The hallmark of Chester Gould’s Dick Tracy is its surreal villains. Flattop, Pruneface, Mole, Mumbles, et. al. But Gould wasn’t satisfied expressing inner evil with outward disfigurement. He also loved to torture and kill them in equally grotesque ways during the prolonged hunt and chase sequences that was central to every Dick Tracy storyline. Gould wanted more than justice against evil. He wanted revenge and sometime literal pounds of flesh.
But when it came to do wreaking poetic justice upon his disfigured villains, few suffered as creatively as The Brow. In the heat of wartime, Gould let out all the stops with this Axis spy through the summer of 1944. In the course of his doomed getaway sequence Brow had his head trapped in his own vise of spikes torture device, breathes through a water hose at the bottom of a pool to evade Tracy, gets shot during a chase through farm crops and crashes into Gravel Gertie’s gravel pit, suffers Gertie’s affections and folk cure poltice of soot and spider webs, escapes a house fire, get pummeled to a pulp by Tracy and falls back onto an electrified fence.
But the final indignity comes after all of this punishment at Police HQ. When Brow tries to make his escape, Tracy beans him with a glass inkwell, sending the villain backwards through the window and onto a flagpole marking a memorial for fallen soldiers. In one of the most gruesome panel sequences to come into America’s wartime homes, The Brow is impaled down the length of the flagpole.
Gould often served poetic justice to his villains, but few ever matched the sheer explicitness of this wartime spy speared by an icon of patriotic sacrifice. Not satisfied with this grisly end, Gould spends the next several days with horrified reactions and the tricky matter of getting Brow off of the pole.
Gould had a singular vision of good, evil, justice, retributive violence and the social order. All of it is on display in this lengthy Brow storyline that also includes Vitamin Flintheart, the Summer Sisters and the introduction of the recurring Gravel Gertie. Because of the overt grotesqueness of his villains, Gould’s worldview is often mistaken as stark and Manichean. But his morality tales are filled also with these characters who unwittingly aid and abet villains, often in pursuit of their own selfish but not criminal pursuits. Gould’s America required law and order diligence in part because he seemed to recognize the fragility of social order.
At the tail end of Gould’s run with tracy in the late 70’s, his stark vision of law and order grew cranky as it contended with the counter-culture and increasing criticism of police brutality. Antagonized by the zeitgeist, Tracy seemed increasingly anachronistic and a frequent object of satire. From its outset Gould conceived Tracy as a bit of a reactionary figure. And Gould’s truly strange imagination was apparent from the beginning.
Across the four decades, Gould’s visual style evolved considerably even as it remained singular and distinct from everything else on the comics page. It started as a scratchy, awkward thin-line depiction with body parts out of proportion, wooden motion, and an odd uneven use of perspective. Somehow, Gould stylized many of these weaknesses into strengths. While other adventure strips followed Alex Raymond’s etched realism of Flash Gordon or Milton Caniff’s blobby chiaroscuro effects, Gould went surreal. His massive fields of black, grotesque villains, bizarre character stances and eccentric uses of both flat and deep perspectives were set by the late 1930s and throughly expressive of his world view. His visual signatures became even more abstracted over the decades as his line work became thicker and his framing tighter to accommodate the shrinking formats for newspaper comics. But somehow the sensibility remained the same to the last panel in 1977, which reiterated the first Dick Tracy strip of 1931.
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