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strip, Casey Ruggles, a Western.Seldom has there been such a sustained, mature strip totally comfortable with its resear...
12/05/2024

strip, Casey Ruggles, a Western.
Seldom has there been such a sustained, mature strip totally comfortable with its researched locales and in command of its adult themes-
and seldom have
so many "adult"
preoccupa-
tions (violence, lust, r**e) been successfully mastered. Ruggles was light-years ahead of other Western strips-
-indeed, of all
other adventure strips—in its sophisticated figuration.
Attempts at Self-Syndication:
Its very maturity, however, was part of its undoing, for the complaints from client papers about "roughness," as well as the syndicate's compliance with these grouses, led Tufts to quit the strip five years after its debut. He embarked on the creation of a new strip, The Lone Spaceman, to be self-syndicated, but the satire failed

Storybook Beginnings: Born in 1905 in the Bronx, Ernest Paul Bushmiller is possibly the last of a long line of cartoonis...
12/05/2024

Storybook Beginnings: Born in 1905 in the Bronx, Ernest Paul Bushmiller is possibly the last of a long line of cartoonists who began their careers in storybook fashion, an an errand boy in the art department of a great newspaper. In Bushmiller's case it was the N. Y. World, and, at age 17, he rubbed elbows with such early giants as Rudolph Dirks, H. T. Webster, R.M.
Brinkerhoff, and Milt Gross.
During the time he attended night classes at the National Academy of Design, and after three years—in 1925-
-he
inherited a struggling pretty-girl strip endemic to the era, Fritzi Ritz.

Bushmiller also drew in a simple, uncluttered comic style with no pretensions. Fritzi Ritz was a straight gag-a-day strip, in the early years revolving around the title character's attempts in the movie business. Bushmiller's friendships as well as these movie themes resulted in his own trip to Hollywood, where in 1930 he created general situations and gags for Harold Lloyd's Movie Crazy.
The Rise of Nancy: One of the incidental characters, Fritzi's niece Nancy, began to gain prominence during the '30s, and in 1938 Nancy made friends with Sluggo Smith. Thereafter the subplot-characters eclipsed their elders. A half-page Sunday companion to Fritzi Ritz was Phil Fumble (starring one of Fritzi's half-pint suitors), and before long Nancy was the star of her own strip abd the rest is history.

Bushmiller's style during this
assistant to Mell Lazarus, and u
period was lively, attractive and has written for several comic
book companies, including
full of animation, expression and pretty girls. Afterwards it
Western (on titles like Tweety
settled into what many critics
and Sylvester, The Twilight Zone, Boris Karloff, and
called cliched patterns, but Nancy was always after the '40s
Underdog); DC (House of
one of the top ten strips in terms
Mystery); and Warren (Creepy).
of circulation, and no less than
An admirer of Bushmiller's
Mad magazine once seriously
"gentle humor," Lasky calls
complimented Bushmiller on his
Nancy "an American tradition"
inventiveness and consistency.
and plans to be a "perfec-
Bushmiller won the National
tionist" in continuing the
Cartoonists Society "Reuben"

Foster's style was ever the illustrator's--and the classicaltype in both thematics and figuration, as opposed to the mag...
12/05/2024

Foster's style was ever the illustrator's-
-and the classical
type in both thematics and figuration, as opposed to the magazine stylists (the early Raymond), the realist/impres-sionists (Caniff, Sickles, et al.), or the expressionists (Gray and Gould). Nevertheless his solid, well-researched, anatomically-sound art influenced virtually every serious comics artist of his time. Tarzan seemed ever more majestic in Foster's hands, and the grandeur of panoramas and attention to detail both foreshadowed his later work. The Birth of Valiant: The omnipresent talent-hunter
William Randolph Hearst lured
Foster to King Features with the promise of quality production, ownership, full writing freedom, and full-page formats.
In 1937 Foster introduced his
Prince Valiant (originally to be called Derek, Son of Thane, according to King publicity from the time) and it immediately became the prestigious comic among its peers.
The research that went into the writing and drawing of Val are legendary, and Foster won many awards, including the National Cartoonists Society
"Reuben" in 1957. He was the first living artist named to the Museum of Cartoon Art's Hall of Fame.
The End of an Era: In 1971

From 1982
12/05/2024

From 1982

One of my favorite issues of the Comics Journal
12/05/2024

One of my favorite issues of the Comics Journal

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