Yes, I Am Aware Of The New Popeye Cartoon And Have Thoughts About It


So earlier this week Comics Kingdom sent me an e-mail. I assume they sent it to other people too. It just had that tone to it. It said King Features was “excited to announce” the launch of Popeye’s Island Adventures. It’s part of an effort to bring Popeye back into the pop culture. They say it’s with “a fresh update on the original characters and storyline”.

All right, then. I’m game. Stand near me for about twenty minutes and you’ll work out that I’m a Popeye fan. And I’m sad that he hasn’t got much of a place in the public consciousness these days besides weird appearances on T-shirts sold at kiosks on the Jersey Shore. I’m not sure why he hasn’t had much traction since, well, the live-action movie came out. It’s easy to complain that Popeye’s just this dumb violent character, but, c’mon. Other cartoons get away with punching. And dumb is a matter of context. Give a character interesting things to do and they’re interesting. And Popeye has this forthrightness and moral clarity that I still think admirable.

So let’s see what King Features is doing with the character now. Episode one, Follow The Spinach.

It was maybe halfway into the two-minute cartoon that I realized, oh, they’re not just being drawn to look young. This is supposed to be some adventures of a Young Popeye and company. All right. I’m not sure if this is what it takes to appeal to a new generation. But, I also like variants on established character sets and I don’t think there’s been a “young Popeye” series before. At least not an important one. I’ll give that a try.

I’m glad to see Eugene the Jeep. Eugene’s the top of the many weird, interesting creatures in the Popeye universe. (Cartoons and comic strips.) Only sad point is he doesn’t really have anything to do with the story; he tickles Bluto’s feet and that’s all?

The short feels oddly paced to me. The story’s thin, but a two minute cartoon doesn’t have time for a deep plot. Still, it has Popeye eating his spinach at the halfway point in the cartoon. I’m more comfortable with it as the climax. You know, after Popeye’s had all he can stands and can’t stands no more. However, he’s also got to have time to do things, so maybe this couldn’t be pushed any later in the short. It puts more work on the introductory minute, though.

More time would help, surely. But that would surely be more expensive, and I can’t imagine there’s a huge budget for making Popeye cartoons in 2018. It shows in a couple ways. The voices, particularly. Reducing all the characters to little grunting noises avoids the problem of dubbing for different language-speakers. (This is proven by the variety of languages already in the YouTube comments. Also from this I learn I can tell when someone is whining about “political correctness” in Spanish.) But it requires either simpler plots or demands more elaborate expository artwork. I mean, try to explain the Jeep’s powers using only pictograms. Plus a lot of what’s fun about Popeye is listening to him talk. I’m not sure how long I would enjoy listening to Popeye, Olive Oyl, and Bluto grunting at each other.

It’s got a fair bit of the stuff I like Popeye cartoons for. Particularly the feats of ridiculous exaggeration, as when the spinach-charged Popeye spins his ears into helicopter propellers. Or Popeye, skateboarding across the sand, picking up a train of bicycle, washing machine, walrus, and donkey.

The animation looks, to me, like a Flash game. That is, it looks cheap, to me. But if it weren’t cheap the short wouldn’t exist at all, so, fine. I thought the scene cuts were too quick, spoiling the comic effect of some shots. Why have Popeye haul a bicycle, washing machine, walrus, and donkey through the sand if there’s barely the time to see it? Also, in what seems like the exact opposite gripe, that the camera panned too slowly when a character moved quickly, such as when Popeye leaps into the tree at about 0:23. But, for example, I didn’t get why the spinach on Bluto’s fishing rod kept moving when Bluto set the reel down. That the reel was still spinning I didn’t catch until a repeat view. This is all probably stuff the animators (not credited in the video, by the way, nor on the YouTube page caption) will get the hang of with experience.

I’m not sure what I think of the character designs, or the choice to make this Young Popeye. It does give a pretext to quietly drop Popeye’s pipe. If that’s the compromise that gets us Popeye cartoons without protest from well-meaning people, all right. His blowing a bosun’s whistle is a decent replacement. That, based on the YouTube comments, this infuriates the sort of person who complains about SJW’s makes the substitution a double bonus. And Eugene’s cute. I hope he gets to be in a cartoon soon.

So, I’m glad to see King Features trying to make new Popeye cartoons. I’ll here for new ones.

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What I Learned Watching The Popeye Two-Reelers


My love wondered something when I wrote up thoughts about Popeye the Sailor Meets Sindbad the Sailor. That was the first of the two-reelers and, by popular acclaim, the best. I opened the question of whether popular acclaim was right. My love wanted to know if I thought one of the others was actually best. I hadn’t meant anything that certain. I wanted to look at the three two-reelers and see what I thought now.

And, having watched the alternatives recently, and with some time to reflect on each … yeah. I agree with what everybody says about the two-reelers. Popeye the Sailor Meets Sindbad the Sailor is the best of the set.

That’s not to say any of them are bad. They’re all good-to-great cartoons. And they each have particular strengths. Popeye the Sailor Meets Ali Baba’s Forty Thieves particularly has the virtue of being a really good, really representative Popeye cartoon. That is, all the things that are good about your general one-reel Popeye cartoon are present in Ali Baba’s Forty Thieves. It’s got a nice casual plot. It’s got some amusing weird nonsense. (Why would Popeye have a boat that turns into a plane? Why not, if it gets him into the story sooner?) It’s got great little mutterings by Jack Mercer, Popeye’s voice actor.

And Aladdin and his Wonderful Lamp has both a tightly-crafted plot and demonstrates that Popeye can play a part while still being himself. It’s great to see Popeye playing a role; peculiarly, he doesn’t do more of that. Even in the one-reelers they might have Popeye meet William Tell or Rip Van Winkle or something. But he wouldn’t play these parts. He would play a part, in some of the incredibly many shorts King Features churned out for television in the early 60s. There’s some of those that have fair enough premises. (Popeye as the starring role in The Midnight Ride of Paul Revere? All right. In a gender-swapped Snow White? Eh, why not?) But the 60s shorts, when they succeed, do so by … being all weird and crazy rather than good.

But Sindbad the Sailor has something more. If I have to say precisely what I would have to credit mood. It doesn’t have much business, and it’s slow about that business. But it’s not boring, and the result is that the cartoon feels epic. There is an argument that Popeye is a superhero. I’m not sure I agree. But he does have many superheroic traits, like extraordinary abilities used for the protection of the needy. A superheroic figure, though, needs an epic setting to match. Sindbad claims his island is on the back of a whale. We see that massive island, if not the whale. It’s presented convincingly. Maybe it is worthwhile starting the short with twenty minutes of introductory songs.

I’d also like to compare the four clip cartoons made of these. But two of them were basically inaccessible. Popeye’s Premiere was certainly the better of the two I could review. It’s got more of the original cartoon, the most important thing. And the framing device for the clips even logically fits the original short. Aladdin was originally presented as the movie whose script Olive Oyl was writing. To see it actually made? Good sense. In comparison Big Bad Sindbad is a merely competent clip cartoon. It’s got an acceptable reason for the clips to be shown, and has maybe more original footage than Popeye’s Premiere did. But it’s a very short cartoon, with barely any of the original. Without the time to set a mood of big, epic things happening the clips are just — nothing.

If I find the other two clip cartoons — Popeye Makes A Movie and Spinach Packin’ Popeye — online I may come back for a proper review. Shall let you know.


And for the sake of convenience here’s my posts on this subject.

The two-reelers:

The clip cartoons made from the two-reelers:

Next week: Not a Popeye two-reeler cartoon.

The Popeye Two-Reelers Used: Popeye’s Premiere, Given A New Look


When I set out reviewing the two-reel Popeye cartoons I figured I could make six weeks of cartoon-discussion out of them. One week for each cartoon, and one week for each clip carton that reused that footage. This went wrong when it turned out I can’t find an online copy of the two cartoons made out of Popeye The Sailor Meets Ali Baba’s Forty Thieves. I was ready to declare that the clip made of Aladdin and His Wonderful Lamp was also not online. I am very nearly correct in this. The only copy I can find is this Dailymotion video. It’s truncated. It’s, for some reason, flipped horizontally. And it makes me (at least) watch an irritating advertisement every five minutes. And then watch the advertisement again, just in case I wasn’t fed up yet. Well, mutilated is better than not at all. Roughly.

Popeye’s Premiere was released the 23rd of March, 1949. This makes it the first of the clip cartoons based on the two-reelers. It was still over a decade after the original cartoon was in theaters. So we can’t accuse Famous Studios of boring people with cartoons fresh in their memories. And I can at least describe the action.

The framing device for the clip cartoon is … that they’re showing the cartoon. Apparently, Olive Oyl’s script made it through a tortured development process. The setting is the premiere of the movie, with Popeye and Olive Oyl as stars. Dailymotion’s copy truncates their arrival at the theater, and cuts right to Popeye-the-actor nervously waiting for the premiere. And then it starts. Popeye’s very excited by the action. And he seems to be confused about the difference between stuff happening to him and stuff happening to the character he played.

This is a long clip cartoon. It’s about eleven minutes total, putting it at twice the length of the average Popeye cartoon. And most of that is reused footage, spoiling my earlier conjectures about how much new content they maybe had to have for a clip cartoon. As I make it out the original footage is:

  • The first 21 seconds of this clipped version, plus however much animation came before that; maybe a minute total.
  • Popeye getting too excited at the action, from about 1:09 to 1:16 in the DailyMotion version.
  • Popeye getting too excited again and being shushed, from about 2:45 to 2:50 in this version.
  • Popeye-the-actor breaking the fourth wall and defying logic by throwing spinach into the scene of Popeye-as-Aladdin on-screen, about 8:20 to 8:26.
  • Popeye and Olive Oyl cheering on Aladdin, about 9:15 to 9:22.
  • The close, from 10:00 through to the end, about 35 seconds.

Add all that together and it can’t be more than two minutes. The original Aladdin short was enormous — 21 minutes — and the clipped version is still nine minutes long. Big Bad Sindbad shrank sixteen minutes of cartoon down to two and a half minutes of fighting, plus framing devices. This gives the viewer a fair chance at understanding the original two-reeler and what was interesting about it.

Although they will find it less interesting. They re-recorded, I believe, all the audio for the Aladdin clips. Which is reasonable. They don’t want old music, particularly, highlighting where they edited things down. Much of the dialogue is preserved straight from Aladdin and that’s great. But where they do change the dialogue it’s almost all for the worse. It’s for economy of time, I suppose.

But it also drains personality from the short. For example: in the original, when the Vizier gets the lamp, the Genie is shocked, and is whipped into compliance with the Vizier’s orders. Here, he’s shocked but falls in line fast. It’s quicker, but it’s not so interesting. In the original, Aladdin eats four (count ’em!) cans of spinach, each of the last three powering up to fight a new menace. Here, there’s just one extra can of spinach. That’s to fight the dragon, the coolest-looking of the menaces. But there’s not much of that fight either. The sword-fight with the disappearing Vizier shrinks to almost nothing. The baffling conclusion of the Vizier turning into a fish is gone. It’s economical. You get the whole storyline down. But is it fun?

Even the new music for the clipped segments is … fine enough. But it only incidentally fits any of the action. The original finishes off — like many Fleischer Studios Popeye cartoons — with the action scored to The Stars and Strips Forever. Famous Studios used The Stars and Strips Forever rarely, maybe never. That’s fine; that’s a style choice. But what do they have in its place? I watched this cartoon a half-hour ago; I have no recollection of the melody now. The only point where the new cartoon improves on the old is in the next-to-the-last bit of new footage, as Olive-Oyl-the-Actor calls for Popeye to give ’em the old onesie-twosie, moments before Olive-Oyl-the-Princess calls for Popeye to give ’em the old onesie-twosie.

So this clip cartoon is a fascinating one, especially compared to Big Bad Sindbad. This is a better clip cartoon, in that it shows more of the original cartoon. And it put more effort into the extracted cartoon. The re-recorded dialogue preserves most of what’s good about the original cartoon. And it puts Jackson Beck’s voice in for the Vizier’s; the touch of Bluto helps. It feels to me like more of an effort is being made to have the resulting cartoon be good. I appreciate that.

The Popeye Two-Reelers: Aladdin and his Wonderful Lamp


For the fifth week of my reviews of the three Popeye two-reelers we get to the last, and longest: Aladdin and his Wonderful Lamp. It’s got four credited animators: David Tendlar, Nicholas Tafuri, William Sturm, and Reuben Grossman. Tendlar animated everything the Fleischers and Famous Sudios ever did, and then went on to Terrytoons, Filmation, and Hanna-Barbera. Tafuri first animated for the Fleischers in 1934 with the Popeye cartoon The Two-Alarm Fire. He’d stick around until Famous Studios closed. Sturm did a number of Popeye cartoons and then went off to Jam Handy Films; if you’ve seen the Handy Studio’s Rudolph the Red-Nosed Reindeer you’ve seen more of his work. Grossman seems to have this as his first animation credit. He’d do some more Fleischer/Famous Studios work through 1945. Then he seems to disappear until the late 50s, doing TV animation for Felix the Cat, Linus the Lion-Hearted, and The Mighty Hercules.

It premiered the 7th of April, 1939, more than a year after Popeye met Ali Baba’s Forty Thieves, and about eight months before the studios’ first feature-length movie, Gulliver’s Travels. It’s more than a year since Disney shocked everybody with Snow White and the Seven Dwarves. And it’s about ten months before Disney would release their second feature-length movie, Pinocchio. I offer this for context about what long-form animation was like.

Now. The best print I can find of the short is on YouTube and therefore subject to vanishing at any moment. I suspect it’s just ripped from the Popeye DVDs released last decade and that when some copyright-holder notices they’ll file a claim. The original short is in the public domain and that’s on Archive.org, so should stick around forever. I’ll include that too, but the prints on Archive.org are the horribly faded ones that you found on every public-domain videotape in the 90s. So they’ll be around, but look like used chewing gum.

And a small content warning. The short’s set in Cartoon Arabia. There are some minor characters who’re black and drawn in that “Hey! African people sure have lips, don’t they?” style. Blink and you miss it, but, how do I know when you’re going to blink? There’s also a quick bit where a character salaam-ing make the first wordplay joke you’d think of.

And here is an Archive.org link for a more stable copy of the short.


