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Walt Disney's Mickey Mouse #4
Mickey Mouse, Vol. 4: House of the Seven Haunts!
Who says dead men tell no tales? When grim grinning ghosts come out to socialize, they ll find fearless Mickey all ready to rumble as soon as he 's done fighting gangsters, bandits, and international men of mystery, that is From Africa to Eastern Europe, our favorite big cheese is in for terrifying thrills and he 's bringing Goofy, Donald Duck, and that big palooka Pegleg Pete along for the ride When Mickey sets out to eject The Seven Ghosts from Bassett Manor, he finds more than just specters providing the scares Next, moving smoothly from horror to science fiction, our hero discovers an awesome Island in the Sky and meets its maker, the powerful atomic scientist Dr. Einmug Lovingly restored from Disney 's original negatives and proof sheets, House of the Seven Haunts also includes more than 50 pages of spooky supplementary features You ll enjoy rare behind-the-scenes art, vintage publicity material, and fascinating commentary by a haunted houseful of Disney scholars.
280 pages, Hardcover
First published October 24, 2012
5 people are currently reading
119 people want to read
About the author
Floyd Gottfredson
257 books40 followersArthur Floyd Gottfredson (1905-1986) was an American cartoonist. He is known for his defining work on the Mickey Mouse newspaper strip, which he drew from 1929 to 1975, and mostly plotted himself from 1929 to 1945. His impact on the character of Mickey Mouse is often compared to the one that cartoonist Carl Barks had on Donald Duck. Because of the large international circulation of his strips, reprinted for decades in some European countries like Italy and France, Gottfredson can be seen as one of the most influential cartoonists of the 20th century. Many groundbreaking comic book artists, like Carl Barks and Osamu Tezuka, declared to have been inspired by his work.
Floyd Gottfredson grew up in a Mormon family from Utah. He started drawing as a kid on doctor's advice, as a form of rehabilitation after a sever injury, which left his dominant arm partially disabled for life. After taking some cartooning correspondence courses, teenage Floyd secured a job as cartoonist for the Salt Lake City Telegram.
At age 23, Floyd moved to California with his wife and family. He interviewed at the Disney Studios, hoping to land a position as a comic strip artist, but was hired as in-between animator instead. In that period writer Walt Disney and artist Ub Iwerks were starting a series of daily syndicated newspaper comic strips featuring Mickey Mouse, the character the two had created for animation the year before. A few months into the publication of the strips however, Iwerks left the Studios. Walt decided then to promote Gottfredson to the role of Mickey Mouse strip penciler, remembering his original request at the job interview. Not long after that, Disney left the entire process of creation of the strip to Gottfredson, who would eventually become head of a small 'comic strips department' within the Disney Studios.
Up to 1955, Mickey's strips were 'continuity adventures': the strips were not just self-contained gags, but they composed long stories that would stretch in the newspapers for months. In this context, Gottfredson had to developed Mickey's personality way beyond his animation counterpart. He made him an adventurer and multi-tasking hero, putting him in all kind of settings and genre-parodies: thriller, sci-fi, urban comedy, adventure in exotic lands, war stories, western, and so on.
Gottfredson scripted the stories on his own for a few years, only getting help for the inking part of the process. (Most notably by Al Taliaferro, who will become himself the main artist on the Silly Symphonies and Donald Duck syndicated strips.) Starting from around 1932, Gottfredson worked with various writers, mostly Ted Osbourne and Merril deMarris, who provided scripts for the strips, while Floyd retained the role of plotter and penciler. Starting from 1945, Gottfredson left all writing duties to writer Bill Wash.
In 1955, by request of the Syndicate, Mickey Mouse strips stopped being continuous stories, and became self-contained gag. Gottfredson would remain in his role of strip artist for twenty more years, up to his retirement in 1975.
Gottfredson died in 1986, with his achievements going mostly unknown to the larger American public (as his strips were technically all signed 'Walt Disney').
In 2006, twenty years after his death, Floyd Gottfredson was inducted into the Will Eisner Comic Industry Awards Hall of Fame.
Floyd Gottfredson grew up in a Mormon family from Utah. He started drawing as a kid on doctor's advice, as a form of rehabilitation after a sever injury, which left his dominant arm partially disabled for life. After taking some cartooning correspondence courses, teenage Floyd secured a job as cartoonist for the Salt Lake City Telegram.
