Mickey Mouse: Adventures in Disneyville

Mickey Mouse: Adventures in Disneyville (a.k.a. The Mickey Mouse Show) is an American animated comedy television series created by Paul Rudish and produced for distribution by Disney Television Animation, based on the The Walt Disney Company's legacy library of characters. The series follows Mickey Mouse (Chris Diamantopoulos), a plucky young underdog that works as an apprentice sorcerer in the Magic division at the AJAX Company, under the watchful eye of his stern boss, Yen Sid. Mickey is almost always at constant odds with his best friend and half-brother Oswald the Lucky Rabbit (Patrick Seitz), who has the same job as him and is more sarcastic. Mickey is also caring towards his loyal pet Pluto (Billy West), a bloodhound who always accompanies his master in his shenanigans. Prominently featured are Disney cartoon characters Minnie Mouse (Kaitlyn Robrock), Donald Duck (Tony Anselmo), Daisy Duck (Tress MacNeille), Goofy (Bill Farmer), and many more living in the eponymous town of Disneyville, which is in turn is based on the iconic Disneyland theme park. They use their comedic wit to help others in and around the town. The series has the slapstick feel of the earliest Mickey Mouse shorts while providing a modern update, and "presents Disney's legacy library of characters in a broad range of humorous situations that showcase their signature appeal, along with their long-beloved charm and sense of wonder". The animation is provided by Mercury Filmworks.

Rudish, who was the co-creator of the Cartoon Network television series Sym-Bionic Titan and also the series' executive producer and supervising director, initially pitched the series to Bob Iger while it was in its' early stages as Mickey Mouse, presenting the concept as a freshly re-envisioned interpretation of House of Mouse. High viewer approval ratings from the shorts led to a quarter-hour series, which will eventually be comprised of 80 episodes. Joseph Holt, Jenny Gase-Baker, Justin Martin, Cameron Thompson, and Juan Garrido are the series' art directors. Rudish developed deeper characters and familiar settings, seeking a series resembling the wonder he had experienced while watching the classic films and incorporating comedic elements.

The pilot episode, "The Apprentice Sorcerers", was first released as a special preview on March 12, 2023, on Disney.com. The series officially premiered on June 21 of that year on Disney+, followed by the releases on Disney.com and Disney Channel. A total of 80 episodes are planned for the first season with a second season already in the works.

The series is a reboot to The Wonderful World of Mickey Mouse, which premiered on Disney+, back in November 18, 2020, to coincide with Mickey's 92nd birthday.

Premise
The series is a re-invented satire of the Walt Disney legacy set in the eponymous town of Disneyville, where its' residents - all of whom are characters from the Disney library - live, work, and play together harmoniously.

The series primarily revolves around the adventures of Mickey Mouse (voiced by Chris Diamantopoulos), a plucky underdog who, employed by AJAX Industries, works at a day job as an apprentice sorcerer, which can be accessed by traversing through a mirror above his fireplace. Though dedicated to his work, Mickey often causes utter turmoil when he tries to improve his standard of living. Although he is in his mid-twenties, Mickey speaks with a chirpy falsetto voice. Diamantopoulos described it as "a minor quirk, [a] kind of medical condition, we're not quite sure. A pint-size Walt Disney, but not. Perhaps he's a countertenor, perhaps he's always had it. He's a mouse; he knows he needs [a] squeak to go with it." Paul Rudish explained, "he's a mouse. Most mice are small and go squeak...It's not really a falsetto. It's just how he sounds."

Mickey serves under the rule of his stern wizard boss, addressed only as Yen Sid (voiced by Ben Kingsley), who usually neglects his welfare and is never actually seen in the series. His emotive, good-hearted, pet bloodhound Pluto (voiced by Billy West) regularly gets involved with his master's antics, wreaking unexpected havoc along the way. Though seemingly dim-witted, Pluto, who is now capable of speech, is much smarter than his master and can even give him helpful advice. For his part, Mickey, though sometimes annoyed by his lovable dog, feels a reluctant affection for him and will come to his defence if he is imperilled.

Mickey's best friend and half-brother is rowdy rubber hose rascal Oswald the Lucky Rabbit (voiced by Patrick Seitz). Like Mickey, Oswald has a rubber-hose physique and can disassemble his body when he feels strong emotions, but he has a more sarcastic personality and can sometimes become very jealous of Mickey's accomplishments. Mickey's popularity is objectively better than his, and Oswald tries to compensate for this by using his remote to fix his mistakes. Oswald's weakness is his extremely terrible luck.

Aside from the main trio, other major characters include classy fashionista Minnie Mouse (voiced by Kaitlyn Robrock), foul tempered Donald Duck (voiced by Tony Anselmo), clownish hick dog Goofy (voiced by Bill Farmer), and primadonna Daisy Duck (voiced by Tress MacNeille). The seven of them are destined to discover that they represent different facets of the town's prosperity, leading them to be collectively known as the Spectacular Seven.

The rest of the characters each have their place within the community, such as Donald's nephews Huey, Dewey, and Louie (voiced by Danny Pudi, Ben Schwartz, and Bobby Moynihan, respectively), wisecracking mayor Jiminy Cricket (voiced by Joseph Gordon-Levitt), empathetic robot doctor Baymax (voiced by Scott Adsit), destructive alien party animal Stitch (voiced by Chris Sanders), fair schoolteacher Snow White (voiced by Katherine von Till), greedy stuffed bear park groundskeeper Pooh (voiced by Jim Cummings), comical talk show host Genie (voiced by Wayne Brady), and charming con-artist fox Honest John (voiced by Thomas Lennon).

The plot of an episode is usually some humorous variation of standard comedy and slice of life series, with the characters using their comedic wit to help others in and around the town. In addition, they have to solve the problems in their daily lives that modern people face such as setting up a business, house parties, annoying relatives, popularity, going to dinner, and being promoted at work. Episodes often contain hidden references to older Disney media (especially noticeable in the episode "Tigger and the Rock Remover", which is a homage to The Tigger Movie). The series always tries to keep different ideas within each episode with some small tributes and parodies thrown in.

Setting
Disneyville is depicted as a hand-drawn fantasy town inhabited by a variety of denizens such as toons, humans, extra-terrestrials, stuffed toys, puppets, talking animals, and robots, with a townscape consisting of several references to past Disney media. Some areas may have fairy-tale technologies like grand castles, while others resemble different time periods and living conditions.

