Funk Them Kids

They laid Lisa Moore to rest in 2007, scattering her from Ohio to New York. It was a sad thing; so very sad that Tom Batiuk didn’t want to deal with it and have Lisa’s death drag the whole strip down. No sooner had she croaked than we were thrust a decade into the future. Les and the other Act I characters were now middle aged; 46-going-on-60. But they weren’t the only ones who’d aged up as Act III was promoted with a promise. It wouldn’t just be the old men and women getting the stories but their children as well.

That’s right…

It’s like an ad for a new totally radical syndicated Saturday morning teen show from 1994.

First off, I wonder who they got to do this art because these characters all bear only the vaguest of similarities to the characters from the comic itself. Second, we were indeed intended to be getting stories about the sons and daughters of the Westview High School Class of ’92 ’88 ’78 but as we’ll see, Batty eventually seemed to have his own ideas.

Why that is, who can say? In the last couple of years of he’d been getting some writing help from Sean McKeever, a comic book writer who’d been making a name for himself at Marvel on books starring teenaged and college-aged characters. His scripting duties (for I assume he was scripting based on Batty’s plots) included the Senior Skip Day story that started the Dopey/Jessica romance and I suspect almost all of the stuff with them was done by him as well as he’d also done the story about Darin learning that Lisa was his birth mother. I was, and am, a fan of the stuff he was doing for Marvel from that time period and a lot of those strips read like watered down versions of the kind of things he had been writing. McKeever, in an old interview from the COVID times, had said that Batty actually wanted to bring him on full time as a co-writer but by 2007 he’d just signed with DC to write Teen Titans which had been his dream book so turned it down.

I suspect that had McKeever taken up Batty’s offer, he would have been doing stories with the high school characters and without him Batty, who showed less and less interest in younger characters the older he got, just kind of shrugged. But he did still make an attempt at writing them which means it’s now time for the fourth entry in our examination of Summer Moore’s history.

The very first thing Summer gets up to is tagging along with her father on a trip to New York for the (first?) Lisa’s Legacy run.

Remember, he didn’t want the spectre of Lisa’s death hanging over the strip.

And tagging along is the right term because while she’s there, she’s just sort of around to throw in a comment or something. While in New York, the Moores meet up with Cindy who takes them to the grand opening of Montoni’s NYC location where Summer promptly gets hit on.

And we also get our first look at Act III Funky who’s become balding and fat.

Summer is having no part of Funky’s crap and frankly I’m right there with her.

In November we also get the reveal that she’s a jock as Summer takes the opportunity to make fun of her father. Also, her teammate looks like she could be the sister of that one balding kid from the final generation of WHS students.

Around this time is also when we’re properly introduced to the rest of the Funky Kids, the next generation who will theoretically be carrying the strip. Aside from Summer we have Jinx Bushka, adopted daughter of Bull and Linda Bushka. She’s introduced in a way that would make you think she’s a performative theater kid type but if she was that disappears immediately.

There’s Rana Howard, formerly Rana Winkerbean. Batty seemed keen on the idea that all the kids were the opposite of their parents so while Rana’s the daughter of a band geek and comic store owning dweeb, she gets to be the requisite Most Popular Girl In School right down to what I believe is stealing an old Cindy joke.

But on the flipside there’s Maddie Klinghorn who’s set up as being her father’s daughter. Except you’ll never know it because she gets absolutely zero focus and thus very little in the way of actual personality. Like even Jinx will get a couple of stories focused around her, Maddie gets absolutely nothing. She’s pure scene filler.

She’s got nice hair at least.

Rounding out the group is Cory Winkerbean, the bad seed. A big story throughout the first few years of Act III is how Funky’s focus on business has led to neglect of his family and so with the money that Funky provides but not the terrible puns, Cory’s turned out to be a moody troublemaker.

While it’s not directly related to Summer (yet), Mopey Pete Roberts (not yet Reynolds) returns to Westview having achieved the highest level of prestige in Batiukland: becoming a comic book writer. In this we’re also introduced to Maddie’s younger siblings Tyler and Abbey.

I am almost 100% sure that this is the only time in Act III that Crazy Harry’s other kids are shown or even mentioned. Donna was pregnant at the end of Act II which also makes this extra confusing. Because Maddie was born in 2003 but looks as if she’s a full decade older than her brother when at most it should be like 3 or 4 years. I guess it doesn’t matter because Batty memoryholed them but still, come on man.

It’s Christmas time and Summer, being 15, wants to go on a “solo car date” with a guy. Les responds to this in the way that only a loving father can: by laughing in his child’s face as if she’s the biggest moron on Earth.

C’mon Summer, slug him! Right hook! Shoryuken! Something! He’s wide open!