At age 23, Floyd moved to California with his wife and family. He interviewed at the Disney Studios, hoping to land a position as a comic strip artist, but was hired as in-between animator instead. In that period writer Walt Disney and artist Ub Iwerks were starting a series of daily syndicated newspaper comic strips featuring Mickey Mouse, the character the two had created for animation the year before. A few months into the publication of the strips however, Iwerks left the Studios. Walt decided then to promote Gottfredson to the role of Mickey Mouse strip penciler, remembering his original request at the job interview. Not long after that, Disney left the entire process of creation of the strip to Gottfredson, who would eventually become head of a small 'comic strips department' within the Disney Studios.
Up to 1955, Mickey's strips were 'continuity adventures': the strips were not just self-contained gags, but they composed long stories that would stretch in the newspapers for months. In this context, Gottfredson had to developed Mickey's personality way beyond his animation counterpart. He made him an adventurer and multi-tasking hero, putting him in all kind of settings and genre-parodies: thriller, sci-fi, urban comedy, adventure in exotic lands, war stories, western, and so on.
Gottfredson scripted the stories on his own for a few years, only getting help for the inking part of the process. (Most notably by Al Taliaferro, who will become himself the main artist on the Silly Symphonies and Donald Duck syndicated strips.) Starting from around 1932, Gottfredson worked with various writers, mostly Ted Osbourne and Merril deMarris, who provided scripts for the strips, while Floyd retained the role of plotter and penciler. Starting from 1945, Gottfredson left all writing duties to writer Bill Wash.
In 1955, by request of the Syndicate, Mickey Mouse strips stopped being continuous stories, and became self-contained gag. Gottfredson would remain in his role of strip artist for twenty more years, up to his retirement in 1975.
Gottfredson died in 1986, with his achievements going mostly unknown to the larger American public (as his strips were technically all signed 'Walt Disney').
In 2006, twenty years after his death, Floyd Gottfredson was inducted into the Will Eisner Comic Industry Awards Hall of Fame.
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Displaying 1 - 15 of 15 reviews
January 29, 2022
9.5/10
Plotted and penciled by Floyd Gottfrdson, scripted by Ted Osborne, inked by Ted Thwaites and Al Taliaferro, the Mickey Mouse newspaper strips run from 1937-1938 is arguably one of the greatest iterations of the comic medium. Not just of strip humour comics. Not just of the funny animal genre. Of the whole medium of sequential graphic storytelling, period. Yes, this stuff is possibly better than Asterix, Maus or Akira; better than the sophisticated artistic representations of Chris Ware's childhood traumas, better than all the Moebius's ink farts that Les Humanöides Associés overcharge you to sniff. Or at least as significative for the history of the medium. (The rest, obviously, is a matter of taste.)
Let us see if the material checks all the due boxes, shall we?
- All age-appropriate adventures around the world, mixing genres without solution of continuity, from military parody to treasure hunts, from urban comedy to pure sci-fi. ✓
- An outstanding density of humour and gags, due to the fact that these long stories were conceived and published as compositions of daily 4-panels long strip instalments, and each of those strips tried to steal at least a smile from sad readers in sad times. ✓
- Great cartooning craftsmanship, starting from an attractive round art-style full of eye-catching geeky details. ✓
(Over time, Walt Disney will ask Gottfredson to draw less details so to spend less time on the drawing table: not worth it, readers don't even care. Gottfredson himself preferred his latest minimalistic style, but I remain in love with this early curvy one.)
- Nice soft inking and extremely smart use of the screen tones, decades before the manga industry was even invented. ✓
- The original Ghostbusters. ✓
- Stories that have not been influential on the majority of other comics artists, but selectively influential on a bunch of creators who will then go out and change the world of comics forever, such as Barks, Hergé, possibly Walt Kelly, definitely Tezuka (even if apparently some Japanese academic does not want to admit it). ✓
- Donald Fauntleroy Duck. ✓
- A pick example of American narrative, as only the US can produce, and at the same time a funny pastiche of the American pop/pulp literature of the 30's. ✓
- So purely American and such great an example of American literature that too many Americans have forgotten about it, so the work ended up being praised mostly in continental western Europe, especially Italy, France, Germany. ✓
(Thankfully the Seattle-based publisher Fantagraphics Books has solved this issue by producing this beautiful edition. I have rarely seen a comic creator receiving better treatment in print.)
