Descrizione
WASH TUBBS
and Captain Easy
COLLANA YELLOW KID
daily strips 21/4/1924-02/12/1937
di Roy Crane
Favolosa edizione amatoriale con una superba proposta cronologica ed integrale delle strisce giornaliere di WASH TUBBS , un intramontabile classico del fumetto mondiale , a partire dalla primissima apparizione del 21 aprile 1924 arrivando fino al 2 dicembre del 1937, per un totale di oltre 4200 comic dailies, salpando da un solido ed efficace impianto umoristico tradizionale che si contamina via via di sapori avventurosi ed esotici accompagnando l’evoluzione dell’ america e del mondo intero attraverso gli anni difficili della grande depressione, del proibizionismo, della pragmatica ed inesorabile filosofia fordista, delle sirene ammaestrate del new deal, dell’ inarrestabile dilagare dei mezzi di comunicazione di massa, del definitivo ed irreversibile assoggettamento dell’ economia al petrolio, dell’ emarginazione etica di hobos e tramps, del trampolino postsuffragista di coco chanel e amelia earhart per la rielaborazione di una figura femminile audace provocante e spregiudicata, dei fervori rivoluzionari della vecchia europa che implosero degenerando in totalitarismi guerrafondai genocidi e xenofobi fino a mettere a repentaglio l’intero assetto geopolitico planetario, tra i siparietti umani e le grottesche peripezie del buffo ed assatanato globetrotter George Washington Tubbs II affiancato a partire dal 1929 nel suo incessante ed inconcludente girovagare per il globo terracqueo (Italia compresa) dall’ arcigno e risoluto Capitan Easy , che ben presto – nonostante lo scarsissimo quoziente di intelligenza – sarà promosso a character protagonista fino ad ereditare in toto la strip negli anni cinquanta, mentre l’ occhialuto ed allupato precursore di Woody Allen rimarrà relegato a fare sempre più la comparsa/spalla comica fino al definitivo pensionamento (nel 1988!).
In tutto 27 magnifici albi in formato orizzontale (con montaggio a 3 strips per pagina) pubblicati a singhiozzo e alla rinfusa dalla editrice Comic art nell’ arco di ben 25 anni , tra il 1974 ed il 1998.
Collana YELLOW KID , Comic Art Editrice , volumi orizzontali in bianco e nero di formato cm. 30×21
CONDIZIONI DELLA SERIE : OTTIME
l’ ultimo volume presenta alcune pagine stampate male, con le immagini sovrapposte e sfuocate per un difetto tipografico, le poche pagine interessate sono 42/43, 46/47, 50/51, 54/55
VOL. 1 brossurato Collana YELLOW KID n.155
WASH ALL’ ASSALTO Daily Strips 21.4.1924 – 31.12.1924 80 pagine
VOL. 2 brossurato Collana YELLOW KID n.156
L’ ARCA DI NOE’ / HOBOS Daily Strips 1.1.1925 – 21.10.1925 80 pagine
VOL. 3 brossurato Collana YELLOW KID n.151
ROXIE Daily Strips 22.10.1925 – 25.9.1926 104 pagine
VOL. 4 brossurato Collana YELLOW KID n.152
UOMO IN MARE ! Daily Strips 27.9.1926 – 24.5.1927 80 pagine
VOL. 5 brossurato Collana YELLOW KID n.150
