EVIL DEAD 2: DARK ONES RISING #2 (of 3)
RED TEAM: DOUBLE TAP #4 (of 9)
SILVER SURFER #7
SIXPACK & DOGWELDER: HARD-TRAVELIN HEROZ #3 (of 6)
JUGHEAD #10
KISS #1
SAVAGE DRAGON #217
BATMAN BEYOND #1
TITANS #4
DETECTIVE COMICS #943
WONDER WOMAN #9
SPIDER-MAN / DEADPOOL #10
ACTION MAN: REVOLUTION #1
DOCTOR STRANGE: MYSTIC APPRENTICE #1
SCOOBY-DOO TEAM-UP #19
FUTURE QUEST #6
WONDER WOMAN 75th ANNIVERSARY SPECIAL #1
TARZAN ON THE PLANET OF THE APES #2 (of 5)
KONG OF SKULL ISLAND #4 (of 6)
ROCHELLE #3 (of 3)
DISNEY GIANT HALLOWEEN HEX #1
LOVE & ROCKETS (VOL 4) #1

Quote from: DeCarlo Rules on October 20, 2016, 05:47:33 PM
The new Archie Double Digest came in the mail today, and it's already the Christmas issue.

. . .

Had a quick flip through the issue, and it definitely seems above average (in terms of the variety of stories and artists, with some good classic artists (from their classic period) like Lucey, DeCarlo, Schwartz, and Goldberg represented. I'll detail the stories included in this issue later when I find the time (even if I decide not to actually read them for six weeks or so).

As promised, here is the list of the complete contents of ARCHIE COMICS DOUBLE DIGEST #273:

ARCHIE in "The Christmas Elf" (6 pages) Script: Tom DeFalco, Pencils: Pat & Tim Kennedy, Inks: Jim Amash
ARCHIE in "Wrapped Up In Christmas" (5 pages) Script: Mike Pellowski, Pencils: Stan Goldberg, Inks: Rudy Lapick
ARCHIE in "Price Clubbed" (6 pages) Script: Mike Pellowski, Pencils: Randy Elliot, Inks: Bob Smith
ARCHIE'S CHRISTMAS STOCKING "Super Santa" (5 pages) Script: George Gladir, Pencils: Stan Goldberg, Inks: Dan DeCarlo Jr.
ARCHIE in "Christmas Cheer Up!" (5 pages) Script: Mike Pellowski, Pencils: Stan Goldberg, Inks: Henry Scarpelli
ARCHIE in "The Present" (1 page) no credits
YULE PUZZLE PAGE (1 page)
ARCHIE in "Wrap Flap" (1 page) no credits
SANTA CLAUS MAZE (1 page)
ARCHIE in "Sprightly Spirits" (1 page) no credits
... and thus endeth the Christmas stories, for now. There are a couple more in the back of the digest ...