Production
Paul Rudish, the developer of Mickey Mouse: Adventures in Disneyville, who also created The Wonderful World of Mickey Mouse for Disney Channel, to which the former acts as a reboot, was born in Mississippi, with his father, Richard Rudish, having created the original Rainbow Brite franchise and characters. Rudish grew up on a lot of Disney media during the 1970s', and immediately became fascinated with the company's legacy, believing its' vast expanse of charming and eccentric characters were the very lifeblood that held it together

After studying the Character Animation program at the California Institute of the Arts, Rudish found himself a job at Cartoon Network Studios, then known as Hanna-Barbera Productions, where he worked on Dexter's Laboratory, The Powerpuff Girls, and Samurai Jack by acting as a writer, art director, and character designer under the supervision of Genndy Tartakovsky and Craig McCracken. Described some of the final remnants of Hanna-Barbera, those three series helped to pave the way for the future landscape of Cartoon Network as a whole.

Later on, Rudish joined the production team of the Star Wars: The Clone Wars miniseries. His co-workers on that series, Darrick Bachman, and Bryan Andrews, had been classmates of his at Cal Arts and went on to collaborate with him on Mickey Mouse: Adventures in Disneyville. Rudish's last job before developing Mickey Mouse: Adventures in Disneyville into a television series was to serve as an executive producer on Sym-Bionic Titan. During his time on that series, Rudish received a phone call from Bob Iger, who was the Chief Executive Officer of The Walt Disney Company at the time. Iger had shown great interest in Rudish's potential as a creator and wanted Rudish to produce a brand new series of Mickey Mouse shorts in rite of modern audiences.

After his time on Sym-Bionic Titan, Rudish accepted Iger's proposal, and the resulting project, simply titled Mickey Mouse, was produced as part of the company's attempt to reintroduce their signature characters to a new generation, debuting on June 28, 2013. Viewers worldwide watched the series through linear television on Disney Channel, video sharing website YouTube, streaming service Disney+, and even occasionally in theatres, with the success leading to a sequel series titled The Wonderful World of Mickey Mouse in 2020. Meredith Roberts, general manager of Disney Television Animation, said in 2021 that it was her favourite amongst the many animated series that had been produced by that point, commenting that she and colleagues "loved the humour in the basic simplicity of Mickey's exploits".

Even after Mickey Mouse finished its' original run, Rudish had no expectations that it would lead to an entire series. In 2022, he noted that his generation was the first in which people could become showrunners at a young age, saying, in the words of Tartakovsky, "Everybody before us were in their forties, at least, and so [our generation's experience] was a very different way to do something where we had no clue what we were doing and we were just trying to make each other laugh." When Mickey Mouse: Adventures in Disneyville received a series green-light, Rudish became, at age fifty-three, one of the youngest animation directors of that era. Speaking with the Los Angeles Times in 2019, Rudish remarked about the network, "With Disney Television Animation, they were looking for both undiscovered and veteran talent, people that may have had a hard time getting in.[...]It became a great opportunity to do something. And as I got into it, I realized that they were also offering the creative freedom. They were letting the creators make the shows."

Rudish's former classmates Dave Wasson and Eddie Trigueros helped him out with Mickey Mouse. Soon afterward, Trigueros helped McCracken in directing episodes for Wander over Yonder, while Wasson became the executive producer for The Cuphead Show!. After finishing both projects, the group proceeded to a second short film for Mickey Mouse: Adventures in Disneyville, titled "The Apprentice Sorcerers". At the time, Rudish was still not anticipating a series green-light for Mickey Mouse: Adventures in Disneyville. He went on to reminisce that, in the 1990s', he was simply having fun working on short films with his friends. Rudish and Wasson, who had been roommates shortly after college, went on to become regular collaborators on each other's series. Animation historian Colin Gorman noted a symbiosis between the two men, which he felt led to stylistic similarities between Mickey Mouse and The Cuphead Show!.

In August 2021, The Walt Disney Company announced the series launch of Mickey Mouse: Adventures in Disneyville at a press conference, ordering eighty quarter-hours to be streamed in four batches throughout mid-2023 to early 2024, and billing the series as "the start of a new universe for [their] cherished characters that incorporates story, humour, and intricate animation", with production officially beginning straight after, having been in early development for at least 18 months. In addition to Tartakovsky, McCracken, Wasson, Andrews, Trigueros, and Bachman, directors and writers on Mickey Mouse: Adventures in Disneyville included C.H. Greenblatt, Jason Reicher, John McIntyre, and Careen Ingle, with Bobs Gannaway and Tony Craig serving as executive producers. Jenny Gase-Baker serves as an art director on the series, while Illya Owens serves as a story editor. Gorman described McCracken's role on Mickey Mouse: Adventures in Disneyville as that of Rudish's "effective second-in-command".

Conception
Disney has produced several incarnations of the Mickey Mouse & Friends franchise, which are often overlooked by fans. With many brands, including Mickey Mouse and Friends, the company uses a multi-platform plan. House of Mouse inspired Disney, since it helped to reintroduce their characters to new generations; the company wanted to retool the Mickey Mouse and Friends franchise to appeal to the modern demographic. According to Bob Chapek, then-CEO of the Walt Disney Company, revisiting properties which had been successful was an important decision; it was somewhat influenced by Disney Channel's programming executives, several of whom were fans of the shows. According to Disney chairman Mark Parker, the company "intended to have the series appeal to a larger demographic"; trying to create shows that parents and children would watch together. Central themes Disney sought for the series included community and family, determined from market research in how both kids and adults got along with each other.

Rudish approached Disney to re-develop Mickey Mouse into a long-form animated series, having unsuccessfully pitched animation for years. When Rudish approached Meredith Roberts of Disney Television Animation, Roberts was uninterested but showed Rudish the House of Mouse episode "Big Bad Wolf Daddy". Roberts thought that Rudish's style of humour was suitable for that series, and asked him to consider "some ideas [on] where to take a new version of the franchise".