The cartoon opens with a framing device. Olive Oyl’s writing treatments for Surprise Pictures. Why?

Well, so they have a punch line for the end of the cartoon, sure. It sets up for a joke so obvious (“if it’s a good picture, it’s a Surprise”) that Wikipedia’s fooled into thinking it’s in the short. The joke hanging, unresolved, for twenty minutes makes it much funnier than it would have been in a one-reeler version of this cartoon. But … so what? What would we lose if the framing device were chopped off?

I’m not just padding my word count. The choice to frame the cartoon action was made for reasons. But what? SCTV demonstrated the brilliance of framing everything as a movie-of-the-week production. You could write only the parts of the sketch that you liked. Skip the boring stuff and the audience can follow along. As a draft movie script Olive Oyl has an even bigger advantage. If some part of the story doesn’t make sense (“But why does the Vizier turn into a fish?”) that’s fine. It’s something they’ll iron out in rewrites. But apart from the one intertitle, at about 4:10 in, the short doesn’t do that. And the intertitle, that great silent-movie innovation explaining the stuff that couldn’t be conveyed by expression, action, and the audience having a lick of sense, could have been in an unframed short anyway.

So what does the framing get us? And the best answer I can see is that it gives a reason for Popeye to be playing the character of Aladdin. Popeye had by this point done 69 cartoons, but always as Popeye. Perhaps they didn’t realize that he could be Popeye inhabiting another role.

Which is an historical irony. In the earliest years of Thimble Theatre — long before Popeye made the strip interesting, and even before it became a serial adventure strip — Segar cast the strip as, well, a nightly theatrical production. The framing device was that Olive Oyl, Ham Gravy, et al were characters. They’d be set up with a card about today, Olive’s the wife of Ham (or whatever) and here’s the evil mortgage-holder, and then they’d do the joke. Next day, here Olive’s the attractive waitress and Ham and some other character are customers and all that. It’s a cute pretext and if some web comic isn’t using that, they should. But for daily jokes it’s way too much overhead. It would work better for serial storylines and maybe that’s how Thimble Theatre transitioned into being a serial-story comic. I don’t know; I haven’t read examples of the strip in its transition.

You see an (unintentional?) echo of this in the way Popeye shorts start with the basic characters but scramble their relationships. Here Popeye and Olive Oyl are all but married and Bluto threatens to break them up. Here Popeye and Bluto are old friends and they’re enchanted when they meet this waitress. Here Popeye and Wimpy are roommates and Olive Oyl tries to invite Popeye over for lunch. But they’re always Popeye and Olive Oyl and Bluto and Wimpy. To date, only Bluto’s arguable roles as Sindbad and Abu Hassan have had him as an actor playing a part.

It seems a strange lack of faith in the characters that they’d let Popeye play Aladdin only with an excuse. I think they could have gotten away with it had they skipped the framing and just had everyone say of course Popeye is Aladdin. But I have the advantage of hindsight; nobody could know what the cartoon would play like before it was made. And I grew up watching Mister Magoo’s Christmas Carol and its spinoff series The Famous Adventures of Mister Magoo. I had the idea of cartoon characters playing other roles presented in a good, accessible way early on. It’s hard to say whether Mister Magoo was more born to play Ebeneezer Scrooge, Victor Frankenstein, Don Quixote, or Puck.

And there’s more reason to be sad they didn’t try an unframed story. Leslie Cabarga, in The Fleischer Story, mentions that while preparing their first feature-length film the studio considered having Popeye play Lemuel Gulliver. I don’t know why they didn’t go with that; possibly it was fear that Popeye as a character would be too weird for a feature-length movie. Would that have been a better movie? With everything else the same but the more charismatic Popeye at its center? … Probably. And “casting” Popeye would have made the rest of the story different.

So that’s eight hundred words on the short they didn’t make. What about the one they did?

Well, for one, it’s a short made without the three-dimensional set-back process that Sindbad the Sailor and Ali Baba’s Forty Thieves used. Why not? It can’t be that the process was getting too expensive; they were using it for pretty near every regular short, both color and black-and-white, at the time. Possibly they couldn’t think of a good place to use the process. Except, like, they already had a cave set built for Ali Baba’s Forty Thieves. Why not have the magic lantern be in that cave, alongside jewels left over from Sindbad the Sailor? They were apparently considering it. FleischerStudios.com has a 1939 Popular Science short about how animation works that shows off scenes from the making of this short. It includes, about 3:45 in, footage of the setback process being used for Aladdin. It shows off a nice three-dimensional castle and a reappearance by the Rokh from Sindbad. No idea why that was cut; perhaps they felt the sequence too long or too discursive. Or maybe the setback scene was staged for Popular Science with sets and cells they happened to have around. (I’m not sure that Olive Oyl is drawn, in the Rokh’s claws, as the Princess rather than as she was dressed in Sindbad.) Maybe the Fleischers felt that pulling out the three-dimensional sets would break the “reality” of the Aladdin story being a movie. Maybe Surprise Pictures didn’t go in for location shooting.

It’s also made without Bluto, or a character who looks like Bluto. This makes more sense. The evil Vizier — I guess he’s just called the Villain here — needs to suggest cunning and devious wit. The one scene where he’d really need it, coaxing Aladdin into the Secret Cave, is disposed of in a title card. But the character has to be believable in his scheming. Bluto has might to him, but scheming? Not so much. Wimpy — another missing character — could scheme very well. But his schemes are devoted to more petty grifts. Swiping free food? Sure. Killing Aladdin, stealing the kingdom, and marrying Olive Oyl? Too mean, and too much work, for him. Of the regular Popeye characters the only one who’s really got the combination of cunning and evil and ambition for the role would be the Sea Hag. That would be some interesting casting. But it’d be hard to do the marrying-the-princess story in 1939. And the Sea Hag never got animated by the Fleischers (or Famous Studios), sorry to say. Maybe Poopdeck Pappy could have done the role but that would also have complicated the story.

It seems to me like Wimpy could have been cast as the Genie. Don’t know why they didn’t. I guess they better liked their impression of That Guy I Keep Thinking Is Ed Wynn But Isn’t. You know. I’m having no luck pinning down who I do mean.

More exceptional stuff about this short. Unlike the other two-reelers the villain isn’t introduced with a song. Or gets a song at all; only Popeye does, the right solid “What Can I Do For You”. There’s no long lazy introduction to the scenery, either. It’s all introduced quickly, with the story moving along at a steady, solid clip. And the characters finally get to have dialogue. I mean, they say stuff that’s got personality and that’s reliably funny. It’s even playful, teasing the fourth wall (Popeye’s riff about having never made love in Technicolor before) or the short’s continuity (the new lap exchanged for the old being a flashlight).

This is the longest Popeye short, and his longest appearance in theaters until Robert Altman’s work. 21 minutes in all. I don’t blame TV syndication for not showing it too often. It also makes three two-reelers. Among them all, that’s just under 55 minutes of stories, all from the 1001 Arabian Nights, or at least adjacent to them. It’s got me wondering why they didn’t make another two-reeler cartoon, set up some framing device, and then release it as a Popeye motion picture. Add another twenty-minute short on and you have something near enough the length of the movie they did release, Gulliver’s Travels (76 minutes) and Mister Bug Goes To Town (78 minutes).

In the climax — and it’s a fantastic climax — Popeye eats four cans of spinach. I believe that’s the most he eats in any short; the only possible ties are clip cartoons where a bunch of his daring-escapes get featured. It’s a great climax, four rallies of the Popeye-the-Sailor-Man theme in slightly higher keys, followed by a really long rendition of The Stars And Stripes Forever. A lot of action. A lot of great action. It also set a record for Coolest Looking Dragon That Gets Disappointingly Instantly Foiled which stood until Rankin/Bass’s 1985 adaption of L Frank Baum’s The Life And Adventures of Santa Claus.

There may, inexplicably, have been no three-dimensional footage for this short. There’s still great moments. The long zoom into the Secret Cave is one. The Princess’s diamond sparkling so brightly that it forms a spotlight, and panning out to Aladdin on his horse, is another. Often Fleischer cartoons have a sort of rambling, jazzy quality, where it feels like they didn’t work out the storyline much before filming. And that’s great for giving a cartoon a spontaneous, out-of-control feeling. But this one is well-crafted. Consider the moment where the Vizier, having lost the lamp, sits miserably at a table sipping coffee, while Aladdin as the prince zooms past. In a moment this scene tells everything about that the Vizier was doing, and how his understanding of everything has changed, and it sets him back into action, all the while that Aladdin’s storyline is moving toward romancing the Princess. It’s tight, efficient writing that doesn’t feel like it’s forcing the plot along. It’s a foreshadowing of the Superman cartoons the studio would make in the 1940s, in being these beautiful and, generally, well-scripted and awesome affairs.

The Popeye Two-Reelers Reused: Two I Can’t Show You


I had a great idea going here. I’d show one of the two-reeler Popeye cartoons, and then show its reincarnation as a one-reeler clip cartoon. I’m foiled here. Not because Popeye the Sailor Meets Ali Baba’s Forty Thieves wasn’t used for a clip cartoon. Because I can’t find a copy of the clip cartoon online. I’m surprised and baffled by this. I could accept it somehow not having fallen into the same public-domain existence that so many other Famous Studios cartoons did. But to just evaporate altogether?

Ah well. And that’s particularly bad as there’s two clip cartoons based on Ali Baba’s Forty Thieves. One I remember with confidence so let me talk about that. It’s Popeye Makes A Movie. This was released the 11th of August, 1950, or over two years before Big Bad Sindbad. That it is so much earlier may be why Popeye has the full complement of four nephews in it. By 1952 there were cutbacks.

The premise is … well, right there in the title. Popeye’s explicitly an actor here, and he’s making a movie about fighting Ali Baba’s Forty Thieves. Is it supposed to be the two-reeler movie actually released in the 1930s? Oh, who cares. If you have fun doing that, go ahead, but there’s just no fitting it all into one continuity. But Popeye’s an actor here, and he brings his nephews to watch a day of filming. And that’s the framework on which the clips are hung. There’s some of Popeye, Olive Oyl, and Wimpy walking through the desert. There’s the bandit raid on the city, at which point the nephews get confused between fact and fiction and start punching Abu Hassan or maybe Bluto.

That seems to me a fair way to break up the clips. It’s a more interesting one than in Big Bad Sindbad, when the surviving nephews asked Popeye whether he got killed. That now there’s two clip cartoons that break up the clipping mid-action, where it’s not really needed, makes me wonder. Remember my wondering if there a production rule about how much of the cartoon could be recycled footage? I can’t time the clips from Popeye Makes A Movie, but the clips from Big Bad Sindbad were suspiciously close to 50% of the runtime. Now I wonder if there was a production rule about how long reused footage could be without some new footage.

The interruption also lets the clip cartoon go right to Popeye in Abu Hassan’s cage. It gets to the point where Popeye’s captured and lowered into the shark pit. Here the nephews again forget they’re watching some pretend action, and toss Popeye a can of spinach. This would seem to produce a continuity error in the movie being made. If we take the two-reeler as the produced movie, then, they must have done reshoots when the nephews were safely away from the studio.

It’s a fair enough premise. Gives a reason to show clips. If you’re alert enough to the realities of film production to question whether they’d film a walking-in-the-desert scene, a raid-on-a-city scene, and a battle-in-a-cave scene on the same day, well, shut up and go play outside. All right.


The other clip cartoon with Ali Baba’s Forty Thieves I remember more vaguely. But it’s interesting in that it’s also a clip cartoon for Popeye the Sailor Meets Sindbad the Sailor. And it, too, isn’t available online that I can find. It’s Spinach Packin’ Popeye, originally released the 21st of July, 1944. The name is a riff on Pistol-Packin’ Mama. That’s an inescapably popular and catchy song which made up about two-fifths of all sound during World War II. (If you look at the posters on the wall at R K Maroon’s office in Who Framed Roger Rabbit, you’ll see a card for a Pistol-Packin’ Possum, another riff on the song.) I know, I know, you think — from movies and TV shows — that it was Glenn Miller’s version of American Patrol. No. It’s just easier for modern productions to record dialogue over an instrumental. In reality, between the 14th of October, 1943 and the 26th of March 1944, not a single sound that wasn’t Pistol-Packin’ Mama was produced domestically, and it stayed popular with soldiers until the USO performers curled up into helpless little balls pleading, “no … no … no more requests”.

The premise for this clip cartoon is more boring. Popeye goes to a scheduled boxing match with Bluto after donating blood. The weakened sailor gets knocked out. Olive Oyl declares she’s finished with this weakling. Popeye tries to argue he is not a weakling, and shows his photo album to prove it. The album has pictures(?) from Sindbad the Sailor and Ali Baba’s Forty Thieves. These come to life to show the clips, a device used in earlier clip cartoons too. None of this convinces Olive Oyl, but that’s all right, since his being knocked out was all a dream anyway.

Gathering around the photo album is a dull way to introduce clips. But it’s the sort of dull that doesn’t get in the way of the action either. I suspect it’s the clip-show equivalent of, in prose, tagging speech with “Name said”. It’s just invisible. I know I had to read the plot summary to have any memory of what the framing device was, and even the still frames on that Popeye Wikia didn’t help me much. The title card looks great, at least.

But there again is that breaking up of clips into at least two segments. This encourages my thinking that there was some production rule here. One might wonder why this cartoon featured two of the two-reelers and not more recent footage. A sufficient answer there is that they’d have had to be too recent footage. This was, if Wikipedia has the production schedules right, only the fifth color one-reeler Popeye cartoon. Popeye’s first one-reel color outing, Her Honor The Mare, was released the 26th of November, 1943. A snarky cartoon series of today might have characters flashing back to the stuff they aired last week. I can’t imagine getting away with that in theatrical shorts of the 40s.

I would have sworn there were other Popeye shorts that used “weakness after blood donation” as a premise for showing clips. Actually researching this suggests indicates I’m just wrong. I’m a touch surprised that Popeye, given his general moral-upstandingness, wasn’t shown to donate blood more. But it’s hard to figure a joke line to follow that. People getting Popeye’s blood and going on to feats of impossikible strength is obvious, but they’d do that from just eating spinach at his direction. (Which, come to think of it, is another storyline I don’t think they used.) Maybe they were working around guidelines about how to present the effects of blood transfusion. Maybe it just never occurred to anyone.

