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Ted Rall and Steve Brodner

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from: Ted Rall

The Death of the Comic Strip

Posted Wednesday, Oct. 13, 1999, at 12:10 PM ET

Dear Steve:

I'm kind of surprised that we never got down to discussing the Brooklyn Museum of Art's "Sensation" show. Have you seen it? I haven't; just read the usual reportage. As usual, I hate both sides of the debate--the conservative, Bible-thumping morons who hate anything other than their own racist and homophobic rhetoric as well as the liberal simpletons who favor the NEA.

Back when I was a struggling cartoonist trying to get my career off the ground, I applied for a $10,000 NEA grant to allow me to cut my day job back to 20 hours a week; I wanted to focus on marketing and improving my cartoons so that I could turn it into a full-time job. Guess what the NEA people told me. They liked my stuff, but: Cartoons are not an art form. Tell it to Bill Watterson, or for that matter to Charles Schulz. My response to them: Piss Christ is? My objection to the Brooklyn Museum's show is that it's provocation without substance; it isn't so much offensive as it is dull and predictable. But the bottom line is, post-Dada art is subjective, and there's no way any group of government experts can render a fair judgment as to what's good art and what isn't. Either give money to everyone who calls themselves an artist--hey, it's a better use of tax money than B-2 bombers--or don't give it to anyone at all.

OK, down to cartooning. I now officially pronounce the art of the comic strip dead. Perhaps there's something running in some paper somewhere that I don't get to read that's really great, but I haven't seen it. So as far as I know, all comic strips seriously suck. (I would make an exception for Peanuts, which has become popular in the comics world to trash; if that strip came out today as is, it would be too weird and melancholy for daily papers; it might run in a few of the more daring weeklies.)

Most of the interesting stuff is going on in the alternative weeklies; Ruben Bolling's "Tom the Dancing Bug" is hands-down my favorite strip in America. I'm jealous of the ideas that guy comes up with--always topical, hilarious, sardonic, smart. I always check out my friendly competitor Tom Tomorrow's This Modern World. And although I don't get to see it as much anymore--the New York Press is very uneven about running it--Carol Lay's "Story Minute" is one of America's unsung gems--sad and ironic.

Editorial cartooning, I assume you'll agree, has declined into stupid gags about the news; my test for a good editorial cartoon is that you should be able to tell the artist's political affiliation and/or stance on an issue at a glance. If you can't be absolutely certain, it's not an editorial cartoon--it's a gag cartoon, in that they make me want to gag (well, Roz Chast is OK). The brighter lights in the field, in my opinion, are the Lexington Herald-Leader's Joel Pett, the Philadelphia Daily News' Signe Wilkinson, and Jack Ohman of the Oregonian, among others. Everyone always talks about the genius of Pat Oliphant, and he is an amazing draftsman, but he doesn't give a shit about anything, which makes his work soulless. The New York Post's Sean Delonas' work drives me nuts; the fact that such an inept artist and politically-dead commentator is working full-time is an insult to those of us who have been looking for full-time cartooning work for years and been rejected for inane reasons--he is the worst of a lousy lot.

The most depressing aspect of the profession for me is that the youngest new hires at the big dailies--Generation Y guys under 25--are indistinguishable from their parents and grandparents; they draw like Jeff MacNelly, but without MacNelly's wit or intelligence. It seems that all editors want these days is cheap jokes without venom.

I shouldn't leave out comic books; I like Peter Bagge ("Hate"), but I think Ivan Brunetti, who does a filthy, rancid, brutal comic book called "Schizo" is brilliant. He's so totally self-loathing I keep worrying that he'll kill himself before he does the next one, which would be sad since he's such a genius. This stuff is not, however, for the faint of heart. Perhaps the most overrated creator in comics today is Chris Ware; his art is so-so, his compositional skills are amazing, but he has absolutely nothing to say. It's a cosmic joke that someone so talented is so utterly clueless about the real world. I've read book after book by this guy in an effort to understand why he's so highly regarded by comics critics, but I don't get it--maybe it's his fondness for retro '20s graphics. People always relate to the familiar and iconic and reject what's truly new. (Journalistic conflict: Ware wrote a letter to the Voice tearing me a new bunghole over my Art Spiegelman piece. But I always thought his work sucked; his letter merely reminded me of his existence.)

All superhero comic books are stupid, have always been stupid, and should be banned by law--and all of their readers over 8 should be deported to post-coup Pakistan for service in the coming war against India.

