The Complete Life and Times of Scrooge McDuck Vols. 1-2 Boxed Set

The Complete Life and Times of Scrooge McDuck #1-2

by Don Rosa

The complete, two-volume fan-favorite Scrooge McDuck life story as it’s never been told before ― in chronological order ― with “in-between” untold tales. In Vol. 1 of the internationally acclaimed comics collection The Complete Life and Times of Scrooge McDuck, Don Rosa tells the tale of how Uncle Scrooge earned his fortune. In Volume 2, he still has more secrets to tell from Scrooge’s legendary life ― including a rollicking Yukon adventure involving Glittering Goldie (that might just break your heart!). Fantagraphics proudly presents, in a handsome hardcover, the fan-favorite Scrooge McDuck life story as it’s never been told before ― in chronological order ― with “in-between” untold tales. Full-color illustrations throughout.

Genres: Comics, Graphic Novels, Comic Book, Historical Fiction, Adventure

496 pages, Hardcover

Published October 29, 2019

About the author

Keno Don Hugo Rosa, known as Don Rosa, is an American comic book writer and illustrator known for his Disney comics stories about Scrooge McDuck, Donald Duck, and other characters which Carl Barks created for Disney-licensed comic books, first published in America by Dell Comics. Many of his stories are built on characters and locations created by Barks; among these was his first Duck story, "The Son of the Sun" (1987), which was nominated for a Harvey Award in the "Best Story of the Year" category.
Rosa created about 90 stories between 1987 and 2006. In 1995, his 12-chapter work The Life and Times of Scrooge McDuck won the Eisner Award for Best Serialized Story.

Reviews

[Florian · Rating 5 out of 5]

Amazing! Fabulous! Gripping! Breathtaking! Truly emotional!

I never thought a comic could be so fantastic, so fascinating and so tear jerking as this one. I had heard very good reviews, but I could not imagine the ride it would take me on. It's something truly magical and special, not just a simple comic, and definitely more adult than anyone could imagine.

The first comics I have ever read in childhood were the monthly Mickey Mouse issues, that also included the Duck universe. I love them, but eventually I outgrew them. I still read comics and I enjoyed plenty of adult ones (Alan Moore, Frank Miller, Mike Mignola, Jeff Loeb, Jeff Lemire, Brian K Vaughn), but I started going back to the classics that perfected the "adventure comic" genre - Asterix, Tin Tin and now Scrooge and Donald. They are simply better at creating rollercoaster adventures that take you along for the ride. And also better at gags and humor.

So when I heard about the wonderful Life & Times of Scrooge, it was between print runs. I had to wait 2 years to get it, fresh out of the oven, and I don't know how I could miss it all these years.

This boxset contains 2 volumes. The first is the complete story arc "The life and times..." and I wish I could give it 10 out of 5 stars. It is that good. The second volume has in-between stories and connected stories that expand, without altering the main volume. It is also exceptional.

The whole package is so amazing that I had to restrain myself to read 1 or at most 2 stories each evening because I wanted to savor it, for as long as possible.

I recommend it wholeheartedly and I plan to get the other volumes from the Don Rosa library.

[Jameson · Rating 5 out of 5]

Comics just don’t come better than this. This is peak comic book. Desert island material. The kind of thing you would hand to a Martian to say “look what we’re capable of, this is who we are, tremble before our greatness.” The greatest American comic ever? Most likely.

The Complete Life and Times of $crooge McDuck should be required reading. Rosa is a genuine genius. (I actually prefer him to Barks, even.) His passion is evident in every hyper detailed panel. Safe to say this oversized, super complete package will never be outdone. (Especially since this 2021 first printing includes the two stories Evil Disney has since banned in all their original glory.)

Books can’t come more highly recommended. This oversized hardcover is far and away The Best Way to own these stories. The text pieces and extras are icing on the cake.

Why did Don Rosa even ever quit making comics? A couple reasons. The number 1 reason should be scandalous because it’s so outrageous. You should read the whole list but I’ll copy and paste the biggest reason he quit and his overall conclusion, too. It’s really depressing. And you’ll never look at Disney comics and work-for-hire the same way.

