Wednesday, September 03, 2025

Business Cat: Hostile Takeovers by Tom Fonder

I've read chunks of the Business Cat strip, mostly on GoComics - I've been waiting, for about three years now, for it to restart from the beginning, which used to be a thing that happened regularly on GoComics for strips that ended. But we clearly live in a fallen world, so my hopes are not high. [1]

Business Cat ran from 2014-2018: it wasn't a continuity strip to begin with, but it developed a main plotline in the middle of the run and the strip stopped when creator Tom Fonder found a natural point in that plotline. It's been nearly a decade since, and it hasn't come back, so I have to assume Fonder is doing different income-generating activities these days. (And, actually, that assumes that a webcomic was income-generating in the first place, which is plausible but not proven.)

The strip was collected, I believe in its entirety, into two books. The first one was Business Cat: Money Power Treats, which I haven't seen. But the book of the back half of the strip, Business Cat: Hostile Takeovers, was available in my library app, so I checked that out recently.

The original concept for the strip was one of those weird juxtapositions: BC is both the CEO of a major global corporation and a cat! So the gags were mostly CEOs doing cat-like things: knocking coffee cups off desks, sitting on employee's laps, demanding skritches during important meetings. As you see from the cover, Fonder drew BC as a human being with a cat head, which made the whole thing quite odd - but humorously so.

Eventually, the worldbuilding got rolling - there are several Business Animals, including BC's nemesis, a pug named Howard. Each of them also runs a global megacorporation, each of them also is an animal in human form (mostly just the head to indicate animal-ness), and, as in so much popular media, they fight - as far as we see, entirely through the mechanisms of capitalism.

BC is not actually a good CEO: that's the central joke. He's easily distracted, unfocused, and doesn't seem to care about anything his company actually does. So it turns out that he replaced their "accountant" - like a lot of fiction about the business world, it has a view of a major corporation as organized like the small business above the chip shop, only in fancier offices - with a plush toy, which led to major irregularities, which led to a visit from the IRS, which led to bankruptcy, oddly described.

Howard sweeps in to "rescue" the company by taking it over, and BC is cast out of the business world, in what was a temporary rebrand of the strip as "The Adventures of Regular Cat." BC lives in an alley, is incarcerated in an animal shelter, finds a new family, and so forth - it gives Fonder a chance to make some pretty familiar cat  jokes that didn't fit into the business setting.

Eventually, of course, there is a scheme to get BC back in control of his company and cast out Howard, which of course succeeds, because BC is our hero. And the very last strip comes full circle, repeating the gag from the first strip.

Hostile Takeovers is a fun collection of a crisp, amusing strip that didn't overstay its welcome. I would recommend finding the first book first if you can, but this one has most of the "story" material from the series - and it's not like the concept or background are so complex you need the first book to understand everything.


[1] As always, saying something in public changes the world. Between the time I wrote this post and it went live, Business Cat began another round of reruns on GoComics. I'm not claiming it happened because of me...or am I?

Tuesday, September 02, 2025

Dante's Inferno by Paul & Gaëtan Brizzi

The last time I read a comics adaptation of Dante, it was by Seymour Chwast. This one, you might say, is from the opposite end of the picture-making spectrum, all soft pencils in a detailed, almost photorealistic style as opposed to Chwast's bold colors and carefully-designed simplicity.

And clear, obvious distinctions like that are good: living in a world with multiple graphic adaptations of Dante, you want to be able to define them against each other as clearly as possible.

Dante's Inferno, unlike the Chwast book from over a decade ago, just adapts the first and most famous of Dante's three sections of the Divine Comedy. Paul and Gaëtan Brizzi - brothers who have mostly worked in animation together for the last few decades - use some of Dante's words, but mostly present this story visually, in cinematic full-bleed pages packed with striking images and magnificent effects. They have animators' eyes for gesture and expression and, in particular, for the large arresting image - the book irises out from the usual four-to-six white-bordered panels per page to full-page or full-spread images at least once per Circle, for maximum effect.

The relative lack of text keeps the focus on the main characters - Dante himself, journeying through Hell to find his dead love Beatrice, and his guide, the classic poet Virgil. Most of the text in the book is their conversation: Dante's wonder and fear, Virgil's explanations and some of his negotiations with all of the strange doomed creatures they meet.

That's the story of Dante's poem, for anyone unfamiliar with the original. The author himself is moping about a forest near his hometown of Florence, since his great love Beatrice has recently died. Virgil appears - long-dead author of The Aeneid and Dante's poetic role model - and says he will lead Dante to her. But Virgil does not reveal that the trip will go through literal hell until they're within the gates. (Seems like a thing one's mentor would want to mention at the outset, so one could be properly prepared with strong footwear, the right mental attitude, and some appropriate traveling snacks.)

Anyway, Inferno is the journey down through the nine circles of Hell, in Dante's poetry filled with lovingly-described scenes of the torture in various inventive ways of all sorts of people, particularly those he knew and loathed. It's followed by Purgatorio and Paradiso, covering Dante's journey through the other two portions of the Christian afterlife. The other two bits are less popular, and I see no indication that the Brizzi brothers intend to continue this work to adapt them - though, of course, they might.