The Popeye Two-Reelers: Popeye the Sailor Meets Ali Baba’s Forty Thieves


Today my subject is the second of the two-reeler Popeye cartoons. Its original release was the 26th of November, 1937. This is one day short of a year after the previous two-reeler, Popeye the Sailor Meets Sindbad the Sailor. The credited animators are Willard Bowski, Geroge Germanetti, and Orestes Calpini, all of whom worked on Sindbad.

So, ah, this short. You see what the title is. I’m not quite sure that I need to warn people about its content. It’s got a lot of characters meant to be Arabian. And it was drawn in the 1930s. I don’t think there’s ethnic stereotypes direct enough to be offensive. But there’s stuff close enough to leave me uncomfortable. Most of it comes to Popeye being a surprisingly bad traveller, grumbling that he can’t read the menu or stuff like that.

This short opens gorgeously. One of the Fleischer’s greatest technical tricks was the setback camera. It let them use real, three-dimensional models as backdrop to animation. They used it to good effect. They had a knack for making models that looked like animated backgrounds. It — and a multiplane camera — get used for the opening credits. It’s almost a dare to the Disney studios, challenging them as masters of animation. Disney would respond by releasing Snow White and the Seven Dwarves the next month. So, yeah, Disney won the year. But it was a close one.

Still. As much as the setback camera got shown off in Popeye the Sailor Meets Sindbad the Sailor, here it gets used. I lost track of how many backgrounds are three-dimensional settings. But it seems less showy to me. The setback seems to be used only to make the camera moves more interesting. It strikes me as being like the difference between a technology demonstration and a mature use of the technology.

As with Sindbad the short opens with the heavy, looking like Bluto playing a part, singing about himself. It’s not as long or as catchy a song as Sindbad’s bragging song. It’s not bad. But Sindbad had a nice call-and-response bit, and call-and-response songs are always more fun. Popeye, Olive Oyl, and Wimpy get on screen much sooner than in Sindbad. They’re even given something of a reason to encounter Abu Hassan, with Popeye and Wimpy the Coast Guard (huh?) troops responding to the worldwide (huh?) distress call. Popeye’s boat turning into an airplane is as loopy a thing as the logic for his involvement. And I love the way this gets treated. It’s casual and confident, sure that the audience will buy all this. (Does the ship-plane crashing count as another shipwreck for Popeye?)

I’m impressed by how well this cartoon is put together. It’s got a clear plot. But it’s still got plenty of time for amusing sidelights. And many great little asides by Jack Mercer as Popeye.

Yet it still seems lesser than Sindbad. I’m not sure what it’s missing. It might be in the efficient, quick way that this cartoon gets to work. Sindbad opens with a lot of atmosphere. It luxuriates in the vastness of Sindbad’s island. It builds slowly. It gives this impression of hugeness.

Forty Thieves has a great, vast desert. A good-looking city. The cave of the Forty Thieves, too. But I don’t feel the same epic scale to this. Maybe the editing is too sharp and the story progression too efficient. The short has a few moments that feel it. Popeye, Olive Oyl, and Wimpy in the incredible distance walking across the desert by night and day, particularly. But that doesn’t last long. The short has plenty of stuff happening. But it feels more like a regular (if good) Popeye cartoon running longer, instead of something different in kind.

Once again it’s surprisingly long for Popeye to meet the heavy. Popeye doesn’t face Abu Hassan until about 8:40 in. That’s 40 seconds sooner than Popeye met Sindbad, in a carton that’s a full minute longer. It’s still longer than the average Popeye cartoon just for them to be on-screen together. Their first fight is funnier than Popeye’s meeting with Sindbad. There’s something delightful and childlike about Abu Hassan stealing Popeye’s belt. Popeye swiping his long underwear right back is a perfect topper.

As I watch it, and re-watch it, I’m left wondering why I don’t like it as much as Sindbad. The animation’s at least as good. The plotting may be stronger. The dialogue is much better. A lot of the best bits are Jack Mercer muttering whatever popped into his head. But so much of what he thought of was great. Seriously, Popeye slamming uselessly against the solid wall of the Forty Thieves’ cave and declaring “it’s giving way”? Perfect. He’s got many other great lines too; listen to any random fifteen-second bit and there’ll be something you like. The biggest story weakness is how little Wimpy adds to the proceedings. His pursuit of a duck in Sindbad had a clear story to it. Here, he’s just here. But even he gets a great blink-and-you-miss-it joke in snagging some chicken while chained to a post.

There’s less direct interaction between the animated characters and the real, setback backgrounds. Nothing like Sindbad picking up a handful of gems and letting them drop. The most dramatic is Popeye and all coming up to a traffic signal in the desert, and that’s nothing but them watching a thing change. But there’s also much more real background. The final battle between Popeye and Abu Hassan feels slight. Possibly it’s diffused too much by Popeye having to get past the Forty Thieves first. I am aware that last time around I thought there could be a battle between Popeye and all the animal residents of Sindbad’s island. And this time I get a battle between Popeye and all the Forty Thieves and I’m still not satisfied. Somehow, despite it being a nice big battle. Maybe Popeye needed to use the twisker punch again.

Something you notice in the Thimble Theatre comic strip is that Popeye spends a lot of time in the desert for a sailor. Possibly Segar thought that irresistibly funny a setup. And now here we are in the second of the two-reelers, and he’s wandering the desert. And I can’t help remembering that the 1980s version of Popeye — the G.I.Joe cartoon’s Shipwreck — was also first encountered in the desert. There’s something deep going on here.

The Popeye Two-Reelers Reused: Big Bad Sindbad


So if there’s any genre of story that modern pop culture has rejected it’s the clip show. The last time I remember it defended was on a Saturday Night Live hosted by whoever played the non-Tina-Yothers sister on Family Ties. She notes that clip shows were great, since as an actor you got paid for a whole show and only had to do five minutes’ work. They would let anyone get a little bit ahead of the content hole. They were probably more more tolerated before the rise of home recording. I think of the burial notice for clip shows, at least in the sorts of nerdly pop culture I like, being that episode of Star Trek: The Next Generation where Riker has a case of poisoning that can only be cured by watching clips of the first two seasons of Next Generation. That episode has an overblown reputation as the worst thing modern Star Trek has ever produced. Even if you can’t stand a clip show, for crying out loud, modern Star Trek also did a Lwuxana Troi/Ferengi Comedy cross-over episode. And the Enterprise episode where Trip Tucker got wrist-pregnancy from a holodeck.

And as I say, clip shows used to be more tolerated. Certainly more common. The first Popeye cartoon released after last week’s topic, Popeye The Sailor Meets Sindbad The Sailor, was itself a clip cartoon, I’m In The Army Now. And all the Fleischer two-reeler cartoons were themselves reused, later on, in the Famous Studios days. And I wanted to take a moment to look at one of these.

Big Bad Sindbad was released the 12th of December, 1952. So probably the original was out of any theaters. They could be forgiven for supposing most of the audience wouldn’t remember the action or animation well. The credited animators, for the new stuff, were Tom Johnson and William Henning. The director for the new stuff was Seymour Kneitel. Kneitel worked at the Fleischer studios forever. He ran its incarnation as Famous Studios forever too. So if you watch a lot of Popeye cartoons you see that name a lot. And he married Max Fleischer’s daughter. One imagines this made Thanksgiving more exciting after Paramount Studios fired Max Fleischer and keept Kneitel around. I can’t say from personal knowledge.

So. When I watched this cartoon, as a youngster, I was always excited and disappointed. The exciting part is the two-and-a-half-minutes of footage from Popeye The Sailor Meets Sindbad The Sailor. Even my young untrained eye, that was also perfectly happy to watch the Filmation series of Tom and Jerry cartoons, recognized that as something special. It was just too good.

And it affected the surroundings. Popeye by this time was usually dressed in all white, an outfit he got during World War II and didn’t shake for decades. Except this. I suppose to not confuse kids, Popeye in the present-day framing story wears his classic original black-and-white-era outfit. Somehow even that just looks better.

The disappointing stuff, of course, was that it wasn’t the whole two-reeler. You got just a tiny slice of the cartoon that was really interesting, patched into a cartoon that’s already quite short. The version at archive.org runs five minutes, two seconds. And half a minute of that is credits.

Disappointing to me, now, is that none of the story of the original gets included. The original two-reeler hasn’t got much of a story to start with, but at least it has something. Here, all that’s excerpted is a couple minutes of Sindbad and Popeye punching each other. The catchy songs are missing. There’s no Boola, no Rokh, nothing. Even Wimpy only appears for a split-second. There’s no panning across any of the three-dimensional sets. One would almost think the Famous Studios ashamed by how much the old stuff would outclass their current animation. (So far as I know the Famous Studios never used the setback tabletop technique.)

And it’s not as if they couldn’t have found time. The framing device is an adequate one. Popeye takes his three then-surviving nephews [*] to a nautical museum; okay, that makes sense as a thing he might do. They encounter three exhibits, the first two of them used to deliver correctly formed jokes, the third to let Popeye tell a story. Putting aside whether George Washington can be considered a sailor, that’s all okay enough. It’s a character who has a reason to be telling this story to people who have a reason to listen.

[*] Yes, Popeye started out with four nephews. The story goes that Max Fleischer wanted to one-up Donald Duck’s nephews. But the nephews first appeared as Popeye’s imaginary children in a dream. And as Famous Studios wore on, the four nephews dropped to three, and eventually to two. The story there goes that this was to save animation cost on characters who were already visually identical and voiced by the same actor (who was already on staff and performing Popeye’s lines) to start with. This seems hard to believe, but then, why else drop one of them?

Anyway, once all that’s out of the way they could run as much of the original cartoon as they liked. Why so little? I suppose because they needed the clip cartoon to run at least five minutes. But that time after that was wasted. A shame; that makes it a little too obvious that the cartoon’s there to satisfy a contratual obligation to produce technically new animated product. A bit more story would have helped. Or if they don’t want the short to have more time, let the nephews ask impudent questions that Popeye answers. “Gee, Uncle Popeye / Did you / Get Killed?” is an adequate start but only just. At least they showed my favorite gag from the original, Sindbad knocking an endless supply of maritime stuff out of Popeye.

Though now I wonder; was there some requirement that reused material be no more than 50 percent of the cartoon? That there were pretty near two and a half minutes of old footage in a five-minute cartoon is suggestive. But it could also be coincidence. There’s more of Popeye and Sindbad facing off that they might theoretically have used, even without having to include something of Boola or the Rokh or the lions or all that.

I’m not surprised they re-recorded the voices from the two-reeler footage. Probably the original sound elements were lost and all they had was the final mix that, among other things, had the hard-to-edit-around tune of The Stars And Stripes Forever on it. I am surprised they changed Olive’s line of encouragement to “give him the ol’ onesey-twosie” from “give him the ol’ twisker punch”. Were they afraid the “twisker punch” was too slangy a term?

Wikipedia notes this as one of only two theatrical cartoons to have both Popeye’s Nephews and Wimpy in the action. The other is Popeye Makes A Movie, another clip-show cartoon using footage from the two-reelers. This short is one of six with Popeye’s Nephews and Bluto, if you count Sindbad as Bluto playing a role. Use this information only for good purposes.

Next week: back to the actual two-reelers.

The Popeye Two-Reelers: Popeye the Sailor Meets Sindbad The Sailor


When the world and I were young, Popeye the Sailor Man hadn’t quite left pop culture. He still got an hour each weekday on WNEW to show off all the theatrical releases plus the King Features Syndicate cartoons of the 60s. I loved them all. I had that problem of the young of not understanding that some cartoons were rather bad. But I did understand that some cartoons were better. Usually the older ones. The ones with the ship doors that slid closed were almost all better than the King Features Syndicate cartoons. And even then, I knew there were some transcendant cartoons, ones that were so much better than anything else ever done. I only ever found three of them. This is because three were all they made. I want to look at them each in turn, now.

Popeye the Sailor Meets Sindbad the Sailor was released the 27th of November, 1936. It’s the first of the three two-reel cartoons. It has three credited animators, Willard Bowsky, George Germanetti, and Edward Nolan. Uncredited animators include Orestes Calpini and Lillian Friedman. Bowsky’s familiar from the Talkartoons series. He has shorts like Swing You Sinners! and Mysterious Mose and The Betty Boop Limited to his name. George Germanetti and Edward Nolan haven’t got credits for any Talkartoons. Neither have Orestes Calpini nor Lillian Friedman.

Friedman was (so far as is known) the first woman ever hired as an animator in United States animation. She worked on some Color Classics, Hunky and Spunky, as well as a bunch of Betty Boop cartoons. Wikipedia credits her for animating the two-headed giant and Popeye’s “twisker” punch. Calpini would animate about a jillion Famous Studios cartoons in the 40s, and be the uncredited animator for a bunch of shorts. Among them are Cartoons Ain’t Human, a fantastic short in which Popeye becomes an animator; and several of the Superman shorts.

The dominant motif of this cartoon is size. It is full of bigness. The cartoon is large in running time: it runs 16 and a quarter minutes before the video ends, and it still has a few seconds to go. (This cartoon, like all the 30s Popeyes, is in the public domain. This is great for accessibility. But what you can access is often a lousy print or cut in weird ways. This was the best version I found.) That’s three times the length of some other theatrical Popeye shorts. (Granted, the shortest of shorts, but still.)

It’s on a big island, that Sindbad claims to be atop a big whale. Its inhabitants are big; the lions (big cats) are small denizens. Boola isn’t just a two-headed giant; he’s two, maybe two and a half times Popeye’s size. The Rokh is so enormous he barely fits in frame. His takeoff makes me think of footage of World War II-era super-bombers. That’s only more amazing considering the cartoon was made five years before that was a pressing concern. It starts with a long braggadocio song. It’s three and a half minutes of Sindbad singing of how he’s the most remarkable extra-ordinary fellow. It has a purpose, besides being catchy. It also sets up all the minor bosses Popeye has to beat up before coming to the main battle. But then we get another minute of Popeye singing his own bragging song. That’s a more familiar one, the full long version of the Popeye the Sailor Man song, and always good to hear. Still, it means the cartoon’s plot doesn’t even set in until five and a quarter minutes in.

