Floyd GottfredsonReseñas

I grew up reading Disney minibook comics and I got the same feelings from these Archives. More please!

Three good storylines in this one--Bat Bandit, Editor-in-Grief, and Pirate Submarine--plus the usual selection of archival material and historical essays.

Un altro grandissimo padre di Topolino, Floyd Gottfredson, trova il meritato spazio in questa raccolta di maestri della Disney. Gottfredson è un artista completo, dal tratto complesso ed articolato che riesce perfettamente a dare una dimensione completa a Topolino, al di là dei, presunti, limiti dei capolavori a fumetti. In questo albo vengono proposte tre storie di Topolino, ed una chicca. Partiamo dalle tre storie, la prima è “Topolino e Felice detto il bel gagà”: il tratto dell’artista è ancora molto vicino a quello del primo Topolino, semplice, in parte stilizzato, quasi innocente. Topolino è costretto a confrontarsi con Felice, un cialtrone che cerca, senza successo, di irretire Minnie e, intanto, ruba tutte le uova dalla fattoria del padre per mandarli sul lastrico e trasformarsi dal responsabile alla soluzione dei problemi della famiglia; chiaramente Topolino vince. Nella seconda storia “Topolino e la macchina Toc Toc di Zio Sfrizzo”, il nostro amico è costretto a tenere a bada uno zio di Pippo, Sfrizzo, più strampalato del nipote; il problema è che oltre ad essere strampalato Zio Sfrizzo è anche un inventore e la sua macchina del tempo costringe i due ad un lungo viaggio nel tempo, precorrendo la macchina di Zapotec; nell’ultima storia “Topolino contro Topolino” un furfante prende il posto di Topolino facendolo odiare da tutti; alla fine, chiaramente Topolino vincerà. Ma il vero capolavoro è la storia “Zirlino leone pecorino”, non c’entra niente questa volta il mondo della Disney, un cucciolo di leone viene cresciuto da una pecora tra le continue angherie delle altre pecore che lo deridono perché è meno forte di loro a dare le testate. Ma quando la madre di Zirlino verrà catturata da un lupo cattivo, il piccolo leone si riscatterà agli occhi del suo universo di pecore. Come detto una chicca.

When a new dog racing park opens up, Mickey Mouse wants to see Pluto win the race, but he has to contend first with Pluto's embarrassing performance and then with corrupt gamblers trying to fix the race.

This comic was one of the give-aways at Free Comic Book Day, and I originally picked it up thinking it might be good for my nephew. On closer examination, I quickly saw that he's still too young for this comic. But this old Disney comic strip was surprisingly delightful for me to read instead! The storyline itself, in addition to the speech patterns and jargon used by the characters, felt like something right out of a 1930s/1940s movie. The black and white illustrations are simplistic when compared with the more elaborate art of modern comic books, but they still perfectly capture the emotions of the characters as the story progresses. I was very pleased with this gem and couldn't put it down. Extra bonuses are an introduction and a concluding essay, both of which provide some Disney history and context for the comic.½

Every once in a while, a book comes along that is simply spectacular. This collection of comic strips by Floyd Gottfredson is a perfect example of how to present, analyze and reconstruct subject matter that is viewed differently today. The series editors (David Gerstein and Gary Groth) pull no punches in discussing why Mickey was carrying a gun or the use of slang that is noticeably offensive by today's standards. This is a wonderful vehicle for presenting historically accurate art. Other companies should take notice.

Mickey Mouse is a global icon.

It is really hard to imagine a time when the Mouse didn't pervade every media outlet. When these comics were produced, it was Mickey's first foray into the lucrative comic pages of the day. The editors recount the story of how the strip came to life through research vignettes that are carefully peppered between the serials. The first three months worth of strips were written by Walt Disney and drawn by Ub Iwerks. Win Smith handled it for a few weeks before Gottfredson was brought in on a temporary basis. Gottfredson ended up at the helm of the strip for the next 45 years.

There are fourteen serials presented in the book covering January 13, 1930 to January 9, 1932. The editors went to extreme lengths to secure the strips. Often, they had to borrow panels from collectors when Disney's masters had been damaged. The strips have been reproduced in a brilliant fidelity; the artwork and lettering stands fresh. Some of the antics may seem silly or overtly simple, but you have to remember the restrictions that a four-panel comic presents. The first panel needed to "catch up" the reader while the last panel needed to offer a reason to read it the next day. Gottfredson quickly became the master of the medium.

The supplemental material provided by the editors would shine on its own. Historical context is provided that explains the quirks of the characters as seen through modern eyes. Yes, there are times when Mickey carries a weapon or when certain ethnicities might be overly generalized, but you have to appreciate the comics as they were presented.

The last 60 pages of the book are dedicated to essays and archival features. Included are the first three months of the strip before Gottfredson took over. The editors offer essays about the artists that assisted Gottfredson and how the characters existed inside the world of the comics.

This is a stunning work. The historical presentation is flawless, as is the artwork. We meet a Mickey Mouse that very few of us experienced. When Gottfredson was penning the stories, he wasn't bound to the same code that the animators found themselves having to adhere to. As Mickey evolved on screen to become the charming every-man, the comics offered a Mickey that was more aligned with the earliest shorts. He was more of a good-natured rascal who was always looking for the best in people and in situations.

This is a must-have for Mickey fans, comic fans and anyone else with an interest in the early years of the Disney Company. You will garner a greater appreciation for Mouse and how he developed across different media. You will also get to see Horace Horsecollar, Clarabelle Cow, Kat Nipp and Butch in more of a starring role. Pick up a copy; you won't be sorry.

This is a nicely-reproduced collection of daily and Sunday Mickey Mouse strips of the 1930's by perhaps his greatest artist, Floyd Gottfredson. The adventures include "The Robin Hood Adventure" and a run-in with the Phantom Blot. The stories are a lot of fun, although I cosider Carl Barks' Duck stories to be superior by a fair margin.½

A very nicely-reproduced collection of Mickey Mouse's newspaper comic strip adventures, in lovely color, from 1930 to 1937. Walt Disney was credited for these, but in truth he probably had no direct input. The book includes a history of Mickey Mouse's development by Walt Disney studios.½