Misanthropic and petty, scheming and nagging, reviled by their neighbors and barely tolerable to themselves, The Bungle Family was the quintessential domestic comic strip of the 1920s. Critical historians like Bill Blackbeard, Rick Marshall and Art Spiegelman have singled out Harry J. Tuthill’s masterpiece as an especially dark and pointed critique of the modern petit bourgeoisie. But George, Jo and Peg Bungle were really the penultimate satirical family of 20s strips. George was no more a man on the make, looking for that get-rich-quick invention or financial scheme, than Barney Google, A. Mutt or even Andy Gump. His wife Jo was no less socially self-conscious and ambitious, nor more of a nag, than Jigg’s Maggie. And Jo wasn’t even in the habit of throwing things. Nor was the Bungle family dysfunction any worse than the in-fighting at Moon Mullin’s boardinghouse.Continue reading
In early 20th Century theater and film, the “sissy” was the dreaded antithesis of two-fisted pulp hyper-masculinity, at best, and at worst was a stereotypical euphemism for what was unspoken in general culture, homosexuality. Wimpy, the dandyish, appetite-driven counterpoint to Popeye’s principled violence, is of course Popeye’s best tutor for all things “sissy.” To make this sexual dynamic even weirder we have Popeye’s Pappy bewildered by his prancing progeny. It reads like an unintended burlesque of Popeye “coming out”. Per a previous post, These dailies precede Popeye deceiving the underground demons to come up and fight.
It is important to note that this gender-bending sequence was followed immediately by another adventure cycle involving Popeye getting the crap beaten out of him in a land of highly muscled women. And this is all happening right after E.C. Segar’s death in October 1938. The strip was being continued unsigned by assistants for the time being.
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- (no title)Flash Gordon (June 16, 1935).
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I don’t know who this Ferd. C Long was, nor how long the engaging “How You Felt” strip ran. But it captured me instantly as a great example of early cartoon experiments that explored some of the unique qualities of the new medium. The great team at Barnacle Press, who nobly harvest every scrap of early comic strips they can, gathered these. Like many strips of the day, it took up a simple single conceit – in this case using visual exaggeration to capture a feeling. The result is a fantastic surrealism that communicates in a singular way a range of small and common responses to the world.Continue reading
Comic disharmony between Jiggs and Maggie over their social climb was the central joke of George McManus’s Bringing Up Father for over four decades. For all of McManus’s fine sense of humor, he banged that one note across four panels six days a week and a full page every Sunday. To be sure, he layered in nuances of class and generational conflict. Jiggs was a hod carrier who struck it rich, never adjusted to his own ascent, and clashed with wife Maggie and daughter’s ambitions to join the social elite. The dynamic was rich with potential and embodied the experience of millions of American emigrees moving into the modern middle class. But many of the daily strips tediously replayed Jiggs’s sneaking out to his former watering hole Dinty Moore’s, embarrassing his family with etiquette transgressions or ducking Maggie’s thrown dishes. These were conventions that American newspaper readers enjoyed hearing for a handful of panels and 30 seconds a day over its 87-year run. McManus, however, was especially adept at maintaining reader interest in the familiar with his mastery of visual style, panel sequencing and timing.Continue reading
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.