Disney-comics digest #411.

[Don Rosa]

ANDREW:
	Thanks. To answer your questions, your reasons for stopping
buying the Disney Disney comics were precisely the same reasons that I
hear from everyone. Actually, your statement was a compendium of all the
reasons I've heard -- you hit them all.
	As a matter of fact, aren't you the fella that just stated that
reasoning behind the name "Calisota" that I said was exactly how I'd
always described the same? Either you're copying this stuff out of old
Digests, or you are a quintessential Duck fan.

HARRY:
	In defense of Gladstone's listing of credits -- one of Bruce
Hamilton's conditions for taking on the Disney license in '86 was that
they give the credits, and Disney at first refused, but Hamilton stuck
to his guns and won that remarkable concession which is not allowed to
this day in any other Disney comic books in the world. I would think
that when Disney yanked the license and took over, they couldn't very
easilly stop giving credits without looking very bad. Gladstone always
wanted to list the Egmont artists, but Egmont declined giving the names
for fear other Disney licensees (like Oberon or Italy) would try to lure
away their artist stable (which is crazy, since Egmont pays best), and
when Disney took over, either Disney had the secret data or Egmont gave
it up at that time by coincidence. The point is that while Gladstone
always was very clear and truthful that these stories were reprints of
work done by these foreign artists for this or that foreign company, if
you read the Disney credits you can tell that they were trying to imply
that these were all new stories being done just for Disney Comics. This
is a white lie or a lie-of-omission, just as when they started
reprinting my work they took out big ads saying it was the "first
appearance of these stories in Disney Comics!", I feel knowing that
readers would not notice the fact that "Comics" was capitalized, and
think this meant any "Disney comics" anywhere.

DANIEL:
	I wish to believe that Barks did not know of the infamous FAX
that I'm suing Grandey over. Of course he knew of the ongoing anti-Rosa
campaign and since I've long known of his resentment of me, I think it's
obvious (and sad) that he must have either supported it or allowed it.
Someone recently even suggested that Barks gets a cut of the sale of the
Van Horn and Jippes art since it's sold by his "Studio", and would then
be aware of the reasons that Grandey is so anxious to do me damage. But
none of that matters -- I would never react to anything that my idol
chose to do to me... how can I? But his toady is something else -- I
don't have a lifelong admiration of Grandey, as you may well imagine.
	As for meeting with Barks to iron out his misguided feelings
about me, that is exactly what I hoped would come of my trip to meet him
in Atlanta, but I was (as you well know) barred from speaking to him.
Now I no longer wish to have anything to do with him... I don't wish to
make him uncomfortable if he hates me that much. I'll leave him alone.
	Grandey I WON'T leave alone.