Tag Archives: prince valiant

The Saga Of The Stinging Sword

Link to today’s strip.

It’s hard to believe I once thought this bitter, hateful story would be “a love letter to something Tom Batiuk likes.”

This story had almost nothing to do with Prince Valiant, except for trashing its real-life artists. Three of the four from that era were slighted in some way. Hal Foster was depicted as unscrupulously plagiarizing someone else’s art; Gray Morrow’s name was gotten wrong; and John Cullen Murphy was conspicuously omitted. And since “King Features Syndicate” was proudly displayed on the office walls, Tom Batiuk even implicates his own employer in this fictional misdeed. And couldn’t even bothered to explain why. Continue reading

45 Comments

Filed under Son of Stuck Funky

Dumpster Diving

Link to today’s strip

Hal Foster himself shows up at the King Feature Syndicate offices, and fishes Phil Holt’s unsolicited submission out of the trash.

Why?

Hal Foster was auditioning people to take over for him. So he would know who the candidates were, and who submitted what pieces of art. This drawing being in the trash implies its worth clearly enough.

Continue reading

37 Comments

Filed under Son of Stuck Funky

Plot Twist: Phil Holt Was Never The Main Character Of This Story

The story completely undermines itself.

It doesn’t look like Phil Holt had much of a “try out” for Prince Valiant. It looks like he made an unsolicited submission to a large publisher, which was promptly thrown in the trash. By the receptionist. Ouch.

This is typical, though. Most big media companies have a stated policy of “we do not accept unsolicited submissions,” and return them to the submitter with a letter to that effect. This so people can’t claim the publisher stole some half-baked idea they submitted, and try to sue them for damages.

But who’s that in the background? A man who is very specifically drawn; has a monogrammed art satchel; a pair of initials no real person who worked on Prince Valiant had; and looks like he’s waiting for an interview.

It’s Batton Thomas.

As further evidence, I submit this photo from the Funky Winkerbean blog:

That’s Tom Batiuk on the left. I don’t know who the other man is, because I don’t know the context of this photo. It’s too young to be Hal Foster, who was born in 1892, and looked like this in 1962.

Today’s strip makes it clear that Phil Holt tried to nag his way into a tryout, when Batton Thomas had a genuine tryout lined up. Which raises the obvious question: why is this story about Phil Holt and not Batton Thomas??!! Just from today’s strip, we know that Thomas has a better “I tried out for Prince Valiant” story.

This makes Phil look like a liar. In fact, this strip raises a lot of questions:

  • Two days ago, Phil said he has memory problems. Are we supposed to infer that his recollection of events is false?
  • Phil said he was “up against” Wally Wood and Gray Morrow, but he didn’t even have an appointment to show his work when Batton Thomas did.
  • Sunday’s strip was Phil telling an obviously fake story. Is he doing it again?
  • Does Kitch know everything Phil says is baloney, and is just humoring him for some reason?
  • Does today’s strip mean Tom Batiuk himself auditioned for Prince Valiant? Batiuk has never spoken of this.
  • Why would Batiuk give this storyline to his Jack Kirby clone instead of his self-insert character?
  • What does it say about the cast of Funky Winkerbean that it has multiple characters who could have plausibly auditioned to draw Prince Valiant in 1970?
  • What’s even real in this world?

The Funkyverse tries to use Expy Coexistence. Characters are analogues of real people, but mention real people, places, and events. This is done very inconsistently, though. Some characters are real people (Hal Foster, Conan O’Brien); some are ersatz versions of real people (Phil Holt, Flash Freeman, Batton Thomas); some are purely fictional (Ruby Lith, Pete); some are unclear because they’re real names that are spelled wrong (Gary Morrow, Joe Schuster); and some are fantastic entities that can’t exist in a realistic world (Holtron, Lord of the Late). Some fictional characters are real people in this world (Dick Tracy); some fictional comic worlds are still fictional in this one (Prince Valiant, Batman); and this world has its own in-universe fictional properties (Starbuck Jones, the entire Atomik Komix oeuvre).

There are a lot of other inconsistencies that need to be cleared up, too. Like how the time skips are supposed to work.

Funky Winkerbean needs a Universe Bible. I know Tom Batiuk can do this, because he wrote one for Batom Comics. And it’s actually decent. It’s concise, has a clear idea what it wants to convey, and isn’t trying to bludgeon you with a dictionary. Compare that group of blog posts with this group and you’ll see the difference.

This will also be a Cartooning Suggestion:

Write a Funkyverse Bible. And then obey it.

This would solve a lot of the problems that arise from Tom Batiuk constantly reinventing characters and the strip’s history to fit short-term story needs.

35 Comments

Filed under Son of Stuck Funky

Batting .500

Ugggggggggggggggggggggggggh.

It’s Day 10 of the arc, and this is the fifth strip that could have been omitted entirely. It does not advance the story, reveal any new information, or serve any other purpose.

When I was in high school, I was in a theater production of Rebel Without A Cause. There’s a scene where a character dies because his car goes off a cliff. We accomplished this by playing a sound effects audio clip on the PA system, and telling the actors to improvise some dialog to fill the time. They never got it right. It was either “He’s getting close to the edge! He’s going to go over the edge! Oh no, he’s at the edge! He’s really close to the edge now!” Or they just said random things, and were somehow surprised when the crash sound happened.

Funky Winkerbean reminds me of that. It has no idea what pacing it needs, or what direction it wants to go. It’s just slow, slow, slow, slow, slow, slow, slow, ohmygodIneedtowrapthisuphurryhurryhurryhurry. It’s either burying you under an avalanche of pointless exposition because it’s got all week, or skipping important story points to get finished because the week’s almost over. It’s like watching the first hour of a long. tedious movie, and then random bits of the rest of it.

I blame Tom Batiuk’s insistence on week-long story arcs. I think it’s one of the less-talked about reasons why Funky Winkerbean is as bad as it is. Batiuk seems far more interested in making his arcs exactly six days long than he is in making them any good. I would put an end to that, with the second of my Comics Suggestions:

Story arcs must start on a day other than Monday, or end on a day other than Saturday and Sunday.

No more week-long arcs. Stories will be the number of days they need to be, rather than filling an arbitrary length for no good reason. Hopefully, this will encourage the culling of unproductive strips (which this arc has a lot of), and let stories happen more naturally.

This also replaces the “three-week rule” Batiuk frequently mentions. There’s nothing wrong with long story arcs, if they are otherwise compelling. This is dreadful at any length.

29 Comments

Filed under Son of Stuck Funky

I’m Aware Of His Work

Link to today’s strip

Today’s strip is a lesson in how Tom Batiuk’s sloppy writing is undone by his sloppy writing.

Phil’s remark feels like a passive-aggressive insult. The name Phil can’t think of is John Cullen Murphy, the artist who took over Prince Valiant when Hal Foster retired in the early 1970s. He remembers the names of brief fill-ins Wally Wood and Gray Morrow, but not the man who drew the strip for the next 30 years. These were all real-life people who worked on the real-life Prince Valiant comic strip.

When you’re making a list of something and intentionally leave off the most prominent example, it looks like you’re trying to make a point. You’re saying “The New England Patriots’ last few quarterbacks were Mac Jones, Cam Newton, Drew Bledsoe, and some guy whose initials were T.B.” It looks like you’re trying to downplay the person for some reason.

But the joke fails because… he got one of the names wrong! It was G-R-A-Y Morrow, not G-A-R-Y Morrow.

When the joke is “I forget the important one,” you have to remember the unimportant ones. Forgetting them too makes the intent unclear. This is why “beady eyed nitpicking” matters. I’m not being a spelling pedant here. I’m pointing out a problem with the execution of the joke that makes it fail. And because we’re supposed to believe comic strip characters are speaking aloud, it’s not a trivial error. If it was incorrectly spelled G-R-E-Y, it would be less bad, because it’s said the same.

The intent is unclear for another reason: What did John Cullen Murphy do to deserve being snubbed like this? This story doesn’t involve Murphy at all. Batiuk’s never mentioned him on his blog either. Murphy could still be introduced, but bringing real (and deceased) people into the story would get into some thorny areas. Is he going to be the villain?

I do like Phil’s description of “your mind playing charades with you” when you get older. I recently turned 50, and I can relate to this feeling.

The other day I was trying to remember the name of a college hangout from decades ago. I said “it was something like ‘Thirsty Turtle.'” I remembered later it was Purple Porpoise. I couldn’t remember the name, but I remembered Adjective Marine Animal, and also that it was alliterative. That helped my brain find the right answer. I figure this is just how your brain works when you get older. Your mind can’t make the direct connections it used to, and you have to take roundabout paths to find pieces of information.

The real problem is that Phil Holt has never been depicted as having memory loss. He needs it for today’s joke, so suddenly he’s always had it, and has a mechanism for coping with it. Tune in tomorrow, when Phil remembers the precise details of things that happened 50 years ago.

35 Comments

Filed under Son of Stuck Funky

The Cartooning Commandments (Revised)

Oh goody, a needless vertical strip. To do an exposition dump on some tedious comics-related administrative process that happened 50 years ago. And wank over New York City some more.

Tom Batiuk speaks often of the “Cartooning Commandments.” Despite his assertions they are well-known and can be found on the Internet, they don’t seem to exist anywhere other than his blog. A lot of them don’t even make sense, or just reflect Batiuk’s own sensibilities. “Thou shalt only do funny comic strips. Your characters shall never grow up.” Nobody thinks those things but you, Tom.

Most importantly: they’re not helping. Tom claims he was given these guidelines to follow when he got started in cartooning 50 years ago. To the extent he’s following them at all, they’re not reducing any of the glaring problems in the strip. Sometimes they’re even counterproductive.

With that in mind, I want to write some new cartooning commandments. Commandments that, if followed, would actually help Funky Winkerbean be better. If I’m going to criticize something, I think it’s also my job to be constructive about it. And I can think of a lot of simple steps that would start to pull Funky Winkerbean out of the dull, self-indulgent abyss it’s been in for all of Act III. To keep the tone friendly, I will call them the Cartooning Suggestions.

Most of these suggestions will be in the form of “No more…” something. Because “Thou shalt not” is needlessly pretentious. One of my suggestions will be not to talk this way anymore. I’ll get to that one. But for right now:

No more vertical strips.

Vertical comic strips can be used to good effect. It was done once in Bloom County, in an arc where they made a flying machine by attaching balloons to Cutter John’s wheelchair. For the big reveal, the drawing was rotated 90 degrees, to show this tall, thin object in detail. It was the readers’ first look at something that drove a months-long arc. And it was a strange object that needed to be explained to the audience. This was a perfectly good reason to draw a strip sideways. And I think Berke Breathed only did it one or two other times.

Vertical panels in Funky Winkerbean are used to indulge Tom Batiuk’s worst tendencies as a writer. They’re used to make space for word zeppelins, author rants, pointless info dumps, self-indulgence, and worst of all: Sunday comic book covers. All of these things need to go. A blanket ban on sideways strips in Funky Winkerbean would be a great way to start improving it. If an idea can’t be expressed horizontally, it probably doesn’t need to be expressed at all.

Today’s strip is a shining example. This is strip #8 of the arc, including Sunday, and it’s the fourth one that could have been omitted entirely. It’s all been transactional talking, and a “witty” Sunday joke that’s only witty if the other character is a complete blithering idiot.

Phil Holt’s life makes even less sense now. After he quit his Batom Comics job and stole their property in the process, he… moved to one of the most expensive neighborhoods in the world? To do what? That needs more for an explanation, not 23 words of “I heard Prince Valiant needed a new artist” when we already knew that.

And: it’s apparently vital you know this happened in New York. Nope, Phil’s definitely not in Hollywood, that empty place of vacuous people!

43 Comments

Filed under Son of Stuck Funky

Philholtian Legend

How gullible is this woman?

Today’s strip uses a real location to tell a cock-and-bull story. This “cartoonist hangout” is the Palm Restaurant in New York City, a real-life location. As commenter Gerard Ploude pointed out in the comments, Tom Batiuk announced this place would be part of an upcoming story. The entrance we see Phil go into is identical to the photo Batiuk showed on his blog:

The original Palm in Manhattan has since moved a few blocks, and now has locations in about a dozen major cities. They also have a tradition of artists (not just cartoonists) drawing their works on the wall instead of paying the tab. Sadly, the original location has since been remodeled, and the drawings are gone. I hope they archived them somehow.

Kitch believes this ridiculous yarn, and Phil leans back in his chair to smirk about it. This is one of Funky Winkerbean‘s most infuriating tropes: a character congratulating himself for his wit, when he hasn’t done anything remotely witty. I say “him” and “he” because it’s always a man. Women aren’t allowed to be witty in the Funkyverse.

27 Comments

Filed under Son of Stuck Funky

This Goes To Eleven

Today’s strip forced me to choose between the Spinal Tap reference and the Spaceballs reference. Tough call.

Having said that, the Spinal Tap reference in this strip offends my improv sensibilities. We call this “being too jokey.” Today’s strip tries to force a joke, in a way that undermines the reality of the scene.

Phil is right to be annoyed with Kitch here. He’s an accomplished artist. Auditioning for a comic strip is well within his ability, and it’s insulting that she’s so surprised at this. “Dial back your incredulity” is enough to make that point. If he just said that, without the tacked-on “goes to eleven” joke, it would have been much more effective.

And there’s the universal Funky Winkerbean problem of awkward dialog. Try saying this aloud: “Maybe you could dial your incredulity back from eleven just a bit.” Now say “Maybe you could dial back your disbelief a little.” That second one sounds much more like a real person talking, doesn’t it?

On top of that, “tried out to draw” is a very clunky way to say “auditioned.” Is this an Ohioism? When I was in school, people only “tried out” for a sports team, or maybe a play. The first time I read today’s strip, that phrase struck my mind as “tried to out draw,” as if Phil Holt had challenged Hal Foster to a cartooning duel at high noon. Which would have been much more fun.

I’m kind of shocked this wasn’t another comic book. It’s a comic strip, which isn’t exactly the same thing. But as usual, Tom Batiuk tipped his hand about this plot twist:

The comics that interested me the most were Flash Gordon, Dick Tracy, Terry and the Pirates, and of course the ineffable Prince Valiant by Hal Foster (shoe drop alert—the significance of the strips I’m mentioning here will drop later on, so hang with me and all will come out in the shoe store). Especially Prince Valiant, wherein classical Renaissance figures, rather than being frozen in time, came to life and moved from panel to panel.

https://funkywinkerbean.com/wpblog/match-to-flame-176/

Ugh, that’s terrible writing. But we can infer that this is going to be another love letter to something Tom Batiuk likes that hardly anyone else cares about. Fine by me. I’d much rather have a week of Prince Valiant than a week of The Phantom Empire. Or of Funky Winkerbean.

42 Comments

Filed under Son of Stuck Funky