#ubbe eert iwwerks

[drawingswatson-holmes]

Bunnified Ubbie 🐇🥕

Drawn by Watson

[preciouslittletoonette]

Nothing, besides a man with his kids toons

[justforbooks]

Ubbe Eert "Ub" Iwwerks was born on March 24, 1901. He was an American animator, cartoonist, character designer, inventor, and special effects technician, who designed Oswald the Lucky Rabbit and Mickey Mouse. Iwerks produced alongside Walt Disney and won numerous awards, including multiple Academy Awards.

Iwerks spent most of his career with Disney. The two met in 1919 while working for the Pesmen-Rubin Art Studio in Kansas City, and eventually started their own commercial art business together. Disney and Iwerks then found work as illustrators for the Kansas City Slide Newspaper Company (which was later named The Kansas City Film Ad Company). While working for the Kansas City Film Ad Company, Disney decided to take up work in animation, and Iwerks soon joined him.

He was responsible for the distinctive style of the earliest Disney animated cartoons, and was also responsible for designing Mickey Mouse. In 1922, when Disney began his Laugh-O-Gram cartoon series, Iwerks joined him as chief animator. The studio went bankrupt, however, and in 1923 Iwerks followed Disney's move to Los Angeles to work on a new series of cartoons known as “the Alice Comedies” which had live-action mixed with animation. After the end of this series, Disney asked Iwerks to design a character that became Oswald the Lucky Rabbit. The first cartoon Oswald starred in was animated entirely by Iwerks. Following the first cartoon, Oswald was redesigned on the insistence of Oswald's owner and the distributor of the cartoons, Universal Pictures. The production company at the time, Winkler Pictures, gave additional input on the character's design.

In spring 1928, Disney was removed from the Oswald series, and much of his staff was hired away to Winkler Pictures. He promised to never again work with a character he did not own. Disney asked Iwerks, who stayed on, to start drawing up new character ideas. Iwerks tried sketches of frogs, dogs, and cats, but none of these appealed to Disney. A female cow and male horse were created at this time by Iwerks, but were also rejected. They later turned up as Clarabelle Cow and Horace Horsecollar. Ub Iwerks eventually got inspiration from an old drawing. In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. Then, on a train ride back from a failed business meeting, Walt Disney came up with the original sketch for the character that was eventually called Mickey Mouse. Afterward, Disney took the sketch to Iwerks. In turn, he drew a more clean-cut and refined version of Mickey, but one that still followed the original sketch.

The first few Mickey Mouse and Silly Symphonies cartoons were animated almost entirely by Iwerks, including Steamboat Willie, The Skeleton Dance and The Haunted House. However, as Iwerks began to draw more and more cartoons on a daily basis, he chafed under Disney's dictatorial rule. Iwerks also felt he wasn't getting the credit he deserved for drawing all of Disney's successful cartoons. Eventually, Iwerks and Disney had a falling out; their friendship and working partnership were severed in January 1930. According to an unconfirmed account, a child approached Disney and Iwerks at a party and asked for a picture of Mickey to be drawn on a napkin, to which Disney handed the pen and paper to Iwerks and stated, "Draw it." Iwerks became furious and threw the pen and paper, storming out. Iwerks accepted a contract with Disney competitor Pat Powers to leave Disney and start an animation studio under his own name. His last Mickey Mouse cartoon was The Cactus Kid. (Powers and Disney had an earlier falling-out over Disney's use of the Powers Cinephone sound-on-film system—actually copied by Powers from DeForest Phonofilm without credit—in early Disney cartoons.)

The Iwerks Studio opened in 1930. Financial backers led by Pat Powers suspected that Iwerks was responsible for much of Disney's early success. However, while animation for a time suffered at Disney from Iwerks' departure, it soon rebounded as Disney brought in talented new young animators.

