Well, if the “nice-sized” check wasn’t meant for Darin, then he and Jessica will have to settle for a check that is merely “nice.” Doesn’t matter anyway, since Darin immediately cops to having blown at least that amount on some other artists’ work. Tune in tomorrow when Chester turns to Darin and snatches the check from his hand. As commenter “Doghouse Reilly” reminded us on Wednesday, the artwork that Ruby sold was “commissioned recreations,” not her original work which her chauvinist pig bosses did not allow her to keep. Come to think of it, if they were commissioned, then by whom? What’s she doing selling them? Anyway, unless Darin sold off some old “Sophomoric Sightings” strips, any comic art that he’s produced was done as an employee of Atomik Komix, so he’s already received his reward.
Tag Archives: Darin
Well, good for Ruby Lith. Like cracked actor Cliff Anger, Ruby’s another living Twentieth Century relic who held on into the Twenty-First long enough to finally garner some long overdue recognition. I hope her excitement over this check doesn’t trigger a coronary, which would look something like this:
I also hope Ruby’s allowing for inflation here, since her “original pay date” dates to around the Truman Era. Meanwhile, the expressions of escalating dismay on the faces of Darin and Jessica are the most satisfying thing we’ll see all week.
As if none of us saw this coming. Kitch Swoon and that nice-sized check of hers are not destined to fill Skyler’s college coffers. Y’know, why not have Monday’s strip showing the gallery owner arriving at Atomik Komix and laying the check on Ruby? Then Batiuk would have another five or six days to tell an actual story. But I understand her delivering the check in person, given what we know about the Postal Service in Westview. This is the story, folks: let’s take this week to set up those starry-eyed fortysomething Fairgood “kids” for a little disappointment and humiliation. Darin has to lean back so hard against Jessica’s pushing that it looks like she’s got him on a handtruck.
Why the hell must Haystack Hair “sidebar” with Darin when the dude was standing right there?!? Check out Jessica’s narrowed-eyed, conspiratorial posture in panel one: with her left hand hooking the crook of dopey Darin’s arm, and her right palm downward, fingers spread in the “keep this on the low” gesture. Always with the dollar signs in her eyes, this Jessica: recall her (short-lived) giddiness over the dough that Darin would make off auctioning those Phil Holt Batom covers. At least Jessica is looking out for their child’s future…unlike Darin, who without so much as consulting Jessica decreed that all that Phil Holt money should go to the Lisa’s Legacy fund (which I’m only hyperlinking here because they finally fixed it so the URL doesn’t redirect and give you a dire-sounding certificate error).
Last week’s running gag had Dinkle and Becky walking around reading signs. This week is shaping up to be a series of people letting themselves into the Atomik Komix office and being greeted with “Hey!” Superb draftsmanship today in panel 1: Kitch Swoon appears to be standing in the doorway of an airplane in flight, and Pete is so excited he’s morphed into Shemp Howard. Our colorist gives even less of a damn, leaving Ms. Swoon with white hair rather than the blonde hair she had when we met her last summer. At least Batiuk hasn’t altered or forgotten her name.
Silly monikers have been Funky Winkerbean‘s stock in trade for nearly a half century, from the title character and his friend “Less More,” to the late Coach “Jack Stropp” and forgotten teacher “Rita Wrighton.” These names were semi-witty, facile wordplay. But I’m at a loss to tease sense out of “Kitch [sic] Swoon.” She’s an artsy type for sure (she’s wearing a beret). Does she specialize in “tacky,” lowbrow, populist art? Does the sight of kitsch make her feel like she’s going to faint?
More like National Sneak Up Behind Your Favorite Guy and Startle the Shit out of Him While He’s Working Day, according to the motion lines alongside Darin’s elongated head.
“This is a Cintiq, a 3D drawing board. I’m actually more comfortable working at my old drawing board, which I bought in junior high school for $25. At the time, it seemed like a lot of money. It’s where I do most of my work.”
Tom Batiuk, February 2016
Good enough for Tom Batiuk, good enough for Darin, who sits at a rather small, inclined drawing table under a vintage “floating” draughtsman’s lamp. Very old school and analog, and it makes me wonder how Mindy is able to do her coloring (remember, she thinks Dr. Martins is a brand of footwear).
December 1, 2019 at 11:34 pm
The sad thing about this is how [Batiuk] seems to think a story about a comic book artist who’s always behind schedule is an interesting and relatable premise.
We get it. “Turtle Thompson” was a real pain in the ass to work with. Luckily for him, he was surrounded by enablers who let him get away with being lazy and unreliable. Maybe his artwork (which we’ll never see, unless tomorrow’s strip is a sideways Sunday comics cover) was so good, he was worth the aggravation. Maybe capable comics illustrators were hard to come by in those days (doubtful). At any rate, years later they are reminiscing fondly about ol’ Turtle. He, and Flash and Phil Holt and all those comics legends created entire worlds, and their work was consumed by legions of devoted fans. Though Darin and Pete imagine themselves to be in their same league, their work will never have that kind of impact. It’s no wonder that Darin’s quip, referencing a supervillian who exists nowhere outside of his and Pete’s imaginations, falls a little flat:
December 3, 2019 at 12:55 am
…[I]f he ever wanted to vacation at Easter Island, the locals would probably worship (Flash Freeman) as a god.
Lest we forget which “Turtle Thompson” we are speaking of: it’s “The artist.” Props to commenter Scott J Lovrine, who yesterday cited Silver Age comics inker Frank Giacoia as a likely inspiration for “Turtle Thompson.” A number of readers have suggested that this arc might be a dig at the mysteriously departed Rick Burchett; I’ll give Batty a little credit here and say that he wouldn’t throw a former partner under the bus like this. We don’t know how about Burchett’s ability to meet deadlines, but his work on Funky was just terrible, and I for one was happy to see him go. But his replacement, the formerly reliable Chuck Ayers, has rendered a grotesquely misshapen head on ol’ Flash here, making him look in rear view like a Q-Tip with ears.
Like pulling teeth without any anesthetic” how, exactly? For the one pulling teeth, or for the one whose teeth are being pulled? If they’re your teeth being pulled, well, that’s literal torture. It can’t be a picnic for the tooth puller either: extracting teeth takes a fair amount of strength, especially from a flailing, un-anesthetized subject. Anyway, yesterday Flash said that “Turtle” had “gone to the well once too often,” implying that he pushed things too far and was finally let go, yet the cajoling continues.
In what line of work, particularly in a publishing company, would a contributor get away with repeatedly pushing back deadlines? Especially without an explanation or excuse aside from “Well…” And what’s the reason that Flash has to speak to him by phone? Why is “Turtle” Thompson not chained to a desk like everyone else we’ve seen in the Batom salt mines? Why does the “sepiatone” flashback image have hints of yellow and green? Well? WELL???