Talk:George Wunder

From Wikipedia, the free encyclopedia

	This article is in the scope of WikiProject Comics, a collaborative effort to build a comprehensive and detailed guide to comics on Wikipedia. Get involved! Edit the article attached to this page or discuss it at the project talk page. Help with current tasks, or visit the notice board.
Stub	This article has been rated as Stub-Class on the quality scale. Please explain the rating here.
???	This article has not yet received a rating on the Project's importance scale.
	This article has been automatically rated as Stub-Class by the Comics WikiProject because it uses a stub template. If you agree with the assessment, please remove auto=yes from the {{Comicsproj}} template above. If you disagree with the assessment, please change it by editing the class= parameter in the {{Comicsproj}} template above and removing the stub template from the article.

Maurice Horn didn't like George Wunder. Writing in the 1960s, he chose the two panels I mentioned from the late 1950s, to prove he couldn't draw. In chapter 5 of Couperie et.al., 'The Crisis of the Forties, which he wrote, Horn says: "...many of these artists now abandoned the strips they had created, which thereupon fell into the hands of undeserving hacks. The most heartbreaking example is the case of George Wunder, who took over "Terry" on Caniff's departure in 1947; with passionate obstinacy, he seemed to delight in turning the strip into a hideous antithesis of the "Terry" of the golden age. Unfortunately, he succeeded only too well: the drawings are unsatisfactory; the perspective is wrong; the characters with their equine physiognomies have the stiffness and behavior of robots; the dialogues are drab and humorless, and the scripts are of a characteristic triviality." (p.93) (All punctuation is from the 1968 Crown Publishers translation by Eileen V. Hennessy. Don't blame me.) Reitberger and Fuchs are more kind, but chose Vietnam-era panels and discussed him mainly in terms of his politics. Stephen Becker's Comic Art in America which I cite in my Harold Gray page, is much more positive. He was writing in 1958-59, and discussing much earlier work. In fact he reprints samples from an absolutely wonderful sequence where Terry takes a woman to Siberia to look for her downed airman brother and they are chased across the steppes by Soviet police (naturally). This sequence, lasting from roughly December of 1954 to March of 1955 presents quite a contrast to his later work. Jplatt39 13:26, 24 Dec 2004 (UTC) Revised Jplatt39 06:35, 25 Jan 2005 (UTC)