General

Carl Fallberg and the Lost Disney Book

Instead of posting the usual Jim Hill Thursday book review, Jim invited Jim Korkis to fill in JHM readers on a long-promised Disney studio history book that (sadly) won’t be turning up at a bookstore near you anytime soon.

Published

20 years ago

September 10, 2003

Jim Korkis

Over the years, one of the greatest frustrations I have had as a Disney fan and animation fan is trying to track down Disney and animation books that were announced and often listed as being published and yet further research eventually revealed that they never existed.

In my files is an excerpt from an interview with animation storyman Bill Danch who claimed that he wrote a book on animation with Dave Fleischer and that Fleischer took full credit for it. It is not listed in Leslie Carbarga’s terrific book on the Fleischer studio and G. Michael Dobbs (who almost twenty years ago was supposedly writing a definitive book about the fabulous Fleischers and was listed as “the official biographer”) never mentioned it either.

When Disney animator Bill Tytla passed away, his widow announced she would be producing a book entitled THE WONDERFUL WORLD OF WILLY T. (I assume some of that information eventually was used in John Canemaker’s outstanding program book for the 1994 Katonah Museum of Art exhibition of Tytla’s work since he lists Adrienne Tytla’s DISNEY GIANT, “an unpublished, undated manuscript” as one of his references.)

How many of us waited patiently for John Culhane’s book on animation that was announced on the flyleaf of his 1981 book SPECIAL EFFECTS IN THE MOVIES? Culhane was not just the inspiration for Mr. Snoops in THE RESCUERS and Flying John in FANTASIA 2000 but also a respected author on animation including the book on FANTASIA. I got a chance to talk with John about the book a few years ago and he assured me he had boxes and boxes and boxes of interviews and notes for that animation book but he kept getting sidelined on other projects.

And how many of you have a copy of the Spring 1991 catalog from Publishers Group West which was distributed that year at the American Booksellers Association and announced THE UNOFFICIAL GUIDE TO THE FEATURE FILMS OF DISNEY by Jim Korkis and John Cawley? There was even an ISBN number for this 200 page trade paperback which would be “a complete guide to all of the animated features from the Walt Disney Company. Covers the entire behind-the-scenes story for each film, including exclusive interviews and rare illustrations.” The publisher even had a mock-up cover for the book (that he never approved through either John or I) that would have been guaranteed to get us all sued by the Disney Company. However, the publisher was, to put it politely, an outright crook and when John and I finally wised up to that fact, we cancelled that project although I notice it still gets listed as “published but out-of-print.” I think I still have the notes and sample chapters somewhere in a box in my storage unit.

Anyway, at a much earlier American Bookseller Association gathering, a small publishing house, Heimburger House Publishing, was announcing their upcoming list of titles including:

DISNEY’S MEN, WOMEN AND MOUSE:
The Fascinating Story of Walt Disney’s Golden Age of Animation at the famed Hyperion Studios in Hollywood
by Carl Fallberg

The Disney Studio was located at 2719 Hyperion Ave. in Hollywood from 1926 to 1940. The Hyperion Studio assumed a legendary aura synonymous with the Golden Age of Animation-a period when the animated cartoon developed into a true art form in a remarkably short time.

In DISNEY’S MEN, WOMEN AND MOUSE, Carl Fallberg recalls working at the Disney Studios in the 1930s as an assistant director and storyman on Disney’s landmark animated features such as SNOW WHITE, SNOW WHITE AND THE SEVEN DWARFS, FANTASIA and BAMBI.

Included in this illustrated history are personal interviews with men and women who worked for Walt, along with a look at Walt’s decision-making capabilities, his personality, creative ability, sincere dedication to his dream, his affection for his employees and a glimpse at what it was like to work for Disney.

Tentative book length of 200 pages, 8½ x 11.

Who is Carl Fallberg? Thousands upon tens of thousands of people worked for the Disney Company for almost a century and very few of their names (especially those who worked in the early years of the Disney Company) are known by the general public.

