac.net (train@tiac.net) Date: Wed, 5 Apr 1995 17:20:19 -0400 Subject: http://home.mcom.com/home/internet-directory.html Message-ID: <199504052120.RAA20368@zork.tiac.net> From train at zork.tiac.net Wed Apr 5 23:32:41 1995 From: train at zork.tiac.net (train@tiac.net) Date: Wed, 5 Apr 1995 17:32:41 -0400 Subject: http://search.yahoo.com/bin/search?p= Message-ID: <199504052132.RAA21433@zork.tiac.net> HI MY NAME IS CURTIS. I WOULD LIKE IT IF A FEMALE GETS THIS MAIL. THIS IS MY FIRST TIME USEING A COMPUTER SO TAKE IT EASY ON ME. I WOULD LIKE TO TALK TO AN ATTRACTIVE ONE. I'M 27 YEARS OLD, AN ARCITECT,AND WELL FINANCAL. I'M ALSO STUDY COMPUTER ENGERNEER AND TECHNOLOGY. MY NUMBER IS 298-6213 BUT I WANT YOU TO WRITE BACK THE MOMENT YOU READ THIS. ONE MOR THING DO YOU ALL HAVE A CLUB. THANK YOU KURT ! From train at zork.tiac.net Wed Apr 5 23:32:40 1995 From: train at zork.tiac.net (train@tiac.net) Date: Wed, 5 Apr 1995 17:32:40 -0400 Subject: http://search.yahoo.com/bin/search?p= Message-ID: <199504052132.RAA21430@zork.tiac.net> HI MY NAME IS CURTIS. I WOULD LIKE IT IF A FEMALE GETS THIS MAIL. THIS IS MY FIRST TIME USEING A COMPUTER SO TAKE IT EASY ON ME. I WOULD LIKE TO TALK TO AN ATTRACTIVE ONE. I'M 27 YEARS OLD, AN ARCITECT,AND WELL FINANCAL. I'M ALSO STUDY COMPUTER ENGERNEER AND TECHNOLOGY. MY NUMBER IS 298-6213 BUT I WANT YOU TO WRITE BACK THE MOMENT YOU READ THIS. ONE MOR THING DO YOU ALL HAVE A CLUB. THANK YOU KURT ! From train at zork.tiac.net Wed Apr 5 23:32:41 1995 From: train at zork.tiac.net (train@tiac.net) Date: Wed, 5 Apr 1995 17:32:41 -0400 Subject: http://search.yahoo.com/bin/search?p= Message-ID: <199504052132.RAA21435@zork.tiac.net> HI MY NAME IS CURTIS. I WOULD LIKE IT IF A FEMALE GETS THIS MAIL. THIS IS MY FIRST TIME USEING A COMPUTER SO TAKE IT EASY ON ME. I WOULD LIKE TO TALK TO AN ATTRACTIVE ONE. I'M 27 YEARS OLD, AN ARCITECT,AND WELL FINANCAL. I'M ALSO STUDY COMPUTER ENGERNEER AND TECHNOLOGY. MY NUMBER IS 298-6213 BUT I WANT YOU TO WRITE BACK THE MOMENT YOU READ THIS. ONE MOR THING DO YOU ALL HAVE A CLUB. THANK YOU KURT ! From train at zork.tiac.net Wed Apr 5 23:32:38 1995 From: train at zork.tiac.net (train@tiac.net) Date: Wed, 5 Apr 1995 17:32:38 -0400 Subject: http://search.yahoo.com/bin/search?p= Message-ID: <199504052132.RAA21423@zork.tiac.net> HI MY NAME IS CURTIS. I WOULD LIKE IT IF A FEMALE GETS THIS MAIL. THIS IS MY FIRST TIME USEING A COMPUTER SO TAKE IT EASY ON ME. I WOULD LIKE TO TALK TO AN ATTRACTIVE ONE. I'M 27 YEARS OLD, AN ARCITECT,AND WELL FINANCAL. I'M ALSO STUDY COMPUTER ENGERNEER AND TECHNOLOGY. MY NUMBER IS 298-6213 BUT I WANT YOU TO WRITE BACK THE MOMENT YOU READ THIS. ONE MOR THING DO YOU ALL HAVE A CLUB. THANK YOU KURT ! From IGV039 at ZAM001.ZAM.KFA-JUELICH.DE Thu Apr 6 12:24:51 1995 From: IGV039 at ZAM001.ZAM.KFA-JUELICH.DE (Peter Coenen) Date: Thu, 06 Apr 95 12:24:51 +0200 Subject: don in germany? Message-ID: <9504061027.AA06402@Minsk.DoCS.UU.SE> DON: A few days ago I read that you will come to Germany in June. If this is really true, please tell me when you are at what locations. I would really like to meet you then, if you should stay in a city near mine. From IGV039 at ZAM001.ZAM.KFA-JUELICH.DE Thu Apr 6 12:44:03 1995 From: IGV039 at ZAM001.ZAM.KFA-JUELICH.DE (Peter Coenen) Date: Thu, 06 Apr 95 12:44:03 +0200 Subject: translation Message-ID: <9504061046.AA11707@Minsk.DoCS.UU.SE> DON: Please excuse me that it took me so long to translate this first part of an article about you and the LO$ comics. It is not that well translated and I hope that there are not too many mistakes. If you are still interested, I will continue, and I hope to have the hole text done within two or three weeks. As soon as I have finished it all, I will send it to your private address as well as to the list. Danny Coenen $cooges Memories- Don Rosa on the trace of Carl Barks His style is characteristic- bent on details, he uses the last square centimeter for a bit more of structure or for one of his typical tiny- funny sidegags. This makes the eyes remain on those panels, but somehow it makes them appear in a Disney-unusual stiffness. But to regard is really worthwhile- Without doubt, Don Rosa likes his job. And he does it exactly. Rosa is a master of putting humor in his drawings- and he is more: His stories are perfectly calculated, full of ideas, absurd constellations and- speed. Just like a well-timed slapstick comedy. And finally there is the "point of no return" where all the humor is coming out with the power of an avalanche. There are probably two reasons for Rosa being called the heir of Carl Barks: On the one hand there is his incomparable style, and on the other hand-like being mad- he takes on elements out of the duckman's stories. Today the stories of all duck artists base on Carl Bark's work, but Rosa is the only real successor of him. He takes up the characters as well as the action and the places his idol Carl Barks invented. For example he took his ducks back to Tralla La or to the land of the square eggs. Rosa does not add new things- he completes. And so the ducks get something like a memory, "real" life: a biography. Biographic elements have also been used in Bark's stories. Especially $crooge often told of his origin and of his life before he became the world's richest duck. And that was necessary, because that was how he has been developed by Carl Barks: more or less close by and out of nothing- although adapted to Dickens; from there his name Scrooge McDuck- for the "Christmas on Bear Mountain" story (FC 178). Later some explanations became necessary, but they have often been very vague. Only once in a while there have been exiting stories basing on $crooges past, but those belong to the best Barks ever wrote. The most famous are "The Old Castles Secret" (FC 189) and "Back to the Klondike" (FC 456). But $crooges memories remain incomplete and symtomatically indistinct. Thus a challenge for Rosa- and what a hard work! It took him two and a half years to investigate, assort and to translate this into a resolved comic story. And what a story: on 211 pages divided into 12 chapters it describes the Life of $crooge McDuck. From Dave.Rawson at salata.com Wed Apr 5 12:32:04 1995 From: Dave.Rawson at salata.com (Dave Rawson) Date: 05 Apr 1995 02:32:04 -0800 Subject: Disney-comics digest #624. Message-ID: <610_9504060422@salata.com> JORGEN: d> The Stamp Act [...] what I really like about this story (and d> "Tour de Jour") is all the work you put into the one-shot d> characters. Thanks for the kind words, Jorgen! I'm glad the time I put into character creation makes them memorable. I look forward to David Gerstein's eventual use of Red O'Ruckus. :) While not a Disney title, I hope that you'll keep a lookout for CHIAROSCURO: The Private Lives of Leonardo da Vinci from Vertigo. This is a VERY strongly character driven story, a kind of AMADEUS for comics. ... What's the difference between a duck? * Evaluation copy of Silver Xpress. Day # 151 --- via Silver Xpress V4.01 [NR] From donrosa at iglou.com Fri Apr 7 07:49:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Fri, 7 Apr 95 01:49 EDT Subject: Disney-comics digest #631. Message-ID: >PETER: How nice of you to translate that article for me. If there's more (I think you said?) I would be very interested in seeing it. I have stacks of magazine and newspaper articles about me from Europe, but I have no idea what most of them say. You're a big help! But... you didn't say where this article appeared, did you? Was it in a "fanzine" or a regular magazine or which? Today I am writing/drawing a one-page UNCLE $CROOGE gag for your TEMPO magazine, which I understand is a major German magazine, eh? It will appear in conjunction with that June trip you mention. Which also leads me to the question of WHERE did you read about that trip? Is the publisher publicizing it or was it just mentioned in a fan-magazine? Where will I be? Well, this will be quite a trip. I'll be on a complete tour of Germany, top to bottom, for 16 days. They wanted me for more like 3 weeks, but I asked them to hold it to a bare minimum so I could get back to my paying job. I guess there might be a few other German Duck fans lurking on here, so I'll post a full schedule as they last sent it to me, and perhaps Per can take this section and stick it somewhere that it can be referred to by other members of this group for the next few months. You'll hafta help me a bit. There are a few words on here that I assume are not names of bookstores where I'll be appearing, but are German words for "travel time" or "goof off" or I can't even guess; words like "campe" and "urlaub" -- you tell me if those are places I'll be appearing or things I'll be doing. But here's the last schedule I was sent... Friday, June 2: arrive Hamburg. Saturday, June 3: Stihlke, Hbf.; Wahnsinn. Sunday & Monday, June 4 & 5: Comic Salon (Convention), Hamburg. Tuesday, June 6: to Berlin - Grober Unfug. Wednesday, June 7: to Hannover - Buch + Comic. Thursday, June 8: to Ruhrgebiet/Koln - Mr.C.Bochum; Empire, Koln. Friday, June 9: to Bonn/Frankfurt - Comic Laden, Bonn; Buchhandlerschule, Ffm. Saturday, June 10: Frankfurt - Comica. Sunday, June 11: "urlaub" (?). Monday, June 12: to Nurnberg - Campe; Ultra-Comix. Tuesday, June 13: to Munchen(Munich) - Sussmanns. Wednesday, June 14: to Stuttgart - Heinzelmannchen. Thursday, June 15: more "urlaub". Friday, June 16: home. I assume more stops and stores will be added later. I can also now say that I expect to be on a trip to Helsinki around November 10-12 during their annual comic convention, and I may take a short tour of Finland and my 8th (or is it 9th?) sidetrip to Oslo. More on that later as the publishers think it out. While we're on the subject, I can say something for American Duck fans as to where I'll be in this poor country. Actually, my trips are down this past year or so -- I used to get invited to some show about every other weekend around the U.S., but apparently attendances are down and they are not paying to fly in guests to all those small "motel" shows I used to do, and I don't blame 'em. (I never figured I brought any customers in the doors who would then go around and buy copies of SPAWN and WOLVERINE from the dealers, which is the purpose of having guests at those things.) But I'll be in Oakland for Wondercon, then in...uh... damn! It's a two-day show in Columbus or Cleveland? I'll hafta check -- the last weekend of April. Then Chicago on the 4th of July... San Diego whenever that is in August. Somewhere in Maine in September. And... well, I shouldn't have started this since I don't have my calendar in front of me where I'm typing this, and my memory fails. (It's presumptuous for me to think anyone particularly cares anyway, eh?) Speaking (as your article did) of the "Life of U$" dealie, I hear that Gladstone's new UNCLE $CROOGE with the 8th chapter of the $crooge bio is out now, though I haven't seen it yet. I did kinda like the cover I tried to do for that issue, and I'm anxious to see how the special GOLD coloring looks that they put on the title and the Goose Egg Nugget, as well as how they colored the distant mountains and forests. I've also finally completed the first new installment of that bio that I've done in two years... sort of a chapter 8B. I bring this up only because, whereas American audiences are getting the $crooge bio 2-3 years after they've seen it throughout Europe, Americans will be seeing this chapter 8B before they see it anywhere else. And coincidentally, it will appear ALMOST in the proper order for chronological reading. I think the UNCLE $CROOGE with chapter 9 will appear in early June, but in late June will appear WALT DISNEY'S COLLECTORY / $CROOGE McDUCK IN THE YUKON #1, so it will purt'near be appearing in order in America even though I did 8B almost 3 years after 8 & 9. Actually, it feels good to me that I waited 3 years between Klondike tales, but American readers will be seeing these two Yukon adventures TOO CLOSE together. So, it's good in one sense, but not in another. Well, can't have everything. From fluks at pcssdc.pttnwb.nl Fri Apr 7 10:44:22 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Fri, 7 Apr 1995 10:44:22 +0200 Subject: Rota index Message-ID: <9504070844.AA02611@ux08.pttnwb.nl> Vidar: > A friend of me has > made a norwegian Rota-index, and we'd like to know if he's forgotten any > stories. In our Database, there are a few more Rota stories: - The first Viking story (the one Jo/rgen mentioned), code I A-228 (45 pages); - Donald Duck als forens [Dutch title] (I 245-A, 36 pages); - Uncle Scrooge, The Money Ocean (I A-215, 36 pages, reprinted by Gladstone in US 266/267) The last two are probably not reprinted in Norway. A question about this entry: > D 90243 DD eventyr med tidsmaskinen 1 Beste historier 5 Another time machine "number 1" story? Different from D 9434? As Jo/rgen said, nice list. But I would like to have the number of pages per story. Then I can include the stories in the Disney comics Database (of which an improved version will be available from ftp in, let's say, next may). --Harry. From fluks at pcssdc.pttnwb.nl Fri Apr 7 10:53:48 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Fri, 7 Apr 1995 10:53:48 +0200 Subject: A question for John Lustig Message-ID: <9504070853.AA02637@ux08.pttnwb.nl> John (needless to say it's nice to have you here): Before you were on the list, David Gerstein wrote: > There was a Mickey/Goofy one-pager about fishing, done by Noel > Van Horn, in a recent British weekly. [..] > It was very funny and given the way Mickey > talked, I'd guess that it -- like "Hocus Pocus Hypnosis" -- was > probably written by John Lustig. David is away for a month, so I'll ask the question in stead: did you write this gag? (I have the German version, there's nothing special about "the way Mickey talked" in German, but I like the gag.) --Harry. From fluks at pcssdc.pttnwb.nl Fri Apr 7 11:09:52 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Fri, 7 Apr 1995 11:09:52 +0200 Subject: Gammel 88 op een zijspoor Message-ID: <9504070909.AA02766@ux08.pttnwb.nl> MITCH: > [..] one of my all-time favorite U$ stories. It concerned an > old steam engine that was to be retired in favor of a new streamlined > train. This could be the second (untitled) story from "Huey, Dewey and Louie Back to School" #1, 1958. I have never seen this story, but in the 70s, Vicar completely redrew the story for Denmark. That version was published here in Holland (Dutch title is in the subject). The story was written by Carl Fallberg, who apparently was (is) a railway freak. He wrote a lot of railway stories. The original art was by Strobl and Liggera. --Harry. Harry Fluks ()_() Dutch Disney comics freak PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From fluks at pcssdc.pttnwb.nl Fri Apr 7 11:20:26 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Fri, 7 Apr 1995 11:20:26 +0200 Subject: Disney-comics digest #631. Message-ID: <9504070920.AA03001@ux08.pttnwb.nl> DON: > Today I am writing/drawing a one-page UNCLE $CROOGE gag for your > TEMPO magazine Will this gag be published in Tempo only? Or will Egmont / Gladstone reprint it later? About your German tour: "Urlaub" means "holiday"! It looks like you got two days off to do whatever you want in Germany. The rest of the words must be comic shops ("Wahnsinn" = "outrage"), except Bochum = place in the Ruhr area (Ruhrgebiet), Ffm = short for Frankfurt am Main. --Harry. From mikep at freenet.hut.fi Fri Apr 7 14:34:49 1995 From: mikep at freenet.hut.fi (Mike Pohjola) Date: Fri, 7 Apr 1995 15:34:49 +0300 Subject: Disney-comics digest #631. Message-ID: <199504071234.PAA05848@freenet.hut.fi> DON (and Peter (and any who know anything about this)): >A few days ago I read that you will come to Germany in June. If this Now, if this is true, it sure is good news! I'm gonna spend most of June in Salzburg, quite near Germany. Err, you are not in Finland at the time I'm in there, are you Don? You are welcome of course, but I too would like to see you. -- Mike - The Finnish Trekkie From deckerd at agcs.com Fri Apr 7 17:56:04 1995 From: deckerd at agcs.com (deckerd@agcs.com) Date: Fri, 7 Apr 1995 08:56:04 -0700 Subject: Gammel 88 op een zijspoor Message-ID: <9504071556.AA15497@stardust.> >>The story was written by Carl Fallberg, who apparently was (is) a railway >>freak. He wrote a lot of railway stories. No "apparently" about it. I have a book of cartoons Fallberg did about a fictitious narrow-gauge railroad in the 19th Century American West, and a biographical note mentioned his great interest in the subject. By the way, I just realized that I haven't heard the word "freak" in the sense you used it in quite a few years now. "Freak" in the sense of fan or enthusiast has the dated feeling of incense and love beads. Judging by my own startled reaction to your use of the word, "freak" has reverted to its original meaning and is no longer complimentary. Well, I could be wrong about this (and I've been posting on MLs long enough to know that somebody will soon be along to correct me if I am), but I'd say the word doesn't convey the meaning you want now. Here endeth the lesson! Is it my imagination or has the amount of mail on this ML dropped off considerably lately? --Dwight Decker From marmelmm at dunx1.ocs.drexel.edu Fri Apr 7 18:09:25 1995 From: marmelmm at dunx1.ocs.drexel.edu (M. Mitchell Marmel) Date: Fri, 7 Apr 1995 12:09:25 -0400 Subject: Gammel 88 op een zijspoor Message-ID: <199504071609.MAA20809@dunx1.ocs.drexel.edu> >completely redrew the story for Denmark. That version was published here >in Holland (Dutch title is in the subject). And the title translates to-? The '88' rings a bell, so that might have been the steamer's number >The story was written by Carl Fallberg, who apparently was (is) a railway >freak. He wrote a lot of railway stories. That would make sense, as the story was pretty accurate from a railroading standpoint, if memory serves. >The original art was by Strobl and Liggera. Any idea on reprint dates? I saw it in the 1970's; it was either in a digest or in one of the period reprint titles. Mitch ============================================================================ M. Mitchell Marmel \ Scattered, smothered, covered, chunked, Drexel University \ whipped, beaten, chained and pierced. Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!* Fibrous Materials Research Laboratory\ marmelmm at dunx1.ocs.drexel.edu ============================================================================ From SHAFFER at edu-suu-cpsc.sc.suu.edu Fri Apr 7 22:47:54 1995 From: SHAFFER at edu-suu-cpsc.sc.suu.edu (MARK SHAFFER) Date: Fri, 7 Apr 1995 13:47:54 MST Subject: removal from list Message-ID: <3613EA55F0@edu-suu-cpsc.sc.suu.edu> I would like to be removed from this list From jorgenb at ifi.uio.no Sat Apr 8 00:57:37 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Sat, 8 Apr 1995 00:57:37 +0200 Subject: Marco Rota In-Reply-To: (message from Vidar Svendsen on Mon, 3 Apr 1995 21:23:32 +0200 (METDST)) Message-ID: <199504072257.24394.baugi.ifi.uio.no@ifi.uio.no> > A friend of me made a norwegian Rota-index, Found another one: 1982-12 e D5393 8F MRt MRt DD og de ville vikingene 1 1982-13 f D5393 6F MRt MRt DD og de ville vikingene 2 1982-14 e D5393 9F MRt MRt DD og de ville vikingene 3 1982-15 e D5393 6F MRt MRt DD og de ville vikingene 4 > D 90243 DD eventyr med tidsmaskinen 1 Beste historier 5 HARRY: > Another time machine "number 1" story? Different from D 9434? Quite a long time since the last time I read those stories, but I think two of them are drawn by Rota. I've got that album, but I don't remember what the story is called. Jorgen From starback at Minsk.DoCS.UU.SE Sat Apr 8 01:03:06 1995 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Sat, 8 Apr 95 01:03:06 +0200 Subject: Disney-comics digest #631. In-Reply-To: (donrosa@iglou.com) Message-ID: <9504072303.AA10835@Minsk.DoCS.UU.SE> Don gave his trip schedule for Germany and added that "perhaps Per can take this section and stick it somewhere that it can be referred to by other members of this group for the next few months." Yes, I have an "upcoming events" section on the WWW pages which is just for that kind of information. Please return with the information on your American con appearances when you have your calendar in front of you! Speaking of the WWW there is a special WWW page for the San Diego Comic-Con, but there is no information there on what I want to know: is there a special Disney comics panel there this year like I know there have been other years in the past? -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From dbcloud at panix.com Sat Apr 8 01:34:57 1995 From: dbcloud at panix.com (Douglas Wolk) Date: Fri, 7 Apr 1995 19:34:57 -0400 (EDT) Subject: Disney-comics digest #632. In-Reply-To: <9504072328.AA11198@Minsk.DoCS.UU.SE> Message-ID: Don writes: > I'm anxious to see how the special GOLD coloring > looks that they put on the title and the Goose Egg Nugget Flat-out beautiful, is how it looks. And the story itself is pretty awesome, too, especially that last page, with $croogey making his fateful decision. Can't tell you how much I'm enjoying this whole storyline. Douglas D. Wolk dbcloud at panix.com "...walk. I even changed the way that I..." From ADEBLIEC at drew.edu Sat Apr 8 16:48:30 1995 From: ADEBLIEC at drew.edu (ADEBLIEC@drew.edu) Date: Sat, 08 Apr 1995 09:48:30 -0500 (EST) Subject: Disney-comics digest #632. Message-ID: <01HP3BEZXW0I93B6SK@drew.edu> Yes, Don, Chapter 8 is out now in the States, and it's a great read. The cover, I thought, looked good with the special coloring on the Goose Egg Nugget and the title. They also used some sort of effect on the cover to force everything else into the background. Uncle $crooge really stands out in front. I also happened to be rereading His Majesty, McDuck, which as I've said countless times before is my favorite, when I noticed that $crooge has kept the nugget intact along with a piece of Goldie McGilt's hair in a box in his office or basement. (I forget which at the moment.) So is this truly the final fate of the nugget - locked in a box somewhere? And will you make reference to that anywhere in the Lo$ later on? I also happened to have enough time the other day to reread Barks' "Back to the Klondike" right after reading chapter 8 of Lo$. They complement each other well, actually. -Augie ------------------------------------------------------------------------ Augie De Blieck Jr. - "I've seen the rats lie down on Broadway..." Drew University - -Billy Joel, "Miami 2017" ADEBLIEC at drew.edu - And, hey, who hasn't? From pbarnes at obunix.okbu.edu Sat Apr 8 21:32:11 1995 From: pbarnes at obunix.okbu.edu (Philip Barnes) Date: Sat, 8 Apr 1995 14:32:11 -0500 (CDT) Subject: unsubscribe Message-ID: I would like to be unsubscribed to this list +----------------------------+-------------------+------------------------+ | "But the LORD is with me | Philip Barnes |pbarnes at obunix.okbu.edu | | like a mighty warrior; | 2328 N. Pottenger | First Baptist Church | | so my persecutors will | Shawnee, OK 74801 | Fitzhugh, Oklahoma | | stumble and not prevail" | [405] 878-9907 | Youth/Music Minister | | Jeremiah 20:11 +-------------------+------------------------+ +----------------------------+ ___--- _ OO BBB U U BBB III SSSS OO N N / >\ O O B B U U B B I S O O NN N /(_ __ .) O O BBB U U BBB I SSSS O O N N N // //--\__/ O O B B U U B B I S O O N NN ^^ ^^ OO BBB UU BBB III SSSS OO N N From donrosa at iglou.com Mon Apr 10 06:36:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Mon, 10 Apr 95 00:36 EDT Subject: Disney-comics digest #633. Message-ID: >AUGIE AND ANYONE ELSE WITH SOME SPARE TIME: Thank you for the kind words about chapter 8. It's one I was looking forward to seeing in America since I am quite partial to telling tales of $crooge's Yukon days. Actually, I'd already seen it in English since they printed the "Lo$" 2 years ago in England, but the Gladstone version is always the best, even with Disney's interference (which the foreign editions don't have). I finally went out and bought a copy of that issue myself. There were several lil' surprises inside for me... things that were changed by more of those inexplicable Disney whims -- sorta like "we gotta have 'em change something so it'll be this and this, so nyaah". And some odd goofs in the lettering which is otherwise superb, being by the county's foremost funnybook letterer Todd Klein. Just in case you're curious or otherwise desparately bored, I'll tell you what I saw when I read this issue... My very first reaction was my usual repulsion at my art; in particular, about the time I drew this tale (about 3 years ago) I seem to have been drawing every last Duck head too small. $crooge's head is too tiny for his beak in every single panel in this comic!!! After drawing episode 9 is when I looked back and realized that I was drifting in this odd direction, and whited out and redrew most Duck heads in that 9th chapter. I still have the problem now, but I think (I hope) I catch myself more often. My distress started with the splash panel where I see they left the "The" out of the title "THE King of the Klondike". This is a bigger deal than it seems only because all the titles of these 12 chapters are supposed to fit the form of "The - of the --". My next "HUH?" came at the bottom of page 2 where $crooge is bragging about his past exploits and the fearsome names he's been given, and the dialogue has him saying "...and several other scary (but not quite accurate) names!" I don't know why this change was made -- I guess it was just a goof -- but, obviously, he should be saying "but quite accurate", not "NOT quite accurate". Page 3 - panel 2: "Hog dang"? What is "Hog dang"? I think my script had "hot dang". In panel 4 is a Disney-change that I'd been forewarned of: my script had Wyatt Earp saying "you cheap gunny", not "sonny". You can sorta tell Todd Klein's lettering has been tampered with. It seems that somebody at Disney had the vague idea that "gunny" meant feces. I've never heard of that myself, but... well, I used the same word in part 7 and no one objected at Disney and there wasn't an outcry from enraged readers. This is what I mean by these Disney-changes seeming to be made by throwing darts at a comic hung on a wall. Page 4 - panel 2: there is supposed to be a bullet hole in the forehead of the guy in the picture on the wall -- you can see him looking up at it in disgust. Another Disney-change. This careless gag would obviously have caused children to try to shoot themselves between the eyes then pose for photographs. I'll never understand why Disney has such incredibly low regard for comic book readers! Their own animated cartoons which are watched by far younger children (and don't even require the intellegence to read) still don't treat their audience as being the sub-cretins they seem to think are reading "their" comics. (Maybe it's that it's not "their" comics is what they resent?) Bah. Now I'll leap all the way to page 6. Page 5 was okay! You see in panel one where the guy is kicking $crooge. And $crooge apparently socks him in panel two. But... the "KICK" sound effect is stuck in with the "SOCK" sound effect. How odd. Page 8 has a mistake all my own. That's Casey Coot $crooge is talking to. That's Grandma Duck's brother, Cornelius Coot's grandson, and the guy I showed $crooge buying the deed for Killmotor Hill from all the way back in my "Last Sled to Dawson" in 1988. But he's supposed to have "Gladstone Gander" type eyes. I drew him with the wrong shape eyes! (He shows up again in that new "Hearts of the Yukon" story I just did for Gladstone's SCROOGE MCDUCK IN THE YUKON #1 on sale in 2 1/2 months.)