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CUL DE SAC: Here's my litmus test for when I particularly like a "Cul de Sac" strip: When I want the dialogue to spill beyond the final panel and to continue for countless balloons. That's because a premium "CDS" is not mere gag, but rather just an illustrated needle-drop moment into a much longer conversation that, I'm convinced, Richard Thompson could unspool for a dozen frames without it becoming any less entertaining or imaginative.
DENNIS THE MENACE: No, Dennis, it makes you look desperate for a laugh.
By the way, it's only in this pose that I fully notice: Dennis's hands are drawn with uniform digits, like doggy paws or pachyderm feet.
JUDGE PARKER: Today's interactive example of Why Eduardo Barreto Is So Great:
If you've a mo', simply count the number of textures and tints in this little three-panel strip. From crosshatched silhouettes to shadows, the line movement alone makes "JP" worth the price of admission.
PRICKLY CITY: So now, so wow -- and yet so deja-vu retro.
Yes-yes, as we've noted on this blog, Cheney is more visible than ever these days. And yet the shooting-in-the-face gag made me feel as if I'd just time-traveled to 2006 -- or was reading a reprint. If it's just me -- entirely possible -- then please, tell me: "It's just you!"
MUTTS: An ideal marriage of economic image and wordplay. If it's possible, I smiled aloud.
SALLY FORTH: Ted Forth's Greatest Storyline Ever continues. Seems the aria isn't over until the fat-tied fumbler sings.
| May 28, 2009; 12:15 PM ET
Categories: The Morning Line
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