Disney-comics digest #770.

Larry Gerstein gerstein at math.ucsb.edu
Wed Sep 6 23:55:11 CEST 1995

[Send unsubscription requests to <disney-comics-request at minsk.docs.uu.se>.]

Contents of digest #770:

        DanOlson01 at aol.com      UNSUBSCRIBE
        innkurv at powertech.no    UNSUBSCRIBE
        Geir J. Netland         Re: CBL: DDA 18
        Don Rosa                Re: Disney-comics digest #769.
        fumetti at alpcom.it       Re: Disney comics from China and India!
        Jon Cato Lorentzen      Why no loooong stories from Egmont?
        Arthur & Daniel               Hearts of the Yukon / Australian comics
        Dwight Decker           Re: CBL: DDA 18
        Neal Kinney             Re: Gladstone Gazette #1
        INET64                  newest comics
        952SANDLIN at ALPHA.NLU.EDU un
        Mark Semich             Re: un
        fumetti at alpcom.it       Re: Disney comics from China and India!

Date: Tue, 29 Aug 1995 23:54:07 -0400
From: DanOlson01 at aol.com
To: Disney-Comics at minsk.docs.uu.se


Date: Wed, 30 Aug 1995 09:07:08 +0200
From: innkurv at powertech.no
To: Disney-Comics at minsk.docs.uu.se


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tel. +47 2269 5344   fax +47 2269 4490

Date: Wed, 30 Aug 1995 15:09:37 +0200 (METDST)
From: "Geir J. Netland" <Geir.J.Netland at misjonshs.no>
Subject: Re: CBL: DDA 18

Dwight:  I haven't read DDA 18 yet, but don't you
like any of the articles in CBL?
---Geir J. Netland

Date: Wed, 30 Aug 95 09:10 EDT
From: donrosa at iglou.com (Don Rosa)
Subject: Re: Disney-comics digest #769.

        The cover for "Lo$" chapter X: when it came time to do a cover, I
couldn't help but be honest with Gladstone and tell them that there already
was a cover that I liked which they could use. I knew this would knock me
out of an extra income in doing a new cover, not to mention the future extra
bucks when we are finally allowed to sell our art... but to not tell them
that they could have something for free just woulda' been kinda weasely. I
did the same for the next cover, and even the same, in reverse, for one of
the next German "Don Rosa Library" albums (and they pay even more). As
always, it's not a fair system that allows two publishers to freely use
someone's work, but that's the system these publishers are in, and even if I
don't agree with the morality of that system, I'm not going to lie to those
publishers about their options, even at my own expense.
        That chater X cover was slightly redrawn. I redid the Beagle Boy's
upper lip because I decided that it looked wrong, and I think I touched up
one or two other spots (FREE to Gladstone... just to improve my own work...
same way I did those new panels for that "Guardians of the Lost Library"
story). But when they told me they were gonna flip the cover art to allow
for the oval portrait, I neglected to warn them to flip the "D.U.C.K.".
Lucky it was simply written and not really hidden, or no one could ever have
spotted it! Egad -- that reminds me -- the cover for part XI will also be
flipped, and that "D.U.C.K." IS hidden. Give up on that one!
        I dunno -- I guess I was too busy to redraw those two battleships,
or I didn't want to bother poor busy Gladstone with the idea. What I SHOULD
have bothered them with is to make sure they had proper color notes on it,
but I never thought they wouldn't. (As I've said, the 1902 battleships were
drastically miscolored, as were the Rough Rider uniforms, through some fault
of Egmont's photostat people.)
        I hadn't noticed any misplacement of Grandpa Beagle -- I'll check
that out. Yes, it was surely for the benefit of the speech balloons, but I'm
not sure why he couldn't have started out on the proper side of $crooge.
        There was a time in my fanzine-strip days when I thought very hard
about which side of a 2-page spread the "surprize" panels might appear. But
now, when Egmont so severely limits my page count, I can't possibly afford
to do that. Besides, one country will differ from the next as to how they
present the story. And then there's Germany who, for unknown reasons, never
uses my recap panels and makes a half-page recap of their own, thereby
throwing the half-pages of the story into a bottom-on-top mess until they
place a half-page ad partway through the story to straighten it out again.
So it's now IMPOSSIBLE for me to take that aspect of the storytelling into
consideration. There's really little about the Egmont method of
presentation, whether its coloring, lettering or printing, that enhances the
stories, sad to say. But that's life.
        And if you were to ask me... comics became 6 panels per page instead
of 8 simply (as you suggest) to stretch the same story into more pages.
Buyers only notice how many pages of art they buy, not how much plot or
substance they're getting. Otherwise, how do you explain American super-hero
comics? Even 10-12 years ago when I was still glancing at American comics, I
recall something called MAGE that I looked through, and decided that I could
fit the issue's entire plot into 3 pages rather than 22. But there's
different things than what I think are important driving American comics in
the 90s. I guess I'm another dinosaur. But you'll never get less than 8
panels from me.
        I wish I could get 10 or 12 panels on a page, what with these dang
space limitations I have! Right now I'm trying a new idea: I plotted out a
new story I'm calling "The Treasure of the Ten Avatars" about $crooge
hunting a lost city in the upper Punjab. I plotted it out to 30 pages! I
only have 24 to work with! I squeezed it together into 27 pages. I don't
want to cut any out! So I plan on doing the treasure hunt in such a way that
the Egmont weeklies can use it as a 24-page 2-parter, or someone else like
Gladstone or the other foreign albums can use it as a 27 page one-part
adventure! The weeklies will simply have to call it "The Treasure of the
Seven Avatars" -- they'll have to eliminate three or so Avatars. Of course,
there were ten Avatars in Hindu mythology, but I can't help that. I'll leave
it up to the publishers as to what they want to give their readers.