Carl Robert Fallberg was born in 1915 and joined the Disney Studio in 1935. He was listed as an assistant sequence director (assisting Perce Pearce) on SNOW WHITE and is credited as a storyman on BAMBI and the “Sorcerer’s Apprentice” segment of FANTASIA. He left the Disney Studio during World War II and joined the Marines. After the war, he apparently found some work at various animation studios before settling in to the life of a freelance writer turning out tons of work for DELL/WESTERN/GOLD KEY comics.

His work for those comics included almost every character in the Walter Lantz, Warner Brothers, Hanna-Barbera, DePatie-Freleng and more stable of animated characters. More importantly, he was a very important contributor to the Disney line of comic books.

Remember those classic MICKEY MOUSE SERIALS in the back of WALT DISNEY COMICS AND STORIES illustrated by the great Paul Murry? A number of different artists were tested before Murry’s first serial was published in WDCS 152, in May 1953. This tale, “The Last Resort” is a milestone in the history of Mickey Mouse not only because it was Murry’s first serial comic but because it was also written by Carl Fallberg. Up until 1962, it was Murry and Fallberg who produced almost all of those serials in WDCS for close to a decade. Since, by his own admission, during his career Murry never wrote a story of his own, it was Fallberg’s writing that helped create that universe of mystery and adventure for Mickey Mouse and Goofy that enchanted millions of readers in those back pages of the popular comic book. “The Last Resort” was a terrific story where Mickey and Goofy are vacationing at the Whispering Pines Hotel, but soon discover that somebody is trying to scare them away and the story set the pattern for even more wonderful stories.

Fallberg worked for DELL/WESTERN/GOLD KEY from 1952 until 1977 where he wrote Disney stories about The Li’l Bad Wolf, Jiminy Cricket, Ludwig Von Drake, Scrooge McDuck, Mickey Mouse, Donald Duck, Goofy and more familiar character names that would fill this page to overflowing. (I believe the last comic book work that was written by Fallberg was “Goofy the Kid” which appeared in DISNEY COMICS in 1990.)

In the Seventies, Fallberg wandered back into animation working at Warner Brothers on THE SPEEDY AND DAFFY SHOW and at Hanna-Barbera where he worked on shows like THE THREE ROBONIC STOOGES, LAFF-A-LYMPICS, and THE ALL NEW POPEYE HOUR among others.

Fallberg also worked on “special” projects like writing ADVENTURE IN DISNEYLAND (the Richfield Oil Giveaway from 1955 that was offered at Disneyland) and the 1976 MICKEY AND GOOFY EXPLORE ENERGY for Exxon (which he later redesigned to promote Epcot’s UNIVERSE OF ENERGY attraction). Did you have a copy of the Sears WINNIE THE POOH COLORING BOOK from 1975? Fallberg wrote and designed that book along with issues of many Disney Magazines like WONDERFUL WORLD OF DISNEY 1969-1970. Do you have the Whitman Big Little Books from the mid-Sixties like DONALD DUCK AND THE LUCK OF THE DUCKS or DONALD DUCK AND THE FABULOUS DIAMOND FOUNTAIN? Carl wrote those as well as other books that featured licensed characters from the major animation studios.

In addition, he found time to write for syndicated comic strips like BUGS BUNNY and ROY ROGERS in the Fifties and Sixties and later DISNEY’S TREASURY OF CLASSIC TALES (Sunday only from 1976-1980 and 1982-1987) as well as some of the Disney’s Christmas oriented strips that appeared in newspapers each year from around 1976-1984.

Quite an impressive resume! However, why was Heimburger House publishing his book of memories at the Disney studio since that publishing house did (and still does) print books for railroad fans?

Well, for nearly six years after he got out of the Marines, Fallberg wrote and illustrated a monthly one panel strip for RAILROAD MAGAZINE entitled FIDDLETOWN AND COPPEROPOLIS. “To anyone familiar with the lore of Colorado’s 3-foot lines, the feeling persists that within the pages of FIDDLETOWN AND COPPEROPOLIS lies a disguised pictorial history of those railroads in humorous vein. Narrow gauge railroading represented the zenith of informality in a now-vanished era, a mood the artist has been able to recapture,” stated R.H. Kindig, the President of the Rocky Mountain Railroad Club when the book was first published by Hungerford Press of Reseda, California in 1960.

