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Mark Trail, 1/29/18

Meanwhile, a camping trip is happening not far from Lost Forest, but not, presumably, so close that this cozy domestic scene will soon be disrupted by trained circus beasts or whatever, so I guess this is a new storyline, or a new thread in the ongoing storyline involving bankrupt circuses and Dirty’s plans for revenge and such. The important thing is that this couple is not emotionally prepared for whatever hijinks are about to ensue at them, since they’re clearly hoping for a little R&R — drink beans out of a bucket, hit a log with an axe, that sort of thing. It makes a nice change of pace from the dental lab! I assume that the dental lab in question is where dentists send blood draws and the like for analysis, so it doesn’t even supply the go-go thrills of on actual dental office, where at least you might get to hear a patient try to suppress a scream now and then; but based on their weirdly prominent lines around this lady’s jaw and cheekbones, it might also be a secret laboratory where renegate dentists conduct experimental mouth transplant surgery.

Funky Winkerbean, 1/29/18

Bull’s CTE companion’s “Not in this universe!” rejoinder doesn’t make a ton of sense on its face, but I think the fact that it appears in a panel immediately after a patented Funkyverse photo album flashback is relevant here. After all, while I talk about the Funkyverse all the time, we really know that there are two Funkyverses: the whimsical high-school one that we enjoyed in the ’70s and ’80s, and the much darker one that has emerged over the past two decades. Perhaps some tiny event, as imperceptible as the breeze from a butterfly’s wings but crucial to the nature of reality, caused the original Funkyverse to diverge into two different timelines. In one, the one of joy and happiness, Bull played out his football days and his cartoon skull never felt any ill effects from repeated, cartoonish dings, any more than Wile E. Coyote ever suffered lasting harm from plummeting off a cliff. But that’s not how it works in this universe. Not by a long shot.

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Mort Walker passed away yesterday the age of 94, and the many, many, many people who emailed and tweeted me to let me know are a testament to the huge impact he had on cartooning as an art form and as a business. His Washington Post obituary is a great summary of his life and career, but to me, these are the high points to show how he and the team he built affected the medium:

• “Beetle Bailey was among the first cartoons to mark a shift in the funny pages from the serial strips of the previous decade to the graphically simpler gag-a-day model that predominates today.”
• “He delighted in the history and tricks of his trade and wrote a tongue-in-cheek textbook, The Lexicon of Comicana (1980), in which he described commonly used cartooning conventions. Grawlix were the symbols deployed to convey foul language; briffits were the clouds often found at the end of hites (horizontal lines indicating speed). To Mr. Walker’s amusement, his book sometimes appeared in the art instruction section of bookstores, and his neologisms would pop up in discussions about the art of cartooning.”
• “He eventually found himself in charge of 10,000 German prisoners in a POW camp in Italy. At the end of the war, he helped oversee the destruction of binoculars and watches from an ordnance depot in Naples. His job was to make sure nobody stole anything before it was destroyed. ‘I began to realize,’ he wrote in the memoir, ‘that army humor writes itself.’”

There are many anecdotes around of his good humor and kindness to younger comics artists, and his ambitions for cartooning. He also helped create the workshop model of cartooning, and like many legacy strips Beetle Bailey (which he created) and Hi and Lois (which he co-created with Dik Browne) have long been written and illustrated by the next generation over at Walker-Browne Amalgamated Humor Industries LLC, so I look forward to making fun of them for years to come. But think of Mort the next time you see a grawlix or a briffit.

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Crock, 1/28/18

This is another great example of how the top two “throwaway panels,” which don’t appear in all layouts and thus need to be somewhat disposable, can really add another dimension to a strip. Without them, today’s Crock is a goofy tale of how that diabolical Crock has decided to take care of the fort’s trash problem by airdropping the whole midden onto the hapless Lost Patrol in lieu of supplies. However, the vulture’s dialogue in the second panel of the top row reveals the awful truth about this so-called “trash and garbage”: it’s a mountain of corpses — French and insurgent, dead of combat or disease, all mingled together — and the Lost Patrol is about to an experience a nightmare beyond imagining.

Dennis the Menace, 1/28/18

The only person you’re menacing with that attitude is yourself, Dennis, since without a social medial presence you won’t be able to establish a personal brand! What are you thinking? (In other news, I’ve already risked my browser history to ascertain that PlayPal.com isn’t a fetish dating site, you’re welcome.)

Rex Morgan, M.D., 1/28/18

“And it’ll be great to for Johnny to have grandparents, since we killed all of our parents for the insurance money years ago. Wait, did I say that part out loud?”

Six Chix, 1/28/18

Soooo, what you’re saying is that the cormorant is carrying a bag full of … flesh? Stretched out flesh already marked, ready to be grafted onto women as they sleep by the cormorant’s sharp, nimble beak