Did you notice that, while watching? … Well, maybe. It’s easy to get restless when the movie expects you to be awestruck. It demands attention. If you’re letting it run while also checking social media, then that first third of the cartoon is wasted. If you are watching, well, then you see what is some astounding animation. The backgrounds start out gorgeous, and then almost immediately leap past gorgeous into three-dimensional beauty. Fleischer Studios arguably topped Disney’s multiplane camera. They used a camera that could film real-life, movable sets, on which the characters would interact. Cartoons on a real-life background is as old as cartoons are. But cartoons on a movable, three-dimensional background? And a backdrop that isn’t “real”, but designed to look like the pictures do? That’s stunning then. It’s still stunning now. Just to make sure audiences were stunned then, Sindbad picks up a pile of “real” jewels and lets them fall through his fingers, about 2:25 in. By then, complaining about the bareness of the plot — considering its length — seems petty.

Also stunning, but more subtly, is the Rokh’s flight. It is hard to animate flight so that it looks realistic. It is hard to animate big things moving slowly so that it looks realistic. But here, in the Rokh attacking Popeye’s ship, we get an enormous bird slowly circling and then finally striking, and none of the motion looks false. I wonder if it was rotoscoped from footage of a real bird’s circling. I’ve also been trying to work out whether the bird’s three turns are all unique animation. I have the suspicion that it’s all the same single turn cycle, but with camera movement added so that it looks different. But that speculation I make just because it had to be hard to get it looking that good the one time; three times would be far harder. If I were directing, I’d look for ways to reduce the technical challenges here, and that seems like one of the few possible ways.

Still the cartoon makes some mistakes. Not just that it’s 9 minutes, 25 seconds before Popeye and Sindbad are even in the same frame. There’s reasons it takes them that long to meet. (And how long antagonists spend directly facing each other is basically irrelevant to how good a story is. Until it’s pointed out, do you even notice in The Wrath of Khan that Kirk and Khan are never in the same room?) They’re littler things. The one that bugged me as a kid, and still bugs me today, is when Popeye asks who Sindbad is. This gets a quick reprise of Sindbad’s “most remarkable, extraordinary fellow” song. But with none of the island residents actually singing “Sindbad, the sailor”. The animals all mouth it, twice, but the actual answer to Popeye’s reasonable question is omitted. Maybe the Fleischers figured the audience would be singing along? (And there’s some animation the cartoon definitely reuses. At the end, they do cry out “Popeye, the sailor”.

And here’s a subtler one: why is Wimpy in this cartoon? Well, there’s an obvious reason. J Wellington Wimpy is this wonderful character. He might well have taken over the Thimble Theatre comic strip if Popeye hadn’t secured his position in charge of the strip first. Just the other day my love and I were discussing his character. Whether he is actually a mooch with refined, intellectual inclinations. Whether he affects that persona as part of his eternal petty scamming. He can add this subtle, otherworldly bit of nonsense to any story he’s in. He can offer this surreal moment of drifting into and out of frame, in search of hamburger. It’s reminiscent of the way Harpo Marx would crash through a plot scene and crash back out again, without the now-awkward part where Harpo is chasing down terrified women.

So that’s a great setup. Wimpy trying futilely to catch a duck? Perfect running gag. It’s used that way just the once, though, interrupting Popeye’s and Sindbad’s first encounter. Popeye even asks “how did you get in here?”. And then that bit ends, with Wimpy no more part of the story.

But I could be wrong to call that short use of Wimpy a mistake. I’m trying to think of another moment where Wimpy could wander through without spoiling the flow of action. He can wander through a tense moment fine; the distraction is great when it’s two people glaring at each other. But to drift through actual punching? That would flow weird.

Something I’m not at all sure was a mistake: Sindbad’s island is filled to the brim with good-looking monsters. Big (of course) cats, serpents, dragons, gorillas, vultures, all that. This seems like a setup for a battle royale of Popeye lost inside a massive fight cloud. He’d done that before, in cartoons where he was washed, shipwrecked, onto a jungle island. (For as good a sailor as we’d like to think he is, Popeye opens a lot of cartoons shipwrecked. But, he does survive those shipwrecks, so that’s some skills.) Maybe the animators thought that would be too difficult to animate. Maybe it was too difficult to fit into the storyline; would such an all-animals battle royale come after Boola, after the Rokh, after Sindbad? It seems to me Popeye’s previous battle-royale wins were after he’d eaten his spinach; that’s got to come as he’s had enough with Sindbad. So maybe there’s just not a good time for the dragons and all to get into the action.

I am disappointed these figures didn’t turn up in other cartoons. I suppose the Popeye cartoons were moving away from being able to support talking animals or mythical creatures in them. At least except creatures that came from inside the comic strip, like Eugene the Jeep and Alice the Goon. (And even they got only a few appearances.) I think some of the dragons appeared in Betty Boop cartoons like Betty Boop in Blunderland. Maybe the characters — almost all of whom look interesting — got work in other Fleischer series, ones without recurring characters.

As with the Talkartoons series, the main dialogue is pretty bland stuff. Functional, but not that interesting. The characters have asides, though, and those range between good and great. For my money, the best is Popeye declaring that Sindbad “you can push me just so far”. But there’s plenty to choose from. My favorite throwaway gag is Sindbad beating up Popeye, who stays in place while a heap of nautical equipment falls out of his clothing. It reminds me again of the Harpo Marx bit where all the stolen cutlery in the world falls out of his sleeves, one spoon at a time. But again, there’s all sorts of funny little throwaway gags in this short. Enjoy the buffet.

The short was nominated for an Academy Award for best cartoon. It was the Fleischer Studios’ first nomination. They lost, to Disney’s The Country Cousin, a version of the Aesop’s Fable about the Town Mouse and the Country Mouse. Disney studios won the Academy Award for Cartoons every time it got awarded in the 1930s. Fleischer Studios would never win an Oscar, though it would get nominated four times. Its successor Famous Studios wouldn’t even get nominated. Animation historian Jerry Beck found lists of cartoons considered but not nominated, and Famous Studios, and Popeye, got considered, at least.

Popular acclaim has it that this was the best of the Popeye two-reelers. But then, what does everybody who takes cartoons as a subject worth thinking about know that I don’t?


Also hey, it turns out this is my 2,001st post around here. I’m as surprised by that fact as you are.

Time For A Serious Talk With LinkedIn’s Algorithm


(Reading.)

Linkedin Jobs Similar To Michigan Virtual - Part-Time Temporary Online Instructor (Grades 6-12): Adjunct Faculty, Patten University, Oakland, California. Adjunct Faculty, Management and Technology, NYU School of Professional Studies, New York City. Facebook Director of Global Law Enforcement Outreach, Menlo Park, California.
Also I do not know what Patten University is. I assume that it is an educational facility specializing in the needs of the patten industry. Pattens, you’ll remember from reading the Wikipedia article about them right this minute, are those things Middle Ages people would strap to their shoes so they could walk around in town without covering their actual shoes with all the mud and raw sewage they dumped into the street back then. I trust there is still a patten industry and that like any specialized trade there are things that have to be learned to be expert in said trade that you can get at Patten University of Oakland, California.

(A long, serious sigh. And I send a note to ask for a little chat, “when you have the time”. But before the close of business.)


(The meeting.)

(I turn a chair around and sit with my chest pressing into its back. I put on a baseball cap, and then turn it around.) So! Linkedin Algorithm. Alg. Alg, I like that. You know, I used to know someone named Algus. No, that wasn’t his name, but he felt very positive about that instead. Well, I’m drifting from my point. Look, thanks for coming in for a little honest “rap session” like the kids say today in Imaginary 1967. I want to let you know, I appreciate how hard you’re working, looking out for me like this. I appreciate the idea that I should have a job that is not the one I have now. Really, great, thoughtful stuff. There’s nothing like having a friend who at random times bursts out with the declaration that I should be a part-time copy editor at a weekly newspaper in Rossville, Georgia. It gives me this strong sense of needing to be somewhere. Yes, even somewhere near Lake Winnepesaukah amusement park.

But — yes, this is the compliment sandwich technique, well-spotted — I want to ask you what are the points of commonality in these four jobs that totally exist and are not spammers trying to hack the LinkedIn Algorithm. You, Alg. What about me makes you think I’m equally ready to be a part-time temporary online instructor for some 7th grade class somewhere or maybe, what the heck, Facebook’s Director of Global Law Enforcement Outreach?

Now, now, no. I do not mean to put you on the spot. You don’t have to answer now, or really, at all. What’s important to me is that you sit though and think out what you see in common here. Find some tighter definition about what you see as similarities. This will help you algorithmate better in the future.

Yes, very good. You’ve seized on one right away. Of all these jobs, none of them need me to be in Michigan, which is the one place where I am. As a commonality that’s as useful as noticing that none of these jobs will routinely require that I smear myself head-to-toe with honey mustard. Not needing to be in Michigan is something common to 84 percent of all jobs, worldwide. It’s not productive to sort things on that basis. The mustard thing, that’s 94 percent of all jobs, yes.

Two of these jobs are described as adjunct faculty positions. I think this reflects a misunderstanding on your part about what adjunct faculty positions are. Adjunct faculty positions are for people who haven’t yet been cured of the daft idea of working in academia. Most adjunct positions require long hours in stressful roles. There’s little respect. The pay is low. There’s some community colleges where the English adjuncts are compensated entirely by being kicked behind the library loading bay until their kidneys bleed. And that’s after the adjuncts formed a union. Before the strike they were just shoved off the third-storey balcony until their skulls fractured. No, no, of course I wouldn’t just turn down an adjunct position. I’d just have it not be in a business school. Those people make you talk about business all the time, even if you’ve said you’d rather take the “jabbed with sharp sticks” benefit instead.

Also I don’t know what exactly Global Law Enforcement Outreach is. It sounds like my job would be travelling to exotic countries and hugging the cops. I admit I’m a huggy person. By preemptively hugging I can cut down the amount of handshaking I’m expected to do. But, jeez. Do I look like I want a life where I’m constantly jetting to exciting places like Johor Bahru, opening my arms wide at someone writing traffic citations, smiling as if I apparently weren’t pained by showing enthusiasm, and saying, “Come on over here, buddy!”? Do they look like they want that?

So. I appreciate your energy, I appreciate your enthusiasm. I like your willingness to think outside my career box. And let me give you this little tip. None of these are the job I would have if I could pick anything at all. Nor is my current job. What I’d really like, if you could find an opening, is to be the astronaut who draws Popeye. But don’t worry if you can’t swing that. I’m just glad you’re out there looking.

(I stand up, confident I’ve got this all worked out and there’ll be no unwanted side-effects to my honesty with Alg.)

Meanwhile On TV


Turner Classic Movies has sometimes been showing cartoons before the Tarzan movies on Saturday mornings. Whoever writes the cable guide summaries described one, airing before Tarzan Putters Around In Manhattan For Some Reason, like this:

Wild Elephinks

In this early-1930s precursor to the cult tv series Lost, Popeye and Olive Oyl find themselves shipwrecked on a… New.

So, Wild Elephinks is not a good cartoon. It’s from early on, before the Fleischers realized that Popeye had a personality. It’s also one of the surprisingly many cartoons that start with Popeye shipwrecked, one of those little recurring things that make you wonder exactly how good a sailor he is. He and Olive Oyl wash up on an island with a bunch of animals on it, all of which Popeye beats up, because what’s more attractive in your hero than punching a mink to death?

I appreciate whoever wrote this caption having a bit of fun given how much nothingness the cartoon’s real premise had. But why do they have to cut off all the TV show summaries that early? Has anyone told the summary writers that they have, like, 130 characters to work with? If they haven’t, why haven’t they? Don’t these summarizers ever go home, check on their work, and realize that everything after the first twenty words was cut off? Does that make them angry? Does that make them sail to a remote island and punch every animal? These are all questions I feel I cannot answer.

How To Move A Plant (Non-Emotionally)


Moving a plant is not a chore you should rush. Really you shouldn’t be rushing any chores, what with how they’re chores. A rushed chore feels skittish, much as you might, and will try to run off. A defensive chore ends up spraying out side tasks as distractions. You may have noticed the results of this. You start off trying to organize the shelf of Books That Friends Who Don’t Read Gave You. You’ve barely gotten to alphabetizing the fourth copy of the novelization to The Thirteenth Floor, which you spent a quixotic two months defending as far superior to The Matrix before remembering that you could go outside and roll down a grassy hillside all afternoon.

Somehow you find yourself in the refrigerator, shelves cleared, sponging off some congealment that seems to be maple syrup hybridized with vinaigrette and store-brand Dr Pepper equivalent. In someone else’s house, one you’re thinking of buying at the tax auction. You have no recollection how it happened. I couldn’t tell you how many times this has happened to me, not since they put all those tags on the cinder-block house two streets over. This is just how chores work.

Nevertheless before moving a plant — remember that? — you need to prepare. Without proper planning even something as simple as cutting down a weed tree could cause the Moon to tumble out of its orbit and go rolling through Appalachia, leaving many stricken West Virginians considerably flatter. How is left as an exercise to the student.

The first step is to warn the plant as early as possible that it will be moved. Moving is traumatic. The plant needs to appreciate the friends and familiar places it’s about to be torn from. They also can get started dreading the new cliques they’ll be plunged defenselessly into a month before the end of the school year. Remember to insist to the plant that it has a say in this move, although not one that would change your plans.

The next step is to have a place to move the plant to. There are great ideas to grow plants hydroponically, without any particular location. It turns out hydroponically means that it’s four spindly lima beans in injected-foam cups during second grade. This may not fit your plant-relocation needs, what with how you have a fourth-grade understanding of fractions and compound sentences.

A great place to deposit a plant is inside a hole. You can purchase a hole, of course. But a great many people with mobility issues depend on pre-dug holes. I feel guilty taking any stock away from them. Funny, that’s the same look the person at the garden supply store gave me. Anyway, I’m able to dig roughly cylindrical holes myself. I encourage that for people who can do it, since it’s such a great experience.

The easiest way to dig a roughly cylindrical hole is with a post-hole digger. Yes, it’s way too much mechanism for this task. It’s just so much fun to lift the digger in the air and toss it in the ground with this satisfying CHUNK, and squeeze it and twist it around and scoop up a heap of dirt and swing it over, dropping the dirt on an unsuspecting smaller sibling. Of course you need a post-hole digger for this. And you can’t just wander in to the grocery store and go to the “P” section and buy the first thing you see. They’ll be filed under “D” for digger. Unless your grocery store uses Reverse Polish Notation, in which case you’re back to “P” again, but who does that? Who isn’t trying to make a point, I mean?