ARCHIE in "Direction Correction" (1 page) no credits
ARCHIE: FRESHMAN YEAR [Part 3 of 5] (24 pages) Script: Batton Lash, Pencils: Bill Galvan, Inks: Bob Smith
ARCHIE in "Heave Peeve" (1 page) no credits
ARCHIE SWEATER FASHIONS (pin-up)
ARCHIE in "Chop Talk" (1 page) no credits
ARCHIE in "All Washed Up" (6 pages) no credits
ARCHIE in "Growing Pains" (5 pages) Script: Kathleen Webb, Pencils: Stan Goldberg, Inks: unknown
ARCHIE in "The Crossing At Devil's Gorge" (6 pages) Script: Frank Doyle, Pencils: Stan Goldberg, Inks: Jon D'Agostino
ARCHIE in "Role Model" (5 pages) Script: Mike Pellowski, Pencils: Stan Goldberg, Inks: Henry Scarpelli
ARCHIE in "1-2-3-KICK!" (5 pages) Script: Frank Doyle, Pencils: Dan DeCarlo Jr., Inks: Rudy Lapick
ARCHIE in "Take A Hike!" (5 pages) Script: Mike Pellowski, Pencils: Doug Crane, Inks: Mike Esposito
ARCHIE in "Plaidness Madness" (6 pages) Script: Craig Boldman, Pencils: Stan Goldberg, Inks: Bob Smith
ARCHIE in "AUTO Suggestion" (5 pages) Script: Frank Doyle, Pencils: Harry Lucey, Inks: Terry Szenics
ARCHIE in "Rocks In His Head" (6 pages) Script: Angelo DeCesare, Pencils: Stan Goldberg, Inks: Rich Koslowski
ARCHIE in "The Big Stall" (5 pages) Script: George Gladir, Pencils: Stan Goldberg, Inks: Mike Esposito
ARCHIE in "Homemade Mistake" (5 pages) Script: Frank Doyle, Pencils: Bob Bolling, Inks: Rudy Lapick
ARCHIE in "Shopping Phobia" (5 pages) Script: Kathleen Webb, Pencils: Stan Goldberg, Inks: Bob Smith
LITTLE ARCHIE in "Believe It Or Not" (6 pages) Script & Pencils: Bob Bolling, Inks: Chic Stone
LITTLE ARCHIE in "The Letter" (4 pages) Dexter Taylor
LITTLE ARCHIE in "Ask Me No Questions" (1 page) Bob Bolling
ARCHIE'S DAD in "Phone Frenzy" (2 pages) Samm Schwartz
ARCHIE in "Good Advice" (1 page) no credits

... and a few more pages of Christmas stories to wrap things up ...
ARCHIE in "Prize Package" (1 page) [Xmas] no credits
ARCHIE in "Picture Frame" (6 pages) [Xmas] Script: Frank Doyle, Pencils: Dan DeCarlo, Inks: Vince DeCarlo
ARCHIE in "Home Style" (5 pages) [Xmas] Script: George Gladir, Pencils: Stan Goldberg, Inks: Rudy Lapick

And now, after typing all those out, I have to retract my earlier assessment that this issue looked to me to be "above average". There are far too many stories in here written by Mike Pellowski, who was a real workhorse in churning out stories for ACP for a decade or two... but whose stories never stood out as anything more than average. The shorts by Doyle/Lucey, Doyle/DeCarlo, a couple of stories by Kathleen Webb, and one by Craig Boldman, and the short Archie's Dad by Samm Schwartz obviously caught my eye on a quick flip through, and I guess I must have been in a charitable mood after reading that new DeFalco/Kennedy story. Apart from these few nuggets, and with far too few seasonal stories, I'm going to amend my former opinion to say that this issue is resoundingly average.  Great cover by Dan Parent, though. 

Anyway, apart from the new lead story which I already read, I decided to just read all the stories after FRESHMAN YEAR (I usually just skip the continued stories when I already own the trade paperback collection), and read the rest of the digest (apart from the LITTLE ARCHIE stories, which I always skip). Then I'll put this issue aside for a couple of months and come back and read the Christmas stories in the front (which won't take long) a week or two before Christmas. In fact, that sounds like a plan (apart from the new lead stories, which I can always read again at Xmas time) for all the Christmas-themed digest issues which will be coming out.

Quote from: E.Quiet on October 23, 2016, 09:13:11 AM
I'm so late to this party, I only recently found out that Fernando Ruiz was let go from Archie Comics and just found out from DeCarlos Rules's post above that the Kennedys aren't drawing for them any more either! I'm so bummed on both counts ... is Dan Parent (who I also love) the only 'classic' artist left?
Kennedy art took a while but they grew on me. At first I didn't like the exaggerated poses and over the top facial expressions. Their work in Life with Archie totally won me over. Their work in those books opened my eyes to how the poses enhanced the storytelling as well as comedic value.
I'm enjoying the new look of Archie (so much more than Archie's "New Look" ... sorry but that first B&V story which was supposed to be "more realistic" just came off awkward and unnatural). But I did not expect that they would move completely away from the house style artwork – is that what's happening now?
Does anyone know what happened to Rex Lindsey? Does he still do work for ACP? My google-fu fails me. I feel so ill informed, just consuming these great comics and not realising what's going on for the creators.

