![]() ![]() Their positively mainstream look drives home the cutting edges of the humor much better than a lot of the more stylized, often substance-fueled underground comix to which these strips can and should be compared. Leave your political correctness at the door. It’s a bonus then, that the individual strips are hilariously and subversively written, too. Never minding the dialogue or even the concepts, the artwork alone is often enough to make you laugh. That said, he has just as clearly taken that influence and run with it, with even the earliest examples from the 1980s seen here being fully polished, professional, and individual.Īnd best of all, it’s consistently funny. Clearly, Kurtzman and Elder had a major influence on Taylor’s art style. Stine notes that both he and Taylor are lifelong devotees of the early, Kurtzman-era Mad. The colorful cover grabs you right away with its literal lineup of the various characters from Taylor’s three Lampoon strips, all done up in an art style that can best be described as “Will Elder-lite.” This disturbs me quite a bit, and not just because it messes with my head but because they’re really funny and subversive and I can’t believe I’ve missed them for literally decades! To me, it’s as though they’ve been retroactively inserted into the mix via a type of continuity implant! Taylor or any of the National Lampoon strips found in Fantagraphics’ new collection, I Think He’s Crazy! The Comics of B.K. I have exactly zero memories of ever having seen or heard of B.K. I was a big fan of the regular comics section of the mag, too, with its continuing strips by Jeff Jones, Vaughn Bode, Gahan Wilson, Ralph Reese, Sherry Flenniken, and others.Īmongst those others, it comes now to my attention, was one B.K. The fact is that I read National Lampoon for roughly a decade and a half, particularly delighting in its comics parodies by the likes of Neal Adams, Frank Springer, and even Frank Frazetta. ![]() Well this isn’t quite it, but it’s similar. ![]()
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