——-

Reason #1: The Disney comics system

How many people know how the “Disney system” of comics works? When I describe this to some fans when asked about it, they often think I’m kidding them or lying. Or they are outraged. But it’s an unfortunate fact that there have never been, and I ultimately realized there never will be, any royalties paid to the people who write or draw or otherwise create all the Disney comics you’ve ever read.

Disney comics have never been produced by the Disney company, but have always been created by freelance writers and artists working for licensed independent publishers, like Carl Barks working for Dell Comics, me working for Egmont, and hundreds of others working for numerous other Disney licensees. We are paid a flat rate per page by one publisher for whom we work directly. After that, no matter how many times that story is used by other Disney publishers around the world, no matter how many times the story is reprinted in other comics, album series, hardback books, special editions, etc., etc., no matter how well it sells, we never receive another cent for having created that work. That’s the system Carl Barks worked in and it’s the same system operating today.

How can such an archaic system still be in operation in the 21st Century when royalties have been paid in other creative publishing endeavors for literally centuries? All book authors, musicians, actors, singers, non-Disney cartoonists, even people who act in TV commercials... they all receive royalties if success warrants it. Even Disney pays normal royalties to creators and performers in its own movie and TV and book and music businesses. As near as I can tell, correct me if I’m wrong, but it’s only the creators of Disney comics who have no chance to receive a share of the profits of the success of the work they create.

Why is this? I don’t know.

But I certainly never started doing Disney comics because I expected to get rich. I was born into a successful construction company and took a huge cut in income (and a vastly bigger workload) to create comics based on Barks’ characters. I never even dreamt they were still popular outside of the USA. When I went to work for Egmont, I still never expected to make lots of money — I knew I was a relative amateur, and I was just delighted to have a way to keep creating these stories. Besides that, my stories were used in anthology comics along with many other really nicely drawn works, and my stories only appeared a few times each year. But within a few years, I started noticing the publishers were mentioning my name on the covers, as they did Barks’ name... this just made me very proud! But this was still no indication of why people were buying the comics. In fact, I was told that most readers disliked my stories because of my weird detailed art and overly complex plots. I could easily believe that. Life was good.

Then two countries started producing a series of all-Rosa albums. Other countries started producing annual all-Rosa pin-up calendars. Then several more countries started producing all-Rosa special hardback editions which became best-sellers. I was called on to do promotional tours to help sell books of my work even though I was never paid royalties on those sales. What? Huh?

And on these promotional media events when I did press conferences and appearances on national TV talk-shows, some interviewers would privately comment about how nice it must be for me to be getting so rich off something I obviously enjoyed doing so much. Eventually it hit me — all the European fans assumed that I was a millionaire. They assumed that when I sat at a book store signing the 30 Euro books the store was selling, I was getting a 5 Euro cut on each sale! Whoa! I had never minded not getting wealthy off this job I loved. But it became really annoying when I discovered that everyone assumed I was getting huge royalties. They could never imagine that such a system exists in this day and age (or that an author/artist would be so stupid as to participate in it). I started feeling like a world-class chump.

Then the publishers took the next inevitable step. A new reprint album of my Scrooge McDuck adventures was not to be titled “SCROOGE McDUCK” #1, but “DON ROSA” #1. The annual “DONALD DUCK CALENDAR” was to become the annual “DON ROSA CALENDAR”. And publishers did not even bother to notify me when they published such all-Rosa products using my name — usually I would find out about it from simply a fan in the country where the publication appeared. Also I would have to depend on that fan to buy me a copy of the Rosa book since these publishers would never even send me a complimentary copy.

This was just getting too outrageous! I knew it was time to come to my senses! Fans who have seen some of this leak out onto the Internet at the time erroneously refer to this as when I went “on strike”. This was never the true case... I have always had an excellent working relationship with my own direct employer, Egmont. But a new relationship had to be worked out.