Plotted and penciled by Floyd Gottfrdson, scripted by Ted Osborne, inked by Ted Thwaites and Al Taliaferro, the Mickey Mouse newspaper strips run from 1937-1938 is arguably one of the greatest iterations of the comic medium. Not just of strip humour comics. Not just of the funny animal genre. Of the whole medium of sequential graphic storytelling, period. Yes, this stuff is possibly better than Asterix, Maus or Akira; better than the sophisticated artistic representations of Chris Ware's childhood traumas, better than all the Moebius's ink farts that Les Humanöides Associés overcharge you to sniff. Or at least as significative for the history of the medium. (The rest, obviously, is a matter of taste.)
Let us see if the material checks all the due boxes, shall we?
- All age-appropriate adventures around the world, mixing genres without solution of continuity, from military parody to treasure hunts, from urban comedy to pure sci-fi. ✓
- An outstanding density of humour and gags, due to the fact that these long stories were conceived and published as compositions of daily 4-panels long strip instalments, and each of those strips tried to steal at least a smile from sad readers in sad times. ✓
- Great cartooning craftsmanship, starting from an attractive round art-style full of eye-catching geeky details. ✓
(Over time, Walt Disney will ask Gottfredson to draw less details so to spend less time on the drawing table: not worth it, readers don't even care. Gottfredson himself preferred his latest minimalistic style, but I remain in love with this early curvy one.)
- Nice soft inking and extremely smart use of the screen tones, decades before the manga industry was even invented. ✓
- The original Ghostbusters. ✓
- Stories that have not been influential on the majority of other comics artists, but selectively influential on a bunch of creators who will then go out and change the world of comics forever, such as Barks, Hergé, possibly Walt Kelly, definitely Tezuka (even if apparently some Japanese academic does not want to admit it). ✓
- Donald Fauntleroy Duck. ✓
- A pick example of American narrative, as only the US can produce, and at the same time a funny pastiche of the American pop/pulp literature of the 30's. ✓
- So purely American and such great an example of American literature that too many Americans have forgotten about it, so the work ended up being praised mostly in continental western Europe, especially Italy, France, Germany. ✓
(Thankfully the Seattle-based publisher Fantagraphics Books has solved this issue by producing this beautiful edition. I have rarely seen a comic creator receiving better treatment in print.)
December 12, 2014
So this is where the strip is starting to hit its stride and really comes into its own. The adventures have become more elaborate to the point that they're mini-epics, and (save for the Oscar the Ostrich one) they don't feel like adaptations of cartoon scripts that didn't go into production for one reason or another anymore. Nearly all of the stories collected in here have seen lots of reprints over the years, so if you're even vaguely familiar with Mickey Mouse comics chances are pretty high that you've read at least one of them. There's the one with "the treasure hunt in Africa", the one with "the island in the sky", the one "in which Mickey joins the Foreign Legion", the "detective story with the haunted house"... and so on. And reading them all in one go, back to back, in the order in which they originally appeared in the newspapers, makes you realize how great the strip truly was.
The best collection in this series yet!
The best collection in this series yet!
September 20, 2017
House of the Seven Haunts
é o quarto volume da coleção das tiras históricas de Mickey, criadas por Floyd Gottfredson, publicada pela editora americana Fantagraphics Books – portanto, exatamente no original, em preto e branco e em inglês.
As histórias deste volume, com aventuras de março de 1936 a fevereiro de 1938:
1. Oscar the Ostrich
2. Mickey Mouse joins the Foreign Legion
3. The Seven Ghosts
4. Island in the Sky
5. In Search of Jungle Treasure
6. Monarch of Medioka
Entre as melhores, estão:
“Mickey Mouse joins the Foreign Legion”
Mickey de fato acaba se alistando na famosa Legião Estrangeira, um corpo militar francês na África, mas também faz parte do Serviço Secreto, por isso o título em italiano. A Legião Estrangeira fazia sucesso como tema de aventuras na época, a partir do Livro Beau Geste, de P.C. Wren, de 1924, adaptado para a tela ainda no cinema mudo, em 1926 e depois refilmado na famosa versão de 1939, com Gary Cooper, que ganhou um Oscar.
“Island in the Sky”
Eram anos interessantes, mas também difíceis. O mundo via um grande avanço científico e tecnológico, como, por exemplo, na aviação (apenas trinta anos depois de Santos Dumont). Assim, histórias com aviões, como “Island in the Sky” (“Ilha no Céu”), eram sempre atraentes e associadas a algo avançado. Porém, esse avanço também tinha grande impacto no cenário político, em que o mundo via crescentes ameaças e indicações do grande conflito que estava por vir, a II Guerra Mundial. Nesta guerra, a tecnologia mudaria tudo. A aviação, por exemplo, passaria a ter papel preponderante.