Disney initially hired Rudish to create a pitch bible for the series, allowing him to get additional help with ideas and conceptualization. Rudish said he was "extremely sceptical" about taking the job at first because he had always found animated series based on "niche franchises" to be downtrodden and overlooked. He was disappointed by how it was being treated and that what he thought of the original films at the time was nothing like the modern animated shorts, in which the characters, according to him, "just hosted generic preschool content, danced over nothing, had unnaturally healthy relationships, goofed around doing simple tasks and overcame obstacles by displaying goofy hijinks". With the chance to work with Mickey Mouse, one of the most iconic cartoon characters in the world, he hoped to prove that "cartoons for families don't have to be specifically sweet, silly mush for little 4-year old children who still lived their mothers" like Mickey Mouse Clubhouse. To do this, he incorporated many elements into the series that subverted character stereotypes of many modern animated films, such as diverse personalities, character flaws, personality disorders, the message that life doesn't always turn out the way one planned and the idea that nobody should be limited by what others say they can or cannot do. Elements of the characters' personalities and the series' settings were based on his childhood imagination of Mickey's adventures, and the many trips he took to Disneyland, in part inspired by series such as Top Cat (1961) and The Bugs Bunny Show (1960-2000) which he and his brothers watched, and the many films in the Disney Animated Canon and beyond, such as Pinocchio and The Lion King. According to Rudish, he was making Adventures in Disneyville "for [himself] as an eight-year-old". Rudish still aimed for the characters to be "relatable" characters, using stereotypical "corporate iconography" to broaden their appeal to a young modern audience.

Rudish said that Disney's positive response to non-traditional elements inspired him as he gave the company more ideas for the series. Although he pitched a balance of adventure and relationship stories, he de-emphasized adventures and focused on exchanges between characters for pragmatic reasons. The series managed to incorporate characters intended to frighten children, such as the Pink Elephants and Monstro, but emphasized friendships among the characters which were leavened with humour. When the series was approved, Rudish had developed three full scripts.

Development
Mickey Mouse: Adventures in Disneyville originated with one of Paul Rudish's initial concepts of Mickey and Oswald starring together in their own shorts. While working on Mickey Mouse, Rudish drew a preliminary sketch of both Cuphead and Mugman, the two main characters of the Cuphead franchise. These two characters would eventually become the very basis of the dynamic of Oswald and Mickey respectively, although the concept went unused until Rudish started expanding the concept for Disney Television Animation. To further contrast the two characters, Rudish determined that Oswald would be pessimistic, while Mickey would be focused on positivity. In an interview, Rudish said, "Oswald came first. He was really the star of the show to me. He was so much fun. Later on, I started on Mickey and he took over."

The names Mickey and Oswald were both found in name books; "Mickey" caught Rudish's attention for sounding optimistic, while "Oswald" appealed to him because of its uniqueness and because he felt that it complemented that character's rubber-hose ingenuity. Before settling on these options, Rudish had considered basing the series around the Epic Mickey series of games. Explaining why he discarded this idea, Rudish said that "story was just too much to be incorporated head first" and that the resulting tone wouldn't be able to fit the Disney brand. The title Mickey Mouse: Adventures in Disneyville was not settled on until around midway through production of the series' pilot episode, "The Apprentice Sorcerers".

The ages of Mickey and Oswald are meant to be nebulous. Although Rudish suggested that Mickey is intended to be about twenty-six years old and that Oswald is "a year older", he also stressed that he would "never want" to specify Mickey's exact age. Rudish wrote Mickey as a plucky, rebellious "farm boy underdog" who loves to have fun and explained, "I'm not saying he's from Mississippi, but there's a reason he grew up on a farm, just like I had growing up in Mississippi."

The dynamic between the pair in Mickey Mouse: Adventures in Disneyville was partially modeled on the relationship between Poppy and Branch from the Trolls franchise. Comparing Mickey to Poppy and Oswald to Branch, Rudish acknowledged that Poppy was most likely a "pest" to her boyfriend while they were hanging out. Another time, he reminisced that as kids, they could each be a "pain in the ass" to the other. To illustrate one of the parallels between their chemistry and the series, Rudish noted that Poppy had kept Branch from being isolated in those days, much like how Mickey attempts to help Oswald see the bright side of life.

Rudish determined that Mickey should keep his falsetto because the character "considers himself a very endearing individual, and all well-known icons have chipper voices." During one interview, Rudish suggested that viewers should decide for themselves whether or not the character's voice is a medical condition, saying that "[n]obody knows" whether the character is "pretending to be a young child" or is speaking naturally. Although Rudish noted in a separate interview that Mickey's voice is not meant to denote any specific defect, he revealed in a Reddit AMA that his personality was partially inspired by Charlie Chaplin.

Rudish also drew inspiration from his experiences from breaking into the animation industry. He explained that, like Mickey, he viewed himself as quite insignificant - and even though he worked for many major studios, his roles on most series were often minor. Speaking with Animation Magazine in 2020, Rudish explained, "When I first started with Mickey Mouse, I wanted to return him to his glory days...We never tried to be too heavy-handed with the shorts, but if you look at the underlying themes of the show, it's about a little mouse trying to make it big." Rudish noted that when he was a child, he was less confident than the character, telling The New York Times, "The one thing about Mickey, if he doesn't get it right, he'll never give up. He's not afraid to be himself."

Meredith Roberts wrote in 2018 that Mickey was originally designed "to be more of a shining icon for the Walt Disney Company"; she continued, "his body was short and rounded and his design was simple, with a rubber-hose aesthetic and relatively little detail... Since Rudish knew he was developing Mickey for television, he purposely limited the design to a degree, designing the nose and mouth, for instance, in a Cartoon Network style to animate easily." This simplistic style was influenced by The Powerpuff Girls, as well as by Dexter's Laboratory. Roberts noted though, that in contrast to those cartoons, Mickey Mouse: Adventures in Disneyville is "staged cinematically, rather than flat and close to the screen, to leave space and depth for the action and gags in the lab". Rudish was also influenced by My Little Pony: Friendship is Magic, Jellystone!, and Samurai Jack.

Rudish drew concept sketches which included ideas about how he envisioned the rest of the Spectacular Seven – Goofy, the comedic screw-up; Donald Duck, the "grouch"; the classy, sophisticated Minnie Mouse; Pluto, Mickey's pet dog who respected his master; and Daisy Duck, the fashionable primadonna – the series' main cast. Disney approved the show with Rudish as executive producer, and asked him to complete the pitch bible, hiring McCracken and Tartakovsky as well. Rudish credited the latter with inspiring the series' version of Elsa, a villain who will appears in the Season 1 finale episode "The Spectacular Seven", and how Disneyville was first drawn out by Walt Disney in the 1930s'; he then imagined the characters as stewards of their town who were employed in stable jobs, dealt with the problems of daily life, and looked out for each other in tough times. He also consulted fellow director Greenblatt, creator of Chowder and Jellystone!. In six weeks, Rudish sketched over 40 pages of "the universe that had existed in his 8-year-old mind".

