ROSA DON [ (1951) ]

[cypavlos]

Εγω παντως εχω διαφορα σκαλοπατια προτιμησης (στο πρωτο ειναι οι παλιοι κλασικοι Μπαρκς και Σκαρπα) κι ο Ντον Ροσα ειναι στο δευτερο.

 

Ανακαλυψα τη διευθυνση του απο το παλιο Κομιξ (φυσικα πριν το 2000), απο καποια σχετικα αρθρα της εποχης. Του εστειλα μια επιστολη με διαφορα σχολια και μου εστειλε την φωτο του με ιδιοχειρη αφιερωση. Ειναι το σκαν που ανεβαζω εδω.

 

==========================

Η διευθυνση του υπαρχει αναρτημενη σε σαϊτ (Don Rosa on himself) οπου ο ιδιος την ανακοινωσε ως εξης

Don's Address

I have little fear of being swamped by fan mail... particularly when I'm situated in America where anyone who reads Disney comics is considered a pariah by the average American comic-collector-cretin. Here -- I'll prove it:

Don Rosa; 9711 Dawson Hill Rd.; Louisville, KY; 40299
Phone: (502)2313399.

So there.

 

 

Επεξεργασία Αυγούστου 6, 2021 από cypavlos

[boui]

Αφιέρωμα εδώ στο forum εννοείς;

Υπάρχει σχετικό θέμα στους ξένους δημιουργούς εδώ

http://www.greekcomics.gr/forums/index.php?showtopic=3524&st=0&p=170521&hl=don%20rosa&fromsearch=1entry170521

[cypavlos]

 

 

Επεξεργασία Ιουλίου 15, 2021 από cypavlos

[DJO]

Έγινε συγχώνευση των ποστς με το αφιέρωμα και σου μετέτρεψα τη φωτογραφία σε jpg, γιατί ήταν αρχείο bmp, που δεν αναπαράγει μικρογραφία και είναι πενταπλάσιο σε μέγεθος.

 

Στα Περιεχόμενα, δεν υπάρχουν μονάχα τα περιεχόμενα των Ελληνικών Εκδόσεων, έχει και για τους Δημιουργούς, όπου μπαίνει πρώτα το επίθετο.

 

Πολύ όμορφη αφιέρωση Παύλο.

[cypavlos]

Μερικα στατιστικα που βρηκα απο το inducks και το δικο μου αρχειο.

 

Ντον Ροσα, γεννηθηκε στις ΗΠΑ το 1951 και οι ιστοριες του εχουν ημερομηνια πρωτης δημοσιευσης 1987-2006.

Συμφωνα με το inducks στην Νορβηγια τυπωθηκαν οι περισσοτερες ιστοριες του, 118, ενω στην Ελλαδα 104, ομως δεν μπορει να ειναι απολυτα σωστο αυτο γιατι μαλλον πρεπει να περιλαμβανει και κατι που δεν θεωρειται ιστορια. θελει λεπτομερες ψαξιμο.

Στην Ελλαδα οι ιστοριες του υπαρχουν στην Βιβλιοθηκη Κομιξ 01, Επιγονοι Μπαρκς και στα Κομιξ 29-247.

[cypavlos]

Το πρωτο εξωφυλλο του στην Ελλαδα ειναι στο Κομιξ 22 -4/1990

 

Εδω βαζω και το εξωφυλλο του κομιξ 22 και αυτο του Βιου και Πολιτειας του Σκρουτζ, ετσι για να τα θυμομαστε.

[tryfev]

Δεν έχω την πρόθεση να υποκαταστήσω τον φίλο Quackmore στον οποίο ανήκει η τιμή της ίδρυσής του, αλλά επισημαίνω την ύπαρξη του DON ROSA GREEK FORUM

http://donrosagreekforum.forumgreek.com/

με πολλά και ιδιαιτέρως ενδιαφέροντα στοιχεία για τον μεγάλο δημιουργό που δυστυχώς σταμάτησε, για λόγους υγείας αλλά και άλλους, να μας χαρίζει τις υπέροχες ιστορίες του.

Για την αποχώρησή του η Wikipedia στο σχετικό άρθρο

http://en.wikipedia.org/wiki/Don_Rosa

αναφέρει ότι στις 2 Ιουνίου 2008 σε μια συνέντευξη στη Δανία ο Don δήλωσε ότι δεν θα φτιάξει άλλα κόμικς Disney λόγω των προβλημάτων της όρασής του, των χαμηλών αμοιβών και του γεγονότος ότι οι ιστορίες του χρησιμοποιούνται συνεχώς σε ειδικές σκληρόδετες ή με μορφή άλμπουμ εκδόσεις χωρίς να του καταβάλλονται δικαιώματα και χωρίς να του ζητείται άδεια για τη χρησιμοποίηση του ονόματός του.

Σ' αυτό το forum δημοσιεύεται και μια πολυσέλιδη και εξαιρετικά ενδιαφέρουσα συνέντευξη που έδωσε ο Rosa το 1996, την οποία η ταπεινότητά μου μετέφρασε στα Ελληνικά. ΄Οποιος ενδιαφέρεται μπορεί να την δει στο

http://donrosagreekforum.forumgreek.com/t23-topic

Επεξεργασία Απριλίου 16, 2011 από tryfev

[ramirez]

Μια φωτογραφία του Don Rosa που πέτυχα προ ημερών, με φόντο τα εξώφυλλα-παρωδίες υπερηρωικών κόμικ που έχει δημιουργήσει.

 

 

[The_Sandman]

Όλα τα λεφτά το μπλουζάκι "I'm big in Europe"

[ΔeMo™]

Πότε θα δω αυτό το ταμπελάκι "Buy Three - Get One Free!!" και στο δικο μας Κον;

[Jim®]

Μία πολύ ενδιαφέρουσα συνέντευξη του Don Rosa, δημοσιεύτηκε στο youtube προ 4 περίπου μηνών. Η συνέτευξη γίνεται από ερασιτέχνη, ωστόσο είναι ιδιαίτερα "χορταστική" καθώς σε 1 ώρα και 45 λεπτά, ο διάσημος σχεδιαστής μιλάει για όλους και για όλα, για τις δυσκολίες της δουλειάς του, την ίδια την Disney, τον Καρλ Μπάρκς και πολλά άλλα. H συνέντευξη πραγματοποιήθηκε ενώ ο Καρλ Μπάρκς ήταν ακόμα ζωντανός οπότε τοποθετείται μεταξύ Ιανουαρίου και Αυγούστου του 2000.

 

Αξίζει να σημειωθεί, πως πολλές ερωτήσεις ξαφνιάζουν τον Ρόσα καθώς δεν είναι προετοιμασμένος γι'αυτές με αποτέλεσμα να εκφράζει καθαρότατα την σκέψη του!

 

Θα βρείτε ολόκληρη την συνέντευξη

!

 

Καλή διασκέδαση!

 

* Ελπίζω το θέμα να μην έχει ανέβει πάλι! :/

Επεξεργασία Ιουνίου 28, 2011 από The Great Splash

[DJO]

Το θέμα συγχωνεύθηκε με το αφιέρωμα του Ντον στους Δημιουργούς, γιατί στις Συνεντεύξεις μπαίνουν μονάχα όσες είναι στα Ελληνικά.

 

[Indian]

Μπορώ να βάλω κι εγώ κάποιες φωτογραφίες του μεγάλου Don...?

 

 

 

 

 

 

 

 

 

Και μία σειρά από βίντεο που τραβήχτηκαν από έναν Γερμανό θαυμαστή του,στο σπίτι του Don...!

Σίγουρα θα απολαύσετε το στούντιό του και την ΥΠΕΡΟΧΗ συλλογή του από κόμικς κι από φιγούρες...!

 

Don Rosa's House Tour

Επεξεργασία Αυγούστου 4, 2011 από Indian

[cypavlos]

Πολυ πολυ ωραια αυτα που βλεπουμε πιο πανω.

 

Λογω του προσφατου θεματος για το αφιερωμα, κι επειδη δεν ειδα καποιο λινκ, το βαζω εδω

http://www.greekcomi...opic=18830&st=0

 

 

Πριν καποια χρονια βρηκα το μεηλ του και του εστειλα καποια μηνυματα. Μου απαντησε σε ολα. Αυτο που θα συμμεριστω εδω αφορα τη δεκαρα του Σκρουτζ.

Εγραψε ο Ντον Ροσα,

"Please don't refer to $crooge's #1 Dime as his "lucky" dime. There is nothing about it that imparts good luck. That is a very WRONG notion created by careless European writers!"

δηλ. Παρακαλω μην αναφερεστε στην πρωτη δεκαρα του Σκρουτζ ως η τυχερη του δεκαρα. Δεν υπαρχει τιποτα που να της προδιδει καλη τυχη. Αυτη ειναι μια πολυ ΛΑΝΘΑΣΜΕΝΗ αντιληψη που δημιουργηθηκε απο απροσεκτους Ευρωπαϊους σεναριογραφους.

 

(Σαν υποσημειωση ομως θα σημειωσω οτι αλλο οι δημιουργοι/σεναριογραφοι ιστοριων κι αλλο οι απλοι μεταφραστες αλλων χωρων που μεσα στο συνολο της δουλειας τους θα μεταφρασουν αυτα που βλεπουν.)

Επεξεργασία Αυγούστου 6, 2011 από cydisneyman

[Rebus]

Ωραία παρατήρηση φίλε μου.

Μήπως έχεις ακόμα το email του ?

Είμαι από αυτούς που δεν μπόρεσαν να πάρουν την υπογραφή του στην Ελληνοαμερικανική ένωση και ήθελα να δώ εάν προτίθεται να υπογράψει κάτι και να μου το στείλει.

 

Ευχαριστώ

[Comics Fan]

Εδώ το e-mail: http://www.greekcomics.gr/forums/index.php?showtopic=2631&st=0&p=22171entry22171

το οποίο αν προσέξεις υπάρχει και στο δεύτερο καρέ της τελευταίας σελίδας της ιστορίας "Πιστολίδι στο Πίζεν Μπλαφ".

[cypavlos]

Υπαρχουν διαφορα σαιτ για τον Ντον Ροσα. Υπαρχει διαθεσιμη επικοινωνια.

