Post by Scrooge MacDuck on Jul 25, 2017 13:42:10 GMT
I just read IDW's Mickey Mouse #21, and several things of interest struck me in Mickey Mouse and the Clones of Channel 3000, a 2013 Casty story, localised by Jonathan Gray.
Mickey gives Goofy's full name as Goofus D. Dawg. Although the "D. Dawg" part is obviously a callback to "Dippy Dawg", has the name "Goofus" been used anywhere before, officially or otherwise? Also, did Mickey give a full name for Pippo in the original Italian, and what was it?
Chief O'Hara's reports include arresting McKatz and Joe Piper (of Gottfredson fame) and Scuttle (Pete's sidekick in the vintage comic books). Were those references added by Gray or not? Usually I'd assume such references were a translation thing, but it's not implausible for Casty to have snuck them in since he often does call-backs to Gottfredson stories (he's sort of to Gottfredson what Rosa was to Barks, isn't he?).
Eega Beeva's true name is referenced. Cute.
Does anyone else feel the connection to "3000" (because the story was meant for Topolino's 3000th issue) is a bit forced? I feel like Casty must have stuck the number 3000 into an already written-out script to satisfy his editors.
Mickey gives Goofy's full name as Goofus D. Dawg. Although the "D. Dawg" part is obviously a callback to "Dippy Dawg", has the name "Goofus" been used anywhere before, officially or otherwise? Also, did Mickey give a full name for Pippo in the original Italian, and what was it?
I think it was just Pippo, though it seems that in some Italian stories he has the surname "de Pippis". I think that "Goofy Goof" (based on the Goof Troop franchise), and "Goofus D. Dawg" have both been used in many American comics from 2000's onwards.
Also, it's worth noting that the Disneyland episode "The Goofy Success Story" (1955) explained the "Dippy Dawg"/"Goofy" discrepancy by showing that, when Disney hired Goofy as an actor, they asked him to take a stage name. See around minute 14:
Chief O'Hara's reports include arresting McKatz and Joe Piper (of Gottfredson fame) and Scuttle (Pete's sidekick in the vintage comic books). Were those references added by Gray or not? Usually I'd assume such references were a translation thing, but it's not implausible for Casty to have snuck them in since he often does call-backs to Gottfredson stories (he's sort of to Gottfredson what Rosa was to Barks, isn't he?).
Unfortunately I don't remember, and as I said I can't check the story now.
What's his original English name anyway? I've read the Walsh/Gottfredson story only in Italian, and there the name was first "Pluigi Psalomone Pcalibano Psallustio Psemiramide Pfui" and then "Pluigi Psalomone Pcalibano Psallustio Psemiramide, Psaff". The fact that "Pfui" changes to "Psaff" whitin a few panels leads to the logical conclusion that "Pfui" and "Psaff" are not part of his name but are just onomatopoeic sounds to show how he almost lose his voice every time he has to say his full name.
However, all English websites report his name as "Pittisborum Psercy Pystachi Pseter Psersimmon Plummer-Push", implying that "Push" is actually part of his name. Does the original 1947 story implies that?
Does anyone else feel the connection to "3000" (because the story was meant for Topolino's 3000th issue) is a bit forced? I feel like Casty must have stuck the number 3000 into an already written-out script to satisfy his editors.
All or most of the stories from Topolino #3000 had to include a connection to the number 3000.
Does anyone else feel the connection to "3000" (because the story was meant for Topolino's 3000th issue) is a bit forced? I feel like Casty must have stuck the number 3000 into an already written-out script to satisfy his editors.
Ah, so that's why 3000 was so special in this story! When I read it, I kept wondering why they didn't change it to 330 (since this, issue#330, is the last issue of Mickey Mouse for the foreseeable future), but I guess the last issue of a long-running comic book is less a reason to celebrate than the trimillennial one. Also, given the highly contentious concurrent thread on translations/localizations, perhaps that's a can of worms best left unopened ...