You should keep digging until you have enough hole, which comes when you feel the sense of inner tranquility that comes from outgrowing the idea that you’re a giant long-necked dinosaur used down at the quarry and settling into the idea that you’re pretending to be a hydraulic pile driver. One you do, ponder how it is you have no idea what a pile driver does. I mean, there’s the obvious: it temporarily flattens cartoon animals, but gets broken by the mighty skull of Popeye the Sailor Man. It turns out pile drivers are used to drive piles. Here a pile is a long cylinder of something that’s pretty stern. They get driven into soft soil so that the piles make a better foundation that the dirt does. This may help you feel a sense that the world is abundant in things that are ordinary and unobtrusive but really quite clever.

This might make the plant seem like a rather provincial concern. That’s all right. Explain this to the plant and it will figure out arrangements for itself.

What’s Going On In Dick Tracy? Will the Green Hornet Remain At Large? January – April 2018.


Oh, all kinds of things are going on in Joe Staton and Mike Curtis’s Dick Tracy. (Also, Shelley Pleger and Shane Fisher routinely work on the Sunday strips. I’m not sure how often they work on daily strips. I want to be fair about crediting the people who make the comic but I don’t always know.) This is my best attempt at bringing you up to speed for mid-April 2018. If it’s a lot later than that, try at or near the top of this page. If I have later-written summaries they should be up there.

Over here should be my latest discussion of mathematically-themed comic strips, if you like those too. I do, and that one’s my blog.

Dick Tracy.

28 January – 21 April 2018.

Back in late January, Dick Tracy and the Major Crime Unit were arresting Mister Bribery. The crime boss himself was going mad after his meeting with the former Governor of the Moon. The Lunarians had abandoned their city in the no-longer-habitable valley on the moon and gone into hiding … elsewhere. The Moon Governor himself was just poking around to figure out the deal with Honey Moon Tracy and the surgically-created Second Moon Maid, Mysta Chimera. Can’t exactly blame him for not taking all this well.

In the forest Preserve, during a snowstorm. Honey Moon, thinking: 'My wrist wizard is showing a life sign not far from here!' She shouts, 'CRYSTAL! Dad! I've found her!' Crystal Ugly: 'M-Moon girl?' Honey Moon, cradling her: 'Here, take my jacket. I don't feel the cold.' Crystal: 'C-Can't w-walk. F-freezing.' Honey Moon: 'Don't worry, Crystal. My Dad's coming.' (Thinking) 'Hurry, Dad! She needs to get warm. Fast!'
Joe Staton and Mike Curtis’s Dick Tracy for the 4th of February, 2018. If Honey Moon doesn’t feel the cold, why does she need a jacket? … Well, I saw commenters snarking about that when the strip was first published. Me, I figured it was Honey Moon saying something assuring so that she could cover up Crystal Ugly without Crystal feeling guilty. And it may be more than that: later in this sequence Honey Moon manages to generate a little circle of heat, enough to melt the snow around them. So this may be presaging Honey Moon developing new Lunarian super-powers. Introducing it in a low-key way that doesn’t seem like anything more than a friend accepting (possibly dangerous) discomfort to help another.

Sawtooth, hired by Mister Bribery to kill Dick Tracy in a slow and painful manner, skips town. Tracy wasn’t killed slowly nor painfully. Lee Ebony breaks her months-long cover as bodyguard T-Bone to arrest Bribery. Meanwhile Honey Moon rescues Crystal Ugly, Bribery’s niece and a new friend, from where she’d fled in the snow. All seems settled. The 11th of February there’s a coda about the Moon Governor meeting Diet Smith and Honey Moon Tracy. And about Lee Ebony going on vacation.

And that starts the next big plot, the one that’s dominated the last several months. It’s at Pepper’s, a popular restaurant apparently unrelated to the setting of the ended Tina’s Grove comic strip. Billionaire Simon Stagg — whom commenters identified as someone from DC Comics that I don’t know about — has a briefcase full of cash to buy Pepper’s restaurant. But Pepper declares he’s got no intention of selling. He’s poisoned the billionaire, after establishing that Stagg had eaten fugu earlier in the day. The coroner thinks it’s blowfish toxin, accidental poisoning. But the mayor has doubts, and calls Dick Tracy in from his fishing vacation with Popeye and Alice the Goon.

Ghost Pepper: 'You had blowfish for lunch, didn't you, Simon?' Simon Stagg: 'H-how did you know?' Pepper: 'One of my chefs prepared it.' Stagg, poisoned: 'H-he didn't!' Pepper: 'You're right, he didn't. Your fugu was safe. *I* prepared your *dinner* myself. There's no antidote for my 'secret ingredient', so relax, Simon, and enjoy the trip.' (Stagg falls forward, dead.)
Joe Staton and Mike Curtis’s Dick Tracy for the 17th of February, 2018. I confess I don’t understand the appeal of fugu. I grant I’m a low-risk thrills person; my most dangerous pastime is riding roller coasters, which just isn’t dangerous. But exactly how awesomely good would fugu have to taste for that to be worth the risk of death? Especially when, based on the story comics and crime or mystery shows I’d see when my mother has control of the TV, eating fugu gives you a roughly one-in-one chance of dying from it? And again, I grant I don’t have a sophisticated palette. I once managed to eat half a Reuben sandwich before realizing I didn’t order a Reuben. I’m content with a Taco Bell cheesey potato burrito. But still, fugu seems like a needlessly dangerous lunch. I don’t understand it.

Tracy goes to Pepper’s with just a few questions, and Pepper allays them by chasing him off the property, the way innocent people with nothing to hide do. Tracy returns, hoping to talk with the chefs while Pepper’s caters a political dinner at the Winrock Mansion. One of the cooks offers that he can talk, if Tracy will meet him outside, away from witnesses, over by Ambush Rock. Tracy’s good for it, and the cook’s good for clobbering him with a bowling pin, like he was in a George McManus cartoon.

Pepper takes Tracy’s own handcuff and hooks him up to his trailer hitch. This raises several questions, like: wait, would a handcuff actually keep someone on a trailer hitch for a twenty-mile ride by country road? I’m never confident those things are secure with actual proper hitches and it sure looks like the handcuff should pop right off the first good bump in the road. The second question: wait, so Pepper figures he’ll get away with murdering Stagg if the city’s most famous detective, whom the Mayor and the Major Crimes Unit know is investigating Pepper, goes missing and maybe turns up dead? (Although, in fairness, it was barely two months since the last time Dick Tracy was abducted and left for dead so maybe his murder would be lost under a buffet of suspects.) Third question: what does Pepper hope to gain from killing Tracy instead of, like, actually hearing any of his questions?

Despite the high speeds Tracy’s able to call Sam Catchem. And to get his handcuff key, maybe to get free. Before he can, Pepper has to stop short, avoiding a deer in the road. Tracy gets free and shoots out the truck’s tire before Pepper can run him over. Pepper’s truck crashes down the ravine, and the restauranteur makes his escape before Tracy can follow.

[ Ghost Pepper stops for a deer in the road, and Tracy gets loose. ] Pepper: 'I better check on Tracy. ... Uh-oh!' (Looking out of the truck.) Dick Tracy: 'PEPPER! YOU'RE UNDER ARREST!' Pepper: 'I'll run him over!' [ Starts the truck in reverse, aiming at Tracy. Tracy takes his snub-nose gun and shoots! ]
Joe Staton and Mike Curtis’s Dick Tracy for the 11th of March, 2018. That’s some really well-composed scenes, and great action. It’s just that I’m still stuck on how that handcuff stayed on that trailer hitch for miles(?) of travel on country roads.

Pepper finds a hideout with Phishface, who — reluctantly — sets Pepper and his fugu chef up in an unused part of the city aquarium. That’s good for almost days before, fleeing staff, Pepper falls into the tank hosting the new Portuguese Man-of-War. And so, the poisoner himself dies with appropriate dramatic irony but not the particular involvement of Dick Tracy, who was busy arresting the fugu chef.

And this highlights a bunch of other questions. First: wait, what the heck? Second, like, what did Pepper hope to gain from killing Stagg in the first place? Simon Stagg’s money seems like a good enough motive, and (on the 28th of March) the fugu chef does think he’s making off with Stagg’s briefcase full of cash. But it seems weird to kill a guy for money he was going to give you in an actual legal and above-board transaction. I guess keeping the money and the restaurant is good, but, sheesh, having a restaurant grow successful enough to be worth selling out is winning the lottery. What more does he want? Third, so, the final toxicology report (delivered the 22nd of March) is that Stagg died of blowfish toxin. I take it this is meant to signify that Pepper got away with it, killing Stagg in a way that looked like it was an unrelated accident.

In which case, yeah, Pepper committed a perfect crime and undid it by kicking Dick Tracy until the super-detective got curious. This isn’t by itself a problem. People committing crimes they aren’t actually smart enough to succeed in can make for great storytelling. Elmore Leonard, the 2016 Electoral College, the Coen Brothers, and the Florida Man Twitter feed make compelling material out of this. And Tracy (on the 31st of March) says he hasn’t met any smart criminals yet. All right, but if the point is that Pepper piddled away his chance to get away with killing a rich man for money, I’d like that made clearer. Tracy didn’t even ask Pepper any specific questions; why was he panicked already?

One of the hallmarks of the Staton/Curtis era of Dick Tracy has been rapid, relentless pacing. And that’s great; story strips don’t need to be lethargic, much as they seem to be trying to be. But they do fall into a counterbalancing failure, where the plot logic and the motivations behind things are unclear or just baffling. I have no idea why Pepper figured “try and kill Dick Tracy” was the sensible thing to do after killing Stagg. I’d like it if I did.

The 1st of April started another weeklong “Minit Mysteries” segment. This was illustrated by John Lucas. The mystery was the murder of George Reeds, actor and star of the Ultraman TV series. That runs through the 8th of April; please, enjoy working out the puzzle if you like.

The new, and current, storyline started the 9th of April. Britt Reid, publisher of the Central City Daily Sentinel, is in town, poking around organized crime. This has attracted the interest of old-time radio fans, because yes, it’s a crossover. Britt Reid was known for years on radio, and for about one season on TV in the 60s, and for about 45 minutes in the movies in like 2011, as the Green Hornet. Reid’s gimmick, then and now, was to pose as a respectable newspaper publisher — so you see how far back this schtick goes — pursuing the super-villain the Green Hornet. But the Green Hornet is himself Reid, using the reputation of being a super-villain to infiltrate and break up actual crime rings.

This is unrelated, but, there was a little bit on one of Bob Newhart’s albums where he thought about the TV show I Led Three Lives. This show was about one Herb Philbrick, who was a communist for the FBI. Not from the show I Was A Communist For The FBI. Newhart opined that he wished, just one, in one of the Communist cell meetings that someone should have stood up and said, “Say, has, ah … has anyone else ever noticed, uh, whenever we assign Philbrick to anything, we all get arrested?” I’m not one to spoil a good golden-age-of-radio gimmick, but, like, the original Plastic-Man was only able to use this same approach about four issues before the mobsters caught on that Plastic-Man’s secret gangster identity was bad luck.

Anyway, Britt Reid and Dick Tracy meet, to review what they know: Central City mobster Cyrus Topper is trying to hook up with the Apparatus, the organized crime syndicate in Tracy’s town. The Green Hornet seems to be following. Tracy’s sure that Topper and the Hornet will get justly deserted. No, neither one of them knows what’s happened to Jim Scancarelli. You’d think he’d be all over this meeting of former Golden Age of Radio crime-detection superstars. And that’s about where things stand.

There’s only a few threads left loose from the last couple months’ stories. One is Matty Squared, the artificial intelligence/uploaded semi-personality of Mister Bribery’s former accountant. He was last seen the 10th of February, planning to head to “the server farms down south”. His companion: a mouse named Ignatz that’s got to be the oddest Krazy Kat reference in a long while.

It’s never said what the Moon Governor talked about with Diet Smith, Honey Moon Tracy, and Mysta Chimera. The Moon Governor himself emerged from the Lunarians’ secret hideout (somewhere on Earth) to investigate telepathic signals. Mysta? Honey Moon? Someone else? It hasn’t been said explicitly so anything might be yet entered into evidence. And no, I haven’t forgot that someone’s trying to scare B O Plenty and family out of their estate by making ghost noises.

A thread that hasn’t been brought up, and might never be: Britt Reid was, canonically, the grand-nephew (or something like that) of the Lone Ranger. The characters have been owned by separate companies since the 50s, so allusions to this have to be more deniable or involve more negotiation ahead of time. But the comic strip did show Vitamin Flintheart and Joe Tracy watching a Vista Bill movie. I think that’s made up for the in-universe continuity. But a western hero with the wonder horse Comet crying out “Fly, Comet! And Awaaay!” is reminding people of something. Merely for world-building? Perhaps, and plausibly so. For something more? Goodness knows.

Next Week!

What’s going on in Gasoline Alley? There’s evidence that at least someone is there as reruns go into their sixth month. What’s going on with Jim Scancarelli? I haven’t heard anything today. But a whole week from now? Maybe that will have changed. Come on around and let’s see what we might find out.

A Couple Of Things Found


So, first, I found that Twitter bot that spoofs that HGTV show about people buying the second house they’re shown. Well, someone else found it and tweeted it where I could see it, but that still counts. An example of its work:

I’m not saying this is going to amuse you endlessly, but poking at it once or twice a week? Sure, that’s good. (“I’m a mongoose engineer” is a solid career move.)

Also I was poking around deep in the Comics Kingdom archives of Bud Sagendorf’s Popeye to try working out why the lettering in the last couple days’ reprints were strange, because that’s the result of many decisions I’ve made in my life. And it’s always dangerous to read a single installment from a story strip because without context anything looks unnecessarily baffling but then how do you respond to this?

