Somewhere in Nowhere - when will we see it?
Sigvald Grøsfjeld jr.
Recently some people here have argued that I have been too critical towar=
ds
too many artist/creators. So in order to show more of my positive side I
will now present a few comments about the story "Somewhere in Nowhere":
When I visited our friend AC Sivebæk in Nr.Nissum this summer, one of t=
he
very first things he showed me was a nice Italian book with "Somewhere in
Nowhere" in both English (b/w) and Italian (color). I have checked COA:
http://coa.inducks.org/coa/c1/story.php/0/I+TES+++3-1//Somewhere_+in_+Now=
here_
and have found that this story is based on a plot by Barks and John Lusti=
g,
written by John Lustig and drawn by Pat Block. My impression is that both
Lustig and Block have done an excellent job in giving this story a real
Barksian touch. My congratulations to both!
>From what I have heard Egmont was originally offered this story, but
rejected the offer because the price demanded for it was to high. Can thi=
s
be correct? I thought that Egmont usually pay a set amount of $ per page
regardless of the complexity of the art and regardless of who has drawn t=
he
art. Another question is if there is any connection between the price
demanded for this story and Don Rosa's strike a few years later - as ther=
e
obviously is no reason to pay Lustig/Block any better than Don.
Anyway "Somewhere in Nowhere" was finally published by Disney Italia. Thi=
s
has caused some confusion when the story was registered in COA/INDUCKS. I=
n
stead of using the original title it's listed under its Italian title
"Paperino da qualche parte in mezzo al nulla" which look like "gibberish"
for most non-Italians. There is at least a few very good reasons that the
original title should be used instead:
a) When the story first saw print, it was printed in English as well as i=
n
Italian.
b) The first page of the English b/w version comes BEFORE it's Italian
counterpart in that book.
c) The story is written/drawn by AMERICANS only, without any involvement
from any ITALIAN. The Italian title is thus a translation and *not*
ORIGINAL.
d) The American titles are used in the COA/INDUCKS entries for Don Rosa's
French stories.
>From what I can see from COA "Somewhere in Nowhere" has by now been
published in a few countries around the world outside Italy - like German=
y,
France, Brazil and the Netherlands. I suppose this means that Egmont can =
now
print this classic for free, just as they can with Don's American, Dutch =
and
French stories – so why haven't we seen it yet in Scandinavia/Finland? =
Could
it be because Egmont didn't get that story initially?
Sigvald
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> From what I have heard Egmont was originally offered this story, but
> rejected the offer because the price demanded for it was to
> high. Can this be correct?
Yes, it can be correct, if you spell "too high" correctly. 8-)
> I thought that Egmont usually pay a set amount of
> $ per page
> regardless of the complexity of the art and regardless of who
> has drawn the art.
That may be the case. And if that is the case, it explains why the demand price for "Somewhere in Nowhere" was too high for Egmont.
> Another question is if there is any connection between the price
> demanded for this story and Don Rosa's strike a few years
> later
There is no connection at all. I have the impression that you have no idea what Don's strike was about. (BTW, there's no need to go further into this matter. It's not relevant here anyway.)
> - as there
> obviously is no reason to pay Lustig/Block any better than Don.
Obviously? Can you explain how I should read this sentence, while also keeping in mind what you wrote: "I have been too critical towards too many artist/creators"?
And what about Barks? Why do you only mention "Lustig/Block" as people-to-be-paid for that story?
--Harry.
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Sigvald Grøsfjeld jr.
> Another question is if there is any connection
> between the price demanded for this story and
> Don Rosa's strike a few years later?
>
> There is no connection at all. I have the
> impression that you have no idea what Don's
> strike was about.
I probably know MORE about it than you would think I do - so please stop
using such harsh and even irrelevant arguments.
> (BTW, there's no need to go further into this
> matter. It's not relevant here anyway.)
I agree!
> - As there obviously is no reason to pay
> Lustig/Block any better than Don.
>
> Obviously? Can you explain how I should read
> this sentence, while also keeping in mind what
> you wrote: "I have been too critical towards
> too many artist/creators"?
Is it so difficult? OK! Paying people can be done two ways:
a) Same work - same sallary.
b) People are paid what they are worth in the market.
This means:
a) Lustig/Block should be payed eqaully to Don Rosa.
b) Lustig/Block should be payed lower than Don Rosa (ref. the marketprices
in Sweden).
> And what about Barks? Why do you only mention
> Lustig/Block as people-to-be-paid for that
> story?
I don't know when that story was offered to Egmont:
1) If Barks was still alive he probably deserved such a pay - he was a
legend!
2) If Barks was dead by then he would have no use for that money anyway.
And, Harry it would have been nice if you had commented my question about
when we will see this story in Scandinavia.
Sigvald
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> And, Harry it would have been nice if you had commented my
> question about when we will see this story in Scandinavia.
Okay, here's my comment: I don't know.
--Harry.
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