MESSICO E NUVOLE Daily Strips 26.5.1927 – 18.1.1928 80 pagine
VOL. 6 brossurato Collana YELLOW KID n.149
A CACCIA DI GUAI Daily Strips 19.1.1928 – 31.12.1928 104 pagine
VOL. 7 cartonato Collana YELLOW KID n.1
AVVENTURA IN KANDELABRA Daily Strips 1.1.1929 – 3.7.1929 96 pagine
VOL. 8 spillato Collana YELLOW KID n.22
ALTA SOCIETA’ Daily Strips 4.7.1929 – 24.8.1929 24 pagine
VOL. 9 spillato Collana YELLOW KID n.23
LA FEBBRE DELL’ ORO Daily Strips 26.8.1929 – 19.10.1929 24 pagine
VOL. 10 spillato Collana YELLOW KID n.24
SOTTO ACCUSA Daily Strips 21.10.1929 – 14.12.1929 24 pagine
VOL. 11 spillato Collana YELLOW KID n.25
WASH LIBERO !!! Daily Strips 16.12.1929 – 8.2.1930 24 pagine
VOL. 12 spillato Collana YELLOW KID n.41
INSEGUIMENTO SUGLI OCEANI Daily Strips 10.2.1930 – 1.4.1930 24 pagine
VOL. 13 spillato Collana YELLOW KID n.42
GLI ALLEGRI NAUFRAGHI Daily Strips 2.4.1930 – 27.5.1930 24 pagine
VOL. 14 spillato Collana YELLOW KID n.43
IL TESORO DI CUCUMBRIA Daily Strips 28.5.1930 – 22.7.1930 24 pagine
VOL. 15 spillato Collana YELLOW KID n.44
INTRIGHI ORIENTALI Daily Strips 23.7.1930 – 16.9.1930 24 pagine
VOL. 16 spillato Collana YELLOW KID n.45
ADDIO CUCUMBRIA ! Daily Strips 17.9.1930 – 1.11.1930 20 pagine
VOL. 17 brossurato Collana YELLOW KID n.104
L’ INVENZIONE MERAVIGLIOSA Daily Strips 3.11.1930 – 5.3.1931 56 pagine
VOL. 18 brossurato Collana YELLOW KID n.146
I CONTRABBANDIERI DELLA LOUISIANA Daily Strips 6.3.1931 – 12.8.1931 56 pagine
VOL. 19 brossurato Collana YELLOW KID n.148
TRANS ALPINA EXPRESS Daily Strips 13.8.1931 – 7.5.1932 80 pagine
VOL. 20 brossurato Collana YELLOW KID n.147
LA GRANDE AVVENTURA Daily Strips 9.5.1932 – 12.11.1932 64 pagine
VOL. 21 brossurato Collana YELLOW KID n.145
IL RE DI PANDEMONIA Daily Strips 14.11.1932 – 24.4.1933 56 pagine
VOL. 22 brossurato Collana YELLOW KID n.107
CACCIA ARTICA Daily Strips 25.4.1933 – 19.12.1933 112 pagine
VOL. 23 brossurato Collana YELLOW KID n.159
NEL SELVAGGIO WEST Daily Strips 20.12.1933 – 24.10.1934 96 pagine
VOL. 24 brossurato Collana YELLOW KID n.160
VIAGGIO IN ITALIA Daily Strips 25.10.1934 – 27.7.1935 96 pagine
VOL. 25 brossurato Collana YELLOW KID n.163
IN VACANZA CON L’ IDROVOLANTE Daily Strips 29.7.1935 – 25.4.1936 96 pagine
VOL. 26 brossurato Collana YELLOW KID n.164
CACCIA AI BANDITI Daily Strips 27.4.1936 – 12.2.1937 96 pagine
VOL. 27 brossurato Collana YELLOW KID n.168
OPERAZIONE CINCILLA’ ! Daily Strips 13.2.1937 – 2.12.1937 88 pagine
| TA | D | NS | YK |
| Wash all’assalto | 21.4.1924 – 31.12.1924 | 225 | 155 |
| L’arca di Noè | 1.1.1925 – 3.6.1925 | 120 | 156 |
| Hobos | 4.6.1925 – 21.10.1925 | 120 | 156 |
| Roxie | 22.10.1925 – 25.9.1926 | 291 | 151 |
| Uomo in mare! | 27.9.1926 – 24.5.1927 | 207 | 152 |
| Messico e nuvole | 26.5.1927 – 18.1.1928 | 204 | 150 |
| A caccia di guai | 19.1.1928 – 31.12.1928 | 298 | 149 |