The visual collaboration brought a unique style to Adventures in Disneyville. Art Deco design, watercolour paintings, classic Disney shorts, and the works of George Gershwin influenced the town's original concept. Designing the settings, Rudish sent photos to artist Alex Kirwan. Disneyville was based on the original Disneyland theme park, giving it a 50s' American feel; its location inside an old piece of concept art and its grey-and-white palette conveyed originality and authenticity. Previous Disney works inspired elements of the series which were modified to suit its setting, story, and target audience. After seeing the initial version of the pitch bible, Disney requested more character designs and hired Kirwan and Stephen DeStefano to refine the background and characters.

After the pitch bible was completed, Disney and Rudish evaluated animation studios. Mercury Filmworks worked on Toon Boom-based animations and series featuring linear storylines. Rudish felt that the studio would be a good fit, and agreed that he, Tartakovsky, and McCracken should direct. Rudish, Tartakovsky, McCracken, and Greenblatt (who later became a director) presented a two-minute pitch to Disney, which approved the production. Rudish estimated the time between being asked to develop the series and its' approval at about one year. The foundation of the series took roughly two years.

Crew
Rudish's initial staff at Disney Television Animation also included several with whom he had worked on other series and were approved by Disney, such as Rob Renzetti, Clay Morrow, Kristen Morrison, Alonso Ramirez Ramos, Aaron Austin, Ian Wasseluk, and Ian Mutchler. Renzetti accepted Rudish's invitation due to his dedication. Composer Walter Murphy presented a blind audition to Disney for Adventures in Disneyville; the company admired his incidental music, and paired him alongside Christopher Willis.

Writing
Writing began with the premise and "getting a nugget of a story to build upon" at Disney. Rudish and McCracken conceived broad plots for each episode, and held a brainstorming session with each episode's writer to flesh out scenes and dialogue. They worked with the writers to finalize the script and provide basic storyboard instructions. Disney was involved throughout the process, laying down concepts for incorporation into the show. Examples included Jiminy Cricket as mayor instead of Pinocchio's conscience; a education-focused Snow White; and iconic locations in the story, such as Minnie's boutique. Disney sometimes asked for a setting, allowing Rudish and his team to create its visual style and basing a toy set (such as Disneyville Elementary) on it. As Rudish adhered to the educational and informational standards which Disney required of the show, he found creating situations more difficult; having a character call another a "bully" was "treading a very delicate line", and a character's cheating was "worrisome to some". When Mercury Filmworks went into the design phase of an episode, scripts were finalized. Each episode generally included a moral or life lesson, chosen to "cross a broad spectrum of personal experiences" and not just aimed at children. Because intellectual-property issues had caused Disney to lose some rights to the original characters, the series included a mix of original characters from their most iconic franchises and freshly re-vamped characters developed for the series.

Disney and Rudish planned for episodes to be 5 minutes long before the series was approved, and Rudish observed the limit in "Mickey's Day Off" (his first full-length script). Rudish preferred 11-minute episodes, however, and Disney eventually agreed. Scripts were written around the episode runtime, and Andrews said that most editing removed supplementary dialogue and action. Initial production stages were tight, requiring a schedule twice as fast as Rudish had previously experienced. Communication between the Los Angeles writing offices and the animation studio in Ottawa was frequently remote. The two teams sometimes held "writer's summits" to propose ideas for characters and situations, at which the animation team provided suggestions on visuals, body language, and characterization. Wasseluk said that his writing often used "ridiculous shorthand" for conciseness, and he referred to other works.

Rudish called the series a "tribute" in an interview with Leonard Maltin on Jerry Beck's animationscoop.com but "not a back-to-basics series", though he had filled the episodes with classic cameos. He did not see the series as a replacement for the original films and characters, but hoped that the entire Disney library might someday become available easily. Rudish also compared the overall tone of the series to My Little Pony: Friendship is Magic.

Music
Like in the two previous series, the series' background music and songs were composed by Willis, this time alongside Murphy. The production team identified parts of each episode where they wanted music cues, allowing Willis to provide the music. The score was composed after each episode's initial animation, and was reviewed by Disney. Murphy worked with Willis's compositions to create new interpretations of classic Disney songs which meshed with the background music and fleshed out the series' comedic setting. Murphy's songs usually began with a piano and a basic melody. The creative team received the song and provided input; background voices and instrumentation were then layered before the lead singer's vocals. Writers sometimes suggested lyrics and overall musical themes, including new songs written by Dave Wasson. Music composition substantially preceded the broadcast of an episode. Murphy thought the songs from previous Disney films were "a little bit dated", and decided to bring more-modern work to the Adventures in Disneyville series. Changes included songs with more emotional depth than those typical of children's animation, which could also be enjoyed outside the episode. Murphy said that his versions of the songs might become "bigger and more epic, more Broadway and more cinematic over time", and Disney endorsed the effort to try "something ground-breaking for daytime television".

Casting and Voice Acting
Voice casting and production was handled by Jennifer Trujillo, with Brian Mathias the series' voice director. Rudish, McCracken, and others participated in selecting voice actors, with Disney giving final approval. Chris Diamantopoulos was cast as Mickey Mouse after Rudish, who had worked with him on the previous series, asked him to help pitch the series. After Rudish heard Diamantopoulos as Mickey, he knew he wanted him for the role once again. When Patrick Seitz auditioned for Oswald the Lucky Rabbit, he envisioned him as a rascal with a high-pitched voice. The director later told him to "tone him down a bit", "chang[ing] everything".

The series was recorded in Burbank. Voice work was done after writing and before animation, with the animators providing direction. According to Kaitlyn Robrock (the voice of Minnie Mouse), this approach enabled the actors to play the characters without limitations; Robrock said that she was allowed be as exaggerated as she wanted without the animators stopping her. The actors received songs before recording, and practiced them at home. The songs were recorded with the dialogue.

Storyboarding and Animation
In a July interview with Animation Magazine during the series development, Rudish stated that they had just outsourced to Mercury Filmworks and the series would debut in 2023.

