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By , Gould and his assistants had synthesized a signature look-and-feel. These were violent, uncertain times, and the threat of gangsterism—Tracy's impetus in —gave way to our national fear of Fascism, Nazism, communism and nuclear war. He runs the same doomy cycle time and again, from the strip's start to his sign-off in There is much about Dick Tracy that has long been taken at face value, and never deeply explored.
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Gould's aggressive, angular art style, and his off-kilter visual juxtapositions, have gotten lip service from the art world, and from a handful of writers on comics whose viewpoints can outwit the trap of nostalgia. Everything is there—the dread, the silhouettes, the dark shadows and death. In his interview, he brags, with some justification. It makes me think I ought to take another look. Yes, a story that ran for one year took genius and confidence not lunacy. The down-home antics of B. Oh—and Ivy gets one of his arms chewed off by a shark, and his counterfeiting lair is blown up by Rodney, who has his first Christmas as a free man since
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The most striking moments of '56 are those serial images of the deranged Flat-Top Jr. Bigfoot Trib artists like Bill Holman and Ferd Johnson are easy on the eye, but have elements of distortion and grotesquerie in their work. Gould's stories are often most fascinating in their small details—little tells that suggest more than is said on the surface. His stylistic signatures—heavy, bold lines, massed areas of black, nail-file cross-hatching—transcend his limited academic draughtsmanship. Its gallery of stylized caricature-villains is always mentioned, in mass media, with a mixture of awe and condescension. From its flights of grand guignol violence—scenes of bloodshed, torture, suffering, starvation and mutilation—to its merger of clumsy comedy and grim police procedural. from its high-handed sermonizing to its moments of unexpected levity, Dick Tracy among the maddest achievements of American popular culture.
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