O átomo era também um assunto em pauta: a ciência avançava rapidamente neste campo em direção a aplicações, que poderiam ser pacíficas ou não. A primeira, infelizmente, não foi: a bomba atômica, de fato, estreou na guerra menos de dez anos depois, em 1945, arrasando Hiroshima, no Japão.
Atualíssima então, portanto, a história (a favorita de Gottfredson, segundo Thomas Andrae e David Gerstein), e possivelmente sua melhor história de ficção científica, tem como questão central a discussão sobre o mundo estar ou não preparado para a energia atômica.
A história é típica de um momento de evolução de Mickey, já em seu sétimo ano: ao mesmo tempo que ainda é praticamente aquele bonequinho inicial de desenho animado, sem camisa, assume atitudes mais elaboradas e aventureiras, em um roteiro sofisticado, deixando de ser o quase caipira do início. Contraste similar também se vê entre o interessantíssimo ponto de partida, a discussão da aplicação da energia atômica e seu impacto sobre a guerra, e as máquinas da suposta usina atômica, um pouco malucas, como em bons desenhos animados. Aliás, o comportamento do avião de Mickey é também parecido com os de animações, com curvas impossíveis e enrugamentos em paradas bruscas. Nem por isso deixa de ser razoavelmente bem representativo de aviões da época, ou, pelo menos, de alguns anos anteriores: não há cabine, os pilotos vão ao ar livre, e por isso, usam as pesadas roupas de avidores de então. Este e outros são bons detalhes a reparar em quadrinhos de época. O mesmo já não ocorre com o avião de seu arquirrival, Bafo-de-Onça, que é mais na linha fantasista, com asas de morcego. A ilha no céu, literalmente uma ilha flutuante no ar, tem ainda influências também de um filme de Flash Gordonde 1936, em que também havia uma – e também sustentada por energia atômica.
Uma das figuras interessantíssimas do volume é o cientista atômico inventor da ilha no céu, criado por Ted Osborne e Floyd Gottfredson. Gottfredson nunca mais voltou com a personagem, que ficou mais de cinquenta anos sem aparecer nos EUA, o que só ocorreu em 1991 – mas já com outros artistas e roteirista –, embora tenha reaparecido antes em histórias produzidas na Itália.
Seu nome no original é Dr. Einmug, o que já é uma das infindáveis piadas dos quadrinhos com nomes de personagens. O cientista fala com sotaque alemão, provavelmente uma referência a Albert Einstein. Stein, uma palavra originalmente alemã (pedra), em inglês é usada como caneca, especialmente em beer stein, um caneco de chope, por exemplo. Como mug é justamente uma caneca, está aí o trocadilho: Einstein (“interpretado” como “um caneco”) passa a Einmug (“uma caneca”). Como alguns trocadilhos são intraduzíveis, seu nome não foi mantido na tradução para o português.
“Monarch of Medioka”
Cada volume traz uma série de histórias originalmente publicadas em tiras diárias de jornais, reproduzidas no mesmo tamanho e em preto e branco. Além de ser uma preciosidade para entusiastas e colecionadores, a série é também uma excelente fonte de informação sobre os primeiros tempos dos quadrinhos, a evolução dos personagens, do trabalho do desenhista e mesmo sobre a sociedade da época, já distante cerca de 80 anos!
Além das tiras, há quase 30 páginas de material de alta qualidade: prefácio, apresentação de cada história, análises e artigos de especialistas, e mais extras como páginas alternativas, capas de outros países, histórias de outros artistas, etc.
Parte desta resenha se repete em outras da mesma série, por serem muitos volumes, de modo que os leitores podem eventualmente encontrar um ou outro, e não os demais. Cada uma, porém, tem detalhes específicos.
A Fantagraphics vem publicando duas séries de quadrinhos históricos Disney: a dos patos de Carl Barks (Donald, Tio Patinhas, etc.) e a do Mickey de Floyd Gottfredson. Desta, já foram publicados dez volumes, com mais dois em preparação, com cerca de 280 páginas. Todos podem ser encontrados isoladamente ou em caixas com dois volumes cada uma. A segunda caixa traz os volumes 3 e 4.
