Link to Today’s Strip.
Someone decided to rip of Frank Miller in exactly one panel today.
Actually the art on looks pretty good, bravo to the colorist for the gradient shades on Chester’s bald head. And you can actually tell that it is supposed to be a Hulk poster in the background. Much better than the weeklies. If you look at Saturday we have a brown Green Arrow, and a nearly black Spider Man. I know that there is a black Spider Man now, but I don’t think he’s gone for a suit the same shade as his skin.
In one entire week of strips, we’ve learned exactly HALF of why Chester is here. I’m guessing that at the end of next week we will finally learn why he wants to contact Mopey Pete.
“Does everybody around here lean back in their chairs doing nothing?” wonders Director Guy as he fetches the producer his coffee. Of course, with Starbuck Jones opening soon, and its sequel having been filmed concurrently, what work would there be for the storyboard artist? Maybe Boy Lisa’s run out of his favorite pens again and is unable to work.
Back in C’ville, Pete has indeed found “something”: he spies a Batiukian/Burchettian blonde who stops him in his tracks so hard that his arms and shirttails fly away from his body. He’s pretty whopperjawed, all right! Casual readers might wonder why Pete’s blatantly ogling Cindy, but we know (since Batiuk teased it two months ago) that this is Crankshaft’s Hot Granddaughter Mindy. She’s successfully parlayed her Kent State diploma into a job helping her brother manage the dive theater.
If I were Hollywood producer Clay Wallace, I’d be leaning back with my feet on the desk too! When your director, leading man, screenwriter, storyboard artist, and their assorted hangers-on make brilliant decisions regarding casting, location shooting, publicity, and every other aspect of putting out a major motion picture, what’s left to do except kick back and enjoy things like palm trees outside and inside your office.
Whatever else new artist Rick Burchett brings to this strip, he knows how to draw a realistic, modern looking car. And he can draw the occupants seated comfortably inside, not pressed up against the windshield. Good job!
While the artwork’s (marginally) improved, the writing hasn’t changed. Phil Holt is such a comics legend that he’s instantly recognizable; quite a feat for anyone not named Stan Lee. Yet he bitterly dismisses his life’s work as “just junk.” “Now there was this young fella back in the day, walked in off the street…’Tom’ something, ‘Tom…Batty-yuck’. From Ohio. Showed me his portfolio. Great stuff, much better then my work. Told ‘im thanks but no thanks! Shit, he’d have had my job!”
Of course it’s up to Darin, the high school newspaper comics legend, to cheer up Mr. Holt, and it seems to work. Hopefully he’ll omit the part about the Comic-Con attendee who called Phil’s namesake “an old-fashioned piece of junk.”