(With the RIGHT eyes.) Oh, Augie asked about that Whitehorse bank safety deposit box that I show $crooge keeping that Killmotor Hill deed and his Goose Egg Nugget in in my "His Majesty McDuck" story. You'll see $crooge get that box out to show his family the contents in chapter 9 of the "Lo$", and I mention it in my text piece for that issue. Everything ties together. I never forget details. Except the shapes of characters' eyes. I forget that. Oh, I've lost track of the page numbers, but they didn't show Todd Klein the correct lettering for the sign on the Black Jack Ballroom. But I lettered the sign myself in "Hearts of the Yukon". That half-page panel with $crooge walking down the main street in Dawson City. Disney's dart didn't stick in the stuff in that page, like the dead body with the arrow in it or the hideous gun-to-nose motif. But somebody caught my dialogue on the next page where I had $crooge climbing out a window in a hotel and telling the occupants of the darkened room "Sorry folks! Just passing through! Carry on!" and changed it to "Go back to sleep". Was it so obvious that I was implying they weren't sleeping? There. What a grand waste of Internet space this has been, eh? But one last thing -- I usually don't care much for my art, but now and then I do... and this cover on U$ #292 might be the best I've done since "Last Sled to Dawson". Maybe I just love these Yukon $crooge scenes. But I think the cover for $CROOGE MCDUCK IN THE YUKON #1 will top this one -- it's a revamp of that "Last Sled" cover, but finally with the Northern Lights which were SUPPOSED to have been on that 1989 cover but weren't, with the proper starry sky and the midnight sun shining behind $crooge, and Glittering Goldie on his arm. I look forward to seeing that one! And plans are to release it as a special computer-colored "junior" lithograph, though I don't know for how much (but it'll be pretty cheap, I'm sure). From fluks at pcssdc.pttnwb.nl Mon Apr 10 10:00:23 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Mon, 10 Apr 1995 10:00:23 +0200 Subject: Dwight and Mitch in digest #632. Message-ID: <9504100800.AA18356@ux08.pttnwb.nl> Dwight: > "Freak" in the sense of fan > or enthusiast has the dated feeling of incense and love beads. Should I change the word in my signature, then? > Is it my imagination or has the amount of mail on this ML dropped off > considerably lately? There could be a connection with the fact that David Gerstein is on holiday (er, I mean: vacation, or urlaub)... ----- Mitch about "Gammel 88 op een zijspoor": > And the title translates to-? The '88' rings a bell, so that might have > been the steamer's number My dictionary says "gammel" means "ramshackle" (unlike the Scandinavian equivalent, which means just "old"). "Gammel 88" is the name of the train. "Op een zijspoor" is something like "on a side track". I have no information about reprints. Our database does not list them (I copied the reprint data from Becattini's index). > [...] or in one of the period reprint titles. What is a "period reprint title"? --Harry. Harry Fluks ()_() Dutch Disney comics freak (or what?) PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From Even.Flood at ntub.unit.no Mon Apr 10 10:21:34 1995 From: Even.Flood at ntub.unit.no (Even Flood) Date: Mon, 10 Apr 1995 10:21:34 +0200 Subject: The Universal Solvent (minor spoilers) Message-ID: <199504100821.KAA31449@serv1.ntub.unit.no> Don! My complements on the Universal Solvent story - it was on of your best. And like all you stories it deserves rereading and rereading to get all the gags and details - throhoughly enjoyable. The gags are great, especially at the center of the Earth. Also following the minor antics of Gyros assistant - that alone required a separate reading. But this story should not have been told in segments. The pacing and telling of the the story is so fluid that it should be read in one sitting to get the flow and impact. Reading it way they presented it was like listening to symphony by Beethoven played with one movement each week. Not a good way to do it. The opening allegro must be immediately followed by the andante and the andante of the middle of the story must be immediately followed by the furioso of the finale, otherwise all looses its impact. Presenting those parts days apart - good grief. This must be one of the most Jules Vernian duck stories I have read. Here the antagonists are not villains or magical powers, but the laws nature and physics. That surprised me a bit, after the first installment I expected some plot twist with encounters with mysterious beings. I did not think you could carry a whole story just battling the forces of nature - was I wrong! Which brings me to the one minor letdown - the final page about how Scrooge could not make a profit of this venture. The gag was great and the (dare I use the word Moral? No - forget I wrote that.. eh .. lesson? .. eh .. something ..) of the story is necesarry, but it depends upon a point of physics that just ain't so. Since you made a point of having the physics consistent I wish you had thought of something else. OTOH it is a satisfying ending and conclusion. I agree fully with your sentiment that facts never should get in the way of a good gag! One point puzzles me. In the tunnel under the river there is a door marked Exit. Now - where does that door lead?? One more thing - did you give the solvent a brand name? In Norway they named it Skrueloes (oe=o with /) which is an excellent play on several words: 1) Scrooges Norwegian name, Skrue 2) Loesningsmiddel wich is Norwegian for solvent 3) Skrue loes (two words) means a loose screw or gear - sligtly crazy. Indeed Gyros Gearloose's name when he first appeared in Norwegian DD back in the 50ties was Goggen Skrueloes. For unknown reasons it was later changed to Petter Smart. So this time the translateors did something right. Even Flood Reference Librarian "Come, and take choice of Norwegian DIANE Center all my library, and so Technical University Library of Norway beguile thy sorrow." N 7034 Trondheim, Norway (Shakespeare) Phone: +47 73 59 51 62, Fax +47 73 59 51 03 even.flood at ntub.unit.no From fluks at pcssdc.pttnwb.nl Mon Apr 10 10:42:41 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Mon, 10 Apr 1995 10:42:41 +0200 Subject: (The) King of the Klondike Message-ID: <9504100842.AA27186@ux08.pttnwb.nl> I compared the Dutch version with Gladstone's version of "King of the Klondike" yesterday. There were a few differences that (as Don himself now explained) were changes in Gladstone's version. There is one more difference: in the saloon the sandwiches were "free" according to the sign. In the Dutch version they were "30 c". Which one is original, and why would they have changed it? --Harry. Harry Fluks ()_() Dutch Disney comics fr... ehm... PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From dicapuaf at pfizer.com Mon Apr 10 12:33:48 1995 From: dicapuaf at pfizer.com (Frank M. DiCapua) Date: Mon, 10 Apr 1995 05:33:48 -0500 (EDT) Subject: Don Rosa Lithographs! Message-ID: <9504100933.AA24021@ramius.pfizer.com> Alright! Gladstone/Another Rainbow is going to produce a Don Rosa Lithograph. Its about time! I always thought that this concept could work if somebody gave it a chance. I'd love to have such a lithograph framed on my wall, and Don would get some money and additional stature. Its good that Gladstone is starting to think along these lines. I've always loved their Carl Barks lithographs/figurine series, but have been unable to afford them. Gladstone should start thinking about alternatives, especially since their contract with Barks will expire soon. It is possible to produce high quality prints/figures for reasonable prices. There should be more products for people who love Scrooge, and less for the collectable market. Frank From mayerson at sidefx.sidefx.com Mon Apr 10 15:43:21 1995 From: mayerson at sidefx.sidefx.com (Mark Mayerson) Date: Mon, 10 Apr 1995 09:43:21 -0400 Subject: Lo$ sold out in Toronto Message-ID: <9504101343.AA10133@sidefx.sidefx.com> The reasons are not clear, but Lo$ part 8 sold out in Toronto in less than a week. It was released on a Tuesday and by Friday was sold out of the two main comics shops in town. I got the last copy at the fourth comics shop I went to, and that was 4 days after it came out. One shop owner told me that he thought he received fewer copies than he ordered. Another shop owner told me he thought it was due to Don Rosa and the subject matter, and it was definitely the first time he had ever sold out of Uncle Scrooge so soon. Has anybody else noticed anything similar in North America? ___________________________________________________________________ Mark Mayerson Catapult Productions Internet: mayerson at sidefx.com Toronto, Ontario, Canada (416) 504-9876 From marmelmm at dunx1.ocs.drexel.edu Mon Apr 10 16:03:12 1995 From: marmelmm at dunx1.ocs.drexel.edu (M. Mitchell Marmel) Date: Mon, 10 Apr 1995 10:03:12 -0400 Subject: Dwight and Mitch in digest #632. Message-ID: <199504101403.KAA14125@dunx1.ocs.drexel.edu> >equivalent, which means just "old"). "Gammel 88" is the name of >the train. "Op een zijspoor" is something like "on a side track". Okay, that makes sense. Literally, "Ramshackle No. 88 on the Side Track," then. Fits the story perfectly. >I have no information about reprints. Our database does not list them >(I copied the reprint data from Becattini's index). Drat. >What is a "period reprint title"? The cheap Gold Key collections from the late '60s to early '70s. My mother used to pick them up at the Two Guys (chain of stores similar to Carrefour) in bags of 3 or 4 for 69 cents or thereabouts... Mitch ============================================================================ M. Mitchell Marmel \ Scattered, smothered, covered, chunked, Drexel University \ whipped, beaten, chained and pierced. Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!* Fibrous Materials Research Laboratory\ marmelmm at dunx1.ocs.drexel.edu ============================================================================ From DucksEtc. at eworld.com Mon Apr 10 18:41:40 1995 From: DucksEtc. at eworld.com (DucksEtc.@eworld.com) Date: Mon, 10 Apr 1995 09:41:40 -0700 Subject: To Harry: I wrote it! To Janet: Hello! Message-ID: <950410094046_9146941@eWorld.com> HARRY FLUKS: Yes, I did write the Mickey Mouse/Goofy gag "Something Fishy." I have no idea how David Gerstein figured out I was the author based on the way Mickey and Goofy talked. I like to think that my writing is distinct, but this was just a one-page gag. If it went over well then I'm extremely pleased. Frankly it was the first time I'd ever used Mickey or Goofy in a story. (Well, it's the first one that I've completed and sold anyway. I've got several Mickey stories plotted out and partially scripted that I was going to do for Disney Comics before it went down the tubes.) I did two other short Mickey/Goofy pieces for Egmont--"Hocus Pocus Hypnosis" and "Peek-a-boo Bunny." Noel Van Horn illustrated each of them. I don't know how interesting this is to everyone, but these three stories have a rather unusual genesis. The scripts were originally intended for Gladstone, but were nixed when they were sent on to Disney for approval. Each was turned down for a different reason. The fishing gag was turned down because Disney apparently won't allow anyone to refer to Mickey as a mouse. "Peek-a-boo Bunny" was rejected because it had "a little too much 'Rocky and Bullwinkle' zaniness in it for Disney." (Do you folks in Europe know who Rocky and Bullwinkle are? If not, trust me. It's one of the funniest cartoon series of all time--although I'm not sure how well the deliberately corny puns and various in-jokes will translate.) Hocus Pocus Hypnosis was originally a three-page gag which involved Mickey hypnotising Goofy into thinking he was a bird. In the original draft Goofy actually starts flapping his arms and flies off. Mickey then has to get Goofy down and unhypnotise him. I was told by Disney that I couldn't do this because "Mickey and Goofy obey the same natural laws the rest of us do. That includes the law of gravity. The only time Goofy flies is when he's Super Goof. The rest of the time he's earthbound." Disney's right, of course--up to a point, but I sort of think that Goofy is the one character in the Disney universe who might be able to do something that's clearly impossible--but only as long as Goofy doesn't know it's impossible. It's sort of like the Coyote chasing the Road Runner off a cliff. The Coyote keeps on running and doing just fine--until he notices he's running on thin-air. Then he drops like a rock. I did these three stories because I'd been wanting to do something with Mickey for a long time. I also wanted something of mine appearing in America. The checks from Egmont are great. But it's nice to see some of my stuff printed in my own country. I submitted the three rejected Mickey stories to Egmont and was astonished to have all three accepted. I was astonished, because I didn't think that "Something Fishy"would translate at all. The English version depends entirely on the fact that in America we call a certain type of fish a "catfish" and another type a "dogfish." Harry, I'd be really like to know how the German translation got around this. You don't have to give me the full translation, but I would like to know how it was handled. Do you even have "catfish" and "dogfish" in Germany? If not how did this joke make any sense? Actually, selling that gag was rather liberating for me. It wasn't the greatest joke in the world, but it helped me to stop worrying about whether a bit of verbal nonsense would translate or not. I figured if I could get away with that gag I could get away with any kind of wordplay I wanted. (By the way, Egmont agreed with Disney that Goofy couldn't really fly. This turned out OK I think. Based on a suggestion by my Editor Byron Erickson I expanded the story and changed it so that Goofy didn't actually fly. He just thought he could. (Personally, I still think Goofy could've flown--if Mickey just hadn't stopped him.) Harry, sorry to ramble on like this. All you did was ask me one little question about a one-page gag. Imagine what would've happened if you asked me about a whole ten-page story! JANET GILBERT: Welcome to the mailing list. It sounds like you had a fun time at the Carl Barks ceremony in Oregon recently. I wish I could have gone too. Janet, although you're apparently to modest to draw attention to yourself, the folks out there should know that you and your husband (Michael T. Gilbert) are also scripters for Egmont. Michael's worked on an incredible number of projects through the years, but he's probably best known as the creator, artist and writer of MR. MONSTER--a decidedly non-Disney, but very funny comic book series here in the United States. Michael also wrote some Mickey Mouse stories during the start of Disney Comics' brief run. Let's see, what else? You've both done stories for the DISNEY ADVENTURES digest. (This digest put out by Disney has a comics section that usually features characters from the Disney Afternoon TV shows such as Goof Troop, Aladdin, Darkwing Duck, etc. I've been saying for years that I'd like to write something for this publication and I've never gotten around to submitting anything--which is too bad because it sells far more issues than any other Disney comics in the U.S. For many kids it'll be their first and perhaps only exposure to Disney comics.) Anyway, I just wanted to welcome Janet (and Michael.) Geez! We must have at least half the U.S. contingent of Disney comics people on this mailing list! PER: I sent a message recently to the list responding to people who welcomed me. The message got bounced back, but I think it finally went through. If it did go through then you don't need to do anything. If it didn't go through then let me know. From ricke at microsoft.com Mon Apr 10 15:26:17 1995 From: ricke at microsoft.com (Rick Engle) Date: Mon, 10 Apr 95 15:26:17 TZ Subject: Don Rosa Lithographs! Message-ID: <9504101849.AA08935@netmail2.microsoft.com> This is good news, Don's work is superb, I only hope that Gladstone can possibly offer lithographs that are much more affordable. The Barks lithographs are so unbelievably expensive that for that price, I'd rather buy a cell than a litho. I would think that if the lithos were affordable that it would bring them the same profits if many fans bought art rather than a few wealthly fans buying several high priced prints. Rick ---------- | From: Frank M. DiCapua | Subject: Don Rosa Lithographs! | Date: Monday, April 10, 1995 5:33AM | | Alright! | | Gladstone/Another Rainbow is going to produce a Don Rosa | Lithograph. Its about time! From dldoll at rs01.kings.edu Tue Apr 11 02:33:48 1995 From: dldoll at rs01.kings.edu (Debbie L Doll) Date: Mon, 10 Apr 1995 20:33:48 -0400 Subject: unsubscribe Message-ID: <9504110033.AA15491@rs01.kings.edu> unsubscribe From donrosa at iglou.com Tue Apr 11 08:26:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Tue, 11 Apr 95 02:26 EDT Subject: Disney-comics digest #634. Message-ID: >EVEN: What physical law did I break at the end of "The Universal Solvent"? I don't doubt I did, it's just that it's been over a year since I did the story and I don't recall. Highway tunnels below rivers and such must always have emergency escape exits which lead to a separate corridor with a separate air supply. The corridor, especially when in an underwater tunnel, would simply follow alongside the main tunnel. In my script, the Universal Solvent had a brand-name, and each time the name was used it was supposed to be accompanied by a gag "trademark" or "copyright" symbol... (a 'c' in a 'O'). And the name was the same I used for the Solvent in the 1978 version -- "Omnisolve" (dissolves all). HARRY: The sign on the sandwiches was supposed to say "free lunch" which is what salloons did in those days for their customers. Why was it changed? Rather than waste time worrying about that, I have my hands full wondering about the countries where the sign (as are many signs in poorly editted editions) was simply left BLANK, with $crooge doing a "take" while looking at a blank sign, as if he's thinking "What the -- why is this sign blank?!", same as me. Why was it changed to 30c? Perhaps the editor never heard of free lunch salloons and didn't know why the food was free? No -- here's a "Disney" type reason -- $crooge was taking advantage of the free food by stocking up, so he's a crook. Eh? MARK: From what I've heard, the U$ issues with the "Lo$" all sell out immediately everywhere. We were discussing that here last week. That's why price guides list the #285 for $15 and even the latest issue at $5. American stores simply don't take Disneys seriously and never increase their orders even though they sell out the previous month. When a super-hero comic sells out, they increase the order a few issues the next month, which makes sense. When a Gladstone sells out, they just think "Whew! What luck I'm not stuck with more of those!" RICK: Yes, the Rosa lithographs will always be "cheap". Hamilton knows that I want none of that whole phony "collectibles" racket where he charges $400 for posters or $800 for the same poster with a gold stripe around it. You know what a "lithograph" is, right? A comic book is a whole book of lithographs. A soup can label is a lithograph. "Lithograph" is the word you use when you want to charge extra for a poster. You're not paying for the product -- you're paying for the investment potential, the signature, etc. This shouldn't suggest that there's that sort of market for my stuff, anyway. Not for another 30 years or so, if ever. But Hamilton has known me for 25 years and knows that I am the antithesis of greed. That's why the Weasel Group hate and fear me. They know I'll always be opposed to their philosophy, and my uncooperative existance is very bad for their business. (There's a good quote to be reported to Weasel Central.) From Dave.Rawson at salata.com Thu Apr 6 08:23:04 1995 From: Dave.Rawson at salata.com (Dave Rawson) Date: 05 Apr 1995 22:23:04 -0800 Subject: Disney-comics digest #630. Message-ID: <43d_9504110442@salata.com> JOHN LUSTIG: It was interesting to learn your pizza story was originally written for Disney Comics before they folded. You're not alone. TWIN BEAKS, ALI BABA AND THE FORTY WINKS, and BOOGIE WOOGIE BEAGLE BOYS, three stories Pat and I wrote under circumstances identical to yours, have yet to emerge from Egmont's art queue. We, too, had to rewrite from four to three tiers. Glad you enjoyed TOUR DE JOUR! Thanks, also, for ordering a copy of CHIAROSCURO: The Private Lives of Leonardo da Vinci. It's the biggest project I've worked on thus far. I look forward to your Vicar story in Donald Duck #31. What is it named? The copy of art with lettering in English that I sent Comics Buyers' Guide was a xerox of the British publication from Egmont. But I just recently found out that their IS an intermediate stage of production from Egmont which has all the