However, not all the work that occurred in the Magic Kingdom was free from tribulation and sometimes the dark forces beyond its gilded walls threatened it's very existence. Wars and labor disputes as well as hostile takeovers had created deep divisions that threw a shadow across otherwise sunlit corridors. But despite these troubles the dwellers inside the Magic Kingdom were contented in their work as they continually strove to ensure that their realizations of the storyteller's dreams matched his expectations.
In their constant strive to fulfill this remit, no amount of effort was too much. New and ever more potent means of delivering the storyteller's dreams to audiences far and wide were explored and as a consequence more and more of the storyteller's accumulated gold was gambled in the making of these stories.
And here dear reader (assuming you are still with us) is just such an example of this phenomenon, in 1959 Walt Disney's Sleeping Beauty was released having had a huge production budget lavished on it, with extensive use of the Disney Studio's multiplane camera, six channel stereophonic sound and wide angle Technirama pumping up the budget to $6,000,000, making the film the biggest financial gamble the studio had taken since recovering from the near wipe-out that the War had inflicted on their export markets nearly twenty years earlier.
Several years and several animated flops later Iwrks returned to work with Disney and this time he devoted himself to pioneering new visual effects including a way of melding film and drawing together in such films as Song of the South and more spectacularly Mary Poppins. But the innovation he created which was to really slash their production costs and enable the studio to continue producing animated feature length films was the xerographic process for cel animation, which was first presented to cinema audiences with the release in 1961 of 101 Dalmations.
Tales of the Greeks and Trojans. Both handsome books, both quietly pining for a good home.