The Brizzis show us a lot of the creatures and people in Hell - at least one group per circle - but they've quietly simplified the presentation and removed the long Dantean descriptions of various groups of sinners, the horrible things they did in life, and how they are being tortured in inventive ways in Hell. Those who have read Inferno know quite a lot of it is made of that catalog - oh, here are the simoniacs, who are in the third of ten ditches in the eighth circle, Malebolge, and they are evil because they sold holy things, and they are punished by being left head-down in holes in the burning landscape with only their feet showing. It's all a bit like Medieval Mad Libs: the SINNER TYPE is in the REGION OF HELL because they committed VERY SPECIFIC SIN and are punished in INVENTIVE WAY.

Dante sees all of this, and is horrified and/or gratified - the latter when he sees people he knew, and is happy to see them being tortured in Hell - at all of it. Eventually, the two of them make it to the bottom of Hell, where a gigantic goat-like Lucifer breaks out of a frozen lake (the thermodynamics of Hell do not bear close scrutiny) and our heroes are able to jump onto his head to get themselves to the exit.

(Rather convenient of the King of Lies, I'd say - provides good service to visitors. Five stars.)

The Brizzis make compelling pages here, and they have a fantastic, world-famous story full of striking images to work from. Their version of Dante loses the tedious catalog of sins and torments for visual grandeur and a near-epic feel. It may disappoint some hard-core Dante fans, who want more details on exactly how the murderers are tortured, and what the virtuous pagans are up to, but, for most readers, this is either a fantastic introduction to Dante or a gorgeous reminder of his work.

Monday, September 01, 2025

Books Read: August 2025

This is what I read last month; as always, it's mostly an index to the blog and primarily useful to me  rather than you the home viewer. But there it is:

Richard Sala, Night Drive (digital, 8/2)

Ruth Goodman, How to Be a Victorian (8/2)

Doug Savage, Laser Moose and Rabbit Boy (digital, 8/3)

Mark Chiarello, editor, Wedne4sday Comics (8/9)

William Goldman, The Princess Bride (8/9)

René Goscinny and Albert Uderzo, Asterix the Gladiator (8/10)

Sophie Goldstein, House of Women (digital, 8/16)

Jack Vance, Trullion: Alastor 2262 (in Alastor, 8/16)

Sergio Aragones' Groo: The Hogs of Horder (digital, 8/17)

Jeff Lemire, 10,000 Ink Stains: A Memoir (digital, 8/23)

Various, The Mystery Science Theater 3000 Amazing Colossal Episode Guide (8/23)

Peter Bagge and Gilbert Hernandez, Yeah! (digital, 8/24)

Ambrose Bierce, In the Midst of Life: Tales of Soldiers and Civilians (in The Devil's Dictionary, Tales & Memoirs, 8/24)

Kazuo Koike & Goseki Kojima, Lone Wolf & Cub, Vol. 7: Cloud Dragom, Wind Tiger (digital. 8/25)

Carol Lay, Murderburg (digital, 8/26)

Stephen Crane, The Red Badge of Courage (in Prose and Poetry, 8/26)

Stan Sakai, Usagi Yojimbo, Book 8: Shades of Death (digital, 8/27)

P.G., Wodehouse, The Small Bachelor (8/27)

Kenji Tsuruta, Wandering Island, Vol. 1 (digital, 8/28)

Philippe Riche, Bad Break, Chapter #2 (digital, 8/29)

Loren D. Estleman, The Left-Handed Dollar (8/29)

Michael Sweater, Everything Sucks: Kings of Nothing (digital, 8/30)

Denis-Pierre Filippi & Silvio Camboni, Walt Disney's Mikey Mouse and the Amazing Lost Ocean (digital, 8/31)

Dashiell Hammett, The Glass Key (in Complete Novels, 8/31)


I plan to keep reading books in the future.

Better Things: Weight of the World

"Better Things" is a series of weekly posts, each about one song I really love, by an artist I haven't featured in the previous This Year or Portions For Foxes series. See the introduction for more.

I think this is another obscure one: a song I found randomly and loved, by an artist that might be bigger than I know, or might be as obscure as I'm afraid he is.

This is Weight of the World by Shayfer James.

Another almost honky-tonk song, over a rolling piano line. Long, rolling lines, wordy and detailed, giving vignettes of a dangerous, nasty world - maybe made more nasty by the singer and his gang of...whatever.

One woman whistling a wounded lullaby
And preaching pain to every unsuspecting passerby
We knew her well before this, she promised portraits of us
We cut her throat while she was waiting for the paints to dry

It's an ominous song, sung straightforwardly by James with some background singers adding color and depth - but it's mostly that piano and his voice, supported lightly by other instruments. It's a dark vision of Hobbesian world, told precisely and tautly.

And what can you do about it?

But that's just the weight of the world
We do what we must to get by
That's just the weight of the world
The weak and the weary will never survive