DUCKTALES Fanfic Review: "The Sincere Fraud" by "Commander"

Home is the place where, when you have to go there, they have to take you in. -- Robert Frost

Of course, what happens AFTER they take you in is often the most interesting part...

I'm back with another DuckTales fanfic focus... and the angst is STRONG with this one!  Thankfully, DuckTales doesn't appear to have inspired nearly as many of these soul-sucking fics as, let's say, Chip and Dale's Rescue Rangers (does anyone remember the concept of "Gadget-gouging"?  If not, then be thankful) or Darkwing Duck (the Gosalyn-Drake relationship was always rife with potential for emotional exploitation, and numerous writers have taken advantage).  The TV series simply didn't provide sufficient raw material for the introduction of soap-opera elements.  With THE LIFE AND TIMES OF $CROOGE McDUCK still well in the future, the show's explorations of Scrooge's past were comparatively straightforward, and they focused almost entirely on his individual exploits.  The Nephews and Webby were too young to enter "the dating zone" and similar locales where adolescent Weltschmerz might have a chance to get its hooks into them.  As for Launchpad, he was primarily concerned with where his next crash was coming from.

Of the main cast of DuckTales, Fenton Crackshell came the closest to experiencing some legitimate angst, thanks to his occasionally rocky relationship with Gandra Dee, the demands of his "M'Ma," and his struggles to reconcile his "normal" and superheroic identities.  However, these experiences  were generally played for laughs.  The mere fact that such stories were attempted with Fenton indicates just how promising a character he was... and what a shame it was that he was left abandoned on a metaphorical siding following the TV series' shutdown, with no further opportunities to build upon the ideas that had already been introduced.

The prolific fanfic writer "Commander" appears to have reasoned, logically enough, that, in order to introduce any heavy-duty emotional dynamics into the world of DuckTales as a whole, the characters would have to be pushed forward in time.  OK, I know what many of you must already be thinking...

... and, yes, HD&L are thrust into middle school in the epic under discussion here, but there's little indication that "Commander" was influenced in any meaningful way by Quack Pack.  During the traumatizing events of "The Sincere Fraud, " the boys are anything but ironically detached snark-dealers. 

"Commander" apparently planned to write a whole series of fics set in his personal version of the DT "universe" -- which turns out to be a mixture of the world of the TV series and his own take on Don Rosa's LATO$M timeline -- but "The Sincere Fraud" turned out to be the only major product that survived the vagaries of time and the demands of "real life."  He did, however, manage to set the table for the story in the reminiscence tale "Sepia Tone," which basically consists of the seven-year-old Louie finding an old family album and asking Scrooge to tell him about some of his and his brothers' "foreducks."  It's a pretty quick read, and I encourage you to give it a look if you get the chance, but here's a summary of the significant takeaways.  Some of them will be quite familiar, some not so much.

(1)  The McDuck siblings, in order of age: Scrooge, Matilda, Hortense (as per Rosa).

(2) Matilda married Ludwig Von Drake (as per the Rosa Family Tree) and died young.  Scratch "A Letter from Home" (preferably, while shedding a silent tear or two).

(3) Hortense married Quackmore, and they had Donald and Della two years apart.  That is, Donald and Della were not twins.  This fact actually turns out to be rather significant.

(4)  Quackmore joined the Navy during World War II and died in action when Donald was nine years old.  Since Donald was a "Mama's boy" and never really that close to his Dad, that was what really motivated him to join the Navy... AND, more than that, to make the service an actual career.

(5)  Della was the proverbial "bad seed," getting into repeated, and increasingly serious, trouble as a youngster and developing a knack for conning people into making them do what she wanted them to do.  In the process, she also developed a bad feud with her older brother Donald.  Don's original intention, to keep her from running completely off the "road of life," was actually a good one, but he ultimately got so angry at her that he came to believe that he had always hated her.  For her part, Della resented Donald trying to butt into her life, and he similarly assumed the role of a monster in her own troubled mind. Della ultimately got knocked up by someone or other -- I'm guessing that the picture of Della's anonymous mate on the Rosa Family Tree is meant to be a generic composite; if so, then it's probably an overly flattering one -- and had her triplets, Huey, Dewey, and Louie.

 Idealized portrayal of Duck relationship #1

(6) Incapable of supporting herself, yet desperate to provide for her kids, Della tried to rob a bank and was arrested and sentenced to 15 years in prison.  The Nephews, who by that time were three years old, were subsequently transferred over to Donald's care.  The famous 1938 DONALD DUCK Sunday strip that introduced HD&L is therefore in error in at least one respect: The document that was sent to Donald to inform him of the transfer was probably a lot more formal than a simple handwritten note.

(7)  At the age of five -- yes, you read that right -- Donald joined the Navy, and HD&L came to live with their next closest relative, Scrooge.  Commence the events of DuckTales.  IF you can buy the idea of the Nephews being that young at the start of "Don't Give Up the Ship," then this actually explains a lot about why the characters act the way they do during the "dock scene."  As I noted in my review of that episode, it is quite clear that the Ducks of "Ship" do not know one another all that well, and it is therefore next to impossible to imagine them sharing any joint adventures between the time Donald assumed charge of the Nephews and the time he left to go to sea.  Heck, even if they had wanted to have an adventure, there was hardly enough time for them to do so!

Take a moment to consider the consequences of this setup.  "Commander"'s interpretation takes the events of "Don't Give Up the Ship," and subsequently of DuckTales, as being the TRUE Duck "canon," at least in an adventurous sense.  Any previous tales told by Barks (basically, the only Duck-bard who was relevant at the time of DT's debut) are hereby rendered null and void... EVEN THE ONES in which Donald and HD&L went on adventures all by themselves!  We're dealing with the cleanest of whiteboards here!

(8)  Webby was three years old when she and her "grammy" came to live with Scrooge and HD&L.  Despite Webby's occasionally "childish" behavior, that age also seems a little low.  Perhaps young Ducks mature at a quicker rate than humans of a similar age.  (If nothing else, then their memories improve quickly; HD&L do not have any clear memories of their mother, but, in the span of two years, their memories are suddenly working on roughly the same level as a typical adult's.)

Flash forward a decade or so.  Scrooge is older and creakier, and he now allows himself the luxury of a day off every week (gasp!), but he remains feisty and driven.  HD&L are now 14, are in eighth grade, and have developed very distinct personalities.  Webby is 12, is in sixth grade, is about to start dating, and may also harbor a secret crush on Dewey.  Mrs. Beakley, sad to say, is in a nursing home with Alzheimer's disease, and Scrooge has become Webby's legal guardian.  Donald is still in the Navy, albeit on leave, and Daisy is pushing him to finally "pop the question" (about time, don'tcha think?). 

