[The Australian Panther]

My thoughts on

Coo Coo Comics 13
https://comicbookplus.com/?dlid=46985&comicpage=&b=i

The general consensus has been that this is not a very good comic.
Fair enough.
Supermouse
Interesting, for that time period, that the artists and writers are clearly credited.
The artist is technically a good draftsman.
I will be kind and say he does his best with a lousy script. The script is all verbal and not visual. The verbal gags are not even very good or memorable. The narrative has no structure, no tension and there's little attention to character.
The verbal goings-on would probably bore a child or adolescent of the age group the comic would be aimed at.
Archie Pelican
Not wonderful art - looks like just basic pencils - but the balance between art and balloons is right. The story is all visual action. The template is 'the ugly duckling' but this time in reverse. I think the artist enjoyed doing it and it shows.
Baseball Benny
This reads like an animated cartoon. Set up the premise. Character has to pretend he is something he isn't,so we have tension. cue the pratfalls. Good visual/verbal balance.
The ending is very 'animated cartoon' in that when the real 'Baseball Benny' shows up, we don't see him in full profile and never see his face.
Squeaks McCarthy
An odd premise for a character. Anyway, do shoes squeak? 
The art isn't bad, just odd and somewhat inconsistent.
Amusing! Sometimes I read these 'funny animal' comics and wonder, were the creators drinking, on medication or partaking of something stronger?
Snubby Squirrel
Silly and annoying.
The Daffy Brothers
Makes no sense at all, no character in the art, not funny. Filler.
Gran'pa Scotty the Mountain Climber (8 pages)
Much better art, a good - if expected finish.
To sum up. The cover doesn't feature a character and so doesn't motivate you to pick up the comic.
The stories are all collections of pratfalls and very bad verbal gags. There is no real attempt at character or interesting narrative.
'Just another day at the office' for the creators?     

[Captain Audio]

Supermouse
Interesting, for that time period, that the artists and writers are clearly credited.
The artist is technically a good draftsman.
I will be kind and say he does his best with a lousy script. The script is all verbal and not visual. The verbal gags are not even very good or memorable. The narrative has no structure, no tension and there's little attention to character.
The verbal goings-on would probably bore a child or adolescent of the age group the comic would be aimed at.

His work reminds me of cells from an animated cartoon. Could he have worked in both fields?

[Robb_K]

Supermouse
Interesting, for that time period, that the artists and writers are clearly credited.
The artist is technically a good draftsman.
I will be kind and say he does his best with a lousy script. The script is all verbal and not visual. The verbal gags are not even very good or memorable. The narrative has no structure, no tension and there's little attention to character.
The verbal goings-on would probably bore a child or adolescent of the age group the comic would be aimed at.

His work reminds me of cells from an animated cartoon. Could he have worked in both fields?

Yes. As did almost all the Funny Animal comic book artists of The 1940s, Milt Stein had first become an animator.  He worked with Fleischer Studios during the late 1930s, and from 1941-43, he worked for Paul Terry's Terry-Toons.  In early mid 1942, when Timely Comics got the contract with Terry-Toons to produce comic books using their characters, Stein also started working on comic books using the Terry-Toons characters.  He was chosen to draw Ned Pines' Better/Nedor Comics' new Funny Animal superhero, Super Mouse, maybe because he had worked on drawing Terry's first Mouse superhero cartoon, starring "Super Mouse", whose name, later had to be changed to "Mighty Mouse", apparently because Terry's Super Mouse Cartoon wasn't released commercially until after Pines had registered the Super Mouse name, and copyrighted the first issue of his comic book, which was published and hit the stores, before Terry could copyright his film.  Stein was hired by Ben Sangor's animation artists comic book production studio, and was one of the main artists for Pines' Better/Nedor/Standard Comics from 1942 to the last issue of "SuperMouse near the end of 1958, while also drawing stories for Pines' father-in-law's Ben Sangor's own "ACG Comics" and also worked for Ace Periodicals' "Monkeyshines Comics", drawing "Marmaduke Monk", and drawing "Inkie" and "Flatfoot Burns" for Quality Comics' "Hit Comics".