Tag Archives: 1930s

Can This Villain Destroy Dick Tracy?

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Foreshadowing some of the more colorful arch-villains in the 40s and beyond, Dick Tracy’s early 1933 encounter with Stooge Viller was a standout as Chester Gould developed his style and focus. Stooge is imported to the city by a broken crime ring to discredit the now-famous gangbuster Dick Tracy. He is a master pickpocket and a bit of an effete dandy. He successfully frames Tracy and even causes Tess Trueheart to fall out with the love of her life.

Here we get our introduction to Stooge.

Stooge plants counterfeit bills on Tracy, who eventually is confronted and accused.

Our hero feels the world collapsing around him and descends into the bane of masculine mythos – self-doubt.

By 1933, Chester Gould ‘s overall style is gelling around those signature thick lines and dense bodies, those wonderful masses of black. But he is also experimenting with evocative design ideas. Here Dick’s emotional nadir, Tess Trueheart’s rejection, is depicted as a full-on silhouette strip.

And adding insult to male ego injury, Stooge moves in on the disillusioned Tess. In the strip’s early years especially, Gould deployed a range of female stereotyping on poor Tess. Often flighty or naive, she was a gender foil for the dripping masculinity of Dick Tracy. As we covered in an earlier post, neither Gould nor his avatar Tracy were progressive feminists by any means.

While Gould’s style and design sense evolved mightily throughout the 30s, and his imagination just got zanier, one thing never evolved – his reliance on unlikely plot contrivances. Viller’s scheme and Tracy’s innocence are revealed to Tess when she finds a draft of Stooge’s wire to Eastern gangsters that conveniently narrates his entire plot against her estranged boyfriend.

When Tess ends up getting shot in the course of her misadventure with Stooge, we have to wonder if this is Gould himself expressing some resentment towards her loss of faith in Dick. The panel in which she declares herself a fool is a wonderful composition that frames her frail, swooning, naive femininity against the burly expanse of the Chief’s grimace, perhaps voicing Gould’s own disappointment in her.

When Dick and Tess do finally reunite and reconcile, Gould exercises what would become a signature move for him, a radical juxtaposition of mood and action from one panel to the next. Gould had a talent for using the panel structure to jar the reader, to interrupt a mood in one panel with a surprising twist in the next. In this case a romantic interlude is upset by the capture Stooge inexplicably trying to slit his own throat.

It goes without saying that in a strip focused mainly on dramatizing the masculine prowess of his hero Chester Gould showed no understanding or sympathy for his female characters. Not surprisingly, he is equally inept even at drawing human intimacy. Tess and Dick’s kiss has all of the romance and finesse of a fender bender.

And yet we wee in the Stooge Viller episode Gould clearly expanding his palette and moving towards more stylized approach to depicting character and capturing mood and emotion especially through shadows and literally dimming the lights on scenes that try to dramatize deeper emotion.

Stooge Viller would be among a small handful of Tracy villains to recur over many years. He proves to be a deft nemesis in the detective’s early years. He is a clever schemer who seems smarter than the glorified thugs of the earliest strips. At Stooge’s hands, Tracy is put out to the physical and psychological wilderness. Stooge not only frames Tracy as a counterfeiter and gets this beloved cop drummed from the force, but he steals Tess’s affections. Tracy’s career, reputation and girl are taken from him all at once, a true trifecta of masculine humiliation. 

The hero of pulp adventure seemed compelled to enshrine masculinity by having it beaten down. In order to triumph, heroes must be bound, trapped, tortured, emasculated or simply ruined by villainy before emerging from humiliation to assert their power. This eccentric opera of masculinity in pop fiction has always led to weird homo-erotic depictions of S&M, bondage, dominatrix encounters, subjugation, and banishment of all sorts. The classic heroes of myth had to suffer taxing encounters with nature and monsters to complete their quest or rescue the land. But the peculiarly American style of pulp heroism often required male humiliation of some sort in order for our hero to assert the righteousness of his masculine power.