Existe outra coleção do Mickey histórico sendo publicada pela Editora Abril, um projeto original da Itália, que apresenta as histórias de Mickey traduzidas e colorizadas.
Referências
> Autores (variando por história)
- - Roteiro e arte: Floyd Gottfredson
- - Roteiro: Ted Osborne
- - Arte: Ted Thwaites e Al Taliaferro
> Publicação original nos EUA (tiras diárias em jornais): 1936 a 1938. Nesta coleção, 2012.
> Formato horizontal, grande, aproximadamente 27 x 22 cm, capa dura, em preto e branco (páginas extras em cores)
Coleções históricas Disney sendo publicadas
As diversas coleções históricas Disney atualmente existente podem ser encontradas na Amazon brasileira. As da Abril, integralmente, as da Fantagraphics, pelo menos em parte. Algumas em volumes individuais ou em caixas. Verifique sempre a disponibilidade.
Está indicado o primeiro volume de cada coleção. Neste volume, procure minha resenha, na qual estão listados os volumes e caixas publicados, com links para cada um.
1. “Os Anos de Ouro de Mickey”
Em português, tradução de original italiano, a cores, Editora Abril
> Mickey na ilha misteriosa *** R
2. “Walt Disney’s Mickey Mouse by Floyd Gottfredson”
Em inglês, em preto e branco, Fantagraphics (EUA)
> Race to Death Valley] *** R
3. “The Complete Carl Barks Disney Library”
Em inglês, em cores, em formato maior (aproximadamente 19 x 26 cm), Fantagraphics (EUA)
> Christmas on Bear Mountain*** R
4. “Coleção Carl Barks defintiva”
Em português, tradução da coleção da Fantagraphics, em cores, em formato reduzido (aproximadamente 16 x 24 cm), Editora Abril
> Perdidos nos Andes *** R
*** R – Álbum já resenhado por mim. Para ler minha resenha, role a página do livro até que ela apareça.
As histórias deste volume, com aventuras de março de 1936 a fevereiro de 1938:
1. Oscar the Ostrich
2. Mickey Mouse joins the Foreign Legion
3. The Seven Ghosts
4. Island in the Sky
5. In Search of Jungle Treasure
6. Monarch of Medioka
Entre as melhores, estão:
“Mickey Mouse joins the Foreign Legion”
Mickey de fato acaba se alistando na famosa Legião Estrangeira, um corpo militar francês na África, mas também faz parte do Serviço Secreto, por isso o título em italiano. A Legião Estrangeira fazia sucesso como tema de aventuras na época, a partir do Livro Beau Geste, de P.C. Wren, de 1924, adaptado para a tela ainda no cinema mudo, em 1926 e depois refilmado na famosa versão de 1939, com Gary Cooper, que ganhou um Oscar.
“Island in the Sky”
Eram anos interessantes, mas também difíceis. O mundo via um grande avanço científico e tecnológico, como, por exemplo, na aviação (apenas trinta anos depois de Santos Dumont). Assim, histórias com aviões, como “Island in the Sky” (“Ilha no Céu”), eram sempre atraentes e associadas a algo avançado. Porém, esse avanço também tinha grande impacto no cenário político, em que o mundo via crescentes ameaças e indicações do grande conflito que estava por vir, a II Guerra Mundial. Nesta guerra, a tecnologia mudaria tudo. A aviação, por exemplo, passaria a ter papel preponderante.
O átomo era também um assunto em pauta: a ciência avançava rapidamente neste campo em direção a aplicações, que poderiam ser pacíficas ou não. A primeira, infelizmente, não foi: a bomba atômica, de fato, estreou na guerra menos de dez anos depois, em 1945, arrasando Hiroshima, no Japão.
Atualíssima então, portanto, a história (a favorita de Gottfredson, segundo Thomas Andrae e David Gerstein), e possivelmente sua melhor história de ficção científica, tem como questão central a discussão sobre o mundo estar ou não preparado para a energia atômica.