| Avventura in Kandelabra | 1.1.1929 – 3.7.1929 | 158 | 1 |
| Alta società | 4.7.1929 – 24.8.1929 | 45 | 22 |
| La febbre dell’oro | 26.8.1929 – 19.10.1929 | 48 | 23 |
| Sotto accusa | 21.10.1929 – 14.12.1929 | 48 | 24 |
| Wash libero | 16.12.1929 – 8.2.1930 | 48 | 25 |
| Inseguimento sugli oceani | 10.2.1930 – 1.4.1930 | 44 | 41 |
| Gli allegri naufraghi | 2.4.1930 – 27.5.1930 | 48 | 42 |
| Il tesoro di Cucumbria | 28.5.1930 – 22.7.1930 | 48 | 43 |
| Intrighi orientali | 23.7.1930 – 16.9.1930 | 48 | 44 |
| Addio Cucumbria | 17.9.1930 – 1.11.1930 | 40 | 45 |
| L’invenzione meravigliosa | 3.11.1930 – 5.3.1931 | 106 | 104 |
| I contrabbandieri della Louisiana | 6.3.1931 – 12.8.1931 | 137 | 146 |
| Trans-Alpina Express | 13.8.1931 – 7.5.1932 | 231 | 148 |
| La grande avventura | 9.5.1932 – 12.11.1932 | 162 | 147 |
| Il re di Pandemonia | 14.11.1932 – 24.4.1933 | 140 | 145 |
| Caccia artica | 25.4.1933 – 19.12.1933 | 205 | 107 |
| Nel selvaggio West | 20.12.1933 – 5.5.1934 | 118 | 159 |
| La banda dei gangster | 7.5.1934 – 21.7.1934 | 66 | 159 |
| Come divertire un milionario | 23.7.1934 – 24.10.1934 | 84 | 159 |
| Nubi di guerra sull’Europa | 25.10.1934 – 9.2.1935 | 93 | 160 |
| Viaggio in Italia | 11.2.1935 – 20.4.1935 | 60 | 160 |
| Nella palude di Okefenokee | 22.4.1935 – 27.7.1935 | 84 | 160 |
| In vacanza con l’idrovolante | 29.7.1935 – 31.8.1935 | 30 | 163 |
| Un viaggio da romanzo | 2.9.1935 – 18.12.1935 | 93 | 163 |
| La sceriffa | 19.12.1935 – 25.4.1936 | 111 | 163 |
| Caccia ai banditi | 27.4.1936 – 21.10.1936 | 153 | 164 |
| Il grande pugile | 22.10.1936 – 7.4.1937 | 144 | 164 |
| A caccia di cincillà | 8.4.1937 – 2.12.1937 | 205 | 168 |
WASH TUBBS & CPT. EASY
UN OMETTO DI NOME GEORGE WASHINGTON
Le peripezie di George Washington Tubbs Il (“Wash Tubbs”), sceneggiate e disegnate da Roy Crane, apparvero per la prima volta, come striscia giornaliera della
N.E.A., il 21 aprile 1924.
Il protagonista, un simpaticissimo occhialuto e riccioluto di
bassa statura, con chiara propensione alle belle donne, era garzone
in una drogheria di proprietà del “boss”. Dopo vicende puramente
umoristiche, Wash venne proiettato nei mari del sud da dove tornò ricco, riprendendo
il suo quotidiano tran-tran dietro alle gonnelle.
Nel 1926 il fumetto assunse stabilmente, pur conservando un aspetto
umoristico, il suo carattere avventuroso; esso può, infatti, essere
a giusto titolo considerato il primo dei comics d’avventura, pur
essendo privo della tipica caratteristica melodrammatica di questi
ultimi e, per converso, carico di autoironia. Da quell’anno Wash Tubbs ebbe sempre vita nomade (ma avrà modo di sposare la sua Carol e di averne due gemelli terribili), cominciando con le sue avventure
nel Far West e nell’America Centrale, dove incontrò
il barbuto capitano di marina Bull Dawson, destinato a diventare suo ricorrente nemico.
