In the true crime card collecting craze of the 1990s, one of the most controversial products to emerge were serial killer trading cards. Modeled after traditional sports cards, these graphic cards featured infamous convicted murderers and gave brief biographies of their heinous crimes.
Released in 1991 by collector Rick Stengel, the first series was titled “Murder Unknown.” It included 12 cards depicting little known killers like Charlie Brandt, the first American serial killer. While controversial, the cards captured the dark fascination many had with these evil criminals. They sold out their initial print run of 5,000 packs despite protests.
Seeing the interest, several other companies jumped into the true crime card market in the mid-90s. Tom McHugh’s “Serial Killer Trading Cards” series increased coverage of famous cases. Its 1996 edition included Ted Bundy, John Wayne Gacy, and Jeffrey Dahmer among others.
While graphic design was limited in the early 90s, these cards conveyed the depravity through text. Descriptions left little to the imagination, recounting murders in disturbing detail. Critics argued this glorified violence and serial killers’ notoriety. Supporters viewed it as documenting a part of history through a collectible medium.
One of the most notorious serial killer card lines was titled “Crime Scene.” Released in multiple series between 1995-1997, its graphic crime scene photos and chilling narratives pushed boundaries. Featuring killers like Herb Baumeister, John Joubert, and Richard Cottingham, the cards were celebrated by aficionados but loathed by victims’ rights organizations.
With advances in desktop publishing, later serial killer cards grew even more gruesome. The 1996 “Homicidal Maniacs” series by True Crime Cards featured full color pictures alongside write-ups. Images included forensic shots from murder scenes and autopsy photos straight from evidence. While controversial, their realism captivated devotees.
Perhaps the apex of the macabre cards trend came in 1997 with the series “Notorious Murders.” Produced by Morbid Enterprises, these took an almost perverse pride in their ghastliness. Close-up corpse shots and crime scene photographs were paired with transcripts of taped confessions. Disturbingly, victims’ names and often photos were included without permission of surviving relatives.
While serial killer cards captivated collectors, their graphic violent content began facing crackdowns. Victims’ advocacy groups picketed stores selling the merchandise and successfully lobbied politicians. In 1998, Illinois became the first state to ban the commercial sale of certain true crime memorabilia depicting photos of victims.
Other states soon followed with legislation specifically targeting serial killer trading cards. By 1999, nearly all major card publishers ceased production lines due to threats of obscenity charges if found distributing across state lines. The controversial craze had reached its demise through moral panics and lost its commercial feasibility.
The collecting culture surrounding serial killers did not disappear. While mass-produced trading cards ended, dedicated hobbyists still traded rare older card series through online forums and small independent publishers. The impact of cards in the 1990s also helped cement certain killers like Bundy and Dahmer as celebrated figures of infamy within the morbid true crime community.
Whether one viewed them as documenting history or glorifying evil, there is no denying serial killer trading cards of the 1990s pushed boundaries of taste. Their ultra-violent graphics tested societal tolerance for capitalizing on tragedy. While short-lived, these controversial cards captured the public fascination with the depraved minds of history’s most notorious murderers during crime’s popular peak. Their legacy remains entwined with our ongoing cultural discussions around violence, victims’ rights, and the marketability of crime.