But Les caves and decides to let Summer have her date, and Summer gets back at him by laughing at him for being a dork and trying to explain the birds and the bees to her. As she says, she’s a teenager with the internet so presumably she’s already been exposed to at a minimum Naruto and Harry Potter slash fiction.

There’s nothing you can teach her that she hasn’t already learned from the writings of xXSasukesGrlXx.

All of this is just build up to her date showing up for one strip so Les can play the role of embarassing parent while turning it into a sappy Lisa tribute.

Oddly enough, this is also the last time that Summer is shown being involved in anything romantic, at least on her end. There’s other stories that involve boys having crushes on her but never again is she shown having feelings for another boy, trying to date or anything like that really. Why that is are things we can speculate on much, much later so we’ll just move on to Summer’s last significant appearance of the year.

Just before New Year’s, she’s shown joining her dad and his buddies for a game of football and naturally, like the true jock she is, can’t pass up the opportunity to bully her father for being a wimp.

Meanwhile, Funky’s smug grin is growing to cover his face like lichen on a large rock.

She also shows up at the beginning of the year having attended a party that Cory threw to further the story of Cory being Problem Child (1990) as he’d thrown the party while Funky and Holly were out of town.

She starts getting some attention paid to the fact she’s an athlete in February which leads to a week of flashback strips where she climbed up a tree…

…and Les got stuck going up after her.

Should have left him there. I’m sure he would have been fine.

March begins a story wherein she leads the JV team to the conference finals.

Which is, of course, against Big Walnut Tech leading to the first appearance of Keisha Williams and Summer showing that, as great athletes tend to, she can be both overly aggressive and a little conceited.

She’ll eventually be your mommy too, Summer.

And being that kind of athlete means she eventually decides it’s time to play hero ball.

Which of course works, bringing Westview its first championship since some time during the Act II days. The excitement is so much that it almost kills Les, though unfortunately “almost” is the operative word there.

A month later the trophy arrives at Westview as Les and Becky gush over how amazing Summer is. I believe this is the first of the comic cover homages which will become an Act III staple. Apparently this is also the last professional work of the great Jim Mooney who passed away a few weeks before this strip was published.

She also shows up for a Mother’s Day strip that naturally flashes back to Lisa.

There’s also a few debuts and returns around this time. First off is Summer’s half-brother Darin who returns to the strip in order to welcome back Mopey who’s going to be living in the apartment above Montoni’s as all young Westview men must do.

Also Mooch is there and then promptly disappears into the void. Should have brought him back for that L.A. fire storyline.

At the end of the school year, long time secretary and walking pile of nothing Betty decides to retire and turn over her duties to another woman. A transfer from Big Walnut Tech.

Cayla is here (and has yet to undergo her caucasoid metamorphosis) and she, and her daughter, will play a big role in Summer’s life going forward.

But already we can kind of see how things are going. Despite all the proclamations, a lot of that initial year or so of Act III is spent largely on Les, on Funky, on the adults in general. I didn’t mention it before for instance but at this time Les takes up a secondary job of becoming the new night manager at Montoni’s. A lot of time is spent on Funky being so focused on success that he’s letting his personal life and business go to shit while all his employees are beginning to dislike him.

Summer’s around of course and has yet to be completely sidelined (that’s for later) but aside from the month or so focused on her basketball prowess, around is all she really is. She’s just sort of there and that, I am sure, will bode well for her future usage under the Batty’s pen. That still puts her as better than Jinx and Maddie and at least she hasn’t disappeared into nonexistance like Crazy Harry’s other kids. Small miracles I suppose, but it’s a rather inauspicious start for humanity’s supposed savior.

Since we’re at the end of Summer’s freshman year of high school I figure that this is as good a place as any to leave off for now. We’ll take a look at how things go for her in her sophomore year next time.

Beating A Joke To Death

One of the drawbacks of my long-running TBTropes series is that the tropes have begun to repeat themselves. This was part of the design, though. I wanted to create a way to describe Tom Batiuk’s bizarre writing choices, so we can identify each when it appears. But this has made it harder to write new blog posts, because I’ve already explored the Batiukian technique de la semaine.

Like I said in the comments, I didn’t write about Buck Rub Week (October 13) or Crankshaft Lawyers Up Against Glitter Week (October 20), because I did almost two years ago. Almost everything in If You Make Sure You’re Connected, The Writing’s On The Wall applies perfectly to these two weeks of Funky Crankershaft.

I called this a Comedy Disconnect: “trying to be funny rather than communicate ideas, (sacrificing) reality in a desperate attempt to get laughs at all costs.” Which Batiuk does constantly. Despite routinely describing his life’s work in terms like “45 years in, ‘Funky Winkerbean’ creator isn’t going for funny.” He’s going for funny, but he certainly isn’t hitting it.

And we’ve got another reuse of an old technique this week: reusing a joke when it no longer makes any sense.