Il 6 febbraio 1929 fece irruzione nella striscia l’atletico e
grifagno William Lee, meglio noto col nome di Captain Easy, un capitano di ventura a mezza strada tra un giocatore di football
e un gran capo indiano. Mascella quadrata, naso a becco d’aquila
e occhi socchiusi come feritoie, il nuovo personaggio, il cui
profilo rammenta quello dell’attore Tom Berenger, incontrò talmente il favore del pubblico che creò per lui,
il 30 luglio 1933, la tavola domenicale corrispondente alla striscia
giornaliera intitolata a Wash Tubbs. Anche quest’ultima passerà ufficialmente sulle spalle di Captain Easy nel 1949, durante la gestione di Leslie Turner.
Graficamente, la striscia di Wash Tubbs è caratterizzata dall’uso del pennello e della matita grassa;
ad essi l’autore aggiunse man mano il retino, ottenendo splendidi
scenari in cui giocano il bianco, il nero e il grigio in varie
tonalità di sfumatura
Wash Tubbs
Wash Tubbs strips
Roy Crane strips from 1937-38
Wash Tubbs was a comic strip created by Roy Crane that ran from April 14, 1924 to January 10, 1988.
Initially titled Washington Tubbs II, it originally was
a gag-a-day strip which focused on the mundane misadventures of the
title character, a bespectacled bumbler who ran a store. However, Crane
soon switched from gag-a-day to continuity storylines. He reinvented the
strip after its 12th week to make it the first true action/adventure
comic strip, initially by having Tubbs leave the store and join a
circus. To research this, Crane spent many days with a circus, even
incorporating characters in the strip based directly on the circus
performers he knew personally.
On Sundays, Wash Tubbs appeared as a topper, or subsidiary strip, from 1927 to 1933 over J. R. Williams‘ Out Our Way with the Willets Sunday strip
Easy company
Wash was a girl-crazy zany, and his character never truly changed
even as the strip changed around him. After a Polynesian treasure hunt
in which Wash made and lost a fortune, adventures followed in which he
fell afoul of his arch-enemy, Bull Dawson, who reappeared throughout the
series. Since the short Wash was not a fighter, Crane tried out several
scrappier sidekicks until May 6, 1929, when he introduced Captain Easy,
a tough, taciturn Southerner with a mysterious past. Easy gradually
took over the strip and became its lead character, getting his own
Sunday page, Captain Easy, Soldier of Fortune, in 1933. Wash continued to appear as a supporting character, but he became steadily less important during the 1940s.
Turner’s Tubbs
The Tubbs and Easy characters were owned by the Newspaper Enterprise Association syndicate. Crane left that syndicate and abandoned the strips in 1943 to begin Buz Sawyer, a strip he would own outright. After Crane’s departure, control of the strips passed to Crane’s assistant, Leslie Turner, who had worked on Captain Easy, Soldier of Fortune since 1937. With Tubbs an increasingly unimportant character, Turner officially renamed the daily and Sunday strips Captain Easy in 1949.
Turner collaborated with a number of artists on the strip, including
Walt Scott and Mel Graff. With Turner’s retirement in 1969, control of
the strips passed to his assistant, Bill Crooks. After more than 60
years in publication, the series was discontinued in 1988.
Wash remained a supporting character in Leslie Turner’s Captain Easy (February 29, 1964)
Remembering Roy Crane
At this website and my personal blog, I’ve taken the opportunity to
write about some of the cartoonists who’ve been major influences on
me. This group includes Milton
Caniff, Will
Eisner, and Alex
Toth who absolutely are the top tier of artists
I admire.
On an equal footing with them in my book is Roy Crane. Crane was a
true pioneer of the classic adventure strip. In fact, he arguably was the
first true adventure strip artist, cited by even both Caniff and Toth as
a seminal influence for each of them.
Crane
began as a classic “big foot” cartoonist and, after a
few unsuccessful attempts, he finally hit paydirt with Wash
Tubbs (short for
Washington Tubbs III) in 1924. Wash Tubbs began as a fairly
traditional gag-a-day strip about a diminutive all-American, small-town everyman
with a passing resemblance to silent film star Harold Lloyd. I’ve written
elsewhere how Tubbs perfectly embodied the American character of the
time, as an optimistic, happy-go-lucky dreamer, where the world was his oyster.