Despite a contract with MGM to distribute his cartoons, and the introduction of a new character named “Flip the Frog”, and later “Willie Whopper”, the Iwerks Studio was never a major commercial success and failed to rival either Disney or Fleischer Studios. Newly hired animator Fred Kopietz recommended that Iwerks employ a friend from Chouinard Art School, Chuck Jones, who was hired and put to work as a cel washer. The Flip and Willie cartoons were later distributed on the home-movie market by Official Films in the 1940s. From 1933 to 1936, he produced a series of shorts (independently distributed, not part of the MGM deal) in Cinecolor, named ComiColor Cartoons. The ComiColor series mostly focused on fairy tales with no continuing character or star. Later in the 1940s, this series received home-movie distribution by Castle Films. Cinecolor produced the 16 mm prints for Castle Films with red emulsion on one side and blue emulsion on the other. Later in the 1970s Blackhawk Films released these for home use, but this time using conventional Eastmancolor film stock. They are now in the public domain and are available on VHS and DVD. He also experimented with stop-motion animation in combination with the multiplane camera, and made a short called The Toy Parade, which was never released in public. In 1936, backers withdrew financial support from the Iwerks Studio, and it folded soon after.

In 1937, Leon Schlesinger Productions contracted Iwerks to produce four Looney Tunes shorts starring Porky Pig and Gabby Goat. Iwerks directed the first two shorts, while former Schlesinger animator Robert Clampett was promoted to director and helmed the other two shorts before he and his unit returned to the main Schlesinger lot. Iwerks then did contract work for Screen Gems (then Columbia Pictures' cartoon division) where he was the director of several of the Color Rhapsodies shorts before returning to work for Disney in 1940.

After his return to the Disney studio, Iwerks mainly worked on developing special visual effects. He is credited as developing the processes for combining live-action and animation used in Song of the South (1946), as well as the xerographic process adapted for cel animation. He also worked at WED Enterprises, now Walt Disney Imagineering, helping to develop many Disney theme park attractions during the 1960s. Iwerks did special effects work outside the studio as well, including his Academy Award nominated achievement for Alfred Hitchcock's The Birds (1963).

Iwerks' most famous work outside creating and animating Mickey Mouse was Flip the Frog from his own studio. According to Chuck Jones, who worked for him, "He was the first, if not the first, to give his characters depth and roundness. But he had no concept of humor; he simply wasn't a funny guy."

Iwerks was born in Kansas City, Missouri. His father, Eert Ubbe Iwwerks, was born in the village of Uttum in East Frisia (northwest Germany, today part of the municipality of Krummhörn) and immigrated to the United States in 1869. He is the father of Disney Legend Don Iwerks and grandfather of documentary film producer Leslie Iwerks.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[pesadrive]

Walter Elias "Walt" Disney co-founded Walt Disney Productions with his brother Roy, which became one of the best-known motion-picture production companies in the world. Disney was an innovative animator and created the cartoon character Mickey Mouse. He won 22 Academy Awards during his lifetime, and was the founder of theme parks Disneyland and Walt Disney World. . . Disney was born on December 5, 1901, in the Hermosa section of Chicago, Illinois. He lived most of his childhood in Marceline, Missouri, where he began drawing, painting and selling pictures to neighbors and family friends. In 1911, his family moved to Kansas City, where Disney developed a love for trains. His uncle, Mike Martin, was a train engineer who worked the route between Fort Madison, Iowa and Marceline. Later, Disney would work a summer job with the railroad, selling snacks and newspapers to travelers. . . Disney attended McKinley High School in Chicago, where he took drawing and photography classes and was a contributing cartoonist for the school paper. At night, he took courses at the Art Institute of Chicago. When Disney was 16, he dropped out of school to join the Army but was rejected for being underage. Instead, he joined the Red Cross and was sent to France for a year to drive an ambulance. He moved back to the U.S. in 1919. . . In 1919, Disney moved to Kansas City to pursue a career as a newspaper artist. His brother Roy got him a job at the Pesmen-Rubin Art Studio, where he met cartoonist Ubbe Eert Iwwerks, better known as Ub Iwerks. From there, Disney worked at the Kansas City Film Ad Company, where he made commercials based on cutout animation. . . Around this time, Disney began experimenting with a camera, doing hand-drawn cel animation. He decided to open his own animation business. From the ad company, he recruited Fred Harman as his first employee. Disney and Harman made a deal with a local Kansas City theater to screen their cartoons, which they called Laugh-O-Grams. The cartoons were hugely popular, and Disney was able to acquire his own studio, upon which he bestowed the same name. . . Laugh-O-Gram hired a number of employees, including Iwerks and Harman's brother Hugh. https://www.instagram.com/p/CRj-gW9MQDb/?utm_medium=tumblr