What I did was hire a lawyer, at no small expense, and trademarked my name across Europe and South America. Disney publishers certainly had every right to use my comic stories — those were Disney property. But my name is not Disney property – it is my property. I was not so much annoyed that I was not receiving royalties on products sold using my name, but I had no quality control over the presentations. Often the wrong scripts were used at the whim of an editor or translator, often the wrong pages of art were used on continued stories, or there were coloring errors, etc. This sort of thing was fine in the weekly anthology, but if a book of all-Rosa stories is published with my name on the cover, fans assume I have some control over the product. Now I would see to it that I would.

I did not ask for royalties. I decided to ask simply for an annual fee for the use of my name to sell products. I sought advice from a European representatives of authors and artists and asked how much I should demand from Egmont each year. I was given the agent’s opinion of a fair fee. So, since my intention was mainly to show that I wanted some sort of control over the use of my name and the presentation of my work, the fee I quoted to Egmont was exactly half of the fee the agent recommended. I figured that way I was showing Egmont I was serious, but not trying to gouge them.

My publisher Egmont immediately agreed! I suppose they were simply waiting for me to say something. After all, they are a big company... in fact, a non-profit charitable organization... so why would they offer me a fee until I demanded it? Everyone I’ve ever met at Egmont, actually everyone I’ve ever met at any worldwide Disney-licensed publishing company, are all wonderfully nice folks. Many have become dear friends. I don’t hold them personally responsible for being part of that system. They didn’t create it and I know they don’t personally approve of it (how could anyone?). Oh — and it should definitely be noted that, in return for my cooperation on this superb book series, Egmont offers me a "consideration" based on sales, which is the first time I have been offered that by any Publisher.

With the non-Egmont publishers it is a different story. I let them know that they could no longer publish the all-Rosa albums and books using my name to promote them unless they had my permission. All they had to do was ask. But they would not. I guess they simply refused to actually ask permission from one of these artists or writers whose work they had used anytime they wished in any manner they wished. And they were not going to start giving that respect to anyone after 60-70 years. They never even asked me what I wanted in return, probably assuming I would demand a huge royalty off their sales... in truth, all I wanted was quality control and some free author issues. They never cared what I wanted. So, to this day, that’s why you see all-Rosa book series in France, Brazil, the Netherlands, Italy, Greece and Indonesia (and probably other countries I haven’t found out about) which are attributed to an “anonymous” author, though those publishers all know that my fans will still recognize my weird art without my name on the cover. Still, they cannot use my annotated texts or other extra materials that I wish fans could see. But as long as they don’t exploit my name to sell their products, I have no grievance against them publishing books of my work. (I’m just lucky that fans in those countries send me copies of the Rosa books, something that those publishers should be even more ashamed of!)

However, the attitude of these publishers and the whole system was still gradually taking its toll on my increasing depression. I couldn’t help but realize that I had provided these people with 20 years’ worth of work that they would reprint and rerereprint for the next century without ever offering me a cent in royalties. It was an insidious worm that worked its way into my soul. It killed my enthusiasm. And my enthusiasm for the fans who loved these Barks characters as much as I did was all that had kept me going.

And bless my left eye for making the inevitable decision for me.

CONCLUSION
I have written in these volumes innumerable times that I am not a professional. I am a comics fan whom someone allowed to create comics. And ultimately I’ve even realized that’s more true than I even thought! Everything I’ve done, every professional move I’ve made, was because I love stuff that I did not create.

Fans who did know what an unfair system we Disney comics people work in have often said to me “you’ve made a name for yourself now! Why not stop this thankless work and produce comics of some character that you create yourself?” And publishers have often told me they would publish anything I decided to create for them. But my reply has always been “Any character I might create next week... I would not have grown up with that character. I wouldn’t care about him. My thrill is in creating stories about characters I’ve loved all my life.” I’m a fan.

Being a fan of pop culture is the story of my life. I’ve amassed an enormous collection of comic books and Donald & Scrooge toys and DVDs and CDs and many other things I love. When I went to work for fan magazines in the early 70’s, what did I do? Create new comics? No, I wrote question & answer columns dealing with all my favorite subjects in comics and TV and movies. I’m a fan.