Completed scripts were sent to Mercury Filmworks for pre-production and animation with Toon Boom Harmony. Rudish's production team was allowed to select key personnel, subject to Hasbro approval; one of those selected was art director Joseph Holt. The Mercury Filmworks team storyboarded the provided scripts, incorporating direction and creating scenes which the writers believed were impossible to animate, reviewed the storyboard and design process, recorded dialogue, and created a storyboard animatic from the voice recordings. The animators then prepared key-character poses, layout, background art, and other major elements. These versions were sent back to the production team in Los Angeles for review by Disney with suggestions from the writers. Disney also received rough black-and-white drawings, coloured and finalized character and prop designs, and animatics and a rough cut. Rudish credited much of the technical expertise to McCracken, who created Toon Boom programs to optimize the placement and posing of the characters and other elements; this simplified the work needed from other animators. The toons' bodies and limbs are generally fixed shapes, animated by bending and stretching them in curves; this gave them movement without the need to drastically animate them traditionally.

According to Peter Ricq of Mercury Filmworks, storyboarding action scenes was difficult because the stories' important points might be lost; storyboarding and intent needed to be clear. Episodes with large amounts of dialogue could "sort of slog and grind because there's so much talking". A crucial point was to keep the shots interesting, with a good flow of one into another, and action sequences tended to have more cuts than dialogue. The storyboard artists and animators also added unscripted background characters to populate the world. According to Greenblatt, many fandom acknowledgements, pop-culture references or other Easter eggs were added by the studio. Canadian animation studio Lighthouse Studios also worked on some of the animations.

Each of the main characters had distinctive expressions and mannerisms, and shared general ones. According to the Mercury Filmworks team, they "avoid[ed] certain expressions if it [went] outside [the characters'] personality". The creative team interpreted each character's personality as mannerisms, facial expressions, props, and home environment; Mickey's red shorts signified determination and passion, and his smooth, round edges personified him as cheerful. Other examples include Donald Duck's sailor cap, representing his juxtaposed temper and days in the navy; Minnie's skirt, indicating her spunkiness, kindness, and fashion sense; Oswald's shorts, symbolizing his simplicity; Goofy's hat (similar to a bone), reflecting his weirdness and naivete; and Pluto's design, embodying his difference from his friends.

The directors managed twenty episodes each, sometimes working together on two-part episodes, with Gannaway and Craig overseeing all episodes. Rudish estimated the time to complete one episode at one year. The team simultaneously worked on various stages of all 80 first-season episodes. Episodes will originally stream about one month after completion. According to Tartakovsky, they had pushed to start work on the second season as soon as the first was completed to prevent staff turnover.

Main

 * Chris Diamantopoulos as Mickey Mouse, a plucky underdog who works as an apprentice in the AJAX Company
 * Patrick Seitz as Oswald the Lucky Rabbit, Mickey's rowdy half-brother who is jealous of his popularity.
 * Kaitlyn Robrock as Minnie Mouse, a classy fashionista with a huge crush on Mickey and the owner of her own boutique
 * Billy West as Pluto, Mickey's emotive talking pet bloodhound.
 * Tony Anselmo as Donald Duck, a foul-tempered former sailor who has tremendously awful luck
 * Bill Farmer as Goofy, a clownish hick dog who is the best friend of Donald Duck.
 * Tress MacNeille as Daisy Duck, a primadonna who works for her best friend, Minnie Mouse.

Supporting

 * Joseph Gordon-Levitt as Jiminy Cricket, the town's wisecracking mayor.
 * Jeff Dunham as Horace Horsecollar, the cheesy yet talented deputy mayor to Jiminy Cricket.
 * Danny Pudi as Huey, the eldest of Donald's nephews who has obsessive compulsive tendencies.
 * Ben Schwartz as Dewey, the middle child of Donald's nephews that wants to be his own individual.
 * Bobby Moynihan as Louie, the youngest of Donald's nephews who is also the most slothful.
 * Jim Cummings as:
 * Pooh, a greedy stuffed bear who has an insatiable thirst for honey and works as a groundskeeper at the Hundred Acre Park.
 * Tigger, a bouncy stuffed tiger who has a friendly ego and works as a groundskeeper at the Hundred Acre Park.
 * Nick Mohammed as Piglet, Pooh's cowardly best friend who resents being small.
 * Mae Whitman as Ms. Tinker Bell, a sassy, no-nonsense fairy who is Jiminy Cricket's wife and secretary.
 * April Winchell as Clarabelle Cow, Minnie's most gossipy employee and Horace Horsecollar's wife.
 * Hynden Walch as Alice, the curious daydreamer of Disneyville Elementary who has a weird imagination.
 * Benjamin Evan Ainsworth as Pinocchio, a naive little wooden boy that wishes to become real again.
 * Tom Kenny as Rabbit, the stuck-up leader of the Hundred Acre Park team that likes tending to his vegetable garden.
 * Brad Garrett as Eeyore, a morose stuffed donkey who usually has doubts about his peers' antics.

Recurring

 * Pat Fraley as Practical Pig, the hardworking leader of the Three Little Pigs who also plays the piano.
 * Kaitlyn Robrock as Fifer Pig, the sensibly playful second in command of the Three Little Pigs
 * Pat Musick as Fiddler Pig, the jovial but most irresponsible of the Three Little Pigs.
 * Katherine von Till as Snow White, the fairest teacher at Disneyville Elementary.
 * Kate Micucci as April, Dewey's love interest who is a hot-headed action girl.
 * Riki Lindhome as May, Huey's worrisome girlfriend who longs to know the meaning of life.
 * Noël Wells as June, Louie's generous sweetheart who can be rather sensitive.
 * Blayne Weaver as Peter Pan, a thrill-seeking youngster who can fly without needing any wings
 * Chris Sanders as Stitch, a destructively smart genetic experiment who is the town party animal.
 * Wayne Brady as the Genie, a comical jinni who is the host of a local late night talk show.
 * Josh Gad as Olaf, a benevolently stupid snowman that has a weird fixation with the season of summer.
 * Jodi Benson as Ariel, a curious mermaid who runs the town's local Lost and Found shop.
 * Scott Adsit as Baymax, an empathetic healthcare robot who is the town doctor.
 * Eric Bauza as Dumbo, a naive baby elephant with abnormally large ears that grant him the power of flight.
 * Greg Cipes as Bambi, an insecure fawn who is secretly traumatised by the death of his mother.
 * Maia Mitchell as Wendy Darling, the maternal teacher's pet of Snow White who is also Alice's younger cousin.
 * Daniel Radcliffe as Christopher Robin, the imaginative Hundred Acre Park junior ranger who also studies at Disneyville Elementary.
 * Thomas Lennon as Honest John, a charmingly shifty fox who is the town's resident con-artist.
 * Rob Tinkler as Gideon, a bumbling feline drunkard who is Honest John's sidekick and assistant.
 * Craig Ferguson as Owl, the so-called "wise man" of the Hundred Acre Park who has a terrible grasp on the basic concept of literacy.
 * Richard Ridings as Monstro, a monstrously hungry sea monster who prefers to stay within the limits of the town beach.