I dunno, I feel it'd actually have worked better- it'd be a translation of "celebrating this special issue", just the reason the issue's special is different. That said, I also imagine it'd have been a hell of a bother to alter all the art just for that reason.
What's his original English name anyway? I've read the Walsh/Gottfredson story only in Italian, and there the name was first "Pluigi Psalomone Pcalibano Psallustio Psemiramide Pfui" and then "Pluigi Psalomone Pcalibano Psallustio Psemiramide, Psaff". The fact that "Pfui" changes to "Psaff" whitin a few panels leads to the logical conclusion that "Pfui" and "Psaff" are not part of his name but are just onomatopoeic sounds to show how he almost lose his voice every time he has to say his full name.
However, all English websites report his name as "Pittisborum Psercy Pystachi Pseter Psersimmon Plummer-Push", implying that "Push" is actually part of his name. Does the original 1947 story implies that? (1)
Does anyone else feel the connection to "3000" (because the story was meant for Topolino's 3000th issue) is a bit forced? I feel like Casty must have stuck the number 3000 into an already written-out script to satisfy his editors.
All or most of the stories from Topolino #3000 had to include a connection to the number 3000. (2)
(1):I find no reason to think otherwsie. A hyphened family name nicely wraps up his over-pretentious, overly-long name. And "Push" is not a common English onomatopeia, is it? (By the way, do you think his name is actually Pittisborum Percy Pystachi Peter Persimmon Plummer-Push and "Psercy", "Pseter" and "Psersimmon" are just an expression of Eega's usual psronouncication psroblem, or that in the faraway future/Planet Beeva, the names are really spelled that way?
I dunno, I feel it'd actually have worked better- it'd be a translation of "celebrating this special issue", just the reason the issue's special is different.
A precedent for that is the Dutch story 40 jaar DD Feest! (Geradts/Jippes, 1992), which celebrates the 40th anniversary of the Dutch Donald Duck comic. The Italian edition from 1998 celebrated the 100th issue of Zio Paperone instead, with an introductory article explaining the changes, done with the author's consent. The 2011 American edition was also changed to fit the 70th anniversary of Walt Disney's Comics and Stories.
What's his original English name anyway? I've read the Walsh/Gottfredson story only in Italian, and there the name was first "Pluigi Psalomone Pcalibano Psallustio Psemiramide Pfui" and then "Pluigi Psalomone Pcalibano Psallustio Psemiramide, Psaff". The fact that "Pfui" changes to "Psaff" whitin a few panels leads to the logical conclusion that "Pfui" and "Psaff" are not part of his name but are just onomatopoeic sounds to show how he almost lose his voice every time he has to say his full name.
However, all English websites report his name as "Pittisborum Psercy Pystachi Pseter Psersimmon Plummer-Push", implying that "Push" is actually part of his name. Does the original 1947 story implies that? (1)
All or most of the stories from Topolino #3000 had to include a connection to the number 3000. (2)
(1):I find no reason to think otherwsie. A hyphened family name nicely wraps up his over-pretentious, overly-long name. And "Push" is not a common English onomatopeia, is it?
I don't know much about common English onomatopeias so I can't say. If I thought otherwise is because of the influence of the Italian version: I guess a clue to what Walsh and Gottfredson thought would be checking if "Push" is present both times in which the character says his name. However, I don't have the original version of Eega Beeva's debut story.
(By the way, do you think his name is actually Pittisborum Percy Pystachi Peter Persimmon Plummer-Push and "Psercy", "Pseter" and "Psersimmon" are just an expression of Eega's usual psronouncication psroblem, or that in the faraway future/Planet Beeva, the names are really spelled that way?
Since these are not real names, I guess it could work both ways. The Italian version, on the other hand, clearly supports the "pspronounciation problem", since "Pluigi" stands for "Luigi", "Psalomone" stands for "Salomone" etc.
The same question can be asked for "Pflip": is it his official name (since all English websites call him that way) or is he actually called just "Flip" and Eega Beeva is the only one to call him "Pflip" (as it happens in Italian stories)?
