dreadedcandiru2: (Snarky Candiru)
As I reminded you yesterday, Lynn's brain is made up of media stereotypes. Time and again, we see reminders that she honestly believes that her life was recorded live in front of a studio audience, That being said, I'd like to talk about a Very Special Sort of Episode that she, unlike most other artists, has not seen fit to put in her strip: the traditional Thanksgiving-equals-domestic-infighting episode. As Ebert reminds us, television and movies always use Turkey Day as a backdrop for families in conflict. What this means is that her unshakable belief that all Americans everywhere would get angry with her and stop reading her strip and demand military action should she reveal that Canadians don't celebrate the occasion on the same day God and Congress intended has translated into her missing out on a chance to show us who the Pattersons really are.

This is probably for the best, however. After all, the Pattersons are perfectly capable of looking at a life filled with blessings and simpering that they have nothing at all to be thankful for. I mean, the Pattersons like to admit that they have it pretty sweet almost as much as they like to lose face by apologizing for the harm that they do others. Not, of course, that this is a problem. After all, she has her fans well trained enough that she can get away with the whole "Woe is us, we have a life ninety-nice percent of the human race envies" bull-huckey.

Speaking of well-trained fans, most of her peers love to hammer on about the same damned thing every November. Most of them make a rather generic comment about how Long-Suffering Way-too-hot-for-HIM Mom gets her ass in an uproar because Unappreciative Fat Idiot Dad would rather watch football than help with cooking but there are three that stand out: "Curtis", "Sally Forth" and "Funky Winkerbean." Bear with me as I remind you of the standardized jackassery that they offer us.

First off, we must remind ourselves that every year, the Wilkins of the comic strip "Curtis" go all out to make a big show of how generous they are while not actually being generous. Every damned year, Greg and Diane put on a beatiful spread to impress their unappreciative families and every year, they fail to do anything but irritate the title character. What makes that really suck is the idea of inviting Chutney, a child whose only known family is her widowed father, would probably break Diane's brain. It would no more occur to her to be truly generous than it would to listen to people instead of rolling her empty freaking head and running her God-damned mouth about things she doesn't know crap-all about. Said example of cloddishness is always accompanied by a greeting-card moral about appreciating one's blessings.

To continue on with self-defeating behavior and its discontents, Sally Forth feels compelled to make herself crazy every November covering for her lazy, entitled drunk of a mother and entitled scatterbrain of a sister because she cannot and will not accept that she will never get a damned bit of praise or gratitude for anything she does. Just as Linus thinks that if he finds a sincere-enough pumpkin patch, the Great Pumpkin will appear, Sally thinks that this is the year that talking to her mother and sister will not be like talking to a radio or a block of granite. As Canadian essayist Stephen Leacock said a century or so ago, "If at first you don't succeed, quit, quit at once!!"

Of course, the granddaddy of all arcs that serve futility for the holidays is the subject of my next entry: Funky Winkerbean's annual band turkey sale idiocy.
dreadedcandiru2: (Snarky Candiru)

As we know, there was a big, long arc back in, oh, nineteen eighty-eight that had Elly and the family pack up and spend Christmas at Exile Farm. As I’d mentioned in my last essay about said story line, there were three purposes that Lynn and Elly had in mind. The stated purpose for that little excursion into appealing to worse problems was that they all decided to have Christmas at The Farm with The Family just like on TV. The second purpose was, of course, to adjust Michael and Lizzie’s awful attitudes and teach them to be grateful to their wonderful parents and not take things for granted and, well, you get the point. The third purpose, of course, was to isolate Michael from that scary young girl and her scary body language and the scary fact that her scary existence meant that Elly might have to face the scary fact that her dance card was empty because she was a scowling, short-tempered idiot who pissed away her chances taking herself too damned seriously. Since Lynn approves of silencing complaints that mean that she might have to adapt to other people by ranting about refugees in war zones, the Pattersons were depicted as good-hearted people whose good intentions got wrecked by an ungrateful brat kid who doesn’t know what life is all about.

Contrast this with the upcoming Christmas on Long Island arc in Sally Forth. What is happening here is that Ces clearly indicates that Sally is embarking on a ruinous folly because she’s transfixed by a crippling delusion that makes her life and the lives of everyone in her family worse. While we see that were she and Ted to simply cut their horrible relatives out of their lives and focus their remaining years on being happy with themselves and making their daughter’s life better, they would finally get the peace of mind that they deserve, Sally simply cannot see it that way. She won’t admit that she should simply give up on her selfish mother and lazy sister any more than she and Ted can admit that he should stop beating himself up about not being a traditionally ‘manly’ man. Thus, they intend to not only waste a Thanksgiving being made to feel bad about themselves by a drunk and a parasite, they also intend to wreck a Christmas being made to feel like crap by Ted’s jerk father, clingy mother and brutish siblings. Worse, they intend screwing up Hilary’s budding romance with Jon in order to sacrifice her happiness on the altar of futility.

