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Walt Disney's Mickey Mouse #2
Mickey Mouse, Vol. 2: Trapped on Treasure Island
“Oh, for gosh sakes!” Floyd Gottfredson’s classic 1930s Mickey Mouse is back for another round of thrills, chills, and epic quests — taking him from the depths of teeming jungles to the halls of spooky Blaggard Castle. Mickey’s classic Disney bad guys are here, too, with arch-enemy Pegleg Pete joined for this book by the mysterious “Bill Shakespeare” and hypnosis-happy Professors Ecks,
Doublex, and Triplex!
Doublex, and Triplex!
Floyd Gottfredson, artist of Mickey Mouse from 1930-1975, made it the most popular cartoon-based comic of its time. Unafraid to tackle social satire and grown-up action-adventure, Gottfredson produced a Mouse for all ages.
Today as Disney's Epic Mickey video game brings Mickey’s gutsy side to a new medium. Fantagraphics’ Mickey Mouse series shows just how long Mickey has been a hero! In this book you’ll relive Mickey’s fight with pirates on desolate Treasure Island; his quest with Goofy to catch ruthless counterfeiters; and his battles to save windy Horace Horsecollar from mad scientists, a robbery frame-up — and himself!
Lovingly restored from Disney’s original negatives and proof sheets, Mickey Mouse: Trapped on Treasure Island also includes more than 50 pages of fascinating supplementary features. You’ll enjoy rare behind-the-scenes art, vintage publicity material, and vivid commentary by a full team of seasoned Disney scholars.
Walt Disney often said that his studio’s success “all started with a mouse” — and today Mickey is among the world’s most recognizable icons in the world. Now it’s time to rediscover the wild, unforgettable personality behind the icon:
Floyd Gottfredson’s Mickey Mouse.
280 pages, Hardcover
First published October 18, 2011
13 people are currently reading
196 people want to read
About the author
Floyd Gottfredson
257 books39 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 - 21 of 21 reviews
December 18, 2012
I love these beautifully designed collections of the Mickey Mouse daily comic strips from the early 1930s. Fantagraphics Books has done a wonderful job on compiling, in chronological order, these funny and adventure-filled early adventures of the world famous mouse. Floyd Gottfredson devised the plots and drew the pencil work for all of the strips, but others contributed to the scripts. Many of the scripts were written by some of Disney's cartoon writers, people like Ted Osborne, Merrill De Maris and Webb Smith. As you will learn from the great wealth of supplemental materials and essays in the book, many of the comic strips were adapted from the Mickey Mouse cartoons that were being currently worked on by the Disney studio. For example, the "Blaggard Castle" storyline which ran in newspapers from November of 1932 to February of 1933 was adapted from the cartoon "The Mad Doctor," which was released in 1933. If you're a fan of early Disney, you'll find all of the essays informative. There is also loads of supplemental art, much of it in color. You'll get to see many of the paintings that Floyd Gottfredson did later in life where he recreated scenes from his most popular strips. But there are also wonderful reproductions of cover art from foreign (and domestic) editions of various comic books, coloring books and Big Little books. This is volume 2 in the series, but all of these books are not only great fun to read, but real treasure troves for fans of Disney's history.
June 17, 2017
This volume covers Floyd Gottfredson's Mickey Mouse daily comics from 1932 to 1934. In 1933 Mickey arguably entered his classic period and the last three adventures ('The Mail Pilot', 'Mickey Mouse and his Horse Tanglefoot' and 'The Crazy Crime Wave') all belong to the mouse's undisputed highlights. The Great Depression is most prominent in the first story, 'The Great Orphanage Robbery´, and several adventures can be linked to contemporary Mickey Mouse cartoons, e.g. ´Mickey´s Mellerdrammer´, ´The Mail Pilot´ and ´The Steeple Chase´. Gottfredson´s art becomes better and better, while the plots, partly by others become greater mixes of excitement and comedy. Gerstein and his colleagues provide insightful background information. Highly recommended.
December 2, 2021
There's no way around this; Mickey wears blackface in this one.