As for Eega Beeva's pronunciation problem: most stories don't tackle the question of why he talks that way, but there is at least one exception: in Topolino, Eta Beta e la stampante multi-D (2014) it is said that in the future there will be an increase of laziness due to excess of machines doning people's jobs.
Also, is your answer complete? You marked a "(2)" but didn't comment it.
I dunno, I feel it'd actually have worked better- it'd be a translation of "celebrating this special issue", just the reason the issue's special is different.
A precedent for that is the Dutch story 40 jaar DD Feest! (Geradts/Jippes, 1992), which celebrates the 40th anniversary of the Dutch Donald Duck comic. The Italian edition from 1998 celebrated the 100th issue of Zio Paperone instead, with an introductory article explaining the changes, done with the author's consent. The 2011 American edition was also changed to fit the 70th anniversary of Walt Disney's Comics and Stories.
(1):I find no reason to think otherwsie. A hyphened family name nicely wraps up his over-pretentious, overly-long name. And "Push" is not a common English onomatopeia, is it?
I don't know much about common English onomatopeias so I can't say. If I thought otherwise is because of the influence of the Italian version: I guess a clue to what Walsh and Gottfredson thought would be checking if "Push" is present both times in which the character says his name. However, I don't have the original version of Eega Beeva's debut story.
(By the way, do you think his name is actually Pittisborum Percy Pystachi Peter Persimmon Plummer-Push and "Psercy", "Pseter" and "Psersimmon" are just an expression of Eega's usual psronouncication psroblem, or that in the faraway future/Planet Beeva, the names are really spelled that way?
Since these are not real names, I guess it could work both ways. The Italian version, on the other hand, clearly supports the "pspronounciation problem", since "Pluigi" stands for "Luigi", "Psalomone" stands for "Salomone" etc.
The same question can be asked for "Pflip": is it his official name (since all English websites call him that way) or is he actually called just "Flip" and Eega Beeva is the only one to call him "Pflip" (as it happens in Italian stories)?
As for Eega Beeva's pronunciation problem: most stories don't tackle the question of why he talks that way, but there is at least one exception: in Topolino, Eta Beta e la stampante multi-D (2014) it is said that in the future there will be an increase of laziness due to excess of machines doning people's jobs.
Also, is your answer complete? You marked a "(2)" but didn't comment it.
Damn it, yes, I accidentally erased the second paragraph. I was saying that I realised editors had asked for a 3000-connected story, but I was wondering whether Casty had not simply reworked a non-3000-compliant script to meet his editor's wishes rather than write a whole new story with the "it has to do with 3000" prompt in mind.
As for the pspronunciation psproblem, I do belief his name is Flip. And what is the plot to La Stampante Multi-D? Does it really involve the future a lot? Because I prefer to stick with the "Eega Beeva is an alien, but he time-travels" explanation rather than have him really be from 500 years in Earth's future.
Damn it, yes, I accidentally erased the second paragraph. I was saying that I realised editors had asked for a 3000-connected story, but I was wondering whether Casty had not simply reworked a non-3000-compliant script to meet his editor's wishes rather than write a whole new story with the "it has to do with 3000" prompt in mind.
As for the pspronunciation psproblem, I do belief his name is Flip.
Whether it is Flip or Pflip, I guess we will know for sure once someone who has access to the English version of the stories will have told us how is the character referred to by Mickey and other people.
Because I prefer to stick with the "Eega Beeva is an alien, but he time-travels" explanation rather than have him really be from 500 years in Earth's future.
That's a surprising position, since he was meant to be a man from the future from day 1, and the later idea of him as an alien is just a result of some writers not knowing about his origin.
That said, the character's first story is ambiguous enough as to what Eega Beeva was doing in that cave (we are not explicitly told that he's from the center of the Earth and that we are supposed to believe time runs faster there) that it would be easy for any writer to do a retcon to fit the alien theory into what we were shown in that story.