[levysoft]

La famiglia è originaria della Bassa Sassonia (Germania). Suo padre, Eert Ubbe Iwwerks, emigrò negli Stati Uniti nel 1869. Ub nacque a Kansas City nel 1901 e molto presto incominciò a mostrare una attitudine per il disegno tanto che, Iwerks conobbe e strinse amicizia col giovane Walt Disney allo studio Pressman-Rubin e ne divenne il più stretto collaboratore e nel 1919 fonda con lui uno studio, lo Iwerks-Disney Commercial Artists, che però ebbe vita breve. Quindi sempre insieme si unirono allo studio Kansas City Film Ad Company, dove approfondirono le tecniche di animazione e nel 1922, una volta acquisita la necessaria esperienza, produssero una propria serie di cortometraggi animati, Laugh-O-Gram, che non riscosse il successo sperato e lo studio chiuse di nuovo. Grazie al finanziamento del fratello di Walt, Roy O. Disney, venne prodotta nel 1923 una nuova serie di cortometraggi animati, "Alice Comedies", nella quale una bambina, interpretata da Virginia Davis, interagiva con il mondo dei cartoni animati. La serie riscontrò un buon successo grazie anche alle capacità di Ub che realizzò personalmente la maggior parte delle scene. Con Ub che si dedicava alle animazioni, Walt dal 1926 incominciò a dedicare esclusivamente all'ideazione delle storie, alla produzione e all'organizzazione, campi nel quale riusciva meglio.[1]

Ub, artisticamente parlando, era sicuramente maggiormente dotato di Walt.[senza fonte] Nel 1927, dopo il termine della serie su Alice, i due idearono un nuovo personaggio, Oswald the Lucky Rabbit, la cui serie di cortometraggi raggiunse un certo successo. Purtroppo, diversamente da quanto credevano i due autori, i diritti del personaggio erano in mano al produttore Charles Mintz che non solo si portò via il personaggio ma anche tutto lo staff di animatori che abbandonarono Walt tranne lo stesso Iwerks, ma senza il personaggio di successo e senza più uno staff di collaboratori ben presto lo studio dovette chiudere nuovamente. Tuttavia i due autori non si diedero per vinti e realizzarono un nuovo personaggio basato su Oswald il coniglio che venne trasformato in un topo di nome Mickey; vennero creati due cortometraggi col nuovo personaggio con Iwerks che lavorò per due settimane, praticamente da solo[senza fonte], L'aereo impazzito (1928) e Topolino gaucho(1928) che però ricevettero fredda accoglienza. Il successo arrivò però col terzo cortometraggio, Steamboat Willie (1928) nel quale, diversamente dai primi due, era presente il sonoro facendo divenire il personaggio un enorme successo commerciale mondiale. Il corto non fu il primo ad avere il sonoro ma fu il primo nel quale l'accoppiamento fra immagini e suono fu realizzato in maniera professionale e il successo fu tale da porre le basi per la creazione di un impero.[1]

Di nuovo Ub lavorò rapidamente per questo progetto, e il 18 novembre 1928 venne proiettato Steamboat Willie: fu un successo strepitoso, sia grazie al personaggio ideato da Walt e realizzato graficamente da Iwerks, sia grazie alla nuova tecnica del sonoro (fonte: The Hand Behind The Mouse: The Ub Iwerks Story). L'amicizia e la proficua collaborazione artistica tra Ub, Walt e il fratello Oliver Disney sembrava dunque solida perché destinata al successo, ma come spesso accade, meriti e gloria non sono mai ripartiti in parti uguali. Mentre la fama dei fratelli Disney aumentava per Iwerks aumentava solo il lavoro.