A história é típica de um momento de evolução de Mickey, já em seu sétimo ano: ao mesmo tempo que ainda é praticamente aquele bonequinho inicial de desenho animado, sem camisa, assume atitudes mais elaboradas e aventureiras, em um roteiro sofisticado, deixando de ser o quase caipira do início. Contraste similar também se vê entre o interessantíssimo ponto de partida, a discussão da aplicação da energia atômica e seu impacto sobre a guerra, e as máquinas da suposta usina atômica, um pouco malucas, como em bons desenhos animados. Aliás, o comportamento do avião de Mickey é também parecido com os de animações, com curvas impossíveis e enrugamentos em paradas bruscas. Nem por isso deixa de ser razoavelmente bem representativo de aviões da época, ou, pelo menos, de alguns anos anteriores: não há cabine, os pilotos vão ao ar livre, e por isso, usam as pesadas roupas de avidores de então. Este e outros são bons detalhes a reparar em quadrinhos de época. O mesmo já não ocorre com o avião de seu arquirrival, Bafo-de-Onça, que é mais na linha fantasista, com asas de morcego. A ilha no céu, literalmente uma ilha flutuante no ar, tem ainda influências também de um filme de Flash Gordonde 1936, em que também havia uma – e também sustentada por energia atômica.
Uma das figuras interessantíssimas do volume é o cientista atômico inventor da ilha no céu, criado por Ted Osborne e Floyd Gottfredson. Gottfredson nunca mais voltou com a personagem, que ficou mais de cinquenta anos sem aparecer nos EUA, o que só ocorreu em 1991 – mas já com outros artistas e roteirista –, embora tenha reaparecido antes em histórias produzidas na Itália.
Seu nome no original é Dr. Einmug, o que já é uma das infindáveis piadas dos quadrinhos com nomes de personagens. O cientista fala com sotaque alemão, provavelmente uma referência a Albert Einstein. Stein, uma palavra originalmente alemã (pedra), em inglês é usada como caneca, especialmente em beer stein, um caneco de chope, por exemplo. Como mug é justamente uma caneca, está aí o trocadilho: Einstein (“interpretado” como “um caneco”) passa a Einmug (“uma caneca”). Como alguns trocadilhos são intraduzíveis, seu nome não foi mantido na tradução para o português.
“Monarch of Medioka”
Cada volume traz uma série de histórias originalmente publicadas em tiras diárias de jornais, reproduzidas no mesmo tamanho e em preto e branco. Além de ser uma preciosidade para entusiastas e colecionadores, a série é também uma excelente fonte de informação sobre os primeiros tempos dos quadrinhos, a evolução dos personagens, do trabalho do desenhista e mesmo sobre a sociedade da época, já distante cerca de 80 anos!
Além das tiras, há quase 30 páginas de material de alta qualidade: prefácio, apresentação de cada história, análises e artigos de especialistas, e mais extras como páginas alternativas, capas de outros países, histórias de outros artistas, etc.
Parte desta resenha se repete em outras da mesma série, por serem muitos volumes, de modo que os leitores podem eventualmente encontrar um ou outro, e não os demais. Cada uma, porém, tem detalhes específicos.
A Fantagraphics vem publicando duas séries de quadrinhos históricos Disney: a dos patos de Carl Barks (Donald, Tio Patinhas, etc.) e a do Mickey de Floyd Gottfredson. Desta, já foram publicados dez volumes, com mais dois em preparação, com cerca de 280 páginas. Todos podem ser encontrados isoladamente ou em caixas com dois volumes cada uma. A segunda caixa traz os volumes 3 e 4.
Existe outra coleção do Mickey histórico sendo publicada pela Editora Abril, um projeto original da Itália, que apresenta as histórias de Mickey traduzidas e colorizadas.
Referências
> Autores (variando por história)
- - Roteiro e arte: Floyd Gottfredson
- - Roteiro: Ted Osborne
- - Arte: Ted Thwaites e Al Taliaferro
> Publicação original nos EUA (tiras diárias em jornais): 1936 a 1938. Nesta coleção, 2012.
> Formato horizontal, grande, aproximadamente 27 x 22 cm, capa dura, em preto e branco (páginas extras em cores)
Coleções históricas Disney sendo publicadas
As diversas coleções históricas Disney atualmente existente podem ser encontradas na Amazon brasileira. As da Abril, integralmente, as da Fantagraphics, pelo menos em parte. Algumas em volumes individuais ou em caixas. Verifique sempre a disponibilidade.
Está indicado o primeiro volume de cada coleção. Neste volume, procure minha resenha, na qual estão listados os volumes e caixas publicados, com links para cada um.
