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A Lucky Luke Adventure 2: Ghost Town by Morris, Rene Goscinny

By Morris, Rene Goscinny

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Fulfilling his own violent desires, Ignatz simultaneously fulfills Krazy’s desire to be loved. The gaps between the panels that the brick both represents and transcends are made meaningful, both sides fulfilled by a miscommunication that is also a perfect correspondence. In these terms it is Offica Pupp, the defender of law and order, who is the unfulfilled apex of this erotic triangle. Despite (or rather because of) his badge Fragments of Modernity, 1889–1920 27 and nightstick, Offica Pupp is at a complete loss for how to impose meaning or order on the perverse passion play he witnesses each day.

Instead of narrative coherence, always devalued by the earliest criticism, what unifies the film is the personality of Happy himself—his ability to remain recognizable in the midst of pleasurable shocks and “startling . . ”48 Interestingly, however, this is not what happens in the film (Figures 10–11). Instead, here Happy has an extremely rare last laugh, as the policeman heads into the house to confront the woman who soaked him. 49 Of course, in a sense, the 19 20 Chapter 1 Figure 10. Happy Hooligan Interferes, directed by G.

Detail from George Herriman, The Family Upstairs, 1911. Author’s collection. 26 Chapter 1 Baron Bean, which told of the vagabond adventures of a fallen British aristocrat and his abused retainer, Grimes, as they struggle to maintain highborn pomp on pennies a day. In one sequence the Baron and Grimes decide to take a “vacation,” whereby for two weeks the strip records the declining fortunes of their purse and its ultimate restoration on the last day as a settlement for being victims to a falling flowerpot from a second-story window.

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