Keskustelujen arkisto

Quote from user: Thomps2525The 48-page issue will be published on June 3 in the United States and feature "The Lost Explorers' Trail" with art by Giorgio Cavazzano and Manuel Gonzales. The story includes Mickey's sidekick Eurasia Toft, who is very popular in the Italian stories but I don't believe she has ever appeared in American comics. She was created by Andrea "Casty" Castellan.

I hope IDW will eventually come up with a better cover design. The letters of "Mickey Mouse" are, for lack of a better word, squished.

Thomps, the "The Lost Explorers' Trail" is written by Casty with art by Giorgio Cavazzano without Manuel Gonzales. Manuel Gonzales was the artist of the Mickey Mouse Sunday page after Gottfredson moved exclusively to the dallies. My guess is that this issue will have this story (http://coa.inducks.org/story.php?c=I+TL+2507-1) with a backup story and some Sunday pages by Gonzales.

I actually like the new Mickey Mouse logo. The logo that needs to change is Uncle Scrooge's which does not have the S in Scrooge as a dollar sign.

Quote from user: ramapithOur Mickey Mouse cover logo at IDW is, in fact, the original poster logo designed by Walt and Ub in 1929.
I'd wondered where it came from--awesome touch.

Mickey no longer looks (or acts) the way he did in the 1930s so there is no reason for IDW to use the old logo for the Mickey Mouse comics. Yes, the logo is historic but it is also odd-looking because each letter overlaps the letter which follows it except for the first "M." I hope the first IDW issue will at least explain the origin of the logo. I also hope that future issues will redesign the logo so it is not so "squished"---and the "M" overlaps the "I."
The dollar sign derives from "ps," an abbreviation of "peso." The symbol was originally just the letter S. In the 1770s, people starting drawing a straight line through it.
http://www.oxforddictionaries.com/us/words/what-is-the-origin-of-the-dollar-sign
Dell's Uncle Scrooge comics used an S with two lines. Maybe Scrooge had twice the wealth of anyone else?

David, I am not angry...although I do tend to come across as lecturing. I admit it. And I hope you were taking notes. :) I enjoy the new Mickey cartoons because they are very clever and creative.....and Mickey can even take his ears off the way he (and Felix the Cat) used to do in the late 1920s.
I have a subscription to Reminisce magazine. A few months ago, the layout was redesigned. Each page has a wide border and is designed to look like a page of a photo album. On the corners of some of the articles are pictures of the tiny gummed photograph holders that are---or were---used in photo albums. The cover logo is now in a very ugly black script against a plain white background. I wrote the publisher to express my displeasure. If I saw the cover at a newsstand, I wouldn't give the magazine a second look. Very few places other than comic book shops sell comics nowadays but a logo should be attractive, something which will catch the eye of a potential reader. The "USE" in the new "old" logo looks good because those letters are not so cramped. Too much of the "C" and the "O" is covered up. Just stretch the logo out a little. The picture on the cover of issue #1 is nice, although the water looks pointy instead of wet. You and your colleagues "love what they do"? I love reading what you do. I'm looking forward to all the new Disney comics. My collection goes back to 1943, long before I was born.

Quote from user: ClaptonI'm just curious but will we be seeing some of those post-Gottfredson continuity Sundays stories like this one(http://coa.inducks.org/story.php?c=ZM+018).
We don't have any Mickey Sunday continuities on the schedule??yet. But never say never (...though alas, the specific story you cite includes some very dated content, so I wouldn't put it in a regular all-ages comic).
At first, our major use for the Gonzy-era Sundays is to fully introduce Ellsworth, who down the line will also play a part in some of the new-to-USA Scarpa stories we plan to feature.

As to non-Gottfredson/Barks American material: it's too early to announce anything for sure, but tentatively speaking, a few of your suggestions are already on the schedule. Our Donald Duck #1 goes partway there with a "new" Kinney/Hubbard Fethry story, one of my personal favorites; though admittedly, it's not exactly a reprint of the kind you have described, as it hasn't appeared domestically before.

We've got some Gyro on the docket, though I can't announce any specifics yet.
Brigitta and Jubal were introduced in stories made by Europeans for domestic European comics.
Fethry was introduced in stories made by Americans, but for a special pool of "Disney Studio stories" aimed at foreign markets first.
Western Publishing ran almost none of the European or Studio material before 1984. As far as my colleagues and I have been able to figure out, Western's editors considered the European content either too sophisticated, too old-fashioned, or both. Meanwhile, Western seemingly wasn't allowed to use the Studio stories outside of special circumstances, so almost never published any.
Did Western's editors think that this content "would not appeal to American readers?" It's hard to know how they felt about their readers. But one can frankly get a taste of their personal sensibilities from the fact that they encouraged this while turning Daan Jippes and Fred Milton away at the door; and when Harry Gladstone, a domestic Barks fan, proved able to mimic Barks' 1946 style almost exactly, Western demanded he mimick Tony Strobl's 1971 model sheets instead.
So??because the foreign and Studio stories were blocked from our market, Fethry, Jubal, and Brigitta were, too. They've only become a part of our domestic Disney comic books in the 1990s and afterward, when the issues were all too often poorly advertised, poorly distributed, or both??so the larger American public just hasn't become too aware of the characters.
They make nice best-kept secrets, though, don't they? And nothing says that if the comics became popular again, Fethry, Brigitta, and Jubal wouldn't become popular along with them.
Eurasia Toft, meanwhile, is a relatively new Italian creation, having only made a handful of appearances and all within the last twelve years. While her stories are certainly popular among diehard fans in Europe, I'm not sure she's a household name yet there, either. But give her time. Who doesn't like an overenthusiastic college-grad jungle explorer with a Cockney brogue?

Quote from user: ramapithOur Mickey Mouse cover logo at IDW is, in fact, the original poster logo designed by Walt and Ub in 1929.

http://upload.wikimedia.org/wikipedia/en/e/ed/Mickey_Mouse_film_poster.png

From 1986-2011, through various stops and starts, Mickey Mouse always kept the same logotype: a two-line treatment of Mickey's name that, by necessity, took quite a lot of space on most covers??and made it quite difficult to use a lot of beautiful pre-existing European cover drawings.

I like trying a one-line logo for a change; and since ours was good enough for Mickey's literal creators, it's good enough for me. For now. (Of course, nothing's ever set in stone...!)
That 1986-2011 logo wasn't always two-line, at least not judging by this Issuu preview of Boom! Kids' Mickey Mouse issue #303: http://issuu.com/previews/docs/mickeymousefriends_303_prev I appreciate the historic background of the IDW logo, but I think the version on #303 looks better design-wise, and also reads much better from a distance.

It would seem the main problem with using the one-line version on the Boom cover is the credit list on IDW's covers, which takes up a lot of space in the upper left-hand margin. Maybe this credit layout could be changed for the Mickey covers only?