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A grim fairy tale – Scoop Comics #3, March 1942

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The “Mother Hubbard” series underwent a rapid transformation over its short three issue run from late 1941 to early 1942. While the character was herself always portrayed as a traditional witch (from her peaked hat down to her buckled shoes), the setting of the stories changed immediately after her first appearance. Mother Hubbard battled enemy agents in her first outing, but in her second story her antagonists were traditional “fairy tale” villains. Judging from her third (and final) appearance in Scoop Comics #3, that would likely have been the trend for future stories. And it’s that facet of the series which brings this series of posts full circle to the point at which I first encountered the character. More

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Dialogue in rhyme – Scoop Comics #2, January 1942

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Comics were disparaged as “lowbrow” reading for decades by librarians and educators, in large part because words and pictures work in tandem (ideally) to tell a story. In traditional prose or poetry the writer is required to “paint the picture” with words, which educations viewed as in some way more “noble” than the prose presented in the pages of comic books. (In the educators’ defense a great deal of comic book writing was [and remains] hackery, but I doubt that a significant number of writers set out to make it deliberately so; it’s just the way the world works. To quote Theodore Sturgeon, “Ninety percent of everything is crap.”) But comic book writing was tougher than one might suspect; the writer had to help move the plot by supplying written narrative which explained the story but didn’t overwhelm the panel and hide the art. Up until the turn of the 21st century (when the primary emphasis in comic books shifted to art at the expense of writing), the comic book writer walked the proverbial tightrope between providing too little text (thus losing the reader) and too much text (which covered up the artist’s hard work). More

Double, double toil and trouble – Scoop Comics #1, November 1941

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Comics from the Golden Age (roughly 1938 through the early 1950’s) often didn’t follow established conventions for the simple reason that there weren’t any as yet; aside from the “panel, picture, word balloon” format which had been inherited from the popular “funny pages” in newspapers (in fact the earliest newsstand comic books were just repackaging of newspaper strips), comic books writers and artists were inventing the form by trial and error as they went along. These creators often worked for “studios” (contrary to what the word “studio” implies, these were often dingy and crowded affairs) which produced features for large publishing houses that didn’t want to hire their own writers and artists. More