line art lettered in English. This is the sample sent to affiliates as English is the language the scripts are all in! After three years, You'd think I'd have heard of this before now... Thanks for writing, John. Hope to see you as a regular contributor here now. Bye! ... Moral Indignation is jealousy with a halo. * Evaluation copy of Silver Xpress. Day # 151 --- via Silver Xpress V4.01 [NR] From fluks at pcssdc.pttnwb.nl Tue Apr 11 17:11:00 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Tue, 11 Apr 1995 17:11:00 +0200 Subject: Dave Rawson Message-ID: <9504111511.AA02624@ux08.pttnwb.nl> DAVE R.: > [...] have yet to emerge from Egmont's art queue. We, too, had to > rewrite from four to three tiers. While John had to rewrite from three to four tiers. The Egmont standard for "normal" comics is 4 tiers, and for "digests" (pocket books) is 3 tiers. Does this mean your stories are for the pocket books only? --Harry. Harry Fluks ()_() Dutch Disney comics fr... PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From jjs142 at duke.usask.ca Wed Apr 12 08:13:49 1995 From: jjs142 at duke.usask.ca (Joel James Swaan) Date: Wed, 12 Apr 1995 00:13:49 -0600 (CST) Subject: Disney-comics digest #606. In-Reply-To: <1138220989.925029@politi.online.pol.dk> Message-ID: > > Harry wrote: > >The Beagle Boys were introduced in a Barks story in WDC 134. He made that > >story in 1951. I have no idea why the numbering is that way. But on > >several occasions, Barks showed more than 6 Beagles, so there must have > >been other numbers than permutations of 176. > > With 167-176 there can be up to 36 Beagle Boys: > 176-176 176-167 176-716 176-761 176-617 176-671 > 167-176 167-167 167-716 167-761 167-617 167-671 > 716-176 716-167 716-716 716-761 716-617 716-671 > 761-176 761-167 761-716 761-761 761-617 761-671 > 617-176 617-167 617-716 617-761 617-617 617-671 > 671-176 671-167 671-716 671-761 671-617 671-671 > > Not that I've seen them all :-) but I think I've seen more than 6 beagle boys > in the same Barks > story. > By this point in time, I'm sure nobody cares, but just for those who do, in "Webby's Field Trip" by Janet Gilbert (pencils and inks by G. Dalla Santa, lettering by L. Lois Buhalis, coloring by Luana Ballarani) which appeared in Disney Adventures, Feb '93 (not exactly Barks canon, I know!) Babyface Beagle's number is just 7. joel From fluks at pcssdc.pttnwb.nl Wed Apr 12 11:34:02 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Wed, 12 Apr 1995 11:34:02 +0200 Subject: Catfish, and Beagle Boys numbers Message-ID: <9504120934.AA03040@ux08.pttnwb.nl> JOHN L.: The German translations for catfish and dogfish were Katzenfishe and Hundefishe (= literal translations). I don't know if that are real German fish names. (I'm not German, I'm Dutch. "Fluks" rhymes more or less with "Ducks", not with "Flukes". My car licence plate is "GG-VL-36". I realise now that it means Gladstone Gander, Very Lucky. But what does the 36 mean? --Enough, let's get back to the Ducks.) JOEL: > in "Webby's Field Trip" [...] Babyface Beagle's number is just 7. As you said, that's the DuckTales universe. In the Dell/Gold Key universe, there were three child Beagles, the "Beagle Brats", numbered 1, 2 and 3. They appeared in some Tony Strobl stories, including "Treasure of Aztec-land" in Donald Duck #103, for which Barks drew the cover. (The Brats are not on the cover, though.) Could that story be their first appearance? The brats also appeared in a story called "Uncle 001", where a Beagle carries the number 001 because he was the first inhabitant of his prison. Again drawn by Strobl. USA publication unknown. --Harry. Harry Fluks ()_() Dutch Disney comics fan PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From krieg at ct.med.ge.com Wed Apr 12 15:59:36 1995 From: krieg at ct.med.ge.com (Andrew Krieg 5-5379) Date: Wed, 12 Apr 1995 08:59:36 -0500 Subject: Disney-comics digest #635. In-Reply-To: disney-comics@minsk.docs.uu.se "Disney-comics digest #635." (Apr 12, 1:17am) References: <9504112317.AA11491@Minsk.DoCS.UU.SE> Message-ID: <9504120859.ZM19921@crash> >HARRY: > The sign on the sandwiches was supposed to say "free lunch" which is >what salloons did in those days for their customers. Why was it changed? >Rather than waste time worrying about that, I have my hands full wondering >about the countries where the sign (as are many signs in poorly editted >editions) was simply left BLANK, with $crooge doing a "take" while looking >at a blank sign, as if he's thinking "What the -- why is this sign blank?!", >same as me. Why was it changed to 30c? Perhaps the editor never heard of >free lunch salloons and didn't know why the food was free? No -- here's a >"Disney" type reason -- $crooge was taking advantage of the free food by >stocking up, so he's a crook. Eh? Just a guess here; perhaps the Dutch (or was this in Germany) phrase for "Free Lunch" would not fit in the sign, and instead of redrawing the panel with a bigger sign, they used a shorter phrase? I have done some work with translating computer screens from English to French and German. The French and German versions require a lot more real estate to say the same things as the English versions. Do they need larger word and thought balloons for the overseas versions? Or am I way off base here? -- =========================================================================== = o = Andrew Krieg - Software Engineering Consultant = = | = E-mail: krieg at allmalt.cs.uwm.edu or = = o / | \ o = krieg at ct.med.ge.com = = |-/ \-| = WWW: http://www.cs.uwm.edu/public/krieg/index.html = = ^ ^ ========================================================== = / \ / \ = Treguna Mekoides Trecorum Satis Dee - Astoroth = =========================================================================== From marmelmm at dunx1.ocs.drexel.edu Wed Apr 12 16:48:19 1995 From: marmelmm at dunx1.ocs.drexel.edu (M. Mitchell Marmel) Date: Wed, 12 Apr 1995 10:48:19 -0400 Subject: Disney-comics digest #606. Message-ID: <199504121448.KAA06730@dunx1.ocs.drexel.edu> >> With 167-176 there can be up to 36 Beagle Boys: >> 176-176 176-167 176-716 176-761 176-617 176-671 (snip) You know, I just remembered something. When I was in the Cub Scouts, I was in Pack 167. And my Boy Scout troop was 176... Hmmm. -MMM- ============================================================================ M. Mitchell Marmel \ Scattered, smothered, covered, chunked, Drexel University \ whipped, beaten, chained and pierced. Department of Materials Engineering \ *THE BEST HASHBROWNS IN THE WORLD!* Fibrous Materials Research Laboratory\ marmelmm at dunx1.ocs.drexel.edu ============================================================================ From deckerd at agcs.com Wed Apr 12 17:03:44 1995 From: deckerd at agcs.com (deckerd@agcs.com) Date: Wed, 12 Apr 1995 08:03:44 -0700 Subject: Disney-comics digest #635. Message-ID: <9504121503.AA18191@stardust.> > I have done some work with > translating computer screens from English to French and German. The French > and German versions require a lot more real estate to say the same things as > the English versions. > > Do they need larger word and thought balloons for the overseas versions? > Or am I way off base here? > >From my experience with translating comics, word balloon size is seldom changed. Part of the reason is that the color separations are often supplied along with the artwork, and would have to be redone at great expense if the artwork is changed. For some editions, comics are printed for several countries at a time to reduce unit costs, and they just change the black plate every so often to go from one language to another (which can lead to problems of another sort: I have a German Disney pocket/digest book of comics in which a signature of Dutch pages was accidentally bound in). In general, I'd say dialogue tends to get chopped down in translation: colorful slang and colloquialisms are blanderized, panel word count is reduced -- as a rule (there are exceptions: the German translator of Barks stories, Dr. Erika Fuchs, is widely considered as canonical as the Old Duck Man himself). I'm sure the Eurofans on this list can answer more authoritatively. But one of the strangest examples I've come across was comparing the French and Dutch editions of a comic album published by Dupuis of Belgium: the original language of the scripter was French, but the Dutch translation was done in house and published by the same company -- yet the two editions were noticeably different. The color and spirit of the French was gone, and the Dutch translation was dry and perfunctory. The Dutch version was condensed compared to the French, with the text reduced to the barest possible minimum to convey the story at the expense of characterization and flavor. The word count was reduced considerably and many balloons looked gapingly empty, but it just wasn't the same story. And this was done by the same company that published the original! --Dwight Decker From dldoll at rs01.kings.edu Wed Apr 12 19:27:29 1995 From: dldoll at rs01.kings.edu (Debbie L Doll) Date: Wed, 12 Apr 1995 13:27:29 -0400 Subject: unsubscribe Message-ID: <9504121727.AA25515@rs01.kings.edu> unsubscribe From dldoll at rs01.kings.edu Wed Apr 12 19:28:03 1995 From: dldoll at rs01.kings.edu (Debbie L Doll) Date: Wed, 12 Apr 1995 13:28:03 -0400 Subject: No subject Message-ID: <9504121728.AA25523@rs01.kings.edu> unsubscribe From donrosa at iglou.com Thu Apr 13 05:37:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Wed, 12 Apr 95 23:37 EDT Subject: Disney-comics digest #636. Message-ID: >ANDREW: There may not have been room on that sign in the SALOON (I kept hitting too many 'L's) for "free lunch", but it was supposed to just say "FREE". Of course, that word in other languages might be 37 letters long, I dunno. Yes, I make all my balloons extra big for long-winded foreign gibberish, particularly Finnish which the rest of Europe even makes fun of for its extensive word lengths. When you see the Gladstone editions, you're seeing most all my word balloons redrawn smaller by the great Todd Klein and the background art filled in around the smaller balloons -- he does it so well that I usually even forget he's doing it. But in the countries where that sign would have been too small even for one word, yes, that may be the reason it was left blank. The stories are colored ONE TIME by computer in Copehagen, and that means it is thereafter impossible for ANY publisher to change ANYTHING in the artwork. It also makes it impossible for non-Egmont countries like Holland to change the artwork either, since they like to save some gilders by using the Egmont coloring tapes or disks or whatever they pass around. From Anders.Engwall at eua.ericsson.se Thu Apr 13 07:23:26 1995 From: Anders.Engwall at eua.ericsson.se (Anders Engwall) Date: Thu, 13 Apr 95 07:23:26 +0200 Subject: "External" Beagle Boys Message-ID: <9504130523.AA06036@euax1i4c12.eua.ericsson.se> Harry Fluks wrote: > My car licence plate is "GG-VL-36". I realise > now that it means Gladstone Gander, Very Lucky. But what does the 36 mean? Easy, 36 is the maximum number of Beagle Boys if you allow the first triplet of their number to be *any* permutation of 1, 7 and 6. Harry replied to Joel: > In the Dell/Gold Key universe, > there were three child Beagles, the "Beagle Brats", numbered 1, 2 and 3. [...] > The brats also appeared in a story called "Uncle 001", where a Beagle carries > the number 001 because he was the first inhabitant of his prison. Again > drawn by Strobl. USA publication unknown. Apparently the BB's have several more or less distant relatives that are not members of the BB's, but are BB's nevertheless (eh, was that understandable?) -- like this Uncle 001, for instance. I recall other stories featuring "external" BB's of this kind, most drawn by Strobl. The ones I can remember offhand are The gentleman crook The explosives expert The intellectual The stool pigeon A peculiar one was the cousin or whatever that had exceptionally good hearing and wound up in a padded cell, where he finally found the silence he wanted. There are/were probably lots more, esp. if you include Italian stories. Anders Engwall Email: Anders.Engwall at eua.ericsson.se ELLEMTEL Utvecklings AB Voice: +46 8 727 3893 [lvsj|, Sweden Fax: +46 8 727 42 20 Brullt brullt brullt brullt brullt brullt brullt brullt brullt brullt brullt From matope at uta.fi Thu Apr 13 10:13:47 1995 From: matope at uta.fi (Tommi Perkola) Date: Thu, 13 Apr 1995 11:13:47 +0300 (EET DST) Subject: Disney-comics digest #636. Message-ID: <199504130813.LAA00714@olkikukka.uta.fi> Don Rosa wrote: > particularly Finnish which the rest of Europe even makes fun of > for its extensive word lengths. Actually i don't think Finnish words and sentences are remarakably longer than in, say, German. The reason why text demands so much space in Finland is the way it is translated in "Aku Ankka". Translators have a tradition there of using as large a vocabulary as possible and try to fill text with their own gags. This makes the language of Aku Ankka somewhat artificial, which distubs me at least in classic stories, most of new ones are so poor, that almost nothing can make them worse. Yet, Beagle Boys and HD&L speaking like lawyers or bureucrats... -- loppu From Mattias.Hallin at jurenh.lu.se Thu Apr 13 10:07:55 1995 From: Mattias.Hallin at jurenh.lu.se (Mattias Hallin) Date: Thu, 13 Apr 1995 10:07:55 +0200 Subject: Upcomin' things'n'stuff Message-ID: <01HPAC7ZV4Z8B2AU1T@castor.ldc.lu.se> HIYA, Y'ALL! Long time, long lurk... but I figger I want to wish you all a Happy Easter/Jolly Pesach/Neat Holiday Of Your De- Or Nondenominational Choice!!! So -- 'tis done! DAVID: You might like to know that I and Jakob are going to give NAFS(k)uriren #25 the final touches this weekend, and that it'll go to the printers next week! Of course we'll be sending you a coupla copys for free -- but to what address would you like us to send'em? Anyway, your article ("En mus i svart och vitt") will be some twenty pages, extensively illustrated, and as good a reason you ever had to learn some Swedish... (add smiley of choice if choice). IMHO it has turned out real nice! DWIGHT: I got the latest issue of your 'zine t'other day -- thanks! This also reminded me (as intended?!?) that I should have sent you that book I got for you ages (well, months...) ago. I shall wait, however, until NAFS(k)uriren #25 is out and enclose a copy, since a) you can read it, and b) I think it might interest you. Rest assured that though I might be kinda slow, I'm *not* forgetful! All my best to everyone! Mattias **** Mattias Hallin ** Lund * Sweden ** **** * * * "Oh bury me thar! With my battered git-tar! * ************** A-screamin' my heart out fer yew!" ************* From PMF at ivip.frw.uva.nl Thu Apr 13 10:53:28 1995 From: PMF at ivip.frw.uva.nl (P.M. Floore) Date: Thu, 13 Apr 1995 10:53:28 MET-1 Subject: No subject Message-ID: unsubscribe From borrelli at vxrmg9.icra.it Thu Apr 13 11:52:41 1995 From: borrelli at vxrmg9.icra.it (Antonella Borrelli G9-ICRA, Dip. di Fisica ROMATel.49914397) Date: Thu, 13 Apr 1995 11:52:41 +0200 Subject: No subject Message-ID: <9504130953.AA19013@Minsk.DoCS.UU.SE> unsubscribe From Cdoberman at aol.com Thu Apr 13 21:55:55 1995 From: Cdoberman at aol.com (Cdoberman@aol.com) Date: Thu, 13 Apr 1995 15:55:55 -0400 Subject: Disney-comics digest #633. Message-ID: <950413155554_82152527@aol.com> DON: It looks like 3 panels later (where Scrooge is buying the nails), the lettering on the sign - which is faded - is as Carl Bark's designed it in "Back to the Yukon." Did you do this one? < I think the cover for $CROOGE MCDUCK IN THE YUKON #1 will top this one > I saw it in that ad Bruce Hamilton sent out with all his little thousand doll ar posters and dolls (and the explanation of why he's taking the cover off of one of my favorite titles: DD), and it looks gorgeous! Also, in your essay on The Making of Lof$ ch. 8, you wrote: "The route into the Klondike was from the town of Skagway over the White Pass, or from the town of Dyea over the Chilkoot Pass. But who's ever heard of Dyea or the White Pass? Therefore I mixed and matched." Didn't Barks do the same thing in 'Back to the Klondike'? Wes "But, Mickey, it's SUICIDE! We'll be KILLED! How'll we ever land without wheels?" -- Captain Doberman From pbarnes at obunix.okbu.edu Thu Apr 13 23:28:18 1995 From: pbarnes at obunix.okbu.edu (Philip Barnes) Date: Thu, 13 Apr 1995 16:28:18 -0500 (CDT) Subject: unsubscribe Message-ID: please unsubscribe me! Thank you very much +----------------------------+-------------------+------------------------+ | "But the LORD is with me | Philip Barnes |pbarnes at obunix.okbu.edu | | like a mighty warrior; | 2328 N. Pottenger | First Baptist Church | | so my persecutors will | Shawnee, OK 74801 | Fitzhugh, Oklahoma | | stumble and not prevail" | [405] 878-9907 | Youth/Music Minister | | Jeremiah 20:11 +-------------------+------------------------+ +----------------------------+ ___--- _ OO BBB U U BBB III SSSS OO N N / >\ O O B B U U B B I S O O NN N /(_ __ .) O O BBB U U BBB I SSSS O O N N N // //--\__/ O O B B U U B B I S O O N NN ^^ ^^ OO BBB UU BBB III SSSS OO N N From donrosa at iglou.com Fri Apr 14 07:04:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Fri, 14 Apr 95 01:04 EDT Subject: Disney-comics digest #637. Message-ID: >WES: That was just a mock-up of the cover of that first issue of that new Gladstone. In other words, it was all faked. The title, as you now know, won't be UNCLE WALT'S COLLECTORY / UNCLE $CROOGE IN THE YUKON; Disney wants WALT DISNEY'S COLLECTORY / $CROOGE McDUCK IN THE YUKON. And the art you see there is actually a xerox I sent them of the cover of the 4th issue of the German "DON ROSA LIBRARY" they publish over there. The actual cover of the Gladstone issue will have a different cover, far less cross-hatchety detailing since I know I can depend on Gladstone to color it correctly with the midnight sun backlighting the figures and the aurora b. dancing in the starry sky. They never bother with "artsy" coloring like that in Europe since they know that extra effort doesn't sell extra Duck comics. ...Which is funny when you think about it. Well, actually pathetic. It might seem pointless for Gladstone to put extra work into stuff since it won't increase sales much since American comic-collectors won't buy the Duck comics no matter what. There's no sense in putting extra work into the European issues since it won't increase sales any since European comic readers won't NOT buy the Duck comics no matter what. In other words, they can't do much to make them sell better there. Wotta difference. Wotta world. (Wotta country.) Anyway, you haven't really seen the cover yet. And who is "cdoberman"? HARRY: Can you send me your address again? I have something to mail to you which involves somebody selling something to somebody along some river somewhere. Breezes - $25. Gales - market price. MATTIAS: I just sent Stefan a FAX last night asking him what happened to you.> From DucksEtc. at eworld.com Sat Apr 15 09:16:38 1995 From: DucksEtc. at eworld.com (DucksEtc.@eworld.com) Date: Sat, 15 Apr 1995 00:16:38 -0700 Subject: Info to Harry, Dave, Per & Knut Message-ID: <950415001636_9307434@eWorld.com> HARRY F: A thousand pardons. I'm still new to this whole Internet scene and it hasn't fully sunk in how international all this is. Even so, it was a stupid mistake to assume that just because you're reading a German-language comic that you're German. (Not that there's anything wrong with being German. As near as I can tell I'm a quarter German myself.) Anyway, Harry, I sincerely hope I didn't offend you. DAVE R.: "Peace in Pieces" is the name of my story that's coming up soon. It's not appearing in Donald Duck #31. It'll be in Donald Duck Adventures #33. It's not as flashy as "Stampede and Deliver," but I think it came out OK. It's a Neighbor Jones story--although I gather Neighbor Jones will be called something else. (Apparently Vicar wasn't used to drawing Jones and so Jones came out looking considerably different than the Barks version.) John Clark at Gladstone told me that a small change in the script was being made to indicate that this isn't Jones. Instead, it's just some guy who's renting out Jones' house. Or something like that. The script's so old and it's been so long since I talked to John about it that I can't remember exactly how it's being handled. Thanks for the info about the review copy you sent to Comics Buyer's Guide. I do have a copy of "Peace in Pieces" as printed in Britain, but frankly the "English" version of my "American English" script was quite watered down. Much of the color was taken out of the language and the story just didn't have a lot of zip. So I've been reluctant to send that version out for review. By the way, the reason I had to revamp my Disney Comics stories from three tiers to four tiers is that Van Horn was drawing all his stories three tier at the time. Actually, now that I think of it, I only revamped "Peace in Pieces." Van Horn did the revamping and trimming to get "Stampede and Deliver" down to the size and format that Egmont needed. He cleared all the cuts and changes with me. The only really major cut was a scene where the guy in the helicopter announced on the radio something to the affect that Donald was giving away free pizzas. People then came streaming out of their houses and a huge mob started chasing Donald--who promptly does a U-turn and tries to elude them by driving through a car wash. Anyway, Bill wasn't all that hot to draw all those zillions of stampeding people and we had to get the page count down--so the scene was cut. (Without that scene, though, I suppose the title "Stampede and Deliver" doesn't make quite as much sense. Oh, well... PER: I'd like to receive the mailing list in its digest form. I gather I get everything that's sent to the list, but it's just packed together in one piece of mail every day for convienence sake. Thanks. KNUT H: I received your message. It looks like you sent it directly to me rather than to the mailing list. Consequently I'm sending a message directly to your personal e-mail address. At least I hope so. I'm new to all this and my message to you will be the first personal mail I've sent--so if it doesn't arrive please let me know. From Dave.Rawson at salata.com Sat Apr 15 08:57:19 1995 From: Dave.Rawson at salata.com (Dave Rawson) Date: 14 Apr 1995 22:57:19 -0800 Subject: Disney-comics digest #635. Message-ID: HARRY: While the stories I mentioned were indeed for Egmont "digests" that's not true of aLL my stories. I work in both formats and many lengths. Thanks for asking! DCR ... PREFECT of sylogistic nonsense and MASTER of faux paus! * Evaluation copy of Silver Xpress. Day # 160 --- via Silver Xpress V4.01 [NR] From DucksEtc. at eworld.com Tue Apr 18 07:28:25 1995 From: DucksEtc. at eworld.com (DucksEtc.