Volume 2? You have to wonder if any biographer really needs a two volume bio-reprint to cover the life and art of a single cartoonist. To be fair, Sadowsky’s treatment gives up a massive share of space to reprinting much of Basil Wolverton’s best published work and revealing sketch and spec pieces. But in fact, Wolverton was as singular and curious a character as his art. This volume focuses mostly on his horror and sci-fi work, which was often batshit imaginative. But there is also his caricature art, advertising work, and more. Also interesting and included here are his many failed attempts to break into comic strip syndication with some of his screwball comedy characters of the 1940s like Scoop Scuttle (below). And of course Wolverton leapt from obscurity to fame when his Lena the Hyena caricature won Al Capp’s contest to depict the world’s “ugliest woman.” Wolverton remains a seminal figure. His break from any previous comic art style anticipated (and was revered by) the comics underground more than a decade later.
Wolverton made several unsuccessful attempts to break into what every comic book artist viewed as the mother lode – newspaper comics syndication. Among his several failed attempts to break into strips, he translated his Scoop Scuttle screwball comic book character to a daily format on spec.
Fantagraphics’ complete reprinting of the Floyd Gottfredson Mickey Mouse dailies has been among the most literate and richly contextualized comics history projects in recent years. This one volume color rendering of some of Mickey’s best adventures between 1930 and 1951 is a shorter, more affordable sample. Here is Mickey evolving from scrappy, spunky adventure hero of the 30s to bland suburban everyman of the 50s. Lest we forget, Mickey’s 1930 comic strip launch places him at the advance guard of adventure strips, along with Orphan Annie and Wash Tubbs and Popeye that would bring us 30s powerhouses – Dick Tracy, Terry and the Pirates, Flash Gordon et. al. Gottfredson’s penchant for putting movement, gestures, expression and urgency into every panel is matched by his and collaborators’ mastery of story pacing and suspense. While I would quibble with some of the choices (really, no Phantom Blot?), this is a great sampling across eras for those who aren’t up for buying the enture run.
#8 Elmo: An American Experiment by Cecil Jenson, edited by Frank M. Young, Middletown DE, Labor of Love Press, $14.99
What a find. Young has unearthed and reprinted a darkly surreal strip from the late 1940s by the author of the later Little Debbie strip of the 1950s. It seems like a Li’l Abner knockoff, with the rural rube Elmo encountering urban caricatures. But Jenkens sends Elmo down some of the darkest urban and psychological alleyways of post-war America. Its brief run shows it was too strange for post-war audiences groping to return to normality after WWII. But Elmo suggests a kind of unease to that project that would also come out in 40s noir, crime comics and 50s horror comics.
#9 Charlie Chan, 1938 (LOAC Essentials Vol. 13) by Alfred Andriola. IDW, $29.99
The LOAC Essentials series highlights a full year of classic strips that may not support a full reprint series. And it uses a uniquely narrow format that displays a strip per page for a singular reading experience. It is an inspired imprint from The Library of American Comics that makes accessible many strips that might be lost to history. Charlie Chan had decent locked-room mystery plotting that channeled the popular novels and films. Andriola, who went on to do Kerry Drake strips for years, took his visual cues from Milton Caniff, even if he lacked the master’s rich talents. Modern sensibilities will need to excuse the daily dose of stereotypical Confucian aphorisms, though.