Se Disney ha dato voce al personaggio realizzando storie interessanti, fu Iwerks a realizzarlo graficamente dandogli spessore. Nonostante questo per molto tempo la Disney minimizzò l'apporto di Iwerks alle creazione di Mickey Mouse per poi riconoscerne ufficialmente l'apporto alla creazione.[1][2] Successivamente Iwerks si mise a lavorare al primo corto della serie Sinfonie allegre, Danza degli scheletri (1929), che realizzò praticamente da solo nonostante Disney volesse affiancargli dei collaboratori. Poi passò ad occuparsi delle strisce giornaliere di Topolino, primo fumetto di Mickey Mouse, disegnando una serie di strisce che compongono la storia Topolino nell'isola misteriosa (Lost on a Desert Island) scritta da Disney e distribuito ai quotidiani dalla King Features Syndicate a partire dal 13 gennaio 1930. Vi si ritrovano richiami sia ai primi due cortometraggi del personaggio che a quelli di Oswald e alla serie Laugh-O-Gram. Presto però Iwerks decise di interrompere la sua collaborazione con Disney e lasciò il compito di disegnare le strisce al suo inchiostratore nel febbraio 1930, Win Smith.[1] I contrasti con Disney che portarono alla rottura furono dovuti alla volontà di questi a rendere più professionale la realizzazione dei corti facendoli realizzare a uno staff di vari collaboratori, cosa che non vide d'accordo Iwerks[1] e il 25 gennaio 1930 la società Disney Brothers Productions, di cui Ub possedeva il 20%, fu sciolta.[senza fonte]

[drawingswatson-holmes]

Quick Redoobles ✍️

Some of you have the absolute audacity to like my old art and remind me that it exists. Drawings by Watson

[drawingswatson-holmes]

Unfinished Ub 🗿✨✨🎥

You see those hands, Drawn by Watson

Ub Iwerks' the co-creater of Oswald and Mickey if you guys didn't know who he is; his name is on all the first Mickey Mouse title cards. Walt never animated in the WDStudios btw LoL

Bonus Oswald 95th Merch because I lacked self control which I apparently suddenly have LoL also I drew this last year and lost the pen LoL

[drawingswatson-holmes]

Dippin What? 🔴🔵⚫⁉️

Lil doobles from the world of Based on Facts. (Starring Roy, Walt and Ub if they were transported to the 21st century)

From possibly Mar, Apr or May 😃 Drawn by Watson

[drawingswatson-holmes]

Meeska mouse 2 years ago 2020

Mouse n Disney doobles by Watson

[preciouslittletoonette]

Me, just before entering the Mickey Mouse fandom 8 years ago: Man, I wonder what kind of Mickey Mouse stuff I’d find on the Internet. It’ll probably very cutesy kiddy stuff.

Me, now: Count Mickey Dragul is still as good as it was years ago. Mickey has an older brother and nobody told me. MICKEY HAS SEVERAL SIBLINGS AND DISNEY HAS DONE JACKSHIT WITH THEM. MICKEY IS A TRAUMATISED BABY WITH SEVERE DADDY ISSUES WHO JUSTS WANTS TO HELP PEOPLE. SOMEONE GIVE HIM A BREAK OR THERAPY. USE OSWALD AND JULIUS DISNEY!! Also Ub Iwerks > Walt Disney

[preciouslittletoonette]

“ I think that instead of creating a normal toon caricature, we may have accidentally resurrected the actual Walt Disney”

***

The idea was simple. Create a toon caricature of Mr. Disney and other animators for the new park attraction. And it should’ve been simple in theory. And some might even say it was. Which was true, because it was done before. However...

