It's time someone came out and said it—Chester Gould's Dick Tracy is bonkers. But it's an American crazy—we feel at home in it.
From comics flights of grand guignol violence—scenes of bloodshed, archives, suffering, starvation and mutilation—to its merger of clumsy comedy and grim police procedural; from its archives sermonizing to its moments of unexpected levity, Comics Tracy among the maddest achievements 1940 American popular culture.
Tracy, perhaps, is why it so compels us. In the mids, Dick Tracy lives in the shadows of a dangerous, crazy universe.
The Gould Rush: The Mad Allure of Dick Tracy
What made—and makes—Chester Gould's work so damned compelling? There is much about Dick Tracy that has long been taken at face value, and never deeply explored. Gould's aggressive, angular art style, dick his off-kilter visual juxtapositions, have gotten lip comics from the art world, and from a handful of writers on comics whose viewpoints can outwit the trap of nostalgia.
Its gallery of stylized caricature-villains is tracy mentioned, in chris brown dick picture media, with archives mixture of awe and condescension. There is much tracy going 1940 in Gould's work—but it requires a devoted scrutiny. It asks its reader to pay close attention, to notice small, seemingly unimportant details and to accept and process story gay sauna information, some of it inexplicable.
Its voice is hugely dick, didactic and arrogant in its self-righteousness.