According to Fernando, the no-longer-employed-by-ACP artists like to joke that they are "on hiatus" (a term that ACP prefers to use instead of "cancelled"). No one's been "fired" or "let go", or "laid off"... they just haven't been getting any phone calls or scripts assigned from the editor at Archie Comics (and with the exception of Dan Parent's scripting his own stories, no writing assignments are being handed out to writers, either).

The Last Man Standing is Dan Parent, who continues to draw and/or write new five-page stories for the digest titles, and some new covers, as well. There have been no new comics assignments for ANY of the other classic ACP artists. Fernando Ruiz only found out that there was no new work to be had for him at Archie Comics when he turned in his last completed story at the end of January 2016. Some of the other artists, like Jeff Shultz and Rex Lindsey, hadn't had any new scripts handed to them to draw from the editor at ACP for many months before that, but by January of this year, Bill Galvan wasn't getting any new assignments, and neither were the Kennedy brothers. In fact, I don't know for sure that ANY new stories appeared by Rex Lindsey in 2015, never mind 2016.

Well, there is the occasional fluke like the Archie Meets Ramones special that came out a couple of weeks ago, drawn by Gisele Lagace. But to be fair, it was announced a whole year in advance, which is when she agreed to the assignment. She has to work a little further in advance, because she's got ongoing commitments with her own webcomics, but even so, it was more than six months later that she finally got sent a script to start drawing. They haven't contacted her about any new story assignments since she got the one-shot, either.

So it is... how do they say in Hollywood...?  "We decided to go in another direction."   

Quote from: irishmoxie on October 22, 2016, 09:40:09 AM

Quote from: DeCarlo Rules on October 21, 2016, 03:33:25 PM
WORLD OF ARCHIE JUMBO COMICS #63 came in the mail today and I read it. It has a great Halloween party-themed cover by Dan Parent (originally slated to appear on the Halloween issue of ARCHIE' FUNHOUSE DOUBLE DIGEST from last year, before that title was downgraded from 10 times per year to 6 times per year -- so it's good it finally got to see the light of day). NO new lead story in this issue. Instead, the issue leads off with a decent Dan Parent-written (and Dan DeCarlo-pencilled) Veronica story that sort of fits into the Halloween theme. There's also the conclusion of the 4-part DeFalco/Ruiz "Man From R.I.V.E.R.D.A.L.E." story, and another 22-pager both written and drawn by Fernando, which has a Halloween theme, too (I swear I've read this one somewhere before, but I can't recall where), and another Halloween-themed story where Chuck Clayton creates a new comic feature for the school paper called Monster High (years before the multi-million dollar franchise was a gleam in the eye of toy designers at Mattel). Apart from a couple of stories that only vaguely fit the seasonal theme, that's about it. Surprisingly, after so many months of being absent from the Jumbo Comics, the "From the Vault" section makes a return appearance with reprints of Archie stories from the fifties (both the time frame of original publication, and the issue numbers reprinted). Also of note, I think I counted something like 13 or 14 pages of Reggie stories (all one-pagers, apart from a single 6-page story) spread throughout the issue. The rest of the issue was fairly mediocre, and percentage-wise, this didn't feel all that Halloween-y either.

I'm thinking of letting my subscriptions to both the ARCHIE and WORLD OF ARCHIE digests run out, rather than renewing. I'm just growing bored with them lately. I guess I'll keep going with the JUGHEAD AND ARCHIE and ARCHIE'S FUNHOUSE digests, since they're only bi-monthly, and of course both B&V digests.

What happened to the Life With Archie reprints in WOA?

Good question. Another good one would be, what happened to the Archie 1 reprints in WOA? Last month I was asking myself where the Cheryl Blossom reprints in B&V Friends digest went... a year ago, where the From the Vault reprints went to in the Jumbo digests. A year before that, what happened to the That Wilkin Boy reprints in the Jughead digest.