 

Το λινκ ανοιγει το μεηλ αλλα για αντικειμενικους λογους το γραφω κι εδω. donrosa@iglou.com

 

στον κερκυραιο φιλο μας.

[ΔeMo™]

Βρήκα στο Φαίησμπουκ αυτή την επίσημη σελίδα του Ντον Ρόσα, την οποία δημιούργησε και διαχειρίζεται ο Anders Christian Sivebæk: http://www.facebook.com/pages/Don-Rosa/110293199025597

[Quackmore]

Ακολουθεί μια λίστα με όλα τα ΤΑΔΕ ΕΦΗ (την γνωστή σε όλους μας στήλη από το περιοδικό Κόμιξ) του δημιουργού Ντον Ρόσα.

 

 

Κόμιξ #199

 

Τα κόμικς που προτιμώ από μικρός είναι μάλλον ευρωπαϊκού στυλ, αυτό το στυλ της χιουμοριστικής περιπέτειας, που μοιάζει με τις ιστορίες του Μπαρκς.Το στυλ αυτό δεν ήταν ποτέ ιδιαίτερα διαδεδομένο στην Αμερική κι αυτός είναι ένας από τους λόγους που κάνουν τα κόμικς του Μπαρκς να ξεχωρίζουν από ό,τι έχουμε γνωρίσει ως τώρα.

 

 

Κόμιξ #222

 

Αυτό που κάνει τον Σκρούτζ και τον Ντόναλντ να ξεχωρίζουν είναι ότι έχουν ελαττώματα, όπως όλοι μας...Βεβαίως, στην πορεία παίρνουν κάποιο χρήσιμο μάθημα, το οποίο όμως θα έχουν ξεχάσει στην αμέσως επόμενη ιστορία!Αυτό το είδος ηρώων είναι πάντα πιο ενδιαφέρον για έναν συγγραφέα.

 

 

Πηγή: περιοδικό Κόμιξ

[Quackmore]

Ακολουθούν μερικές φωτογραφίες του Ρόσα

 

 

 

Ο Ντον Ρόσα μαζί με τον αγαπημένο του χαρακτήρα disney,τον Θείο Σκρούτζ.

 

 

 

Ο Ρόσα μπροστά από μια απ΄τις βιτρίνες με τις φιγούρες του.

 

 

 

Ντον Ρόσα και Καρλ Μπαρκς σε μια απ' τις συναντήσεις τους.Στην φωτογραφία ο Θείος Καρλ,κρατάει ένα τεύχος του περιοδικού Uncle Scrooge,το οποίο δημοσιεύει την πρώτη ιστορία του Ντον Ρόσα,Ο Γιος του Ήλιου.

 

 

 

Ο Ντον στον σχεδιαστήριο του,εν ώρα εργασίας.

Επεξεργασία Δεκεμβρίου 20, 2011 από Quackmore

[Quackmore]

INTERVIEW CONDUCTED AT HIS HOME ON THU, AUG 3RD, 2000

 

Note: This interview was transcribed from a tapped interview that was shown on an Evansville, IN local access channel. Mr. Don Rosa didn't know, and neither did I at the time, that this interview would go beyond that format. He has made it known to me that his answers to my questions would've been tailored quite differently if he had ever thought that this would be the case. Nevertheless, I thought the interview was fantastic. I hope you enjoyed it, I know I did. Basically, the interview, from where we sat down and started talking, is transcribed word for word. The section labeled "Gladstone Comics (Part 2)" was retooled somewhat near the end to better round up Mr. Don Rosa's thoughts, which he actually mentioned elsewhere in the interview (see the tapped interview); therefore, those were basically the only instances where statements may have been deleted and/or rearranged for that purpose. Finally, if during the interview, any answers don't seem to sync with my questions, keep in mind that two cameras were running simultaneously to get it. At one point, to make sure I would have enough tape in camera # 1, I switched to asking "only the remaining questions," on camera # 2, and then re-asked them over again for camera # 1 to get the answers down. This may be the reason for any unevenness. Thanks again for having an interest, and God bless.
 

F.A. Elliott, 9-17-00.

 

 

INTRODUCTION

I and a friend arrived early at Don Rosa's home on a Thursday morning ahead of schedule. He had told me a week before to call the morning we left and inform him of our meeting, so that he could round up the hounds and open the front entrance. In meticulous fashion he riddled me with directions, nonchalantly pointing out his many acres of land! I forgot to ask him if I should look for a big "K" on the gate opening up onto a hidden fortress of gothic facade. We found the place with no problem; gate was open, "no dogs," and no worry! I shuffled up to the door and knocked, and waited. No answer. I knocked and waited again. Still no answer. My friend started to wander off down a trail leading to an elaborate patio in the woods. 'Still no problem,' I mentally chided myself. Then I looked down in the grass, where I saw the remains of a battered tennis shoe with teeth marked abrasions. Then, I started to get worried! I rounded the house from the right and hoped I'd have better luck around back. 'Maybe's he's hanging his laundry out to dry,' I thought. I didn't find Don Rosa hanging up his Sunday best, but I did find...the dogs; all 3 of them, Basset Hounds, and I didn't think they were there to fetch my slippers! Fortunately, a fence separated us! So I asked the dogs where Mr. Don Rosa was? About this time I noticed a healthy looking gent, with ash grey hair and beard, standing framed within a doorway; his spectacles and a countenance, both casted a puzzling glare upon our moment of unfamiliarity. He took a step into the light. He was wearing a dark blue short sleeve t-shirt with an impressive silkscreen on front of Donald Duck. (Later he would tell me how he had to decide just which Donald Duck shirt he wanted to wear that would show up better on camera.)"Who are you, he asked?" "I'm F. A. Elliott, I'm here to interview you, I replied!" "You're early, but that's ok. Go around front and I'll let you in, " he told me. By this time my friend had found her way back to the house and we were invited in. We followed Don Rosa upstairs. I nearly swallow my tongue. In the room were several beautiful ornate glass faced wooden cabinets filled with duck figures. It boggled my mind how he'd amassed his king's ransom. The last count was 600-700. Now, with the help of Ebay he'd improved his collection by 1/3. Before the interview I freshened up in the studio bathroom. I was shocked, but not too much at that point, and saw a Donald Duck inflatable through the frosted finished door of a stand-in shower. I walked back into the studio and basked in the memorabilia. Glancing across the room I took in a sizeable laser disk collection. Don Rosa could see I was impressed, "I love my laser disk collection. When DVD players came out many people had no problem buying them. I don't see why I should switch completely over to DVD when my laser disk player works just fine." First Don Rosa showed me an overflowing box of Disney Comic books from other countries. "They just keep sending me this stuff. I have so much I don't know what to do with it. I'm going to take this particular box to a library this weekend and donate it. Grab a couple of arm fulls if you want... please," he said! Then he motioned me over to a loose pile of papers, magazines, and trade journals. "See this stack? This is all one weeks worth from Finland, with articles about me; some with my photo on the cover. Look, this one, it's similar to an American ladies journal - yuck!" We then went over to his work area and sat down. He sat in front of his drawing table, and tried to stretch; complaining about tendinitis in his left shoulder. Directly above him were two Eisner awards, gold in appearance, on wooden bases. One was for Best Continuing Series in 1995, which was the serialization of The Life & Times of Scrooge McDuck in Walt Disney's Uncle Scrooge comics. The second was for Best Writer & Artist in Humor in 1997. Currently he was working on penciled pages for The Life & Times of Scrooge McDuck 10b. (Throughout the interview he'd occasionally tweak the page in front of him.) The story involves Scrooge, his Sisters, and Teddy Roosevelt in 1906 Panama during the construction of the canal. Teddy has had to come down to see what's stalling excavation on the canal, since somebody had bought up land it had to go through. I made a mental note to ask Don Rosa why it was foreseeable this story wouldn't see print in America. I wasn't a little surprised with what your about to learn.

 

DISNEY COMICS IN EUROPE

 

ME - One reason why I'm happy to interview you is that you're happy in doing what you do. You love to draw and you worked really hard to get where you are today, but today you're enjoying what you do, and you truly enjoy your work. And, that's how I feel in life. If one can do something and enjoy it, and it can be your work, and a labor of love, then one is very well off. So, I'm happy to interview you.

 

DO - Thank you, thank you.

ME - What really surprises me is that there are Disney Comics in Europe, North America, South America, Afr...


DR - Nope, nope, there are no Disney Comics in North America. That's the only place in the world that there are no Disney Comics.

ME - No North America! Well we have to get to that here. All these great comics, and we also got them in Australasia and the Middle East. Let's talk a little bit about Europe. I wanted to mention that, "One of the most flourishing publication markets is Europe. Here Disney magazine publishers create over 160 periodicals each year in 24 different languages and in 34 different countries. Europe maintains the Disney world record for weekly circulation figures and highest per capita annual spending on publications. In Europe and the Middle East over 40 million people regularly read a Disney Comic magazine, many of them being adults. Disney magazine publishing is also the #1 printed media for children in Europe. - The Walt Disney company Italia publishes Topolina, the 3rd most popular family magazine in Italy." - (Worldwide webpage http://www.wolfstad.com/dcw) That's incredible! Why are the duck books so popular in Europe for and across the world?

