May 24, 2021 at 11:48 am
There are few things in the world I’m less interested in than Tom Batiuk writing about the plight of women in the comics industry sixty or more years ago.
As a member of our very own “bullpen” here at SoSF, spacemanspiff85 knows not just the pain of reading Funky. Winkerbean. Every. Damn. Day. Periodically, Spiff is called upon to write something interesting about it to share with the rest of us. For two weeks, after which another SoSF guide host/guest author takes over. We limit our authors to two-week stints for the sake of their psychological well-being. Were that not the rule, I’d turn the helm back over to Comic Book Harriet, whose bailiwick these “Women in Comics” arcs have become. SoSF trauma protocol dictates that CBH must rest on the sidelines (while killing it as always in the comments), and it falls to me to get us through this arc.
As a male, I must tread lightly, but here goes: editor “Stogie” Butz’ “pretty good for a girl” remark barely qualifies as a microagression, given the times. Whatever midcentury decade Batiuk’s trying to recreate here (and it could be anywhere from the 1940’s through 60’s), calling a woman “girl” in the workplace wouldn’t be automatically out of line. He’s just busting her…chops, as would any cigar chomping, no-neck cranky boss.
February 21, 2020 at 2:13 pm
…I FINALLY FIGURED IT OUT!! Chester the Molester is supposed to be Bruce Wayne, but instead of fighting crime through an alter ego, his mission is to right all of the wrongs of the comics industry while saving the entire genre for posterity singlehanded…
Well that would make at least as much sense as whatever has gone on around here this week! Bought off his conscience? Chester’s really not guilty of anything, aside from being a rich nerd. Unless the guilt he feels is over having built his entire fortune on all those comics he stole from the drugstore as a kid. In which case it’s going to take more than selling off one rare comic–which he owns in triplicate–to truly fix his karma.
I right away had to look up “pantload;” not as a prerequisite for moving it to the Batiuktionary, but because I understood it to be a pejorative. It’s what you might call someone who’s clueless and unpleasant: “Chester’s a real pantload.” Indeed, over at urbandictionary you can find some pretty colorful definitions. More um, sophisticated reference sources, however, support Ruby’s usage: a nicer way to say a “metric shit ton” of a given thing.
Sensing that Ruby isn’t going to be an easy lay after all, Chester resorts to a combination of flattery and bribery. Ruby’s mistrust of the Chiseler is on display again. For him to attempt to ravish her or shake her down for money would be more plausible than him (awkwardly) handing over the Miss American cover art for which he’d paid big bucks.
Maybe Chester recently learned he’s only got a few weeks to live? Why else would the one they called “the Chiseler suddenly acting so generous? If we’re talking about this particular cover, by “rights” it belongs to neither of them: Ruby admitted to having smuggled it out of her old place of work. I guess posession is nine tenths of the law.
Well, this is one crowded cover: the Atomik Komix Krossover that nobody asked for. We see our heroines and a dog fleeing on a motorized trike from a giant mechanized Nazi. The art’s not bad, but the muddy, muted colors and the Photoshop lighting effects don’t exactly make it pop.Like the first Miss American cover we saw back in September, this is not the work of a female artist; it’s by Thom Zahler, another Ohioan (maybe Ohio is a “thriving hotbed of Golden Age comic book activity” after all).
Who is this guy and why is he wearing Pete’s green shirt?
I don’t know why Chester is in such a hurry to get “the lawyers downstairs ” involved. Ruby’s going to draw Miss American and get paid by Chester for doing so; why must she own the rights as well? Will Chester then have to pay Ruby for the rights to publish her work? Readers of the FW blog know very well how Batiuk relies on his legal team, so maybe in that context, this makes sense.
I’m just so sick of that surprised expression that’s been on Chester’s face this whole week. Who the hell goes to the time and expense of buying up copyrights and setting up a “shell corporation” and then forgets all about it? And what was the point of this shell corporation, anyway? Merely to pad out this insipid arc for a couple few more days, I guess.
February 11, 2020 at 11:58 pm
I liked Chester better when he was a weird eccentric greedy dick.
Is Chester losing it? Hagglemore was introduced as an insanely wealthy and savvy comix fanboy. He’s clearly still got money to burn–keeping these useless dopes on his payroll–but he forgets that he has a holding company? Yesterday in the comments, it was proposed that “CH Holdings” might turn out to be Crazy Harry. Now that might set up generate some intrigue, laughs, whatever. We need to give a name to this rule which states that any plot event you can conceive for Funky Winkerbean that is remotely novel or entertaining will be the complete opposite of what actually happens.
“What’s going on?” asks Chester. Certainly not productivity! Grandpa Google apparently has directed Mindy to Aunt Register of Copyrights, where she’s able to look up Miss American’s first owner. This means that the copyright wasn’t secured until 1978 or later: the U.S. Copyright Office’s public catalog only goes back that far. Works registered prior to 1978 may be found only in the Copyright Public Records Reading Room in Washington, D.C. (can’t get more American than that!) Those flashbacks to Ruby’s earlier days in the business seem to take place a couple decades earlier. But hey, don’t stop Mindy from making herself useful for once.