We thus have two crappy Christmases that could have been salvaged had the ‘adults’ not been deluded nitwits. The difference is that Ces knows his characters to be lunatics immolating themselves on a pyre of idiocy; Lynn does not. Why, he even handles the whole "You could be a war-zone living in a refugee" bullcrap from friends better; I mean, we know that Ted doesn't really want to go to Long Island so he can feel like shit all over again and is only doing it to indulge his wife's need to hope for an impossibility but Faye does not. This is much better than Eva having all the facts at hand and still blathering about how since April isn't a starving quadruple amputee orphan who has to travel fifty miles every morning to the hatpin factory to feed her nine starving quadruple amputee siblings, she can't complain about anything. Also, instead of having a rich kid complain to a poorer kid about problems she's too exalted to have, we have a poor kid who sort of wishes that she'd know what it felt like to have Hilary's problems. Leave it to Ces to discover the best way to appeal to worse problems: by giving the person talking sense into the other person worse problems.

dreadedcandiru2: (Snarky Candiru)

Now that I’ve explained why I’m sort of glad to see the back-end of Ray Billingsley’s tribute to self-defeating behaviour and snippiness, I’d like to tell you why I’m fairly glad to no longer have to deal with Ces Marciuliano’s look at the horrifying after-effects of familial dysfunction. What started out as a bland, sitcom family living in a bland, sitcom world has, under his supervision, mutated into a hellish look at a family of creepy outcasts who barely qualify as sane, let alone human. What this means is that the only two people I’m going to miss are Faye and Nona owing to their tendency to call Hilary out on being a bossy lunatic with a fear of failure. Granted, Hilary tunes them out because she’s as nuts as her folks but at least they tried.

I won’t, on the other hand, miss Ralph Preston much at all. What Cesco did with him is to take a generic character type like the Pointy-Haired Boss and show us what a dysfunctional and pathetic slob he’d have to be in real life. What we see is a delusional, self-aggrandizing hindrance who spent most of his life taking credit for Sally’s hard work while at the same time not noticing that she’d been carrying him all that time. I also won’t miss the fact that what made him horrible was not that he was a useless load of sludge but that he didn’t listen to her when she started lecturing him.

I don’t feel especially sad that I won’t have to look at Sally’s work wife Alice any longer. There’s just something off about her that I can’t describe but don’t like.

I won’t miss Sally’s younger sister Jackie. Having to look at the lazy drone be baffled and angered by the suggestion that she actually do things for herself, her default presumption that people will live her life for her and her utter lack of any gratitude are as irritating as the realization that Sally isn’t strong enough to cut this jerk out of her life.

Likewise, I don’t see myself as being all that choked up at having to no longer see their mother Laura. Her vanity, her default assumption that she’s a victim because her children’s need to have an involved parent got in the way of her contracting cirrhosis of the cerebellum, her inability to be pleased by anything Sally does, her belief that people exist to cater to her fragile ego and Sally’s inability to tell the old biddy to freaking die already make her absence from my watch list gladdening to my heart.

I’m equally glad to see the back end of what started out as “Generic Wise-beyond-her-years Sitcom Daughter” only to mutate into “Horrifying Combo Platter Of Her Parents’ Psychoses” Hilary. She combines Sally’s bossy nature and lack of tolerance for dissension in the ranks with Ted’s being a delusional maniac who doesn’t know what planet he’s living on half of the time.

Speaking of Ted, I liked him better back when he was a flat character who was only concerned about work, sports and meatloaf. Watching him degenerate into a pop-culture zombie who sees his life as being a sitcom and seems to be suffering so severely from Stockholm Syndrome that he believes that his killer robot wife is the only thing keeping him from working at Montoni’s is the second-biggest reason I don't mind not having to see him blather about his love of robot monkeys.

As for the biggest reason I'm sort of relieved to no longer pay attention to the Forthiverse, I’ll miss Sally least of all. Sure, it’s kind of satisfying to see what would make a person act like an ultra-competent sitcom wife in real life terms but when you consider that the price is a hellish childhood, a fear of disorder and a pathetic need to try to fix something that cannot be repaired, it’s kind of not worth it. Nor is it worth watch. This means that I’ll stick to following the man’s blog; Victorian Era Superhero and Todd the Robot Dad don’t sicken and scare me.

dreadedcandiru2: (Default)
The interesting thing about the comic strip "Sally Forth" is that its writer, a Ces Marciuliano, has made a late-summer wedding the engine currently driving the plot forward. What is more, the bride to be wants to contribute nothing to the planning of the thing but whining and passive-aggressive bitchery. If you'll allow me, I'll contrast and compare the two to see which author is better at describing a Settlepocalypse.

