| Walt Disney's Uncle Scrooge (1993)
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Publisher: Gladstone (The Bruce Hamilton Company)
Publication Date: August 1993 - February 1999
Country: United States
- 1995 Will Eisner Comic Industry Awards - Nominee - Best Continuing Series
- 1995 Will Eisner Comic Industry Awards - Winner - Best Serialized Story: (#285-296 "The Life and Times of Scrooge McDuck")
- 1996 Will Eisner Comic Industry Awards - Nominee - Best Title for Younger Readers: (by Don Rosa (Gladstone))
Walt Disney's Uncle Scrooge (1993) #281 continues from Walt Disney's Uncle Scrooge (1990) #280
Walt Disney's Uncle Scrooge (1993) #318 continues to Uncle Scrooge (2003) #319
This was Gladstone's second bite out of the Uncle Scrooge apple. It was by far their tastiest. Twice nominated for and once the winner of an Eisner, this was a revolutionary approach to the character that sought to imbue Scrooge ó and by extension all of Ducksburg ó with an actual backstory. This particular segment of the run of Uncle Scrooge that can be traced all the way back to Dell's Four Color, was by far its most complex.
One of the most important features of this run was the ascendancy of Don Rosa. The author and artist on the award-winning story arc, "The Life and Times of Scrooge McDuck", Rosa established himself as the pre-eminent modern artist working on Duck titles. In the eyes of many Donaldists, it was this run that made many put him on a par with Carl Barks as a chronicler of Scrooge McDuck adventures.
The Marvel connection
In 1993, Disney did something funky with their licensing. In the first place, they reserved the right to continue publishing their own original material, which ultimately led to non-character-specific anthology titles like Disney Adventures. In the second, they abandoned the practice of handing out a single license to a lone publisher. Instead, they basically divided the license along historical lines. Any characters created (more or less) after Michael Eisner took over the company in the early 1980s went to Marvel (and, later, Acclaim). Any characters created by Disney himself or during the era when a Disney family member was in charge of the company went back to Gladstone.
Gladstone had learned something from its late-80s possession of the license. They were just too small a company to deal with losses arising from the return of books from the newsstand market.
So Marvel became their newsstand distributors. The deal was a bad one for Marvel, though. It only lasted until late 1995. Thus you will find that through issue #292 of this title, there are in fact two copies of most issues: one bearing the Gladstone label (for the direct market) and one with a Marvel logo (for newsstands).
After that, the per-issue price takes a steep climb. Gladstone, no longer able to protect itself from the financial ruin inherent in newsstand returns, passed most of the cost on to the specialist collectors who would never have dreamed of returning the issues in the first place.
Number of issues cataloged: 38