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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)
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot16:19, 27 August 2007 (UTC)[reply]