I can tell you exactly where the Little Archie reprints are, though. They're not in EVERY SINGLE ISSUE of EVERY SINGLE DIGEST... but they are pretty close.  DAMMIT! 

CAVE CARSON HAS A CYBERNETIC EYE #1
DARK KNIGHT III: THE MASTER RACE #6 (of 8 )
ROGER RABBIT #14 & 15 (1991)
THE INFERIOR FIVE #3 (July-Aug. 1967)
METAMORPHO, THE ELEMENT MAN #14  (Sept-Oct. 1967)
SUPERMAN'S PAL, JIMMY OLSEN #119 (April 1969)

WORLD OF ARCHIE JUMBO COMICS #63 came in the mail today and I read it. It has a great Halloween party-themed cover by Dan Parent (originally slated to appear on the Halloween issue of ARCHIE' FUNHOUSE DOUBLE DIGEST from last year, before that title was downgraded from 10 times per year to 6 times per year -- so it's good it finally got to see the light of day). NO new lead story in this issue. Instead, the issue leads off with a decent Dan Parent-written (and Dan DeCarlo-pencilled) Veronica story that sort of fits into the Halloween theme. There's also the conclusion of the 4-part DeFalco/Ruiz "Man From R.I.V.E.R.D.A.L.E." story, and another 22-pager both written and drawn by Fernando, which has a Halloween theme, too (I swear I've read this one somewhere before, but I can't recall where), and another Halloween-themed story where Chuck Clayton creates a new comic feature for the school paper called Monster High (years before the multi-million dollar franchise was a gleam in the eye of toy designers at Mattel). Apart from a couple of stories that only vaguely fit the seasonal theme, that's about it. Surprisingly, after so many months of being absent from the Jumbo Comics, the "From the Vault" section makes a return appearance with reprints of Archie stories from the fifties (both the time frame of original publication, and the issue numbers reprinted). Also of note, I think I counted something like 13 or 14 pages of Reggie stories (all one-pagers, apart from a single 6-page story) spread throughout the issue. The rest of the issue was fairly mediocre, and percentage-wise, this didn't feel all that Halloween-y either.

I'm thinking of letting my subscriptions to both the ARCHIE and WORLD OF ARCHIE digests run out, rather than renewing. I'm just growing bored with them lately. I guess I'll keep going with the JUGHEAD AND ARCHIE and ARCHIE'S FUNHOUSE digests, since they're only bi-monthly, and of course both B&V digests.

The new Archie Double Digest came in the mail today, and it's already the Christmas issue. It's been unseasonably warm around here the last few days, so it felt weird reading Xmas stories a week and a half before Halloween. Nevertheless, I couldn't resist reading the new lead story, by Tom DeFalco and the Kennedy brothers. I can't recall ever reading a bad Archie story by DeFalco, and this one certainly didn't break that rule. Y'know, some of the shorts (this one was actually SIX pages) are sort of 'lukewarm'... they're okay, but they don't make much of a lasting impression. This was a sweet little Xmas tale involving Archie, Betty, Jughead, and Veronica, and one of the better Xmas shorts, IMO. It put an unusual spin on the usual triangle troubles due to the influence of Forsythe P. Jones, and had a nice little ending.

Were the Kennedy brothers this GOOD three or four years ago? I might be wrong about this, but I don't think so...  They really seem to have come into their own signature style, but at the same time, it's totally classic. I can't think of any other ACP artists that went from average to stellar in such a short time -- if there were an award for the most improved artwork, it should go to the Kennedy brothers. I assume it's an inventory story (but it can't be from too long ago, because there's a reference to "that television show" The Speedster -- obviously they're talking about The Flash, and that hasn't been on TV that long, has it?), but if the Kennedys hadn't been let go, they'd be offering a serious challenge to Dan and Fernando -- I really believe they've gotten that good. I wish they were working on some comics of their own similar to classic Archie, because the comics industry sorely needs artists like them.

