Saturday, May 22, 2010

Comics Review: DONALD DUCK AND FRIENDS #354 (May 2010, Boom! Kids)

Attention, all Agency staffers and hangers-on: we are now in full Mobius-strip mode! After wrapping "Before the Premiere" in this issue, we glide straight into the next Double Duck story without even finding out how Donald solved the dilemma of fulfilling his "birthday mission" for Daisy. What there is of "Souvenir de Paris," however, amounts to little more than a canape; we barely stick around long enough to find out that our old friend Kay K/Red Primerose (1) has escaped from prison, (2) has joined the evil "Organization," and (3) is now skulking about top-secret think tanks in a form-fitting black body suit. What few Double Duck "filler stories" exist would not have made up the difference between the issue's full length and the length of "Before the Premiere Part 2," so I suppose that I understand the editorial decision, but ouch! talk about awkward...

My earlier speculations about "Premiere" resulted in some hits and some misses. The "Org" was interested in influencing the Clippedonian election results and did intend to exploit the crushing climactic crescendo of the opera to power the scheme. Conductor Felino Felinys' ultimate role, however, wasn't what I had expected. Nor did I expect that Donald would foil the plot in such elementary, yet entirely logical, fashion. Once Don realized that his triangle note was the "cherry on top" of the gargantuan musical sundae, phase one of his plan was easy to carry out. The second will be familiar to anyone who's ever seen a cartoon in which the climactic sequence takes place in a hall with a giant chandelier. Nice job, Donald; you're actually showing more competence in this spy gig than in just about any other position you've ever held (though the owners of the Daisy Dairy Company might debate the point -- especially since you actually earned an executive position with that firm). I expect, however, that a revenge-motivated Kay/Red will provide you with by far your toughest challenge yet.

Thursday, May 20, 2010

Comics Review: LITTLE LULU, VOLUME 23: THE BOGEY SNOWMAN AND OTHER STORIES (Dark Horse Books, 2010)

Homework Assignment: Before reading this entry, please read this posting by Joe Torcivia. You'll thank me in a minute.


In reading this collection of stories from LITTLE LULU #112-117 (October 1957 - March 1958), one can definitely sense John Stanley suffering an attack of the "chafes." Stanley was still a couple of years away from abandoning the title for good, but a certain restlessness is evinced by his busting out of the long-established "mold" in one or two places. Stanley busts the string of "poor little girl" story-telling stories with a vengeance in #117's "Bedtime Story," in which little Alvin insists upon telling Lulu a story for once. Not surprisingly, Alvin comes off as the "hero" and Lulu as a fallible sidekick. Witch Hazel appears at the end, but only for a bit of self-referencing humor as she wonders why Lulu isn't in control of the story. The tale has more of the feel of a FRACTURED FAIRY TALE than do most of the increasingly mechanical "story-telling" exercises than had immediately preceded it.

Alvin's seizure of the controls in "Bedtime Story" pales in comparison with the preceding issue's "The Secret Girl Friend." Here, Stanley takes his apparent mental inquietude into a whole weird new area. Lulu becomes convinced that Tubby has bought her a beautiful Valentine with the message "To My Secret Sweetheart." After working herself into a state of mild hysteria, Lulu is crushed when Tubby's gift proves to be nothing more than a simple, "generic" card. The heartbroken Lulu plots revenge until she visits Tubby's house and... learns that Tubby's "secret sweetheart" is his MOTHER.

Now you know why I wanted to "soften you up" with that creepy BUGS BUNNY story. Stanley's version, however, is, if anything, even creepier. Lula Belle is, after all, a teenager, whereas Tubby is a LITTLE BOY. Sufferin' Sophocles! The implications are staggering. Even if you regard "sweetheart" as a more neutral term of endearment than "girl friend," there's still Stanley's choice of a story title to consider. A scenario like this is even stranger coming from a well-established, generally "well-behaved" writer like Stanley than from some anonymous scrivener who took on the BUGS job as only one assignment among many. It leads me to believe that Stanley was beginning to "mentally check out" of the LULU "universe" long before he actually did so.

