“Ya still think it pays to fight dirty?” No bad guys can beat Walt Disney’s classic Mickey; no other “modest mouse” has seen more two-fisted action or outrageous comedy! And now our big-eared hero is back with more edge-of-your-seat adventures: traveling from Umbrellastan to Texas — and duking it out with villains like Dr. Vulter, Pegleg Pete, and malicious miser Eli Squinch!
Floyd Gottfredson, artist and writer of Mickey Mouse, turned the strip into a 100-proof cocktail of thrills, comedy, warmth, and cynicism. In this volume, you’ll saddle up for Gottfredson’s two most famous Wild West epics: a “Race for Riches” amid rockslides and rustlers, then a dead-shot showdown with the brutal “Bat Bandit!” Back home in Mouseton, the mayhem continues when Mickey, Donald, and Goofy run a crime-fighting newspaper — and face trouble with mobsters and speeding black sedans!
Lovingly restored from Disney’s proof sheets, High Noon at Inferno Gulch also includes more than 50 pages of rootin’-tootin’ supplementary features! You’ll enjoy rare behind-the-scenes art, vintage publicity material, and vivid commentary by a pistol-packin’ posse of seasoned Disney scholars, including a Foreword by Thomas Andrae and an appreciation by the late Bill Blackbeard.
Walt Disney often said that his studio’s success “all started with a Mouse.” Now it’s time to rediscover the wild, unforgettable personality behind the icon!
• Review: "Barks's output has been reprinted often but either piecemeal in flimsy monthly comics or in high-priced collector's editions. [Walt Disney's Donald Duck: Lost in the Andes], covering the years 1948-49, is the first in a planned 30-volume Barks library that will reprint his entire duck oeuvre in durable, affordable hardcovers.... Above all, Barks's Duckburg rings true because of his cynical world view. He rarely plastered on the sentimentality that dogs other Disney creations.... Although there are moral values in Barks's stories, he was never didactic and never wrote down to his readers. In his words, 'I always tried to write a story that I wouldn't mind buying myself.'" – Owen Heitmann, The Sydney Morning Herald
• Interview: Peter Huestis, a.k.a. Princess Sparkle Pony, writes "Diane Noomin's comics cover quite a bit of territory, from the broad (ha, ha) farce of her Didi Glitz stories to penetrating social satire and revealing autobiography. At her best... she manages to combine all of the above approaches to devastating effect," and presents his 1995 Hypno Magazine interview with Noomin (the intro to which is blurbed on the back cover of Glitz-2-Go): "I consider myself a feminist. Certainly there are people who won't, but I'm a feminist and I think it's good to do sexual material, and make fun of sex, and not think that there are certain bodily functions that we shouldn't talk about because we're feminists. I think that's... fucked up."
• Plug: "Fantagraphics Books reprints the best, from beginning to end, of Robert Crumb's iconic Fritz the Cat comics. Collected here is a sampling from the life of the famous funny animal, the American everyguy, metropolitan college student Fritz whose wise words of 1960's rebellion win him attention from ladies of all species. It's hard not to be charmed by Fritz." – 211 Bernard (Librairie Drawn & Quarterly)
• Plug: "Reading or re-reading Sala's Mad Night seems an infinitely better use of all of our free time than reading anything on the Internet right now." – J. Caleb Mozzocco, Every Day Is Like Wednesday
• (Behind the) Scene(s): Read all about Frank Santoro's visit to the hallowed halls of our HQ and workshop presentation at our swingin' storefront in his tour diary at The Comics Journal