Quote from: DeCarlo Rules on May 23, 2016, 09:19:09 PM
Yeah, I wondered about whether they'd reference that. It appears not, they seem to be ignoring it and just starting from scratch again.

Wonderful. Yet ANOTHER reboot....

It's possible Space Ghost has a keen scientific mind that's helping him improve his technology. I seem to recall one of the original episodes saying an old friend of his, a scientist, was kidnapped, and he went to rescue him. I'll have to check on that....

Cute story! Good job,  PTF. I definitely envisioned a Ruiz drawn story here. He loved to draw animal expressions in his stories. Ruiz also makes the animals human-level smart. Too bad Ruiz couldn't do this story without ACP threatening to sue him.... 

Sooo, it's a traditional teen female thing not to say anything if both girls say it at the same time?  And has Veronica forgotten to know how to write...? Interesting... 

Quote from: DeCarlo Rules on May 22, 2016, 05:37:19 AM

Quote from: SAGG on May 22, 2016, 05:22:44 AM

Quote from: DeCarlo Rules on May 22, 2016, 03:55:31 AM

Quote from: SAGG on May 20, 2016, 11:20:06 PM
Without giving too much of a spoiler, there's an origin of one of the heroes.

So how do you interpret the scene where there's kind of a "Green Lantern Corps" wearing uniforms similar to Jan and Jace, and having some modified version of Space Ghost's power bands?

I have no earthly idea, DR.    I just see how the dude came about. Feel free to do your own interpretation...

No idea, really. Just that it left me with more of a general impression of "after Space Ghost" than "before Space Ghost". Like this group (the "Space Force" or whatever) seemed more "inspired by" than the other way around. Hope the Galaxy Trio (which always seemed to me to be a pretty straight 50/50 hybrid of the Fantastic Four and the Legion of Super-Heroes) is in the next issue.

Interesting point, though I rather thought it was straightforward. Space Ghost was a byproduct of fighting evil in honor of his departed colleagues and friends....

Quote from: DeCarlo Rules on May 22, 2016, 03:55:31 AM

Quote from: SAGG on May 20, 2016, 11:20:06 PM
Without giving too much of a spoiler, there's an origin of one of the heroes.

So how do you interpret the scene where there's kind of a "Green Lantern Corps" wearing uniforms similar to Jan and Jace, and having some modified version of Space Ghost's power bands?

I have no earthly idea, DR.    I just see how the dude came about. Feel free to do your own interpretation...

Quote from: daren on May 21, 2016, 07:58:42 PM
It looks good but I only know Space Ghost from Space Ghost Coast to Coast.

Then I strongly suggest that you find the original Space Ghost cartoons.  You'll love them...

...A comic book by DC Comics, just came out. I like the beginning so far. It's using the classic 1960's Hanna-Barbera superheroes, fused with Jonny Quest. Without giving too much of a spoiler, there's an origin of one of the heroes. I figured some of you, particularly DeCarlo Rules, would get a kick out of it, if you don't know already. Something really big is happening, and it's quite nasty, it seems....

Quote from: DeCarlo Rules on May 16, 2016, 05:41:08 PM

Quote from: daren on May 16, 2016, 03:46:12 AM
Next one:

It's been interesting to me noting some things about the daily newspaper strips in reading them. For instance, in panel two here we have Mr. Weatherbee's secretary, who appears in a LOT of the strips, but (at least up to 1963 where I've read) is NEVER addressed by name. But she is in every respect, by the way she's drawn, the woman who'll we'll later come to know as Miss (or Ms.) Phlips. Svenson appears in a lot of the daily strips, Weatherbee in almost a quarter of them. Miss Beazly appears almost as often as Weatherbee and Miss Grundy. There's even a reoccurring character named "Old Man Beazly" who I've seen in a half-dozen strips or so, but never together with Miss Beazly. No connection beyond the obvious same last name is ever mentioned.


There are other Bob Montana creations in the strips that I've never seen in the comic books, like Hooky Hogan, the school's habitual truant, who always acts in the strips like an incarcerated felon, scheming ways to "bust out of the joint". Another that just starts appearing in multiple strips in 1963 is Hunk, who is a bit like an even dumber Moose Mason. (In the strip where he first appears, Coach Kleats sends him to work out with weights and a medicine ball in the gym, hoping he'll lose some weight so he can be on the basketball team. After a while, Kleats checks on Hunk to see how he's doing, and asks him to now try putting the ball in the basket to see how he's shaping up. Hunk tries to shove the medicine ball through the basketball hoop.)

Twelve Cent Archie indicated that Montana had created his own separate universe from the comic books. He was even nominated for a Reuben Award, but didn't win...