** MAJOR SPOILERS **

THE STORY:  Having secured an early release from prison for good behavior -- or what would pass as such for a character with a temperament that's just as explosive as Donald's -- Della comes to McDuck Mansion in search of a fresh start... and, perhaps, some assistance from Scrooge to help her get her life back on track.  The Nephews have very different reactions to her.  "Troubled kid" Huey is suspicious of her motives, partially because he sees himself in her but doesn't want to end up like her. "Intellectual" Dewey tries to weigh the available evidence and maintain some objectivity.  "Optimistic, sensitive, and creative" Louie, meanwhile, embraces the idea that his Mom has returned and accepts her wholeheartedly.  When Donald proposes to Daisy and is turned down (for a presumed "lack of sincerity" -- sheesh, even Barks' Daisy never came close to being THAT fickle!), Donald has a mental breakdown that requires him to be cared for by Scrooge.  With Donald and Della now forced to be in close proximity, their long-standing feud flares up, in the manner of a particularly wince-inducing hemorrhoid.  When Ludwig von Drake calls from Europe to check in with Scrooge, the increasingly stressed tycoon jumps at the chance to invite Ludwig to his mansion, where the prof will be able to provide some much-needed therapy for Donald and Della.  Alas, Huey chooses this moment to explode in frustration at his role as the "put-upon," least favored Duck triplet, and he chooses his "cousin by adoption," the "perfect porcelain doll" Webby, as his primary target.  Events finally come to a head when Donald and Della get into an ugly fight at a restaurant at the same time that Scrooge, beset by familial dysfunction, finds himself at the mental -- and, more importantly, the physical -- breaking point.  Can this family be saved?...

PLOT:  The unraveling and subsequent reraveling of the Duck family.  That's pretty much all that happens.  (*** out of *****)

One of the problems with "angstfics" is that there is usually quite a lot going on -- of the emotional variety, anyway -- but nothing is actually happening.  To his credit, "Commander" doesn't completely succumb to this trap.  We only hear about Donald's post-turndown breakdown at second hand, from the policemen who come to tell Scrooge about the incident, but the restaurant ruckus is "on screen" and is appropriately nasty, complete with cursing and knives wielded with deadly intent.  Adding to the noxious atmosphere is the fact that Donald had been on a blind date and had been confronted and dressed down by an angry Daisy before Della even got there, making Don's reaction to Della's subsequent arrival all the more malicious.  (You may wonder why Daisy should even care that Donald has plunged back into the dating whirl, given that she had turned down Don's proposal.  Sorry, I got nothin'.)  Apart from this one ugly scene, "Commander" basically sticks to dialogue scenes (frequently involving arguments) and uses very little action. 

I know that there are those who love this sort of thing.  I typically don't count myself among their ranks.  At least "Commander"'s dialogue scenes are usually well-written and, given the characterizations that he has chosen to use here, generally believable.  They're just somewhat painful to read through at times.

CHARACTERIZATION:  "All over the map" doesn't begin to cover it.  (***1/2 out of *****)

There's no denying it... some of "Commander"'s decisions on characterization here are a little tough to stomach.  Take Huey, now... he's basically a complete asshole.  He "acts out" in school, breaks curfew, bullies the more passive Louie into spying on Scrooge and "his mysterious visitor" (Della), and pelts Webby with crudely sexist insults even before he verbally attacks her (and is apparently also ready to SLUG her!!) for being the cute little "favored child."  He's like the egocentric Huey of Quack Pack with the amp set at "11."  It's hard for me to believe, as "Commander" suggests (through the medium of Huey's thoughts), that Huey got to be this way because of some school pranks that just got out of hand.  There's a definite suggestion of something uglier having been there under the surface all along.  That thought kind of disturbs me.

Donald and Della, whose feud is sufficiently nasty to render them both as contemptible as Huey from the start, nonetheless wind up faring a bit better in the long run.  We all know about Donald's legendary (and supposedly "hilarious") temper, and Don did have a few minor blowups during his infrequent appearances on DT, but his outbursts here seem uncomfortably... realistic.  We are led to believe that the authorities may have had a point in examining Don at the psychiatric hospital before releasing him into the care of Scrooge.   To his credit, though, Donald rallies after Scrooge's cardiac event, pulls himself together, and even manages to make up with and become engaged to Daisy before the end.  (Daisy... fickle.  Just saying.  Actually, the reconciliation is handled very well, with both characters admitting that they will inevitably have arguments as husband and wife, yet deciding to get married anyway.  That's what makes a marriage work... the partners recognizing and accepting one another's flaws while, at the same time, cherishing the more meaningful feelings that drew them together in the first place.)

"Commander," of course, has more direct control over the characterization of Della, and he basically opts for the "female version of Donald" notion... the difference being that Della's temper has tended to have much more serious consequences in her life than Donald's has had in his.  This is why Della suffers through such despair after her fight with Donald at the restaurant gets them both tossed in jail.  She had been making some progress with Ludwig's help and now appears to have tossed it all away.  This was the first moment at which I legitimately felt bad for Della and hoped that she would, indeed, get control of herself and reform.  She subsequently earns additional points by deciding to leave Scrooge's mansion, move into a homeless shelter, and pick up the pieces of her life without being a burden on others.  (In response, Scrooge allows her to keep her job as a janitor at the Money Bin, despite all the problems she's caused.)  The change of heart comes very late in the game, and after Della had amassed a pretty sizable likability deficit, but at least she winds up making some progress, and I do appreciate that.

Idealized portrayal of Duck relationship #2

The rest of the gang is characterized fairly well.  Scrooge is Scrooge, albeit with a few thousand miles extra on him, and Webby is a reasonable advancement of the DT character to the lip of adolescence.  (Webby's "desperate" desire to be accepted at her new school does strike me as a little extreme, though.  Why haven't all of those adventures with Scrooge and the boys given her more self-confidence?)  Ludwig von Drake's bubbly enthusiasm provides a nice counterweight to all of the troubles swirling around him.  He can't completely escape the imperatives of an angstfic -- he is still clearly affected by Matilda's early death -- but he serves as a welcome voice of reason, and his psychiatric dissection of Donald and Della is far more adept than, say, his semi-comical analysis of Launchpad in the DT version of "The Golden Fleecing."  In a sidebar, "Commander" says that Ludwig is one of his favorite Duck characters, and his affection for the loquacious polymath is on clear display.

I also admit to being quite taken with the characterizations of Dewey and Louie.  Dewey is an intellectual with a heart; he wants to be supportive of others but prefers to get as many facts as he can about the case before committing himself.  Thus, he learns that Webby's "big first date" was a disappointment and immediately moves to comfort and counsel her, but he reserves passing final judgment on Della until he becomes more familiar with her.  Louie, meanwhile, is akin to the sensitive-souled kid of Quack Pack who wanted to protect "pugduddies" and such.  The difference is that he is even more trusting and optimistic.

