By Michael Barrier
Funnybooks is the tale of the preferred American comedian books of the Nineteen Forties and Nineteen Fifties, these released less than the Dell label. For a time, "Dell Comics Are solid Comics" was once greater than a slogan—it was once an easy assertion of truth. the various tales written and drawn by way of humans like Carl Barks (Donald Duck, Uncle Scrooge), John Stanley (Little Lulu), and Walt Kelly (Pogo) pay off analyzing and rereading through knowledgeable adults even this day, a long time when they have been released as disposable leisure for kids. Such triumphs have been inconceivable, to claim the least, simply because midcentury comics have been so commonly pushed aside as trash by way of offended mom and dad, angry librarians, or even a few of the those that released them. It was once all yet striking few nice cartoonists have been capable of glance previous that almost common scorn and clutch the creative strength in their medium. With readability and exuberance, Barrier explains what made the simplest tales within the Dell comedian books so distinct. He deftly turns a posh and particular background into an expressive narrative guaranteed to attract an viewers past students and historians.
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Because of this, the art from the Iger Studio has a distinct style and a certain feel to it. ” Clean, crisp lines, neat panels and concise storytelling are the earmarks of Iger Shop artwork. Robert Farrell, who wrote for the Studio in the late ’30s, was always keen to use Iger Shop stories in his comics. An associate at Fox, Superior, and the main man at Ajax, Farrell used the Iger Shop up until the very end, and even a bit beyond. honchos and was handed the keys to their new horror title Tales of Horror.
1959) art possibly by Bob Powell Carl Burgos was. 31 THE WEIRD WORLD OF EERIE PUBLICATIONS Secondly, there is evidence of hasty pasteups, and the scent of mucilage and X-acto knives hangs heavily over these comics. One story is stretched out from five pages to six and there are plenty of instances of bizarrely placed text and titles. Sketchy production values aside, these mags are packed to the gills with tremendous art. A bevy of pre-code artists turned up to fill these books with top-notch horror art.
This cover wouldn’t be In Beware #7 (Trojan, Jan. 1954), Fass’ only self-portrait to see print. Fass’ story “The Life of Riley” has more As 1954 was coming to an ugly close, Fass dismemberment but adds a helping of did some more covers and stories for Beware, cannibalism to the stew, making this one, curiously signed “Myron Fass… Good by” [sic], one of Fass’ more stomach-churning pre-code entries. More interesting still is Fass’ cover to Beware #11 (Sept. 1954), where he draws himself as a comic book artist tortured by his own creations.