Something was wrong. Incredibly wrong.

You see in most cases creating caricatures were much easier than creating normal toons. All caricatures needed was to copy their original’s mannerisms and a voice actor would come in with the voice help. And that was supposed to be it. Just a goofy and happy little young silent caricature. But-

He It didn’t look happy or goofy, he it looked frantic, confused perhaps even terrified

He It didn’t seem young, for his it’s eyes spoke of a life’s experience.

He It was not silent, he it spoke...

And the words he it spoke were: “I’m supposed to be dead”

***

(This took an entire day to draw.)

So this is an AU that’s been floating about in the recesses of my imagination since early February that just came charging back fully powered this week.

This isn’t something I might completely prioritise but its a fun little idea to play around and something I’ll maybe do more serious at a later stage. For now this is a fun pet project.

This AU is actually somewhat inspired by @apathetic-coffee ‘s Synthetic AU which I love to absolute pieces. Initially the plan was to have Mickey, in a crazed up moment of deep painful grief, create non-sentient toon models of his dads that look similar to him and Oswald that he could just talk to that end up getting possessed by his fathers anyway. But then I changed the premise entirely.

Now instead, Disney or some other big mega entertainment corporation created them for a park attraction when thought they were just going to be ordinary caricature toons that simply mimic the original persons. Then they noticed the off-ish behaviour like in the above with them talking before even getting voice actors, acting extremely  un-toon-like and it suddenly clicked to what they have done. And then right there, the goalpost shifted to something far less innocent.

And all while this is happening, the toons have no clue that their creators are alive and that’s not even the kicker. 

This will mainly focus on Walt and Ub and their toons but there will be other creators around because Disney made A LOT (and were possibly hoping to sell them off to other studios for a slimey profit). Some of which are not even from their own studio (like Tex Avery, Walter Lantz, Max Fleischer, even fucking Winsor McCay).

But like I said, this is definitely gonna be a side project with not a lot of priority.

[drawingswatson-holmes]

He is in Missouri

Someone ban Walt ty. Love, Ub. ☠️

Drawn by Watson.

[preciouslittletoonette]

“Your Daddy”

A self-indulgent Mickey Mouse fic that I just wrote on a whim. Based on a headcanon I made several months ago

//

1928

“ LES CLARK! GET IN HERE, NOW”

It has been a.... bizarre three years working for Walt Disney.

Back in 1925, when Les first joined Walt, he was truly expecting a temporary job, possibly washing cels and doing a couple drawings here and there. But what once was thought to be a temporary job turned into three years honing his craft under the careful mentorship and friendship of the great Ub Iwerks, someone Les heavily admired.

But that was not the bizarre part.

The bizarre part came in the form... of Julius the Cat.

When Les entered the studio on his very first day, the toon barreled straight into his gut in excitement at the prospect of meeting someone new. Les, not expecting the greeting, barely caught the doorframe in time to stop himself from falling from the sheer force that was Julius.

Rather than amusement from his new coworkers, he was met with sympathy. Making him realise that this was, indeed, a normal occurrence.

The only one who had looked mildly amused was Walt, who sent Les a sheepish smile as he (rather gently) pried Julius off of him and settled the toon against his hip.

“ Heh, sorry about that Les. Julius here gets rather excited at the prospect of newcomers”, he said motioning to the cat, who was cuddling up to Walt’s side.

Les had accepted the apology and was soon introduced to Ub, who after the introduction immediately moved to scold Julius, who looked sheepish and nervous under Ub’s gaze. The entire interaction between Julius and the two men confused Les until two words came out of the cat toon’s mouth.

“ Sorry Papa”

While he looked nonchalant on the outside, the words had hit Les like a freight train on the inside. 

And thus began Les’ journey into the bizarre absurdity that was the Animation Industry.

Working under Disney led to Les learning a plethora of things, and some of them had less to do with actual animation and more to do with the toons. Sometimes while Ub was teaching him, the man would throw in advice on caring for toons. Any question Les had, Ub would answer and the man was incredibly blunt with his explanations.