HOMEWORK:   Only relevant when it comes to Duck Family Tree material. (N/A out of *****)

These are basically "Commander"'s own future versions of the characters, so it's not all that surprising that he does not refer to any of the TV episodes.

WRITING AND HUMOR:  The story is very well-written.  The humor is... well, quirky, for lack of a better word.  (***1/2 out of *****)

"Commander" has an odd way of slipping humor into unlikely places in the narrative.  When two policemen come to inform Scrooge of Donald's breakdown, one of them inexplicably starts acting like a character in a goofy cop comedy:

"Can I tell the story, officer?" asked the other policeman, younger and more hyper than his supervisor.

The older one sighed.  "Go ahead, Korwitz..."

Korwitz spread his arms out dramatically, as if about to begin an epic tale.  "Dateline, Duckburg, eight o'clock last night!  Location, the Dragon's Head restaurant, 825 L Street!  Incident, a broken-hearted Duck goes crazy, overturning tables and eating napkins!  Cloth napkins, not the paper kind!"

Considering that Scrooge, because of the return of Della, is already on edge as this scene begins, this strikes me as not exactly the most opportune time to shoehorn in some (rather forced) comedy relief.  Later, when HD&L and Webby visit Scrooge at the hospital, we get an awkward exchange that I think was supposed to pass for some manner of humor, in which Scrooge teases the youngsters' assuming responsibility for his hospital bill... or, barring that, his insurance premiums. Unnecessary cheapness gags during a family-wide crisis?  Not a smart editorial move.

QUESTIONABLE MATERIAL:  Occasional curse words, though none of the REALLY bad ones, and argument scenes that are sometimes difficult to endure.  Plus, one fairly nasty fight scene.

OVERALL:  ***1/2 out of *****.  RECOMMENDED, BUT WITH RESERVATIONS.

This one is definitely a matter of taste.  If you don't like watching the Ducks -- even slightly altered versions of same -- bickering like a hypercaffeinated version of The Fantastic Four, then I would suggest that you avoid.  If you're curious, or if you're indifferent to the notion of mutual Duck-breaking, then you're extremely unlikely to find a better version of the DuckTales angstfic anywhere in Googleworld captivity, so have a look.

NEXT FANFIC UP: Time for the Big Kahuna, the Top Boss, the Meat Grinder.  "DuckTales: 20 Years Later."  You'll definitely have to be patient with me on this one.  It's 125,000 words long, it features multiple crossovers, and a WHOLE honkin' load of stuff -- some of it quite untidy -- comes down in the process.  I may even have to break the review into several parts: one setting the stage by describing the world in which the story takes place, the other examining the story itself.  So as not to tease my reading public unnecessarily, I will not announce the review's impending arrival(s?) until I am just about finished with the project.

Comics Review: MY LITTLE PONY: FRIENDS FOREVER #13 (January 2015, IDW Publishing)

To date, IDW's MY LITTLE PONY comics have done reasonably well by a number of characters who have either been undeveloped or underdeveloped in the TV series... which is why I was particularly interested in seeing what Jeremy Whitley and Agnes Garbowska would do with the second four-color coming of Babs Seed.  Babs' first comics appearance, in MLP #21-22, pushed her characterization a considerable distance down the track, but it also may have taken a few too many liberties in its sudden expansion of Babs' problem-solving abilities.  For Babs to progress from the somewhat insecure filly that lay underneath the "bully" surface in "One Bad Apple" to the hard-boiled junior detective who cracked the "Manehattan Mystery" and cleared Trixie's "good mane" (such as it is) required a certain suspension of disbelief.  Happily, the Babs of FF #13 is back to being a little more of a passive, slightly bewildered character -- though not incapable of taking a stand when she has to -- and thus works quite well with the self-confident Rarity.  Though the plot owes more than a small debt to the classic episode "Sisterhooves Social," with Rarity learning yet another lesson about the importance of "give and take" in dealing with a young'un, the conflict simmers at a much lower temperature, and Rarity doesn't have to go to such extreme lengths in order to put what she has learned into practice.

** SPOILERS **

Thanks to a thimbleful of contrivance -- namely, Sweetie Belle getting sick and being unable to accompany her sister on a business trip to Manehattan, where Sweetie was looking forward to reconnecting with Babs -- Rarity finds herself shepherding Babs around the town.  (Rarity momentarily, and self-consciously, puts aside some impending work in order to do so, in order that Babs will not leave disappointed because of Sweetie's absence.  Considering that Rarity barely knows Babs, this is a subtle but welcome reminder of her generous nature.)  Regarding Babs as a sort of equina rasa on which to work her fashionista magic, Rarity is soon consumed with the notion of giving Babs a makeover.  Babs becomes less and less enamored with the idea and finally takes her leave, albeit with no histrionics.  It's pretty clear that Babs likes Rarity well enough; she just doesn't think that their lives have very much in common. Thanks to a talk with her client, the "Pony of Pop" Sapphire Shores, Rarity quickly realizes that she's been too concerned with "her own fashion and sense of style" to pay sufficient attention to Babs' more rough-hewn, "citified" idea of a good time.  She uses her behind-the-scenes pull to treat Babs to a roller derby (hence the cover), and the two finally bond. 

Simple, but effective, this is.  I suppose that I should be annoyed that Rarity didn't completely internalize her epiphany in "Sisterhooves Social," but dealing with a sibling and dealing with a relative stranger involve very different emotional dynamics.  Rarity is more puzzled than emotionally distraught as a result of Babs' unenthusiastic reaction to the makeover, but, true to her nature, she is determined to do right by Babs, and she ultimately does so.

Agnes Garbowska manipulates her static little dolls to pretty good effect here, though there are a couple of places in which a little artistic dynamism would definitely have helped.  I can only imagine what one of the more daring MLP artists would have done with the roller-derby action sequences, or with the obsessed manedresser pony who is bound and determined to cut off Babs' long bang (the one that Babs is seen repeatedly blowing out of her eyes).  There are also a few flareups of the seemingly inevitable "Repetitive Panel Syndrome."  I did, however, like the running gag of Babs being "pulled off panel" by an overly excited Rarity.  Needless to say, Babs gets to turn the tables before all is said and done.

The same creative crew will be handling FF #14, which will feature a teamup of Spike and Princess Luna.  There's a pleasing consistency in this, in that Garbowska also drew the Spike-Celestia joint in FF #3.  I'm hoping for livelier things from the Spike-Luna pairing, and at least one of the issue's covers -- which appears to be, of all things, a "hardboiled detective" parody of the "then, the tall, dark knockout of an alicorn sauntered into my office" variety -- suggests that I may get my wish.