The Bride to Be:
Johnston: Liz is seen as someone who deserves a happy ending after being forced out into a big, scary world while being shown to be a passive lump who wants other people to live her life for her.
Marciuliano: Jackie is seen as a selfish, lazy adult child about to walk into a disaster in order to spite her sister. It turns out that this is the case.
Advantage: Marciuliano.

The Groom:
Johnston: Anthony is described as being a great guy who needs to learn to love and trust again after being mauled by an evil, ambitious career woman; the fact of the matter is that he's a sunken-chested dimwit who has to settle for a pallid little twit like Liz because he's an invertebrate who couldn't deal with a real woman.
Marciuliano: Ralph is described as being evil incarnate when it's broadly hinted that his being evil consists of being Ted McCauley with less hair.
Advantage: a tie.

The Wedding Planning:
Johnston: Liz's refusal to do anything but carp and panic is seen as pretty much a harmless eccentricity by everyone who isn't a Martian.
Marciuliano: Jackie's tendency to leave it all up to Sally only to bitch whenever her older sister comes up with an idea is seen as an aggravating act of pettiness and immaturity.
Advantage: Marciuliano.

The Wedding Planner:
Johnston: Elly is seen as a great old gal for making sure that Liz does as little as possible.
Marciuliano: Sally is seen as becoming progressively frustrated by the irritating and unreasonable demands made on her time.
Advantage: Marciuliano.

The Mother of the Bride:
Johnston: Again, Elly is wonderful because she managed to make sure that Liz stays home where she belongs. This is nuts because home is what messed Liz up in the first place.
Marciuliano: Sally and Jackie's mother is seen as a pompous, blustering pain in the arse who wants to make sure that Sally doesn't pick on Jackie like she did growing up. Since Ces has established that most of what's wrong with Sally is that she was Jackie's primary caregiver owing to parental default, this is seen as adding to our hero's woes.
Advantage: Marciuliano.

The Wedding Itself:
Johnston: What most outsiders would see as the culmination of hateful manipulation leading to a loveless sham marriage is seen as the magical happy ending Lynn needed the strip to have.
Marciuliano: Sally and Ted will be holding their tongue about the disaster that everyone who isn't Jackie, Ralph and Sally's mother sees coming lest they be rebuffed when the inevitable happens.
Advantage: Marciuliano.

The Human Cost:
Johnston: A wondrous time was had by everyone who was invited to the adult table at the reception. The Martian watching the kiddies...not so much.
Marciuliano: Sally will be depicted as feeling as if she's aged ten years...just like what would happen if it happened to you or me.
Advantage: Marciuliano.

