In the first days of Alex “Flash Gordon” Raymond’s post-WWII detective adventure Rip Kirby, it was clear the master was going to redefine the look of comic strip adventure. Day two of the March 1946 launch story speaks volumes about the influence Raymond was going to have on a decade of 50’s adventure style. The panel progression here is so engaging. The first two panels are energized so that you can almost feel the weight of the murder victim slump into Kirby’s arms and instantly change valence of the scene. And that final close up communicates the deadly reality of the situation by bringing us right into the complex reaction to beauty and death. The photo-realism is here, as is the increasing influence of cinematic points of view, timing, and close-ups. And arguably, the next decade would also see in comic strip adventure a turn inwards, toward psychological realism, the emotional lives of characters, that accompanied the more photographic style of the art. All of these elements would be deployed in different ways by Stan Drake in the Heart of Juliet Jones, Leonard Starr in On Stage, Warren Tufts in Casey Ruggles and Lance and John Cullen Murphy in Big Ben Bolt.Continue reading
Monthly Archives: August 2022
Casey Ruggles: Beauty and Brutality, Fact and Fantasy
Warren Tufts (1925-1982) was a self-taught artist and historian of the mid-19th Century Westward migration, and he combined both avocations into two of the most compelling and distinct adventure strips of the 1950s. In Casey Ruggles (1949-1954) and Lance (1955-1960) he brought visual and historical realism to an otherwise romanticized vision of the West that flourished in post-WWII pop culture. In Tuft’s West of the 1840s, settlers were as often selfish, greedy, cowardly, incompetent, sadistic and capriciously violent as they were an heroic forward guard of civilization and commerce. Tufts had a mixed view of human nature that allowed all of these qualities, good and bad, to coexist in many of his characters.Continue reading
The Death of Flattop (1944)
Feels like peak Gould. This May 1944 Sunday shows off Gould’s visual sense of place, love of clean geometry and perspective, retributive Justice.