In fact, there are at least two examples of stories that did such a retcon. The first one is Eta Beta l'uomo del 3000 (2013) which, guess what, it's also from Topolino #3000. In it, we are shown a flashback of the character's first meeting with Mickey in his debut story, and alien Eega Beeva comments it by saying that at the time he went there because he wanted to live in a cave of another planet. I think it was because he needed a place to meditate or something, but I can't check the story now. The second one is Casty's Topolino e gli incontenibili Squee (Topolino #3020, also from 2013), which I think shows Eega Beeva's spaceship falling into the cave shown in the 1947 story.
Because I prefer to stick with the "Eega Beeva is an alien, but he time-travels" explanation rather than have him really be from 500 years in Earth's future.
That's a surprising position, since he was meant to be a man from the future from day 1, and the later idea of him as an alien is just a result of some writers not knowing about his origin.
That said, the character's first story is ambiguous enough as to what Eega Beeva was doing in that cave (we are not explicitly told that he's from the center of the Earth and that we are supposed to believe time runs faster there) that it would be easy for any writer to do a retcon to fit the alien theory into what we were shown in that story.
In fact, there are at least two examples of stories that did such a retcon. The first one is Eta Beta l'uomo del 3000 (2013) which, guess what, it's also from Topolino #3000. In it, we are shown a flashback of the character's first meeting with Mickey in his debut story, and alien Eega Beeva comments it by saying that at the time he went there because he wanted to live in a cave of another planet. I think it was because he needed a place to meditate or something, but I can't check the story now. The second one is Casty's Topolino e gli incontenibili Squee (Topolino #3020, also from 2013), which I think shows Eega Beeva's spaceship falling into the cave shown in the 1947 story.
I'm one for "ultimate continuity"; the original intention is better followed, but if the number of stories following another idea is greater and they follow it less ambiguously, I compromise. On the "cave" matter, there's also a very well-liked Brazilian story where we are shown a whole colony of Beeva-like characters living underground; we are meant to assume Eega was out spelunking and accidentally stumbled upon a path to the surface. To tie this together with the "alien" idea, I have this city be a colony established by the Beevans on Earth.
Pflip is Pflip, no matter who utters his name (done consistently during Walsh's run, anyway). Mickey's been calling him "Pflip" since the critter's third daily appearance; YM 48-01-20 (I think) of "Mickey Makes a Killing".
I'm one for "ultimate continuity"; the original intention is better followed, but if the number of stories following another idea is greater and they follow it less ambiguously, I compromise. On the "cave" matter, there's also a very well-liked Brazilian story where we are shown a whole colony of Beeva-like characters living underground; we are meant to assume Eega was out spelunking and accidentally stumbled upon a path to the surface. To tie this together with the "alien" idea, I have this city be a colony established by the Beevans on Earth.
I guess I shouldn't have been surprised, given your well known attitude about "ultimate continuity". Still, which is really the idea that has been followed more? Italian comics from the 2000's onwards seem to have mostly done away with the alien idea (save a few exceptions like the stories I mentioned), and I think Italy was the only country that ever used it. Or has it also been used in other countries?
Anyway, in my headcanon Eega Beeva is still not an alien.
I'm one for "ultimate continuity"; the original intention is better followed, but if the number of stories following another idea is greater and they follow it less ambiguously, I compromise. On the "cave" matter, there's also a very well-liked Brazilian story where we are shown a whole colony of Beeva-like characters living underground; we are meant to assume Eega was out spelunking and accidentally stumbled upon a path to the surface. To tie this together with the "alien" idea, I have this city be a colony established by the Beevans on Earth.
I guess I shouldn't have been surprised, given your well known attitude about "ultimate continuity". Still, which is really the idea that has been followed more? Italian comics from the 2000's onwards seem to have mostly done away with the alien idea (save a few exceptions like the stories I mentioned), and I think Italy was the only country that ever used it. Or has it also been used in other countries?
Anyway, in my headcanon Eega Beeva is still not an alien.