Off-the-Rack Genies

I got the new DuckTales: The Movie DVD in the mail this afternoon, and the very first thing that struck me was how appallingly small-timey it looked.  The artwork for the sleeve of the VHS release, while nowhere close to the quality of the original DT:TM theatrical poster, was appealingly dynamic, with an appropriately menacing background hint as to the villainous nature of the main antagonist:

The "Disney Club exclusive" DVD release gave us the poster itself, or, at least, a generous hunk of same:

The new DVD case, by contrast, places us in the middle of a field of "posies" (Webby actually looks like she's praying, there) and shunts the Merlock shadow off to the side, where its impact is far less and it is also slightly more difficult to see.  Of course, the Genie didn't appear until long after the Ducks had returned to Duckburg... and since when did he lack feet?  I'm getting some unsettling flashbacks of the live-action Casper movie right now.

In an era in which Disney DVD trumpets releases (or, in some cases, re-releases) of its theatrical features with various metallic superlatives (Silver Edition, Golden Edition, Platinum Edition, etc.), what does it say about its attitude towards this release that it is simply designated as "DVD"?  From a modern video-marketing perspective, this is the equivalent of Pathmark's "No Frills" packaging of the 1970 and 1980s.  Actually, Disney DVD's labeling is the more redundant.  Pathmark had to let you know what was inside those starkly designed cans and bottles, whereas any fool who saw the DT:TM DVD sitting on a shelf along with a bunch of other DVDs could certainly be expected to deduce that it WAS, in fact, a DVD.

To be completely fair, there IS an "extra" included on the disc: a "Find Scrooge McDuck's Treasure" game.  Even this, however, seems to have simply been imported from the Disney Movie Club release.

At least I've got a DVD of this thing at long last, without having to join a "club."  That modest accomplishment will have to be sufficient, however.

Book Review: WALT DISNEY'S UNCLE $CROOGE AND DONALD DUCK: THE DON ROSA LIBRARY, VOLUME 2 by Don Rosa (Fantagraphics Press, 2014)

The "challenging" years of 1988-1990 found Don Rosa slowly and laboriously polishing his craft while coping with various physical, financial, and corporate roadblocks that, at times, threatened to choke off his fledgling Duck comics career.  The fact that Rosa persevered through it all and managed to "come out the other side" in more or less one piece is certainly to his credit... and, intriguingly enough, just as some of Carl Barks' greatest stories were produced at a time when his life seemed to be coming apart, so too were several of Rosa's best-loved (yep, even to this day) tales crafted during his own "time of troubles."

** SPOILERS **

Fittingly, taking pride of place on the cover is Rosa's first "formal" sequel to a Barks story, "Return to Plain Awful" (Gladstone DONALD DUCK ADVENTURES #12, May 1989).  In retrospect, Rosa did two very clever things in this story that lifted it above the status of a straightforward "Lost in the Andes" followup.  He hooked the tale, to as large an extent as possible, to events he himself had previously detailed in "Son of the Sun," and he explored the logical consequences of the Ducks' visit to the isolated Peruvian valley, reasoning that Donald and HD&L would have had as big an impact on the Plain Awfultonians' lives and habits as did the famed "Professah Rhutt Betlah."

As enjoyable as "Return" is, and continues to be, "His Majesty McDuck" (Gladstone UNCLE $CROOGE ADVENTURES #14, August 1989) is the more substantial and successful epic, one that still shows up on most everyone's "short lists" of the best Rosa adventures.  Certainly, its portrayal of Scrooge is far more nuanced than the one seen in "Return," in which, let us not forget, Scrooge is left to fume about the Plain Awfultonians' annoyingly "pure and untainted spirit" together with Flintheart Glomgold, the putative villain of the piece.  If anything, Scrooge starts "Majesty" in an even deeper moral hole, kvetching over giving his freezing employees a stick of wood or two for the Money Bin office's outdated wood stove.  He proceeds to burrow even deeper when he discovers an ingenious legal-historical loophole that allows him to set up his Money Bin and surrounding property as an independent country -- and demand billions in back taxes from the U.S. and Duckburgian governments as a result.  But, it is what Scrooge decides to do after he discovers the drawbacks of being a postage-stamp king that truly packs the punch here.  It's nothing less than the modern-day equivalent of the memorable last page of "Back to the Klondike"... and any time you can fairly compare a $CROOGE story to "Klondike" without making a stretch, you know that you're dealing with one heck of an effort.  The humor in "Majesty" is also top-notch at all levels, from the expected slapstick gags when the Beagle Boys try to invade "Unca King Scrooge"'s domain to the subtle dig at the pretensions of historical societies (i.e., the funny contrast between the hushed reverence at the Friends of Cornelius Coot Library and the semi-literate nature of the Coot documents that are housed in such forbidding splendor there).

Disney's 1988 directive to forbid the freelancing Rosa from getting back his original artwork was a powerful motivational force for a good deal of the work reprinted here.  Thankfully, Rosa's description of the decision isn't nearly as splenetic as I had feared; the passage of time has evidently cooled his temper considerably.  Instead, he spends more time simply describing the numerous ways in which he tried to supplement his suddenly lessened income.  This included illustrating other writers' scripts for the Dutch Disney publisher Oberon, writing a DuckTales story (which he dismisses with bothersome, but admittedly justified, condescension) for the DUCKTALES MAGAZINE, creating a "storyboard" for a special Duck story (which ultimately never appeared) for a Disney-MGM Studios theme park tie-in, and writing several scripts (with copious borrowings from Barks mixed in) for WDTVA's TaleSpin.  Personally, I'm sorry that Rosa never evinced interest in writing for DuckTales the TV series -- at least, not until after the show was out of production -- but, given his jaundiced view of the whole enterprise, it was probably better that his TV writing gig turned out to be for an entirely different WDTVA production.

The collection concludes with Rosa's early contribution to the brand-new Disney Comics line, "The Money Pit" (Disney DONALD DUCK ADVENTURES #1, June 1990).  It's pleasing to learn that Rosa produced this story, the script of which had originally been rejected by Gladstone, as a "good-faith work" in support of editor Bob Foster, to indicate that Rosa would still be willing to work directly for Disney Comics if the artwork-return policy were changed.  There's quite a bit of "soapbox scaling" in this story, with Rosa putting his own complaints about the silliness of comic-book collectors into Scrooge's beak, and a "Donald repentance" scene that's somewhat more "squishy" than the norm (HD&L even add an extra *snif* for good measure!).  But this tale has never looked better -- those ugly blue pupils of the Disney Comics printing are gone -- and it's probably the best of the short stories that appear here.  Surely, Donald is entirely to blame for the near-disaster that results from his greed-fueled course of action... unlike, say,  "The Curse of Nostrildamus" (UNCLE $CROOGE #235, July 1989), in which he is a pure victim of the titular torment.  Unfortunately, there would be many, many more victimizations of the "Nostrildamus" variety to come for Donald in Rosa's future stories.