Gray Goes Dark: Survival of the Fightingest

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By 1937, Harold Gray seemed to have fallen into an especially foul mood. It was several years into his nemesis F.D.R.’s “New Deal,” which Gray felt represented everything he and his “Little Orphan Annie” disdained: social uplift, misguided do-gooders, institutional authority. From the start, Gray was never shy about voicing his populist perspectives and what he saw as core agrarian values of self-reliance, individualism, and deep suspicion of government bureaucracy of all sorts. His chief scholar, Jeet Heer, has done a much better job than I can here outlining Gray’s vein of Populism and how it ran much deeper than knee-jerk reactionary conservatism. And I have argued in these posts how Gray’s cultural politics were grounded in familiar mid-western traditions and a tension between 19th Century values of “character” and 20th Century notions of “personality. But it is clear that in response to FDR and the popularity of the New Deal Gray got more radical and vocal about his views. And perhaps not coincidentally, the strip grew even darker in the later 1930s.

As Here argues in the introduction of the 7th volume of the Library of American Comics reprint series, Annie was always a gritty, street-smart tale, but Gray usually kept physical violence off-panel. Yet, as the strip approached its creative height in 1936-38, that violence started moving into frame. Heer argues that Gray likely was responding to world conflicts, a greater personal sense of mortality as well as competition from more action-oriented strips that dominated the 1930s. I think Gray may also just have been growing angrier and more resentful towards a culture from which he felt ever more alienated. Gray’s moral vision was always as as simple and plainspoken as his drawing style – venal villainy countered by saccharine sentimentality. But it is clear, Gray was getting darker and seeing the world in starker ways by 1936. In fact the lead-up to one of the most jarring bits of in-panel violence in Little Orphan Annie begins with a remarkable Sunday strip on Oct. 8, 1936 that maps the modern world as a perennial “jungle” of predators and good-hearted strivers. As Annie’s newfound friend and flower-seller Ginger, reflects, “But the rules are still jungle – the survival of the fightingest.”

In the coming weeks, Gray uses Ginger as his populist mouthpiece. Annie had always been a chatty strip to begin with, but in these months the moral bromides, punditry and snide asides crowded most panels. Gray clearly had a lot to get off of his chest…about the corruption of politicians and lawyers and their collusion with thugs…about the mixed motives of “uplifters”…about the productivity and generosity of earned wealth…the moral hazard of handouts and unearned wealth. Gray was not a simplistic or sentimental reactionary. He had relatively progressive racial views. And as he outlined through Ginger in these months, his sense of individualism was a principled rejection of the sociological generalizations he saw driving a lot of reformist uplift and welfare. His populist sociology rejects environment as determinative of behavior.

No one ever accused Harold Gray of subtlety. Annie was as much folk punditry as it was an adventure. But he was artful, albeit dogged, in creating opportunities for his avatars to voice another homily. A street fight triggers bromides on rising out of the “hard kindergarten” of the streets. Passersby making an offhanded comment on these city kids not getting a chance in life set up Ginger’s counter-argument about the dangers of unearned advantage. Meeting an old friend lets her reflect on the morality and generosity of earned wealth. And all of this in just three strips.

Gray’s wordiness can divert us from his considerable and evocative graphic skills. He visualizes his principles and arguments that are as clear and un-subtle as his ideology. The street scenes in the Oct. 26 strip above illustrate the teeming diversity, the danger, raw violence of the city as well as the individuality of the humanity he sees there. That third panel depicting the “rushing tide of life” expresses at once a suffocating crowdedness and individuation.

Gray’s visual voice was singular and somehow it succeeded in establishing his mixed view of humanity, society and the cosmos. His laudable human figures were usually solid, husky and well-planted. Annie herself has tree trunk legs that look and feel organically rooted in much the way his friend Chester Gould like to plant Dick Tracy in the frame. It is the visual embodiment of self-reliance and resilience. The infamous hollow eyes of Gray’s cast underscore how little he and many other daily cartoonists relied less on facial expression and more on words, composition and action in a frame to express feeling. Much like Frank King and Gasoline Alley, Annie visualized the plain spoken style of its creator.

While they were very different artists, to be sure, Gould, King and Gray had visual voices that helped define the worlds we were in for those three or four daily frames. That to me is one of the comic strips’ singular aesthetic qualities, to establish diverse and distinct fictional worlds through these signature styles. For Gray it took the shape of bulky, pillowy figures that lived in a 2D world of little forced perspective or even movement. Gray’s characteristic hatch work helped communicate a grimness to his worldview – the persistence of shadows. Arguably, he did not have the stylistic talent or range of many peers. King had a great sense of panel pacing and rhythm, a feel for place and landscapes, he used relentlessly. Gould leaned heavily on his penchant for muscular action, grotesque violence, forced perspective and those vast planes of inky blacks.