In Fight The Power, I wrote about how Batiuk continues to rely on Dinkle jokes long after the world changed in ways that rendered them problematic. Maybe high schoolers and high schools in the 1970s and 1980s had to silently tolerate Dinkle’s behavior. But senior citizens and churches in the 2020s do not. The environment changed, and the times changed. Act I Dinkle worked as a comically exaggerated depiction of megalomaniacal high school band directors. Now he just looks like a pushy, abusive lawsuit magnet.

Imagine a shot-for-shot remake of a classic teen/young adult comedy like Dazed And Confused or Fast Times At Ridgemont High or Revenge Of The Nerds set in the current decade. But it doesn’t update any of the outrageous details of life circa 1976-1983, or introduce anything that’s changed since then. This trope already has a name: Harsher In Hindsight. But since Batiuk loves to do this to his own work, I’ll give it its own name:

Not Funny Anymore: When a once-functional joke no longer works because the context around it has changed.

Harry Dinkle is Not Funny Anymore. Ed Crankshaft is Not Funny Anymore. And the Pizza Box Monster is Not Funny Anymore.

This is Halloween week. In Act III, PBM showing up at Halloween and terrorizing Montoni’s was one of the few fun things that happened in Funky Winkerbean. But the new reality is that PBM is now Pete and Mindy’s business partner. This reframes the underlying dynamic of “PBM is scary, because nobody knows who he really is.”

On Tuesday, Pete tells Mindy “you need to stop obsessing over who the Pizza Box Monster is.” No, Pete, you need to start obsessing over it. Because you’ve apparently entered into a business relationship with this person, and talked your fiancée into joining! Putting your trust, your financial future, and by extension your marriage, into the hands of an unknown person who wears a wacky costume, is skull-collapsingly stupid.

Never mind that this situation isn’t even possible anymore. Know Your Customer laws require any financial institution to thoroughly identify all parties early in the proceedings. And any party in the partnership would have the right to view any contracts they’ve signed. Mystery solved.

But it gets worse. Does Pete simply not care who the Pizza Box Monster is? Or does he know who it is, but isn’t telling Mindy? Because that’s a great way to destroy your spouse’s trust in you.

In a downstream joke that’s also Not Funny Anymore, Pete tells Mindy she’s beginning to sound like her grandfather Ed Crankshaft. The only reasonable response to that is an immediate trip to a neurologist. A young woman should not be talking like a 106-year-old dementia patient. Especially if Batiuk is going to act like Pete and Mindy are a generation younger than they actually are. Even more so when it overlaps with Dumbass Has A Point. Mindy is right to want to know this person’s identity, even if she doesn’t know why.

The scariest thing Pizza Box Monster could do this week is send Pete and Mindy a picture of himself in Russia with their life savings. Or even worse: their merged comic book collection. I guess they’d have to actually get married first, though.

Murder In The Burnings: The Minor Suspects

So the burnings have suddenly turned into the world’s lamest Choose Your Own Adventure game. And we all know what the correct answer is in this world:

She’s got two valid reasons to call the police, a threatening mob standing in puddles of their own unburned accelerant, and the world’s greatest arsonist right next to her. But you do you, Lillian. Lord knows you have stellar judgment when it comes to not censoring other peoples’ reading material.

Continue reading “Murder In The Burnings: The Minor Suspects”

Sepia Superman

Independence Day went as well for me as can be expected. I woke up July 5th with the same number of fingers and toes I had on July 3rd, and even managed to keep both eyebrows! With the flags and the food and the explosions and the travelling across state lines to avoid taxes, I was patriotic to the max.

Batiuk’s done his share of flag waving over the years, with his cast carrying a healthy dose of veterans and military. Whether this springs from a genuine respect for US Armed Forces personnel, or is pandering is a debate for another day.

In May 2008, Batty uses Memorial Day as an excuse to remind his readers that YES he still hasn’t explained Wally’s abscence, and YES Wally is not here. But the bumper sticker dangles the bait that he is MIA rather than absolutely confirmed KIA. Dumb, pointless, bait.

Crooked, but I guess it was hard to put on a bumper sticker with one hand…

Becky has appeared on and off just about every month of Act III so far, but the last few months her appearances were all about the band. No kids, and no John.

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Post Modern

‘Dan Davis’ as Andy Warhol.

I’ve been thoroughly enjoying all of you commenting on the shambling abomination that is Crankenstein’s Monster. It’s horror beyond imagination in the funny papers these days as Batiuk once again drags Lisa’s battered and abused corpse out to puppet around and demands Davis stitch it onto the recycled art patchwork of long dead gags that makes up modern day Crankshaft. Lisa Moore’s been more abused post mortem than poor Elmer McCurdy.

But at least when Les Moore does his dramatic dance of interpretive grief all over her grave, we know that Lisa is well and truly dead.

Continue reading “Post Modern”