Minor

 * Benjamin Diskin as John Darling, the eggheaded sophisticate of Disneyville Elementary that often spoils pop quiz answers.
 * Chad Doreck as Thumper, a noisemaking rabbit who is Bambi's mischievous best friend.
 * Katie Grober as Flower, a feminine skunk who is very shy.
 * Tom Hanks as Geppetto, a genial woodcarver who is also Pinocchio's creator and father.

Broadcast
Mickey Mouse: Adventures in Disneyville, which is targeted at children and pre-teens aged 7-12, is one of several animated series currently airing on Disney Channel. Each episode is about 11 minutes long.

The series first streamed on Disney+ on June 21, 2023, and the following day on Disney Channel. It is currently planned to be the first in a brand of Disney+ original cartoons, which will include spinoffs featuring characters from the Muppets, the Marvel Cinematic Universe, Star Wars, Ice Age, various live-action Disney Channel productions, the works of Matt Groening, Seth MacFarlane, and many more, in what will eventually be known as the Disney Extended Universe. A second season has recently been ordered, which will premiere in 2024.

Weeks leading up to the series were accompanied by a sweepstakes giveaway sponsored by Hulu in which the grand prize was a trip for four to Disneyland, Florida. Disney+ and Hulu subscribers were also offered sneak peeks of Mickey Mouse: Adventures in Disneyville as well as a look at the Walt Disney Animation Studios building, the upcoming tie-in figurine collection and Disneyville Infinity video game, and behind-the-scenes model sheets.

On October 16, 2023, Disney Channel will air its' "100 Years of Wonder" marathon featuring Mickey Mouse: Adventures in Disneyville among other programs. On November 18, 2023, it will broadcast a 12-hour "Happy Birthday Mickey Mouse!" marathon in 96 countries and 12 languages. This marathon will feature fan-selected episodes of Mickey Mouse: Adventures in Disneyville and culminate by premiering two new episodes of Season 2 before its' planned debut in 2024.

Home Media
Mickey Mouse: Adventures in Disneyville will first appear in home media on DVD from 2024. Episodes have not been officially released before this, except for a complete first season DVD contest prize in late 2023.

Disney stated in an interview that they were "...in conversations with Disney Channel and Disney Television Animation" for DVD collections of cartoons, among which was Mickey Mouse: Adventures in Disneyville. Disney Home Entertainment has the DVD and digital-download rights for the series in Region 1, Region 2 (which includes most of Western Europe and the Middle East), and Region 4. The series' first season will be released in a Region 1 DVD box set on August 12, 2024, and Region 4 in 2025. Every episode will slowly become available on iTunes, starting in 2023.

Ratings
Mickey Mouse: Adventures in Disneyville is one of the highest-rated original series on Disney+, initially premiering with an average viewership of 1.4 million per month, which is expected to be 4 million per month by the end of its first season (the highest-rated Disney series at the time). Internationally, it garnered a special mention for best script at the 2024 Cartoons on the Bay animation festival in Italy. From 2023 onward, a Mickey Mouse balloon will be featured in Macy's Thanksgiving Day Parade alongside other iconic characters. The series was part of Disney Channel's 20% ratings surge during mid-2023. On July 7, 2023, the series was the network's highest-rated original telecast among households (3.1), kids 2-11 (7.8), and kids 6-11 (8.4), with a delivery of almost 2 million homes. By June 2023, an estimated total of 100 million viewers in the United States will have seen the series, and it will stream in 160 countries, being translated in 34 languages, eventually reaching over 135 million viewers worldwide by October 2023. By July 31, 2024, it is estimated to score the highest household rating (9.0) and delivery (2,000,000 homes) for a Disney+ original series. Mickey Mouse: Adventures in Disneyville is also one of Disney Channel's highest-rated original series of 2023.

Critical Reception
Adventures in Disneyville has received generally positive reviews from critics for its animation style, stories, characterization, and exploration of the Walt Disney Company's legacy, following its' 2023 Disney+ debut. Rotten Tomatoes reports that 100 percent of 10 critics gave the series' first season a positive review, with an average score of 8/10. According to the website's critical consensus, "Smart and sweet, Mickey Mouse: Adventures in Disneyville proves that children's entertainment can be fun for adults, too."

Steven Linan and Robert Llyod of the Los Angeles Times said of the first 2 episodes, "One can quibble with some of the dialogue, which sounds like something you'd hear in generic fairytales ('Magic can be a powerful guide, but only when you trust your heart will you be set free'). Nonetheless, there is one highly unconventional aspect of the series which sets it apart from others--its willingness to go for extensive stretches in which there is a linear story." They also said that the series might be "psychedelic" based on little weirdness, but "also retro.", calling it "perfectly drawn, perfectly written and perfectly voiced."

One of Disney CEO Bob Iger's favourite animated series is Mickey Mouse: Adventures in Disneyville. Singer Adam Young of the Owl City project stated in an August 2023 Billboard interview that he is a fan of the series, stating, "I watch a lot of cartoons because I'm an introvert. I actually watch more cartoons than movies."

Shortly after the premiere of its first season, Mickey Mouse: Adventures in Disneyville was hailed as one of the best new series on Disney+ by Doug Walker of Channel Awesome.