        What do you mean, what is the true face of Disney? I don't
understand the question...


Date: Wed, 30 Aug 1995 13:32:08 +0000 (GMT)
From: fumetti at alpcom.it
To: Arthur_de_Wolf <wolfman at pi.net>
Cc: Disney-Comics at Minsk.Docs.UU.SE
Subject: Re: Disney comics from China and India!

Sorry Art. I suppose Don does not want to talk about the Walt Disney company
in a public list... Indeed I sent you a message "personally" because I know
that WD people are constantly looking at our mail... Do you understand what
I mean?

Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian  cartoonists society: fumetti at alpcom.it

Date: Wed, 30 Aug 1995 15:34:58 +0200
From: Jon Cato Lorentzen <jonlo at ifi.uio.no>
Subject: Why no loooong stories from Egmont?

What is Egmonts reason for not wanting stories above 24 pages? Are the 
stories considered too long to divide over several issues?
(8 pages an issue could make the stories last over a month)

Wouldn't it be great to get a 48-page Rosa story in those supplemental
issues that pop up now and then in the Scandinavian DD&Co, instead of those
movie-adaptions (Aristocats, etc.) :)


Date:          Wed, 30 Aug 1995 15:26:07 
From: Arthur & Daniel <daniel at maisie.ow.nl>
Subject:       Hearts of the Yukon / Australian comics


Today, I (Arthur) am visiting Daniel, here in Maassluis. I finally got 
to see his Carl Barks Library. 

We decided to write a letter together:


Hearts of the Yukon <SPOILER!!!>

We just read your  new story in  WDG#1 "Heart of the Yukon". We liked
it a lot. The  ending  was  kind of surprising though. It sure was an
'open ending'! What did you mean with it? We think that you intended 
that Scrooge rather wants to keep the delusion of Goldie being his 
only 'could-be lover', instead of knowing the truth (the contents of 
Goldie's letter could also be very negative). 

Anyway, it was very strange to see such an ending in a *Disney comic*.
We're not saying that we didn't like the story, but after reading the
last page of the story, we turned the next page over, to see if it
REALLY was the ending of the story! 

Maybe that's the 'artistic' thing about the story? It reminded us a 
bit with a surprise-ending of a movie. It always gives a very 
disappointed feeling to see the movie suddenly stop, but a little 
time later you understand the meaning of it. 

BTW. We really liked the gag on page 4 with that huge man 
on the bear, it really gives you the feeling that HE is Steele. It's 
also very strange (but good "IOHO") to see such a gag in a Disney-
Comic, it's almost like watching "Monty Python" (if you know what we 

Are you planning to do more Yukon-stories? On one side we're thinking 
that this subject is getting worn out. But on the other side... the 
more we're talking here about this one, the more we're going to like 
it! Compliments!  <END OF SPOILER!!!>

Australian comics

Last time, you said that Gladstone's licence covered all of Northern
America, Australia and New Zealand. Why are the English Disney comics
also distributed in Australia then? 

--- Daniel & Arthur.

