Yeah, that’s gonna leave a mark. Impaled on an American flagpole, sadistic WWII spy and Dick Tracy villain The Brow gets poked by poetic justice. More grisly villain deaths from Tracy creator Chester Gould here.
Gould’s Dick Tracy is my lifetime favorite strip, which I have already recounted in our About Panels and Prose section. I have covered Dick Tracy from many angles since starting this site years ago. You can find pieces on Flattop, Flattop Jr. the arch conservatism of Gould and his here, as well as assorted short takes on Tracy here.
The Weekly Weird. In 1894, Puck magazine took aim at the rising influence of increasingly sensational and less costly city newspapers. Here, Frederick Burr Opper, who would go on to be one of newspaper comics’ founding fathers, called out Joseph Pulitzer in particular as a purveyor of “fake news.” More on the full cartoon here.
Is a bigger Barks a better Barks? Taschen’s long-awaited Disney Comics Library: Carl Barks’s Donald Duck. Vol. 1. 1942–1950 supersizes the Duck Man, and we are all the richer for it. This is one of their “XXL” volumes, so let’s go to the tape. It weighs in, literally, at 11+ pounds: over 626 11 x 15.5-inch pages that include the longer Donald Duck stories from 15 issues of Western Publishing’s Four-Color series. up to 1950. These include some of the greatest expressions of Barks’s quick mastery of the comic book format. In “The Old Castle’s Secret” (1948) he uses page structure, atmospherics and pace to create real suspense. His masterpiece of hallucinogenic imagination married to landscape precision surely is “Lost in the Andes” (1949). And his well-tuned sense of character is clear in creating a purely American icon of endearing greed in Uncle Scrooge in “Christmas on Bear Mountain” (1947). Of course we have seen these and many of the other stories in this collection reprinted before. So, to answer my own question, does scaling up Barks give us a better Barks?
Force-fed a new brand of cereal by his kidnappers that grows hair uncontrollably, Cecil Jensen’s country rube Elmo is awash in a pool of his own tresses. More on this strange late 1940s satire here.
A WWII veteran amputee who doesn’t want to journey (or save) the world. Just a grease monkey who yearns to get back to the garage, marry his sweetheart, and figure out what he and his pals’ great sacrifice really meant. That was Hank Hannigan, the titular, unlikely hero of the short-lived 1945 comic strip Hank, which creator Coulton Waugh conceived as an answer to traditional adventures. “To get a new character I go into the subways and actually draw them,” he told Editor and Publisher before Hank’s April launch. “I want the people of America to stream into the strip.”