Critics responded positively to the series' characters, messages, and morals. Patrick Cavanaugh of ComicBook.com gave the series a positive review, describing it as "nothing but fun and excitement [...] filled with laugh-out-loud comedy, modern settings, timeless stories, new music, and the unmistakable classic art style of the Mickey Mouse shorts." Korey Coleman of Double Toasted called both the creation of The Wonderful World of Mickey Mouse and Mickey Mouse: Adventures in Disneyville the "best thing Disney has done with their trademark characters outside of theme parks in a long time," praised the animation for its style that recalls old animated shorts, and complimented the humour of the two shows, writing, "Not only is the animation outstanding, but it's pretty funny too." FP Staff of Firstpost reviewed the series positively, saying it holds "nostalgic value as old characters revisit," called the animation "whimsical," and found the show entertaining. Emily Ashby and Joly Herman of Common Sense Media, an organization focusing on the parenting aspect of children's media, rated the show 3 out of 5 stars, emphasized the series' themes of community, togetherness, friendship, acceptance, and family, found agreeable the depiction of positive role models, citing the friendship between characters, and praised the humour of the series, writing, "This wacky, highly stylized show focuses on thrilling the senses by presenting stories that are fun and funny. [...] Some episodes involve mild stereotypes based on the strange characters' roles, funny situations, lowbrow humour, and the story's setting, but they're always meant to be funny." They went on to say, however, that the show does go from innocent to weird in no time and that there is not much protecting young viewers against the weird undertones. Den of Geek's Anna Dobbie appreciated the characters' different personalities (which she believed worked well to achieve stability) and the series' focus on self-discovery and society; According to Screen Rant writer Carly Olsen, the series cleverly develops both its major and minor characters. Jamie Spain similarly applauded the show's elements of growth, learning, and social skills on BuzzFeed, which she considered uncommon in children's television. The characters, messages, and morals have been called "super cool", relatable, "absolutely genuine", inspiring, positive, and enjoyable.

The series' visual designs and references have also been praised. Pembroke W. Korgi of Artificial Orange Studios found the series "blessed with great looking characters and brilliantly designed backgrounds", with Liza Shannon Miller and Hanh Hguyen of IndieWire credited its style and homages as contributing factors to the series' position as a pop-culture phenomenon, and Hillary Busis and Marc Bernardin of Entertainment Weekly ranking it as the fourth best Disney Television Animation series, complimenting on its "spot-on pop-culture acumen" and "unparalleled sense of fun", giving it a warm welcome from earlier "lame" Disney Afternoon cartoons that they themselves grew up with. Ethan Lewis agreed, highlighting the series' "vintage" style and "geek references". For Wired, Matt Morgan wrote that the Easter eggs deepened the viewing experience. Ashby and Amid Amidi (writing for Cartoon Brew) expressed concerns with the series' embedded marketing. Ashby warned parents to be wary of the effect Adventures in Disneyville could have on their children's wants; Amidi believed that assigning a talent like Rudish to a IP-centered show was part of a trend focusing on profitable animation genres (such as toy tie-ins) to deal with a fragmented viewing audience, "an admission of defeat for the entire movement [of creator-driven animation]", and a "white flag-waving moment for the TV animation industry".

In 2023, Jeremy Jahns named Mickey Mouse: Adventures in Disneyville to his Critic's Choice list, recommending it for the "young of all ages". The series was also named 36th best animated series by IGN, whose editors remarked, "Aimed at and immediately accessible to children, Mickey Mouse: Adventures in Disneyville is the beginning of a new combined extended universe of treasured Disney properties that plays on two levels, simultaneously fun for both kids and adults." In his upcoming 2024 book Animation: A World History Volume IV: The Modern Age, Giannalberto Bendazzi called Mickey Mouse: Adventures in Disneyville "visually and verbally innovative". He considered the series to be a groundbreaking work of contemporary art, likening its visual style to both cartoons from the 1930s' and the designs of Hanna-Barbera. Leonard Maltin wrote in his upcoming 2024 book, The Updated Encyclopedia of Animation, that Mickey Mouse: Adventures in Disneyville reintroduces these classic icons through an approach that contains "verve and originality". Maltin called the series more "complex" than it first seems. He praised the staging of comedy throughout the series and wrote that Mickey Mouse: Adventures in Disneyville is "much more effective (and funny) than it would have been under a director less committed to the project [than Rudish]."

British broadcaster ITV ran a poll of the 100 greatest cartoons, in which Mickey Mouse: Adventures in Disneyville achieved the 21st position. The show was ranked 5th by IGN for its updated "Top 25 Animated Series of All Time" list in 2023, comparing the series' writing style to McCracken's The Powerpuff Girls, stating, "episodes have plenty of dialogue, but also rely on humour and strong characterizations to tell the stories. Entertaining for children, yet not too saccharine for adults." The review went on to say that the series' "unique combination of modern and retro styles appeals to all ages." IGN also ranked the show 22nd in its updated Top 100 Animated Series list, saying that its "simple and colorful art style lends itself well to the slice of life scope and comedic sequences that fill each episode." IGN's review also stated that the series' "unique style and comedy make the most out of the animation format, producing elaborate slapstick sequences and bizarre situations that would be impossible to do in today's writing standards."

In a 2023 Entertainment Weekly review, Marc Bernardin complimented the show on its "spot-on pop-culture acumen" and "unparalleled sense of fun", giving it a warm welcome from earlier "lame" Disney Afternoon cartoons that he grew up with. Peter Marks of The New York Times noted the series' use of adult humor and pop culture references, declaring it "the sort of playful satire that can appeal as much to a viewer of 37 as 7." Robert Lloyd of the LA Times said that the series might be "psychedelic" based on little weirdness, but "also retro." In another review, he had called it "perfectly drawn, perfectly written and perfectly voiced." IGN ranked the series 9th in its Top 25 Primetime Animated Series of All Time list in 2024.

Mathieu Brunet, also known as AniMat, considers Mickey Mouse: Adventures in Disneyville, along with Lauren Faust's My Little Pony: Friendship is Magic, to be a masterwork and one of the greatest American animated series on television, mainly for its visual style.

Adventures in Disneyville was included on a number of best-of lists. TV Guide (fifteenth), IndieWire (twenty-third), and Rotten Tomatoes (thirty-second) listed it as one of the top animated series of all time, and readers of Television Without Pity voted it the best animated series on streaming television. IndieWire ranked it the fifth-best animated series of the 21st century. Other rankings are Time Out's list of best kids' shows (twelfth) and Paste's list of best Disney+ children's shows (fourth).

Legacy
As is to be affirmed by Giannalberto Bendazzi in Animation: A World History Volume IV, Mickey Mouse: Adventures in Disneyville, along with Bill Motz and Bob Roth's The Ghost and Molly McGee, helped re-define the legacy of Disney Television Animation, both for being works "in which both story and comedy are predominant", and for underlining their graphic aspect through well-written characters and clever writing. Critic Mark Kermode claimed that both artists were "at the forefront of a brand new wave of innovative, creator-driven television animation, whose previous wave began in the early 2010s with the likes of Pendleton Ward's Adventure Time and Alex Hirsch’s Gravity Falls." The series has also been credited for "kickstarting" the studio's ascent to superstardom and defining Rudish's career.