Olive, on the dock, with a rope into the water tied to her leg. 'Good heavens!?! It is my sailor's voice!! His ghost is calling me from his watery grave!' (Popeye, from under the pier) 'Blast!! Phooey!! Curse!' Olive: 'Popeye! You're alive!!' Popeye, bruise on his head, poking up: 'No thanks to you! Hittin' a swab wit' an anchor ain't no way to welcome a sailor home from the sea!'
Bud Sagendorf’s Popeye as rerun the 2nd of June, 2008. So I just assumed reading this that Popeye was underwater and Olive Oyl had given up hope because she hadn’t learned anything from forty years of knowing this guy, but no, he was on a raft on the water just below the end of the pier which makes her throwing an anchor off the pier without seeing him all the more baffling.

And the answer is, of course: Popeye is absolutely correct. There shouldn’t be argument about this point.

There’s some more stuff to talk about, but I promised only a “couple” of things so I’ll have to hold off some.

How To Sketch A Thing


Drawing a thing can be a fun recreational and creative pastime, people who are able to draw tell us. For the rest of us it’s a lot of being angry at how we have this killer hilarious cartoon in our heads and it will never, ever be manifested in a way that doesn’t look like it was rendered by a squirrel that was handed a crayon and told there was an almond inside. And is now angry about being lied to. But still, you can’t get good at drawing without learning to sketch some, so let’s look into how to do that.

Before sketching the thing you should decide what kind of sketch to do. A “traditional” sketch is done with a pad of paper and pencils that have been handed down, from house move to house move, since you were in high school because they cost more than your house. I mean, yeow. They’re six-inch tubes of wood with colored lead inside, how do they run so much? Is the Koh-i-noor company thinking it will get rich piggybanking on artists? Have they considered, like, selling pencils to people with more money, like the folks with cardboard signs standing at streetcorners asking for any help and promising God blesses stopped cars? Good grief. Anyway. Traditional sketches are good because they’re easy and portable and you can hide them in your messenger bag for a quick getaway if someone asks why you’re drawing a picture of a squirrel without permission.

The other kind of sketch is “digital”, done on some glass-covered rectangular thing that has to be recharged. This is a popular choice not just because it means you can put off your drawing for the day for six hours while the battery fills back up. It’s also liked because you can effortlessly hit “undo” until your sketch looks not so completely messed up. And then you can try again, until the drawing program crashes. The main drawback is finding a good drawing program. There are six things that a drawing program needs to be good. Coding Law dictates that every drawing program has to leave one out. The one that looks like it has everything? I’m sorry, if you use that program now and then they send someone around to punch you in the stomach. It turns out there’s a secret seventh thing a good program needs: it needs to not sometimes send someone around to punch you in the stomach.

So, choose wisely, and then spend part of every day reconsidering your choice and wondering why you didn’t make a better one. It’s a little something to help you doze off better at work after staying up all night cursing the immutability of the past.

Now you need to figure whether you’re sketching something that exists or something that doesn’t. The advantage of sketching a thing that exists is you can check back on it to see what you’re doing wrong. The advantage of sketching a thing that doesn’t exist is that other people can’t say you draw it wrong. “But wait,” someone might say. “Sea serpents don’t have Popeye arms and warp nacelles!” And then you can glare at them and say, “Prove it.” This doesn’t help your sketch any, but it lets you win the argument, and isn’t that an even more precious thing in these troubled times? You get into some tricky metaphysical territory if you want to draw, like, Garfield, who as a creature of fiction doesn’t exist but who does have a well-agreed-upon appearance that you can’t vary from too much without getting fired by the Guy Who Does Garfield from your job drawing Garfield. If that’s your situation I got nothing for you. Sorry.

And the last thing is to decide whether you’re doing a realistic or a cartoony sketch. To make a realistic sketch, start by drawing a big oval on top of a slightly offset square. Then add cylindrical tubes to the side and the base. Then at the bottom put in a couple of rectangular boxes.

Realistic sketch of anything. Sorry, ArtRage wanted to round off all my lines.
Realistic sketch of anything. Sorry, ArtRage wanted to round off all my lines.

A cartoony sketch is very much like a realistic sketch, except that you draw while thinking about how you’re hungry. Start with an egg shape on top of a giant square food, such as a waffle. Instead of cylindrical tubes draw a couple of bloated hot dog shapes. Instead of rectangular boxes, draw mooshy dinner rolls. Then somewhere put in two dots with half-circles around so it has some emotion.

Cartoony sketch of anything. I forgot to put anything across the egg head.
Cartoony sketch of anything. I forgot to put anything across the egg head.

Now just add details to make your sketch look like the thing you wanted. Save it or scan it, and post it to your DeviantArt account with this caption:

Silly little sketch done to try getting back into the swing of things. Didn’t really come out like I figured but at least I like how that little mooshy dinner roll with the spaghetti curls came out. I’ll see if the art gods are nicer to me with tomorrow’s sketch.

Then, embarrassed by how much it is not what you thought the sketch would look like, put all your drawing equipment away for 34 months.

Sea serpent with Popeye arms and warp nacelles. He's happy, in his way.
Sea serpent with Popeye arms and warp nacelles. He’s happy, in his way.

105 Minutes Of Your Life You Won’t Get Back, Unlike Any Other 105 Minutes Somehow?


So the overhead business is that my mathematics blog had another comic-strip-review day. No pictures, but you can get to places with pictures over there. That’s something, right?

In other news, my love was directed to a pinball podcast from 2007. It features something like an interview with Python Anghelo, crazypants designer behind video games like Joust and pinball games like Popeye Saves The Earth, the game with the most intense backstory ever when you consider a Popeye pinball game really just needs to set up stuff that he can then punch.

The interview is enlightening because it tells me what it would be like to interview a Dr Bronner’s Soap Label that had gone into game design. I think the host asks two, maybe three question, one of which gets answered, and then just lets Anghelo talk. Here’s the specific episode, TOPcast show 42 from the 1st of July, 2007. In at least one point Anghelo seems to suggest he composed poems for guidance for his game concepts, and I don’t know of any of them which have come to light, but the poem for the cancelled Zingy Bingy must have been to die for. Or to kill your game division for.

For those who somehow don’t know the big names of 80s/90s pinball design: there were a bunch of big names in 80s/90s pinball design. Don’t worry about who’s who. Zingy Bingy was a concept for making an “adult” pinball game. According to legend it featured things like flippers that were shaped to resemble a part of the male anatomy which was not fingers and which could under the right circumstances grow. Also according to legend the project went on until an actual grownup at headquarters heard this was going on. That covers the essential background. Go, enjoy listening, and pause anytime you start feeling dizzy.

Another Blog, Meanwhile Index

The Another Blog, Meanwhile index rose two points before trading was suspended in order that everyone could make valentines to give to all the other traders, thank you. Also to wonder about people who complain that they make kids give valentines to everybody else in class these days because they’re all pretty sure that’s the way it was done back when they were kids too, and it’s not like it was any hassle back then.

103

Meanwhile In Cyborg Spinach News


While we were all busy with whatever it was keeps us busy BBC News had this article: ‘Bionic’ plants can detect explosives. And while all we children of the 70s are thinking of a field of grain waving in extremely slow motion while that na-na-na-na-nanananana sound effect somehow suggests … speed or strength or something the lede tops us:

Scientists have transformed the humble spinach plant into a bomb detector.

I bet they’ve also made it not so humble either. I can picture spinach plants now calling out to other plants in the area. “Yo, eggplant over there, you ever save lives and protect property? Huh, how about that. Hey, broccoli! You ever detect a bomb? I thought not! Ooh, you sprig of lemon balm! You — oh, wait, never mind,” it says, falling back, as it remembers lemon balm’s courageous service for spinach’s father in the Clome Oven Wars. So it’s not completely full of itself. But it’s lost a certain natural humility too.

Researchers said they meant this as a proof of concept, that concept being that they can now get lunch to message their iPhones. This could see a future in which the whole process is fully automated and none of us have to interact with the salad courses ever again. Should be a great future we’re making somehow.

Here is the necessary link to that crazypants Popeye pinball game backstory. You’re welcome.

Another Blog, Meanwhile Index

The Another Blog, Meanwhile index rose four points, bringing it back to the 100 that it started at so very long ago. Now traders are split on whether they should call the whole thing off as a near catastrophe narrowly averted or whether the whole sub-100-era should be written off as a learning experience and they’ll do much better now. Ah, but imagine if we were able to learn from experience. What would be totally different, wouldn’t it?

100

Coming Soon To Meridian Mall


Sign on an empty storefront: 'FunShop X-treme: Coming Soon To Meridian Mall'. There's a reflection of me broken up by the division of panes of glass so it kind of looks a little like I have a third leg, if you don't know how reflections work.
Photograph taken by me, using my iPod on one of those peculiar days when I had three legs. It’s surprisingly easy to get used to, as my only actual dance style is to shuffle one way and then the other, following the patterns of the WiiFit Step Aerobics dance, and for that it doesn’t really matter what the extra leg is doing.

It’s the X-Treme nature of this that makes it so thrilling! While it’s too soon to say for sure what’s coming, my guess is “1997”.

And as usual for the day before Monday I talked about comic strips over on my mathematics blog. It’s friendly territory. I say something nice about Ernie Bushmiller’s art, the way everybody says nice things about Ernie Bushmiller’s art.

(The Meridian Mall is my favorite place to buy a dime’s worth of longitude.)

Another Blog, Meanwhile Index

The Another Blog, Meanwhile Index rose five points over the course of the day, owing to traders being undecided whether it should rise ten points or whether it should just stay right where it was since that had been working out so well for everyone. They compromised and everyone thought that a great idea except for the one who thought it should have just risen five points in the first place, and complained everyone stole her idea.

135

Statistics Saturday: Seven ‘Kabibble Kabaret’ Exchanges That Are Not Actually Jokes


I can’t help it. They’re awful and yet compelling for some reason. I’m sorry, so very sorry. Dates are when the vintage Thimble Theatre reprint with the Kabaret exchange appeared on ComicsKingdom.com which you should totally subscribe to if you like comics at all. The vintage strips alone are worth the price.

  1. Dear Mr Kabibble,
    Is music the food of lovers? — Z.V.
    I know a lot of couples that are on a more than eighteen day diet. (17 June)


  2. Dear Mr Kabibble,
    Do you know what love is? — T.V.
    No — but I was kicked by a mule once! (24 June)


  3. Dear Mr Kabibble,
    Does a jilted lover really die of a broken heart? — L.R.
    I do not care to discuss the movies (5 July)


  4. Dear Mr Kabibble,
    Shall I propose marriage to a girl I know only for a week? — T.G.
    If she remembers you, I think it O.K. (7 July)


  5. Dear Mr Kabibble,
    Do women like men who ignore them? — L.R.
    You can’t ignore that kind, brother. (8 July)


  6. Dear Mr Kabibble,
    What do you think of husbands who go on vacations without their wives?
    Why, then, think of the husbands (16 July)


  7. Dear Mr Kabibble,
    Why do lovers always quarrel? — L.R.
    Can you imagine what they could do with a reason? (21 July)


L.R. has a lot of problems.

(You can nearly correctly suppose everything else parsed as a joke, specifically, “wives they so awful amirite fellas”. Honest. If you were trying to do a bit about hacky, misogynistic comedy of 1930 you wouldn’t imagine boldly enough to get at some of that stuff.)

Something For Fans Of Bad Stuff


Comics Kingdom runs a bunch of vintage comic strips. Among them they’ve got the original, 1930-era Thimble Theater. That’s from the time when Elzie Segar introduced Popeye to his comic strip. The current storyline is the one during which Popeye really took over. He’s going up against the Sea Hag, that’s just all about Popeye. None of the former cast is ever going to be the protagonist again.

Thing is, the last couple weeks, they’ve been running something extra. Whatever source Comics Kingdom has for the daily strips has included a weird little extra. It’s billed “Kabibble Kabaret — By Hershfield”. It’s from humorist Harry Hershfield, who created the ancient comic strip Abie the Agent and who apparently ran this in Chicago papers in 1922, and New York City newspapers from 1926 to 1935. And this little panel, a quick little daily joke, is exquisitely bad.

They’re mostly hacky, ancient jokes about what an awful thing marriage is, like:

Dear Mr. Kabibble,
Do couples profit by their mistakes? – J.J.Z.

No = LAWYERS

Some are almost incomprehensible anymore, like this one originally from the 8th of January, 1930:

Dear Mr. Kabibble,
Do women like cavemen? – N.Z.

Most men are afraid to prove it

What Hershfield and the totally non-made-up N.Z. are getting at is this old idea of the different types of seductive men. One of the types was the forceful-brute-caveman type. I know this because I like silent movies and there’s a streak of comedies wherein, like, Harold Lloyd has a fantasy of dressing up like Fred Flintstone and dragging off a Jobyna Ralston-class actor. It’s solidly funny because, well, Harold Lloyd could be funny putting on his glasses. Here, well, it’s just weird. Lloyd probably should’ve used it on a Nola Dolberg type instead.

In the main feature, among other stuff, a cop that's lost at sea with Popeye declares, 'Well, blow me down!' And Popeye says, 'Quit stealin' me stuff - ya ain't no sailor.' In the Kabibble Kabaret, 'Dear Mr Kabibble, Shall I leave my husband while he's rich? - K.V.. Answer: That will make him the world's richest man.' Yeah.
Elzie Segar’s Thimble Theatre and Abe Hershield’s Kabibble Kabaret for the 14th of January, 1930, rerun the 27th of June, 2016. Putting aside everything else, it’s pretty great that Popeye has been in the comic strip not quite a year at this point and in the third panel he has to tell the cop to stop stealing his lines. It’s neat seeing how modern-meta they could be back when you didn’t know how much they did that. (Sad to say the cop seems to be dropped after this story. He’d be the most interesting character in Thimble Theatre if he didn’t have the bad luck to be up against Popeye. You have to feel for him. It’s like being stuck in Wings with Paul McCartney sucking up all the oxygen.)

I have been cutting down on how much stuff I read for its ironic value. Too much snark is a bad thing for the soul. But this — this really hits some magic combination. The jokes are escapees from Fred Allen’s Graveyard of Dead Jokes. The social mores have shifted enough it’s hard to get why many of them are supposed to even parse as jokes. And they’re told so compactly that rather than having telegraphic snap they read almost like gibberish. Take this:

Dear Mr. Kabibble,
Shall I give my husband a lecture when he comes home late? – T.R.

He probably came from one — they go on for days sometimes

It’s like they’re designing this specifically for me to find it compelling.