DR - In Europe just reading in general is much more popular than it is in America. Reading has been on the decline in America for the last 40 years, and I think it's... beginning to decline in Europe too because they're now getting all of the commercialism, they're getting their video games, and satellite television and so forth. But, it's still a huge reading public in Europe and Asia. And plus, Europeans, as far as comics go, well, as far as anything goes, Europeans like more variety than Americans do. Americans more or less like everything to be pretty much the same. They like to watch the same TV shows that they think everybody else is watching; and read the same books; and read the same comics. But, in Europe comics in general are a wide range of different genres. Disney, just being one of them. Now, as far as why the Disney Comics are so incredibly popular in Europe I'm... I'm still trying to figure that out myself after having visited there so many times. You were saying that the Disney Topolina is the 3rd biggest selling, I think you stipulated, family magazine in Italy. Italy is one of the most popular places for Disney Comics, but that doesn't compare it to Norway. For instance, where the weekly Donald Duck comic is the best..., it's not simply the best selling comic book, it's the best selling anything! Nothing sells anywhere near as many copies as the weekly Donald Duck comic in Norway, or Finland, or some of the other Scandanavian countries. Now, why this is, as near as I can tell, it's because after WWII the very first form of entertainment, popular entertainment, that came out across Europe in..., depending upon on which country, between '48 and 1951, was the Donald Duck comic book. It started out as a monthly and soon became a weekly, a weekly, in all of these countries. And, as a result, Donald Duck became literally a national hero in Europe. Every single kid rose up reading Donald Duck. When somebody finds out their wife is pregnant the first thing they do is buy a Donald Duck subscription. It's like a tradition. It's something that's passed on from family...father to son or from mother to daughter etc. But, it's a tradition that's carried on through the decades, which is something lost in America. Americans not only... are not so... don't have that sense of tradition. But we lost the Disney Comics back in the 70s, and broke any possibility of a tradition to be carried on. So I think that's one of the reasons, as near as I can figure out why Donald Duck is so unbelievably popular in Europe. For instance, a weekly Finnish edition, or Norwegian edition, sells about 300,000 copies a week. And that's small countries. Now, for capita, for an American magazine or comic book or anything to sell that many copies it would have to sell I think about 70 million copies; and where as an American comic book sells about 20,000 copies to be considered to be a good selling comic. They can still make money because there sold through these direct sales stores. They by-pass the normal magazine distribution, which eats up most of the profits. So that means that Donald Duck is not simply twice as popular in Europe, he's something like a thousand times more popular in Europe than in America.

 

 

FAMILY INFLUENCE

 

ME - Did your family have any influence on you getting into art or what you're doing today?

DR - How it's influenced me? Not at all because they never encouraged me. They always discouraged me and told me it was a waste of time. I shouldn't say that! My sister, who was 11 years older than I was, and she still is somehow, but she was a comic book reader, and when I, again, as soon as I got out of the craddle, or the crib or whatever I was in, the house was filled with comic books. And, so, I was looking at them long before I could read them. These characters Donald Duck and Uncle Scrooge, that I liked so much, one of the reasons I like them is that there're alive to me as my parents were. They have always existed. It's hard for me to imagine these are just comic book characters the way that I sense... I started reading Superman comics for instance when I was 11 or 12, or The Spirit comics when I was 15 or 16. Donald Duck and Uncle Scrooge had always existed. So I guess I can thank my sister for that. I may not be doing this (we're it not) because of her. But, after that everything was... my father always discouraged me from doing this because I was going to go into the family construction company. There was no future in doing this.

 

 

LANCE PERTWILLABY & CAPTAIN KENTUCKY

ME - During college years at the University of Kentucky you worked on the school paper, The Kentucky Kernel, where your work consisted of editorial cartoons, advertisements, graphics, and eventually a daily strip, the Pertwillaby Papers, which you eventually transitioned into Captain Kentucky for the Louisville Times. Let's talk a little bit about that.

DR - In college, the first day I was on campus, I went to the newspaper and asked them if they needed an editorial cartoonist. And, I was surprised to find out that that's the hardest thing for a newspaper to find is an editorial cartoonist of any value. So I was as a freshman..., I had an illustration, I had a cartoon in the very first newspaper of my freshman year. I was there for..., I did that for 5 years, the University of Kentucky, doing editorial cartoons because that was the only thing they needed at the time. I was not so politically oriented or opinionated as I might of been in those days in the late 60s early 70s. But, finally, I got a chance to do what I really wanted to do. And, that's do a newspaper comic strip. A daily comic strip. Well, I wanted to tell a story! Not necessarly in a newspaper because that's kind of limiting, but that's the only venue I had open to me at the time. And, that's when I created the Lance Pertwillaby, which was just a generic character. He was me! He looked just like...didn't act like me...I hope, but at least looked liked me just for the... Any artist or writer wants to identify with his main character. So I figured if I was my main character that would make it even easier. But, I think, yea I remember, the editor didn't like the strip because it was not radical enough; wasn't anti-establishment at all. So he discontinued it after the first series, and I sat back and waited a year until a new editor came along. And then I continued with the second series, which is always what I had in mind, which was that Son of the Sun plot, where I had my character Lance Pertwillably acting out an Uncle Scrooge adventure, which would always be an Uncle Scrooge adventure in my mind. The Son of the Sun, quickly explained, that's the S-o-n of the S-u-n, which is an Incan god you would of thought to be a decendant of the sun in the sky. So that's a catchy title, The Son of the Sun. And, that is the same plot I used for my first Uncle Scrooge adventure. Well, anyway, the Pertwillaby Papers I did that as a daily newspaper strip in the Kentucky Kernel, the University of Kentucky newspaper. And, then when I graduated, as a hobby, I would write and illustrate fanzine articles on the history of comics and television. And, after a few years of that, I got around to doing comic book style stories of Lance Pertwillaby. The same cast of characters, and the same types of stories, and adventures; Uncle Scrooge type adventures and quests for treasures and so on. And that's what I did after college, and I eventually even got tired of doing that. It got, uh...because I really, I don't like to draw. Actually, I don't like to draw like a real artist should like. I'm a cartoonist. I like to tell stories. But if there's no one publishing the story, I can't tell it; whereas, an artist could sit and draw himself pictures, and entertain himself, if that's what he liked. I couldn't do that, because drawing is just tedious work! But, telling a story is what I enjoy doing. So since nobody seemed to really liked to read the kind of stories I liked to draw, which were not superhero comics, like most americans wanted by then, this was the mid to late 70s, I stopped doing that and think I found that the local large newspaper in Louisville, The Louisville Times, wanted me to do a weekly comic strip. So then I took the same Lance Pertwillaby...just cause...it was fun to do a character that looked like me, and turned him into a comedy superhero called Captain Kentucky. And I did that for 3 years, once a week, and got tired of doing that because it didn't seem to... Louisville's not hip enough a town to... Kentucky's not hip enough a state, I think to appreciate something like that. It might of gone over bigger in Chicago or LosAngeles, but it was a comic strip based in Louisville using actual people and locations. And I really thought it would be an overnight sensation, but it just never got much attention. And, since it wasn't paying anything... Fanzine work, and newspaper work, and the college, it's all done for free. Just for fun. Now the Captain Kentucky strip in the Louisville Times I was paid $25.00 a week, which is what they would pay a writer to fill-up that same amount of space with like a movie review. Now $25.00, if you can write a movie review in a half hour or an hour, thats pretty good money. But, it took me 12 to 15 hours to do each week's strip. That's pretty bad money! I think I can can collect pop bottles along the expressway and make more money than that.

ME - [some of these "fanzines" we glossed over: The Collector, The Buyers Guide for Comic Fandom, Rocket Blast Comic Collector, Comic Reader, and Amazing Heroes, most of which contained some early form, of what eventually became, Don Rosa's Information Center. I sincerely suggest you try and dig them up.]

 

 

GLADSTONE COMICS ( PART I)

ME - Now, I want to talk about Gladstone. In 1986 you were in the back of a bookstore and saw a Disney Comic with the Gladstone logo, which was the first company to license new Disney Comic books in America since the 70s. Looking inside you found Gladstone's then editor, Byron Erickson. Calling him you said, "...I was the only American who was born to write and draw Uncle Scrooge comics, and it was my manifest destiny." Knowing your connection to fandom he hired you and the next day you were working on your first duck story, The Son of the Sun. How did you feel about that?

DR - Well, you told my best story though; that's absolutely true! We had not had Disney Comic books in America since, not on the newstands anyway, since say the mid 70s. They were selling them sometimes in toy stores in little plastic bags along with a coloring books. But those were hard to locate, but they were really bad anyway. So there was no reason to buy them. Then, they disappeared totally for about 5 years. Then, like you said, I saw in, just going through a bookstore, when they were still selling comic books on newstands in America, rather than those direct sales stores, a Disney Comic book. It was by the Gladstone company in Arizona. Not a huge publisher; just a group of about 3 or 4 comic collectors like me, who managed to get the Disney license for comics, I guess simply because nobody else wanted it. The original publisher knew there was no money in comic books anymore in America. So they let the Disney Comics license go. So those were the publishers of the Dell Comics and the Gold Key Comics I grew up with. So I saw this, and not only were they Disney Comics, but, as opposed to those awful Gold Keys of the 70s, these were obviously comics done by people who loved the material, and understood it, and knew it, and respected it! And I called them up soon thereafter, and I did tell them exactly... What I told Byron Erickson, those very words. I said, "I was the only American who was born to write and draw Uncle Scrooge comics, it was my manifest destiny." I'd known it my whole life. I just never thought about it because they didn't exist. How am I going to realize my manifest destiny if there was no comics being published anymore. But he said ok, and like just immediately I found myself writing and drawing one Uncle Scrooge adventure, which I'd dreamt of since I was a child. I never planned to do more than one. I thought it was just going to be one just to do it. Just to live out that dream and then I was going to go back to the construction company. And then, after I did it, it ended up I did another one, and then another one... and I liquidated the construction company, and eventually went to work for Europe. And, now, I'm being interviewed by, like you... or there's news crews that travel from Europe, just to come to America to set this camera up, just where you got your camera setting (ME - I'll explain later), and interview me. I Just never expected anything like this to happen.

 

 

GLADSTONE COMICS (PART II), DISNEY TELEVISION, & EGMONT PUBLISHING

ME - You went to work for Gladstone in 1987 and quit in 1989 when Disney told them not to return art. A year later you found that Egmont, a Danish publishing house, had been reprinting your Gladstone stories and wanted more. So then you went to work for Egmont at the same time that Disney took over from Gladstone in 1990. I had thought you did do at least 1 or 2 stories for Disney just to show them you were willing. I also think you dabbled in writing plots for Disney Television about this time. Explain this period and the problem you had with Disney not returning art.