1. “Os Anos de Ouro de Mickey”
Em português, tradução de original italiano, a cores, Editora Abril
> Mickey na ilha misteriosa *** R
2. “Walt Disney’s Mickey Mouse by Floyd Gottfredson”
Em inglês, em preto e branco, Fantagraphics (EUA)
> Race to Death Valley] *** R
3. “The Complete Carl Barks Disney Library”
Em inglês, em cores, em formato maior (aproximadamente 19 x 26 cm), Fantagraphics (EUA)
> Christmas on Bear Mountain*** R
4. “Coleção Carl Barks defintiva”
Em português, tradução da coleção da Fantagraphics, em cores, em formato reduzido (aproximadamente 16 x 24 cm), Editora Abril
> Perdidos nos Andes *** R
*** R – Álbum já resenhado por mim. Para ler minha resenha, role a página do livro até que ela apareça.
July 16, 2023
I had a wonderful time reading this collection. As with others in the series, the book provides tons of background materials for readers to learn about the creators and the process behind creation and a bit about the times. One of the stories in this volume got the strip banned in Yugoslavia, and it was interesting to hear about that, and about some of the other bits and bobs behind the character creations and the stories. I had read many of these stories as a kid (Medioka, Island in the Sky, Oscar the Ostrich), and it was a total pleasure reading them again as an adult. Island in the Sky actually feels like a precursor to Godzilla (1954) in some surprising ways. I enjoyed the other stories, too--House of Seven Haunts had some wacky Scooby vibes, Mickey joins the Foreign Legion had some great adventure bits and was probably my favorite of the ones I hadn't read before, and we get another story with Mickey going into the jungle and battling cannibals... that one was... well, it was really uncomfortable.
Still, as with anything, all books are products of their times. That's true of this one, too. And there is a lot to like and appreciate in these lavish books.
This one also has a sequel to the Seven Haunts story from a different creative team in the back. I didn't like the newer story really (which has an Estonian artist! Cool!), but it was still super cool they included it in the book.
Still, as with anything, all books are products of their times. That's true of this one, too. And there is a lot to like and appreciate in these lavish books.
This one also has a sequel to the Seven Haunts story from a different creative team in the back. I didn't like the newer story really (which has an Estonian artist! Cool!), but it was still super cool they included it in the book.
March 28, 2023
Another fun batch of old Mickey strips. Donald Duck shows up for a bit before getting his own strip (also great). Mickey is 100% an adventurer now. Goofy is his sidekick and it’s a blast.
This strip is old and so there are some (too many) offensive charactures and accents. But if you can look last that as a product of its time this book is really good.
This strip is old and so there are some (too many) offensive charactures and accents. But if you can look last that as a product of its time this book is really good.
April 26, 2025
A livello grafico darei 5 stelle, i disegni sono bellissimi. Le storie tuttavia sono ovviamente figlie del loro tempo, con cliché razziali e stereotipi che a tratti inquietano.
Tuttavia è stato interessate vedere una delle prime fasi della nascita del Topolino che conosciamo oggi. Gli approfondimenti del libro sulla storia dei discepoli e del disegnatore sono molto belli
Tuttavia è stato interessate vedere una delle prime fasi della nascita del Topolino che conosciamo oggi. Gli approfondimenti del libro sulla storia dei discepoli e del disegnatore sono molto belli
March 16, 2019
Some really fun and classic newspaper-strip stories hereenewspaper-strip stories here, marred somewhat by a REALLY dated/unfortunate/racist African adventure. Amazing Fantagraphics presentation, as always.
December 10, 2014
More great early Mickey Mouse comic strips by Gottfredson. I'd give this 4.5 stars if it were possible, but I can't go quite go five since the Ostrich story is a bit of a throwback to the lighter gag-oriented (and to me less interesting) phase of Mickey's early career, and because the editorial insitence on reminding us every time these strips are politically incorrect by today's standards, rather than just running a single disclaimer somewhere relatively unobtrusive, gets more irritating with every volume; I appreciate that the Disney folk are even allowing this stuff to be reprinted, given some of the content, but their paranoia about maintaining their squeaky-clean image gets tired.
That said, the bulk of the stories here are prime Gottfredson adventure comedies, including Mickey's stint in the Foreign Legion, a favourite of mine as a kid, as well as the title story, "The Island in the Sky" (a prescient tale of Dr. Einmug's harnessing of atomic power, and the danger it represents)and the "Monarch of Medioka" (a sort of Prince and the Pauper/Prisoner of Zenda hybrid). Gottfredson was a master at pacing and at combining the serious adventure stuff with enough of a leavening of humour to keep it kid-friendly--especially important, no doubt, in the "Haunts" story. The additional editorial material is as useful as usual, though some of it seems unsure of its audience, being written as if the anticipated reader was a kid. While kids might read these books, I doubt they'd do so for the archival stuff and the contextualizing material, which I think should aim a bit higher. There's also a decent sequel to the "House of the Seven Haunts" story by another hand; it's entertaining enough, but the contrast between it and Gotfredson is instructive. On its own merits, it's entertaining, but compared to Gottfredson, it's thin gruel.
