I have a couple of Frankenstein stories to post, then I am going to post a whole bunch of Dan Gordon next week; so I hope everybody loves Superkatt!
This story, The Return of the Mummy, really highlights some great cartooning. The composition in each panel is nice and clean: the characters are nicely posed, there is no clutter and very few tangents. The information in each shot is processed quickly on first sight. Backgrounds appear where background detail is necessary, and are abandoned where it is not (especially page 4, where aside from one lone column, there are no backgrounds at all). The other side of the coin is demonstrated by the last two panels of page 2 and the first two panels of page 3: the backgrounds quickly establish location and a sense of the distance traveled from the boat to the tomb.
There is an excellent use of spotted blacks in the design throughout, especially on pages 3, 7, and 8 (the use of shadows in the third and fourth panels of page 7 are especially nice).
The fight scenes, as usual, are very fluid; they almost look like gesture drawings at times. My favorite panel may be the last one on page 6, which is a wonderful still image of pure cartoon action.
Briefer's babes always look like silent film vamps, don't they? Although Cleopatra's resemblance to actress Theda Bara could easily have been intentional, as she did portray the Queen of Egypt in 1917.
Here is "The Return of the Mummy" from Frankenstein #16 (Nov-Dec 1948):