Kerry D. Soper
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496817280
- eISBN:
- 9781496817327
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817280.001.0001
- Subject:
- Literature, Comics Studies
This book explores Gary Larson’s unlikely career as the creator of the groundbreaking, syndicated panel cartoon, The Far Side. To help contemporary readers understand the controversial qualities and ...
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This book explores Gary Larson’s unlikely career as the creator of the groundbreaking, syndicated panel cartoon, The Far Side. To help contemporary readers understand the controversial qualities and cultural significance of Larson’s work, the author recreates the historical context in which The Far Side first emerged: the early 1980s when “family-friendly” mainstream mediums like the newspaper comics page were largely intolerant of alternative worldviews or irreverent brands of comedy. As a self-taught cartooning auteur with a morbid sense of humor and subversively scientific perspective on life, