March 2022 – Page 6 – Son of Stuck Funky

Shmucks in a row

Today’s strip begs the classic 5 Ws (and an H) of writing. It also begins the Oscars story Variety promised last month. Yeah, I thought that maybe if I buried the lede it would stay in the ground, but alas.

Who is Mason talking to on the left? Wait, he calls her Marianne… that’s supposed to be Marianne Winters? The lady with the pentagon head and the pigtail-bun hairstyle my niece insisted on wearing when she was a toddler is Marianne Winters?

What is with TB’s willingness to use Hulu and HBO’s trademarked names but still insist on sticking to the eyeroll-inducing “Netbusters”?

When does TB think the Academy Awards ceremony takes place? We’re three weeks out from this year’s Oscars broadcast… Does that mean? Oh no, please no. I really hope TB just got the dates wrong.

Where is the “chateau” where this “real party” is happening? Chateau Marmont? Haha, really? I guess if you don’t know… then you don’t know. I’m in no hurry to find out, either.

Why are Cliff Anger and Vera Nash here? Neither one was involved in the Lisa’s Story movie at all… well, other than inexplicably being at the film’s wrap party.

How is this story going to end? Insufferably, no doubt. I don’t think any other outcome is possible.

Smell That Oceanaire

No prizes for anyone who saw this coming: a Sunday Sideways Comic Book Cover, the Oceanaire’s second and James Pascoe’s third in three months.

For this one, Pascoe’s softened the character’s looks, compared to her first cover and especially compared to the Elementals Force cover, where she appears to be throwing up. As clumsily composed as that cover was, at least it depicted action. While her posture is one of repose, her fists are clenched, and the Oceanaire gazes intently at the viewer. For an artwork created by a nonagenarian cartoonist, on a drawing board under a floating fluorescent lamp, this sure looks…digitized. Everything surrounding The OC’s face is soft and blurry. Is she standing underwater? Or mostly submerged, lying on her back on a vast bed of garbage?

To answer Phil’s question: the cover doesn’t need more trash, just for the trash to be realistically drawn. These floating bottles and cans are rendered in such odd shapes and sizes, so generically as to be almost abstract. And I don’t even wanna know what those white blobs are floating around her collarbones.

Billytheskink takes over the reins with Monday’s strip. Thanks for reading! Stay Funky and stay tuned for news about a couple special events!

A Funky Thing Happened on the Way to Flash’s Forum

beckoningchasm
March 2, 2022 at 10:35 pm
When Pete says “You addressed climate change in that column” it sounds like either 1) the column only ran once and was sensibly discontinued, or 2) every single column that appeared was about climate change. Because that’s how that sentence reads.

But wait, BC, there’s a third option: reprint that eco-sermon from 1972 in every ish of their new comic. That wouldn’t be too preachy, would it? Many of you have pointed out that the Stan Lee “quote” was addressing pollution, not climate change. While both topics are of course related, climate change has only more recently been regarded as a threat. By characterizing it as “climate damage,” Pete’s making Flash and Stan sound like they were ahead of their time.

We Deserve No Pity

Link to today’s word zeppelin.

“[French director] Alain Resnais…was a student of American culture who had learned much of his English from comic books. He was a huge admirer of the Marvel Universe and of [Stan] Lee…Their first project was The Monster Maker, a pop-art parody about a frustrated movie producer who seeks creative and spiritual redemption by making a film about pollution. With gentle direction from Resnais, Lee wrote a full script…The Monster Maker‘s protagonist, Larry Morgan, is an apparent stand-in for Lee himself. Morgan produces schlocky horror pictures that make money and are popular with kids, but he can’t help but feel that he’s reached a dead end. He is despondent about his life and his job, and what he craves more than anything is recognition from an adult audience [emphasis added]. Through a series of story twists, Morgan embarks on a ‘serious’ film project to expose the evils of pollution. There’s some violence, a fire, and then a climactic montage sequence in which a monstrous wave of pollution descends upon New York City, choking the sky, the waterways, and the streets. The true horror, it is revealed in less than subtle fashion, is the accumulation of garbage that we so callously resign to landfills, mindless of the terrible price that we might pay in the future.

“The movie closes with a voice-over:

“…At one point in the movie, Larry Morgan tells his ex-wife, Catherine, about his new, meaningful work. She glows with pride: ‘Larry, you must have known how I always felt about those shallow horror films of yours. I always wondered how you could bring yourself to keep grinding out such juvenile, unintellectual pablum. But now, to think of you tackling a worthwhile theme like pollution—to think of you turning your back on commercialism in order to say something that must be said—Oh, Larry—I can’t tell you how thrilled—how proud of you I am.‘ Unlike Morgan, Lee wasn’t exactly turning his back on commercialism. He and Resnais sold The Monster Maker in 1971 for $25,000. The script gathered dust and was never made.”

Raphael, Jordan and Spurgeon, Tom. Stan Lee and the Rise and Fall of the American Comic Book. 2003

Flash Memory

Don’t you remember, Tom…? The comic book column that Flash wrote was called “Bullpen Boasts.” Like “Bullpen Bulletins,” which was what Stan Lee called the page that he created in Marvel Comics. I suppose the title could have changed over time, the way “Bullpen Bulletins” would become “Stan’s Soapbox” (hat tip Uncle Wikipedia).