@eworld.com) Date: Mon, 17 Apr 1995 22:28:25 -0700 Subject: Donald Duck Adventures #33 Message-ID: <950417222824_9379163@eWorld.com> Dave Rawson...and anyone else who's interested: I just found out today that my story "Peace in Pieces" that was slated to be in Donald Duck Adventures #33 has been bumped out of that issue. It had been planned as a double-sized issue, but with the increase in paper costs Gladstone has decided to not to publish any 64-poage issues for the forseeable future. Barks' "The Golden Helmet" (my personal favorite of all his adventure stories) will be the only story in DDA #33. I haven't found out where my story is being moved to. When I do, I'll be sure to let everyone know. From 9475609 at arran.sms.ed.ac.uk Tue Apr 18 14:25:15 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Tue, 18 Apr 1995 12:25:15 +0000 Subject: LOTS of things! Message-ID: <52AA1722E4F@arran.sms.ed.ac.uk> Hi, gang! Glad to be back. I've just read all the recent Digests. Remarkably, I don't have a whole lot of comments on them. Great to read them, of course, but I don't have the urge to start adding things to many of the conversations which seem to be over. There WILL be a Disney discussion panel at the San Diego Con as of right now, titled "Disney Comics: What's All The Quacking About?" I'll be moderating it, and Don, John Clark, Ron Fernandez, and Pat Block will be talking there. I'd also like to get others, so please, any writers or historians who are interested (including folks with names like Rawson, Lustig, Ault, and Ingersoll) should report to me via E-Mail right away. While in Santa Barbara I did a LOT of Disney work. I translated a few short Dutch stories for Gladstone, including Daan Jippes' first Donald tale (a 3-pager, "Banquet Behind Bars") and a 7-page Jippes Li'l Bad Wolf tentatively planned for WDC&S 601 or 602. The story is titled "Musical Eggs" (you'll know which one that is, Harry!). I think it's the BEST Wolf story since 1950. I also sold three stories to Egmont. "Donald Duck's Double-Dealt Deal" involves insurance-salesman DD trying to convince Hard-Haid Moe that the forest is an extremely dangerous place to live. To this end, DD stirs up the local fauna by a variety of mischievous means, only to have things backfire chaotically. "Reputation At Stake" was my first Br'er Rabbit story. BR becomes a pariah when the settlement's elders decide his raffish manners, mischievous pranks and unsophistication offend them. Of course, BR finds a way prove that "it's how you is on the inside, not bein' correct on th' outside, what counts." "A Mouse Against the World" is about how Mickey becomes a famous author and then a public enemy, both by accident. I think it emphasizes how I'm basically trying to adapt the Barks 10-pager format to Mickey's distinctive personality. A medium-length article done for Egmont's in-house journal, analyzing Mickey's personality and tragic flaws and emphasizing the great potential inherent in the character, rounded out my workload. The Gladstone comics which will lose their letter columns and cover stock will be DONALD DUCK ADVENTURES, UNCLE SCROOGE, and DONALD AND MICKEY. The first two are, I believe, Gladstone's most successful titles, so there seems to be no real logic to which series were chosen for the experiment. Sadly, I think this move -- which will result in very dull colors, given the less-than-brilliant ink used by Gladstone's printers these days -- will severely hurt the comics. And imagine -- no letters about the LO$ or about the upcoming Pat Block stories! I'd rather pay $2 for a comic with a real cover on it, thanks. Or $1.50 for a comic with 26 pages of comics and a lettercol, not 27 pages (as is usually the case now) and no lettercol. COLLECTERY will also have pulp covers, although I have no idea if there will be a letter column. Sadly, I think that the "Northern lights" motif, Don, will be sorely hurt by the duller colors. JOHN LUSTIG: To get Gladstone to publish your stories, you simply need to tell them to do so, over and over. Time has shown me that. Sadly, I'm my own worst enemy when it comes to my own stories being printed, because in 1993-94 I translated a whole slew of Egmont and Oberon stories which Gladstone lettered and colored right away and then stockpiled for future use; and now, Gladstone has to give 'em priority over my ORIGINAL Egmont stories, because they've already done the production work on the translations. My originals will appear in 1996, but not before. "Catman Vs. The Masked Marauder" (DDA 32) is not my original script, although Gladstone unaccountably said it was. Actually, I'm not insulted that they thought this was my original creation, but no -- it wasn't, and in fact it dates from 1990, when I was still doing my own "Monk the Monkey" comics. My own original stories will begin to appear from Gladstone a YEAR from now. >Sigh< The bimonthly schedule makes everything so ssssllllooooowwww.... "Catman" is, however, my favorite among the earlier dialogue jobs I did. Disney altered one panel in which a nephew shot another nephew with a slingshot; now he just points his finger at him to mimic a gun. But the villain's Cockney accent is intact. Pat Block's cover made the package even better! Professor Pulpheart Clabberhead, by the way, was the child psychologist who "helped" Donald discipline HDL in WDC&S 92's story "Spoil the Rod" (1948). The third story in DDA 32, "Nature Park Ranger", was scripted in English by Dwight Decker. Good job, Dwight -- but did you know that this is the one you BEAT me to? The one I forgot to ask Gladstone if they'd already had someone translate, and so had my finished version thrown back? If anyone (including you, Dwight) wants to read my own very different version, just write to me and I'll send the text to them via E-Mail. (It wasn't bought and does not contain the full name of any Disney character, so it's still mine.) I called the story "By Hourglass Piqued," because in my version, the great balancing rock was called Hourglass Peak. (And the lava spring was "Devil's Glue Pot.") "The Money-Counting Machine" story to be in USA 34 is another one of my translations/dialogues. Disguised as "Bill U. Later & Co., Accountants," the Beagle Boys rig up a completely ingenious contraption which (unknown to Scrooge) sends money spurting out the bin's windows. "Rapunzel! Rapunzel! Let down your cash!" I actually did this rewrite as long ago as 1991. US 288 did NOT sell out at MY local comic shop. They moved all the humor titles to a "children's" section now, and US -- which usually sells out -- just sat there. Of course, the usual buyers are looking under "U" in the NORMAL part of the shop, and assuming it's sold out. $%stlg&stlg$! Don't get your hopes up about the "value" of this and other recent issues. No matter what the Comics Values Monthly may say, Overstreet lists no LO$ issue as being worth over $2 last time I checked. And HERO did not list ANY UNCLE SCROOGE issues after 1990's #242 in last month's "guide"! That guide was a horrible mess. It even listed Disney Comics' JWW title twice, under "Junior Woodchucks" and "Walt Disney's Junior Woodchucks", valuing the issues differently in each listing. It left out a LOT of Rosa credits and didn't mention any other modern writers or artists anywhere. ANDERS: The Beagle cousin with exceptional hearing was created by Vic Lockman and originally named Supersensitive-666 (I hate it when Beagles are given names...) This became Supersensitive-176 in a recent story Lockman did for Gladstone, for obvious reasons. MATTIAS: NAFSKurien? HOORAY! Send to this address: Masson House, Pollock Halls, 18 Holyrood Park Rd., Edinburgh EH16 5AY Scotland. I'll be glad to see whatever the book is you're sending me, too. (Don't feel bad about forgetting -- as you can see, even I have forgotten what book it is we're discussing!) DAVE: No use keeping an eye out for my Red O' Ruckus story yet, since I haven't written it. But I'm going to, probably this summer. I need a 10-page Duck slot, and Egmont only wants 12-page Duck stories from me these days for some reason. Well, I'm off for now, folks. As you can see, there's a lot going on, and I'm always glad to toss my two cents in (although it always comes to more than that ;-) David Gerstein <9475609 at arran.sms.ed.ac.uk> "The only way for anyone to get ahead of Mickey Mouse -- is to run in front of him!" From rivers at seismo.CSS.GOV Tue Apr 18 14:14:10 1995 From: rivers at seismo.CSS.GOV (Wilmer Rivers) Date: Tue, 18 Apr 95 08:14:10 EDT Subject: using song lyrics Message-ID: <9504181214.AA21515@beno.CSS.GOV> I thought Don Rosa said it was a copyright infringement, or something, to use a whole song lyric, which is why in "The Terror of the Transvaal" we see "Do not foresake me, oh mah..." without the final "darlin'" in the lyric. How, then, in "The King of the Klondike" do we have Wyatt Earp identifying himself as "Wyatt Earp! Brave, courageous, and bold"? Just how much of a lyric can you use before lawyers get nervous? Wilmer Rivers From Knut.Hunstad at veg.sintef.no Tue Apr 18 14:55:13 1995 From: Knut.Hunstad at veg.sintef.no (Knut Hunstad) Date: Tue, 18 Apr 1995 14:55:13 +0200 Subject: "External" Beagle Boys Message-ID: <199504181255.AA27298@vegnett.veg.sintef.no> I also remember the BB's had a cousin who was the "white sheep" of the family, he couldn't be bad. He got the BB's into prison because he couldn't be dishonest and lie. Knut Hunstad Trondheim, Norway From dicapuaf at pfizer.com Tue Apr 18 11:34:44 1995 From: dicapuaf at pfizer.com (Frank M. DiCapua) Date: Tue, 18 Apr 1995 04:34:44 -0500 (EDT) Subject: Pulp covers and Disney Comics Valuations Message-ID: <9504180834.AA27454@ramius.pfizer.com> I don't think that I'll be real happy about this pulp cover business. I'm willing to keep an open mind, but i agree with David: less pages or a price hike. Would it be possible for Gladstone to sell a few more ads to help them out? I don't mind a few tasteful ads, and if they're done right, they can make a comic more enjoyable. David Gerstein's list of which comics will have a pulp cover seems different from what the list Don gave us and that I read in the latest Gladstone catalog. Am i right, or had i deluded myself? As for what value overstreet puts on the disney comics: its nice to see them get high valuations, since this would mean that disney comics are getting well deserved respect, but who would ever sell them? Frank From deckerd at agcs.com Tue Apr 18 17:26:37 1995 From: deckerd at agcs.com (deckerd@agcs.com) Date: Tue, 18 Apr 1995 08:26:37 -0700 Subject: Gladstone stuf' Message-ID: <9504181526.AA25184@stardust.> The news that Gladstone won't be publishing any jumbo-sized comics for the indefinite future makes me wonder what will happen to that 39-page Mickey Mouse "which-way" story I translated for them last year. Because it's one of those choose-your-own-ending things with several decision points throughout the story, it obviously can't be serialized. The idea had been to run it in a giant issue of Donald & Mickey but now it looks like another candidate for the filing cabinet. Note to David: I can't exactly say I "beat" you to that "Nature Park Ranger." It was _sent_ to me with a batch of other stories by John Clark about two years ago and they just now got around to running it. That pool of lava in the story was called "the Eye of Geronimo" in the original Dutch, and I left it at that, but the editor changed it to "the Eye of Hephaestus" (or whatever it was); I sense there's a policy either at Gladstone or at Disney now of stepping gingerly around references to Native Americans. --Dwight From 9475609 at arran.sms.ed.ac.uk Tue Apr 18 20:25:42 1995 From: 9475609 at arran.sms.ed.ac.uk (9475609@arran.sms.ed.ac.uk) Date: Tue, 18 Apr 1995 18:25:42 +0000 Subject: Various stuff (again) Message-ID: <5308A0C71DD@arran.sms.ed.ac.uk> BOB: "The early Mickey was a gutsy little competitor who never gave up. Kinda like U$." You never said a truer word! It occurs to me at this very moment that my interpretation of Mickey is remarkably similar to Scrooge in the LO$ before (in chapter six) he acquires his meanness and before greed becomes a strong influence. And who said that this Mickey was restricted to the early Mouse tales? I'm having a high old time writing stories like that by the bushel these days. FREDRIK: In German, Ellsworth = Moses. I just found that one out. Seriously... Moses? Just how do they explain this one? A wiseguy raven named after a Biblical prophet? Aside from brains, they sure don't have much in common. ;-) JORGEN: The U$ "Black Diamond" story D91392 is drawn by Scalabroni, who has been mistaken for Branca before (see U$ 260 and the corrected information in U$ 262). The eyes of his characters are what look different to me, even though the general linework is pretty similar in a lot of cases. Branca DID, however, draw D93258. Also, you mention an artist named "David" -- do you mean Xavi here? - Mickey Mouse (D93040, 7 pages). Noel van Horn? This is not by Noel Van Horn. Stefan Printz-Pahlson gave me correct credits recently, but I forgot them. I'll find out again when I talk to him next week. I'm hoping this artist will draw some of my Mickey stories. And in English, D93040 was super. Maybe it lost something in the translation: "Gosh, sorry! I thought ya were someone else!" "Nope! I've always been Goofy!" And: "You're gonna keep time while you're doin' time from now on!" (Spoken to the clock/robot) I notice that this week's DD has a Vicar story including the jet-black duck cannibals from WDC&S 34. While they're surprisingly friendly in this story, they have not changed visually and I don't think we're going to see this story in the States. Despite its fine art, that's not such a bad thing. Geez, these guys even have feet which are black on top and yellow on the bottom. DAVE RAWSON and JOHN LUSTIG: If the format of DONALD DUCK were to change, there would be some room for our stories. The format was Bruce Hamilton's decision, and John Clark can't really make a case to change it because while many write in saying they don't like the format, few of them actually say what they would prefer to see to Taliaferro strips. You see, ironically BECAUSE of the restrictive format, few people actually know what great foreign stuff does exist. David Gerstein <9475609 at arran.sms.ed.ac.uk> From JM2028%CMSUVMB.BitNet at pucc.PRINCETON.EDU Tue Apr 18 21:54:24 1995 From: JM2028%CMSUVMB.BitNet at pucc.PRINCETON.EDU (JM2028%CMSUVMB.BitNet@pucc.PRINCETON.EDU) Date: Tue, 18 Apr 95 13:54:24 CST Subject: No subject Message-ID: <950418.135708.CST.JM2028@CMSUVMB> subscribe disney-comics-request at student.docs.uu.se james mcmillen From 9475609 at arran.sms.ed.ac.uk Tue Apr 18 22:42:30 1995 From: 9475609 at arran.sms.ed.ac.uk (9475609@arran.sms.ed.ac.uk) Date: Tue, 18 Apr 1995 20:42:30 +0000 Subject: Disney-comics digest #623. Message-ID: <532D20477F9@arran.sms.ed.ac.uk> Hi, folks. LAST message for the day. I've read all the Digests, now, that came while I was away. JORGEN: > Donald Duck (D93133, two pages). Art by Xavi. This story was swiped directly from Daan Jippes' first story -- I know because I just translated that. In the original, it's HDL who tell Donald about the difference between greed and luck, and DD goes to a fancy restaurant to spend the money (where, of course, the waiter turns out to be the wallet's owner). > Super Goof (D91310, 6 pages). The art looks like Ferioli. This is actually by Esteban, one of the last "good" stories he did before the art editors laid down the law that he had to begin drawing like Paul Murry c. 1971. (That is no joke -- it's actually what happened.) David Gerstein <9475609 at arran.sms.ed.ac.uk> From deckerd at agcs.com Tue Apr 18 23:21:59 1995 From: deckerd at agcs.com (deckerd@agcs.com) Date: Tue, 18 Apr 1995 14:21:59 -0700 Subject: Disney-comics digest #623. Message-ID: <9504182121.AA25227@stardust.> > This story was swiped directly from Daan Jippes' first story -- I > know because I just translated that. In the original, it's HDL who tell > Donald about the difference between greed and luck, and DD goes to a > fancy restaurant to spend the money (where, of course, the waiter turns > out to be the wallet's owner). This sounds like a Dutch story Gladstone sent me to translate last year. It was a Milton/Jippes collaboration, three pages long, and had to do with HD&L wanting French fries and Donald wanting expensive snails. There was a pun waiting to happen that couldn't exist in the original Dutch version but did in English, so I took advantage of it: Donald saying, "If you kids want French food, how about snails?" Donald tried to pay for his expensive meal with a wallet he had found, and of course it turned out to be the wallet the waiter had lost. My proposed title for the story was "I Only Have Fries for You"; the original title literally translated from Dutch was something on the order of "Potatoes a la Pokey" (since the last scene is Donald in jail). I dunno when it will appear, but at only three pages it won't be squoze out by Hamilton's new page count restrictions, at least. --Dwight From ARCHIMEDES at delphi.com Wed Apr 19 04:07:57 1995 From: ARCHIMEDES at delphi.com (Bob Wright) Date: Tue, 18 Apr 1995 21:07:57 -0500 (EST) Subject: Disney-comics digest #640. Message-ID: <01HPHY8B81WY8WYCZB@delphi.com> > You never said a truer word! It occurs to me at this very moment > that my interpretation of Mickey is remarkably similar to Scrooge in >the LO$ before (in chapter six) he acquires his meanness and before >greed becomes a strong influence. > And who said that this Mickey was restricted to the early Mouse > tales? I'm having a high old time writing stories like that by the > bushel these days. DAVID: I must be missing something. Have any of these stories been in the US Disneys of late? From IGV039 at ZAM001.ZAM.KFA-JUELICH.DE Wed Apr 19 09:42:48 1995 From: IGV039 at ZAM001.ZAM.KFA-JUELICH.DE (Peter Coenen) Date: Wed, 19 Apr 95 09:42:48 +0200 Subject: Disney Comics Digests 632 & 635 Message-ID: <9504190745.AA19684@Minsk.DoCS.UU.SE> Subject: Re Disney-Comics Digests 632 & 635 DON: Once again, please excuse my late answer. The computer which is connected with the Internet is at the place my father works. So he has to copy all the e-mail for me to a disk and take it home, what he doesn't do every day, BTW, where I get to read the hole stuff. Then I write my mails, save them on a disk, my father takes it with him the next morning and so on. All that can sometimes last a few days... From tomorrow on I even have to do the hole stuff with my old amiga computer, because my PC has only been loaned. In late August I will go to America for ten months via a student exchange. I hope that my host parents will have an internet access, then the hole stuff will become easier. Another thing: It was my father who subscribed me to this list, but under his name (Peter), but it is me (Danny), who writes all the mails under that address. OK? The text I translated for you is out of the "Comic Speedline"-magazine, which appears bi- monthly in Germany. It is rather hard to get it, normally you can only buy it in special comic stores. The article was written by a guy called Martin Budde, and of course Comic Speedline and the Walt Disney Company have the copyright. There was also a non-coloured story of you (AR 109) in the December edition. During the next days I will continue my work on the translation, I think. The (great) message of your trip to Germany I received by a note in the "Tock Tock" magazine, which is a FREE information mag about the comic books of Feest Comics and the Ehapa Comic Collection of the German Disney publisher Ehapa. It is mailed to me twice a year, but is also available in book stores. By the way, in this mag I first heared about you and your Life of Scrooge stories. HARRY: The German translation for FREE LUNCH is somethin like "Essen kostenlos". In the German version of Lo$ 8 they just used "Kostenlos" (FREE), and so it fitted perfectly on the l'il sign. Danny Coenen (!) via f.coenen at kfa-juelich.de From 9475609 at arran.sms.ed.ac.uk Wed Apr 19 13:44:47 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Wed, 19 Apr 1995 11:44:47 +0000 Subject: Disney-comics digest #640. Message-ID: <541F5060F94@arran.sms.ed.ac.uk> DWIGHT: Oh, no! We've done it AGAIN! Late last year that Jippes three-pager, with its Dutch title, code, and synopsis, was included on a list I sent John of "stories I plan to translate and rescript in 1995." John OKAYED the list early this year, so I went ahead and translated the three-pager. I called it "Banquet Behind Bars" and even went as far as to call up Daan Jippes and have him approve my new title for the story. And I turned in what I thought was a real doozy of a translation, too. I'm not sore at YOU, Dwight -- and I don't want to give John a hard time! But how can I deal with this mess, particularly here in Scotland where it's almost impossible to call Gladstone (and costs $3 per minute when I DO get through)? It looks like I went through a lot of wasted effort, which is really disappointing. I sent John the story a few days before leaving for Scotland, so I haven't talked to him about it. Now I probably can't bring up the issue until June. What to do? JOHN AND EVERY OTHER EGMONT WRITER: If Gladstone is going to publish no more 64-pagers (and allocate only reprints for the new 48- page series, which I imagine will probably be the case), our chances of seeing any of our stories in the States is probably doomed unless Gladstone changes the format of DONALD DUCK (which Hamilton himself dictates). Would anyone like to co-write a letter asking for Gladstone to make this change? Letters to the letter column do NOT help. Only a letter to Bruce himself will do the trick. My idea of a better format for DD would be to use 16 pages of new-to-America material in every issue. The remainder of the issues could be filled by a Barks 10-pager half the time and ten pages of Taliaferro the other half of the time. (Rosa's upcoming 10-pager "An Eye For Detail" could also go in this slot.) DD has reportedly kept its format because it sells perfectly well this way. Most readers I have spoken to would like the format to change, but don't want to boycott the comic for Gladstone's sake (exactly my own opinion). How can we solve this crisis? WHAT'S HAPPENING TO WDC&S 600 what with this format change? Is it at least going to be 48 pages long? John had told me that, at 64 pages, it was to have included six "classic" DD ten-pagers by various creators. Now what? Geez, what a screwloose mess. David Gerstein <9475609 at arran.sms.ed.ac.uk> From 9475609 at arran.sms.ed.ac.uk Wed Apr 19 14:01:32 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Wed, 19 Apr 1995 12:01:32 +0000 Subject: Disney-comics digest #640. Message-ID: <5423C914795@arran.sms.ed.ac.uk> DWIGHT AGAIN: What happened to the 39-page "which-way" story? It's been jettisoned... You may recall you'd said it was scheduled for DM 32 (and John confirmed that last year sometime). Now DM "1" (#31) in the new series begins a new three-part Diaz story, "Mickey Aladdin." The more things change... >Sigh< David Gerstein <9475609 at arran.sms.ed.ac.uk> From donrosa at iglou.com Wed Apr 19 15:28:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Wed, 19 Apr 95 09:28 EDT Subject: Disney-comics digest #640. Message-ID: >WILMER: How could they use that line from the WYATT EARP theme in my "Lo$" #8? Perhaps since it was spoken rather than sang? More likely it was because, as I said, the copyright infringement is established only when (so I'm told) a complete line from a song is used. "Wyatt Earp -- brave, courageous and bold" lacks another "Wyatt Earp" to be a complete line. The name is repeated in the actual theme. DAVID: Welcome back from home. (?) And you were asking what I was referring to with that corny reference to being "the antithesis of greed" and thereby "bad for business for the Weasel Group". I love to deal in hyperbole but I have always refused to use "smiley faces" or such icons to denote when I'm speaking tongue-in-cheek. "My strength is as the strength of ten because my heart is pure!" That's another good one. Somebody was asking about whether my Another Rainbow lithograph would be costly and I was explaining why not, with a flourish. My attitudes about such things are the only possible grudge that could have caused them to have tried to defame me before my employers and agents, and since I know that all that I say on here is being sent to the Group, I like to give them things to read now and then. SOME NEWS FROM GLADSTONE: I was asking John Clark more about the new Gladstone comics, some with no "covers" and being 4 pages shorter than others since the first wrap-around interior would now serve as a cover... and I found out one more detail. I was asking why they chose UNCLE $CROOGE as one of the comics to have "no cover" -- I said that of all their comics, U$ is the best seller and more often bought by the older collectors who would certainly pay the extra money that the paper costs have necessitated, and that naturally I was sorry to see that the last few issues with the "Lo$" deal would be different than the rest. (You all know that we receive no royalties, so only the presentation, rather than a drop in sales, could matter to us of the Disney comics.) He said that this was originally the plan for that very reason, but that they then decided that, since this two-type-comic thing is an experiment to see how to survive in the future American comic market mess, the best way to test it is to take their BEST selling comic (U$) and see if the sales would drop when they had it go "no cover". If the sales on already low-selling titles dropped further, that wouldn't have been any proof of anything. With Gladstone's future in mind above the idea of the nicest possible presentation of a particular