Fiddletown and Copperopolis were chosen as likely small towns for the rickety 19th century narrow gauge railroad to service and the cartoons show the same detail and love that Ward Kimball used to devote to his classic old time car cartoons (“Asinine Alley” which Fantagraphics reprinted some wonderful examples of in the first three issues of its 1990 publication GRAPHIC STORY. The title “Asinine Alley” was Kimball’s take-off on “Gasoline Alley” and the cartoons showed the trials and tribulations of early motorists…including one having his car hijacked by a creature from outer space!)

Well, Heimburger House reprinted Carl Fallberg’s classic book of turn of the century railroading cartoons and it is still available today and can be ordered from www.amazon.com for fifteen dollars! “This delightful collection of railroad cartoons by Fallberg of Walt Disney fame is a 144-page, softbound, 9 5/8 x 6 1/4” book illustrating the trails and tribulations of a narrow gauge “uncommon” carrier. To anyone familiar with the lore of America’s three-foot railroad lines, the feeling persists that within these pages lies a disguised pictorial history of prototype narrow gauge railroads in a very humorous vein. The key word in Fallberg’s illustrations is exaggeration,” is the recent description of the book from the publisher.

As much fun as the railroad book is, I was more excited to see a book of memories about Disney’s Hyperion Studio. Every ABA, I asked Heimburger House about the book which still listed it as “coming soon” and was assured by the representatives at their table that it was close to completion. I used to write a column for the ASIFA-Hollywood Newsletter, INBETWEENER, and in one of my columns in 1995 I was bemoaning the fact that I was going crazy waiting for this book to be published because I was very excited to hear stories of the early days of the Disney Studio.

I was saddened when the editor of INBETWEENER forwarded me a note sent to the newsletter in regards to that column by Fallberg’s daughter, Carla: “Thank you for your interest in my father, Carl Fallberg’s involvement in the art of animation. He was in the Story Department at Disney’s, working on ‘Sorcerer’s Apprentice’ in FANTASIA and on BAMBI. He also worked as an assistant director on SNOW WHITE. He left the studio when World War II broke out and joined a training film unit in the USMC. After the war, he worked in various animation studios and eventually ended up working freelance for Disney writing comic books. He is now 79 years old and living in a senior board-and-care, unable to take care of his daily duties because he suffers from brain damage due to early alcohol abuse. I am just glad that he still has enough of his mind together to sign his name. He had to stop work on his book about the old Disney days because of his disability. Sadly, the right side of his brain, the creative side was affected the most. Keep enjoying the art of animation-old and new-and I will let him read your appreciation.”

Apparently, Carl did not suffer much longer. He passed away May 9, 1996 taking with him many great untold stories. A few years later I heard that Carla Fallberg was looking for a writer with an understanding of Disney history to help put together her father’s notes and rough draft chapters into a book that would be a final tribute to her father but that project apparently never happened.

When you go to Amazon.com to order a copy of FIDDLETOWN AND COPPEROPOLIS, be very careful because under Carl Fallberg, they also list DISNEY’S MEN, WOMEN AND MOUSE as having been published but is currently “out of print.” But for a long while, they also did the same for THE UNOFFICIAL GUIDE TO THE FEATURE FILMS OF DISNEY by Jim Korkis and John Cawley and I only discovered that fact when I relocated to Florida and several people kept writing to me asking if they could buy a copy. Take it from me, after decades of trying to track down obscure Disney and animation books, these two were never published. However, there are some very interesting books on those topics that were published and are equally obscure. I’ll try to alert you to some of those in another column.

Until then, I strongly recommend that you visit The Ultimate Disney Books Network handled by Didlier Ghez (the author of an outstanding book on Disneyland Paris which is equally highly recommended). I don’t always agree with Didlier’s descriptions of Disney books but I applaud and am astonished at his extensive listings of Disney books published and out of print. However, you won’t find the Fallberg or Korkis and Cawley book there either!

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

8 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

9 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

9 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015