DR - Well, ok! Yea, there was an initial run of Gladstone Comics from 1985 to 1989. That's when I went to work for them in about 1986. I had it all worked out on paper. I knew I wasn't going to make much money. With what they paid, combined with what I could sell the original artwork to art collectors, comic art collectors, I could make about 2/3 of what I use to make with the construction company. And I figured that would just barely pay the mortgage, and the electric bill, and so forth. Now, my wife has a job! So I knew I wouldn't starve. She would be there for an emergency. But I figured I could just barely get by, that I could live the dream of my life, and I figured, well, it's worth a try. And, that worked surprisingly well for about 3 or 4 years.

And then suddenly, of course I'll never know the exact circumstances, but somebody at Disney found out that I was getting my artwork returned, and they won't tolerate that. There's no question it's my property. It can't be Disney property because money never travels in that direction. Gladstone would only pay Disney money for the rights to use the royalties; they would pay for the share of the profit sharing, or etc. Money never traveled from Disney to Gladstone. So Gladstone could not own the physical artwork that I was producing, but they could bully Gladstone into not returning it... or else! So Gladstone had to keep my artwork. So I had to quit, cause then my income was reduced to below poverty level. For about a year I... that's when I actually took up an offer with Disney Television who had been reading my comics. They were doing DuckTails at the time, which is their counterfeit version of Uncle Scrooge. As for TV cartoons it wasn't Uncle Scrooge, but it was a good TV cartoon as those awful things go. So I didn't have any choice but to accept an offer they had made to me a year earlier. Of course, shows like that only last a year or two! DuckTails was history, but they had a show called Tail Spin, which was a pretty interesting show. It was like based in the South Pacific in this 1930s kind of a fantasy uninverse. But I did the first two episodes. I wrote the first two episodes of that series. Not the first two that were shown, but the first two that were animated in Korea or wherever they were having this stuff done. But soon after that I found out that, like I think you said, that the European publishers, that I didn't even know existed... I was slowing learning they existed, were reprinting my stories I had done for Gladstone, and they were very popular with their readers despite my weird artwork. They liked the stories I guess. And, I was contacted by them. They wanted me to go to work for them, and... also about this same time, like you said, Disney had taken the license away from Gladstone. Because Gladstone was so successful they figured they could do it themselves or even better! And they wanted me to work for them, but they of course would not return artwork or give artists even a shred of... even the most basic rights that the freelance artists have by law. So I refused to work for them, but I did do one story for them to show them I was willing to work for them if they rewrote their contracts. Then, I went to work for Europe cause the European pay was good enough, because they're so successful over there, that just from the flat page rate alone I could at least make about what I was making with the construction company. So I was back to at least the same income, but a more interesting job. So that's how I ended up working for the European publishers. In the meantime, Disney Comics were just a dismal failure. Disney, as we call Disney, Disney Comics, the ones actually produced for the first time by the Disney company, they didn't understand the characters. They hired all the wrong sorts of people to be their editors. They hired Marvel Comics editors and DC Comics editors. People who didn't understand what a Disney Comic was. And they demolished the circulation that Gladstone had so successfully built up with a loyal readership. They dropped from about 80,000 per issue, which was very good for those days for an American comic book, down to about 20,000. When Disney finally gave the license back to Gladstone several years later, the circulation was so demolished; to such a point that Gladstone was never able to build it back up, because it was getting even increasingly more difficult to sell the comic books in the American market. And the readers that liked the old Gladstones, some of them have told me that they were so disillusioned by the Disney version that they just didn't want to get interested in the stuff again for fear the same sort of sitiuation would develop again, where Disney would take the license back. Gladstone, 2 years ago, more or less threw the license back in Disney's face in disgust! Disney was making more and more demands on the royalties, and the micro management sort of things, that Gladstone... there was no way for them to make a profit pubishing Disney Comics in America any longer. And they dealt with this corporation, valiantly I thought, so long that finally Bruce Hamilton, Gladstone's publisher, just got sick of it and gave it up. I think the final nail in the coffin was the National Magazines Distributors put another demand per issue, a price for their fee, in distributing the magazines. And, again, Gladstone was faced with the fact they could not make a profit! Hamilton was still making money off the license. Not as much as he could have under better circumstances, but he was still making money. But, he just got tired of dealing with them. And, he gave it up. So, as of now, we are the only nation in the world without Disney Comic books. And, as far as the prospects, I hope I'm wrong, but I don't think you'll ever again see Disney Comics in America because I think Disney knows that this is a nation of people, where there's no money in reading. Disney is really not interested in giving a license for Disney Comic books in America because it promotes nothing that makes them money. Characters like Mickey Mouse and Donald Duck are dead to them except as t-shirt symbols. Comic books do not promote their newest movie or their theme parks or whatever. So, they make the ability to get a license too difficult for a publisher to get; the royalties to high to pay. For example, the Western Publishing House is the biggest publishing company in the world; one of them, along with the company I work for in Denmark. They are... they were the worlds oldest Disney licensee. They started in the late 20s publishing Mickey Mouse books. Last year they too threw the license back in Disney's face after 80 years because Disney was doing the same thing to them. They were making the stipulations of having the license, what they had to pay for it, and the stringent policies they had to work under... They could not make a profit. So, there're currently aren't simply not any Disney Comics in America, there are no Disney story books, coloring books, puzzle books, there's nothing! And, that might change because Disney has their own publishing companies. And to produce a coloring book is simple! I mean, there's no story, you just get some cute pictures, and put it between a couple of covers, and sell the same book for a couple of years; at least. That's one thing Disney probably could do, but Disney is never going to be able to produce comic books. So, even if we do get back Disney coloring books and story books, still I expect well never see comic books in America again; Disney Comic books, which means I'll never again be able to read one of my stories myself because my work is all published in languages I can't read. So there would be Disney Comic books in America, except for the Disney corporation.

But, anyway, I'm now comfortable working for the European market. And, I still do to this time. I work not only for Egmont, that biggest publisher there in Denmark, but I work for France, and Germany, and Italy, and Finland. In other words these are countries that are not included in the big Egmont corporation, which covers about 20... 25 different countries.

 

 

CARL BARKS

ME - I guess we really should talk about Carl Barks. For anyone who doesn't know, he's The Grandad of the duck books. The gentleman's 99 years old right now, and just a few years ago he actually wrote a script. He drew and wrote the books in the 40s, 50s, and even into the 60s. He retired in 1967. After that he went into doing paintings; very beautiful oil paitings and other types. Talk a little bit about him; why you respect him, and what you drew from his work?

DR - Well, Carl Barks, the fascination that I have for his work, and that I'm sure most all his fans do, if not all his fans, is that he... he wasn't paid any more than anybody else in those days. He saw comic book work, as anybody who worked in it in the 40s or 50s, as just hack work; low paid hack work. He was doing this work just... I think he really just wanted to get a job doing a newspaper comic strip. An adventure strip like Terry & the Pirates or something, which is where money was in those days. Comic book work was just hack work. But the difference between all the other artists, and writers, and Carl Barks was... Well, first of all he wrote and drew his own material, which is incredibly rare. But aside from that, he's the sort of person who, no matter what his job was, he did it to the best of his ability. He didn't worry about who was reading it, or if it didn't get respect. It was his job and he was going to do the best job he could at it. Not necessarly, because he thought there were people watching. He didn't think anybody was reading these stories as he could figure out! He was never told about any fan mail that he might have gotten through all those years. But, he still did the best job he could. Now the difference between the job he did and other people, was that he had a respect for his readers. He told stories that he thought he would enjoy reading. He put characterization into the personalities of Donald Duck and all the characters that Barks created to go with Donald Duck. They had real human personalities. They had their human foilables, an you know, they weren't perfect! They all had... they were flawed personalities, which is a reason I think his characters were so popular. And they weren't goody-goody like Mickey Mouse. They had bad tempers! They had all the 7 deadly sins of man I think. And yet, they would always suffer for whatever imperfections they had. Aside from that, he would build his stories on real history. He would build his quests for actual treasures. He didn't treat the kids like they were little idiots, and make up all sorts of phony facts. He would build his stories around actual facts. And that's how I try to do my stories, and I found out it's a bigger challenge. First of all, it's more interesting for me to do the story. I think it's a lot more interesting for people to read the story. But, it's also quite a challenge to create a hopefully entertaining story out of actual facts. But, yea, like you were saying, Barks retired in 1967 at the age of 66; he was born in 1901. Five or 10 years after that he began another career doing paintings, which would be turned into lithographs by publishers, and sold for... The lithographs alone would sell for hundreds of dollars apiece. And, he would get up to a quarter of a million dollars for some of these paintings. So he had a secondary career that completely eclipsed his first career, and finally was very well paid for his legacy. Still, which is not to say he made as much money as he should have because of the system being what it is. He created the entire Donald Duck universe. What the publisher Dell, that he worked for, licensed from the Disney corporation was simply the name Donald Duck basically. Donald Duck was a very simple character that just made little slap-stick cartoons. He was actually like an actor. He was a different character in each cartoon. A comic book has to be based on an actual character with a history. So Carl Barks took the name Donald Duck and created a... well, a character that didn't even look exactly like the Disney Donald Duck because animation has to work one way; whereas, a character on a flat piece of paper has to look and behave in a different manner. But, he created an entire history around this duck; a family, Uncle Scrooge, Duckburg, Gladstone Gander, etc. These were all creations of Carl Barks. This is the universe that all the other duck writers and artists based their stories on. And, then, I don't even know if Barks was aware of this, anymore than I was, but this spread over into Europe, and around the world, where even more writers and artists were creating more stories about this Carl Barks' Donald Duck universe. So it's uncalcuable how much money Barks should've made in these years? Billions of dollars? I don't know! Decades! Fifty years! Sixty years of Donald Duck comic books all over the world are based, not on Walt Disney's version of Donald Duck, but on Carl Barks' version of Donald Duck. But thankfully, even though he didn't make much money while he was doing the stories, after he retired he started making plenty of money doing limited edition work and selling original oil paintings and such. And he just began to slow down a year ago at the age of 98. He's 99 years old now. His health, I think, is failing a little bit now. We're not too sure how he's doing. We're concerned about it currently! But still, he's not doing bad for being 99 years old.