series, I couldn't argue with that logic. Moreover, another detail that their ads naturally sorta sidestep, or at least make it unclear enough so that dense people like me don't catch on, is this: though U$ and the other no-cover titles will have 4 fewer pages, those remaining pages will STILL be printed on the high-quality paper stock, allowing better reproduction and color. The titles that stay the same with a price increase will now have the interior printed on lower quality paper. So, after the lack of a cover on heavy stock, my "Lo$" stories will still be presented on top quality paper, so perhaps that's better. Actually, neither system will be as good as the current style, obviously, but that's the way it goes. There's more news about the "LoS". Chapter 11 with Bombie the Zombie and $crooge having a native village destroyed and all that other wild, politically incorrect stuff, WILL SEE PRINT IN AMERICA and with very few changes, none of which even I would probably notice. I think a voodoo mask that I copied from the Barks original was removed, I'm guessing because it had big lips. A reference to "fuzzhead" is gone for some reason. Where $crooge is called a "white duck" is changed to "pale duck", I assume to remove the possibility that a reader will even begin to think of the ideas of "black" and "white" races (though who could be whiter than a Duck?). John Jacob Astor is referred to as just "J.J." These are all negligible changes. We'll still see a story of $crooge commiting a crime as "Voodoo Hoodoo" said he did, but now we see him pay a penalty for it, that being Bombie chasing him around the globe for 30 years. And Bombie will be on the cover, bigger than Death. Also, John tells me that the "Lo$" has been nominated for an Eisner award, and perhaps there are other nominations involved... all he said he knows is that he was called and asked to provide some art samples from the "Lo$" episodes. Hopefully, Gladstone will get other nominations for other stuff they've presented as well. It would be too much to hope for that any Disney material could ever win in American voter awards, but as they say, just being nominated is good for the material to get it more attention. From dldoll at rs01.kings.edu Wed Apr 19 18:55:31 1995 From: dldoll at rs01.kings.edu (Debbie L Doll) Date: Wed, 19 Apr 1995 12:55:31 -0400 Subject: No subject Message-ID: <9504191655.AA27098@rs01.kings.edu> unsubscribe From starback at Minsk.DoCS.UU.SE Thu Apr 20 04:17:22 1995 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Thu, 20 Apr 95 04:17:22 +0200 Subject: San Diego and other cons In-Reply-To: <52AA1722E4F@arran.sms.ed.ac.uk> (9475609@arran.sms.ed.ac.uk) Message-ID: <9504200217.AA17336@Minsk.DoCS.UU.SE> Thanks David, I've added that Disney comics panel on San Diego Comic-Con to the list of upcoming events now (http://www.update.uu.se/~starback/disney-comics/upcoming.html). Don, I'm still waiting for you to find your calendar! (You didn't have it in front of you when you tried to remember when you were going to attend which cons earlier.) -- " 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 Thu Apr 20 04:29:12 1995 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Thu, 20 Apr 95 04:29:12 +0200 Subject: Luck of the North litho Message-ID: <9504200229.AA17429@Minsk.DoCS.UU.SE> Daca'rt publishes Barks lithos for the Swedish market, and I recently got an ad for them that their latest litho is from Barks's 1973 oil version of the cover of "Luck of the North". It's a run of fifty lithos at 3600 SEK and they say it's a "world premiere". (So this litho isn't available in the U.S.? Are there many other "foreign" litho sources like this? I know there are (have been?) special Barks lithos for the Japanese market, as the Japanese version of "The Makings of a Fish Story" had another title.) -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From donrosa at iglou.com Thu Apr 20 07:22:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Thu, 20 Apr 95 01:22 EDT Subject: Disney-comics digest #641. Message-ID: EISNER AWARDS: I should have waited a few hours before posting that previous incomplete info about the Eisner awards. Here is the text of a letter FAXed to John Clark today... April 17, 1995 To: John Clark Gladstone Comics From: Jackie Estrada, administrator - Will Eisner Comic Industry Awards Congratulations! Gladstone is up for 5+ Eisner Awards this year! Here are the categories: BEST SERIALIZED STORY "The Life and Times of $crooge McDuck" BEST CONTINUING SERIES UNCLE $CROOGE BEST WRITER/ARTIST, HUMOR Don Rosa, "The Life and Times of $crooge McDuck" BEST COLORING Susan Daigle-Leach, "The Life and Times of $crooge McDuck" BEST LETTERING Todd Klein, for "Life and Times" plus projects for Dark Horse and DC BEST COVER ARTIST Don Rosa, "The Life and Times of $crooge McDuck" Can you please inform the creators and other people involved in this project that they've been nominated? Ballots will be going out in a couple of weeks. Note that this year the Eisner Awards ceremony will be on Friday night (July 28) of the San Diego Comic-Con, replacing the banquet. The awards will begin at 8:30. I hope to see you there! Jackie (end of FAX) I'm not sure exactly what is meant by the "Best Continuing Series" nomination, whether that's for UNCLE $CROOGE comics in general, including all the different stories in U$ and UNCLE $CROOGE ADVENTURES. Or if it is meant to imply just the "Life and Times", since Jackie makes the reference that all the listed nominations are going to a certain single "project". If it's the former, then any award should be given to Carl Barks. If it's the latter, then the award... should STILL probably be given mostly to Carl Barks. With that, I leave for WONDERCON and some comic store appearances in Oakland/San Francisco for 5 days. I'll catch up with this Digest next Tuesday. From DucksEtc. at eworld.com Thu Apr 20 07:55:05 1995 From: DucksEtc. at eworld.com (DucksEtc.@eworld.com) Date: Wed, 19 Apr 1995 22:55:05 -0700 Subject: Gladstone changes & Disney panel Message-ID: <950419225459_9455697@eWorld.com> DAVID GERSTEIN: Thanks for the invite to be on the Disney Comics panel in San Diego this year. I'll be happy to be on the panel, but it'll depend on what time when it is. I'll be at the con all day Thursday and Friday and then just the first part of Saturday. I think I'll be flying out about 2 p.m., but my plans aren't carved in stone yet. I haven't been to San Diego for two or three years now and I was hoping to be there for the whole con, but my wife's 40th birthday is that weekend. And so...well, some things are more important than comic books. (Not many, but some.) Anyway--whether I'm on the panel of not--I'd like to meet you and some of the other "new" Disney people. Sheesh, I guess that makes me one of the "old" Disney people. I'll be easy to recognize. I'll be the one in the rocking chair mumbling, "Oh, me! Oh, my! How time flies!" BTW, David, I'd like to see your version of "Nature Park Ranger." As a writer I'm always interested to see how two people handle similar--or in this case identical--material. On another subject, David, I think your idea of us all writing a joint petition to Bruce Hamilton is neither necessary nor terribly practical. First of all, I don't think a letter from us is going to change Bruce's mind. Second, I don't see any reason that the format changes which seem to have upset you so terribly will have any substantial long-term affect on Gladstone's use of new or reprint material from Egmont. I talked with John Clark today and he confirmed what I'd already heard from a member of the production crew the other day. The 64-page books are history. The only one that they're still planning to print is Uncle Scrooge Adventures #33 with the Barks-Van Horn "Horsing Around With History" story. I assume Gladstone feels that there will be enough fan interest in a new Barks story that people will be willing to put out $2.95 for it. I'm sorry to see the 64-pagers go, but I suspect they'll be back some day--or some year--down the road. In any event, Gladstone didn't put out that many 64-page issues anyway. So it's hard for me to get too upset. In any event, John assured me that Gladstone will still be using new material from the U.S. as well as reprint material from Egmont and that the format change won't substantially affect that. As to my story "Peace in Pieces" which got bumped out of Donald Duck Adventures #33, it's been rescheduled and should be appearing in Donald Duck Adventures #38--unless, of course, something else goes wrong. BTW, John tells me that Gladstone now has all of its stories scheduled through April of 1996. I hope this info is of some help to you. I realize how frustrating it can be to have to wait months or even years for your work to appear. We're all in the same boat in that regard. All we can do is keep paddling and hope not to spring a leak. -----John Lustig From 9475609 at arran.sms.ed.ac.uk Thu Apr 20 13:49:55 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Thu, 20 Apr 1995 11:49:55 +0000 Subject: Zombies and DUCK DAZE Message-ID: <55A0B976F0C@arran.sms.ed.ac.uk> DON: In past messages, you seemed to have the opinion that one of the things Disney would find "incorrect" about LO$ 11 was the mere fact that Bombie was a zombie. Huh? Since when is spooky-stuff objected to? The days in which the MM cartoon "The Mad Doctor" (now available on laserdisc) was banned for being too frightening are over. And after all, "Voodoo Hoodoo" itself has been reprinted twice now in album form. Also, it's not politically incorrect to show white oppression of blacks, since that certainly happened (still does!) and by showing it, you're only pointing out historically accurate types of things. Political correctness seems to have this goal of "setting the record straight" in mind: the problem is that it's gone too far and said that ONLY losers can write history books. Political correctness has thus emerged as a voice of extremism itself, and damaged the cause of those who want to expose genuine racism. Now ACTUAL racists can brand their opponents "politically correct," which is a very bad thing. Scrooge takes his lumps for wrongly doing an imperialistic thing. I don't think the politically correct crowd will have a problem with that. My suspicion was that Disney would simply find such imperialism and its results to be too "adult" an issue for "their" comics (which as we all know, are mainly intended for weak- minded tots in rompers) to tackle. It's not actually political correctness that motivated the ban on "War of the Wendigo," I have concluded. It's FEAR of the politically correct crowd that's done it. There may have been a voiced objection to "Indians all looking alike," but the final objection was that Indians appeared in the story at all. The idea that the mere concept of Indians should not be used is certainly bizarre, but not very politically correct. * * * * * I have tapped into a stored resource of letters from the Disney Afternoon "Ranger list," which I was kicked off last year after stating that I didn't think Barks' ducks should be "recast" for the fall 1996 series DUCK DAZE. Looking at letters that apparently precipitated my exclusion, I saw that it happened for several reasons: A) I had invited folks from this disney-comics group to join the Ranger List so they could express their concerns about DUCK DAZE, and a member didn't want the Ranger List to be inundated with tons of angry criticism. B) My opinion was seen as one-sided, for once HDL are teenagers -- as they will be depicted on this show -- they are essentially different characters, since everyone changes as they grow older. So what right did I have to demand that they act like they did at the age of 12 or so, in the comics? C) The disney-comics list was criticized for being too condemnatory of Disney itself. It was acknowledged that the criticism of Disney (Don Rosa's comments especially) revealed essential "kernels of truth," but this was seen as bad: such criticism would make that type of post particularly "hard to take" for the Ranger List's resident professionals (from Disney TV animation and its associates). From reading the articles I found, as well as seeing a publicity illustration while back in the States, I find that DUCK DAZE's version of HDL look very different from one another, will not speak in their traditional voices, and will be very "hip" (one has a punk haircut and leather jacket, while another -- the only one to wear his old cap -- wears it backwards). Donald's voice has been slightly modified for the new show as well to make it slightly easier to understand. Characters from GOOF TROOP and DARKWING DUCK will appear now and then in the series, but Uncle Scrooge may not appear (I don't have the final word on this). Just as Chip 'n' Dale toys of all kinds were replaced by Rescue Ranger equivalents in 1989, I imagine that "classic" DD products will, for the most part, be replaced by DUCK DAZE products in the United States. My answer to the above is meant for any Ranger List members who also read these Digests. I feel that criticism is not only important for a list -- it is essential. I would not criticize Disney if I didn't love its characters and want to ensure that they were treated with the respect due all great fictional creations. Furthermore, Disney TV animation professionals quite clearly DON'T work in the restrictive atmosphere that we comic creators do. As seen from DUCK DAZE, they have unlimited license to alter even the most famous characters extensively, for good as far as Disney is concerned. So of course they won't necessarily feel comfortable hearing about how Disney treats comic creators. But the more that know about it, the more pressure can be put on Disney to change, which is a Good Thing. Last, I continue to be disappointed by DUCK DAZE. It has clearly been developed by folk who, no matter what their talents, did not realize the importance of Barks' universe in Disney's international marketing and promotion of the Ducks (America notwithstanding), not to mention the hearts and minds of the characters' devoted fans. The attempt to "modernize" the characters has, for me, taken something timeless and dated it squarely in the 1990s -- and anyway, the modernization was done because Disney felt its classic versions of the characters were not popular enough. This has nothing to do with the public. It's because Disney itself only releases the classic cartoons in a very limited way, and itself damaged the market for its comics in the States. But Disney cannot blame itself, so decided that the public must want something new. My disappointment over this series does not cause me to hate anyone at Disney TV animation. I have no desire to deluge the Ranger List with wild, immature flame letters, and I don't think anyone else who might have joined the Ranger List upon hearing my call to arms would have done that either. I would have offered CRITICISM, but that is not the same as an insult or a slap in the face. I wanted to encourage Disney to alter what I viewed as a big mistake before the show actually went from concept to production. When I was forced to leave the Ranger List so that pro-Disney-only letters continued to appear there, I continue to feel a grave mistake was made. David Gerstein <9475609 at arran.sms.ed.ac.uk> From fluks at pcssdc.pttnwb.nl Thu Apr 20 13:20:20 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Thu, 20 Apr 1995 13:20:20 +0200 Subject: John and Dave in digest #639. Message-ID: <9504201120.AA01841@ux08.pttnwb.nl> JOHN "DucksEtc.": > A thousand pardons. Not needed. My statement about me being Dutch was more a general statement to the list. After all, how could you know I'm from The Netherlands? Most of the time, I don't use my signature. And then there's that confusion about The Netherlands, Holland, Dutch, Deutsch, Germany. In America, a lot of "Dutch" actually means "Deutsch", i.e. German (like the Pennsylvania Dutch). When I was in the USA, one American told me he was sure that Holland and Finland were two of the Netherlands... DAVE R.: > HARRY: While the stories I mentioned were indeed for Egmont > "digests" that's not true of aLL my stories. I work in both formats > and many lengths. Thanks for asking! When will we see one of your stories in a Gladstone comic? I read a lot about your stories on this list, but I have never seen one. --Harry. From borrelli at vxrmg9.icra.it Thu Apr 20 13:29:10 1995 From: borrelli at vxrmg9.icra.it (Antonella Borrelli G9-ICRA, Dip. di Fisica ROMATel.49914397) Date: Thu, 20 Apr 1995 13:29:10 +0200 Subject: unsubscribe Message-ID: <9504201128.AA02708@Minsk.DoCS.UU.SE> i want to be unsubscribed from this list From fluks at pcssdc.pttnwb.nl Thu Apr 20 13:58:35 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Thu, 20 Apr 1995 13:58:35 +0200 Subject: Jippes 3-pager Message-ID: <9504201158.AA02765@ux08.pttnwb.nl> DWIGHT, about story H/DD/7413: > This sounds like a Dutch story Gladstone sent me to translate last year. > It was a Milton/Jippes collaboration Did they tell you Milton also had something to do with it? As far as I know this 3-page story is one of the rare ones that Jippes worked on ALONE. Gladstone must have ordered the story from the list I made, which David gave to John Clark. Maybe he accidentally gave it to you to translate, forgetting David already "claimed" it. --Harry. Harry Fluks ()_() Dutch Disney comics freak PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From kcaufiel at rvcc.raritanval.edu Sat Apr 22 12:55:36 1995 From: kcaufiel at rvcc.raritanval.edu (Kimberly Caufield) Date: Thu, 20 Apr 1995 08:55:36 -5000 (EST) Subject: No subject Message-ID: unsubscribe From jconley at NetHeaven.com Thu Apr 20 16:13:01 1995 From: jconley at NetHeaven.com (John Conley) Date: Thu, 20 Apr 1995 10:13:01 -0400 Subject: No subject Message-ID: <199504201413.KAA21039@angel.heaven.net> unsubscribe jconley at Netheaven.com From rguzman at bgsuvax.bgsu.edu Thu Apr 20 16:20:55 1995 From: rguzman at bgsuvax.bgsu.edu (raquel guzman) Date: Thu, 20 Apr 1995 10:20:55 -0400 (EDT) Subject: No subject Message-ID: unsubscribe rguzman at bgsuvax.bgsu.edu From borrelli at vxrmg9.icra.it Thu Apr 20 16:36:12 1995 From: borrelli at vxrmg9.icra.it (Antonella Borrelli G9-ICRA, Dip. di Fisica ROMATel.49914397) Date: Thu, 20 Apr 1995 16:36:12 +0200 Subject: unsubscribe Message-ID: <9504201435.AA11700@Minsk.DoCS.UU.SE> THIS IS MY 3RD MESSAGE ..PLEASE unsubscribe borrelli at vxrmg9.icra.it thanks From 9475609 at arran.sms.ed.ac.uk Thu Apr 20 18:38:37 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Thu, 20 Apr 1995 16:38:37 +0000 Subject: New Comic Book Price Guide Message-ID: <55EDBEF1A64@arran.sms.ed.ac.uk> The new Overstreet annual Guide came out this year. They tried to incorporate some reference material I made for them, but boy, they did it as haphazardly as all-get-out. Furthermore they've begun listing random Disney titles under W! MICKEY MOUSE COMIC (the David McKay annual 48-pagers of the early '30s) now has the contents of each book listed, but with regard to #4 they've added a statement that the issue's reprint of a certain Kat Nipp strip (the one where Mickey's tail gets cut off) is the only "known" (?) American reprint. They didn't pick up on how this solitary strip was reprinted in full in MICKEY MOUSE IN COLOR. MICKEY AND DONALD is now listed under W, for WALT DISNEY'S MICKEY AND DONALD. DONALD AND MICKEY (Gladstone) is listed under W, for WALT DISNEY'S DONALD AND MICKEY. All issues are listed with a value of $3.00 apiece, because they accidentally put a price list that should have gone beside the 64-page issues only, beside ALL the issues. DONALD DUCK ADVENTURES (Gladstone) has been relisted under W, for WALT DISNEY'S DONALD DUCK ADVENTURES. Rosa issues have been listed incompletely. DONALD DUCK ADVENTURES (Disney) has been also relisted under W. Barks reprints have been inadequately listed (although the list's more complete than last year's edition). They continue to note "New- a?" beside issue 5 when I've told them a thousand times that yes, this issue has no reprints in it. DONALD DUCK is still listed under D, with all listings from Dell to the present right there. But one issue (#252) appears in the W section's illustrations as an issue of "WALT DISNEY'S DONALD DUCK," so it looks like they had been in the process of moving the listing when they went to press. What a mess. They have tried to note that AT reprints appear in some issues, but have incorrectly stated which ones; the listing for #286 isolates it but says only "Happy Birthday, Donald" without listing any inside contents. UNCENSORED MOUSE: I told Overstreet that no Gottfredson work actually appeared in the two published issues, that only Iwerks and Win Smith had work reprinted. The upshot is that FG continues to be listed, but a "NOTE" at the end of the listing mentions that Win Smith's art is also in the issues. UNCLE SCROOGE only lists issues through Whitman now. The others are listed under... WALT DISNEY'S UNCLE SCROOGE as a separate series. US #219 is now listed as being worth $15, by the way; #285 is listed at $5, with the other LO$ issues slightly higher than cover (but not much), all of them uniform in price. They are specifically noted as LO$ issues. WALT DISNEY'S COMICS AND STORIES is listed where it always has been, but a list I sent them of reprinted Barks stories has been mistakenly added to their list of reprinted Barks COVERS. So in the now-ponderous "NOTE" section at the end, some issues without Barks covers are listed as reprinting Barks covers from comics without Barks covers. No Disney fan could help but be confused by this chaos, particularly the seemingly random splitup of titles based on whether or not Walt's name is in the indicia in upper or lower case. Overstreet is a very confusing reference for these comics. Don, you're listed as contributing information to the Guide. Maybe you can straighten them out on this mess? Bruce Hamilton has two ads in the volume. One is for lithographs, the other is for the trading cards sold with his albums (but not the albums themselves, which are not shown and their contents not even described). The trading cards usually look great, but one of the three shown (depicting the Micro-Ducks from Outer Space) has to be one of the least attractive ones I've seen, a real shame when this ad goes on the back cover of the price guide. A new section at the front of the book gives capsule histories of surviving comic book publishers along with descriptions of what each told Overstreet that they were doing in 1995. Gladstone gets a page which includes a huge Gladstone logo and a colorful Don Rosa picture of Scrooge (from the cover to U$A 22), but it's very obvious that the information they gave Overstreet was cursory (not mentioning any comic book titles, stories, or artists aside from their Felix and Charles Barkley projects). By contrast, Bongo Comics gets two pages, wherein they describe a lot of what they're putting out during the year. The combined effect of the ads and this "biography" page is that Gladstone appears to be interested in promoting virtually anything BUT its comics. MARK MAYERSON: I sent you your tape today. Can you perhaps send me Tim Smith's address from any APATOONS issue? I need to send him something, too, but have no issues with me here in Scotland. JOHN LUSTIG: I haven't asked John Clark, but maybe your "Peace in Pieces" story has been rescheduled for the 48-page COLLECTORY series? I know that #2 is to feature "The Mines of King Solomon" in the lead spot, and that's not going to fill a 48-page comic. By the way -- I found out that you were responsible for "Hocus Pocus Hypnosis" from Anina Bennett. After that, attributing "Something's Fishy" to you was easy, because aside from me, you're the only Egmont writer who gives Mickey his 1930s vocabulary. Where are my own Mickey stories that I have spoken of? Even Egmont hasn't published any of them yet. But one has now been drawn and Egmont has bought a total of four: "Digging Up Trouble," "The Egg Collector," "Mickey Mouse's Unjust Dessert," and "A Mouse Against the World." I've written a fifth one, but it's too long for Egmont and I'm going to sell it, presumably, to Gladstone or Oberon. I'm also doing a long adventure for Disney Italy this year. David Gerstein <9475609 at arran.sms.ed.ac.uk> From kdmaison