Quote from: DeCarlo Rules on May 16, 2016, 05:58:45 AM
It's worth noting that the above story marks a high water mark (or extreme of the pendulum swing) for Crazy Betty stories. They may have realized afterwards that that one story seemed to have crossed some kind of invisible line. With the April 1966 first issue of BETTY AND ME, the pendulum would begin swinging back in the other direction, ultimately by the late 1960s establishing more-or-less permanently the "Sweet Betty Cooper".

I bet they got a lot of letters on that story, both from readers who LOVED it and those who HATED it.

The amazing thing is that the story passed the Comics Code Authority without any problems, apparently. We can probably attribute that to the fact that the comic intent and humorous drawing in any Archie story would tend disarm any serious consideration on the part of the Code's censors regarding what, in factual terms, is taking place in the story -- attempted murder on several counts, Betty's disregard for Jughead as "collateral damage", and the fact that she receives no punishment in the end (or psychiatric help) -- things that seem like they would not have been allowed in a "serious" comic book story. It's worth mentioning in passing that John L. Goldwater was not only instrumental in the formation of the CCA, but served as its Chairman for many years. Archie Comics was the last of the long-time comics publishers to finally abandon the Comics Code in February 2011, following the example of Marvel and DC Comics which had ceased to subscribe to it even earlier.

The edicts of the original Comics Code that the story possibly violates are as follows:

Quote
CODE FOR EDITORIAL MATTER
General standards—Part A
(1) Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals.
(2) No comics shall explicitly present the unique details and methods of a crime.
(3) Policemen, judges, Government officials and respected institutions shall never be presented in such a way as to create disrespect for established authority.
(4) If crime is depicted it shall be as a sordid and unpleasant activity.
(5) Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates a desire for emulation.
(6) In every instance good shall triumph over evil and the criminal punished for his misdeeds.

Although it's pretty clear from Betty's conversation in the story with Jughead that she admits to trying to murder Archie, the script and artwork is circumspect in not actually showing Betty in the actual commission of said attempted murder. For example, we never see her lurking behind the fallen tree with an ax, or pushing the wagon downhill aimed at Archie, or dropping the flower pot from a window or rooftop above, so that may have helped in avoiding any closer scrutiny of the story by the CCA. They successfully avoided CCA General Standards - Part A2. Of course, she never uses the words "kill" or "murder" in her threats (of which Jughead's testimony would be admissible in court), and if Jughead can't offer any actual eyewitness proof that he saw Betty fell that tree, push that wagon load of bricks downhill, or drop that flower pot, then maybe she could never be convicted. But WE know, don't we?

Geez Louise, where DO you get this stuff, dude?

Quote from: DeCarlo Rules on May 15, 2016, 11:14:49 AM
I have two even better questions. One, I've heard of being color blind, but why does Betty call Midge "Nancy"? And two, does anyone really put ketchup on carrot sticks?

Geez, I missed that about Nancy!  How'd I miss that?! 

Quote from: Original Sin on April 27, 2016, 02:53:17 PM







All you really need is love. 

Since when does Midge play the role of Trula? 

Quote from: DeCarlo Rules on May 09, 2016, 04:56:18 PM
You know what's funny? Just today I found a story (it's actually a Jughead story, but trust me, it's really an Archie VS Veronica story in which Jughead just happens to play a pivotal role) titled "Writing Wrongs". It was in JUGHEAD & FRIENDS DIGEST #18 (and was also reprinted in JUGHEAD DOUBLE DIGEST #179), another Craig Boldman/Rex Lindsey gem. I wish I could show it but I have no scanner. It is the exact reversal of the story "Cover Up" with the final panel showing Veronica looming over Archie, waving her arms at Archie threateningly, and Archie quivering in fear of attack. It's a funny story, but it shows that ACP was equal-opportunity when it came to who's on the receiving end of (as Daren would say) "assault". Of course there's no actual assault going on here, because it's a cartoon, but I guess if it were a real situation with real people acting that way, it would be considered assault by the 21st Century legal definition. As would the other story, "Cover Up", but then by the real world legal definition of the term, the Three Stooges would be considered guilty of both assault and battery in every film they ever made (as would Moose Mason in about 90% of his appearances.) Legally, it doesn't matter which sex is the assaulter and which is the assaultee. But that's only if it were the real world, instead of a comedy cartoon.


