The Bungles Are Us

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 their daughter Peg were really the penultimate satirical family of 20s strips. Many of the qualities that characterized 1920s domestic strips were here, too. Like Mutt, Jeff, Barney Google and Andy Gump, George was a lower-middle-class man on the make, relentlessly attracted to get-rich-quick inventions or financial schemes. Jo was as much a nag, a scold and social climber as Jiggs’ Maggie. And the Bungle family dysfunction, bickering and resentments were at least as sharp as those at Moon Mullin’s boardinghouse or the suburban enclave of Mr. and Mrs.

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Roy Crane, Wash Tubbs and the Art of Cartoony Realism

Roy Crane always seemed to me underappreciated in the pantheon of comic artists. True aficionados of the medium recognize his talent, of course. But in that larger gallery of cartoon notables, we tend to mention him more than study him. Too often, Crane is recognized off-handedly for originating the continuous story adventure strip with Wash Tubbs (1924), a genre that then reached its height in Alex Raymond’s detailed illustrative style, Milton Caniff’s chiaroscuro and cinematic effects or Chester Gould’s primitive Grand Guignol.

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Paging Dr. Perfect: Rex Morgan Wants a Word

This just in from 1948… . Let’s give it up for doctors, expertise, institutional authority and the principles of science they represent. Nothing speaks to the post-WWII shift in American culture and comics as starkly as this Christmas 1948 message from Rex Morgan, M.D. The rise of the institutional hero was clear.

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“Demented Woman Drops Thirty Feet…And Lands on Policeman’s Head”

In the first decade of newspaper comics, the line between familiar illustrated journalism and the emerging styles of cartooning sometimes blurred. My favorite example of those two worlds commingling is this news drawing from The San Francisco Call (Jan. 30, 1901), “Demented Woman Drops Thirty Feet From Hotel Fire Escape and Lands on Policeman’s Head.”

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“Stop Biting!”: Cairo Jones’ Hard-Boiled Cheesecake

The home front during World War II was a wonderful arena for gender reassignment. As we explored via E. Simms Campbell’s quick-witted and curvaceous “Cuties,” women adopted new roles with so many American men overseas, and this helped shake up, if for a while, a number of longstanding stereotypes across popular culture. Just as women were ready, willing and able to fill vacant jobs from the assembly line to management, they were just as ready to become adventure heroes.

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Badly MAD: Snafu and Misreading Kurtzman

Harvey Kurtzman and Hugh Hefner were the two towering figures of 1950s culture who showed how idiosyncratic personal vision innovate even in an era of corporatized modern mass media. The best evidence of this is the abject failure of other publishers to imitate their success, at least in their first decade. Kurtzman’s MAD and Hef’s Playboy were singular efforts that made the many knock-offs seem like crude and exploitive misunderstandings of what these geniuses had wrought.

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Exploring Pre-Code Comfort Comics: Atlas’ Weird Worlds and Bill Everett

Reviewing Atlas Comics Library No. 9: Adventures Into Weird Worlds and Atlas Creator Collection, No. 3: Bill Everett

The Fantagraphics project of reprinting extended runs and top creators from 1950s Atlas comics continues at a breakneck pace. I won’t bother arguing whether such a completist approach to non-EC pre-code comics is worthwhile. Clearly the effort found a hardcore market of fans for exceptionally well restored, presented and contextualized output from the pre-Marvel days of Marvel. Dr. Michael J. Vassallo provides dense intros that both situate the title at hand as well as add to his ongoing history of Atlas. In this case we get the first 10 issues of Adventures Into Weird Worlds (1952), one of the better efforts to cash in on the peaking horror/weird comics craze. Some of the greats of the pre-code genres are here: Russ Heath, Joe Maneely, Bill Everett, George Roussos, and even a Bernie Krigstein effort (albeit underwhelming). While all of these artists clearly are hacking it out here and working generally in second gear, there are joys to be found nevertheless.  

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