So who do you hate in cartooning? Love?

And yes, Steve, I do want to hear your Phil Harris theory of politics.

Very truly yours,
Ted

the breakfast table
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from: Ted Rall

The Death of the Comic Strip

Posted Wednesday, Oct. 13, 1999, at 12:10 PM ET
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Ted Rall is a New York-based political and social-commentary cartoonist and opinion columnist for Universal Press Syndicate and the author of Revenge of the Latchkey Kids (click hereto buy it). Steve Brodner has been a satiric illustrator for 27 years and has contributed caricatures of political and pop figures to a wide variety of publications.
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Some reactions from readers:

Steve asks if the whole hoo-ha over at the Brooklyn museum is about captions... And the answer is, of course it is.

I have yet to see anyone substantially refute Tom Wolfe's theory, back in The Painted Word, that today's art has devolved into being illustrations for the catalog. Take away the catalog, and there's no there there. One or the other of the fellows cited Serrano's Piss Christ--it's the perfect example. I doubt many people have seen it in person--it's a huge 6-foot-by-4-foot (or so) chibachrome--and more than anything else comes across as a modern chiaroscuro photo-mural. It's reverent. Right up until you read the title, and figure out just how Serrano got those gorgeous tawny reds and burnt umbers. But it's only the title--or the catalog--that fills you in.

The whole Virgin Mary thing is much the same--I doubt there's any way to tell just how the image was made, elephant dung or not, except through the catalog. To be sure, I haven't actually seen it (this summer I've been seeing the Van Gogh, Sargent, Ingres, and Diego Rivera exhibitions as I travel), but that's my bet... Though I'll cheerfully defer to a real live witness.

(To reply, click here.)


Dear Ted,

I agree wholeheartedly with you in regards to the death of the comic strip, and glad to see someone else who views the Peanuts as melancholy. As a former illustrator (I know--do not call me bitter just yet) I think that the entire world of illustration is a rotting cadaver. Working now as a web designer I can't help but feel sympathy for my friends who valiantly try to establish careers in this former occupation. Many believe photography has killed the illustrator, and to some extent I agree, but I think the true blame falls upon the state of art education within our country.

Art schools have become a haven for the untalented and unimaginative, upper-middle-class would-be rebels more concerned with looking the part than being. Instructors, often failed artists themselves, so afraid of offending these cash cows offer no realistic criticism or advice. Since "all art is good art," students who would have been laughed out of my 2nd grade arts and crafts class are encouraged to pursue their "style." After graduating art school, it took me 2 years to enjoy drawing again....and I am not alone. Keep up the good work my brother!

(To reply, click here.)


People always feel that to say things like, "theater is dead," or, now, "the comic strip is dead" raises them to the level of philosopher. So, when someone has some silly stuff to say to seemingly back up such an impossible phrase, they get excited and say it all over the place and as loud as they can.

The comic strip isn't dead. New and great cartoonist will come in great forms no one can predict and, therefore, it's amazingly arrogant to predict the death of an art form. The Internet provides all sorts of new room for artists (this includes cartoonists) to work and spread around their wares.

(To reply, click here.)


Hey Ted Rall,

Yeah, your comic strips are great, but you made a big mistake in your blanket dismissal of all the comics in the comics page (save Peanuts). Your glaring omission: Mutts by Patrick McDonnell. This guy can DRAW! His comics are funny, sweet, and compassionate without being treacly--no mean feat. What's more, he takes a strong and unapologetic stand on animal rights, which takes guts in a nation of necrophages.

McDonnell's a genius. Now, if you'll excuse me, I have to go pray with Johnny Hart.

 (To reply, click here.)


What do you guys think of Tom Toles? His cartoons single-handedly got me through the Reagan/Bush years.

 (To reply, click here.)


I think it's a bit too early to say the comic strip is dead. I think Robotman, Non Sequetor, and Mutts are some of the great comics in the papers, but for the rest I don't bother. It seems true that, in newspapers at least, comics are resorting to simple puns.

However, on the Internet the art of the comic strip is still alive. Some of the best, in my opinion anyway, are Ozy and Millie and Freefall, which are genuinely funny and entertaining. While the newspaper comics may be reverting to single unfunny puns, the Internet may be a place where the art of the comic strip is still living.

(To reply, click here.)



--Michael Brus (10/14)

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