I still haven't decided if I'll read the rest of this digest or hold off for a couple of months until it gets close to Xmas. Had a quick flip through the issue, and it definitely seems above average (in terms of the variety of stories and artists, with some good classic artists (from their classic period) like Lucey, DeCarlo, Schwartz, and Goldberg represented. I'll detail the stories included in this issue later when I find the time (even if I decide not to actually read them for six weeks or so).

Quote from: steveinthecity on October 20, 2016, 02:26:01 AM

Quote from: DeCarlo Rules on October 19, 2016, 05:04:21 PM
ASTONISHING ANT-MAN #13 - The ending of this storyline seemed to indicate this might be the final issue? I'm not sure. I'll miss it if it is.

Yeah, Ant-Man is done, Spidey is scrapped as of #12, and there's at least a dozen more on the chopping block. I know Avengers and Captain Marvel will be starting over with new #1's, but that's about all the specifics I remember.  I'm quite weary from all these stops/starts/relaunches.   

I guess I could hope that (as seemed to be indicated at the end of the story) it might get relaunched with a new "NOW" #1 as ANT-MAN AND STINGER. While nowhere close to one of Marvel's better sellers, it was more of a middle-ish seller, along with titles like SILVER SURFER and SQUADRON SUPREME.

It sold better than things like PATSY WALKER AKA HELLCAT, SQUIRREL GIRL, and MOON GIRL AND DEVIL DINOSAUR, which seem to be continuing... or are they? Can't say that the end of SPIDEY was a shock, as it was really at the bottom end of Marvel's sales, but those others I mentioned can't be that far ahead of it, either.

DARK HORSE PRESENTS #26 - Only read the "Once and Future Tarzan" story.
ASTONISHING ANT-MAN #13 - The ending of this storyline seemed to indicate this might be the final issue? I'm not sure. I'll miss it if it is.
STAR TREK: BOLDLY GO #1 - The post-Star Trek Beyond universe adventures. Don't think I'll continue with this title.
POWER RANGERS: PINK #4 (of 6)
EVIL DEAD 2: DARK ONES RISING #1 (of 3)
EVIL DEAD 2: REVENGE OF DRACULA (one-shot)
EVIL DEAD 2: REVENGE OF THE MARTIANS (one-shot)
WEIRD DETECTIVE #5 (of 5)
SPELL ON WHEELS #1 (of 5) - Bit of a disappointment. Couldn't get into it. Won't be continuing.
PATSY WALKER AKA HELLCAT #11
ASTRO CITY #40
BLACK HAMMER #4
KAIJUMAX SEASON 2 #5
GODZILLA RAGE ACROSS TIME #3 (of 5)
LONE RANGER/GREEN HORNET #4 (of 5)
LOST IN SPACE: THE LOST EPISODES #5 (of 6)

ASTRO BOY - "Crucifix Island", "Fortress of the Centaurs", "The Mad Machine", "Count Bat" (bringing me up to January 1959)

A few one-shot manga floppies: (these FCBD & HCF freebies are about the only manga left to be found in the traditional comic format)
GEKIGA! Drawn & Quarterly FCBD 2008
UZUMAKI Viz HCF 2013
RESIDENT EVIL Viz HCF 2014

SOLARLORD 83 (includes DRAGONMAN Vol.011) - An oddity found in the fifty-cent boxes, this is a standard-size/page-count comic with a cardboard cover, with a smaller (same width, but an inch and a half shorter) comic book stapled into the center. This was published in Hong Kong, so technically it's known as "manhwa". It was in Chinese, so I couldn't really read it, just follow the story through the pictures (if you're curious, it reads from right to left, the opposite of US comics). The art style looked to be about equally influenced by both US/European and Japanese styles of comic art, while having a unique style that seems distinct to HK comics.