This means that in every way that matters, Cesco Marciuliano has done the world the enormous favor of showing us how horrible a real Settlepocalypse would be.
dreadedcandiru2: (Default)
As we all know, the sort of sitcom character that Sally is meant to represent is usually thought of as the most sensible person in her neighborhood; I've watched enough American sitcoms to know that the Way-too-hot-for-her-husband, Put-upon Wife is more or less the center of the universe. Ces has, as always, subverted that as well; that's because aside from Alice (who's the Connie to her Elly), most people in the strip regard Sally and Ted as unsuitable company. Given that Ted was at one point relieved of duty as a Little League coach owing to his being one bobbled catch away from a fit of violent rage, people are more or less frightened of the grinning weirdo babbling about Star Wars; what's even more interesting is that they correctly identify Sally as the reason for the volcanic rage they dread. That's because they see her as an unapproachable, infuriating and tactless know-nothing know-it-all who'd rather smirk and bully than parent. Not for nothing do Hilary's friends refer to her parents as high-functioning lunatics.
dreadedcandiru2: (Default)
Another thing I like about 'Sally Forth' is that Ces even manages to humanize the antagonist, Ralph Preston. What he'd be in an ordinary strip is just an ogre like Pointy-Haired Boss; here, he's revealed for what he really is: a man who applies older, superseded values because he's too oblivious to mark the changing times. In his mind, things haven't changed any more than they have for John Patterson; he sees the glass ceiling not only as the way of the world but as a means of protecting women from the cruelties of the board room. He also doesn't believe in mincing words when it comes to spurring people on to perform; he, unlike Sally, knows that sometimes cruelty is a form of kindness. This, of course, brings me to my point; she, despite not wanting to be as big a jerk as he is, has no choice but to threaten and harass her subordinates. Since she, of course, doesn't want to admit to that, she makes ironic remarks about the intellect and good will of husbands who say so.
dreadedcandiru2: (Default)
The interesting thing about Ces's interpretation of Sally's mother and sister is that continues his trend of showing us how awful it would be to encounter sitcom characters in real life. We start, of course, with Sally's mother, Laura; instead of simply being the domineering, judgmental but essentially harmless troll that haunts the cathode ray world, the woman is an active menace to the well-being of those around her. This is because she has only recently started to see that her active hostility and her cruel, backbiting, intolerant, withholding nature has turned her older daughter into one of those annoying freaks who, having been denied a real childhood, tends to display an unpalatable level of immaturity even now. It also turned her weaker, younger daughter into a virtual recluse who spends her life making one bad decision after another. On TV, these people make you laugh. On the street, they make you shudder in horror.
dreadedcandiru2: (Default)
The third personality in your standard dom-com is the sarcastic child whose function is to deliver ironic commentary on her parent's foibles; Hilary seems to have that job but, as I've said before, looks can be deceiving. We start off with the fact that Sally barely seems to know who and what Hilary is at all; since she isn't balancing her career and homelife nearly as well as she'd like to believe, it falls to Ted to be the one who understands what's really going on in her life. Also, since Sally isn't nearly as mature and responsible as she pretends to be, she engages in an annual battle of wits with Hilary over who gets to bite the ears off of her chocolate Easter bunny. The thing Ces did is he took a quirky sitcom device and used it as a means of shining a light inside Sally's head; that's because he revealed why she started doing it in the first place. It seems that when Hilary was about four or five, Ted bet Sally five bucks that she wouldn't be able to do it; since she didn't get that he was expecting that she'd simply hand him the fin because that would be beyond the pale, it became an irritating tradition as well as a reminder that growing up as the 'adult' in a dysfunctional family had deformed Sally's personality.
dreadedcandiru2: (Default)
As we all know, the hypercompetent mother that Sally is supposed to be has a foil: the goofy, churlish adult child husband. Or, to give him his right name, Ted Forth. The man Sally usually sees is a cheerful, feckless and immature goofola babbling feebly about Star Wars, robot monkeys and extreme sports that violate the laws of physics and decency. Where Ces varies from the norm is by showing us that Ted's slap-happy, easily distracted exterior is a cover for a man with a lot of rage issues; after all, a man who had to be relieved of duty as a Little League coach because he was channeling Captain Queeg has probably got a lot of anger to work through. He can also correctly identify when Sally has tricked them into doing chores, allude as to how her habit of seeking out Hilary's chocolate bunny to eat its ears is sort of nasty and to Sally's astonishment, behave responsibly in her enforced absence. One calls to mind the husband in "Who's Afraid of Virginia Woolf?"; like him, Ted is pretending to be something he's not in order to keep someone else from breaking in two.
dreadedcandiru2: (Default)
As we know, Sally Forth herself is meant to be another variant of the most common hero of the modern media: the hyper-competent mother who makes sarcastic remarks about the follies of those around her. Like her fellows, she comes equipped with a goofy, adult child husband, precocious daughter and dolt ex-boss as standard equipment. The interesting thing about having Marciuliano writing her strip is that he makes it plain that there's a cost to being Sally. Simply put, her aura of competence hides the fact that she's racing around trying to make things happen in order to avoid having downtime. We start off with his making it crystal-clear that her childhood was fairly unpleasant; she had a corrosive, demeaning jerkass mother and a flake sister who was indulged shamelessly. This tells me that she was forced to be the adult when she shouldn't have been; it also explains why she doesn't see certain things that Ted and the rest of us notice right away. As by way of example, she can't seem to see that she has a lot in common with her antagonist Ralph; both of them are forced to manage by means of threatening their subordinates but, since she doesn't get what made Ralph that way, blows off any comparison.
dreadedcandiru2: (Default)
The most interesting thing of all about Tom Batiuk is that he thinks that he's doing the public a favor by doing the weird things he does; I figured that out when Suicide Girl delivered her little motive rant about how the public at large was better served by being made more uncomfortable than having a bit of relief from their worries. This also explains why he killed John Darling; Batiuk honestly believed that he was doing good by rendering Darling character unusable. This is because he remembered other strips that got taken away from their creators by the syndicate and suffer a perceived decline in quality. This strikes me as being an unfair condemnation of subject of next phase of blog: Francesco 'Ces' Marciuliano, the current writer of the comic strip Sally Forth. The reason it seems unfair is because Ces is the creator's hand-picked successor. As such, he knows to keep the characters in character as Macintosh established them. It should also be noted that since he has a more sarcastic personality than Batiuk, he posts entries in his webcomic Medium Large that make light of his adoptive stable of characters. The most interesting example of that was one in which Ted was 'revealed' to be a subordinate of Tony Soprano.

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