Tag Archives: bricks

She Describes the Strip Perfectly

Link to today’s strip.

And of course, it’s always a “worse” day when Les shows up.  Doesn’t stop Linda’s smirking, though!

Last week was annoying, like a mosquito you can hear humming but can’t find; this week promises to be a whole horde of roaches appearing when the kitchen light goes on.  But instead of scattering, they stand right there and stare at you.

But why is Les here?  Linda has always been shown commiserating with Buck, Bull’s “friend,” whereas Les isn’t any kind of a friend, airquotes or not.  Why would she text Les, instead of Buck?  Buck knows what’s going on, Les has no idea.

I suspect the author’s reasoning is something like, I’m not going to waste my New York Times audience on a clod like Buck.  If they read the New York Times, they obviously can appreciate the sheer wonders of Les Moore.

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Don’t Box Me In

Link to today’s strip.

I don’t think I’ve ever seen Funky so determined on a goal as in panel one.  Run, fat-boy, run!  And panel two is also pretty remarkable, as the “monster” managed to shed his costume…and the boxes comprising said costume don’t have any holes cut into them!  You know, what you’d need to do to make a costume out of pizza boxes.   Either that, or the “monster” is still fully boxed and we see that Montoni’s just tosses the trash into the alley, like everyone else in Westview.  Because what is there, apart from trash and garbage?  Certainly nothing valuable.

The third denouement–that this was a magical pizza monster made of intact boxes–is probably what Batiuk hoped people will take from it, but the dash around the corner kills that stone dead.

And thus ends another remarkably stupid storyline.  If I had to say something positive, well. at least Les wasn’t in it.

That positive won’t last, by the way.  Just thought I’d throw a late Halloween scare at ya.

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Ignorance is Bliss

Link to today’s strip.

First, hats off to SpaceManSpiff85, who had to suffer through one of the strip’s worst storylines in recent memory.  Glad to see you lived through it.

As for today’s offering, well thank whatever gods frown down on us that “Lisa’s Story” is no longer the focus.  I’m not sure what’s beginning here, but it almost looks like…whimsy?  Can Tom Batiuk do whimsy?  I’d have thought that he felt such things were beneath him, but who really knows.

At any rate, looks like someone’s build a costume out of pizza boxes.  I’m guessing it’s Corey.

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Helmet Heir

If you read the New York Times, then you’ve already seen today’s strip.

Long time readers are probably wondering why this state trooper is reenacting the second most memorable thing about “The Electric Company” with Linda instead of hauling off her baked meteorite, as the disposal of dangerous foodstuffs is the historical role of the Ohio State Police in Funky Winkerbean. I’m right there with you, as I honestly don’t know.

FW1-26-86

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Strange Matter

Link to today’s strip

A strange and sudden change of pace Sunday strip featuring no one’s favorite Komix Korner employees discussing the quantum properties of comic book or something…meh. Sometimes these comic book geek gags go right over my head and I’m not really in the mood to research this crap right now. Sure beats watching someone open and read mail, though.

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Gridirony

The two old sportos go for a walk. Buck’s comment about Bull having lost weight is a rare bit of naturalistic small talk, and also aligns with reality: persons with dementia can lose their appetite of their interest in eating. In panel 2, Buck seems surprised that their steps have brought the pair to “the scene of the crime,” the high school football field that now bears Bull’s name (and that of “A&L Automotive“). Has he brought them here on purpose, or is his own mental decline finally kicking in? The upcoming Sunday strip that accompanied the NYT article suggests that Bull’s suicide will take place outside his home. If Bull chooses to end it all on the football field, this amounts to some grim foreshadowing.

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Herstory of Herassment.

Link to today’s strip

Stuckfunkian commenter Scott Lovrine guessed last week that Ruby Lith may be based on Ramona Fradon, who worked on Aquaman and Metamorpho. The visual resemblance is very strong both in the past and currently. But from my research Ramona didn’t time in ‘the bullpen.’