And I still love to meet other fans. They did not ruin my enthusiasm for meeting comics fans. I still go on annual signing tours of bookstores, department stores or comic shops... this is one way I maintain some slight income. (The stores pay me a promotional fee, while all autographs and drawings for the fans are always free.) But I really don’t need so much money. When my wife was a teacher she made most of the household income, and now she’s retired with a steady pension. When I realized I couldn’t go on creating Disney comics much longer, a friend sold off part of my comic collection (the “new” stuff, 1970-85), and I was thereby able to pay off my house mortgage. We have no kids. I drive the same car I’ve owned since 1978, and it was 30 years old even then. I don’t need a vacation home — I already live in a remote log house in the woods. I don’t like expensive vacations... we like to go camping. We have all the money we need.

Like Gary Cooper said in “The Pride of the Yankees”, I consider myself the luckiest man on the face of the Earth. I had a privileged childhood. I married a wonderful lady (and she likes to cook!). Then fate decreed that for over 20 years I was able to do something that was my fondest childhood dream. Meanwhile, I’ve met the most wonderful people in my travels around Europe... meeting people at comic book publishers and comic book festivals is like being part of a social society — all these people love the same things I love, and they’ve become my most valued friends. I’ve been treated like a star by entire countries (whom Carl Barks had already warmed up for me). And when I visit a foreign country, I have new friends anxious to be my private guides and translators, and take me to have dinner in their own homes!!! Not even Bill Gates gets treatment that nice! I have friends everywhere where Carl Barks went ahead of me. And that’s a lotta ground!

I still have my childhood collections. An entire “vault”, like a Money Bin, filled with 40,000 comics. All the Barks comics, but also most every American comic book 1945-1970. My old MAD magazines. My monster movie magazines. My full set of “TV GUIDE” magazine. Plus a room full of DVDs of my favorite movies, another two or three rooms filled with books by my favorite authors, a room of books about old movies and newspaper comics. When I finally learn to relax, I plan on just sitting and rereading and rewatching all of these favorite entertainments. That’s my new fondest dream.

I thank Carl Barks for creating the comics that I loved so much that I serendipitously fell into the blessed work of paying homage to those great comics for over 20 years. And I thank you for receiving that work so graciously and making me feel very special... until they broke my spirit.

But if you’ll excuse me... I think I’ll now go back to being only a fan.

(From https://career-end.donrosa.de/p/the-e...)

[Graham Barrett · Rating 4 out of 5]

Scrooge McDuck is probably my favorite Disney character that doesn't originate from the various animated films. Both of the versions of DuckTales that feature him are enjoyable and I was told "The Life and Times of Scrooge McDuck" is a must read for any fan of these shows and the character.  

The two set volume of the series I read was certainly an enjoyable romp that I can see as the source of the wacky and action packed adventures that Ducktales focuses on. While maybe not the Earth shattering graphic novel I'd be told it was, I definitely enjoyed how it chronicles Scrooge's development as both a miserly old flint and an intrepid adventurer. The resulting life story of how Scrooge became the World's Richest Duck is a fun history lesson of Scrooge's encounters with famous historical figures and folk heroes. Besides history, The Life and Times of Scrooge McDuck feels akin to adventure stories like Indiana Jones and Tintin (the latter unfortunately means there's some racially insensitive content that takes some enjoyment away from otherwise thrilling adventures). There's even an issue (possibly my favorite of both volumes) which is pretty much a duck-themed version of Inception (did Christopher Nolan steal the idea?). Content like that really show unique creativity and  Disney made a great call adapting Scrooge's adventures here into Saturday morning cartoons on more than one occasion.

All in all, "The Life and Times of Scrooge McDuck" is a fantastic depiction of the life story of a fan favorite Disney character. It becomes no wonder that beloved Disney cartoons draw so much inspiration from Carl Banks' and Don Rosa's work.

[Abram Cordell · Rating 5 out of 5]

Comics played a formative role in my childhood. I loved going to the comic book store with my father, flipping through a new series and discovering new heroes. Over the past several years as I have gone back and read comics I have been disappointed with how bad most of the stories are. The ironic thing is that the books I would have viewed as juvenile as a teen are the ones that actually have the best stories.