Eega Beeva as an alien was the norm in France, and I grew up with it. For instance, one of my childhood favourites, The Giants from Planet Rong (which, even looking back, is a pretty solid story, sort of Casty-like in feel and with awesome art, and would deserve an IDW printing were the Mickey title not defunct), uses it. In fact, one of our early hardbacks pioneered the "time-travelling idea" by its title, Eega Beeva the Alien from the Future.
Also note that there are other time-travel stories where the characters travel to the year 2500 and beyond and the people look nothing like Eega Beeva, so by continuity standards it's less conflicting for him to not be from the year 2500.
I guess I shouldn't have been surprised, given your well known attitude about "ultimate continuity". Still, which is really the idea that has been followed more? Italian comics from the 2000's onwards seem to have mostly done away with the alien idea (save a few exceptions like the stories I mentioned), and I think Italy was the only country that ever used it. Or has it also been used in other countries?
Anyway, in my headcanon Eega Beeva is still not an alien.
Eega Beeva as an alien was the norm in France, and I grew up with it. For instance, one of my childhood favourites, The Giants from Planet Rong (which, even looking back, is a pretty solid story, sort of Casty-like in feel and with awesome art, and would deserve an IDW printing were the Mickey title not defunct), uses it. In fact, one of our early hardbacks pioneered the "time-travelling idea" by its title, Eega Beeva the Alien from the Future.
So, Eega Beeva as an alien is/was also an idea used in French stories? It makes sense, since France have been printing Italian stories for many decades, so it's not surprising that an idea originating in Italian stories would end up also being used in French stories. Or did French authors came up with that idea on their own? All I know is that the earliest Italian story to portray Eega Beeva as an alien is probably Eta Beta e la cometa al fenantrone (1962), written by Roberto Catalano and drawn by Romano Scarpa.
Eega Beeva as an alien was the norm in France, and I grew up with it. For instance, one of my childhood favourites, The Giants from Planet Rong (which, even looking back, is a pretty solid story, sort of Casty-like in feel and with awesome art, and would deserve an IDW printing were the Mickey title not defunct), uses it. In fact, one of our early hardbacks pioneered the "time-travelling idea" by its title, Eega Beeva the Alien from the Future.
So, Eega Beeva as an alien is/was also an idea used in French stories? It makes sense, since France have been printing Italian stories for many decades, so it's not surprising that an idea originating in Italian stories would end up also being used in French stories. Or did French authors came up with that idea on their own? All I know is that the earliest Italian story to portray Eega Beeva as an alien is probably Eta Beta e la cometa al fenantrone (1962), written by Roberto Catalano and drawn by Romano Scarpa.
As far as I know, we Frenchment didn't really have home-grown Disney comics in 1962, so I'd say we just copied from our translated Italian stories.
As far as I know, we Frenchment didn't really have home-grown Disney comics in 1962, so I'd say we just copied from our translated Italian stories.
Indeed, I see from Inducks that there are only 21 French-produced stories with Eega Beeva, the first one being from 1979, and the last one from 2010.
Also, I just noticed a curious thing: in the first Italian printing of "The Blot's Double Mystery" (Martina/Scarpa, 1955) Eega Beeva says that he came from his underground country, but in some later reprints (which have many dialogues altered for various reasons) that line was changed so that he says he came from his country in the future. I guess this was done to fit the fact that he comes from the future, which is true given what we see in the original story... but the fact that he comes from the underground is also true, since the original story showed that too!
Now that I think about it, do these two things support each other, or do they exclude each other? I never really wondered about that since I first read the original Eega Beeva story in this book, with an introductory article by Alberto Becattini mentioning both facts and explaining that the story implies we are meant to assume that time runs faster at the center of the earth, and that's why the character is "from the future". I have always regarded this as a fact without questioning it too much, but now that I think about it I wonder if this is what Walsh actually meant or if it's just an hypothesis made by some critics decades later. If it's the latter, what was Walsh implying? That is, assuming he was implying something at all, since his stories are often weird, not to mention he seemed to write the continuities with the approach of a writer of gag-a-day strips, i.e. not planning things in advance while writing the earliest strips of a story.