I realize that the young man in this strip is something of a sleaze, but that is still one impressively sleazy grin he’s sporting in panel three. I had to laugh at his earnest attempt to mark down the sticker price, his phony intimation that he was making a good offer, and the fact that he had a pen at the ready. I was also impressed with the way Luann positioned this young man as a used car salesman to help underscore his smarmy personality.
Archive for July, 2008
Comic strip characters never change, so it’s bracing to see the boy in this strip rendered as an unsettling mix between Archie Bunker, Herman Munster and Quasimodo. I also appreciate the fact that his bitter squint is allowed to serve as the punchline. You don’t have to be a fan of One Big Happy to realize that this is not the same boy who shows up on a day-to-day basis.
I’m no expert on the military, but I think its safe to assume that bombing raids are conducted by the Air Force and not the Army (unless you count shelling and heavy artillery). But if Beetle is referring to “the Army” as a term for the entire armed forces, then I’d have to say no, it doesn’t seem like the Army is moving away from bombing things. Maybe this is wishful thinking on Beetle’s part at a time when the military is fighting in two foreign wars.
My family was asked to take care of a class guinea pig once, for an entire summer as I recall. Here’s the catch: the animals may be cute as all get-out, but they’re also quite boring. The average guinea pig does lots of sitting around and gnawing on wood chips, and precious little scurrying. What intrigues me about the animal in this strip, though, is its proportions. Judging by the size of its cage, it looks like this guinea pig is nothing but head.
There’s so much to admire in today’s Lio that it’s hard to know where to begin. This strip could have ended with panel four (Lio is eaten by a kiddie pool) or panel seven (Lio escapes his plastic captor), but it keeps moving the conflict forward. As a result, we’re given the glorious eighth panel in which Lio attacks his watery nemesis with a trowel. We’re also given a glimpse of the deflated pool in the final panel, which reminds me of the occasional depictions of Hobbes as a stuffed animal in Calvin and Hobbes. It suggests (for the first time I’ve seen) that a fantastic occurrence is taking place in Lio’s imagination and not within the broader world of the strip itself.
I’m amused by movies, books (and now comic strips) that show artists as well-off socialites basking in the glow of their latest gallery opening. The only visual artists I know who make anywhere near a decent living are the graphic designers and special effects artists working in the commercial realm. In today’s creative environment, the notion of a “big shot painter” seems quaint.
That is one enormous, whacked-out sea creature peeking out of the water in panel two. I’m particularly taken with its ability to keep one eye on the housepets perched above it and another eye on what appears to be the shoreline. Either this fish is afraid of being spotted by ambitious sportsmen or it’s wary of being hounded by photographers for the Weekly World News. Whatever the reason, it’s wasted no time in making itself scarce.