at mtu.edu Thu Apr 20 18:53:28 1995 From: kdmaison at mtu.edu (Kristine Maisonville) Date: Thu, 20 Apr 95 12:53:28 EDT Subject: unsubscribe Message-ID: <199504201653.MAA12911@rock.me.mtu.edu> unsubscribe From dposs at drew.berry.edu Thu Apr 20 21:27:00 1995 From: dposs at drew.berry.edu (Duane Poss) Date: Thu, 20 Apr 1995 15:27:00 EDT Subject: unsubscribe Message-ID: <55636.dposs@drew.berry.edu> unsubscribe dposs From 9475609 at arran.sms.ed.ac.uk Fri Apr 21 06:47:03 1995 From: 9475609 at arran.sms.ed.ac.uk (9475609@arran.sms.ed.ac.uk) Date: Fri, 21 Apr 1995 4:47:03 +0000 Subject: Egmont DDs "locked out" of America Message-ID: <572242810E7@arran.sms.ed.ac.uk> JOHN: > I don't see any reason that the format changes which seem to have > upset you so terribly will have any substantial long-term affect on > Gladstone's use of new or reprint material from Egmont. I didn't mean to seem melodramatic. What I forgot to mention was that Pat Block draws stories much faster than Ron Fernandez scripts them -- so he's going to be drawing long stories, some written by others, for almost every issue of DDA beginning with DDA 34. Aside from a 16-pager (which will presumably join your "Peace in Pieces" in DDA 38), they'll fill up basically all of every issue. I don't mind this: Pat has every right to do these stories, which I enjoy very much; they're new, they are getting popular, and since they're new original material from Gladstone, I can see why they get high priority. But now that I've explained that, things should be clearer. A) DDA is booked up, since there are no 64-page issues to handle a 32-page tale plus shorter stories. B) WDC&S can only feature Van Horn. C) DD and DM can only feature Barks Ducks and Taliaferro, except when there is a Rosa ten-pager available. D) Apparently, the DD material in the new COLLECTORY series will mostly be reprints. So as you see, there's no place for any Egmont or Oberon DD stories anywhere in the next year, or so it would seem. This situation encompasses John Lustig's other stories as well as Dave's and my own. The situation will most definitely extend into perpetuity unless WDC&S or COLLECTORY go monthly or the format of DD changes. I find that the latter is probably a more realistic goal. And I don't actually know any fans who wouldn't like to see such a change take place. Since Bruce Hamilton made decisions B, C, and D, he'd be the one to talk to. John L. also mentioned that USA 33 will still be double-sized because "Gladstone imagines people will still pay $2.95" for such a special issue, if not all special issues. Actually, we've been paying $2.95 for a lot of special 68-page issues. It's just that when the price hike takes effect a month after USA 33, 68-page issues with slick covers would have to cost $4. THAT'S what Gladstone doesn't imagine people will want to pay. Why 64-pagers cannot be done, lacking the slick covers, for $3 is unknown to me. Has Gladstone considered this? It seems a particular shame for WDC&S 600 to be just another 32-pager. It could at least be 48 pages long. David Gerstein <9475609 at arran.sms.ed.ac.uk> From starback at Minsk.DoCS.UU.SE Fri Apr 21 19:42:52 1995 From: starback at Minsk.DoCS.UU.SE (Per Starback) Date: Fri, 21 Apr 95 19:42:52 +0200 Subject: Wanna unsubscribe? Message-ID: <9504211742.AA22215@Minsk.DoCS.UU.SE> There have been lots of unsubscription requests sent to the whole list recently. I guess they tend to come in bursts because people who have thought about unsubscribing get reminded of that when they see someone else trying to do it, or because they think that as other people send their requests to the whole list that must be the way to do it. Of course it isn't. Unsubscription requests should ONLY go to the administrator of the mailing list, not to the 200+ members of the list. The way to address them is to add -REQUEST to the name of the list, so requests for this mailing list should be sent to disney-comics-request at minsk.docs.uu.se and nothing else. This trick works for lots (but not all) mailing lists on the net. (Hmm, this is also a message not about Disney comics sent to the list, but I hope its net effect is to reduce irrelevant postings.) -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" From JTOLLESO at kiowa.astate.edu Fri Apr 21 22:13:08 1995 From: JTOLLESO at kiowa.astate.edu (JEREMY D. TOLLESON) Date: Fri, 21 Apr 1995 14:13:08 CST Subject: Wanna unsubscribe? Message-ID: <5232E6F0C42@KIOWA.astate.edu> I want to unsubscribe no ifs, ands, or buts. Take me off of this dam list now!!!!!:( Date sent: Fri, 21 Apr 95 19:42:52 +0200 From: Per Starback To: disney-comics at Minsk.DoCS.UU.SE Subject: Wanna unsubscribe? There have been lots of unsubscription requests sent to the whole list recently. I guess they tend to come in bursts because people who have thought about unsubscribing get reminded of that when they see someone else trying to do it, or because they think that as other people send their requests to the whole list that must be the way to do it. Of course it isn't. Unsubscription requests should ONLY go to the administrator of the mailing list, not to the 200+ members of the list. The way to address them is to add -REQUEST to the name of the list, so requests for this mailing list should be sent to disney-comics-request at minsk.docs.uu.se and nothing else. This trick works for lots (but not all) mailing lists on the net. (Hmm, this is also a message not about Disney comics sent to the list, but I hope its net effect is to reduce irrelevant postings.) -- " Per Starback, Uppsala, Sweden. email: starback at minsk.docs.uu.se "Life is but a gamble! Let flipism chart your ramble!" JTOLLESO From MARTINH at edu-suu-student.ns.suu.edu Fri Apr 21 13:25:42 1995 From: MARTINH at edu-suu-student.ns.suu.edu (Jeff H Martin) Date: Fri, 21 Apr 1995 13:25:42 MST7MDT Subject: Disney-comics digest #642. Message-ID: <2E89E04F8@edu-suu-student.ns.suu.edu> unsubscribe Jeff Martin Jeff Martin Student/Southern Utah University MartinH at edu-suu-student.ns.suu.edu From jonlo at ifi.uio.no Mon Apr 24 09:18:39 1995 From: jonlo at ifi.uio.no (Jon Cato Lorentzen) Date: Mon, 24 Apr 1995 09:18:39 +0200 Subject: http://search.yahoo.com/bin/search?p= In-Reply-To: <199504052132.RAA21423@zork.tiac.net> (train@zork.tiac.net) Message-ID: <199504240718.14431.beyla.ifi.uio.no@ifi.uio.no> Fuck you From jonlo at ifi.uio.no Mon Apr 24 09:18:54 1995 From: jonlo at ifi.uio.no (Jon Cato Lorentzen) Date: Mon, 24 Apr 1995 09:18:54 +0200 Subject: http://search.yahoo.com/bin/search?p= In-Reply-To: <199504052132.RAA21435@zork.tiac.net> (train@zork.tiac.net) Message-ID: <199504240718.14442.beyla.ifi.uio.no@ifi.uio.no> fuck you From fluks at pcssdc.pttnwb.nl Mon Apr 24 10:10:48 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Mon, 24 Apr 1995 10:10:48 +0200 Subject: A message from Fabio Message-ID: <9504240810.AA29954@ux08.pttnwb.nl> Fabio Gadducci wrote to me, saying he had been very busy: > I've been working quite hard and, besides a small 'flu, I spent most of the > last month(s) travelling around Europe and going to conferences, so that I > absolutely had no time to write anything! And he asked me to forward the following news: > There is a very good news: since all Barks'stories have been > reprinted in the monthly ``Zio Paperone'', they will publish from now on > Rosa's, Rota's and Jippes' works, starting with Life and Times. Some > newspaper articles on Don's serial should appear in a little, as far as I'm > told (I was asked for providing some information). Don: be assured that Fabio sends you a copy of all the articles. --Harry. From jonlo at ifi.uio.no Mon Apr 24 11:13:08 1995 From: jonlo at ifi.uio.no (Jon Cato Lorentzen) Date: Mon, 24 Apr 1995 11:13:08 +0200 Subject: Sorry for 5 messages Message-ID: <199504240913.25338.beyla.ifi.uio.no@ifi.uio.no> I must apologize about 5 messsages that should never have been on this list. After my Easter Vacation, some Idiot had crammed my mailbox with about 50 messages where he looked for a female companion. I don't know why he mailed me, but about 5 of these messages seems to have been mailed via the list, so in a furious anger I replied to all the messages (including the ones to this list, WHICH I NEVER MEANT TO DO!) So I sincerely apologize for these messages, and I hope noone got offended. -jonC From 9475609 at arran.sms.ed.ac.uk Mon Apr 24 19:24:40 1995 From: 9475609 at arran.sms.ed.ac.uk (9475609@arran.sms.ed.ac.uk) Date: Mon, 24 Apr 1995 17:24:40 +0000 Subject: History waiting to be read! Message-ID: <5C0AE7B336A@arran.sms.ed.ac.uk> EVERYONE: For months, the WWW site has had a place where the "history of Disney comics in America" was supposed to go, but in brackets next to that, it said that the link didn't lead to anything yet. Well, I've written such a history -- pretty lengthy, as it turned out, given what Per wanted me to cover -- and Per's put it at the WWW-site now, so you can read it. That site is: http://www.update.uu.se/~starback/disney-comics Or if you don't have WWW access and want to read my article, E-mail me and I'll send it to you that way. DON: I just realized that I misstated why you started working for Egmont in this history! I'll fix that soon. (I said it was Disney's implosion that caused it -- how'd THAT happen?) I've also updated my introduc(k)tion to talk about some of my goals in my comics career and add some updated information about my jobs for one duck editor or another. In fact, Per has put all our introduc(k)tions on the WWW page now, so they don't have to be ftped anymore. DD 291 CAME OUT last week. Has Barks' "Fearsome Flowers" opening the book, plus 16 pages of AT dailies and 3 Strobl 1-pagers. That's 29 pages of comics (!) but I can't say they're the most exciting ones. The AT strips ARE all uncensored and include a very funny sequence based on the film "Donald's Ostrich" -- reprinted for the first time since 1941. The comic has a beautiful Italian cover illustrating the Barks story. It's a Cavazzano-style DD, perhaps the first one that has ever appeared on an American comic. This week in DM we finish "Goofy Midas." "Mickey Aladdin" begins next issue with Mickey as Aladdin and, of course, Goofy as the Genie. Disney already ran a story like this in WDC&S 584 and I don't think this one can be much better.... >sigh< But that's just my opinion. Seems to me, by the way, that no one's list of Goofy History stories that I've yet seen includes this one. Maybe fewer countries published it because it starred Mickey, not Goofy. Eight months from now, when "Aladdin" is over, we get a Ferioli story. But who's counting the days? ;-) From Cdoberman at aol.com Tue Apr 25 03:36:42 1995 From: Cdoberman at aol.com (Cdoberman@aol.com) Date: Mon, 24 Apr 1995 21:36:42 -0400 Subject: Thanks Don Message-ID: <950424213604_94987998@aol.com> DON: Again, it was a pleasure meeting you at Wonder Con, and thank you for defacing my Uncle Scrooge cover with your autograph. I hope your tail feathers survived that stool. You have asked twice now, "Who is CDoberman?" Well, that really is the question, isn't it. Cdoberman, as you know is Captain Doberman, but who is he *really?* I'm sure it's a question each of us has asked at one time or another. I've spent a little time admiring his exploits, and yet he is somewhat of a chameleon; coming to know the canine can be confusing. My first encounter was in Floyd Gottfredson's "Sky Island." In this story, Captain Doberman is a dashing, debonair, Clark Gable-esqe Air Force commander. My next encounter was in the older story, "Mickey, Mail Pilot," and Captain Doberman seemed to be somewhat of a Sad Sack mutt. This more accessible character inspired me greatly. I think it was the fact that Captain Doberman would one day overcome his sloppy ways to achieve heroics, most likely inspired by his association with the Mouse. I found great comfort in this tale of personal redemption, sketchy as it might be. And for me, that is as good an answer as I can give to the question, "Who is Cdoberman?" ;) Wes Andersen "But, Mickey! It's SUICIDE! We'll be KILLED! How'll we ever land without wheels?" -- Captain Doberman From scrooks at tyrell.net Tue Apr 25 04:39:19 1995 From: scrooks at tyrell.net (Steve Crooks) Date: Mon, 24 Apr 1995 21:39:19 -0500 Subject: Should I have U$ 292? Message-ID: <199504250239.AA22399@tyrell.net> ------------------------------------------------------------------------------- Has anyone else who subscribes through Gladstone to Uncle $crooge received issue 292? Is it time for me to call and have another one sent, or am I over-eager? -- --Steve Crooks scrooks at tyrell.net "Consequences, shmonsequences, as long as I'm rich." -- Daffy Duck From mas at cs.bu.edu Tue Apr 25 05:16:26 1995 From: mas at cs.bu.edu (Mark Semich) Date: Mon, 24 Apr 1995 23:16:26 -0400 Subject: The Life and Times of $crooge McDuck Message-ID: <199504250316.XAA13268@csa.bu.edu> DON: OK, I've been debating for a while now whether to write this posting. I don't want to disrupt the spirit of this list with possibly controversial material, but there has been something bothering me about the Lo$ series that I couldn't quite put my finger on until I read Chapter 8. I guess that things have now gotten to the point where it's bothering me so much that I feel I must mention it. Initially, as an aside, I'd like to say that I've been a big fan of your work since I first read "Last Sled to Dawson", one of the best comic book stories ever done. (It's long overdue for Gladstone to reprint this one - perhaps they could use it along with any other "young Scrooge" stories you may do as part of the forthcoming Lo$ compilation.) I also must say that Lo$ is the best comic book story being published, and is a truly wonderful piece of work. This is mostly about my impressions of Bark's Scrooge vs. the Scrooge that we see in Lo$. I've come to the conclusion that these seemingly two similar characters are in fact two very different characters. The facts and details of both Barks' stories and yours may show me wrong on this, and perhaps there was no other approach you could take that would fit with all of the Barksian minutiae, but, as I said, this is about my *impressions* of the character: I've always seen Barks presenting Scrooge as a duck who has made his riches by working as hard as he could ever since he was very young, and by scrimping and saving every penny that he ever earned, slowly building his fortune, slowly becoming rich, slowly turning himself into the miser that we see on Bear Mountain. Yet in Lo$, rather than that more realistic (and possibly admirable) approach, Scrooge is a man who *does* work hard his entire life, but is basically poor in *spite* of all that hard work - at the begining of Ch. 8 he has not saved anything at all, he's still living hand to mouth. In addition, he goes from being poor to being rich in an instant. Sure, this makes for a more dramatic moment, as if all of his hard work "finally paid off," rather than *continuously* and *slowly* paying off. I feel that this presentation is antithetical to Barks' "hard work and savings" Scrooge and basically eliminates the most important aspect of Scrooge McDuck. I also thought that the vengeful "Dark Knight McDuck" presentation of Scrooge when he hears of his Mother's death was a bit much for a Disney book, and like others overseas, I thought this approach should have been reserved for image/Marvel-like books. You had mentioned that those with this criticism were mis-interpeting that bit in your story, but it reads to me like they were right. Again, most sincere apologies for these criticisms, but I've long been a Scrooge McDuck fan, so I had to say them. From DucksEtc. at eworld.com Tue Apr 25 05:20:19 1995 From: DucksEtc. at eworld.com (DucksEtc.@eworld.com) Date: Mon, 24 Apr 1995 20:20:19 -0700 Subject: Egmont stories "locked out" of America Message-ID: <950424202019_9597788@eWorld.com> DAVID G.: I wasn't aware that Pat Block was going to be doing new stories for most issues of DDA. If that's the case then it certainly will make it harder for other new material to appear. Still I'm glad that Gladstone is making more of a commitment to new material and I'm glad to see Block doing more. I'm really not sure how to respond to your assessment of the remaining Gladstone titles. The situation you describe is based--I assume--on what Gladstone is currently doing with those titles. Will that continue to be the case? I don't know for sure. Have you talked or written to John Clark to find out? I think most of us would like to see Gladstone reprint more quality Egmont stories, newly-commissioned U.S. stories and classic old stories (particularly Gottfredson's Mickey Mouse) that have never or rarely been reprinted. I suspect most of the people at Gladstone would like to see more of all that too. And--if you take the long view--I think eventually most of these things will happen. (Otherwise eventually Gladstone will run out of material. There's a lot of wonderful Barks material, but you can only reprint it so many times in a space of a few years.) I'm sure you would do some things differently if you were in charge of Gladstone. Me too. But we're not in charge. And I can't think of any reason why Bruce Hamilton would (or should) change his approach to business just because we tell him we'd like to have more of our stories printed. Despite all these years in the business, I've barely met Bruce. So I really shouldn't speculate about his reactions. Don Rosa knows Bruce far better and perhaps he has an opinion on all this. In any event, I have my doubts about your idea of a petition asking Bruce to change the make-up of his comics. I have no reason to think Bruce would react favorably and I don't think you're going to be doing the cause (or yourself) any good by formally petitioning Bruce. I'm sorry I can't be more encouraging. ----John Lustig From donrosa at iglou.com Tue Apr 25 17:15:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Tue, 25 Apr 95 11:15 EDT Subject: Disney-comics digest #644. Message-ID: >HARRY: What's this message from Fabio? He can't send it to the list himself? I do hope he sends me that newspaper article about me. And I hope he'll set aside copies of the new Italian comics that reprint my stories. But ask him if he recently sent me a big registered package of stuff -- I received a big pack of Italian "fanzines" with articles about me (such as a cover-feature in something called "IF - Imaginary Fumetti" that he wrote) as well as the other Italian Disney artists. But there was no letter or return address included, so I don't know where it came from. DAVID: There's really a "Ranger List" for fans of that TV series? And they REALLY threw you off for having vaguely non-Disney-Zombie leanings? I was wondering if I'd been wrong in my ideas about those other Disney BBSs, but they seem to be showing me I'm not. They really can't tolerate anything but 100% gleeful agreement with everything Disney is and does, eh? Totalitarianism lives. These are the VERY people who need to see some extra little truths told. I think it's obvious that such people are not Disney fans if they can only be so by ignoring everything they don't want to know and pretending it doesn't exist. We here on this list are Disney fans even though we acknowledge Disney's flaws and failures. Who, then, are the more intelligent, discerning and truest devotees? It's rather obvious. One of my ideas is that it's BECAUSE of Disney-Zombies that Disney's unfair policies can continue. They help Disney keep it quiet, they help keep it out of the public eye. Disney will naturally soon change some of these ancient policies... it's a system too backward to last much longer; but the Zombies help push that day a little further off each time they boot somebody like you off their boards. And we on here all know what an arrogant little snot you are -- always pushing everybody around and condemning Disney to Hades (Of course, you are not that way at all -- it's astounding they couldn't tolerate a few truths spoken by such a polite fellow as yourself. Really, really sad!) Anyway, about DUCK DAZE, as I told you I was asked my Jymn Magon to help come up with the guidelines for that series, but I declined. I knew they would be treating Donald again as an ACTOR and not a CHARACTER, again ignoring everything that makes Donald still Disney's most popular character (everywhere in the world but HERE)... which is to say, ignoring BARKS' version of Donald. And while DUCK DAZE might be as good as DUCK TALES, it will doubtlessly be as far from accuracy as DUCK TALES and will come and eventually go away without doing any lasting harm to Donald, just as DUCK TALES did with $crooge. DUCK TALES never bothered me since I knew that Disney's $crooge is a different character than the comic-book (TRUE) $crooge. And Disney's Donald in DUCK DAZE won't be our Donald, so we can ignore it as well. But you know, they lose about 99% of my potential interest right off the bat with that insulting title! DUCK TALES would have seemed infinitely better to me if they had simply used a respectable title like "The Adventures of $crooge McDuck". Now, Donald's show is "DUCK DAZE". Ecch. But I guess that makes it possible to license it separately from the old Donald? TWO licen$e$?! And that name looks nicer on lunch boxes and T-shirts? I s'pose so... From sherline at merle.acns.nwu.edu Tue Apr 25 21:26:30 1995 From: sherline at merle.acns.nwu.edu (sherline@merle.acns.nwu.edu) Date: Tue, 25 Apr 1995 14:26:30 -0500 (CDT) Subject: Disney-comics digest #644. In-Reply-To: from "Don Rosa" at Apr 25, 95 11:15:00 am Message-ID: <199504251926.AA201027991@merle.acns.nwu.edu> A non-text attachment was scrubbed... Name: not available Type: text Size: 1936 bytes Desc: not available Url : http://nafsk.se/pipermail/dcml/attachments/19950425/0180ae30/attachment.pl From erenell at gusun.acc.georgetown.edu Tue Apr 25 22:02:39 1995 From: erenell at gusun.acc.georgetown.edu (Leylim Erenel) Date: Tue, 25 Apr 1995 16:02:39 -0400 (EDT) Subject: unsubscribe Message-ID: I would like to be removed from this list. Thanks. From furlong at cypaus2 Wed Apr 26 00:49:49 1995 From: furlong at cypaus2 (Carey Furlong - tdoc) Date: Tue, 25 Apr 1995 15:49:49 -0700 Subject: Should I have U$ 292? Message-ID: <9504252249.AA23067@teksun15.devhp> > Has anyone else who subscribes through Gladstone to Uncle $crooge received > issue 292? Is it time for me to call and have another one sent, or am I > over-eager? > > -- > --Steve Crooks scrooks at tyrell.net > "Consequences, shmonsequences, as long as I'm rich." -- Daffy Duck I have not gotten mine yet either, although I picked up 2 retail copies in the local supermarkets. "Brain and brain. What is brain?" --------------- Spock's Brain --- ---- Carey ---- Carey Furlong, Huntington Beach, CA; CompuServe 70531,2753; Prodigy TXST34A; furlong at ug.eds.com; Opinions expressed here are mine and do not represent those of EDS. From 9475609 at arran.sms.ed.ac.uk Wed Apr 26 17:12:17 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Wed, 26 Apr 1995 15:12:17 +0000 Subject: Disney-comics digest #645. Message-ID: <5ED6F5660C6@arran.sms.ed.ac.uk> WES: > [In FG's "Island in the Sky"] Captain Doberman is a dashing, > debonair, Clark Gable-esqe Air Force commander . . . [while in "The >Mail Pilot"] Captain Doberman seemed to be a Sad Sack mutt. Er -- the Sad Sack character in "The Mail Pilot" is Captain Doberman's mechanic, Gloomy, isn't it? The only change in Cap Doberman over the years is that he's quite stocky in his first three stories, substantially thinner in "The Pirate Submarine," and his final, svelte self after that. I don't think his personality changed all that much. STEVE: I had two Gladstone subscriptions in the 1980s, and the comics were always slow. I don't think they ever actually lost one, but they were awfully sluggish in reaching my doorstep at times. So don't worry, the comic is most likely yet to come. JOHN L.: > The situation you describe [strict formats that Gladstone uses for > DD and DM, laid down by Bruce Hamilton] is based--I assume--on what > Gladstone is currently doing with those titles. Will that continue to be the > case? Have you talked or written to John Clark to find out? Yes. > I can't think of any reason why Bruce Hamilton would (or should) > change his approach to business just because we tell him we'd like to > have more of our stories