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YMMV / Mickey Mouse Comic Universe

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  • Awesome Art: Many artists truly put their all into these silly little comics. Like in the Disney Ducks Comic Universe, Artist Fabio Celoni and colorist Mirka Andolfo stand out as amazing examples, creating detailed, beautiful artwork with deep, dramatic shadows and downright frightening subject matters. Didn't expect a Mickey Mouse comic to give you a horrifically detailed depiction of Hell, did you?
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  • Germans Love David Hasselhoff: In Europe, the Phantom Blot is considered the Doctor Doom of Disney.
  • I Am Not Shazam: Felicity Fieldmouse is commonly referred to by fans as Amelia Fieldmouse due to an earlier character that might have been the mother of Morty and Ferdie too. Scuttle is sometimes called Weasel after another henchman of Pete who starred in Disney's Mickey Mouse Adventures series.
  • Magnificent Bastard: The Phantom Blot is a cunning criminal who aims to reclaim a valuable formula for a chemical compound, one that he wrote down and hid inside of a specific model of camera. Stealing the cameras from the city's residents and smashing them open in his efforts to find it, the Blot introduces himself by easily kidnapping Mickey Mouse and planting him in a complex death trap when he is assigned to bring the Blot to justice. Matching Mickey in their game of wits, the Blot constantly has him on the ropes, nearly managing to escape with the formula were it not for Mickey's persistence and good fortune. In the end, the Blot admits that the reason why he couldn't bring himself to simply off Mickey when he had the chance was because of his too-tender heart. The Phantom Blot's highly memorable original outing would cause him to become one of Mickey's greatest and most beloved adversaries, eventually making his return years later in all sorts of other media.
  • Nightmare Fuel:
    • In his first appearance, the Phantom Blot quickly establishes himself as a dangerous villain, silently appearing behind Mickey and stalking him until he enters the police station, and Mickey never notices that somebody's right behind him. And even after that, he manages to pin a note on O'Hara's coat, something which none of the characters in the room noticed. This unnerves even Mickey. And all throughout the story the Blot keeps following Mickey and putting him in frightening deathtraps, and Mickey only manages to escape them in the nick of time, and even then it's more out of luck than any particular skill. If the Blot didn't have a "soft heart" as he calls it, he could kill anyone anywhere!
    • The Grey Mouse's schemes. They are always a variation of "let's replace Mickey and make everyone believe he's the imposter, then kill him", and he's damn good at them-In the latest, one of the people he convinced he was the real deal and Mickey the imposter was Mickey Mouse himself.
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    • A two-part retelling of The Strange Case of Dr. Jekyll and Mr. Hyde was published, with Mickey as Jekyll and Donald as Hyde. The first time "Donald Hyde" appears on-page, he savagely destroys Huey, Dewey and Louie's market stall. And let's not talk about this image...
    • Pete running unchecked invariably turns into this due what he achieves:
      • In "Mickey Mouse and the Chirikawa Necklace" he had assumed complete control of Mouseton's criminals... While in jail. Trudy (at her debut) was a frighteningly effective lieutenant...
      • In "The Delta Dimension" he had got his hands on the plans for one of Einmug's inventions, the one that could turn atoms into invulnerable people. He planned to use the atoms of a shot of whiskey to Take Over the World.
      • In "All of This Will Happen Yesterday", set in the Thirties, he had got his hands on the Glove of Amnesja and its hypnotic powers. When he was stopped by two Mickey Mouse (one of which arrived from the future specifically to stop him), he had already got a TV in every house of Mouseton and was about to use the sets to hypnotize everyone into making him Mouseton's ruler.
      • In "All of This Happened Tomorrow" Pete managed to recover the Glove of Amnesja three years before the story. By the time he's stopped by Mickey, Minnie, Goofy and their counterparts from the Thirties he had already taken over the whole of Calisota, stolen the Eiffel Tower, and set every single world leader on each other, the latter as part of making himself the ruler of the whole world: he wanted to have the world leaders make him the overlord of the entire planet, but realizing their populations may object he set everyone on each other as to present himself as the only one capable of keeping the peace.
    • One story involves a disturbingly realistic Cult with a headquarter in Duckburg. While they appear mostly harmless, it is definitely disturbing to see a bunch of people with the same clothes and hairstyle mindlessly following their cult's creed. Creepy for children, terrifying once you learn more about real-life cults. And that's before they tried to shoot Horace into the sun.
  • So Bad, It's Good: The 2002 story "Invasion of the Killer Penguins". Mouseton gets attacked by giant fish, Mickey is turned into a penguin, grows ostrich legs, has to defend Mouseton against the titular giant penguins, grows giant ears and starts flying... it makes sense in context, sort of. Or not.
  • Values Dissonance: While Floyd Gottfredson (and before him Walt Disney) wrote the strip, it had its share of ethnic stereotypes, in forms of exaggerated features (e.g. large lips) and accents and "savage cannibals" archetypes, the strip having an amount of direct or indirect racism. After Bill Walsh started writing the strip the ethnic stereotypes got toned down, but instead there was an amount of gender stereotypes with some strips feeling downright misogynic (like the strip for 8-7 1959 seen here feeling pretty dated). And the Italian comics aren't free from either category of stereotypes either.
  • What Do You Mean, It Wasn't Made on Drugs?: Bill Walsh's work, especially the later stuff. While Gottfredson's stories leaned towards mystery and adventure, Walsh's preferences were for horror and scifi. There are comics in which he puts those themes to use for a story, like "The House of Mystery" and the early Eega Beeva plots. But there are also comics that are just one long ride of weirdness that eventually reaches an end but not a conclusion. "A Fatal Occupation" and "Mousepotamia", which co-stars Jaq and Gus from Cinderella, are good examples of that. Add to that Walsh's tendency to drop characters that are portrayed as important the moment he's got other ideas, and you get stories like "The Magic Shoe", which spends about a third on Mickey's journey to meet an Irish doctor to help him with his hiccups and then never actually has Mickey meet the doctor as his encounter with the king of The Fair Folk startles him out of it and forms the basis for the remaining two thirds.
    • In Italy, a similar example is found in Andrea Fanton's works. Most of them feature common themes such as spies, weird scientists, usage of nuclear/electromagnetic energy as some kind of Deus ex Machina and alcoholic beverages. Some of the finest examples are Goofy and the Bomb Effect, a story about Mickey unveiling Emil Eagle's espionage system where Goofy discovers out of nowhere that he gets Super Strength and hypnotic powers while inside a radioisotopic field, Goofy and the Pollution-based Depression, where Goofy gets "depression" (which is actually more similar to delirium) after inhaling the fumes from a factory nearby his house and Mickey calls an equally weird professor to cure him, and A Monocle for Eega Beeva, a crime story about Mickey and Eega Beeva hunting for a burglar known as "Red Monocle" with a nonsensical subplot about Goofy meeting his elementary school teacher who forces him to redo all the homeworks he failed when he was a child.