Anyway, I tried and tried to find some scans of it somewhere online, but with no luck. So I'll just summarize it. At the beginning of the story, Archie's at home writing a letter when Jughead shows up. He's hopping mad, furiously writing a poison pen letter to Veronica, telling her off in no uncertain terms, and exactly what he thinks of her. "Stuck-up - petty - vindictive - jealous - overbearing - snooty - demanding" - blah, blah, blah. She just pushed him too far once too often and he finally snapped on her, and they had a huge fight about it. Jughead listens to him rant about her for a couple of panels, then calmly offers to take the letter and deliver it himself. He persuades Archie that Veronica doesn't merit the price of a stamp, and Archie agrees, saying that he refuses to waste another penny on her. Jughead heads over to the Choklit Shoppe and has a conversation with Pop Tate, after Pop notices him hurriedly scribbling away on a piece of paper. Pop looks over his shoulder and reads what he wrote. Then he remarks that he didn't think Jughead had it in him. "When did YOU learn to write LOVE letters? That has to be the sweetest, sugariest, most sentimental, mushy, gushy, sappy love letter I ever saw! Who's the girl?" Jughead then replies "It's for Veronica." and Pop has the most confused and dazed look on his face. Then Jughead quickly explains that he's en route to deliver Archie's letter to Veronica's house. He explains about Archie's ill-considered temper fit and poison pen letter, and why he just decided to take it upon himself to re-write it. He's been through this all before, so he figures he'll save everyone from hurt feelings and getting all worked up and possible mayhem and weeks of cold-shouldering by just cutting to the makeup letter and Archie and Veronica getting back together again. By his logic, he knows the pattern that the fight is going to proceed so he's just saving everyone a lot of time and emotional wear-and-tear, and Veronica will never know the difference. Jughead takes Archie's poison pen letter out of the envelope (Archie was so mad, and Jughead was so casually persuasive, that Archie never even bothered to seal the envelope.) and replaces it with the one he wrote before sealing it. Jughead then heads over to the Lodge Mansion, knocks on the door, and it's opened by a still-steaming Veronica who angrily demands to know what he wants. "I promised Archie I'd deliver his letter to you." Veronica begins to protest, and expects the letter is full of Archie's vitriolic parting shots at her, but then she opens it and begins to read what he (actually Jughead) wrote, and it melts her heart. The little hearts start circling over her head, and she heads straight to the phone to call Archie, inviting Jughead to help himself to the fridge as a reward for delivering the letter. ("The fringe benefits aren't bad" thinks Jughead to himself.) Veronica seems overjoyed. Meanwhile, Archie at home is having second thoughts, ("What was I thinking?! She'll probably tear me into little pieces!") until he's informed by his Mom that he has a phone call from Veronica. Now Archie is really worried, wondering how bad it's going to be. "GULP! She might reach right through the phone and rip my guts out!" He stands there trembling, holding the phone at arm's length, as far away from his ear as possible, trying to brace himself for an icy blast. Then he hears Veronica's honeyed voice cooing in the phone, all lovey-dovey. "Oh Archiekins, I'm so sorry we had a fight! You're such a darling! What you wrote really made me change the way I look at you!" and Archie has this expression of delirious relief and confusion, all at once. After hanging up the phone, he spends a couple of panels just looking dazed and trying to figure out what happened. Eventually he decides "It must have been my firmness, my forceful nature! Girls like a guy who stands his ground, who's manly, and puts his foot down!" Now he's gotten over his fear and has gone the other way, becoming cocky and confident. "I'll head right over there now! Yes sir, it's about time I did something like this! Things are gonna be different between us from now on! A REAL MAN takes charge and shows a girl who's boss! Now I've got her respect!" Immediately after he gets to Veronica's, he's still charged up and launches into his cocky act -- "Listen baby, from now on, I give the orders!" Veronica looks a little confused at first, but by the next panel she lays into him with "Wait a minute! What's going on here?!? Who do you think you are, anyway?" AND Archie looks befuddled, then shocked as she turns on him and lays into him. In the last panel, Veronica is in a tantrum, flailing her arms at him in a rage as she looms over him, with stars, lighting bolts, and daggers radiating out of her face, while Archie shrinks back away in fear, trembling, as Jughead walks out off panel in the foreground saying "Oh well! Might as well get a snack! This could go on for a while!"

I remember reading this story, but I don't recall where it is right now...

Quote from: daren on May 06, 2016, 02:55:20 AM
And ASKING someone to wear a different coat (and it IS asking no matter how bossy she was being, she has no hold over him) is very different from grabbing someone weaker than you and SCRUBBING their face forcibly.


And wearing a coat someone else gave you isn't equal to wearing makeup someone else gave you, that's hardly identifiable.


You know if Reggie did that to her people would roast him over hot coals but when Archie does it it's just awesome. Lucky that Reggie wouldn't do that to her.

We--ell, to be fair Reggie did buck Ronica off his back while she was riding him in that story...

Quote from: Original Sin on May 05, 2016, 06:10:13 PM

One of the rare times Archie grew a backbone against Ronica...