The introduction calls this out and explains how it was a vestige of the time this was created, but it does so a bit too gently for my tastes. It's kind of stunning how a funny-animal comic manages be racist, given that there aren't any humans in it at all, but that's the utter depths of America's racism in the Jim Crow era for you. All one's understanding about the culture of the 1930s makes it comprehensible how such a thing could be printed in newspapers without a second glance (from white people, that is), but it's still extremely difficult to see Mickey black up when that's so horrifying by today's standards. But as you work through the volume past that incident, the superior caliber of the pages makes you almost forget about it. You get caught up in the ensuing top-tier adventure stories with their lush artwork and wonderful details, right up until the moment that island cannibals show up. They're hideous stereotypes with enormous lips and a dialect from the minstrel era ("We is gwine to see de king o' de island! Yas, sir, boss!"). Gottfriedson would return to these tropes every few years, and they very nearly poison the legacy of this seminal strip and certainly relegate the material solely to fans of historical comic strips.
In a way, it's a credit that Disney allowed this material to see print when you'd think they'd be working with all their power to bury that image. As I said about the last volume, despite the repulsive period details, Floyd Gottfriedson's strip was one of the finest of the era and is worth reading, and the final stories in this book—really the strips for the entirety of 1933—are a blast, top-notch cartooning from an absolute master of his craft. It's a work that absolutely soars when it's not succumbing to the cruel prejudices of its day.
The introduction calls this out and explains how it was a vestige of the time this was created, but it does so a bit too gently for my tastes. It's kind of stunning how a funny-animal comic manages be racist, given that there aren't any humans in it at all, but that's the utter depths of America's racism in the Jim Crow era for you. All one's understanding about the culture of the 1930s makes it comprehensible how such a thing could be printed in newspapers without a second glance (from white people, that is), but it's still extremely difficult to see Mickey black up when that's so horrifying by today's standards. But as you work through the volume past that incident, the superior caliber of the pages makes you almost forget about it. You get caught up in the ensuing top-tier adventure stories with their lush artwork and wonderful details, right up until the moment that island cannibals show up. They're hideous stereotypes with enormous lips and a dialect from the minstrel era ("We is gwine to see de king o' de island! Yas, sir, boss!"). Gottfriedson would return to these tropes every few years, and they very nearly poison the legacy of this seminal strip and certainly relegate the material solely to fans of historical comic strips.
In a way, it's a credit that Disney allowed this material to see print when you'd think they'd be working with all their power to bury that image. As I said about the last volume, despite the repulsive period details, Floyd Gottfriedson's strip was one of the finest of the era and is worth reading, and the final stories in this book—really the strips for the entirety of 1933—are a blast, top-notch cartooning from an absolute master of his craft. It's a work that absolutely soars when it's not succumbing to the cruel prejudices of its day.
June 9, 2013
picking up where the previous volume left off, we can watch the growth of both Mickey and Gottfredson. wonderful extras, top shelf collection.
July 13, 2021
This was fun to read, a bit stronger on a storytelling standpoint than the first volume. I liked the Mickey as pilot story and the way they captured airplanes. Art is as always great, and I really like Dippy (before he became Goofy). Lots and lots of essays and things in the back to learn about the people behind the comic as well.
September 18, 2021
Mickey still going strong
Over many, many years Mickey still captivates the masses. Even without superpowers he shows up the villains with his cleverness and luck. All ages today will continue to enjoy Mickey and his pals
Over many, many years Mickey still captivates the masses. Even without superpowers he shows up the villains with his cleverness and luck. All ages today will continue to enjoy Mickey and his pals
July 4, 2023
Starting to find it's footing
It felt like the writer was finally starting to get his footing with some modern sensibilities and narratives. It's well on the way to be something worth attention.
But maybe not quite there yet.
It felt like the writer was finally starting to get his footing with some modern sensibilities and narratives. It's well on the way to be something worth attention.
But maybe not quite there yet.
October 1, 2025
The Great Orphanage Robbery 2/5
Mickey Mouse Sails for Treasure Island 2/5
Blaggard Castle 3/5
The Mail Pilot 3/5
Mickey Mouse and His Horse Tanglefoot 2/5
The Crazy Crime Wave 2/5
Average 2.33/5 but I reckon I'll keep it for the sake of Blaggard Castle, at least.