Volume 3 will pick up with Rosa's triumphant return to American Disney comics... sadly, in the wake of the "Disney Implosion."

RIP Christine Cavanaugh and Edward Herrmann

I wish I could have waited at least a LITTLE while to do the first 2015 obituary post...

Retired (since 2001) actress Christine Cavanaugh died on December 22 of leukemia at the age of 51.  To the general public, she'll be best remembered as the voice of Babe the pig in the surprise film hit of 1995 -- she got paid a "whopping" $27,000 for that role, remarkably enough -- and her best-known voice-acting role is, and probably always will be, Chucky from Rugrats.  In this precinct, of course, Darkwing Duck's Gosalyn Mallard will forever be the first thing that comes to mind (or ear) when she is mentioned.  I don't know that another voice actress could have pulled off Gos' unique combination of sweetness and snarkiness quite so well. 

Actor Edward Herrmann died on New Year's Eve of brain cancer at the age of 71.  He was one of those peripatetic, all-purpose "hey, it's THAT guy again" performers... appearing in both movie and TV productions of brows both low and high, doing voiceover commercial narration (most famously for Dodge). His casting as Richard Rich, Sr., in the live-action Richie Rich movie (1994) was a bit odd -- he didn't look anything like the Mr. Rich of the comics, and he may have injected a little too much lightheartedness into his interpretation of the character -- but he wound up doing a very solid job, as did many of the other adult performers who strained mightily to make up for the black-tuxedo'ed, Macaulay Culkin-sized hole at the center of the film.  (If Macaulay's performance here didn't murder what was then left of his acting career, then it surely would qualify as an unindicted co-conspirator in the crime.)  I'll say this: Herrmann's turn as the elder Rich was certainly more memorable than that of Martin Mull, who did the honors in the movie's direct-to-video sequel, Richie Rich's Christmas Wish (1998).

Thanks to both of these talented performers for all their fine work, and let's hope that we DO NOT have to do this again for a good, long while.

POST-DUCKTALES RETROSPECTIVE PERSPECTIVE: Sometimes It's Better to be Lucky...

The Internet really is like the Wild West.  If you wander into the wrong place at the wrong time, you can figuratively be "blasted full o' holes" for looking at someone funny... BUT, you can also run across the most unlikely treasures in the most unexpected places.  Take the case of the long-rumored "Making of DuckTales" documentary.  The Chip & Dale's Rescue Rangers documentary is readily available, and you'll occasionally run across images from the Tale Spin equivalent of same...

... but a behind-the-scenes look at DuckTales, the series that started WDTVA's syndicated ball rolling and led to The Disney Afternoon?  Not a trace... THAT IS, until I accidentally ran across this the other day:

As best I can tell, this promo ran as part of something called "Disney Day Off," a Disney cartoon marathon that ran on a local station.  (Note the occasional display of the air time of the syndicated series.)  It makes sense that Disney would use the opportunity provided by buying time on a local channel to spread the word about its new series, especially since airing it exclusively on The Disney Channel would have reached only a small portion of the potential audience. 

It's amusing to note how blithely Disney uses the names of such Carl Barks supporting players as Gyro Gearloose, Magica De Spell, and the Beagle Boys as "hooks" to snare viewers' interest.  How many kids in 1987 could have been expected to know who those characters were?  Evidently, the company was figuring that the "lure" of the supposedly better-known Scrooge and HD&L would be enough to entice eyeballs.  Even that seems something of a stretch, despite the then-recent revival of American Disney comics.

The obvious followup question here is, are there any more of these featurettes floating around?  Perhaps one focusing on Scrooge, or one focusing on the Nephews?  It wouldn't surprise me.

Book Review: FUNNYBOOKS by Michael Barrier (University of California Press, 2014)

What Michael Barrier did for the history of classic Hollywood studio animation in HOLLYWOOD CARTOONS, he does here for the golden years of Dell Comics and its most accomplished and historically significant creators -- Walt Kelly, John Stanley, and, above all, Carl Barks.  While devoting most of his critical attention to this trio of greats and the ways in which they helped shape the development of the American comic book into an art form with its own distinct verbal and visual language, Barrier also unearths facts and highlights overlooked personalities in a manner that is sure to surprise and delight even the most knowledgeable Dell/Western Publishing fan.

As was the case with HOLLYWOOD CARTOONS, FUNNYBOOKS had an extremely long gestation period, with Barrier using interview material from as far back as the 1960s to help craft his narrative.  Barrier also draws upon material used in his 1981 book-length study of Carl Barks, but he expands greatly upon that earlier work.  Perhaps his most important critical achievement here is his in-depth illumination of exactly how Barks, who famously worked in isolation and with minimal (at first) editorial interference, became one of the very first comics creators to "crack the code" and essentially discover how to tell effective stories in comic-book form.  Barks fans have always known of the Old Duck Man's mastery of narrative, but they will come away from this discussion with a newfound appreciation of the wider importance of his work.

Barrier pretty clearly considers Barks to be primus inter pares even among the "really good ones," but Kelly and Stanley get their due and then some.  Kelly's creation and development of the POGO characters is covered in detail, as is Stanley's work on LITTLE LULU, but Barrier brings their other notable comic-book works (e.g., Kelly's stories for OUR GANG and his fairy-tale and Christmas comics, Stanley's honing of his craft in NEW FUNNIES) under similar critical scrutiny.  As was made quite clear in HOLLYWOOD CARTOONS, Barrier is a very astringent analyst, and it takes quite a lot for a story to wring praise out of him.  Everyone who knows these creators will probably disagree with Barrier's assessments at some point -- for example, I think that he is much too harsh on Barks' more loosely-wound, but still immensely entertaining, UNCLE $CROOGE stories from the 1960s -- but he always has a well-considered reason for his opinions.

The "extra material" here is what really lifts FUNNYBOOKS to "instant classic" status.  Anyone who has ever wondered about the precise relationships between the various corporate subsidiaries and allies grouped under the spreadeagled "Western Publishing" umbrella -- Whitman, K.K. Publications, Dell, Gold Key -- will have any and all questions answered to their satisfaction here.  Interested in the early history of LOONEY TUNES AND MERRIE MELODIES, the Warner Bros. "answer" to WALT DISNEY'S COMICS AND STORIES, or in how Dell handled such significant "non-funny-animal" licensed properties as TARZAN and various movie cowboy heroes?  You'll learn about some of these comics' most accomplished writers and artists here.  Perhaps the biggest surprise is a brief discussion of "the Jim Davis shop," an association of artists who produced "funny-animal" challenges, of a sort, to Dell's humorous hegemony for the notorious comics entrepreneur Benjamin Sangor.  It's nice to see the exquisitely obscure characters that came out of this outfit get some recognition, even if Barrier's primary purpose for bringing them up is to demonstrate how their comics failed while the best of Dell's succeeded.