Bone is one of my favorite graphic novels. The story has tremendous highs in the first half, with some of the greatest world building in all of fantasy but it wobbles and fails under the weight of its creativity in the second half. This collection is fantastic throughout.

True greatness is found in the pages of this Scrooge collection. It just get better as the book continues. The first half is excellent, telling Scrooge’s story. I almost like the second half better, which is episodic and reminiscent of TinTin.

As the story concludes I was left feeling like Uncle Scrooge is one of the best characters I have ever read, a mixture of Indiana Jones and Charles Foster Kane. The artwork in this is excellent, the story compelling and this was a joy to read from start to finish.

[Augusto Alvarez Pasquel · Rating 5 out of 5]

In 1947 Carl Barks created an one-off character for the Donald Duck comics, that character was Scrooge McDuck, the rest is history of course. Scrooge didn’t stayed one-off for long and quickly became extremely popular, its impact undisputed. In 1992 Don Rosa creates his magnum opus, this comic to essentially create a concise narrative about the youth of Scrooge based on every little tidbit Barks had mention in his own work. And this can be the definitive work about the character, you don’t have to be Barks fan to appreciate it, you don’t have be a Rosa fan, I could argue that you can’t have read any Scrooge comics before to love this work. It’s beautiful and tragic, it’s fun and sad, it’s an epic story.

[Aaron · Rating 2 out of 5]

Unfortunately just not really for me. I put it down several weeks ago and have had no urge to pick it back up, so I think I’m just gonna call it. The problem is, this is really a book for Carl Barks Superfans, and I’ve never read a single Carl Barks comic. Don Rosa, on the other hand, has read them all about 600,000 times, and has put all of that knowledge into this labor of love/obsession that takes every tossed-off reference Barks ever made about Scrooge’s early life and turns it into a very mediocre comic biography. I mean, don’t get me wrong, the artwork is incredible, and I’m sure if you’re into Scrooge comics this is like a 500 page orgasm. But I’d heard for years that this was a moving, emotional, well-written masterpiece ON TOP OF being a McDuck fan’s dream, and unfortunately that just isn’t true. This is predictable and plodding (due mostly to the over-attention to canonical detail), never really funny, and none of the fantastic art can really make up for that. If you’re a person like me who’s never dipped his toe into Disney comics and thought this might be the way to do it, I’d say, unless you’re very young (as you should be!), pass on this.

[Gil Jourdan · Rating 3 out of 5]