Sunday, May 16, 2010

Book Review: THE AGE OF REAGAN: THE CONSERVATIVE COUNTER-REVOLUTION 1980-1989 by Stephen Hayward (Crown Forum, 2009)

Like Craig Shirley's recent book on Ronald Reagan's 1980 Presidential campaign -- which, interestingly enough, also took more time to be released than originally expected -- the second volume in Hayward's AGE OF REAGAN exacta is likely to stand for some time as the default pro-Reagan survey of its subject matter (in this case, Reagan's two terms as President). It also, like Shirley's volume, misses top-drawer status by just a hair. Hayward eschews the sophomoric language that Shirley occasionally used in favor of a straightforward narrative style, so the words aren't the problem. The real disappointment is how many important topics are either ignored entirely or skimmed over in passing, the victims of Hayward's relentless focus on the "twin peaks" of the Reagan era, the success/failure of "Reaganomics" and the events of the final decade of the Cold War. You'll find nothing here on the savings and loan crisis (which Hayward admits up front) but also nothing on South Africa, the great liberal foreign-policy obsession of the 1980s, and a surprisingly meager amount on the Religious Right, even in its somewhat fluid pre-Christian Coalition phase. The final chapter is also something of a letdown, primarily because Hayward spends so little time on linking Reagan's accomplishments to the triumphs and follies of the conservative movement today -- a linkage that he had explicitly promised to explore in some detail in the first volume.

Despite the holes in the narrative, Hayward does succeed in clearing the air of several misconceptions about the Reagan years. First and foremost, he dynamites any lingering impressions that "we all stood together behind the Gipper" as the Cold War wound down. The quotes from Vietnam-traumatized liberals and leftists about the Soviet Union, Nicaragua, Grenada, and similar would-be flash points are numerous, and damning. Oddly enough, Hayward makes no mention of Ted Kennedy's coziness with ex-KGB master Yuri Andropov, which would have fit right into his laundry list of defeatist declarations. A discussion of South Africa would also have been helpful here, as the huge amount of noise made about that country by the Left during the 80s would have provided a useful contrast to its deafening silence when it came to the USSR and Eastern Europe. Hayward gives Mikhail Gorbachev his proper due for helping to ease tensions and bring the Cold War to a virtually bloodless conclusion, but he also makes it clear that Reagan was anything but an amiable onlooker to these events; his resolve obliged the USSR to find a leader who would at least attempt to reverse the country's economic slide and compete with a newly confident America.

Hayward also nixes the notion of Reagan's second term as being a "failure" defined solely by the Iran-Contra scandal. 1985-89 saw the major breakthroughs with Gorbachev, the passage of a landmark tax-reform package that was thought to be impossible at the time, and the revocation of the Fairness Doctrine, which has since led to the creation of a conservative alternative media, a luxury that Reagan himself did not enjoy. If Reagan's second term was a letdown compared to the first, Hayward argues, it was partially his own fault. In "Realignment Manque," the most provocative part of the book, Hayward takes the Reagan reelection campaign in 1984 to task for not attempting to "de-legitimize" the intellectually sclerotic Democratic Party and fighting hard for Republican gains in the Congress. Instead, Reagan encouraged Democrats to support him without leaving their own party and used the cheerful but vacuous theme of "Morning in America." Hayward's argument is hard to answer, but he does not really discuss why Reagan chose to campaign in this manner. My own view is that this was another example of Reagan going over the heads of the elite media and establishing a personal bond of trust with voters. By so doing, he was able to counteract media bias (which was plenty bad, though nowhere near as raw and ugly as that seen during the "W" years), but he did so at the cost of blunting the edges of his rhetoric.

Finally, Hayward muddies the expected good guy/bad guy domestic debates of the era by pointing out how often Reagan was at odds with members of his own party. Bob Dole may have been a good senator and an effective spokesman for Viagra, but he does not come off at all well here. The waterier RINOs of the Lowell Weicker/Charles Mathias ilk are treated even more harshly (not least by quoting Reagan's disgusted diary entries about them). Hayward likewise details the worries of conservatives that a legacy-haunted Reagan might be snookered into signing a bad arms-control bill with Gorbachev late in his Presidency. Despite making these points, Hayward mystifyingly fails to tie them together with observations on the modern-day GOP in his final chapter, "The Reagan Revolution and its Discontents."

Though it will probably not convince a Reagan hater to "join the church," Hayward's book is an effective first stab at a complete assessment of the man's Presidency. I think it is safe to say that better books on the subject are in our future, however.

The In-Laws Tout a Miracle Drug! (1950 Vintage)

Nicky recently purchased a January 1950 issue of LOOK magazine in which her grandparents, father, and two of her uncles appeared in an ad touting a keen new allergy medicine, Anahist. Note: no warnings or announced side effects anywhere in evidence! Talk about a wonder drug.

That's Nicky's dad Arthur next to her grandmother, the actress and acting teacher Lillian Green Caran. The other two boys are Nicky's uncles Ronnie and Rick. At this time, Nicky's grandfather Byron Caran was working as a studio musician in NYC. I wonder how the Caran family got tabbed (along with several other families) for this gig. Probably those nebulous, yet never-to-be-underestimated, "industry connections" were involved here.

