It is a shame that Walt McDougall has been overlooked by most comic strip history, because he left a lot of great material behind. While accounts differ over who originated different formats, everyone agrees he was among the first modern political cartoonists for the weekly humor magazines of the 1880’s and 90’s. He was among the first to create Sunday newspaper comic images in color. He visualized L. Frank Baum’s “Queer Visitors from the Marvelous Land of OZ” and penned “Peck’s Bad Boy.” newspaper series. And he was among the first syndicated cartoonists. His autobiography This Is The Life was one of the first lengthy chronicles of the early days of cartoon art as told by a practitioner.
But as I mentioned in my last post on one of my favorite McDougall panels, “Familiar Sights of a Great City – No. 1 The Cop Is Coming,” he was one of many early comic artists to take the new city experience as his subject, “Life in the City as the Countryman Pictures It” makes the country vs. city disjunction explicit.
Here he brings to life the “Countryman’s” caricature of city life. This one rich and very busy tableau serves up many of the age’s fears about the new city environment, and many of them have to do with deception, con games, wealth. Notice the many window signs for mail order houses and by-mail courses, alluding to many such come-ons most Americans knew from the classified ads in the backs of national magazines and local newspapers. At each corner of the panel we see rural folk as our point of identification, wary of the city’s seductions. The streets are literally paved in cash. The street sweeper complains about having to clean up the money. The loca bank is transferring moneybags down a Chouteau through the window. And Mssrs. Rockefeller and Morgan carry their own valises of “Cash” down the left sidewalk. McDougall satirizes the velocity of urban build-out and industry in the Waterstock Bldg that is under construction but advertises rooms ready today.
Starting with the multi-layered crowd-scapes of R.F. Outcault’s “Hogan’s Alley” the comic arts were uniquely positioned to depict the sensations of modern urban life. The full page could freeze the cityscape and let the eye travel across its multiple planes of disconnected action, dialogue and relationships. Film was good at depicting the crowd as a throng – an undifferentiated force. Artists like Outcault, McDougall and later Harrison Cady and Harvey Kurtzman instead used the large panel as a way to find order and sense, or at least meaning, in what otherwise seems like chaos when in motion.
In one sense artists of this crowd style both interpret the new masses and instruct us in how to view the urban world. These images force our eye into the the detail of the crowd, to ferret out the little stories, miniature satires, little in-joke details. They are giving us a powerful vision of how not to see the crowd as a crowd but as a glorious and exciting tableau of many small worlds all somehow going in the same direction.
Also interesting to me is how the image is about subjectivity itself. McDougall is bringing to life a specific fantasy of the new city, using the comic page to dramatize the way a particular part of America caricatures another.
Pingback: Stereotyping The New American City – Panels & Prose
Pingback: City Visions: The Hurry Up New Yorker – Panels & Prose
Pingback: The Nebbs: The Social Realism of a Mid-List Sitcom – Panels & Prose