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Mark Trail, 11/17/09

Hello there, faithful readers! I think it’s been a little too long since you were last treated to the dimension-warping horror that is apparently the natural configuration of Rusty’s face when he’s excited about Sassy. So, enjoy! Take a good look at his eyes bugged out in terror! Against your better judgment, try to look down his maw, only to see darkness, infinite darkness! Watch each of his blue-black hairs rippling across his huge, bulbous head! And then maybe you’ll understand why Mark doesn’t let Rusty go to school with the other children.

Mary Worth, 11/17/09

So I’m guessing that someone over at King Features told the Mary Worth creative team to use the interweaving and ongoing Apartment 3-G storylines as a model, rather than this strip’s typical self-contained plots. The grinding of the plot-shifting gears are still loud and obvious; it’s just that we appear to be revisiting older plots rather than allowing them to vanish into Mary’s Successful Meddles file. Thus, we had “Adrian gets flim-flammed” followed by “Delilah in Charley’s sex den” followed by “Adrian’s boyfriend in a coma,” and now we’re back to Delilah again.

But! Perhaps Mary Worth needs to learn when a beloved character from the past should be revived! For instance, Adrian was a prime candidate for a plot sequel, since her previous storyline had ended with her emotionally devastated and in the process of being wooed by an unethical cop who was the son of Dr. Jeff’s secret schoolboy crush. EXCITING! When we last saw Delilah, meanwhile, she had rejected Charley’s lustful advances and was reconciling with her boring husband. We certainly don’t need to see any more of that. It’s possible that Delilah is calling to beg for advice on her compulsive need to rapidly change clothes, having somehow gone from a canary yellow number to an even more hideous salmon-colored tracksuit in just a few seconds; but more likely she’s just calling to let Mary know that she’s finally decided to embrace her womanly destiny and pop out a kid. If so, I hope for entertainment’s sake she at leasts brings the little squaller over to Charley’s no-children-allowed pad, to humiliate him further.

Blondie, 11/17/09

Most everyday objects in Blondie, like Herb’s weirdly top-heavy little car, are in a sort of boring version of the uncanny valley: while not cartoonish enough to be funny or interesting, they’re also not particularly realistic-looking if you really examine them for any length of time. I have to say, though, that in panel two pretty much nails that lonely exurban freeway off-ramp and overpass. The dark sky makes for quite an evocative scene, as these four white-collar drones head back to their identical houses, bickering in a desultory fashion about their hated jobs, in that incongruously cheery pastel car.

Family Circus, 11/17/09

Normally I’m against any and all premature expressions of the Christmas spirit, but if Dolly is humming her little tune slowly and creepily off-key while staring at Billy with that blank expression as a prelude to strangling him with a garland of tinsel, I’ll let it pass.

Marmaduke, 11/17/09

It probably shouldn’t come as any surprise that Marmaduke has harnessed the slower, plumper inhabitants of his community so as to more efficiently drag them off to his blood-drenched devouratorium. The question is, how did he get these poor damned souls to ingest the powerful tranquilizers that have made them so complaisant and easily led to their own doom?

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Dick Tracy, 11/3/09

For me, the trajectory of a Dick Tracy storyline goes something like this: first it’s interesting because it’s so hilariously wacky and surreal; then the strip refuses to in any way engage in traditional “storytelling” that “makes sense” and I get irritated and start ignoring it; then the climax, with its promise of unspeakable violence, looms, and I get interested again. In this case, obviously-guilty-from-the-beginning evil clown Mr. Pops is about to be strangled, or ripped in half, or thrown down into a tiger cage and eaten alive, by circus giant/strongman Fee Fi. While it’s true that bad guys in Dick Tracy inevitably die in agony, they generally either perish in ironic accidents while trying to escape or are killed by Dick himself. I wonder therefore about the legal issues that might arise from this act of freelance vigilantism. Or will Dick merely praise the behemoth for his perp-mangling skills? “I like the way Pops’s enormous shoes kicked in terror right before you hurled him to his death! That was a nice little flourish.”

Blondie, 11/3/09

Dagwood should not be worried about the complexity of Elmo’s sidewalk diagram here — after all, what is childhood for if not the creation of elaborate and impractical systems? No, the real issue is his concern for Dagwood’s safety. Any self-respecting American youngster ought to be over the moon with joy at the prospect of two adults running pell-mell into each other face-first and then collapsing to the sidewalk in a heap of slapstick pain. Yet Elmo is determined prevent this hilarious event from recurring. Is this the end result of a generation raised on play dates and non-violent cartoons?

Mark Trail, 11/3/09

Oh my goodness, in my recap of possible Mark Trail plot points, I completely neglected the obvious: Sassy used as gator bait! I certainly hope we continue along these lines when Rusty inevitably comes out in his pajamas to look for his mewling pup. “We may be in luck, fellows … alligators love hideous, deformed little boy meat!”

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Mary Worth, 10/29/09

I would appreciate anyone who could help explain exactly what the hell I’m looking at in panel two. It seems that the effect intended is “dramatic camera angle shot from just behind Scott’s shoulder, for some reason,” but everything’s also skewed at an angle that makes it look like Adrian and Scott are villains in the Adam West Batman TV show (if only), so it’s sort of hard to look at it and not see Scott’s chest as kind of rising up and his head tilted back. My interpretations: either Adrian is disconnecting Scott from the machines keeping him alive and forcibly dragging his dying form to the altar, or he’s convulsing at her very touch in a desperate attempt to escape their impending matrimony.

Mark Trail, 10/29/09

You know, Sassy gets a lot of crap from you people, but she and she alone seems to realize that Mark is on the verge of leaving the swamp without physically assaulting anybody, and is thus taking matters into her own itty-bitty paws. I’m assuming that we’re going to get the overly complicated plot-sequence of “Sassy almost gets eaten by alligators, Mark rescues her, Mark spots poachers while out and about,” or maybe even “Sassy almost gets eaten by alligators, Rusty rescues her, Rusty gets captured by poachers, Mark must rescue them both,” for all you Rusty-in-peril fans. I’d sort of like to see a version that cuts out the middle steps, where the poachers spot Sassy and recognize that her beautifully spotted off-tan pelt would make a charming muff. Fortunately, Mark’s ability to hear piteous mewling at a distance is superhuman.

Family Circus, 10/29/09

It seems that we’re only now seeing the consequences of the Keane’s decision to keep any and all information about sex and procreation out of the Kompound. Clearly Dolly believes that her parents “made” her baby brothers Jeffy and PJ out of clay or some other random crap they had lying around the house, though looking at them you can hardly blame her.

Pluggers, 10/29/09

Think what you will about this installment of Pluggers, but it can’t be worse than my initial misinterpretation, in which a starving, impoverished dog-man was about to eat a lint-covered hot dog he found underneath his couch cushion for lunch.