Saturday, May 15, 2010

Comics Review: UNCLE $CROOGE #391 (Boom! Kids, May 2010)

A honest-to-goodness fist-fight between Scrooge and John D. Rockerduck to close out "Around the World in 80 Bucks"? We should only have been so lucky. Instead, after John D.'s last desperate attempt to scam world-traveling Scrooge into spending money fails, Scrooge and Donald merely complete their trip (catching Rockerduck's hapless henchman Lusky in an act of direct sabotage for good measure), and Rockerduck is sentenced to eat four-and-twenty hats as a punishment. John D.'s creation of a phony "lost civilization" in Australia and an equally bogus "archaeologist" who needs financial assistance to uncover its supposed "treasures" is a clever notion, I must admit, but it relies heavily on Scrooge's not finding anything amiss with the fact that the "long-lost" Mu supercomputer is in pristine condition. Surely Scrooge has uncovered enough buried cities in his day to find this situation at least mildly suspicious? The plot point is rounded off in believable style (Scrooge passes up the proverbial "chance to make millions in the long run" because he's unwilling to pay the small initial sum for excavation), but the Antipodean artifice is simply too childish to be taken completely seriously. Lusky's final fouling-up flop gives rise to an additional annoying question: why should John D., who is well-known as a free-spending sort -- especially when it comes to one-upping Scrooge -- have relied so heavily on the actions of a single operative? Even Flintheart Glomgold was willing to splurge to the extent of hiring THREE Beagle Boys to help him try to keep Scrooge out of Macaroon in DuckTales' "Catch as Cash Can" serial. If this caper had been filmed, the use of Lusky as Rockerduck's main man "on the ground" would have rivalled the televised works of Irwin Allen when it comes to economy of casting.

Though it did have a handful of good moments -- largely thanks to occasional spasms of clever dialogue work -- "80 Bucks" makes it two "face-plants" in a row for the hugely disappointing Boom! version of $CROOGE. Purists may not appreciate the sentiment, but I think that the upcoming DuckTales-flavored issues will actually be more faithful to this title's distinguished past, if only because I expect them to demonstrate the true adventurous spirit that "80 Bucks" and the previous Scrooge vs. Magica story have so conspicuously lacked. So often DT has been accused of "sucking the life out of" Carl Barks' famed creations; I, for one, am looking forward to a couple of issues chock full of reverse vampirism.

Friday, May 14, 2010

RIP, Frank and Annie

Frank Frazetta's death on Monday the 10th affected me only tangentially in terms of my comics interests. I only knew him as the guy who painted the barbarians and so forth. Then I looked at a COMICS JOURNAL interview from 1994 and found myself filled with a "strange new respect." Here was a strong conservative who nonetheless assisted Al Capp on LI'L ABNER during the strip's liberal phase and cooperated with Ralph Bakhshi on the feature film Fire and Ice (1983). I only wish that we had that sort of ideological "cross-pollination" today. Your subject matter may not have been my "cup of mead," Frank, but rest in peace.

Speaking of conservative comics icons, LITTLE ORPHAN ANNIE has been cancelled by Tribune Media Services. The last strip will run (in fewer than 20 newspapers -- think about that for a moment and sigh) on June 13. The irony, of course, is that ANNIE is now getting the full, "from-strip-one" reprint treatment, thanks to IDW Publishing and its superb LIBRARY OF AMERICAN COMICS.

In truth, Annie, Sandy, Warbucks et al. have been living on borrowed time since Harold Gray's death in 1968 and only managed to survive this long thanks to a few thick slabs of good old-fashioned luck. Consider:

(1) Between 1968 and 1974, the Tribune syndicate chewed up potential Gray heirs like Orson Welles buzzing through a Dagwood sandwich. David Lettick, one of the unfortunate souls who managed to snag the gig, drew terribly enough to be three decades ahead of his time. The Trib finally stopped the bleeding, at least for the moment, by rerunning old Gray strips for several years.

(2) Just when the novelty of the Gray reprints had begun to wear off, the musical version of Annie became a freak hit, prompting Leonard Starr to reboot the strip under the name ANNIE. The "gas fumes" supplied by the musical and the subsequent movie version of same -- coupled with the considerable talents of Starr -- bought the strip another couple of decades of life.

In 2000, writer Jay Maeder presided over yet another revamping of the strip, giving Annie a new wardrobe and an adult female sidekick who served as the Baloo to Annie's Kit Cloudkicker. (Better yet, imagine Baloo taking Gosalyn Mallard on as a partner.) I recall reading about this at the time and figuring that updating Annie into a streamlined, modern-day adventurer who could more easily "relate" to today's kids had at least a puncher's chance of being successful (or as successful as a modern, space-squeezed adventure strip could possibly be). Evidently, however, the strip became too simplistic, losing whatever adult audience it had retained from the old days, and proved unable to attract new, young readers. The eternal orphan has, at long last, been truly left alone... and the strip's current story line apparently won't even be officially resolved. I think Annie deserves better than that.