If I have a small nitpick here, it is with Barrier's comparatively brusque brushing-aside of the Gold Key era.  Yes, that era did see ill-considered format and price changes and increasing editorial restrictions, but there was a whole lot of high-quality material being produced at that time, as well.  (See Joe Torcivia's 50th Anniversary tribute for numerous examples.)  I fully realize that Barrier's intention was always to focus on the years before the Dell/Western split, but a few extra pages discussing some of the GK highlights couldn't have hurt.  Anyone want to pick up the bracketed torch (as opposed to fallen; it's not as if Barrier failed, after all) and try writing a sequel?

So, what are you waiting for?  If you care at all about the Dell Comics that truly WERE "Good Comics," or simply about the history of quality comics in general, FUNNYBOOKS virtually defines the term "MUST-GET."

Merry Christmas!

To quote Don Karnage: "Is this not the season of giving?"  Then, let's celebrate the holiday by giving some love to the much-put-upon Bonkers AND the sadly underused Fawn Deer.  I still wish that the Bonkers production crew had stuck it out with Miranda Wright as Bonkers' partner.  The cast of Bonkers' friends and foes in the Wright eps -- some of whom can be seen in silhouette on the wall in Shelley Pleger's illo -- held at least as much potential as the Toons that were introduced when Lucky Piquel entered the show.

DUCKTALES Fanfic Review: "The Lost Tomb of Pharaoh Sedqaduck" by "Stretch Snodgrass"

And so, we trudge back into the DuckTales fanfic salt mines... or, should I say, the sand dunes!

 

Needless to say, adventure in desert settings are nothing new to our feathered Disney friends, either in print or on screens both small and large.  Carl Barks' first full-length solo adventure story took Donald and HD&L to a reasonably authentic Egypt, and, when Disney Movietoons decided to mount a DuckTales feature film, writer Alan Burnett spun the plot out of Scrooge's quest to find the lost treasure of Collie Baba.  There are, of course, numerous other examples of the "Ducks in Egypt" trope in both media.

I bring this up because our "writer of interest," one "Stretch Snodgrass," picked a surprisingly well-worn trail on which to follow his muse.  He's not trying to do anything Earth-shattering in "The Lost Tomb of Pharaoh Sedqaduck" -- just tell an entertaining comedy-adventure story in the classic DT tradition, complete with copious references to DT episodes past.  He succeeds rather well, particularly in the clever manner in which he stirs an unexpected guest-star character -- one who (1) had only one featured role in the TV series and (2) has rarely featured in adventures of any stripe -- into the mix.

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*MAJOR SPOILERS (duh)*

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THE STORY:  With "long-lost map" in hand, Scrooge travels to Egypt to seek out the titular cenotaph, the last resting place of Sedqaduck, the "unlucky" 13th Pharaoh of the 13th Dynasty, and his "greatest treasures."  His companions on the journey are HD&L, Launchpad, and... "Uncle" Gladstone??  (Yep, that's what the boys call him.  Personally, I take the idea of Gladstone being the Nephews' uncle as seriously as I do that of Daisy being the boys' aunt.)  Unsurprisingly, Gladstone isn't initially keen on the idea...after all, it sounds too much like work.  Scrooge ultimately convinces Gladstone to come along by challenging his ganderhood, or something close to it, and away they go.  Flintheart Glomgold and Bankjob and Big Time Beagle get wind of Scrooge's destination in "Master of the Djinni" fashion -- via a newspaper photograph that reveals the details of Scrooge's map ("When will Scroogie learn not to leave his map in plain sight?" cackles Flinty) -- but, after a half-hearted attempt at attacking Scrooge's party at an oasis literally blows up in their faces, the baddies (somewhat surprisingly) drop clean out of the story.  Instead, we simply follow Scrooge's party as they reach and explore the long-hidden, seriously eerie Valley of Pharaoh Sedqaduck.  But why has Gladstone's luck suddenly turned sour?  And why is Scrooge so heck-bent on convincing Gladstone that his luck isn't bad, all the while scotching any overt mention of "thirteen," "luck," and similar words freighted with intimations of good or bad fortune?...

PLOT:  Pretty doggone solid, with some effective suspense and scares, though some of the plotting could have been improved. (**** out of *****)

If you choose to read this story, don't be initially put off by "Stretch"'s staccato style, or the manner in which he tells the reader some fairly basic information about the characters (e.g., that Huey, Dewey, and Louie wear red, blue, and green).  Stick with it, and you'll be rewarded, especially once the gang starts the actual pyramid hunt.  This is more of a straightforward "there and back again" storyline than the plots seen in "Master of the Djinni" or even DuckTales: The Movie.  It has some longueurs, but "Stretch" keeps up some good, in-character banter between the Ducks, though his funniest material is unintentionally so (see WRITING AND HUMOR below).

As is the case in so many Barks adventures, Scrooge doesn't actually wind up carting home the complete treasure.  In place of it, he gets what are for all intents and purposes "parting gifts," courtesy of the ghost of the departed Pharaoh.  Considering that these items are designed more to educate the world about the cloudy history of Sedqaduck's unfortunate reign than they are to enrich someone, Scrooge accepts them with considerable grace... which is more than one can say about, for example, his petulant reaction to "love, the greatest treasure of them all" in "A DuckTales Valentine."  True to his nature, though, he does find a way to profit in the end.

For a story rated the fanfiction.net equivalent of "E for Everyone," there is some seriously creepy material here.  The discovery of a group of skeletons from an unsuccessful expedition by medieval Arabs to plunder the valley comes as a considerable jolt.  The shock would have been more severe had the corpses been found by the Pharaoh's tomb, as they by all rights should have been, given that Scrooge interprets the map as saying that "the curse of death falls only upon those who violate the Pharaoh's final resting place."  Since the skeletons were found a good distance away from the pyramid, I sense a disturbance in the plot structure here, though it's not quite bad enough to raise the dead.

In addition to harboring dead would-be looters, the Valley of Sedqaduck is also noiseless.  Various fauna are present, but they don't make a sound.  Scrooge hand-waves away the Ducks' ability to make themselves heard by suggesting that outsiders who enter the Valley aren't affected, while Dewey appeals to "an ancient Egyptian magic spell."  Dewey's dodge works for me, especially in a world that contains Magica De Spell.