Mickey Mouse Sails for Treasure Island 2/5
Blaggard Castle 3/5
The Mail Pilot 3/5
Mickey Mouse and His Horse Tanglefoot 2/5
The Crazy Crime Wave 2/5
Average 2.33/5 but I reckon I'll keep it for the sake of Blaggard Castle, at least.
August 31, 2018
I really enjoy these early Mickey comics. The serial stories in this one, "Mickey Mouse sails for Treasure Island" and "Blaggard Castle" are even better than the ones in Vol. 1.
October 31, 2020
It reminds me of the old days. I wished they were in colors.
May 18, 2024
Fantastic work from Gottfredson.
5 star rating is for his work, not the unnecessary commentary that fills the volume (most of which can be skipped).
5 star rating is for his work, not the unnecessary commentary that fills the volume (most of which can be skipped).
October 10, 2017
Trapped on Treasure Island
é o segundo volume da coleção das tiras históricas de Mickey, escrito e desenhado por Floyd Gottfredson, publicada pela editora americana Fantagraphics Books – portanto, exatamente no original, em preto e branco e em inglês.
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 primeira caixa traz os volumes 1 e 2.
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.
Coleções históricas Disney sendo publicadas
As diversas coleções históricas Disney atualmente existentes 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.
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 primeira caixa traz os volumes 1 e 2.
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.
Coleções históricas Disney sendo publicadas
As diversas coleções históricas Disney atualmente existentes 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.
April 27, 2013
Another fun read. Gottfredson really developed a lot of the characters here. Pete and Sylvester Shyster (who according to the essays are both offshoots of the Oswald era Pete) make numerous appearances as recurring villains, each time becoming more solidly defined. I enjoyed the solid personalities that he gave Horace Horsecollar and Clarabelle in these strips as a slightly older, but perhaps not wiser, couple paired up with Mickey and Minnie. I'm a little saddened to learn that once Dippy Dawg (not yet known as Goofy) arrived in the final part of this collection, Gottfredson dropped the horse and cow right in the middle of building them up.
December 17, 2013
An interesting look behind classic 1930s Mickey Mouse daily serials, as well as the complete run of several comic stories. I was fascinated to learn that these early stories ran for months, and had a full story arch. I was also amazed how Mickey reflected current social views and incorporated "pop" culture in the strips of the day. For instance: horror movies,crime films, celebrity status of pilots and even the use of prevalent racial stereotypes of the day.
The reason I don't give this book 5 stars, is because the stories do run long, and as such, don't always maintain a comedic pace all the way through a particular story.
The reason I don't give this book 5 stars, is because the stories do run long, and as such, don't always maintain a comedic pace all the way through a particular story.
April 15, 2013
Continuing Floyd Gottfredson's long tenure on the WALT DISNEY'S MICKEY MOUSE comic strip, this volume contains some of his best work with such seminal stories as "The Mail Pilot" and "Mickey and His Horse Tanglefoot." The essays fore and aft are mostly superb, though some might have been best saved for more appropriate volumes. There is much here for adaptation students to work on, especially the connections between the strip and the films that supplied portions of their plots, and for Shakespeare pop culture scholars. More than a dozen of these strips reference Shakespeare.
December 10, 2014
This improves on volume one. The stories are generally better--not because they begin to be longer and more adventure-oriented, though that doesn't hurt, but simply because Gottfredson's getting a handle on what he's doing. The humour tends to be stronger, the narratives tend to cohere better, and the art is getting very slick. The size is not an issue this time, simply because the strips are better-designed and less cluttered. As before, the archival material is fascinating.
June 27, 2022
I liked it, mostly for the time being made. The stories were fun to read and simple enough, not something that will leave you in awe or something that you'll talk about for years to come, but fun nonetheless, the artwork is amazing. The depiction and everything in between, being pretty much the first successful antrhopomorphic comic, and I fucking love everything anthropomorphic so..!
And also, Floyd Gottfredson is amazing!
And also, Floyd Gottfredson is amazing!
June 26, 2012
Like the stories and how they ended!
January 20, 2014
Like the previous volume, it's interesting to look at the daily strips that my grandparents or their parents may have read in their newspapers.
June 18, 2016
A great collection of early Mickey comic strips, with appearances from Horace and Clarabelle, Dippy and of course Minnie. Packed with insightful commentary and supplementary features.
Displaying 1 - 21 of 21 reviews