National Lampoon Magazine #32
☆ Be the first to review + Add to your collection — Join free"The Bare Minimum" is a sharp, satirical comic by Joe Schenkman, who wrote, drew, inked, and lettered the entire piece. It presents a provocative, tongue-in-cheek list of cultural contributions—both genuine and exaggerated—offering a wry commentary on race, identity, and stereotypes through a series of brief, pointed observations. The story’s incisive humor and bold framing make it a standout in the 1981 issue of National Lampoon Magazine, a 2.00 USD comic from the early days of the magazine’s print run.
In "The Return of the Paramedic-Man," a harried housewife finds herself in an increasingly awkward situation when a group of paramedics returns to her home—this time not for medical reasons. Written with the satirical edge that defined National Lampoon’s humor, the story unfolds with escalating absurdity as the paramedics’ intentions grow more questionable, leaving the woman caught between disbelief and dread.
Deidre Callahan, abandoned at six after being deemed too ugly to keep, ends up in a city dump where she's found by Blind Bob, a scavenger who sees beyond appearances. Their unlikely meeting sets the stage for a story as sharp as it is strange, all in the wry spirit of National Lampoon.
In this brief, deadpan satire from National Lampoon Magazine #32 (1981), a man attempts to flee an Iron Curtain country only to be set upon by vicious dogs. Politenessman, ever the stickler for decorum, tries to reprimand the border guards—without much success.
In this sharp, self-aware slice of 1981 humor from National Lampoon Magazine #32, Bob and Margaret reunite after years apart, their chemistry sparking with awkward tension. Margaret takes charge—only to derail the moment with a hilariously exhaustive list of chores, turning intimacy into a comedy of delays.
In "Thanks, Negroes, for All These Things!", a sharp satire from National Lampoon Magazine #32 (1981), a mock-gratitude list flips cultural contributions on their head—highlighting everything from jazz to soul food, then abruptly pivoting to a tongue-in-cheek roster of "gifts" white people supposedly gave Black Americans, all delivered with the magazine’s signature deadpan irony. The piece concludes with a series of exaggerated, stereotypical takes on other cultures, underscoring its satirical edge with a mix of absurdity and pointed commentary.
In "The Do Walk," a man steps out of his apartment with an exaggerated, comical gait—only to find the entire sidewalk full of other office workers mirroring his every step. The story captures a moment of absurd synchronicity, where a single strange habit becomes a shared, silent ritual among strangers.
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Reprints
Reprinted in At Home with Rick Geary: Collected Stories 1977-85 #[nn] (1985), USA magazine hors-série #4 (1990), Housebound with Rick Geary #[nn] (1991), Rick Geary: The Lampoon Years 1979-1992 #[nn] (2012)
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