Ho comprato la seconda edizione italiana della Saga di Paperon de' Paperoni nel 2000 quando avevo 9 anni. Il volume si chiamava Paperdinastia e lo posseggo ancora. Sono stato un lettore del mensile "Zio Paperone", che insieme a "I Maestri Disney" era il fumetto "di qualità" per collezionisti dell'epoca, dal 2002 al 2008, quando ha chiuso. Ho l'opera omnia di Carl Barks, nella versione scrausa uscita col Corriere della Sera.
Su "Zio Paperone", infatti, Don Rosa era uno degli autori di punta. La sua opera principale, questa Saga di Paperon de' Paperoni qui raccolta in un volume extralusso nell'edizione originale inglese, è forse una delle storie più famose e celebrate di sempre, perchè finalmente (in un mondo che considerava Nonna Papera sorella di Zio Paperone) si faceva ordine. Si scopriva il papà di Paperino, si capiva come Paperone era diventato ricco, come aveva guadagnato la Numero Uno, le sue avventure del Klondike... tutto. Per chi leggeva il caotico mondo della Disney italiana di "Topolino", era una rivoluzione. Si passava da storie senza nessuna coerenza tra l'una e l'altra, con disegni e sceneggiature completamente diverse, a un'opera progettata dall'inizio alla fine, con tanto di albero genealogico dei paperi incorporato.
C'erano le origini (il Paperone bambino in Scozia, "The Last of the Clan McDuck"), le avventure del giovane e spiantato Paperone, le origini dei cattivi (si vede perfino un Rockerduck bambino), l'origine della ricchezza nel mitico Klondike ("The King of the Klondike"), fino all'arrivo a Paperopoli ("The Invader of Fort Duckburg") e la costruzione dell'impero economico, che è forse il capitolo che tiene ancora maggiormente ("The Empire Builder from Calisota), a distanza di 25 anni., fino ad arrivare, al Paperone incattivito degli ultimi anni ("The Richest Duck in the World), prima di incontrare Paperino e i nipotini.
In Italia, ci avevano provato oltre vent'anni prima. "Storia e Gloria della Dinastia dei Paperi" (1970) di Guido Martina, Romano Scarpa e Giovan Battista Carpi, è però l'esatto opposto. Il gruppo di paperi (Zio Paperone, Paperino, Qui, Quo e Qua) si ripete uguale nelle epoche storiche, senza nessuna pretesa di serietà e continuity. Questo perchè in Italia, come notato da Dino Buzzati (mica l'ultimo pirla) nella storica prefazione di "Vita e dollari di Paperon de' Paperoni", i paperi erano personaggi universali, come quelli di Moliere e Goldoni. Per Don Rosa, invece, Zio Paperone è nato nel 1867 e morto nel 1967.
Nella sua ispirazione, Don Rosa ha fatto delle scelte fondamentali: l'unico canone è quello di Carl Barks, inventore di Zio Paperone nel lontano 1947. Il resto non esiste. Paperoga, messo nell'albero genealogico per pressioni dell'editore, non esiste perchè creato da Dick Kinney e Al Hubbard. Brigitta MacBridge, spasimante del papero più ricco del mondo creata da Romano Scarpa e trovata un'idea geniale da Barks stesso, non esiste. Paperinik, creato da Guido Martina, figuriamoci.
Qui, purtroppo, si vedono tutti i limiti di Don Rosa. Autore capace di fare storie estremamente divertenti ("Una questione di estrema gravità", ad esempio, che non è presente in questa raccolta), si è sempre più chiuso nella sua visione unitaria, fino quasi a snaturare i personaggi.
Il Paperino di Don Rosa è quasi comprimario di Zio Paperone. Quasi un suo avversario diretto, scettico verso un vecchio che in fondo non sopporta. Qui, Quo e Qua sono praticamente dei genietti al limite del saccente (se non dell'insopportabile). E perfino Zio Paperone, andando avanti col tempo (e questa cosa si vede nei capitoli aggiuntivi della saga, ad esempio "Hearts of Yukon" o il famigerato "The Prisoner of White Agony Creek"), rimane quasi un romanticone intrappolato nel suo passato, invece che il vulcanico avventuriero di Barks, ma anche di Cimino, Martina, Pezzin, ecc.
Il suo rapporto con Doretta Doremì, sua storica fiamma ai tempi del Klondike, è ai limiti del ridicolo. Una storia a malapena accennata da Barks in uno dei suoi capolavori ("Back to the Klondike", del 1953), per dimostrare come il vecchio avaraccio avesse un cuore, diventa l'ossessione del papero più ricco del mondo che non ha mai superato questa "delusione d'amore". Mentre Barks la prende con delicatezza (e fece così anche Romano Scarpa, in storie come "Paperino e la leggenda dello scozzese volante" o in "Paperino e le lenticchie di Babilonia"), Don Rosa non lascia nulla di intentato nel raccontare questo amore più farsesco che affascinante. Il rapporto italiano con Brigitta è molto più sanguigno, credibile e "barksiano", perchè cattura lo spirito del personaggio originale, e non di una rilettura parziale.
Nella costruzione delle trame, degli incastri storici, di alcune gag, Don Rosa rimane un maestro. Infatti, ho comprato questo volume una volta per tutte (anche perchè, per problemi contrattuali, la Saga rischia veramente di non essere più ristampata in edizione originale), come quando avevo nove anni. Crescendo, però si può imparare ad apprezzare lo spirito dei personaggi senza forzare una continuity che, per l'universo Disney, rischia di essere perfino fuorviante.

