I think the fluidity of Mickey contrasted against the solid straight
lines of the car was probably intentional. It brings across the point
that the old car, which matches Mickey and has a more "organic" feel
than the new car, is the car that Mickey really belongs in. It also
brings to light a sub-text that runs through a few other shorts; that
technology misused would eventually begin to take over. I think this
theme can be traced back as far as 1937's
Mickey's speech to Burt reminded us of the short's central conflict.
But aside from that I have to agree with Patrick Malone. Most of Mickey's
other lines weren't necessary. This could've easily been made as a mute
short. I'm encouraged that all three shorts indicate that "MouseWorks"
deemphasizes dialogue in order to get jokes from sight gags instead.
That's more like the classic shorts, where either no one but a narrator
talked or the characters had voices so cartoony that the makers didn't
bother trying to convey anything with their lines.
Mickey's troubles with the new car went on a little too long. I got
bored with the gags after the first time he met the hen, though I really
liked the dime scene. Also, the happy ending was lame. But I thought
they handled the short's pathos very well. The short needed just a couple
of references to Mickey's sadness over his old car brief enough to not
I loved Stephen James Taylor's music. The music was always low key
and quiet. The score never made a big loud deal whenever a gag occured.
I think that approach to scoring makes the gags funnier. My favorite
music came with the dime scene.
What really excited me was that the extras were furries. I didn't
know whether or not "MouseWorks" would be set in a furry world. Now
I really want to see what talking animals the MW universe has to offer.
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