printed. You want reasons? I've got 'em! A) THE UPHOLD-YOUR-SLOGAN REASON. Hamilton's subscription ads actually ANNOUNCE that he's printing your stories, John. He isn't. B) THE ECONOMIC REASON. The "Mickey" stories in DM sell badly even to Mickey fans, from what I've heard. C) THE READER-INPUT REASON. At least 50% of the letters in DD actually discussing the comic (many are simply trivia questions) criticize its AT overload. Similar situation in DM. D) THE "BRUCE'S FAVORITES" REASON. Stories that Bruce Hamilton likes (i. e. Goofy 44-pagers) gets printed. Mr. Hamilton also sees very few of the new Egmont stories, because Gladstone's foreign reference subscriptions are delivered to the office, and he works outside the office a lot of the time. So the sets of "What Bruce Hamilton Likes" and "New Egmont Stories" don't intersect often merely because they don't have the CHANCE to. If Mr. Hamilton received a package of "Egmont stories by Lustig, Gerstein, Rawson, Gilbert, and Ingersoll," along with letters from the lot of us, things might change. I have the strong conviction that our current stories would be a hit with him. DAVE: On the phone, you once mentioned having done some Mickey stories with Eli Squinch. Can you perhaps tell us which ones these are and when we might expect to see them anywhere? Have you used any other vintage FG characters? David Gerstein <9475609 at arran.sms.ed.ac.uk> "The only way for anyone to get ahead of Mickey Mouse -- is to run in front of him!" From Cdoberman at aol.com Wed Apr 26 21:24:12 1995 From: Cdoberman at aol.com (Cdoberman@aol.com) Date: Wed, 26 Apr 1995 15:24:12 -0400 Subject: Should I have U$ 292? Message-ID: <950426152355_97188681@aol.com> Steve: Gladstone's subscription services are awful. I am letting my subscription to WDC&S run out. It always came at least 6 or 7 weeks after it showed up at Lee's Comics. Lee's will order and hold for me any title I want, so why should I sit around for a month and a half waiting for Gladstone to get their act together? It really is pathetic. Wes From jorgenb at ifi.uio.no Wed Apr 26 23:26:10 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Wed, 26 Apr 1995 23:26:10 +0200 Subject: A few comments to David Message-ID: <199504262126.1966.baugi.ifi.uio.no@ifi.uio.no> DAVID: > The U$ "Black Diamond" story D91392 is drawn by Scalabroni Ah, so he is doing other things than these stupid Gyro stories. The art in this story is even quite good. > Also, you mention an artist named "David" -- do you mean Xavi here? No. I have no idea who he is, but when DD&Co gave credits, his name was under some "Chip'n Dale" and "Br'er Rabbit" stories. He seems to be the one who draw Br'er Rabbit with that big hair curl on the top of the head. Extremely cute, but not bad. ME: > Super Goof (D91310, 6 pages). The art looks like Ferioli. DAVID: > This is actually by Esteban, one of the last "good" stories he did > before the art editors laid down the law that he had to begin drawing > like Paul Murry c. 1971. (That is no joke -- it's actually what > happened.) Difficult to find anything to say to that... Where is Esteban now, BTW? Next week there will be a new viking story by Marco Rota in DD&Co. Jorgen From jorgenb at ifi.uio.no Wed Apr 26 23:30:23 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Wed, 26 Apr 1995 23:30:23 +0200 Subject: DD&Co #14 Message-ID: <199504262130.2353.baugi.ifi.uio.no@ifi.uio.no> Now it's almost a month since I sent the last review of the Norwegian weekly. Here comes three new reviews, at last. Sorry for the delay. Donald Duck & Co #14 1995 ------------------------- - Junior Woodchucks (H92107, 12 pages). Art by Daan Jippes (can't be anyone else). The Woodchucks are going out in the desert to search for some hidden gold. They're doing this because they need money. Out there they discover a flock of wild horses. They also discover some hunters who are catching the horses. They (the Woodchucks) don't take this too seriously until they discover that the horses are being sent to a factory producing dog food. The hunters, although being pictured as bad guys, are doing this legally, and the Woodchucks use their last money to buy the horses. Seemingly because of gratefulness, the horses show them where the gold is hidden. Is this one of the Barks/Jippes stories? It isn't mentioned in Harry's index. The art is very good. The story, although not at all bad, isn't too exciting, but it is quite interesting. - Mickey Mouse (D93391, 6 pages). Art by Scott Saavedra. Mickey and Goofy are hired to move a car from Duckburg, to some other place, for some millionaire. Of course this isn't as easy as it seems to be... The story is just pointless. The art isn't extremely bad, but he could use some more shading here ;-) The art was better, much better actually, in that jungle story. - Donald Duck (D92540, 4 pages). Art by Xavi. Donald is hired to run a post office. He's following every rule in the book. This doesn't exactly make him popular, and he can't expect to be treated very kind when he suddenly meet his first customer when he's about to start his car. The car isn't parked correctly, and the earlier customer shows up to be a parking guard. Nice idea, but four pages? - The Beagle Boys (D93295, 6 pages). The BB are trying to steal some money from a yacht belonging to a film editor. Boring. - Uncle Scrooge (D94066, 8+ pages). Don Rosa. Second part of the story. I'll write about this story later. - Pluto (KF 8.13.39, 1 page). Jorgen From jorgenb at ifi.uio.no Wed Apr 26 23:33:49 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Wed, 26 Apr 1995 23:33:49 +0200 Subject: DD&Co #15 Message-ID: <199504262133.2707.baugi.ifi.uio.no@ifi.uio.no> Donald Duck & Co #15 1995 ------------------------- - Donald Duck (D93280, 10 pages). Art by Vicar. Uncle Scrooge, Donald and the nephews are going to Solaria to find out why the workers in one of Scrooge's mining companies have stopped working. The nephews are in a bad mood, because there is an easter egg contest at the school. The point is to paint the best looking egg, and one boy in their class use to always win the contest. They come to Solaria, and find that the workers don't dare to work, because the area is governed by a pygme king and his tribe. US & Co go out to find the king. On their way they save the life of a pygme, who they think is a child. They meet the king who calls them his friends, because they saved his brother. Scrooge tells him that he'll leave the area to the pygmes. The nephews bring back a painted ostricht egg, and win the contest. Well... the writer knows Barks, no doubt about that, but the story is too short to be really good. Scrooge & co is saved from a bunch of dangerous animals by the pygmes, but is that a good enough reason for him to just leave the area to them? Everything seems to be just stuffed into too few pages. The art is good, BTW. You Americans won't see this anyway -- the pygmes are black. - Mickey Mouse (D93228, 5 pages). Mickey and Goofy are hired to hide some jewels. One of Goofy's old aunts are visiting them at the same time. She saves the jewels from a thief. The art isn't too bad, whoever did it, but the story is quite pointless. - Donald Duck (D93337, 7 pages). Art by Santanach. Daisy has got tickets to a 25 years anniversary at the school where she and Donald gratuated 25 years ago. Donald tries everything to destroy the tickets, or to find any reason not to go to the party. At last he has to give up. The reason was that he never finished the final exam, and was too emabarassed about this. ZZZZZZZ - Uncle Scrooge (D94066, 8+ pages). Don Rosa. - Donald Duck (KF 18.8.46). Bob Karp, Al Taliaferro. Jorgen From jorgenb at ifi.uio.no Wed Apr 26 23:39:12 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Wed, 26 Apr 1995 23:39:12 +0200 Subject: DD&Co #16 Message-ID: <199504262139.3344.baugi.ifi.uio.no@ifi.uio.no> Donald Duck & Co #16 1995 ------------------------- - Donald Duck (H9366 (93066), 10 pages). Mau Heymans (or Heijmans?). Donald Duck is bragging about how good he is at plaing the trumpet. HDL find his old trumpet in the attic, and Daisy wants him to play at her club, the same evening. Of course Donald can't handle the instrument at all, and walks out to the forest to practise. At the same time a professor and his students are looking for the very rare trumpet bird. You can imagine the rest :-) A good story. The art is a little unfamiliar, but I must say that I really like it. - Grandma Duck (D93386, 6 pages). Grandma is asked to join a TV program about food. One of her neighboors is evvying her, and closes her into a small house at the farm. Then she can take her place. Bori...ZZZZZZ - Scamp (KF 9.20.59, 1 page). - Donald Duck (W/WDC 50, 10 pages). Carl Barks. The pig is called Nasse, BTW. - Hiawatha (D94047, 4 pages). The indians are making a new totem pole. They are wondering what to put on the top of it. It is supposed to be a symbol of luck, happiness and courage. After Hiawatha has saved the totem and himself from a dangerous river, they aren't wondering about it anymore. Maybe someone could find some new ideas for Hiawatha? - Mickey Mouse (D93180, 6+ pages). Same artist as D93228. Mickey and Goofy are hired to find out who is stealing from a big department store. They find it to be one Hali Baba, a rich customer. The reason why he is stealing is that he has the ghosts of all those forty bandits in his cellar, and they demand him to steal something to them every night. Then they have a party -- every night. They are getting tired of this, and want the curse over them to stop. The art isn't too bad. Huh? No one-pager at the end? Jorgen. From donrosa at iglou.com Thu Apr 27 08:16:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Thu, 27 Apr 95 02:16 EDT Subject: Disney-comics digest #645. Message-ID: >PER: Okay, here's a short list of my upcoming trips and appearances. But it's shorter than in years past since all those lil' weekend motel shows have cut back on guests. Also, I need to delete one trip I'd already mentioned. I definitely WON'T be going to Finland any time in November. I already have one trip in November and some other tentatives. You already have all that German info. I'll be at the ChicagoCon June 30 - July 2. San Diego Comicon July 27-30. Mid-Ohio Con Nov. 24-26. Oh, and this thing in Dayton this coming weekend. Don't put that in the permanent list. And I'll be at the dentist on July 24 at 5 PM. More to come later as I'm sure about them. WES: I just received my subscription copy of the new U$ yesterday. I wouldn't worry about yours until next week. MARK: NEVER hesitate to criticize my stories! I don't get nearly enough of that! I hear that there are people who dislike stuff I do, but the mail to me and Gladstone is 100% favorable. I can never hope to improve anything if all I get is praise, and those quiet fans are doing me and themselves a disservice by keeping mum. I never like pure complements since, if they aren't sprinkled with a few negatives, I don't think they're sincere. In fact, if I had to make a choice between nothing but complements or nothing but criticism on here, I'd pick criticism since this net is made of knowledgeable fans. I get plenty of praise elsewhere. You say that you would prefer, and you think Barks' intention was, that $crooge made himself slowly rich by simply always saving every penny he ever made. Well, that's an interesting thought. And it may very well be that that is exactly what Barks intended. And that would work fine until they asked me to do this "Lo$". What sort of conflict would there be in the series if $crooge started saving every cent from his first shoeshine and where every single endeavor he undertook was successful? So he would already be well off when he went to work on the riverboats in 1880, well-to-do when he became a cowboy, modestly wealthy when he mined copper, rich already when he first hunted gold in 1886? There's no conflict in that idea. Where would reader interest come from? Who would care if a rich $crooge got richer? That would make the "Lo$" series identicle to the modern day $crooge. I really can't get too interested in those stories that just tell of $crooge maybe getting richer -- there needs to be a threat to his wealth or some inner struggle, right? But don't think that $crooge is "wealthy" as of chapter 8 in my story. He does, now, as you hope, start saving his money. I already did a story that takes place one year after chapter 8 in 1898(the upcoming "Hearts of the Yukon") where you'll see that $crooge isn't living or acting any differently. He never sells that Goose Egg Nugget, so he can't really become so rich by just finding it. Then I also did a story that takes place one more year later in 1899 ("The Last Sled to Dawson"), and we still see $crooge saving his gold and living as before. Only in that story did I show him decide to invest some money and buy a bank and start buying other businesses. But those stories would make boring episodes as part of the "Lo$" series. Once I've shown him finally get his fortune started in chapter 8, I skip those years and start trying to tell stories of how the wealth then affects his life, not how swell it is to be rich or how funny it is to be stingy. As for that scene of the destruction of the riverboat, this again prove to me that it's impossible to please everyone at the same time. Whereas you saw that sequence as being too "Image comicy", Gladstone just received a lengthy letter from some literary scholar that went on and on about how brilliant she thought that whole sequence was handled. She talked of comparisons to Shakespearian and Wagnerian drama and quoted a few dramatists that I'm too ignorant to have even heard of, and even quoted a passage from some famous play that has a scene almost identicle to mine (except its the hero's sister that dies, not the mother). She gives lengthy reasons why she does NOT see any similarity between my handling and a Rambo style ending. (Gladstone sent the letter straight to me since it was too long and essoteric for their letters page.) This is not to suggest you are right or she is right or I am right or any of us is completely right or wrong. It's just that everyone interprets this stuff differently. And I can only make my own decisions and do the best job I can. I constantly state that my version of $crooge's life is only MY version. Someone else can do their own completely different version of $crooge's life next year if they want -- no one is required to adhere to mine. If I ever redo this whole series (which is probably unlikely) I would take comments like yours into consideration and perhaps change sections of the story drastically. But for now, that's all too late. My damage was done already 3 years ago -- you're just now seeing it. Well, I hope you like the directions I go in chapters 9-12 better. You'll never again see this robust $crooge... only an increasingly wretched one, until part 12 where I TRY to bring it all together at the finish. From fluks at pcssdc.pttnwb.nl Thu Apr 27 13:10:10 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Thu, 27 Apr 1995 13:10:10 +0200 Subject: Jo/rgen in digest #646. Message-ID: <9504271110.AA08255@ux08.pttnwb.nl> JO/RGEN: > ["David"] seems to be the one who draw Br'er Rabbit with that big hair > curl on the top of the head. Extremely cute, but not bad. I disagree. It's awful. That cute character is not the Brer Rabbit I know. > - Junior Woodchucks (H92107, 12 pages). > Is this one of the Barks/Jippes stories? It isn't mentioned in Harry's > index. It is the one I coded H 92167. I think that code is wrong, because there is also another story with that same code. Either the code was wrong in the first Dutch publication, or I made a mistake when indexing it. I'll fix that. > - Donald Duck (H9366 (93066), 10 pages). Mau Heymans (or Heijmans?). Let's say Heymans. That's how Gladstone credits him, and I think he is spelled that way in a Dutch magazine. --Harry. Harry Fluks ()_() Dutch Disney comics freak PTT Telecom (_) fluks at pcssdc.pttnwb.nl Netherlands "Yeah.. I've _heard_ of coral barques" From 9475609 at arran.sms.ed.ac.uk Thu Apr 27 17:48:40 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Thu, 27 Apr 1995 15:48:40 +0000 Subject: Disney-comics digest #646. Message-ID: <6060B6C1EF3@arran.sms.ed.ac.uk> JORGEN and HARRY: What's Esteban doing now? More stories, I'd presume. Mostly Ducks -- for example, I think that the recent story about DD's high school exam having to be taken again was his. He did a lot of Mickeys until recently, but while the art editors at Egmont love his 1971 Mouse, the story editors hate it and would rather assign him to other characters. H 92107 = Junior Woodchucks, "Gold of the '49ers". This is going to be the backup story in American US 293 next month, by the way. I'm anxious to read it. D 93280 = "King Tut Tut". I don't think Disney U. S. would actually have a problem with this story, because the black characters don't act stereotypical (unless the mere act of showing a bushman as black is a stereotype). They speak very educated English. But I just find the story fairly unexciting. In Britain, the pygmies have an odd mixture of Swahili and ancient-Egyptian names. D 93228 = "Relatively Speaking". I don't like MM+G stories that begin with them as detectives assigned to guard something. Like the Zoom Transport stories, this is a bonehead-simple way of getting the characters into an adventure that feels very unimaginative. And I'm sorry -- but Aunt Maude really DOES appear to be stealing something, herself, before the crook shows up. It's never satisfactorily explained. D 93386 = "The Cheesecake Cheat". I actually enjoyed this Grandma Duck story very much. In English, it was very funny. I wouldn't even mind seeing it in the States one day. D 93180 = "Ali Baba". In English, the Arab millionaire is named EXACTLY the same thing as his famous ancestor. The art here is by Ferioli, by the way. D 93228 looks similar, I agree, but it's not his -- it's just a story from the same Jaime Diaz-like studio that Ferioli was originally a member of, but has now left. I'll give you more detailed information soon. I don't think I've mentioned that I spoke to Daan Jippes just before leaving the States two weeks ago. He told me that "Bottled Battlers" was the most recent Junior Woodchuck redraw that he has done, because his work for Amblin takes up too much time these days for him to make any more. He'll get back to them, but for now we've seen the last of these redraws. David Gerstein <9475609 at arran.sms.ed.ac.uk> "Gawrsh, Mickey, it was thuh most wonderful moment of muh life!" "Ya mean when we found th' treasure?" "No! I mean when thuh cannibals picked ME out FIRST!" From jorgenb at ifi.uio.no Thu Apr 27 17:07:51 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Thu, 27 Apr 1995 17:07:51 +0200 Subject: Jo/rgen in digest #646. In-Reply-To: <9504271110.AA08255@ux08.pttnwb.nl> (fluks@pcssdc.pttnwb.nl) Message-ID: <199504271507.21581.maud.ifi.uio.no@ifi.uio.no> HARRY about David (no, not him :) > I disagree. It's awful. That cute character is not the Brer Rabbit I know. Eh, I think I wrote that a little too fast. I certainly agree. That rabbit is awful, but his chipmunks aren't that bad, although a bit simple. Jorgen From jorgenb at ifi.uio.no Thu Apr 27 17:27:14 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Thu, 27 Apr 1995 17:27:14 +0200 Subject: Disney-comics digest #646. In-Reply-To: <6060B6C1EF3@arran.sms.ed.ac.uk> (9475609@arran.sms.ed.ac.uk) Message-ID: <199504271527.26105.maud.ifi.uio.no@ifi.uio.no> DAVID: > I think that the recent story [D93337] about DD's high school exam > having to be taken again was his [Esteban's] It really looks like Santanach to me. I wouldn't mind some originality. Even if I'm not that fond of van Horn's art, f.ex., I do like that he uses his own style and don't copy some other artist. So D93180 (Ali Baba) is by Ferioli. I don't think I like this style. I think his earlier Egmont works look better. A couple of years ago they looked more like that story (D91310) you told me were done by Esteban. > I'll give you more detailed information soon. Thanx. Do you have the credits for D93040 too? Jorgen From ekman at lysator.liu.se Thu Apr 27 17:44:49 1995 From: ekman at lysator.liu.se (Fredrik Ekman) Date: Thu, 27 Apr 1995 17:44:49 +0200 (MET DST) Subject: GCD Announcement (fwd) Message-ID: Greetings! As I have previously mentioned in posts to this list, I am a member of the Grand Comics Database (see below for details). The personnel coordinator of GCD, Tim Stroup, has recently requested the following message about the GCD FTP and WWW site to be forwarded to all relevant mailing lists and news groups. As it happens, disney-comics is particularly relevant, since one of the sample indexes happens to be Uncensored Mouse (indexed by yours truly). Please consider taking the time to check this out! In spite of a few "rough edges" in the database format (most of which will no doubt me smoothed out in time) it is really a grand scheme. For the record: I have had plans to convert our own database to the GCD format, but currently find myself out of time. If anyone else has the knowledge and time to do such a thing, I am sure that the GCD management would be overjoyed. /F ---------- Forwarded message ---------- Grand Comics Database Demo FTP and Web site The Grand Comics Database's (GCD) attempt to index every comic book ever published is rolling right along. Since we started just over a year ago, more than 40 international members have indexed over 21,000 comic books ranging from Action Comics#1 to Zot#33. Information about the creators of books for over 50 publishers and almost 1800 different titles has been collected electronically for eventual use in a searchable database. We are well on our way towards actually accomplishing our goal since we estimated, when we began, that there were over 100,000 individual issues to be indexed. Of course, that does not include the 5,000 or so comic books that came out last year. We have even just initiated a sub group which will focus exclusively on Golden Age comics and their inherent problems of indexing. If you would like to become involved, let me know. Now we need your help. We would like input on our format, type of data we are collecting, and any over all comments on the project. The project is still young enough that we can make some changes in it. So we would like to tap into all the expertise on the Net and get your input. We now have set up a public ftp site that contains our charter, a description of the GCD project, a description of the GCD format, a list of comic books that have been indexed, and a few sample files for your inspection. The files at this site are in the GCD format, so you can download them into your favorite database program and work with the data. They are all in text files so you can download/view them even without a database program. We also have a Web site set up which allows you to view the data. The Web site also contains our charter, format, completed books list, and background files. The format on the Web site is not the GCD format, but makes it much easier to read via the Web. The addresses are as follows: FTP - ftp://ftp.hiof.no/pub/Comics/Database.public Web - http://www.hiof.no/~jonal/gcd/ or http://www.digimark.net/wraith/GCD/ (American mirror) One more very important thing, if you would like to help us out by indexing some comic books, we would love to have you. Though we have come a long way in a year, we still have a long way to go and we could sure use your help. Please feel free to post this to any other comic book related lists that you would like to post it to. Please look over what we have done and send any criticisms, comments, and or questions to: Tim Stroup GCD Personnel Coordinator stroup at lmsc.lockheed.com From jorgenb at ifi.uio.no Thu Apr 27 20:28:01 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Thu, 27 Apr 1995 20:28:01 +0200 Subject: Universal Solvent Message-ID: <199504271828.21917.maud.ifi.uio.no@ifi.uio.no> Universal Solvent ----------------- Now I've read the story twice. First I read it one part each week as they were published, and then I read the hole story. I agree with Even -- this story shouldn't have been serialized. There are almost no changes of scenes, and therefore there doesn't seem to be any natural places to break it. Although it does