Gray flexed his style sparingly. But he was capable of great visual power. In the run up to the tragic violent death of flower lade Ginger, we get this gorgeous showcase of crosshatched planes, light-source, and cross-cut pace that feels like German Expressionist film.

The local gang of hoods target Ginger because she refuses to pay into their protection racket. Her graphic murder that comes days after the foreboding strip above is a rare instance of a Gray panel exploding in explicit violence.

It is probably best that Gray depicted violence so sparingly. He wasn’t very good at it. But this moment is of a piece with the months of the strip’s immersion in the modern city and its many musings on the modern “jungle.” And it embodied the emotional energy, perhaps even the anger and pessimism that seemed to drive what many comics historians regard as his creative peak in the storylines and characters in the last half of the 1930s.

Alley Oop: Off To A Flying Start

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“Off to a Flying Start” is how V.T. Hamlin titled his introduction to the Alley Oop character and world in late 1932. And in fact Hamlin’s eponymous hero cries for help in the opening panel…only to be chased by the prehistoric dinosaurs of this fantastic “Bone Age.” For the next six or seven years, Hamlin’s art and story were at their best when his furry-crowned, thick-limbed everyman scurried at the center of screwball mayhem. We now have a great opportunity to review and reconsider Alley, as the small press Acoustic Learning recently launched reprint series of both Hamlin’s early adventures and later work by his successor Dave Graue.

My first impression diving into Alley Oop is Hamlin’s strong feel for set, background and character design Hamlin had from the beginning. Unlike Segar’s Thimble Theatre, Capp’s L’il Abner and certainly Gould’s Dick Tracy, Alley Oop doesn’t begin in a crude style that only finds its signature style over months and years. Hamlin goes into Alley Oop knowing he wanted to contrast fine-lined, simple but polished characters with detailed and accurate scenery and dinosaurs. Hamlin had a cultivated curiosity about prehistoric creatures in one of his many jobs as an illustrator in the Texas oil industry. He well knew the historical fantasty at the center of Alley Oop. The age of dinosaurs long preceded any human ancestors. But he was dedicated to drawing, naming and animating his Bone Age dinos as accurately as he could.

By contrast, his cast of cartoon humans, the males at least, are carefully built with a bit of the era’s deco minimalism. Oop, his rhyming buddy Foozy, Guz, the King of the Moos and the tribes of cave men are small of head, with enviable four-pack abs, and forearms and calves shaped like bowling pins. He builds his characters in order to animate them. Those bottom-heavy limbs become wonderful devices when fleeing, fighting or rioting. The action poses, freeze-frames of punches thrown and received, crowds of cave men imploding or exploding, all have an expressiveness that sits between cartoon abstraction and naturalism. This fine-lined, controlled art style is served very well in this reprint. The strips fully render Hamlin’s thin line shading of background flora and the dinosaurs.

Alley Oop is also one of those rare strips, along with Walt Kelly’s later Pogo, that renders the words as part of the art. From the strip’s first panel, Hamlin shows his distinct deco styling for characters shouting. They move from small to larger type sizes, megaphone-like, into the air. And Hamlin plays with bolding, differing type styles and sizes, words moving in and out of word baloons, to express tones, crowd murmerings, sound effects. In some ways he was bringing to his comic strip layers that mimiced the early days of the talking motion picture, still in its infancy when Oop appears in 1932/33.

And much like Segar’s approach to Popeye, even Gray’s Annie, Hamlin brings a populist sensibility to the strip. Conventional wisdom suggests that Alley Oop becomes more interesting and a genuine adventure strip in 1939 when he introduced a time travel device that brought Oop and girlfireind Ooola across major historical ages. But from the start, Oop is an everyman hero, good of heart, who is less of an adventurer than a victim of circumstance. He quickly becomes the unintentional antagonist to King Guz, the insecure and thin-skinned leader of the Moos. Guz envies Oop’s popularity when the cave man returns to the tribe astride his tamed pet dinosaur Dinny. Guz’s machinations to retain prestige and diminish Oop is the driving force of the strip’s first year. Oop fits neatly within the pantheon of Depression-era common many heroes. Prohibition, which didn’t end until the December 1933, and a deepening Depression had already undermined public trust in institutional authority, the purity and wisdom of legal and political institutions. Popular culture registered a generalized distaste for authority in everything from the romanticization of gangsters in the press to images of kings, politicians, policemen and bosses as either hapless or imperious. We usually come upon common men like Popeye, Tom Joad, Micky Mouse and Mr. Oop just trying to go about their business, only to become heroic in the face of the moral duplicity (or just stupidity).