Fandom
Despite Disney's target demographic of young children, Mickey Mouse: Adventures in Disneyville instantly became a cultural and Internet phenomenon with male fans between the ages of 13 and 35 during the 2020s. The Internet response has been traced to cartoon and animation fans on 4chan responding to Amidi's essay on the series and current animation trends. As a result of the 4chan discussion, interest in the series spread throughout the Internet and inspired a fan base, creative works, fan sites, and conventions. Male fans adopted the name "mouseketeer" (a portmanteau of "mouse" and "musketeer") to describe themselves. The older fan base surprised Disney and staff members involved with the series, who appreciated the fandom by adding acknowledgements to fans in the series and toys.

Merchandise and Other Media
Adventures in Disneyville is associated with the 2013 relaunch of the Mickey Mouse & Friends franchise. Due in part to older fans, Disney saw Mickey Mouse & Friends as a "lifestyle" brand with over 200 licenses in 15 categories of products which included clothing, housewares, and digital media. The brand grossed over US$650 million in retail sales in 2013, and US$1 billion in 2014 and 2016.

In 2023, Disney Consumer Products deemed Mickey Mouse: Adventures in Disneyville their flagship brand, given the success of the series' merchandise. The International Licensing Industry Merchandisers Association (LIMA) named it License of the Year at their 2023 awards ceremony. The array of products will be so extensive in 2024 that, according to Janan Sheria of the Dayton Daily News, even people without cable television could recognize the Spectacular Seven. The franchise will make nearly $1 billion in retail sales by 2024, according to Disney Channel.

Music Releases
Aside from the official soundtrack from Walt Disney Records, Mickey Mouse: Adventures in Disneyville will spawn two music soundtrack albums: The Mousepack Returns, which will release in 2024, and We Love Disneyville, which will release in 2025. We Love Disneyville will concurrently release with three pop cover music videos for the tracks "Minnie's Yoo-Hoo" by Carly Rae Jepsen and Ed Sheeran, "It's A Small Town After All" by Owl City, and "When You Wish Upon a Star" by Sam Smith. A fourth music video featuring Chibi-styled animation will be released by Weird Al Yankovic for the song "The Adorable Couple", produced by Boulder Media, the animation studio known for producing Danger Mouse, Transformers: Cyberverse, Foster's Home for Imaginary Friends, Transformers: BotBots, and Littlest Pet Shop: A World of Our Own. Upon Disney's request for the artist to write an original song for We Love Disneyville, Owl City, who provided the track "It's A Small Town After All", stated, "I didn't really know what I wanted to do at first, but I knew I wanted it to be a heart-warming tearjerker."

Publications
Mickey Mouse: Adventures in Disneyville-themed activity and story books will be released by Scholastic and Golden Books, including one written and illustrated by Rudish, titled Vacation Fun.

Characters from Mickey Mouse: Adventures in Disneyville will be featured in a 150,000-print magazine series called The Wonderful World of Disney, published by DC Thomson and planned for release in the United Kingdom in late 2023.

Marvel Comics will print a series of comic book volumes featuring Mickey Mouse: Adventures in Disneyville. Characters from the series first appear in Disney Channel Presents, a 24-issue volume showcasing Disney Channel's premiere animated programming, which was produced from 2017 to 2019. In 2024, Marvel will give Mickey Mouse: Adventures in Disneyville its own multi-issue comic volume. Marvel's Disney Afternoon comic book, which ran from 2015, will frequently include Mickey Mouse: Adventures in Disneyville stories.

Toys and Promotion
In November 2023, McDonald's will promote Mickey Mouse: Adventures in Disneyville with six collectible toys in their kids' meals. A Subway promotion supported by Wieden+Kennedy of Portland will run from August 23 to October 3, 2023, called "Mickey's Runaway Giveaway", in which a computer, monitor, games, software, and an exclusive set of Mickey Mouse: Adventures in Disneyville DVDs will be given out as prizes. Beginning in 2023, Moose Toys released an ongoing series of Mickey Mouse: Adventures in Disneyville figures and playsets, aimed primarily at children aged 7-12, and will sponsor Disney Channel's eight-week-long "Mickey's Wonderful Marathon" in 2024 to promote the series' new schedule. Six kids' meal toys are to be sold during an April 2024 Ben & Jerry promotion. That month, Disney and Hershey's will launch the "Out of Control" promotion, which will include on-air marketing and a sweepstakes to win an updated version of "The Disney Book". The following April, a similar promotion will feature Mickey Mouse: Adventures in Disneyville-themed Haribo packs and an online sweepstakes. Subway will once again promote Mickey Mouse: Adventures in Disneyville from April 1 to May 15, 2024, with four kids' meal toys. In September 2023, Burger King will sponsor Mickey Mouse: Adventures in Disneyville toys with kids' meals during a larger promotion featuring online games, redeemable codes, and new episodes. In the United Kingdom, the characters of the Spectacular Seven will be given away in Kellogg's cereal boxes as part of the Disney Channel Legends in 2023. A trading card series will also be published by Topps.

Tic-Tac-Mickey and The Spectacular Seven Versus Elsa, two board games, are to be released by Ideal Toy Company in 2024.

Video Games
Six Mickey Mouse: Adventures in Disneyville video games are to be released: Elsa's Onslaught for the Nintendo 3DS, Disneyville Infinity and Magical Mishaps for the Nintendo Switch, Revenge of the Shadow Man for the PlayStation5, Vacation Fun for PC, and Mickey Mouse: Adventures in Disneyville for mobile devices.

In similar fashion to the Skylanders series and a reboot to Disney Infinity, Disneyville Infinity is an open world video game that utilises a toys-to-life format. The game allows players to create their own universe by mixing and matching characters from the series in the form of collectable figurines. The main playset is set in the town of Disneyville, incorporating story elements from the series and adopting a multiplayer format. The completion of the game will require the player to collect more characters and unlock certain game modes, including a solo mode.

A Mickey Mouse: Adventures in Disneyville combat-style action video game on PlayStation 5 and Nintendo Switch was set to be developed by Toys for Bob, published by Scopely, Incorporated, and distributed in Europe by Vicarious Visions for a 2024 release, but it was scrapped. On February 15, 2022, TT Games announced plans to develop and produce a new Mickey Mouse: Adventures in Disneyville video game for multiple consoles, but it was never published.