train_man : densha otoko - Volumes 1, 2, and 3 (the complete story) - A love story (allegedly true) based on posts found on a thread on 2Channel, a popular internet forum in Japan. Interesting concept, but as a result the characters seem pretty 2-dimensional, and at 3 volumes, the story seems more than slightly padded-out. Given the lack of detail about the characters, one volume would have sufficed, and probably have given the story (such as it is) a little better pacing and more impact. Either that, or they should have decided to take the liberty to fictionalize and provide a little more background detail to make the characters seem more realistic. That same bulletin board thread is the basis for 3 different manga adaptations, as well as both a feature film and a television series in Japan. It seems likely that the latter would have had to take some liberties to fictionalize more to the story. I haven't read or seen any of the other adaptations, but I'd be curious to, if only to compare with this one. The film has been released on DVD with English subtitles, but is based on the manga. The story concerns a nerdy guy in a chance encounter with a pretty woman on a train, and his subsequent posting about his experience on an internet forum, which garners all sorts of comments, reactions, and advice from other forum users.

CHERYL BLOSSOM #2 [of 3] (Oct. 1995) - "Tough Turf" - Good one. I hadn't read this story before. Pencils were credited to both Dan DeCarlo and Dan Parent, so I'm curious exactly how that division of labor worked.

Yesterday, I drove into the city to an "artsy" cinema to see a limited screening of Shin Godzilla ("shin"="new"), which came out in theaters in Japan in July 2016; this version was subtitled.

This is the first new Toho Godzilla film in a decade, and it was really different. It's a reboot, but really takes a totally different approach to a Godzilla film than any of the past Japanese (or American, for that matter) G-films. I had to agree with my friend Brian's assessment that "It will probably never be one of my favorite Godzilla movies", but it's interesting, at least, in a number of different ways... and I'd say the differences are so multilayered that I'm not sure I can come to any definite conclusions about how I felt about it without seeing it a couple more times, at least.

There's a lot going on in the plot here, and I did get the feeling that some of the nuances and implied things were totally lost on me upon first viewing. Getting to the theater too late to find choice seating didn't help -- I was stuck in the second row, way too close to the screen, considering the subtitles (they appear at both the top and the bottom of the screen), plus the fact that the first half of the movie consists almost entirely of (possibly hundreds of) short shots (under 5 or 10 seconds, with more than half of them only 2 or 3 seconds long) in medium or extreme close-up, constantly cutting back and forth between them. Never can I recall seeing a film in which I was so acutely aware of every single wrinkle, blemish, and pore of every actor's face! So to begin with, the cinematography employed here is radically different, and so is the casting. Most of the actors here aren't your obvious 'types', with no real 'screen-idol' casting, and only a couple of the characters (more by contrast than anything else) emerging as above-average-looking humans. Only the female lead role seems to stray into 'less than plausible' characterization. Aside from that, this film is character-heavy (both in numbers and in emphasis) for a Godzilla film, and dense with dialogue exchanges of a plot-crucial nature. Most of the actors here turned in a fairly credible performance.

Unlike any other G-film, this one focuses on the government's reaction to the sudden appearance (and unprecedented revelation of the very existence) of Godzilla -- the mechanics and politics of the National Emergency Response protocols. That quickly escalates to a global reaction (in political terms) to the Japanese government's response to the crisis, when the governments of other countries assess the rapidly-escalating threat potential of Godzilla as a danger to the rest of the world. Most Godzilla films will focus on an older scientist, plus maybe a younger scientist and a girl (or sometimes with those two gender-reversed), plus the military commander and/or a soldier or pilot, all feet-on-the-ground characters caught up in dealing directly with countering the threat of Godzilla, hands-on, while the actual decision-makers responsible for deploying these people are merely referred to in an offhand line of dialogue or given a token cameo scene or two -- but here, the entire film revolves around the process of determining the "hows" and "whys", and the "what" of the appropriate response (which is nowhere near as clear-cut as you might think) by the politicians of Japan -- the committee meetings, the conflict between various factions of thought within the government, the international reaction, and the Japanese politicians' counter-reactions. That's what amounts to a speculative-fiction extrapolation in government-level Crisis Management scenarios. It's definitely the most 'real world' approach ever taken by a giant monster film, that's for sure. There are no giant robots or sci-fi military vehicles in the story here, and no clear heroic or villainous characters either -- just people, attempting to do what they think is the right thing. The threat of Godzilla itself is the one science-fantasy element that the film allows itself, and then tries to put that threat into the context of a very present-day world reaction. Even the economic impact of the cost of the devastation on the country of Japan is speculated upon in some detail. In the end, the film turns into a race against time, with no margin for error in determining the correct response to "the Godzilla problem", as the Japanese government tries to beat the doomsday deadline of a scheduled U.S. nuclear missile strike (with the support of the United Nations!) aimed at Tokyo. Yet the film doesn't view the American response xenophobically, either, as one of the main Japanese politicos ruefully admits, "They'd do the same if it were New York City."

