It’s an outlandish romp past the boundaries of good taste and into dangerously revealing-and truly funny-psychic territory. Dans ce premier ouvrage solo hilarant, Elizabeth Pich déploie un ensemble de scènes toutes plus transgressives et politiquement incorrectes les unes que les autres, dépoussiérant avec une ironie mordante notre quotidien d’ennui et de. Though the simply drawn characters are a touch too limited in expression, the primary-colored pop art bursts with funky urban settings and slapstick visual gags. Fungirl est une fille maladroite, extravertie et provocatrice, qui sème le chaos partout où elle passe. Gradually, a more somber thematic thread finds a route through the dick, poop, and menstrual-blood jokes, as Fungirl and Becky reaffirm their dignity and friendship, while avoiding their enraged victims. Like Tuca & Bertie with blocky human characters, the humor revels in escalating its antiheroine’s outrageous antics and ridiculous schemes against a landscape populated with oddball details: a llama rental agency, a bitter rivalry at a morticians’ convention, and a women’s career seminar run by a female bodybuilder (“scary.but arousing,” per Fungirl). She propositions everyone she meets, aggravates her long-suffering roommate Becky and Becky’s painfully nice boyfriend Peter, and dresses like Olive Oyl but has the mouth of a sailor-all the while teetering on the brink of being fired from her funeral home job for hiding in coffins and accidentally setting corpses on fire. The hot-mess (nameless but accurately nicknamed) protagonist of this raucous, biting comedy from Pich ( War and Peas) sets the tone from the get-go: Fungirl starts a fire in her apartment (“Sorry! I was masturbating,” she says in apology), then steals and crashes a skateboard.
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