 

 

LIFE & TIMES OF SCROOGE MCDUCK

ME - Your Life & Times of Scrooge McDuck, serialized in Walt Disney's Uncle Scrooge #s 285- 296, is a literal tip of the hat to Carl Barks. We follow Scrooge as a young boy in 1876, up to striking it rich in the Yukon in 1897, and then witness his decline until Bear Mountain in 1947. Sprinkled throughout the 12-part serialization are references to just a plethora of Barks' stories. In fact, the storyline ends about the time in the duck universe where Carl Barks began his stories. You even added a number of notes yourself. Particularly, to old movies and historical accuracy. Eventually Lo$ was collected into hard back, made it onto real best book sellers list, and became one of your most popular works to date. Even now, every year or so you'll do an additional fill-in- the-gap chapter; including your most current one, Chapter 10b, which involves Scrooge and his sisters bumping heads with Teddy Roosevelt in 1906 Panama during the building of the canal. And all this grew out of a one-shot story, which was eventually used as Chapter 0 in U$ 297?

DR - Well, we...I had the idea of doing Life & Times of Scrooge McDuck... uh, it was in the back of my mind for several years. I never thought I'd get around to it. It was always the idea of Scrooge fans like me, we would always notice in the old stories when Barks gave some sort of clue about what Scrooge's early life was like. And, we'd mentally file these away. I had done a story about Magica DeSpell going back in time to when Scrooge was a little boy. He was a shoe shine boy. She was going to steal his number one dime; first dime he ever made. She's a character who's always trying to get that one coin because he's held it... had it the longest, and it would have a lot of his power. Whatever power it is that made him rich, it would be in this coin. So she was going to steal it that way. But, I did that story and during... while I was doing that story we came up with the idea that they would allow me to write and draw this 12 part series of Scrooge's entire life. So, I mention that story because once we started this bigger project we had to sit that story aside. It wasn't published for about 3 years until the other 12 chapters were completed. And then we, uh... or they published it I think and called it Chapter 0. Just for the fun! But, anyway, I first assembled all of the facts that Barks had ever mentioned. All these little clues he'd... these references he's made to what Scrooge had done early in his career. And I charted it out, and then decided which chapter would deal with which era, and figured out different actual historical people or places or events that Scrooge could interact with. When I got into it, that took me about 2 ½ years to do those 12 chapters, and it was very popular. What surprised me is it was popular when it was reprinted in America in those Uncle Scrooge issues that you mention. It was popular even with people who had never read an Uncle Scrooge comic, which puzzled me. I thought this was done just for old fans who would understand what all these secret references were to. But it was... it seemed to be popular even with people who had never read an Uncle Scrooge comic, which was very gratifying. The stories have been collected in hardback books all over Europe and in the United States. And, they do sell pretty well. They were pretty popular. But I enjoy doing it, and so many people enjoy reading it that I still keep adding new chapters to it about once every year and a half or so. I think I've done about 5 additional chapters to the original 12 by now. And each time, I'll call it like chapter 3b or chapter 10b or something. I just keep slipping them in in-between these original 12 chapters. And, I'm working on one right now! This current story is taking place in 1906 at the Panama Canal. Uncle Scrooge is again meeting his old buddy Teddy Roosevelt, which is a great cartoon character of history. He was quite a character. He belongs in a comic book! I like him though I mean. I don't mean that in a derogatory way even though he was a republican. I'll never be able to read it, but I hope... so, why am I doing a story about Teddy Roosevelt? Europeans don't even know... if they know him at all they think he's a maniacal imperialist! By European standards that's what he would be. American standards, he's the guy we needed at the time.

 

 

PRICE GUIDES

 

ME - I know early on you were involved in submitting reams of information to Robert Overstreet's Price Guide. Considering the impact the guide contributed to the hobby, I'm not a little interested in any hindsight you may now have concerning this.


DR - Yea, I helped extensively in the first several editions of the Price Guide... because I was stupid! I didn't realize what a price guide would do to the hobby because I had never been in a hobby that did not have a price guide, and then had a price guide. A price guide takes the hobby away from the collectors and gives it to the investors. An investor is not going to put money into stamps or coins unless there's a price guide to show, to prove to him, that they're worth that much.

Comic books rose in values over the first years that people like me were collecting them because we just bought and sold them between ourselves. And, we would have dealers who bought and sold strictly to comic book fans. So, naturally, the price would go up a little bit. A comic book that sold for a dime, and should now sell for half of cover price, might be selling for a few dollars apiece. The really rare ones were selling for several hundred dollars apiece. And it would've increased gradually from that point on. But, then there was a price guide! And, that meant there was a central spot where once a year all these prices were all recorded nationally. But, more importantly, there was a place where an investor could look and see what somebody supposedly was definitely was going to pay for this; therefore, prices just went... skyrocketed. Now, you got comics selling tens of thousands of dollars apiece. I guess the only good part about that situation is that the prices have gone up the highest on the ones that are in mint condition; perfect condition. And there are comics from the 40s and 50s in that kind of shape, believe it or not. And, those are the ones that sell for the highest. Now, people like me, want them just in nice shape, they're certainly a lot cheaper. There still not real cheap! But if you want comments about a price guide, that's what the price guide did. But, it's inevitable! It's going to happen. If it hadn't been Bob Overstreet, it would've been somebody else. So it's just, uh, there's nothing you can do about it.

 

HOBBIES

 

ME - Interesting hobbies seem to be your forte, including the Charles Foster Kane Collection of comic books; enough duck figurines to make Disney Stores cringe; an infamous tv guide collection; a quest to find an authentic factory radio for either a '47 or '48 Dodge; an extensive classic movie and laser disk collection; and an uncontrollable soft spot for Basset
hounds.

DR - There suppose to be, but they don't look like the one's in the slipper commercials. Well, I recently finally found the radio. I found that on Ebay too! But I had to get it fixed; then I had to buy original tubes for it; and, in the end, it only plays one station. And, that one station doesn't come in clear! Things you mentioned that are hobbies, I look on them as just interests. But, I pursue an interest rather intensely... maybe... more... I guess the average person, when they pursued an interest as it intenses, I pursued mine... They called them hobbies, but these are just things I'm interested in and I would gather books on or assemble, I'm not going to use the word collection because I see that as something completely different... Like I accumulate copies of old movies that I like; laser disks or DVDs or video tapes. Now, the difference though, with the comic books, that's a collection! In other words, I'm trying to fill in a set. I'm looking for issues of comics... even issues I don't especially like maybe because it's part of a set; whereas, a movie I would just buy the one's that I like. And of course the tv guides, I aim to get a full set of those. The Donald Duck toys, that would be a collection because I'm looking for every example of a certain type of toy; figural toy. And, still, that's just sort of a side hobby. That's something I just do for fun, if that makes since. Comic books is more serious. But, Donald Duck, because you can't read a Donald Duck toy, it just a toy. Comic books you can appreciate on so many different levels like a movie or like music. But, Donald Duck toys is just kind of a little visual gag to have around the studio. But, I do have more interests than I can keep track of. I find that the problem in life is the longer you go through it... I... at least me, I never lose interest in any of my hobbies. I just see more and more things to be interested in. So, it gets pretty cumbersome after a couple of decades.

 

 

WHAT THE D.U.C.K.?

ME - I think it's really neat how you hide the acronym D.U.C.K. on every cover and splash page. Occasionaly, you'll also hide little Mickeys, inside jokes and references to movies and what not. So what the D.U.C.K. is all that about?

DR - Oh, yea, I'd love to talk about that, the D.U.C.K.! I put that in the very first Uncle Scrooge story I did, that Son of the Sun story. It stands for Dedicated to Uncle Carl from Keno. Uncle Carl, which lots of his fans call him because it's always Uncle Donald and Uncle Scrooge. So, he's Uncle Carl. Keno, that's my first name. Don's my middle name. Keno comes from my Italian grandfather. So, I hide D.U.C.K. in the splash panel of each story. Actually, I started out writing it. I just wrote it out, but Disney wouldn't allow that because it looked like a signature. And, these artists are not allowed to sign their work in a Disney Comic. So, and I said, well heck on them, I'll just hide it cause they don't look very closely at this stuff. Actually, the European work Disney does not even see until it's published. But, anyway, then I put it in each cover. Or, any other single illustration I do; pin-ups or posters or so forth. The problem there, is, well, it's fun to do, and it's a fun little game to play with my fans or readers or whatever, but occasionally I'll forget to put it in there. Maybe I'll pencil it in, but then when it comes to inking I won't see it myself, it's hidden well, and I'll ink over it. And then, that's when I drive people crazy. (Laughter from - ME) Sometimes I get e-mail from people who say they just can't find the thing, they've been looking for days and days and days and their pulling their hair out. And, I say, "Sorry, well, it's not there!" The hidden Mickeys; I got a question just last week, somebody was wondering if I put one in every story the way I hide the D.U.C.K. in every splash panel. And, no, I just, it pops into my head while I'm drawing. It's just some little irreverence to sneak in Mickey Mouses. It's not like an actual Mickey. It's something that looks like him; something shaped like the famous Mickey Mouse icon symbol. It's... I just poke fun at Mickey Mouse. I think I... people think I hate Mickey Mouse. I don't hate him! Well, I'm indifferent to him; there's nothing there really to hate or not to hate, but I think I resent him because in America he's more popular than Donald Duck because he's cuter. Donald Duck was always more popular than Mickey Mouse years ago when people were more interested in reading, and more interested in the character of the... the personality of the character. Now days, Mickey Mouse and Donald Duck are just t-shirt symbols that you buy in Disney World or in the Disney Store. And Mickey Mouse has got a cuter face than Donald Duck, so he's more popular. And I resent that, but I don't have to worry about it because in Europe Donald Duck is still immensely, immensely, more popular than Mickey Mouse is... same way it was here in America years ago. But, I still, I think that's why I like to poke fun at Mickey Mouse by putting little irreverent things in the back grounds of some of the panels.

 

 

FAN REACTION

ME - I know you're regularly deluged with fan mail; fans expressing why they think Son of the Sun is your best work, when any true duck fan should know it's in fact a tie between Reurn To Xanadu and The Lost Charts of Columbus. Then, again, my favorite moment is the 4 panels in Uncle Scrooge # 292, when Scrooge strikes it rich! (Laughter) See, now I'm doing it! But isn't it this rapport; that which binds together the creative spirit between writer/artist/fan? I mean, how do you deal with the attention you generate?