Date: Wed, 30 Aug 1995 09:28:47 -0700
From: deckerd at agcs.com
To: Geir.J.Netland at misjonshs.no
Cc: disney-comics at minsk.docs.uu.se
Subject: Re: CBL: DDA 18

> Dwight:  I haven't read DDA 18 yet, but don't you
> like any of the articles in CBL?
In a word, no. The text pieces are worthwhile only to the
extent that they fill in historical background (explaining
topical jokes circa 1947 that today's readers wouldn't
understand, for example). When it comes to _interpretation_,
I don't need somebody filtering Barks through his own 
opinion and outlook to tell me what he thinks Barks meant,
or worse, what he thinks Barks meant even though Barks
didn't know he meant it. I'm still annoyed by the essay
that interpreted Barks's postwar stories as atomic bomb
allegories even though Barks was quoted as saying he meant
no such thing. When the writers of these essays imply that
they know better than the actual creator of the stories,
they've left the real world behind and the essays are
worthless for any real understanding of Barks and his
stories. That's my opinion. Your mileage may differ.

--Dwight Decker

Date: Wed, 30 Aug 1995 10:11:24 -0700
From: nkinney at netcom.netcom.com (Neal Kinney)
Subject: Re: Gladstone Gazette #1

Following along with the discussions of the latest Disney comics on this
mailing list, I have often felt left out because I hadn't yet read the
specific stories.  The problem seems to be that, for some reason, I receive
my Gladstone subscriptions, by mail, weeks after they have appeared on
supermarket racks and comic bookstore shelves.  By this time, each issue has
been discussed thoroughly.  I can't believe my remote location in the stark
wilderness of the San Francisco Bay Area (near the site of the old Fort
Duckburg, I believe) is the reason for the mail delay.  Can anyone on this
mailing list enlighten me as to why Gladstone  subscribers seem to enjoy
such a low priority?

On a related matter, I just received Donald Duck Adventures #34 a couple of
days ago.  It was one of those "fewer pages, newsprint cover" issues.  Much
to my surprise, also in the package was a four-page, nice-quality, black &
white newsletter from Gladstone which I had not seen discussed on this list
(could it be that I am the only U.S. subscriber to Gladstone's duck
titles?).  This issue of the Gazette tells the story of the ill-fated "Uncle
Scrooge Pennywise Comics", explains the "This is the Year that Was" series,
offers quotes from Carl Barks, has profiles of some Gladstone employees AND
contains the "Cross Talk" and extended Letters to the Editor columns deleted
from the smaller, newsprint cover issues.  Actually, very nicely done!

Date: Wed, 30 Aug 1995 11:58:55 -0600 (MDT)
From: INET64 <inet64 at mosquito.frcc.cccoes.edu>
Subject: newest comics

I am a big comic book fan.  Do you have any comics with Mickey or Minnie.

Erica Rhoades  

Date: Wed, 30 Aug 1995 13:38:45 -0500 (CDT)
Subject: un

please take me off your mailing list.... PLEASE!!!!!!!!!!!!!!

Date: Wed, 30 Aug 1995 16:38:38 -0400
From: mas at cs.bu.edu (Mark Semich)
Cc: disney-comics at minsk.docs.uu.se
Subject: Re: un

have you tried contacintg disney-comics-request rather than disney-comics?

Date: Wed, 30 Aug 1995 14:40:19 +0000 (GMT)
From: fumetti at alpcom.it
To: Arthur_de_Wolf <wolfman at pi.net>
Cc: Disney-Comics at Minsk.Docs.UU.SE
Subject: Re: Disney comics from China and India!

Anyway I was saying... ARGH! The Disney spy-killers got me! ARGH! Help!
Coff! Coff!...
eheheh! I'm joking (I hope so)!
Indeed the WD company is nothing more than a capitalistic multi-national
industry, and maybe loving to monopolize (ABC). 
So they are obvioulsy interested in making money and money and money (money
that no one of them can take with him after death).
Art, literature, culture and so on are things for artists, writers and so on
(an industry may think this way). So there is nothing strange that
industries just think how to make more money and are very little (or
nothing) interested in what can help people or make them have a better life,
for the little time (very little - very little indeed) we live.
In what do we trust?
Gianfranco Goria, cartoonist and comics divulger: goria at inrete.alpcom.it
president of Anonima Fumetti - Italian  cartoonists society: fumetti at alpcom.it

(End of digest.)

gerstein at math.ucsb.edu

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