Before settling down, Crane was a bit of an adventurer himself, often traveling
cross country riding the rails. Crane eventually incorporated this sense
of wanderlust into the strip. This opened up the series to high-rollicking
globetrotting adventure, with Wash and his new simpatico sidekick, Gozy Gallup,
finding themselves involved in rescuing beautiful slave girls in the Sahara
and looking for treasure in the South Seas. Crane soon realized, however,
that his two leads were vastly ill-equipped to deal with the level of
peril and danger he was bringing into the strip, and soon introduced a two-fisted
soldier of fortune named Captain Easy in 1929. Easy quickly eclipsed Wash—the
strip was even eventually renamed Wash Tubbs and Captain
Easy, and for a
time, the Sunday strip was devoted solely to Easy.
Like
many of his peers, Crane soon yearned for ownership of his own work, and
in 1943, at the height of the second World War, he launched Buz
Sawyer. The title character was a naval aviator at the start of
the strip; after the war, Sawyer became a globetrotting private investigator.
Crane’s
name appeared on the strip into the late 1970s (he died in 1977) and the
strip ran until 1989. (Wash Tubbs and Captain Easy continued
under Crane’s assistant, Leslie Turner, who worked on the strip until 1969.
The strip ended in 1988. Turner was a fine artist in his own right who faithfully
adapted Crane’s style
yet made it distinctly his own. Turner’s run is considered one of the
few cases where a strip successfully maintained its high quality under a
successor).
Though Crane always retained elements of classic “big foot” cartooning,
he nevertheless developed an innovative cartoon style of his own that used
black and white/positive and negative space masterfully. In this way, he
took the first step that eventually evolved into the groundbreaking chiaroscuro
look developed by cartoonist Noel Sickles with his studio mate Milton Caniff.
Crane was particularly a master of the use of Craftint, a shading process
in effect similar to Zipatone, but which was chemically ingrained in specially
treated paper and was brought out through a chemical wash brushed on. The
effects he achieved with Craftint is remarkable and remains unmatched to
this day. A good example of the field of depth he achieved with Craftint
can be seen in the sample below. Note how Crane uses the gray Craftint tone
to portray depth and distance, particularly in the second and fourth panels.
In that final panel, the trees in the far background are entirely
evoked with Craftint.
While Caniff’s work was my first love and served as my introduction
into the world of the classic adventure strip, in some ways I’ve come
to appreciate Crane even more. Caniff was certainly working at a different
plane than most cartoonists in that he was a more sophisticated writer—as
I’ve said of Caniff,
he was a master of character and motivation, and he achieved a level of
complexity and sophistication rarely achieved since in comics. His work had
a documentary effect, and a sense of immediacy.
But Crane’s work had a charm and deceptive simplicity.
Crane was less subtle, but his characters were also well defined, and their
motives too often fueled the plot. As an old school entertainer whose roots
were in the early 20th century, much of Crane’s work traded on melodrama,
but in a positive sense—when his characters got into scrapes, you rooted
for them and could not wait for the next installment.
Unlike the more urbane Caniff, Crane’s Midwest values were
integral to his work. Crane’s protagonists—even those
that were confirmed globetrotting adventurers—held at their core strong
middle-American values that had their roots in small town America. These
ideals were clearly central to Crane’s personality and embodied in
his work.
Just as importantly, Crane’s drawings—from the figures, to the props,
and especially the figures—were full of life. As author Ron Goulart has
noted, when figures TK. Crane’s linework was full of vibrancy and joy,
which perfectly fit the optimistic world view of Crane’s stories. (See
excerpt panel below.)
I never read Crane’s work when they originally appeared—it was only
in books about the history of comics did I learn about his work. Fortunately,
beginning in the 1970s and ‘80s, there have been enough collections
of his work (the most definitive being the NBM collection of Wash
Tubbs in
its entirety) that have rightfully claimed his place as one of the finest
and most innovative cartoonists to work in the history of the medium.
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