Disney-comics digest #512.
9475609 at arran.sms.edinburgh.ac.uk
Mon Dec 5 17:04:54 CET 1994
JORGEN: I believe that the pocket books all come from the
same Italian root source. They aren't random collections of Italian
stuff, but I think the exact order of the same stories is the same in
a specific volume from one country to another.
I believe that the pocket book series started in Italy as just
an inexpensive way to reprint old stories from TOPOLINO. They began
doing a monthly series as early as the 1960s. I think France began
doing exact reprints of those books shortly after. Then Egmont made a
deal with Mondadori, and then -- at varying times -- various Egmont
publishers jumped on the boat to reprint the pocketbooks. And I
think they just chose randomly which pocketbooks to reprint in which
order. For example, my oldest French pocketbook is from 1965, and it
was reprinted as pocketbook #15 "Hexenzauber mit Micky und Goofy" in
Germany, ca. 1972. If every country printed corresponding
pocketbooks at the same time, the Germans would have printed what the
French were printing in 1972.
So that explains why there was a disparity in starting dates.
But I think that the monthly contents of the pocketbooks are
basically similar from country to country, month to month, by this
There is an Ariel monthly in Britain, BTW. It's on its third
issue; it has so far used K-coded stories from LM 3 and 4 and the
two Sebastian one-shots, but there has also been a beautifully drawn
H-coded story (this being the only reason I bring up Ariel here).
Are these also printed in Holland? If so, where?
This week's British MM includes the Barks "Masters of Melody."
The text has been through the British mill; not only reset in type a
la Egmont tradition, but an occasional line rephrased slightly.
Title given as: "String Trio." Still, one of my favorite ten-pagers.
Part two of the Mickey fish story -- here called "Kyle of Mulltyre",
a 2-page Br'er Rabbit (speaking Oxford English with an occasional
"Howdy-do" thrown in), and a Goofy one-pager "Dinosaur Problems" fill
out the sadly short comic.
The string trio story seems to me to be the first in which
Barks used the late-1940s models that are considered the best. I
believe he must have been influenced by a model sheet, because the
ducks vary wildly from panel to panel. The most notable contrast is
between the immediately-adjacent panels where Donald watches the
nephews: "Such enthusiasm! I'll have a string trio before you can
say do-re-mi in Eskimo!" and the one where he sees Grandma out the
door. What a huge difference -- a compact duck at first, then one
with a huge body, small bill, and long legs.
How is Marvel doing with its Disney titles? An early Gladstone
Series-II lettercol discussed the fate of the modern feature-film
characters by noting that "Disney has other plans for them." Did
Gladstone, at some point, have the chance to buy comic rights to
those characters, too, and if so, why did they refuse? Are these
comics popular or successful now? Or very good?
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