“ So you’re Julius’ father?”

“ Yes”

“....But he calls Walt ‘Dad’”

“ It’s co-parenting”

And some answers were... weirder than others.

“ What do toons eat?”

“ Everything we eat and a little more”

“ What?”

“ Julius once ate an entire an entire paint can, filled with paint. Nearly sent me and Walt to an early grave, the little bugger. He didn’t get sick or anything, oddly enough he looked a lil’ healthier after that...”

“... So you let him eat paint now or-”

“ God lord no! We’re not taking chances in case he actually gets poisoned someday”

“ Oh”

“ Another tip, don’t ever let your toon eat erasers. That stuff will make them sick”

“....Noted”

Though it suffices to say, the years leading up to 1928 was an experience Les would never forget.

It was currently well past 11PM when Les entered Walt’s home, Lillian letting him in and calling for Walt, who was in his office, who then called Les to get to his office.

Les peeked inside to see Walt pacing from one side of the room to another. Sitting on a chair in the corner was Ub, holding something close to his chest as he tried to not doze off.

Both Ub and Walt looked like they haven’t slept in days.

Les lightly knocked on the door, announcing his presence.

Walt ceased his pacing,” Ah there you are, Les. Thanks for coming over”.

“ Well it sounded urgent. Couldn’t leave you two hangin’. What happened?”, Les asked concerned

“ We did it”, Walt sighed as he ran a hand down his tired face before looking to what Ub was holding.

Les’ eyes widened when the realisation of what had happened, finally noticing that what Ub was holding was definitely moving and shifting in the sleep-deprived man’s arms. Ub, noticing the attention from the standing men, shifted the being in his arms until Les could properly see him. In his mentor’s arms...

... was a sleepy small toon mouse.

“ When did you-?”

“ An hour ago”, Walt answered,” We made him an hour ago- but that’s not the point of you being here. Wait right here, I’ll be back”, with that said, Walt left the room to go further into the darkness of the house.

Les made his way over to his mentor’s side, dragging another chair closer to him and sat close by.

“ You okay, Ub?”, Les asked concerned.

“ I’m good”, Ub replied looking down on the toon in his arms,” Walt called me out of work to do this”, he moaned tiredly.

“ You were working?”, Les questioned.

“ I had extra work to do for Mintz because of planning with Walt”, Ub explained.

Les was well aware his mentor was working on things for Walt even while he continued to work for Universal. Ub was providing the money they needed to get the studio running while Walt and Roy went out, looking for new distributers after Winkler Pictures and Universal betrayed them.... and took Oswald away from them.

It was tragic watching everything unfold after Walt and Roy returned from their meeting with Mintz. After everyone just upped and left, leaving the four of them behind. Ub was in a fit of rage when he found out and what happened after that was the loudest, most rage-filled argument Les had ever heard between Walt and Ub. It had gone on for nearly a hour before things quieted down. But they didn’t leave the room they were in immediately, they were in there for a few minutes before finally coming out, eyes bloodshot and puffy despite vehement denies that they were crying. But it was clear as day that they were deeply hurt.

Les hoped to never ever have to go through what they went through.

“ What’s his name?”, Les inquired.

“ Michael Theodore Mouse. Mickey Mouse”, Ub stated with a nod,” It was Lillian’s suggestion after hearing Walt’s original name for him”.

“ And that was...?”

“ Mortimer”, Ub gagged.

Les snorted when he heard the name,” Bless Miss Lillian for stepping up where Walt failed in the naming department”, he joked humorously.

“ Amen to that”, Ub said with a short laugh as he looked down on the toon,” Hear that, Mickey. Your dad was going to name you Mortimer. What an unusual unneeded punishment, eh buddy”, he continued as Mickey smiled at Ub with sleepy eyes.

“ He’s very cute”, Les commented with a smile.

“ Of course he’s cute. I designed him after all”, Ub quipped with a smirk.