The creepiest detail of all, however, is the simple fact that Pharaoh Sedqaduck and his entire royal retinue are still present in spirit form, tending to the evergreen gardens and keeping the buildings in perfect condition.  The "curse" on anyone entering Sedqaduck's tomb is supposed to last for 13,000 years, or until the world ends (nice escape clause, that).  Presumably, therefore, the ghosts will continue to perform their janitorial services until that time.  But what happens then?  Will Sedqaduck and his people consider that to be "game over" and vanish, leaving the Valley to succumb to the elements?  That seems like an unhappy ending (for them) to me.  Or will the fact that Scrooge has peacefully brought the truth about "unlucky" Sedqaduck's reign to the outside world give the spirits a reason to rise to the heavens, in the manner of "The Garbled One" and Khufu in "Sphinx for the Memories"?

Unfortunately, "Stretch" seems to have forgotten to edit an early detail about the lost tomb's location.  Scrooge originally gleans from the map that the tomb is "inside a mountain," whereas the actual pyramid is in a valley surrounded by cliffs and "mountainous" sand dunes.  We could attribute this goof to Scrooge's misreading of the map, but, when your fact-checkers have the Junior Woodchuck Guidebook at hand, I doubt that any such slip would have slipped by.

The final scene has something of a Voyage to the Bottom of the Sea "coffee scene" ((c) Joe Torcivia) vibe, in that we find the Ducks back in Duckburg and discussing their adventure over a meal at Quack Maison. (Remember?  That was the place where Gladstone and Scrooge went to eat breakfast in "Dime Enough for Luck" and that unfortunate "clerical error" concerning the restaurant's "millionth customer" took place).  It's decent, but also something of a letdown, given that the Ducks had already had dinner at the place earlier in the story, at the time when Scrooge finally convinced Gladstone to join the adventure.  I appreciate "Stretch"'s willingness to exploit Gladstone's one DT appearance to the hilt, but bringing the Ducks back to QM might have been going a dish too far.

Perhaps the most puzzling aspect of the plot is the quick dismissal of the villains.  In truth, they don't actually get to do much of interest. However, there is a most intriguing moment when Bankjob, remembering how Scrooge saved him, Babyface, and Bugle/Bebop from the pirates in "Time Teasers," suggests that the baddies ask Scrooge for assistance in getting back to civilization.  Glomgold is having none of that, preferring a long, hot, and problematic desert trek to lowering himself to ask Scrooge for aid.  Had the bad guys actually joined Scrooge's party, the conflict between Flinty's pride and greed might have made for an interesting subplot. (Admittedly, it might also have interfered with the subplot that was already present, which I'll discuss under CHARACTERIZATION).  Instead, "Stretch" dismisses the villains with a couple of paragraphs of narrative.  I suppose that "Stretch" felt that the adventure simply "had" to include an appearance by familiar villains in order to seem "authentic."  There are plenty of examples to the contrary, though, and, all in all, I think that "Stretch" should have let the Ducks handle this one by themselves, with no opponents save the elements... and the internal conflicts.

CHARACTERIZATION:  Pretty solid, as well, with the only possible question being how we are expected to regard Scrooge's behavior towards Gladstone.  (**** out of *****)

"Stretch" does a pretty decent job with most of the basics here. The Nephews may consult the Junior Woodchuck Guidebook a few too many times -- I'm sure that their native intelligence could have helped them to figure out that pyramids were never used as homes, and that water, however brackish or distasteful, is essential for life to flourish in the desert -- but they make up for it late in the game by doping out Scrooge's scheme re Gladstone (about which more in a moment) all by their lonesomes.  Launchpad is Launchpad, 'nuff said, while Gladstone, appropriately enough, is given his slightly softer, more laid-back DuckTales persona, as opposed to the more obnoxious characterization introduced by Barks.  On the unlikability scale, whining a bit about tramping through the desert and making a couple of self-satisfied remarks about his luck seeing him through don't really amount to much.  "Stretch" even provides Gladstone with a new (and atypical) vulnerable spot, in that the gander takes umbrage at Scrooge's questioning of his bravery on more than one occasion.  Scrooge hasn't been concerned (at least openly) about others' cojones since "Christmas on Bear Mountain."  But Gladstone's determination to prove Scrooge wrong reflects another side of his overweening pride... one that is less smug and more proactive.

The big character-related question arising from this epic is how, exactly, we are expected to react to Scrooge's subterranean decision to bring Gladstone along as a kind of "anti-bad-fortune fail-safe" to sense the "curse" that is supposed to lie on Sedqaduck's tomb -- and, more significantly, his determination to keep his reasoning under wraps until after the fact.  Scrooge figures that, if there really is such a "curse," then Gladstone's luck will sense it and try to keep him and the other Ducks safe by any means necessary... including bouts of bad luck.  Gladstone's increasing gaffe-proneness as the Ducks close in on their goal, and the result of the final advance towards the tomb, tend to bear out Scrooge's theory.  But can this honestly be said to be "square dealing" by Scrooge, even though his intention was an honorable one?

Complicating our interpretation of Scrooge's behavior is a scene that occurs as the Ducks prepare to go into the Valley.  A panicky Gladstone is (understandably) worried that another "Dime Enough for Luck" scenario may be playing itself out, but Scrooge bluntly dismisses his concerns and gives Gladstone his personal promise that the gander's luck hasn't really turned bad.  The narrative presents this as an example of Scrooge's commitment to straight dealing with others, which, given the underlying subterfuge that the old miser is practicing, doesn't quite ring true.  Gladstone makes the point that Scrooge, who "[denies luck] even exists" (I guess the Old #1 Dime is just a cherished memento in this version of DT continuity?), couldn't be expected to understand how luck works.  Scrooge is obliged to rely upon sheer force of will to convince Gladstone to believe that Scrooge is telling the truth.  Our... uh, hero, ladies and gentlemen?  The jury may have a hard time reaching a verdict on that one.

Personally, I think that it would have made far more sense for "Stretch" to have had Scrooge tell Gladstone the truth up front, using logic to convince the gander that he will be in no danger precisely because Gladstone's luck will protect him by going bad at the appointed time.  That would have made for an interesting psychological conflict for Gladstone, who is so used to being benefited by his luck that he might find it hard to wrap his mind around the concept of bad luck doing him some good.  Using that subplot in place of the "Scrooge rather clumsily conceals the truth for everyduck's own good" would have been much trickier for "Stretch" to do, but it would have avoided the somewhat awkward characterization of Scrooge that the "subterfuge" angle forced the author to use.

A coda regarding Pharaoh Sedqaduck himself: The dead ruler's appearance in ghost-guise is brief but memorable.  During the adventure, we learn that the "unlucky" ruler was not a bungler so much as a ruler who had the misfortune of facing a large number of enemies without the resources to keep them at bay. Sedqaduck shows that his troubles have not robbed him of a certain sense of humor when he disses Launchpad for having complained earlier that Sedqaduck's museum of artifacts was "dull."  The greatest ruler of ancient times he wasn't, but he certainly doesn't come off as a dope on the order of Barks' spendthrift King Nutmost the Rash ("A Cobbler Should Stick to His Last," UNCLE $CROOGE #25, March 1959).