I believe that Marie Severin and I were the only women drawing superheroes at the time [50’s]. It’s funny that she was drawing Sub-Mariner while I was drawing Aquaman. People always used to ask me if I knew her, but I didn’t meet her until years later, at a convention. I didn’t work in a bullpen like Marie did so, aside from being uncomfortable with male fantasies and the violent subject matter. I never really experienced what it was like being the only woman working in a man’s world.

Marie, who did work in an office with men, talked more about feeling slightly isolated or left out rather than harassed. The only story I could find her recounting was a male college blowing on the back of her neck.

In that case, comics have always been a rather male dominated field, and you, like Ramona [Fradon] are one of the two reigning queens. How many other women were there at Marvel at the time doing art, and did you ever have any problems with “the Bullpen” or anything like that?

MS: Not really, the guys, they say that women gossip, well networking is male gossip, and they “networked” all the time. But, just like we wouldn’t want a guy when we were sitting around talking about somebody’s shoes, or a certain eyeliner, they weren’t interested in having a woman around, and sure, I’d have lunch with them once in a while, but the conversations were always male; it was just normal. So, you’re sort of out of it. I didn’t have any real problems.

But that brings us to Lily Renee. If Batiuk wants to claim that Ruby Lith is based on any one woman, Lily Renee is the option that closest fits his ‘narrative’. And she also has a physical resemblance.

Lily Renee worked in the 40’s as a penciler and inker for Fiction House. She was Jewish, from Vienna, and had immigrated alone, at the age of 14, first to England then the United States to escape the Nazis. When her parents joined her a couple years later she took up a job in comics to help support her family. The men in the office teased her, tried to teach her dirty words in English, and drew nudes in the margins of the work she was supposed to ink. But she wasn’t the only woman working in the office. There were many women working for Fiction House at the time, and she was on good terms with most of them. She would regularly go out for lunch with Fran Hopper, and at one point, she lived with artist Ruth Atkinson for about a year.

Unlike Batiuk’s fantasy Ruby Lith though, Lily just did it for the money, and after leaving the comics industry in 1949, went to work on other things; illustrating children’s books, writing plays, and working in fashion.

So, big surprise, sometimes it was uncomfortable being a woman in a office predominated by men. Sometimes the women were ‘left out’, sometimes the women were teased. Sometimes it led to much drama that weren’t black-and-white cases of sexual harassment. The inker Violet Barclay, by her own admission, flirted with men in the office leading to acrimonious feelings and love triangles.

Barclay’s complicated relationship with benefactor Mike Sekowsky — who bestowed expensive gifts on her even after his marriage to Joanne Latta — caused friction in the Timely bullpen, which she left in 1949. As she later described the office environment,

“Mike was a very good human being. Everybody at Timely liked Mike. Nobody like me because they thought I was doing a number on him. Which was true. World War II was on and there were no men around, so I just killed time with him. Everybody, Dave Gantz especially, picked up on that. … [Mike] once tried to get me fired over my fling with [Timely artist] George Klein. Mike went to Stan Lee and said, ‘Stan, I want her fired, and if she doesn’t get fired, I’m going to quit’. Well, you couldn’t ever tell Stan Lee what to do. Stan said, ‘Well, Mike, it’s been nice knowing you’.”

Not all sexual harassers got off scott free either. Toni Blum, who worked for Quality Comics in the 40’s, was treated respectfully there except for an incident between two male artists, wherein one punched another in the face. As historian Denis Kitchen wrote, “[George] Tuska, like [Will] Eisner, had a crush on office mate Toni Blum but was too shy to make his move. The actual provocation that inflamed Tuska, Eisner privately said, was [Bob] Powell’s loud assertion that he ‘could f**k [Toni Blum] anytime’ he wanted. After decking Powell, Tuska stood over his prostrate coworker and in a voice Eisner described as Lon Chaney Jr. in Of Mice and Men said, ‘You shouldn’t ought to have said that, Bob.'”

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