DR - The thing that I've definitely found out in the... what... 13 years that I've been doing this is that no matter what story I do, no matter what type of story it is, no matter what the story is, there's one person who will think it's the best story I've ever done, or the best comics story he's ever read anywhere, and there's one person who will think it's the worst story he's ever read, and then there's everybody else that's going to be somewhere in-between those two. It's different... there's different things in different stories that mean different things to different people. I've learned that you can't make everybody happy, which is actually good! I think there're two good things about this system I'm in, but that's not really part of the system. That's just... you realize that you can't make everybody happy. And, the other thing in this particular system is my pay is not based on my popularity. I'm just paid the same no matter how well these things... this Disney system... no matter how well they sell, no matter how many times there reprinted. I mean, there's no royalties involved in this! So those hardback book collections you mentioned that were best selling books; you'd think I'd be wealthy, but I don't get a cent out of that! Disney gets all that money; although, they had nothing to do with producing the material. But, in a sense that's good? At least I try to tell myself it is because then I'm not swayed by what the majority of the readers might want. And the majority of the readers might be little kids, that I don't really want to do stories for. And, I don't have to try to keep a chart of what sorts of stories I do that are most popular with the people who write me letters because everybody likes something different. So I look at that as a good thing in both respects because then I do just the stories that I wanna do. I don't have to worry about what readers want. I respect what they tell me, but I've learned that I can't decide what to do based on those opinions because there're too varied. So I just do a story always that I think I would enjoy reading, and just hope for the best! The one you mentioned though that I'm delighted by... I like the Son of the Sun... that was a pretty good one. Many of my stories I don't like; mainly, because they take me so long to do and I stare at them, the same story, for 3 months straight day after day. And, by the time I'm done with it I'm sure it's a dreadful mistake! And I really can't judge it until about 2 years later, when I look back at it. That's one reason it's tough on me now that I can't read my stories when there're published. I can't look back on them at all! But the Return To Xanadu, I was real proud of that one! That might be one of my 2 or 3 choices for my favorite of my own stories. You mentioned the scene where Uncle Scrooge decides... pauses for a moment to decide if he really wants to be wealthy or not. That's one of the things I do that is an indication, I guess, that I'm doing these stories for adults. Not, for little kids. I never hesitate to put some sort of, what would you call it, some psychodrama; some more adult; more sophisticated, not that's it's brilliant, but obviously I'm not pandering to some 3 year old when I do this! I'm writing a story that I think... well, as far as my audience, I just think is another person like me. So, I guess I'm doing stories for adults. And I don't really worry about it! I don't think about it by doing a story for a 7 year old or a 14 ½ year old, a 19 and three quarters year old. I just do stories! So that might be why I find myself putting those little elements of more psychodrama in it! Lost Charts of Columbus is one of the stories I get kind of carried away with that historical references. I get so fascinated by looking for history, and so fascinated by how interesting actual facts are throughout history. When you get past all the names and dates you have to learn in school, and that's all you have time to learn in school, but when you have more time to investigate the stories behind these people, it's honestly, I don't want to sound like some spinster teacher or something, but it's really interesting! And I'm not trying to make a public service announcement for libraries or something, but it's really interesting stuff. And, I actually limit myself too much now because I refuse to base a story on anything but absolute facts of history. Just cause it's more fun and it's more of a challenging. And, the important thing is that it's more interesting to do! I have to keep myself interested in this job. The pay doesn't keep me interested, but the reception the stories get around the world; and the type of people who I know I'm working for, people who like the same kind of comics as I do. And as long as I can write and draw the comics the way that I want to, that's the thing that keeps it interesting, and never gets boring.

 

 

CURRENT OUTPUT

ME - What's your current output these day?

DR - Well, it is still dropping! I don't turn out as much as I use too; partly, because the longer I do this, the more I recognize how, well... inadequate the way I draw is compared to the people who have been trained to do this. And the only answer I have for that is just to go slower and slower, and be more perfectionist in trying to get the stuff the way I really want it to look. But, the main thing that hurting me I guess is the popularity of my work! I'm being called on to do pin-ups for publications... for instance in a French addition of Uncle Scrooge, every month I have the inside front cover. It's called the Don Rosa something; I can't read the French word, but I got my name on it. And, it's like my position in each issue, I do a pin-up page for them. I'm called on by other publishers than the one I work for. When they reprint one of my stories, in their editions, they'll contact me, and hire me to do a cover, a special cover for them. Or they'll hire me to write a text, or annotate the story for their older readers, cause some of these other publishers work for an older... they're not aiming at an older audience, but they recognize that they can put additional material in the issue for the older readers. But, that doesn't get in the way of the younger readers enjoying the story. The younger readers can just ignore those text sections and go right to the story. So I think they have a great idea of how comics should be done in such a way that they can appeal to several different age levels or sophistication at the same time. But the more I'm called upon to do these extra things, the less time I have for doing the actual stories. And, I see myself as a storyteller. I like to do these pin-ups, and these covers, and these texts because they pay better... heh, heh... they pay better than the writing and drawing of these stories. But, still, these people wouldn't be asking me to do this if it weren't for those stories. So, I worry about that I'm producing fewer and fewer stories. And, that's what I enjoy doing the most. So, I just have to keep maximizing my time and making sure it all works best.

 

 

GEMSTONE COMICS

ME - Recently there was an interest by Steve Geppi, CEO, Diamond Distribution, to rescue the Disney Comics license from hiatus and publish books under his Gemstone Comics label; while hiring on some of the old Gladstone staff to run the ship. Does it concern you that he may be maneuvering himself to create a monopoly on comics publishing in general?

DR - Well; whether or not he has a monopoly on what his company does, which is distribute just about everything that these direct sales stores sell, which is comics, but also gaming material, and toys, and anything that's in that sort of hobby. I don't know if what he does is a monopoly? I guess the government has to worry about that. But he would be the only savior Disney Comic books would have in North America, because he is the only person who would be willing to publish Disney Comic books at a loss! He would do it as a hobby out of his love, as an old collector, out of his love for the material; and his respect for Carl Barks, which these comics are all pretty much based on as a foundation. He would support these out of profits from his other businesses, and he would operate at a loss! And, he's also the only person who has connections with Gladstone publisher, Bruce Hamilton. Bruce Hamilton's people being, as far as I know, the only people in the country who could produce these comics. You can't... not just anybody can produce Disney Comic books; you have to know the characters; you have to understand the history of the characters; you have to know all of the stories that exist in order for you to pick the correct stories to print. I mean, there's no way they can afford to hire people to write and draw new stories because there not going to sell that well. And why should they, because these new stories are being produced all over the world top quality. But, you have to have a company that knows; that has connections with all of these people; who knows their output; who knows the history of their output. And, only Hamilton and Geppi's people would know how to do this.

 

FULL CIRCLE

 

ME - Alright, last but not least, I think I can say you're happy now. We talked about that at the beginning. You're happy, you're doing what you enjoy, and that's the point! You gotta enjoy this labor of love here. And I know your good friend and editor from Gladstone in the old days, Byron Erickson, is now the editor at Egmont. So it's like a team back together again, and has been for awhile now! So, that's really good!

DR - Byron Eirckson is the same guy I called up 13 years ago, and told him, "...that it was my manifest destiny" to do these comics. I went to work for Europe there about 1990. And when Gladstone lost the license, he went off and was working for another comics company. And, I found out about 1992 that they needed a new editor. They had a position open for a new editor over at Egmont. So, I told them they should talk to Byron. And they liked what he told them, and he moved over to Denmark. So, now, yea, I'm working again for the same person that I worked for at this little tiny, like 3 man, comic book company in Prescott, AZ 13 years ago. And, I work for them the same exact way I did then. I do all my work directly for this one guy. He's the only person I talk to, and yet, now, he's the editor of the biggest comic book company in the world. I mean there's lots of other editors doing lots of other things; it's such a huge company, cause like I say, it's not just for Denmark. What he edits, what he produces, with his other managing editors, is printed in companies owned by Egmont in 20... 30 other countries. And, then, reprinted by other publishers. But, I'm still, again, working for Byron Erickson. And, it's just wonderful! It's just like... just the 2 of us!

ME - What is your favorite color?

DR - Uh..., red... No, blue! Isn't that what they said, in the Monty Python movie I think?

ME - Alright, Mr. Rosa, I don't know if anybody else will enjoy this, but I know I did! Thank you very much.

DR - Yea, thank you.

On my way out Don Rosa beamed as he showed me a black hardbound book, with an inset gold embossed logo with the phrase "Pro Gradu," in Latin adorning the cover. Included on the cover was a woman's name, a student getting a masters degree in Literature. Inside were typed pages, and panels from Don Rosa's work. "What this is is somebody's doctorate dissertation that they wrote about my work; about the intertextualality." "... I never heard of what that is. It's some sort of modern literary theory. It deals with what you were talking about. It deals with your hidden references to other works. What she's talking about is my references to Barks stories, or my references to a movie, or my references to some other work of literature or art or whatever you call it. Little did I know, I thought I was just having fun! But, this is actually a literary, a modern literary, theory."

There you have it - Don Rosa a literary theory.

 

 

MAILING INFO

The above interview was transcribed from a interview tapped for local access tv in Evansville, IN. The actual interview was a slightly longer version, which also included sequences showing off Don Rosa's duck figurine collection matched to an Indiana Jones theme, penciled pages w/ explanation of The Life & Times of Scrooge McDuck 10b, and an audio and visual synopsis of my favorite stories. The video is available "at cost" to fans, which means I'm not making "any" profit. For more information write to: O'Little Mouse Productions, "Don Rosa Interview," P.O.
Box 2286, Evansville, IN 47728. Phone# 812-467-0278
e-mail: eliot508@yahoo.com
P.S. - If anybody finds my friend from earlier in
the interview, please write me immediately. Gb.