Highly recommended for Disney fans and for fans of first-rate adventure/humour cartooning.
That said, the bulk of the stories here are prime Gottfredson adventure comedies, including Mickey's stint in the Foreign Legion, a favourite of mine as a kid, as well as the title story, "The Island in the Sky" (a prescient tale of Dr. Einmug's harnessing of atomic power, and the danger it represents)and the "Monarch of Medioka" (a sort of Prince and the Pauper/Prisoner of Zenda hybrid). Gottfredson was a master at pacing and at combining the serious adventure stuff with enough of a leavening of humour to keep it kid-friendly--especially important, no doubt, in the "Haunts" story. The additional editorial material is as useful as usual, though some of it seems unsure of its audience, being written as if the anticipated reader was a kid. While kids might read these books, I doubt they'd do so for the archival stuff and the contextualizing material, which I think should aim a bit higher. There's also a decent sequel to the "House of the Seven Haunts" story by another hand; it's entertaining enough, but the contrast between it and Gotfredson is instructive. On its own merits, it's entertaining, but compared to Gottfredson, it's thin gruel.
Highly recommended for Disney fans and for fans of first-rate adventure/humour cartooning.
October 18, 2013
One of my friends posted a really cool Mickey Mouse cartoon that I had never seen before ("Runaway Brain") and I had really liked. I haven't seen a whole lot of solo Mickey shorts except for the early black and ones and the ones where he's the straight man to Donald and Goofy but I was kind of blown away by how different it was compared to what I had seen of Mickey Mouse. He said that the Mickey in "Runaway Brain" was basically the version of Mickey in the comics and he linked me to this book which I put on my Amazon Wishlist for my birthday.
I haven't read any of the Disney comics but I loved it and even there were times of to be expected political incorrectness, the stories were really exciting and the art was really inventive and cartoony.
I haven't read any of the Disney comics but I loved it and even there were times of to be expected political incorrectness, the stories were really exciting and the art was really inventive and cartoony.
January 12, 2013
This book is a really good collection of older Mickey Mouse comics. I wasn't too into the first two stories, but I really liked the rest of the book. It is also really interesting to read the introductions to each story as well as see some of the original artwork in color and some black and white storyboard drawings at the end of the book. There is also a full color two part comic after the artwork. The rest of the book is in black and white. The only thing I did not like about this book is how long it is, and I mean size, not number of pages. Because of the length the book is somewhat awkward to hold, but I do like how the material is presented so this is a very minor thing.
November 19, 2013
All 4 of the volumes in this series that have been published so far are MUST READS if you like comic strips or Disneyana. Not only are the strips masterfully restored, but there is extensive supporting information in every volume. Gottfredson wrote and drew the stip until about 1943 and these are probably the best stories to read....but that will take us up to about Volume 7 and I look forward to sampling the strips by other writers. This archival collection deserves your full support since a complete run of this amazing comic strip has never been done before.
June 15, 2015
This was one of those random finds at the local library. I was not even aware that there was a series of these books until I posted the book on Goodreads. I was very happy to find that our library system has all of them. These are a unique collection of very old Mickey Mouse comic strips bound up in several separate books. The stories the strips tell are a fascinating look back in history and that really makes for some fun reading.
November 4, 2013
Typical of the other volumes, this one is a classy affair with some really great stories. Only one is a bit marred by racial stereotypes typical of the time, but even so, the adventures are so entertaining it's generally easy to look past the faults.
Next up are two volumes of colour Sundays, can't wait. (I highly recommend waiting for the slip cases, for both value and esthetics.
Next up are two volumes of colour Sundays, can't wait. (I highly recommend waiting for the slip cases, for both value and esthetics.
September 27, 2013
Great stories. Loses a star for racist caricatures which, admittedly, were more common in the 1930s when these comic strips were created.
November 11, 2013
Beautiful book. The comic strips are thoroughly enjoyable. Particularly the Seven Ghosts, which was turned into an animated short later.
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