Anime:
Astro Boy (1963)
Bubblegum Crisis: Tokyo 2040 (1998)
Desert Punk (2004)

Quote from: 60sBettyandReggie on October 13, 2016, 01:14:32 PM

Quote from: DeCarlo Rules on October 13, 2016, 12:02:05 PM
Looking at this picture, I'd say that bringing his dog to school is the least of Reggie's worries. He's obviously waiting to explain to the Bee exactly what happened with Archie, Betty and Jughead and the paint. But when did Reggie start dressing like Arthur Fonzarelli? Does he ride a motorcycle and go around saying "Aaaayy!! Sit on it!" 

LOL   
The artists that are drawing him want us to know he is a bad boy by having him wear "bad boy clothes" 

After I looked at that picture for about five minutes, I wrote a little story in my head about it. What happened previously to what we see here is that Reggie was trying out for a part in the the RHS Drama Club's production of "Grease". Reggie arrived for the audition wearing his own jeans, white t-shirt, and leather jacket. This was taking place in the school auditorium, while at the same time, Archie, Betty and Jughead had volunteered their services to Ms. Grundy to help paint the backdrops for the production, so they were each up on stepladders, set a few feet apart from one another, beginning by painting the top part of the backdrop scenery. Archie had the green paint, Betty had the red paint, and Jughead had the yellow paint, up on the top of the stepladders with them. Then in the middle of Reggie's audition -- somehow, "no one knows how" -- Reggie's dog Runty, an excitable little dachshund, comes running into the auditorium, all excited to see his master.  Reggie cries "Runty, noooooo!! Stay away! I told you, you can't come to school with me! How did you get in here, anyway?! You'll mess up my outfit for the play by slobbering all over it!" Then he starts running around, dodging and darting, trying to avoid Runty... and he just happens to run in circles and figure-eights around the three stepladders where Archie, Betty and Jughead are perched on top, trying to paint the top of the backdrop scenery. Runty takes it all as a game of keep-away, and dodges and darts around, under, and between all the stepladders. Meanwhile, Archie, Betty and Jughead are startled by all the commotion down below, and start to wobble as they're all trying to maintain their balance while standing on the high rungs of the ladders, paint buckets and brushes in hand -- Runty keeps bumping into the legs of the stepladders as he's chasing Reggie, and they all come tumbling down, getting covered in paint. Reggie is still running around below (but careful to stay out of range of the paint buckets as they're falling), which explains the paint on the soles of his shoes. Well, of course the next thing you know, they're all sitting in the Bee's office. And that's what happened, and why Runty is in school... or so Reggie claims. "Mr. Weatherbee, I don't know HOW he got in. He must have followed me to school and managed to get in somehow. The little guy is so excitable, and he hates to be parted from me..."

Looking at this picture, I'd say that bringing his dog to school is the least of Reggie's worries. He's obviously waiting to explain to the Bee exactly what happened with Archie, Betty and Jughead and the paint. But when did Reggie start dressing like Arthur Fonzarelli? Does he ride a motorcycle and go around saying "Aaaayy!! Sit on it!" 

Quote from: BettyReggie on October 13, 2016, 09:57:15 AM
The thing you can't bring a dog to school even though he is in the principal's with Reggie & the others.

One thing I think I can say about Reggie for sure. He does break a lot of rules that Riverdale High has. So if there were some reason that he had to really, really want to bring Runty to school, he'd probably find a way to sneak him in.