make good cliffhangers, the excitement isn't exactly the same after having waited a week. Strange enough, it wasn't until the second time I read it that I noted the episode with Little Helper and that robot mouse. Although I'm not so sure that poor Mickey deserves this, it is quite (very) funny to find these things. This is something of what makes your stories so special. As several others have done, I have also tried to figure out what would happen in later the story. This fight against the nature is indeed exciting and interesting. When the problem is an animal or a "human" you can, at least in most cases, make an influence on the oposite part, and then affect the result. That's not so easy with the laws of physics. They usually do as they want to any matter what you are trying to do about it. Still there are a few strange things in the story, but I don't mind that as long as it makes it a good story. As I said, I tried to figure out what would happen. A, IMHO, nice solution would be to let the blob of solvent absorb all the mass of the matter it dissolved. This would of course make it difficult for Scrooge to handle it, but I think it would make it even more dangerous than how it acts in the story. If it absorbed all the mass, it's gravity would increase, and it would turn itself into a black hole. Well, the earth would have been destroyed anyway. That would give the choice of being thrown out into space when the earth couldn't keep itself together anymore, or being sucked into the solvent. About the solvent -- this isn't really a solvent, is it? Since the "dissolved" material is extruded, the solvent is really a compound that squeezes matter together. It's not like removing every third atom ;-), but it pushes the electrons against the nucleus of the atom. There's a lot of space in an atom, so that shouldn't be impossible... The problem is that when the electrons get too close to the nucleus, it will try to push them back. That can happen quite violently. So, is the solvent leaving a little bit of itself on the outside of the compressed atoms to keep them together? Wouldn't this make all the compressed atoms into tiny nuclear bombs that will go off when the outer layer of solvent disappears? Let's hope it doesn't :-) Another thing that puzzles me is the air in the shaft. When the blob goes down into the earth and "removes" all the matter it hits, a vacuum is created. You've all seen "Airport" haven't you? ;-) When a hole is blown in the fuselage of the 707, the air is pushed out into the lower pressure on the outside. In this case there is a much lower pressure in the shaft, and air is pushed from the surface of the earth into the shaft. Then when the table hits the hole, the shaft is closed, and no air can pass. Since the blob is still travelling against the center of the earth, the air pressure in the shaft is getting lower and lower, and the table is pressed harder and harder against the hole. To be able to get into the shaft, the pressure on the table must be removed. This is done by building a house over it, and removing the air from it. The pressure will now work on the house. Now the pressure will actually be higher in the shaft, because of the air that got into it, and the table should be very easy to remove. Well, one of the properties of a gas is that it will try to fill any container it occupies, therefore I find it a bit strange that all the air that got into the shaft fell down to the bottom of the shaft. I think it should be occupying almost the entire shaft, although it would be in a very low concentration. This would spoil the point that they suddenly was able to breathe close to the center, but the point later in the story that they could breathe when air was starting to leak into the shaft wouldn't be affected. I was wondering if the air could be pulled down by the gravitational forces, but since those forces are getting less and less significant the closer it gets to the center, and the internal termic forces of the air would spread the gas into a biggest possible volume, this can not be the case. This means that the entire shaft would probably be filled with air, but in such a low concentration that it wouldn't be possible to breathe in it. The heavy diamonds made a good gag, and led to the conclusion that the solvent wasn't usable, so I won't comment on them ;-) Enough nature. Over to the story. It all starts with Scrooge's usual greed for more money. He goes to far, and he doesn't only put himself, his family and his money in danger, but the entire earth. Nice idea :) Believe me, I have tried, but there isn't easy to find anything to criticize in the story. One thing that maybe is a bit unusual in your stories is that Donald actually gets a good idea when they are trapped in the shaft. I wasn't sure if I dared to hope that this would happen, but to my great joy, they run into the Hermies and Fermies. Of course this "people" wouldn't be too happy about seeing the ducks, and they act accordingly. I'm glad to see that they still have got the hat :) Ah, but here is something strange, although in the colouring. As far as I know, Barks wanted this people to all be coloured in one colour. Something else would be stupid. This is done correctly in Norway, so it does look a bit strange when they suddenly appears in a lot of fancy colours now. Was the idea of running into these people what inspired you to write this story, BTW? The gag with the truck in the tunnel was a good one. Of course the ducks panic when a big truck is suddenly coming towards them in high speed, and they hides behind the umbrella. Then "glorp". The truck, after being partly dissolved, reminds me of a popular movie. Ah, there are so much else that also should be mentioned, but I think this is starting to get long enough... The ending is pure Don Rosa. Not neccesary to say anything more about that, I think. Yes, this must be one of your best stories. I like stories that makes the reader think a little. Jorgen From deckerd at agcs.com Fri Apr 28 00:17:18 1995 From: deckerd at agcs.com (deckerd@agcs.com) Date: Thu, 27 Apr 1995 15:17:18 -0700 Subject: Mickey "Which-Way" Story Message-ID: <9504272217.AA00749@stardust.> In past postings, I've mentioned a 39-page Mickey Mouse "Which-Way" (i.e., a story with several alternative plotlines and endings you can choose yourself) that I translated from Italian last year for Gladstone. The original intent was to run it in a giant-sized issue of Donald & Mickey, but with Hamilton's announced plans for changes at Gladstone, that obviously could no longer be the case. I had occasion to call John Clark just now and I asked what they plan to do with the story. Since I've already been paid for the work, it's really their problem to get their money's worth, but I do have an interest in seeing it in print rather than having to tell people there's this great story they'll never see languishing in Gladstone's filing cabinet. From what John told me, they do intend to use the story somewhere, sometime. I'd assume that the new 48-page Collectory comic would be a likely place since it's the only title in the line with enough pages to run the whole story in one gulp (due to the nature of the thing, the story can't be serialized), but in any case it won't be very soon. Like this time next year? I also volunteered to write a text piece the next time they reprint the WDC&S #81 ten-pager, describing the background of the 1946/47-era US Army tests of captured German V-2s at White Sands, New Mexico. I'm afraid the more dated elements in Barks's older stories are going to need more explication as time goes on. I mean, I've had to explain the significance (and the symbolism!) of a copy of a book called "Mein Kampf" lying on a junkpile that Barks did as a throwaway gag (so to speak) -- my 20- something friend grew up in an era long after World War II references were common and universally understood. In this current thing with the WDC&S #81 story, I've had to tell people what a V-2 was. --Dwight Decker From fluks at pcssdc.pttnwb.nl Fri Apr 28 09:59:46 1995 From: fluks at pcssdc.pttnwb.nl (H.W. Fluks) Date: Fri, 28 Apr 1995 09:59:46 +0200 Subject: Disney comics Database Message-ID: <9504280759.AA02624@ux08.pttnwb.nl> Fredrik and all: I have been busy the past few months in totally reconstructing the software of the Disney comics Database (DcD). There are a lot more possibilities now. One thing that has changed is that I now have _two_ output formats. One readable for humans, like in the previous DcD version, and one more readable for computers (but still plain Latin-1 text). To give an example of both formats, let's use the first 2 entries in Disney Comics's Autumn Adventures #1. The output format 1 looks like this (as part of the file "gl-aa-dad.issues"): ---- Issue Story Pa L Plo Wri Art Ink Hero Tag:Title or description [comment] code ges ttr ter ist er AA = Autumn Adventures AA 1a KQ 1390 1 c FD O:Disney Characters on Picknick AA 1b W WDC 169-03 10 CB CB DD D:Travelling Truants [rp:LICW 26] ---- The output format 2 looks like this (wrapped to max 80 columns in this mail): ---- KQ 1390^g^k^AA 1a^ 1^c^O:Disney Characters on Picknick^hero:FD^ W WDC 169-03^g^k^AA 1b^10^^D:Travelling Truants^writ:CB^art:CB^hero:DD^date:5 4-01-07^rpg:LICW 26^rpu:WDC 422^rpn:55-38,86-15,BV.54,KV.08^rps:55-07,73-31^ ---- While in a header file the following lines occur: ---- 1^AA^g^Autumn Adventures^max:2^ 2^AA 1^g^^inx:FEk^ ---- (I still have to make an exact description of the formats...) This "internal" format was meant for my own use at first, but it seemed handy for use by Per as well for his WWW search programs. Now I think it can also be used for conversion to the Grand Comics Database. I can't use ftp or WWW, but I'll ask Tim Stroup if he can send me his formats and examples by e-mail. I added header lines to the database, which give information about series or individual comics, like titles, cover dates, who indexed the comic and maybe some other things. I am now able to generate lists of comics that have alreay been indexed, and a list of indexers. The latter currently looks like this: ---- Legend of indexers of USA comics in the Disney comics database AB Alberto Becattini (typed in by HF) [100] AEn Anders Engwall [8] AKr Andrew Krieg [36] DGe David Gerstein [203] FEk Fredrik Ekman [9] HF Harry Fluks [134] HFa Hannes Faestermann (additional info) KCr Kjell Crone [476] MSe Mark Semich [3] ORN Ole Reichstein Nielsen [143] PS Per Starback [151] THe Tryg Helseth (additional info) ---- The numbers between [] indicate how many issues are indexed by the person. If YOU want to be on this list: contact me. There are still a few Gladstone and Disney issues un-indexed, and we can use help in indexing a lot of Gold Key and Whitman comics. In particular, I would like to have an index of the following: Chip 'n' Dale Rescue Rangers : 1 - 4, 14, 16 Donald Duck : 288 Mickey Mouse Adventures : 1 - 13, 15 - 18 Walt Disney's Comics and Stories : 576, 592 The CB Library of Donald Duck Adventures in Color: 1 - 5, 7 - 13, 15 - ... The CB Library of Gyro Gearloose Comics and Fillers in Color: 4 Enough for now. Back to the ducks and mice... --Harry. From donrosa at iglou.com Fri Apr 28 15:20:00 1995 From: donrosa at iglou.com (Don Rosa) Date: Fri, 28 Apr 95 09:20 EDT Subject: Disney-comics digest #647. Message-ID: >[JORGEN: Thanks for all the comments about that Solvent story. I love this sorta stuff since it might give me an idea of something to change when Gladstone reprints it, and then use your ideas and take credit for them. Hah! The first thing about that story -- someone just pointed out to me that I failed to hide the "D.U.C.K." in the splash. Oops. VERY GOOD with your idea that the solvent should have been a black hole, then all problems with weight and such would have been eliminated. This was a new version of a story I had last done in 1978, and in that version it WAS a mini-black hole!!! The solvent created was an essence-of-black-hole and it carried the original black hole to the center of the earth. This meant that all matter was not so much dissolved than removed from the universe -- no increase in weight. Actually, the hole was so dense, it had no weight since it was not effected by the earth's gravity. I would have used that same idea in the Duck version, but I'm allowed SO FEW pages to work with that my grandiose ideas get greatly cramped and cropped down to bare bones. You're quite wrong about how air would behave in a vertical shaft. Yes, air in some container at the earth's surface would leak out to the area of lesser pressure. But why then doesn't the earth's air all escape into space? Gravity. Air has weight. That's why there's air pressure. The air in the shaft would flow towards the bottom. Now, that still doesn't mean that whole idea would work perfectly. The gravity down there would have been so slight that there might have been problems with breathing. But I naturally take some licenses and just decide that things will work (otherwise the Ducks would die and the story would end). The pressure of the air higher in the shaft weighed down on the air at the bottom, making it dense enough to be breathable. Yeah, that's the ticket. The idea of using the Terries and Fermies was NOT a reason for doing the story. I knew I'd never do a sequel to that great story since, even though I loved it, the use of such weird and wacky creatures is not the sort of thing I like to do. I prefer to try to get plots out of facts closer to reality and accurate to history. Just my own preference. However, I knew that some readers would be watching that story and expecting the Terries and Fermies to pop up at any moment. I thought that little toss-off gag would satisfy them (at the risk of again offending those who might think I was toying too frivolously with a classic). I know I can't please everyone, so I try to please myself and hope for the best. I have no control over the coloring. Even as a child I could tell that the rock characters in that old Dell issue were supposed to all be colored like ROCKS. It was the Dell colorists that decided it would be drab for that story to all take place in gray panels of gray rock-people, so they colored the T's and F's all manner of bright hues. And they did it even moreso in these Euro editions. I don't really object to it since readers now EXPECT T's and F's to be bright colors and anything different would puzzle them. Well, now I hope Americans will forget all this before they read this story in a Gladstone in a year or so. I am now leaving again for a weekend show in Dayton... see you next week. From sparre at connect.nbi.dk Fri Apr 28 16:55:10 1995 From: sparre at connect.nbi.dk (Jacob Sparre Andersen) Date: Fri, 28 Apr 95 16:55:10 METDST Subject: Universal Solvent - and physics In-Reply-To: ; from "Don Rosa" at Apr 28, 95 9:20 am Message-ID: <9504281457.AA13705@Minsk.DoCS.UU.SE> Now you've been talking so much physics, that I feel I can put in some (non Disney comics related) comments, even though I haven't seen the first two parts of the Universal Solvent story yet. Don Rosa (to Jorgen): | You're quite wrong about how air would behave in a vertical shaft. | Yes, air in some container at the earth's surface would leak out to the area | of lesser pressure. But why then doesn't the earth's air all escape into | space? Gravity. Air has weight. That's why there's air pressure. The air in | the shaft would flow towards the bottom. Now, that still doesn't mean that | whole idea would work perfectly. The gravity down there would have been so | slight that there might have been problems with breathing. But I naturally | take some licenses and just decide that things will work (otherwise the | Ducks would die and the story would end). The pressure of the air higher in | the shaft weighed down on the air at the bottom, making it dense enough to | be breathable. Yeah, that's the ticket. I agree with the conclusion, but not the argument.:-) Since the volume of the shaft is neglible compared to the atmosphere, the pressure at the top of the shaft will be unchanged (101,3 kPa), and the force towards the center of the Earth will result in an increasing pressure down through the shaft. Actually I think the problem rather would be too high, than too low pressure. Did I miss something obvious? Does anyone know if it's possible to get the Danish AA&Co. #13 and 14 somewhere? Regards, Jacob Sparre Andersen. -- A Faroeese student, far far away from home -- URL's: "mailto:sparre at nbi.dk", "http://fys.ku.dk/~sparre", "mailto:sparre+ at pitt.edu" & "http://www.pitt.edu/~sparre". -- "We need a plan to diverge from", Fesser From jorgenb at ifi.uio.no Fri Apr 28 17:21:57 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Fri, 28 Apr 1995 17:21:57 +0200 Subject: Universal Solvent - and physics In-Reply-To: <9504281457.AA13705@Minsk.DoCS.UU.SE> (sparre@connect.nbi.dk) Message-ID: <199504281521.5267.beyla.ifi.uio.no@ifi.uio.no> > Since the volume of the shaft is neglible compared to the atmosphere, > the pressure at the top of the shaft will be unchanged (101,3 kPa), > and the force towards the center of the Earth will result in an increasing > pressure down through the shaft. Actually I think the problem rather would > be too high, than too low pressure. The pressure at the top of the shaft is 0. They built a house at the top and removed all the air from it. If they didn't, the air would continue to flow into the shaft and end up in the solvent. This would go on until the pressure at the surface was to small to push more air into the shaft. The air in the shaft came into it before it was sealed. Jorgen From Pascal.Lafontaine%alleycat at deltacom.cam.org Thu Apr 27 05:11:51 1995 From: Pascal.Lafontaine%alleycat at deltacom.cam.org (Pascal Lafontaine) Date: 26 Apr 95 22:11:51 -0500 Subject: the subject is cartoon bux bunny Message-ID: i like bugs bunny i find him very hilarous with helmer daffy duck an other cartoons i would like receave the information about bugs bunny and her friend -+-UNREGISTERED Evaluation copy of Internet Addresser 3.0 -- |GatorNet: Pascal Lafontaine 128:200/70 |Internet: Pascal.Lafontaine%alleycat at deltacom.cam.org | From Cdoberman at aol.com Fri Apr 28 21:05:29 1995 From: Cdoberman at aol.com (Cdoberman@aol.com) Date: Fri, 28 Apr 1995 15:05:29 -0400 Subject: DD&Co #15 Message-ID: <950428150239_99739777@aol.com> jorgen: "You Americans won't see this anyway -- the pygmes are black." I think it is interesting that Disney will allow some material to be printed in one country, and not another. This is a very racist pattern, in my view. They don't censor material in the U.S. on any principle -- just out of fear of public reaction. If it's wrong to portray ethnic stereotypes in the U.S., then it should be wrong everywhere. They're saying, it is not wrong to portray people stereotypically, only in countries where it will create bad Public Relations. From jorgenb at ifi.uio.no Sat Apr 29 01:19:17 1995 From: jorgenb at ifi.uio.no (=?iso-8859-1?Q?J=F8rgen_Andreas_Bangor?=) Date: Sat, 29 Apr 1995 01:19:17 +0200 Subject: DD&Co #15 In-Reply-To: <950428150239_99739777@aol.com> (Cdoberman@aol.com) Message-ID: <199504282319.11175.holmenkollen.ifi.uio.no@ifi.uio.no> Cdoberman: >If it's wrong to portray ethnic stereotypes in the U.S., then it >should be wrong everywhere. And maybe it should be wrong everytime. You know the Barks story "The Lemming With the Locket". There are some really sterotypical Norwegians there. I think it is rather insulting to be portrayed that way. To be a bit more serious. This policy about cencoring is Walt Disney's (the company), and noone, probably not even themselves, knows why this is done. Some people on this list think, and they are probably right, that the people who cencor stories are doing this just to show that they are needed -- to keep their jobs. Why is this cencoring only being done with stories that are published in the U.S.? One very simple reason is that Gladstone are publishing about sixty issues (including albums) a year. Only in Norway there are published about 150 issues a year. Then you can add Sweden, Finland, Denmark, Iceland, Germany etc. etc. These are Egmont countries. Then you can add the Netherlands and Italy who have their own production. See my point? Then there are some cultural differences. I can't speak for every European, of course, but there seem to be some very big differences between Europe and the U.S. in how people react to things. Being insulted by stereotypes is not usual here, and suing other people or companies for just anything isn't usual at all. I'm viewing Americans in a very sterotypical way now, of course... In my opinion something shouldn't be wrong everywhere just because some Americans think it is wrong to do it in the U.S. Jorgen From 9475609 at arran.sms.ed.ac.uk Sat Apr 29 19:00:43 1995 From: 9475609 at arran.sms.ed.ac.uk (DAVID.A.GERSTEIN) Date: Sat, 29 Apr 1995 17:00:43 +0000 Subject: Disney-comics digest #648. Message-ID: <637404C4106@arran.sms.ed.ac.uk> DON: > Who would care if a rich $crooge got richer? Isn't that just what we've been reading about in almost every issue of U$ (and now, at least in the backup stories)? Seems to me that a lot of folk are perfectly happy reading such tales (me included). HARRY: > AA 1a KQ 1390 1 c FD O:Disney Characters on Picknick That should be "Picnic" (sorry!) WES: > [Disney's censors' method] is a very racist pattern, in my view. > They're saying, it is not wrong to portray people stereotypically, > only in countries where it will create bad Public Relations. Bill Blackbeard (editor of the 1970s _Smithsonian Book of Newspaper Comics_) told me that that is EXACTLY Disney's view -- but that they don't look at it that way. They feel that at this point, Europeans have learned to view old stereotypes -- including stereotypes of themselves -- as harmless cliches, while Americans are becoming touchier and touchier by the instant. DONALD AND MICKEY #30 is out now. The final gag in "Goofy King Arthur" is very funny. The rest of it is horribly bad, and even those who like the art in these stories will notice that this particular story has had none of the background detail of "Midas" and "Tut". Instead, it had two palace guards standing there, constantly saying how tremendously funny everything that's happening was. The comic changes title next issue and starts over with #1. The only way that this comic is going to save its sales, though, is to change its format! All the letters about the Goofy stories are critical now. David Gerstein <9475609 at arran.sms.ed.ac.uk> From Cdoberman at aol.com Sun Apr 30 05:49:15 1995 From: Cdoberman at aol.com (Cdoberman@aol.com) Date: Sat, 29 Apr 1995 23:49:15 -0400 Subject: DD&Co #15 Message-ID: <950429234913_101237391@aol.com> Jorgen: Good point. Very good point. That is something for me to keep in mind, living in this global village. Also I didn't mean to imply I approved of the censorship. I don't approve of stereotypes that degrade individuals; however, I also don't approve of censoring an artist's work without the artist's consent. Maybe working for Disney implies consent. I do wish I had access to the uncensored versions of earlier published stories, including the "politically incorrect" stuff. I feel as though when this is removed, we (in the U.S.) are denying problems ever existed. However, if an artist feels like his past work has content he wishes to have removed, well, then go ahead and remove it. Perhaps if Barks had it to do over again, maybe he wouldn't have included such Degrading Stereotypes of Norwegians in "The Lemming with the Locket." ;-) My point is, power to the artist. Wes "But, Mickey! It's SUICIDE! We'll be KILLED! How'll we ever land without wheels?" -- Captain Doberman From ARCHIMEDES at delphi.com Sun Apr 30 21:09:17 1995 From: ARCHIMEDES at delphi.com (Bob Wright) Date: Sun, 30 Apr 1995 15:09:17 -0400 (EDT) Subject: Disney-comics digest #646. Message-ID: <01HPYD6QSNR6970D2B@delphi.com> > Gladstone's subscription services are awful. I am letting my >subscription to WDC&S run out. WES: My first Gladstone subscription turned me off. I started out with the current WDCS in Color series (luckily only a 6-iss subscription) and the first issue came in an unmarked cardboard folder with some rather hefty bends. I called Gladstone to gripe and they said it wasn't "economical" to ship them in a hard box.