Les chuckled,” Of course”.

Ub smiled before looking down to Mickey again, this time his eyes filled with sadness. Les noticed this.

“ Thinking about Oswald again?”, Les asked.

“ Yeah. It’s just..... it’s been weeks since Mintz took him away and I haven’t seen him around the studio even while I was working. I’m worried about him and Julius”, Ub admitted,”.... I initially really didn’t want to do this”.

Les raised a brow,” What changed your mind?”.

“ Walt”, Ub said plainly,” We’ve been runnin’ around this for weeks now- well I was. You probably overheard me and Walt talking about this one night at the studio”.

Les nodded. He had overheard the conversation between Walt and Ub one evening when they were doing checks on the Hyperion studio. A mere two weeks before the current moment, Les recalled. It was far from an argument but there was definitely a disagreement. Ub wanted to wait a bit longer before creating another toon but Walt wanted it done sooner rather than later. The man even had a rough idea sketched out after seeing a mouse on the train  heading back to Burbank, Ub just had to create a proper design and then bring it to life. But to Ub it was moe complicated than that.

The man was exhausted, not just from overworking but from the very fact he had not JUST lost Oswald, but also Julius as well. And the guilt and sadness was eating him up from the inside. He was still wounded by the loss and Walt was not letting it heal like it was supposed to.

Not to say Walt wasn’t also facing his own major problems. He was also NOT coping well with losing Julius and Oswald (the latter especially) and his temper was much more explosive than usual from Les’ perspective. He threw himself into his work, dragging Roy everywhere to every film distribution company in the Los Angeles county. Heck, Les wagered Walt’s desperation might even have him go look for distributors in New York. And the man was constantly stressed out and judging by what Walt looked like earlier, even sleep deprived from working this much to avoid his own thoughts to grieve. You could say his desperation and grief was blinding him to his friend’s own grief.

 Les winced at the thought, silently pitying his seniors.

Ub continued on speaking,” Distributors want to see the stars nowadays and not just concept art. They want to see and meet the toon and as charismatic as Walt is, he can’t convince them to wait any longer. So I bit the bullet tonight”, he explained, shifting Mickey as the toon squirmed a little in his arms,” But I’m don’t regret this. I feel a lil’ better after making lil Michael here. He’s just too darn active for me to ignore, isn’t that right buddy”, he said addressing Mickey, who was about ready to fall asleep again.

Les smiled at the sight of the toon,” Well I’m sure this one right here’s gonna be the one to boost us to success”, he said.

“ You think so?”, Ub inquired with a grin.

“ O ‘Course! After all, who could resist this cute little face?”, Les cooed at Mickey before turning to Ub,” AND you and Walt have already raised some pretty big stars. No doubt this little one will follow suit with his brothers”, he proclaimed confidently,” You two are gonna great dads.... again”, he joked lightly.

Ub chuckled,” And I’m sure you’ll be a fantastic dad too, Les”, he stated light-heartedly.

Les frowned, about to ask Ub what he meant before Walt peeked in, having returned from where he went off to.

“ Hey, sorry for the delay, she crawled out of the basket and I had to find her”, Walt explained nervously with a chuckle.

Les raised a brow at the mention of a her but Ub spoke up before he could ask

“ It’s fine. We were distracted with talking anyway. Bring her in already so Les can meet her”

Les was highly confused for a second before registering another toon mouse in Walt’s arms that was quickly transferred to his lap in seconds.

“ Les, meet Minnie, Minnie, this is Les Clark-”, and the next words will forever imprint itself in Les’ mind-

“ -Your Daddy”

“ Wait what?!”

[preciouslittletoonette]

Concerning my previous Epic Mickey headcanon, here is the ghost of Ub Iwerks coming in to comfort Mickey after he went too far with the thinner.

Sad part is that Mickey can’t see Ub, all he sees is a glowing blue ball of light that sounds like bells.

I might do one with Walt and Oswald at some point. And Julius with both of them.