As simple and familiar as these everyman heroes may seem, the idea of the inherently moral, simple and unpretentious “nature’s nobleman” runs deep and long in American culture, extending back to the tales of James Fennimore Cooper’s frontier hero Natty Bumppo and Jacksonian politics of the 1840s. American popular literature is filled with examples of the naturally ethical, American individualist asserting basic common sense and morality against both little human and big insitutional corruptions. Cast as he may be in the Bone Age, Oop was certainly in that tradition, one that had special valence to Depression-Era.

Popeye and Olive Scandalize Father Oyl (1930)

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It didn’t take long for Popeye and Olive to hook up after the pugnacious sailor joined the Thimble Theatre in 1929. Popeye because part of the Sunday Theatre in 1930, which is now being reprinted by Fantagraphics. E.C. Segar’s characters had a special kind of grittiness and irascible repartee. And here we see how Thimble Theatre could get remarkably raw. Popeye and Olive’s noisy smooching gets under Mr. Oyl’s skin. The sexuality of the younger generation in 1920s America had been an important topic of discussion across media. WWI had exposed an entire generation to less inhibited European attitudes towards sexuality. The arrival of the automobile especially created a way for boys and girls to escape the scrutiny of their parents. Moral arbiters worried publicly about this new wave of “petting parties” where youth explored their bodies in troubling ways. Apparently, Olive Oyl and Popeye used the Oyl living room for their own personal petting party.

Premiere Panels: Mandrake Materializes…Eventually

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It took a full week of strips for the eponymous hero of Lee Falk’s Mandrake the Magician strip to make his grand entrance. June 11, 1934 was the first strip, which evokes some of the feel of a classic mystery wind-up. But on June 15, in what has to stand as one of the most unambiguously racist intros in pop culture history, Mandrake’s “servant” Lothar heralds the coming of his “master.” One doesn’t even know where to start here. Falk’s full bore colonialism is more fully and relentlessly explored in his later The Phantom series whose origin we covered here and whose fetishes we covered here.

For all of its weaknesses, Mandrake remains important both to comic strip and comic book history in that his is the first strip to move towards a super-powered hero. Mandrake’s “magic” is only nominally super-natural, in that it is based on the power of suggestion and influence over others’ minds. But it precedes the appearance of Superman by 5 years and aldo nods towards costumed heroism, which would be more fully introduced in Falk’s The Phantom.

Great Moments: Dick Tracy Premieres 90 Years Ago

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On Oct. 4, 1931 Chester Gould’s Dick Tracy launched with the strip above. To commemorate the birthday of my personal favorite strip of all time, I am gathering some of the pieces I have written around Dick Tracy over the last couple of years.

Looking at the Finale of the Strip in 1977

The Impaling of The Brow

The Many Wild Deaths of Tracy Villains

The Perennial Conservatism of Dick Tracy

The Weirdness of Dick

Death Becomes You: Tracy Villains Meet Their Fitting End

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Retribution was Chester Gould and Dick Tracy’s model for justice from the beginning. The strip started in 1931 literally as a revenge narrative. Standing over the murdered body of his fiancé Tess Trueheart’s father, civilian Tracy swears vengeance on the killers. He quickly joins the police force, but the themes of retribution and conviction by poetic justice remained a hallmark of the strip across four and a half decade run. From the beginning Chester Gould unapologetically crossed the lines of good taste. By the late 1930s in criminals like The Mole, B.B. Eyes, Flattop, Pruneface and the like, Gould started using outward disfigurement as expressive of inner villainy. And the level of explicit violence and even torture in Dick Tracy was unlike anything else on the comics page, or elsewhere in pop culture for that matter.