The 'one' who has a finger on 'it'... scratches against the mahogany lining of a coffin crying, "I am Jonah! I am Jonah! Spit me back out so I may see and feel the light of day again." And, the levithan does not heed for it knows every great epic must come to an 'end.' A tasty morsel known as... "understanding." (F.A. Elliott)

Πηγή: http://www.geocities...alinterview.htm

Επεξεργασία Σεπτεμβρίου 15, 2014 από Quackmore

[Quackmore]

Mid-Ohio-Con Week: Don Rosa
By Gearalt Finlay
As part of our Mid-Ohio-Con coverage this week, Don Rosa, "The World's Best Writer and Artist of Disney Ducks" chatted with Silver Bullet's Gearalt Finlay about attending the convention.

Gearalt Finlay: What's it like being a pro and sitting behind the table as total strangers come and talk to you?

Don Rosa: When they are familiar with my work and the Barks characters I work with, usually intimately familiar, they are not like strangers but more like old friends. That sounds corny but it's quite accurate. We share that special knowledge, and since I only write & draw adventures of the characters I do because I was a lifelong devoted fan myself, we also have that in common. What's not so pleasant is speaking to the small percent of attendees want to talk to me, and the other guests, because they plan to eBayize whatever free drawings or books they get from them while posing as fans. But these are in a minority and easy to thwart. What I don't think you are asking, but which to me is the biggest problem, is how slightly uncomfortable it is to talk to nice, polite people who are standing while I am rudely sitting. But there's no solution to that. One can't bounce up each time someone stops by, because usually at the Mid-Ohio-Con there is a steady flow. It would be nice to have a chair available across the table for attendees, but that would get in the way and usually not be sufficient. I have always been intrigued by John Byrne's solution of carrying an elevated podium to shows and getting a tall stool so that he can speak to fans at the same elevation... but then that does look a bit like a "throne" and might not be the best image. So, I guess I just8 stay seated and feel rude.

Finlay: What do you do when the fan talking to you has terrible hygiene?

Rosa: I guess they have been a fixture at fantasy conventions since the earliest years. In fact, I wonder if I wasn't one of them at my first Seuling Cons in NYC in the late 60's when we high schoolers drove up there with too few changes of shirts and piled into single hotel rooms for a week. However, I never have "that sort" visit me at conventions in America since most American fans of my work are older collectors. The sorts of "geeks" you seem to refer to are usually the younger types mesmerized by whatever "hot" super-hero title WIZARD magazine is telling them to read, so they avoid me. Yes, my fans are lemony-fresh and sweet-smelling-as-all-outdoors.

Finlay: Are you currently doing any Duck comics for Disney?

Rosa: Actually, after I sent in my last story in July, I have been on a sort of hiatus getting caught up on mail and other personal projects, and actively helping publishers in Europe working on authorized Rosa-collections, and actively hindering publishers in South America working on Unauthorized Rosa-collections. I am also involved in the sales of about 15,000 "recent" comics from my personal collection (1970's & 80's issues) which were CGCed, pedigreed, and are being sold very successfully by a good friend in California named Steve Wyatt. But to clear up a common misconception -- I don't work "for Disney". Disney has nothing to do with the creation of the stories or art in "Disney" comic books. That work has all always been created by freelance writers and artists, like me, working for independent, licensed publishers, like America's Gemstone Comics.

Finlay: If so when you attend conventions how do you make up the lost time in you work schedule?

Rosa: I don't. Am I supposed to do that? Uh-oh...

Finlay: Do you get a chance to meet with other creators and plan new series and have you ever had this experience at the Mid-Ohio Con?

Rosa: No. Too short an answer? Since I write and draw all my own material, I have no collaborators. And even if I did work with someone else on these characters, they would not be at Mid-Ohio-Con since most of the other writers and all of the other artists on these comics are outside of the United States. But beyond that, I find that I still only hang out at conventions with the same people I have since the 60's, the dealers and other fans/collectors, not the other "professionals". The only "fellow professionals" I chum around much with are the ones I knew back in the early 70's when they were just fans like me, such as Roger Stern and John Byrne, who happily happen to both be regular guests there at Mid-Ohio-Con!. Notice that, even now, I still feel so much more like a fan than a "professional" that I can't even write the latter word without embarrassedly putting it into quotes. But I should also mention that the only other "professionals" (there I go again) whom I am chummy with are Neil Gaiman, Jeff Smith and Sergio Aragones since they are the only three other Americans I run into regularly as guests at European comics festivals.

Finlay: What is the best experience you have ever had at a convention?

Rosa: I'll try to think of something other than "the time in 1973 when I found the last issue I needed to complete my collection of SPACE WESTERN comics". Surely the BEST experiences at a convention would be when I won Eisners at San Diego. Let me think of something from Mid-Ohio-Con... Oh, I remember the time at the charity art auction at about the 8th or 9th Mid-Ohio-Con when Stan Lee was the auctioneer and announced a piece of my art as being by "the world's best writer and artist of Disney Ducks" -- that was fun, though he couldn't have known me, and I'm sure ol' Roger Price slipped him a note!.

Finlay: What's the worst thing that has ever happened to you at a convention?

Rosa: That would be the time I was in my robe and underwear, setting a room-service tray out in the hall, and the hotel door was on spring-hinges and closed behind me. It was early in the morning and I think I had to wait about an hour before the second person came by so I could send him to the lobby for help. The first person had been a bellhop who, apparently seeing I had no pockets for a tip, must have decided it would be a good joke if he didn't go for help like I asked him. It's hard to try to look nonchalant
standing in a hotel hallway for an hour in a robe. Let's say that did NOT happen at a Mid-Ohio-Con.

Finlay: Do you have anything new our readers should be looking out for soon?

Rosa: Um... maybe they'd want to watch for when Gemstone gets a chance to use the last story I sent to Europe, being a very special new episode of "The Life and Times of $crooge McDuck" the series that's won awards around the world, including one of those Eisners. An ad line for this episode might read "at last -- the whole story of what happened between $crooge and Glittering Goldie during that lost month in 1897 alone in a cabin on White Agony Creek". Be there. Aloha.

Finlay: Why do you attend the Mid-Ohio Con?

Rosa: An annual chance to see my two favorite Rogers, Price and Stern, not necessarily in that order, my mid-west dealer friends & fellow comics/Barks fan-friends, have a long roundtrip drive with Ray Foushee, some years, and maybe be lucky enough to have the table the whole weekend right next to Sergio's and-slash-or right across from Jeff's, like last year!.

Finlay: Any advice that you have for a first time convention exhibitor?

Rosa: Yes! Need a cheap backdrop for displaying art, etc.? Collapsing 3X5 ft. garment rack. With extra bungee cords between uprights. Wal-Mart. $19.95.

Finlay: Aside from the promotion of your works...

Rosa: Promoting my works does not benefit me, so it has no relation to the reasons I enjoy attending comic cons. If I did such a GREAT job at a con of promoting my own work that I caused an extraTRILLION copies of my comics to be sold, that only makes more money for Disney and the publisher. No royalties in this system. But, still, I'm always happy if I can help Gemstone!

Finlay:...conventions are a great opportunity to get out and see what other people have going for them, any neat things you've stumbled upon at conventions?

Rosa: The guy at the show last year with the collapsing 3X5 ft. garment rack! Wal-Mart! $19.95!

Επεξεργασία Σεπτεμβρίου 15, 2014 από Quackmore

[Comics Fan]

Με την ευκαιρία της δακτυλογραφημένης συνέντευξης του Ρόσα που έβαλε ο Quackmore (2 καταχωρήσεις πιο πάνω) να βάλω μια παρουσίαση που είχα κάνει την Πέμπτη, 16 Ιουνίου για αυτή την συνέντευξη σε άλλο φόρουμ (κλειστό τώρα).

 

Ας βάλω όμως και κάποια άλλα πραγματάκια που είχα γράψει εκεί και είναι κρίμα να χαθούν.

Παρότι μερικά από αυτά έχουν ήδη γραφτεί εδώ, από άλλα μέλη του site, νομίζω πως είναι αρκετά ενδιαφέροντα κι από την δική μου οπτική πλευρά. Σας τα παραθέτω:

 

Don Rosa Video Interview

 

 

Υπάρχει μία δίωρη (σχεδόν) συνέντευξη του Don Rosa στο Internet που γυρίστηκε το 2000 από τον Fievel A. Elliott.

 

 

Η συνέντευξη αυτή έχει ανέβει στο Vimeo και είναι διαθέσιμη για online παρακολούθηση εδώ.

 

 

Η ποιότητα δεν είναι και η καλύτερη βέβαια, αλλά αξίζει να την παρακολουθήσει κάποιος για να καταλάβει καλύτερα τον δημιουργό.

 

 

Εγώ την ειχα αποθηκεύσει τοπικά όταν το Google Videos έδινε την δυνατότητα download. Ο δημιουργός της συνέντευξης έχει δώσει την άδεια για την ελεύθερη διανομή της.

 

 

Ορίστε τα links για κατέβασμα:

 

Part 1

 

Part 2

 

Part 3

 

Part 4

 

Part 5

 

Part 6

 

Part 7

 

Part 8

 

 

 

The Don Rosa House Tour

 

 

Θα θέλατε να μάθετε περισσότερα πράγματα για το σπίτι που ζει ο Don Rosa; Κανένα πρόβλημα, απλά δείτε τα παρακάτω βιντεάκια.

 

Στις 22 Μαρτίου ο Jano Rohleder, υπεύθυνος της, αφιερωμένης στον Don Rosa, ιστοσελίδας duckmania.de επισκέφτηκε τον Don Rosa στο σπίτι του στο Κεντάκυ (Λούΐσβιλ). Ο Don ξενάγησε τον επισκέπτη του σε όλους τους χώρους του σπιτιού, ενώ ο Jano τραβούσε video. Στην συνέχεια ανήρτησε τα video εδώ.

 

Η ξενάγηση είναι χωρισμένη σε 5 κομμάτια:

 

1. The Studio (Το δωμάτιο που ο Rosa δημιουργούσε τις ιστορίες του).

 

 

2. The First Floor (Το ισόγειο).

 

 

3. The Second Floor (Ο 1ος όροφος).

 

 

4. The Comic Vault (Το Υπόγειο με τα Κόμικς του Don).

 

 

5. Don's Dogs (Και τέλος, μερικές σκηνές με τα σκυλιά του Don Rosa).

 

 

 

 

The StarStruck Duck - Αδημοσίευτη στην Ελλάδα

 

 

 

 

 

ΑΔΗΜΟΣΙΕΥΤΗ ΣΤΗΝ ΕΛΛΑΔΑ

 

Η συγκεκριμένη ιστορία (Inducks) είναι μια από τις ελάχιστες που έχει δημιουργήσει ο Don Rosa και δεν έχουν δημοσιευτεί σε μια τελική μορφή.