[τλιϓλ · Rating 5 out of 5]

Thanks first to my brother who gave it to me as a birthday present, such a wonderful journey with little Scrooge McDuck from the beginning till the end, knowing our duck I know he will not just sit there and recalling all memories, there is a new adventure coming his and his nephew's way with the other and I can not wait to read it.
Though uncle Scrooge is not my fave but I respect his hardwork yet Donald is my fave from my childhood till now..

[Peter-Paul · Rating 5 out of 5]

Amazing stories. I have the deluxe version from Fantagraphics. The main storyline of 12 chapters is a amazing read. From young Scrooge to multi billionare and all the adventures in between. It's also a very touching story. Especially the last story: A letter from home, or the Castle's other secret'. What a lifetime work from Don Rosa, inspired by Carl Barks. I loved it and very proud to have this in the collection.

[Brian · Rating 5 out of 5]

The book is overly large and cumbersome but beautiful story and art definitely one of my reads of the year, I bought this due to the enthusiasm for the story by Omar Valdivieso from the near mint condition you tube channel and glad I did and will now read the rest of the duck books by Don Rosa and Carl Barks.

[Frederick · Rating 5 out of 5]

Just a brilliant work of art and in a larger size so that the words and the art is bigger and better able to be appreciated. The paper quality is thick and good and I really like the ribbon. There's a collector coin on the slipcase and it's just beautiful to behold. Something to pass lovingly down the generations as the story is timeless and really funny as it ages well.

[Bragr · Rating 5 out of 5]

Takes inspiration from other classic stories and molds it with Disney charm, a lot of heart and soul, and Don Rosa's style to create a powerful, heartwarming, and impactful comic that has stuck with me for a long time. Can't recommend this enough.

[Aili Annuk-Kungla · Rating 5 out of 5]

Brilliant as always!

[Kosmas Panagiotis · Rating 5 out of 5]

The best edition until now.

[Ernir Ívarsson · Rating 5 out of 5]

Never would have expected one of the most heartfelt and emotional comics I've ever read to revolve around the career of a cartoon trillionaire duck

[D.Pap · Rating 5 out of 5]

Μερικές από τις πιο ποιοτικές ιστορίες του Σκρουτζ και του σύμπαντος των παπιών από το ιδιαίτερο πενάκι του Don Rosa, συγκεντρωμένες σε μία πολυτελή έκδοση.

Κάθε ιστορία συνοδεύεται με άρθρα που αναφέρουν παρασκηνιακές λεπτομέρειες για το πως δημιουργήθηκε και ποιες ήταν οι εμπνεύσεις του δημιουργού. Αυτά τα κείμενα έχουν την υπογραφή του Don Rosa, ο οποίος χρησιμοποιεί μια ευχάριστη και χιουμοριστική γλώσσα για να περιγράψει τα γεγονότα.

Το χαρτί στο εξώφυλλο, τη θήκη και τις σελίδες είναι άριστο και σίγουρα θα αντέξει πολλά χρόνια με τις λιγότερες δυνατές φθορές. Επιπλέον, να αναφέρω ότι έχει ενσωματωμένο ειδικό κορδόνι-σελιδοδείκτη.

Ο χρωματισμός των σκίτσων είναι, κατά τη γνώμη μου, ο καλύτερος δυνατός και έχει βασιστεί σε μεγάλο βαθμό σε οδηγίες του Don Rosa ώστε όλα να έχουν το χρώμα με το οποίο τα φαντάστηκε. Τέλος, περιέχεται και ένα ομοίωμα της πρώτης δεκάρας του Σκρουτζ, το οποίο και αυτό είναι μια ποιοτική κατασκευή.

Το μόνο αρνητικό που μπορώ να σκεφτώ, είναι το μέγεθος και το βάρος. Σίγουρα δεν είναι ένα βιβλίο που θα πάρετε για να διαβάσετε στο κρεβάτι σας ή στην πολυθρόνα. Πρέπει να τοποθετηθεί πάνω σ' ένα τραπέζι που να έχει αρκετό ελεύθερο χώρο.

[Matthew Siemers · Rating 5 out of 5]

4.5 Stars.

Minus 1 star for removing the commentary available in previous editions, but plus .5 stars for adding one more story not available in previous editions.