The revenge motif was baked into the strip’s moral universe. Tracy villains didn’t just need to be sought, caught and jailed. They needed to be hounded and often tortured along the way. Many of Tracy’s prey ended up behind bars, but just as often they met poetically just ends. Gould turned the grisly, fitting deaths of villains into his own special kind of art. Here are some examples from the first two decades of the strip that highlight Gould’s dark talent for retributive justice and capital punishment Dick Tracy style. At these climactic moments we see most clearly the visual, moral and often bizarre world,

Final Curtain for Whip Chute – 1939

Subtlety was not in Chester Gould’s quiver. Here he triple underlines his irony.

B-B Eyes Gets Dumped – 1942

More than anything, Gould loved to kill and humiliate Tracy villains in slo-mo. Here, B-B Eyes hides in a garbage barge in the final leg of a desperate flight from justice, only to get dumped, trapped and drowned. Gould had a special talent for using the panel. framing and zoom techniques to communicate feeling through his use of space. His signature tight shots on dead villains often conveyed the loneliness and claustrophobia of death itself.

Flattop Gets Spiked – 1944

In 1944, Gould concocted two of his most venal villains. Flattop was simply psychopathic as a hit man, and he would be followed by The Brow, who was sadistic and a spy. Hiding beneath a ship being constructed, Flattop gets hung up on protruding spikes, leading to another close-up of deserving death.

The Brow Is Killed By Patriotism – 1944

Far and away the most inventive and stomach-turning death in the first decades of Dick Tracy was the impaling of The Brow. I covered this in greater detail and with more context elsewhere. But here again is the wartime spy getting impaled on the flagpole commemorating the city’s war dead. The bending flagpole is a gruesomely brilliant touch to amplify that moment of maximal tension that will ultimately pierce the villain.

Gargles Eats Glass – 1946

Falling through a skylight, again in comic strip slo-mo, Gargles gets sliced across three panels. And Gould can’t resist giving us his final shudders. In fact Gargles hangs on until the next strip so his final words exonerate an innocent suspect just in time for Christmas. One of the hallmarks of Dick Tracy was the strip’s extremism, Gould’s penchant for balancing unmatched graphic violence and angry vindictiveness with maudlin sentimentality. This sequence leads up to a Christmas strip that celebrates the villain’s death and the joy of the season.

Mumbles’ Cry for ‘Elp’ – 1947

Making a speech impediment somehow expressive of a villain’s evil was a questionable move to begin with. But Gould doubles down on this conceit by having Mumbles frantically, futiley hail for “ELP”.

T.V. Wiggles Can’t Move – 1950

Gould loved to draw in that little bit of grisly business to convey violence. While he used a heavy, cartoonish line and unreal, expressionist style that set the strip far apart from the illustrative style of most adventure strips, Gould used other ways of communicating hard-boiled reality. He had a penchant for objects penetrating bodies. Bullets often passed through their targets in shootout sequences. And as the deaths of The Brow and Gargles showed, the impaled body has a special place in Gould’s sense of horror. The death of T.V. Wiggles comes from fallen metal sheets that form an ersatz coffin. But it is that little corner of metal piercing a flap of neck flesh that telegraphs the experience of death itself.

Mr. Crime and Judge Mix Blood and Money – 1953

Mr. Crime was among Tracy’s most ruthless, pitiless villains of the 50s, and in the context of the Gould moral universe I am surprised (and a bit disappointed) that he suffers a simple shootout with Tracy. In fact Gould reserves the grisliest image for Mr. Crime’s extorted dupe, Judge Ruling. When cornered, the corrupt Judge chooses suicide. But of course Gould can’t give us a gunshot sound effect heard through a closed door. We have to get an image of Judge Ruling eating the gun, complete with cheek lines to suggest how deep he has planted the barrel. But we’re not done with this duo. As is his wont, Gould closes in for a final tableaux of both villains swimming in their own blood and money.

Flattop Jr.’s Near Miss – 1956

Flattop Jr. was indeed the son of the original Flattop, but he was framed by Gould as a neglected youth who embodied the overhyped scourge of the 1950s – the juvenile delinquent. He appears to meet his end in a theater fire he himself set to cover his escape. Despite the massive explosion Gould depicts dramatically, and the presumption of having died in the inferno, Jr. turns up later where his genuine death takes place in the middle of another villain’s cycle. And so that final contemplative panel here turns out to be ironic.