 

Παρότι τα προσχέδια δημιουργήθηκαν το 1989, δεν δημοσιεύτηκαν παρά το 2004 για πρώτη φορά σε νορβηγικό περιοδικό. Σειρά είχαν το 2005 η Γερμανία, η Δανία και η Σουηδία, ενώ το 2009 δημοσιεύτηκε στην Φινλανδία.

Στην Αμερική δημοσιεύτηκε σε μια έκδοση της Boom! Studios που κυκλοφόρησε στις 18 Μαΐου.

 

Στην Ελλάδα δεν έχει δημοσιευτεί ποτέ. Ωστόσο, μπορείτε να διαβάσετε την ιστορία στα αγγλικά εδώ: Comics Alliance ή να την κατεβάσετε από εδώ:

 

http://www.megaupload.com/?d=WCAHJG35

 

Επεξεργασία Δεκεμβρίου 20, 2011 από Comics Fan

[BarkScarpa]

Η συνεντευξη στο ποστ 52 ποτε εγινε?

 

Μηπως μπορει το ποστ 51 να υποστει καποια επεξεργασια, δηλ. 2-3 γραμμες να ενωνονται ωστε να γινει λιγο πιο μικρο το ποστ κι οχι σαν τη λιστα χρεων του Ντοναλντ!

 

Πολυ καλη ιδεα να περιλαβετε τα "ταδε εφη" για Ροσα και Μπαρκς.

[konstaf]

αμα παρατηρησετε στο κομματι με ονομα 'the studio' δειχνει και στιβα με'κομιξ' του τερζοπουλου πανω πανω !

συγκεκριμενα πηγαιντε το βιντεο στο 9:21 και θα δειτε!

[Quackmore]

Sites αφιερωμένα στον Ντον Ρόσα.

 

 

 

 

Ένα site αφιερωμένο στο Ντον Ρόσα,από τον μεγάλο φαν του Sigvald Grøsfjeld.Το site ξεκίνησε την λειτουργία του,στις 20 Φεβρουαρίου 2002 και συνεχίζει μέχρι και σήμερα.Από τα πιο γνωστά site,για τον μεγάλο δημιουργό που περιέχει μια τεράστια γκάμα πληροφοριών.Το λινκ του site είναι: http://duckman.pettho.com/index.html

 

 

 

 

 

 

http://www.don-mcduck.de/

Γερμανικό site αφιερωμένο στον Ντον Ρόσα.

 

 

 

 

 

Φιλανδικό Site,για τον Ντον Ρόσα από τον Arttu Salminen.

 

Η αρχική σελίδα του site: http://www.perunamaa...sa/english.html

 

 

 

 

 

 

To link:

http://www.duckmania.de/english/

 

 

 

 

 

http://www.duckhunt.de/

 

 

 

 

 

Ένα site αφιερωμένο στο βραβευμένο έργο του Ντον Ρόσα, Ο Βίος και η Πολιτεία του Σκρούτζ Μακ Ντακ, από τον Dan Shane.

 

http://personal.sdf.bellsouth.net/d/a/danshane/scroopage/scroohome.htm

Επεξεργασία Δεκεμβρίου 20, 2011 από Quackmore

[DJO]

Μια Επίσκεψη Στην Οικία Του Ντον Ρόσα (UNA VISITA NELLA CASA DI DON ROSA)

 

Ο Ντον Ρόσα δέχτηκε επίσκεψη από μια παρέα fans από το Τορίνο, με αφορμή την πρόσκλησή του στο Torino Comics φεστιβάλ, που έγινε 8-10 Απριλίου στη γείτονα χώρα. Άλλοι καλεσμένοι του φεστιβάλ ήταν οι εξής: Paolo Mottura, Stefano Frassetto, Laura Spianelli, Simone Delladio, Fabio Ruotolo, Luca Enoch, Eliza Bolli, Onibaka, Marco Natale, Francesca Mengozzi, Giovanni Marcora, Francesca Morici, Ciro Cangialosi, Silver, Giacomo Bevilacqua, Eloisa Scichilone, Morena Forza, Simone Altimani και άλλοι πολλοί.

 

 

 

Εδώ, βλέπουμε τον Ντον να μπαίνει τσίμα-τσίμα στο στούντιο συγγραφής και σχεδίασης του Cartoonist Globale και άλλων εκδόσεων.

 

Όποιος ήθελε αλλά δεν μπορούσε να τον συναντήσει κατ'ιδίαν, πλέον μπορεί να παρακολουθήσει τουλάχιστον δύο επιλεγμένα αποσπάσματα του ντοκιμαντέρ-συνέντευξης που γυρίστηκε και μονταρίστηκε στη βασική οικία του, στο Louisville του Kentucky, το Μάρτιο, μέσα σε 4 μέρες από τον φίλο του, Jano Rohleder.

 

Το πρώτο επικεντρώνεται στην αχανή συλλογή του Ντον από διάφορες φιγούρες και λοιπά merchandises με τα παπιά του Μπαρκς, τα οποία μάζευε ο ίδιος για δεκαετίες. Ένας τρελός χαμός, από Ντόναλντ και Σκρουτζ μέχρι Νταίζυ.

 

Πρόκειται για ένα πολύ ενδιαφέρον και ενημερωτικό ντοκιμαντέρ που όμως έχει και "έξτρας", τα οποία όμως θα πρέπει να τα εντοπίσετε οι ίδιοι. Secrets.

 

Το δεύτερο απόσπασμα θα ακολουθήσει σε μελλοντικό ποστ, στο οποίο θα δούμε απλά ότι... ο Ντον έχει μια ασύλληπτα μεγάλη κομιξοσπηλιά αχέμ, συλλογή από κόμικς και καταλόγους, στην οποία φυσικά δεν περιλαμβάνονται μόνο Disney.

 

 

Εδώ, βλέπουμε τον Ντον να σχεδιάζει κατά παραγγελία, τον Σκρουτζ στα τριάντα του, όταν ήταν χρυσοθήρας στο Κεντάκυ.

Και μπροστά του βρίσκεται ένα PVC αγαλματίδιο του Σκρουτζ της Disney Parade (που είχε έρθει και Ελλάδα από την DeAgostini), ενώ λέει ότι θα δείξει και όλη τη συλλογή του, με τις φιγούρες, αγαλματίδια και αγάλματα που έχει και είναι μία από τις μεγαλύτερες συλλογές με Ντίσνεϋ.

 

Για περισσότερες φώτος και το πρώτο βίντεο απόσπασμα, πηγαίνετε στο λινκ της αρχικής παρουσίασης, στα Ιταλικά:

 

Una Visita Nella Casa Di Don Rosa

 

Kudos @ JMZ που το αλίευσε.

[Quackmore]

 

 

Η συνεντευξη στο ποστ 52 ποτε εγινε?

Μηπως μπορει το ποστ 51 να υποστει καποια επεξεργασια, δηλ. 2-3 γραμμες να ενωνονται ωστε να γινει λιγο πιο μικρο το ποστ κι οχι σαν τη λιστα χρεων του Ντοναλντ!

Πολυ καλη ιδεα να περιλαβετε τα "ταδε εφη" για Ροσα και Μπαρκς.

Δυστυχώς δεν αναφέρεται η ημερομηνία της συνέντευξης του post 52 στο site που την βρήκα. Το πρόβλημα με το post 51 διορθώθηκε. Όσον αφορά τα Τάδε Έφη ευχαριστώ για τα καλά λόγια. Επίσης υπάρχουν και τα Τάφε Έφη των Σκάρπα, Καβατσάνο. Επεξεργασία Μαίου 12, 2014 από Quackmore

[Comics Fan]

Βασικά...

 

16 Νοεμβρίου 2005

 

Σύμφωνα με την δεύτερη σειρά στο θέμα αυτό.

 

 

Το οποίο θέμα, είναι από τα λίγα που υπάρχουν στο Intenret εναντίον του Ρόσα. Αν δείτε τις απαντήσεις θα καταλάβετε τι εννοώ...

 

[BarkScarpa]

Όσον αφορά το post 51, δυστυχώς δεν μπορεί να μπει, αλλιώς, προσπάθησα να το διορθώσω, αλλά πάλι με την ίδια μορφή μπαίνει, όπως ήταν και στο site που αναρτήθηκε.

 

Ναι αυτο υποψιαστηκα κι εγω.

Καποτε ειχαμε δοκιμασει με καποιον να ανεβασουμε καπου κατι παρομοιο και οσο κι αν προσπαθουσαμε το ιδιο εβγαινε. Μετα ομως σκεφτηκαμε να κανουμε αντιγραφη σε ενα απλο office word. Εκει καναμε οσες ρυθμισεις θελαμε και τελικα καταφεραμε να το αναρτησουμε οπως θελαμε εμεις.

 

Επειδη σημερα ειδα πολλα ανεξαρτητα θεματα για τον Ροσα θα ηθελα να βαλω εδω τα λινκ που βλεπω για να ειναι το θεμα εδω πιο ενημερωμενο.

 

 

Καταλογος Ιστοριων

http://www.greekcomics.gr/forums/index.php?showtopic=25384&hl=&fromsearch=1

 

 

http://www.greekcomics.gr/forums/index.php?showtopic=25382&hl=&fromsearch=1

http://www.greekcomics.gr/forums/index.php?showtopic=25381&hl=&fromsearch=1

μεταφρασμενη συνεντευξη (που παρουσιαζεται δυο φορες στις νεες καταχωρησεις)

 

http://www.greekcomics.gr/forums/index.php?showtopic=25390&hl=&fromsearch=1

http://www.greekcomics.gr/forums/index.php?showtopic=25389&hl=&fromsearch=1

για καποιες ιστοριες