HOMEWORK:  Done to a turn.  (***** out of *****)

From the opening gong, references fly thick and fast -- and they're far from being the standard references to previous desert adventures that you might expect.  The aforementioned references to Scrooge's map-mistake in "Master of the Djinni" and Bankjob's remembrance of Scrooge's generosity in "Time Teasers" certainly got MY attention, and some other clever ones are worthy of special mention.

(1) Gladstone refers to the Ducks' near-death experience in "Too Much of a Gold Thing" as an example of how dangerous adventuring can be.  Makes you wonder: how widely did news of the Ducks' travails in the Valley of the Golden Suns actually spread?  One can understand Scrooge wanting to keep the Valley's fate a secret from the general public, just in case some crazies decided to imitiate El Capitan and dig endlessly (and futilely) for riches in the ruins.  Any acquaintances whom Scrooge trusted with the info were undoubtedly sworn to some form of secrecy... and it's therefore surprising that Scrooge didn't shush Gladstone (or even whack him with his cane) when Gladstone mentioned the adventure at the Ducks' table at Quack Maison.

(2) Glomgold reacts to Bankjob and Big Time's bomb-bungling by grumbling, "Now I know why you two never work together!" -- which, in fact, they never actually had before, unless you count that mob-scene in "Full Metal Duck" (which was itself a skull session, as opposed to an actual gig) and set aside the comic-book story "The Great Chase" (preferably, at a VERY great distance).  Given that Bankjob and Big Time are actually among the more competent of the DT Beagles, their treatment here seems a bit uncharitable of "Stretch."

(3) To while away the time during a long flight, Launchpad tells Gladstone tall tales of his exploits, among which is his "harrowing hiatus with the Harpies" ("The Golden Fleecing").  Evidently, to Launchpad, any adventure you can walk away from is a tale-worthy one, even if one's role in it is somewhat, well, embarrassing.  Speaking of which, Launchpad invokes the "Any crash you can..." mantra a couple of times here.

You do have to respect a writer who treats canonical series material in such ingenious and imaginative ways.

WRITING AND HUMOR:  Acceptable at best, and most of the humor is of the accidental variety.  (*** out of *****)

From the spellings of certain words such as "tonnes" for "tons," to the use of the phrase "the lot of them," to Scrooge's reminiscence about picnicking in a country "kirkyard," I gather that "Stretch" is probably a native of the British Isles.  "Stretch"'s writing gets the job done, but it does fall victim to the occasional dropped comma and misspelling.

One must give kudos to "Stretch" for having the daring to try to reproduce the Ducks' "synchronized snoring" in prose.  It results in an unintentionally humorous bit:

"Huh," snored Scrooge.

"Shhhh[,]" continued Huey.

"Quack, quack," slept Dewey and Louie respectively.

That last sentence reads as if "Stretch" is using "to sleep" as a verb capable of taking a direct object.  What would such objects be, I wonder?

I also found the following throwaway paragraph amusing.  Read this, and see if you don't get a distinct impression of Launchpad being pwned:

Scrooge divided the adults into three watches: Gladstone first, as he liked to stay up late; Scrooge last, as he usually woke up early, as "the early bird catches the worm"; Launchpad received the difficult midnight and early morning hours, because it was the only one that was left. 

QUESTIONABLE MATERIAL:  None, aside from the aforementioned scares and ghosts (which aren't actually all THAT scary).

OVERALL:  ***** out of *****.   N&V RECOMMENDED.

While not spectacular by any means, "The Lost Tomb of Pharaoh Sedqaduck" is a fun read and displays commendable effort.  If you like classic "lost-ruby jungle plunges" with a couple of intriguing (though somewhat problematic) twists, then you should enjoy this story.

NEXT FANFIC UP:  "The Sincere Fraud" by "Commander."  In the not-to-distant DT future, the Nephews' mother Della returns... after a long stay in jail.  I got a BAD feeling about this, Mr. McDee...

"Not pony tales, but"... actually, YES, pony tales.

I have been pretty busy this past week and haven't gotten many opportunities to blog.  I still have a couple of tomes on the old pile-a-roo to read and review.  I'm also deciding on the next DUCKTALES comic-book story and fanfic to dissect.  We're heading into finals week, however, so those features won't appear until the second half of December, at the earliest.

In the meantime, I have some delectable crossover matter for you to nosh on.  I stumbled across these items while I was... OK, I'll admit it, I was searching for a DuckTales/My Little Pony: Friendship is Magic crossover fanfic.  I did find one, but... let's just say that I would prefer to pass over it in silence.  I'm sure that the writer did his or her best, but there's just not that much substance to the thing.

Graphical blandishers have been busier:

The image is from IDW's MLP MICRO-SERIES COMIC #8, the one featuring Celestia.  Unfortunately, these kids were making fun of the aging and increasingly oblivious teacher Inkwell.  I'd almost have preferred that they were playing hooky or something.  Also... "A-WOOOOOO"?  Is that the DuckTales theme song or a Warren Zevon hit from the 70s?

If you're not satisfied with ponified versions of HD&L, how about the real McCoys... and an entirely new distaff challenge.  And the lads thought they had issues with Webby and Gosalyn...

Perhaps this faceoff took place during an adventure in which Scrooge found himself in Equestria and immediately did what comes naturally to him -- namely, search for treasure.  Since the MLP:FIM TV episode "A Dog and Pony Show" clearly indicated that certain areas of Equestria are chock-full of gems, this would be a natural thing to do.  Due to the completely alien territory, it would also be natural that Scrooge would seek assistance from a local expert, whose many talents include an ability to find gems with her magic:

I can't wait to see "the division of the spoils" after this adventure.  Rarity's charm (and magic) vs. Scrooge's will (and proven ability to do effective battle with a magical adversary)!  Which would prevail?

Apparently, someone was planning to write a fanfic with this title, but this picture is as far as they got.  Maybe they'll get back to it someday.  If they do, then I hope they'll consider changing the title.  "Friendship is Money" doesn't sound quite as... well, warm as the show's actual title.

As for Launchpad, provided that he could fit his trusty 'copter through the gate, or portal, or continuity rift, or whatever would allow communion between the Ducks and the ponies, I'm sure that he'd get into the spirit of Equestria and make friends quite easily.

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Promos have begun to appear on Discovery Kids (nee The Hub) promising the return of new MLP:FIM episodes in Spring 2015.  I had to chuckle a bit at the teaser below, because it partakes so transparently of "movie trailer-style overkill."  Where is the late Dan LaFontaine when you need him?  "IN A WORLD where Twilight Sparkle discovers the magic of friendship..."