And I will admit there’s a couple salvageable jokes there, or ones that I can imagine working with the right delivery. And the occasional one that I think just works as it is, eg:

Dear Mr. Kabibble,
Is love what it used to be? – N.K.

Why, what was it?

Still, though, overall. Wow.

On Things You Can Touch Or Punch


I was with a friend at the local hipster bar. I mean my local hipster bar. We weren’t anywhere near his. I know I talk about it a lot as the local hipster bar, but please understand. Their new logo is a rendition of their raccoon puppet, holding a couple of fireworks and a can of beer that’s labelled “Ham”. It’s a fine place and they’ve started having glazed-pottery nights.

My friend got to mentioning something or other coming up, and how he hoped it would go, knock wood. And he knocked on the bar. To this extent all seems well. I’m pretty sure the bar is wood and his knocking was in fine mid-season form. He carried off the knocking with no injuries and no dryads left stranded on base.

It got me thinking about the custom of knocking wood. It’s a good-luck gesture. It’s supposed to work by getting the attention of the wood-spirits who overheard you. You can see why that would work. Gumans drawing the attention of supernatural spirits has worked out well for the human according to every legend ever. “Well,” say many humans in these legends, “drawing the attention of that naiad or whatever it was sure has cured my problem of not being turned into a grasshopper!” Or else, “I used to think there was no way I would wake up chained every morning to be torn apart by hyenas. Then I stumbled into that pooka drinking party!” “I didn’t ever used to have a ferocious lightning-beast living in my belly button. But then thank goodness I fell through the wall of that Shinto shrine!”

Still, apparently the knocking of wood does help, if we can take any guidance from how rarely people at hipster bars get their eyes dipped in magic nectar so they can see the fairy creatures and then have their eyes gouged out so they can’t see the fairy creatures anymore. It did get me to thinking about one of those little cross-cultural differences. The English, I understand, merely touch wood, tapping the nearest piece lightly, rather than rapping sharply on it.

Full disclosure: I’ve never been a dryad. And I couldn’t find any to interview before deadline. I have to think if I were one, though, I’d be more inclined to do favors for someone who tapped me rather than knocked on me. It’s got me wondering about the cultural differences. Why should Americans figure the best way to get a magic spirit to do what you want, or at least leave you alone, involves punching it?

Well, because Americans are good at punching, I admit. Look at the great legendary figures of 20th Century American Culture: Popeye, Superman, Dwight Eisenhower, Muhammad Ali, Mary Richards. They’re all people who punch through problems. Even Captain Kirk only used his phasers when he couldn’t punch for some reason. And they’re all pretty successful so maybe they have something with their punch-based plans.

At least they look successful. But, like, if you watch the cartoons Popeye gets shipwrecked a lot. Probably that’s because he has more chances at shipwreck than the average person. Someone in, say, Havre, Montana, who never enters a body of water bigger than a coin fountain might expect to be shipwrecked only eight times in her life. Popeye must run a higher risk. Still, you have to wonder about if he shouldn’t pass up on sailing in favor of a punching-based lifestyle.

But punching is a cherished part of American culture. One of the leading myths of the early 19th Century Mississippi River valley was of Mike Fink, a bombastic, tough-talking, hyperactive bully who spent his time punching, shooting, or punch-shooting (punching with a gun) everything he could find, especially if it wasn’t a white male. His friends explained he was really a great guy, just you had to understand his point of view, before he punch-shot you. But that’s what friends of sociopaths always say so that they don’t get punch-shot-punched next.

I can’t draw any big conclusions about British touching and Americans knocking wood, though. Most of the differences between British and American cultures were invented by the Tourism Boards in 1958, so that people could share stories of how different things were on their vacations. I’ll bet any number of British people who don’t care about tourists knock wood whenever they feel like.

It still seems risky. I’d stick with touching, or if it wouldn’t be redundant buying the wood-spirits a round. Culture is a complicated thing.

Oh Yeah, The Katzenjammer Kids Ended Nine Years Ago And Nobody Noticed Until Now


Back when the first rumors of Apartment 3-G‘s cancellation came I wrote that King Features pays someone (Hy Eisman) to draw The Katzenjammer Kids, which “can only make sense as a point of pride”. It’s the longest-running syndicated comic strip, originally created in 1897 by Rudolph Dirks. In its day it had many imitators and, following a creators-rights dispute, a long-running duplicate strip The Captain And The Kids also created by Dirks. Its popularity has declined, certainly, what with Dutch humor taking some serious hits from the sinking of the General Slocum and the end of vaudeville and the World Wars and all that. But it was still there, logging in one new Sunday strip a week for an alleged fifty newspapers worldwide. A distribution of “about fifty newspapers” is what they claim about any strip that nobody has found in actual newspapers in living memory.

And then a couple weeks ago, in the wake of 3-G‘s sad end, rec.arts.comics.strips maven D.D.Degg — who tracks the start and end dates of comic strips — noticed something. King Features Weekly Services, which had distributed the comic strip, no longer listed it. Degg’s searches through feature directories found that in 2015 the strip was listed as “reprints only”. The 2013 directory didn’t say anything about it being reruns only. This naturally led to the question: when was the last new Katzenjammer Kids published?

The Captain writes out his New Year's resolutions: fixing the roof, getting more exercise, all that. Momma points out he resolved them each of the last five years too.
Hy Eisman’s Katzenjammer Kids for the 1st of January, 2006. Probably the last new New Year’s comic strip for the venerable but not actually read comic strip. Yes, I get the dramatic irony in it being about repeating New Year’s resolutions.

Eventually, Michael Tisserand with The Comics Journal did the ridiculous and contacted Hy Eisman. Eisman reported (says Degg of what Tisserand said) that the last Katzenjammer Kids comic he drew was in 2006. Nobody has been able to find any publicity or news attention given to the longest-running comic strip going into reruns. But Degg did discover that King Features mentioned right there in its 100th Anniversary supplement to the newspapers that the comic strip ended in 2006.

If I can work out, or find someone who has worked out, when exactly the new strips ended I’ll pass that on. (Comics Kingdom’s web site includes the strip going back to October of 1998 and there might be a hint in the copyright notices.) Or I’ll just wait and freeload on Degg’s work. Eisman is still, reportedly, drawing new Popeye strips for Sundays. But it does strike me that in 2008 the Sunday Popeye strips dropped a storyline in which Wimpy was running for Mayor without resolution. And his maybe running for Mayor was mentioned again in 2012. I haven’t caught an exact rerun yet, but now there’s reason to be wary.

A Note To My Seven-Year-Old Self, Who Can’t Even Recognize Me


Hi. OK, yes, it’s a week and a half after Thanksgiving and the only leftovers we have left are pies. Two kinds of pie. No, it’s really me. I swear. There’s good reason that we have pie left over that long: we didn’t eat so much pie as we figured. No, I swear, it’s me. Um.

No, I am not now the astronaut who draws Popeye. Well. Yeah, see, it turns out that drawing Popeye is a bad use of astronaut time. And astronaut work is a bad use of Popeye-drawer time, too. No, I swear to you, this really is me. Um. Well, no, I’m not an astronaut. They don’t need a lot of astronauts and I went through my 20s and 30s weighing like three times what an astronaut should. No, I don’t draw Popeye either. They don’t need him drawn so much these days either.

Well, there is good stuff, like, I’ve had pizza with the guy who plays Father Guido Sarducci. Who you don’t know, but trust me, in a couple years you’re going to be impressed by that. Oh, Dad knows who that is. He’ll think it’s neat. Anyway, uh. Hey, you know, it’s okay sometimes to eat only one bagel, instead of two or three, even though it’s so much harder to stop eating bagels. Also every movie or TV show about a circus is going to disappoint you because they’re all about how the circus can’t pay its mortgage. The people who make movies honestly believe that people fantasize about being part of a circus with money problems. Nobody knows what’s wrong with movie makers.

We’ll probably have the pie finished off in a day or two. No, none of them are minced meat pie.

Caption This! Contests On The Starship Enterprise


Troi, Riker, and O'Brien are sitting up on the beds in sickbay. That's most of the action.
The 24th Century enjoys a great number of medical advances, but the one that makes the biggest difference is they have shiny blankets.

Troi, Riker, and O’Brien rehearse for the deciding round of this year’s Sit Like Kermit The Frog Contest.


Right caption? Wrong caption ? Let me know if you’ve got a better. Also, my mathematics blog talks more about comic strips, and you’d be stunned how quickly I’m able to get from a Popeye strip into demon-summoning!

Popeye On Another Roller Coaster


Amusement parks are great places for cartoons. By definition an amusement park is the sort of strange, surreal place where anything might happen. And a cartoon is a way we represent the potential for reality, without losing the sense that something else might happen yet.

Popeye would go back to amusement parks several times. Surprisingly few times, I’d say, given the potential for Popeye to show off his superhuman prowess, and for the ability of an amusement park to provide any setting or prop useful. But for this week let me share Abusement Park. This was originally released to theaters the 25th of April, 1947, so it’s more nearly seasonally appropriate than King of the Mardis Gras, despite its other shortcomings.

The biggest shortcoming is that Jack Mercer doesn’t act in it. Mercer was the voice of Popeye most of the time from 1935 up to his death in 1984. But there were exceptions, such as a streak from 1945 to 1947 when he was, if I’m not mistaken, in the Army. In this cartoon Harry Foster Welch voices Popeye. Welch performed for most of 1945-to-1947. Abusement Park happens to be the last time he performed the character. His isn’t a bad voice, and he plays Popeye reasonably well, I think. It’s just hard escaping the most common performance.

The plot’s also a bit weaker than King of the Mardis Gras, I think because the earlier cartoon presents Popeye and Bluto trying to appeal to a whole audience, rather than attending just to Olive Oyl. There’s somehow a difference in trying to draw a crowd to trying to win a single woman’s attention. Also, and I admit this is a silly thing, but it has always bothered me, since childhood, that Popeye blows into a telephone and explodes a lighthouse. It’s not that I don’t think he could do it. It’s just such a jerk move. Sometimes the parts of the cartoons where Popeye shows off his strength forget that he’s also supposed to be nice.

As before the action ends on a roller coaster, an impressively gigantic one. While the action runs nicely wild — if you’re not satisfied with a battle fought in midair along a chain of elephants we just don’t have anything in common — Famous Studios doesn’t make use of the 3-D settings the Fleischer Studios did. I wonder if they even had the equipment anymore. There aren’t the wonderful and hypnotic movements along the course of the roller coaster track, where all those structural supports move in perspective. The roller coaster itself gets panning shots, or gets shunted off-camera fast enough. It doesn’t look bad, mind you. But it’s hard not to conclude the animation for this roller coaster sequence was a lot less trying than that for King of the Mardis Gras. The chipping away at budgets and animation and effort that would make 1950s Famous Studio cartoons such a chore weren’t bad yet, but they were coming.

Popeye is the King of the Mardi Gras


I want to do some more amusement park/boardwalk shorts for July. I’m not aiming exclusively at cartoons, but they do offer some great examples of amusement park action. Probably that’s because they can actually be as wildly out of control as amusement park cartoons like to present themselves as being. (Of course, a cartoon is a thoroughly controlled medium. A real actor can ad-lib a facial expression or a bit of movement that even the best cartoon can’t. Freedom and control are weirdly entwined concepts.)

The Popeye cartoon King of the Mardi Gras was released the 27th of September, 1935. Really, what is the better time to watch a cartoon with Mardi Gras in the title and its catchy recurring song than six months after Mardi Gras? Or, for that matter, to watch a cartoon that says it’s happening at Coney Island than a month after the end of summer? I’m not sure they understood calendars back then.

Anyway. It’s a black-and-white Popeye cartoon, so you know already it’s almost certainly worth the watching. Wikipedia asserts this to be the first time Popeye’s voiced by Jack Mercer. Mercer would be the default voice for Popeye until 1980. There’d be a few substitutions, mostly while Mercer was in the Army. But whether Fleischer Studios, Famous Studios, King Features Syndicate, or Hanna-Barbera, Mercer would be the default voice. Even in this first appearance he’s got the voice down. The performance doesn’t have to change much to be right.

The plot’s got a nice natural build, with Bluto and Popeye taking turns out-doing one another’s stunts. It gives Bluto maybe the best line, too, the wail of everyone who’s tried to make a living as an artist on the Internet: “Don’t anyone want to see a man choked to death — free?”

Since the cartoon dates to 1935, the Fleischers make use of some live-action backgrounds, for a wonderful three-dimensional rendering of the amusement park. It’s gorgeous. And it’s almost a touchstone for roller coaster history, too.

At about the 40-second mark there’s a view of a roller coaster with a loop. That’s a curious choice. There were no loops on roller coasters in the 1930s. There were a handful of roller coasters that did loops made before about 1910, most of them with names like “Flip Flap Railway” or “Loop the Loop”. But these weren’t terribly successful. They didn’t carry many passengers per hour, and they weren’t very good rides, by accounts. These Loop the Loops were built before the innovation of “upstop wheels”. Those are the sets of wheels that clamp roller coaster cars to the top and bottom of the tracks. That keeps the car secured tightly to the track. Without those, though, a Flip Flap car would have to stick to the track by going so fast it couldn’t possibly drop off the loop. The result is the ride has to be not much except one small, tight, neck-breaking loop. So after a few seasons of this, the rides quietly disappeared before World War I.

In the 1970s new roller coasters, mostly using steel tracks, would make loops that could be more graceful, and less painful. As a result loops have almost become the default element of a roller coaster ride after the first drop. Sometimes before.

In the climax, Bluto runs off with Olive to a ride billed as a “Thrill Ride Scenic Railway”. “Scenic Railway” is indeed an old name for roller coasters. This normally connotes a ride that’s slower and less thrilling, but that takes one past tableaus of, well, scenery. There are few of those left, especially with scenery still intact. The only one the Roller Coaster Database lists as still operating is The Great Scenic Railway in Luna Park, Melbourne, Victoria, Australia. There’s another at the recently-reopened Dreamland in Margate, Kent, United Kingdom, but it’s not yet opened. That’s a real pity, as that roller coaster dates to before automatic braking. A railroad brakeman has to ride with the car and slow it at the right moment. Imagine!

At about 7:26 there’s a fun sequence on the Scenic Railway where the track rolls a bit side to side, one side of the track going higher than the other. That’s a fun ride element known as “trick track”. It was popular in the 1920s, but faded out of use after that. The only roller coaster I’m aware of that still has any is the Shivering Timbers ride at Michigan’s Adventure, in Muskegon, Michigan. I don’t see why it’s gone extinct. It’s a fun and seemingly easy way to add excitement to what would otherwise be a straight block of track.

Just before that is a moment of the roller coaster going in a bow-tie loop. I don’t know if there were any early roller coaster that did that. There are modern examples of this, such as Magnum XL-200 at Cedar Point in Sandusky, Ohio. I am curious whether the animators were building on stuff they might have ridden, or remembered hearing about, or were just imagining what might someday make a thrilling ride.

The Scenic Railway, besides its fun for an amusement park buff, is also an artistic triumph. The wooden roller coaster requires drawing a lot of track structure, in perspective, and moving quite rapidly. The Fleischers don’t skimp on that. I like to believe the work that’s gone into that makes the action funnier. But I admit I’m also amazed they didn’t build models of a railway and use pictures of that for the foreground railroad. That would have to have looked at least as impressive.

Statistics July: Or, Statistics April, Another Time


The mysterious drop in readers continues. I heard a rumor that WordPress’s statistics page has started failing to count views from mobile devices. I don’t know if that’s so, although it would explain why the number of readers here and my mathematics blog collapsed simultaneously, and why other statistics-watchers reported similar sudden drops. My mathematics blog has struggled back above the 1000-reader mark, I believe because of the Mathematics A To Z glossary project that got me posting something nearly every day. I can’t repeat that here, though, since I already post something every day, and posting two things in a day would just be madness.

Anyway, the number of page views in June was a mere 739, down from May’s 759 and April’s 808. The May and June numbers are nearly the same number of views per day, though, so perhaps I’ll see an uptick in July.

The number of unique visitors rose, though, for the third month: from 303 in April to 359 in May to 380 in June. That’s almost got me up to where I was in October, when I accidentally got noticed by fans of the Kinks. It’s the right direction anyway. This does mean the views per visitor has dropped for three months, from April’s 2.67 to May’s 2.11 and then to a mere 1.94 in June. But I can take mere, if there’s enough of it.

Might not be enough, though. There were 365 likes recorded for my pages in June. That’s down slightly from May’s 380 and more from April’s 402. It’s not awful, though. The number of comments was down. There were 108 in April, and 81 in May, and only 59 in June. I need to start asking more open-ended questions, I guess, and giving obviously wrong answers to inspire reader enragement.

WordPress tells me I start July with 585 viewers, and that I just crossed 18,000 total views on the 1st of the month. The 18,000 is a nice and orderly piece of data.

What were the most popular posts in June? Sayeth WordPresseth:

The United States as ever sent me the most viewers (546), with the usual Anglosphere nations following up: Canada (45), Australia (43), the United Kingdom (24), and New Zealand (13). India gave me five readers in June, too, up from two.

The single-reader countries were the European Union (?), Italy (see what I mean?), Mexico, Morocco, Russia, and South Africa. None of them are single-reader repeats.

Finally, I’ve read advice that it’s worth reminding people how to follow your blog, so that people who read it can be nagged into reading it again. This seems logical. Since I’m right now on the Twenty Fourteen theme here, there’s a green button on the upper left that reads “FOLLOW, PLEASE” which is good for that. On my machine the FOLLOW is split between two lines, because that somehow makes sense to the computer as a thing to do. Maybe it would be different if I changed to Twenty Fifteen.

If you have an RSS reader, then I agree with you that’s a good way to follow posts and I don’t know why it’s getting so hard to do that anymore. Anyway, https://nebusresearch.wordpress.com/feed/ will give you my posts. https://nebusresearch.wordpress.com/comments/feed/ should give you comments, too. And my regular old Twitter account is @Nebusj, which is about what you might figure except I sometimes chat with people you don’t know about things you have to kind of guess about. We’ll see.

Popeye Space Ark 2000 Pinball … Reconsidered


A while back I talked about the backstory Python Anghelo designed for the pinball machine Popeye Saves The Earth. I hesitate to call the backstory “crazypants”. I don’t want to wear out a good term by overuse. Also “crazypants” is inadequate to describe it. “Crazypants, crazyshirt, crazysocks and crazyshoes, crazyblazer, crazysheltered from the crazybuckets of crazyrain by a craizywaistcoat and crazyumbrella” gets more at it. Somehow Anghelo, most famous for Joust, had a strange vision for Popeye. Joust you’ll remember as the “medieval knights in space using ostriches to bludgeon pterodactyls” game.

The plan sketched out had Popeye bothered by the hypodermic needles Olive Oyl finds on the beach. So he buys the Glomar Explorer. With the help of Al Gore and H Ross Perot, he launches a space ark with two of every animal in the world. They journey to such worlds as Odorsphera, where the natives’ lack of noses causes the planet to smell terrible; a planet of spotted and striped people; a planet where everything is red; unisex gay world; and a planet with three moons. Finally they land back on an Earth ruined by total ecological collapse, with the few, disease-ridden human survivors resorting to cannibalism. Was the game as fun as this preliminary concept suggested?

Back in the 90s we didn’t think so. Usenet newsgroup rec.games.pinball judged this Bally/Midway table to be the worst thing humanity had accomplished in at least 875 years. It was so awful the group sentenced the game to the ignominy of having its name rendered without vowels. I believe they’re still calling it “P-p-y-” over there. And I’m not joking: nobody on the group questioned whether “y” served as a vowel in this context.

Cute picture of Popeye, Bluto, and a number of animals looking concerned or indifferent on a ship, with the Earth and Moon in the background.
Side art on the pinball game Popeye Saves The Earth. I do not know how Popeye (right) accidentally sailed to translunar space.

But I got to play the game this past week. I wanted to share my impressions of how the game lives up to its crazystuff potential. Sad to say, not much of the concept makes it into the game. What is there is just enough to baffle people who hadn’t read the nine-page document. For instance, there’s nothing in the game suggesting Popeye is going into space with any of the animals. Sure, the art on the side of the machine shows the Earth and Moon in the background of Popeye’s ark. But it also shows an eager young raccoon perched atop a giraffe who’s weighted down with a heavy, Funky Winkerbeanesque ennui. That could mean anything.

Animals bunched up on a space-going ship. At the back of the ship Bluto is being whalloped by various animals including a monkey.
Side art on the pinball game Popeye Saves The Earth. Far right, Bluto is whacked by a monkey.

There is an environmental theme, with Bluto locking up animals that Popeye frees. And there’s these Bluto’s Cartel shots. In them Bluto does stuff like put bricks up across the video-display scoreboard. This the game explains as Bluto’s Earth Pavers. It’s always nice to see a shout-out to Usenet foundational group alt.pave.the.earth. But if Bluto is paving the Earth one cinder block at a time, he’s really not much of an environmental menace. Over a normal working life he might be able to pave, like, something the size of Rhode Island with cinder blocks. But that’s not so much of the Earth. Also he’s building walls, which are vertical. The surface of the earth is more horizontal, like a floor. If Popeye left him alone he’d probably screw up some wind farms and make a nasty shadow but that’s it.

Another Cartel challenge makes it look like you, as Popeye, and Bluto, as Bluto, are winching control wheels to drown the other in a tank of water. That’s a misunderstanding created by not paying attention when the challenge gets started. In fact you and Bluto are trying to drown one another in a tank of oil.

And that kind of describes the game. The playfield has a lot of fun art of animals lounging around or singing to themselves. There’s also tiger- and lion-men paying shuffleboard with turtles who are either really big or the lion- and tiger-men are really small. Lion- and tiger-men really aren’t endangered. Heck, they take over Pittsburgh one week every summer for Anthrocon. They don’t need Space Popeye. The game is full of mysterious asides like this. Like, I get why Wimpy would put a bottle of catsup in a champagne bucket, but why would Popeye put a wrench in his?

Fun play field art of animals in comic action, mostly. Lion- and tiger-men playing shuffleboard with turtles, an iguana sprawled out over the 'Special' score light, that sort of thing.
Playfield detail on the pinball game Popeye Saves The Earth. I’m not sure the penguin in the center at the bottom is doing a fan dance with a tablecloth but cannot rule it out.

The video screen has some fun animations, must say. And the voice acting is not bad, considering that everybody born before 1980 learned how to do Popeye’s voice except the people hired to do Popeye’s voice in projects like this. And the game with everything working is not so bad, though I bet it broke all the time in annoying ways in actual arcades. And I could point out gameplay issues that make you hate everybody who takes pinball seriously, but why? The game probably deserves to have at least two of its vowels restored.

Koala on the edge of the ship, staring down. I may be reading a sense of despair into its expression that the artist didn't intend.
Side art on the pinball game Popeye Saves The Earth. The koala contemplates the complicated ways of fate while sitting at the prow of a space-going ship.

So, in conclusion, may I point to the side art again and ask: is that koala on the edge of Popeye’s space ark contemplating suicide? It’s a strange and disappointing game, but humanity has probably done worse things in the last 875 years. Well, 886 at this point.

Some Stuff To Look At


Over on my mathematics blog, yes, I looked at comic strips again. No equations, I promise.

Otherwise I’d like to bring people’s attention to Comics Kingdom, the web site for King Features Syndicate. They have a great selection of vintage comic strips, mostly soap-opera and story comics. And they’ve just added Elzie Segar’s Thimble Theatre, or as every person in the world knows it, Popeye. My love and I are a bit Popeye-mad and this is a chance to read him as he was introduced to the world, one strip a day.

Castor Oyl and Bernice the Whiffle Hen are haunted by a mysterious, shrouded figure.
Elzie Segar’s Thimble Theatre (Popeye) for the 1st of January, 1919. Popeye is a few weeks from being introduced and taking over.

The reruns are beginning from about three weeks before Popeye makes his debut. This does join the story — centered around the magical Whiffle Hen, Bernice — several months into its run. Some folks on Usenet group rec.arts.comics.strips have complained about that. I don’t think it’s a bad decision, though. Segar is good about explaining the story to those joining it in progress. And the strip pre-Popeye is competent but a bit dull; Popeye explodes across it and takes over by about his third sentence. Better to get to the good stuff sooner.

Statistics May: Or, Statistics April, Continued Again


Finally I have a window to explore the strange state of my readership statistics. I’d had a weird, catastrophic drop in my readership, from 1,053 views by 483 visitors in march down to 808 views by 303 visitors in April. That trend … well, in May the number of views dropped to 759, though the number of unique viewers rose back to 359. I don’t know what to make of this. The number of views per visitor was more in line with what I’d expect. That was 2.11 in May, compared to April’s anomalously high 2.67. March was 2.18, which is about what I expect.

Still, the number of likes received over the month dropped again: from 443 in March, to 402 in April, to 380 in May. The number of comments similarly fell, from 113 in March to 108 in April to 81 in May. Perhaps I just didn’t have subjects that lent themselves to cross-chatter? Or that might reflect the end of the First Betty Boop Cartoons project, since listing all the previous firsts was counted by WordPress as a comment for reasons that make sense to WordPress’s statistics team.

If I’m reading it right stuff was basically fine except for the third week in May (the 18th through the 24th) when people just didn’t come around. I don’t see anything odd about that week’s selection of articles and cartoons and stuff, though.

Well, the month of June started at 17,231 page views, and 568 WordPress followers. Ten of them added in the month of May, so, hi there.

Now on to the popular business of listing stuff. The most popular articles in May were:

As for the popular listing of countries: the greatest number of readers in the reader-deprived month of May came from the United States (542), with runners-up the United Kingdom (33), the United Canada (28), and the United Australia (20). Sending me a single reader each were the United Belgium,
the United Bulgaria, the United Chile, the United Egypt, the United European Union, the United Finland, the United Hong Kong, the United India, the United Italy, the United Norway, the United Saudi Arabia, and the United United Arab Emirates. United Finland United is on a three-month streak of sending me a single reader. I don’t know how a reader can be coming from the United European Union considering there’s countries in it that are already listed.

Here’s some of the search terms I got. Good luck working out what they mean:

Betty Boop: Goodbye, Freddie, nice knowing you


I decided to look at another Fearless Fred Betty Boop cartoon this week. I might do one more, at the risk of exhausting his catalogue. This week’s is also Freddy’s last outing, No! No! A Thousand Times No!, originally released the 24th of May, 1935. How could I resist something so close to its 80th anniversary?

As with his debut, She Wronged Him Right, this is a story set in the frame of a theater. It’s not the same theater as in that cartoon, nor in Betty Boop’s Prize Show. So the Fleischers might be recycling general ideas, but not swiping old animation for new cartoons yet.

The cartoon is enjoyable but also confusing. The animation is merry, the story strong and funny. The framing of the stage allows for neat optical illusions and ingenious tricks to suggest how the show might be done on an actual stage. But why have the stage?

The plot is fairly strong and linear. There’s room for a few of the classic Fleischer-y flights of fancy, though, such as the Dick Dastardly-esque villain’s morphing into a wolf, and topping that by putting on a sheep costume. So why did the Fleischers bother with the framing? Why not just declare in the title that it was set in the era of the Spoof Melodrama? There’s some fun in the convention that all this is happening on stage, but several of the jokes, like the inset shots of the diamond ring or the plate of pearl-carrying oysters, would not be visible on stage. They only make sense as inset shots on screen.

I wonder if the Fleischers supposed that Betty Boop was necessarily a contemporary character who couldn’t be tossed into an arbitrary background. Popeye and, to the best of my knowledge, Koko the Clown similarly were almost always set in a contemporary world. If they were to go to medieval times there would be some explicit in-cartoon reason for the diversion. Popeye the Sailor Meets Ali Baba’s Forty Thieves is explicitly set in the contemporary world, and the Popeye cartoon Aladdin and his Wonderful Lamp is framed as a screenplay.

Yet this cartoon was released almost a year after Poor Cinderella, in which Betty explicitly plays a character and successfully so. Perhaps, having experimented with the Spoof Victorian Melodrama and this framing device before, they felt the need to stick with it.

It’s a shame because at least part of the dullness of later Betty Boop cartoons is that they got too similar and too routine. Betty could have played a character in a strange setting, especially in fairy tale or spoofs. Why not do more like this?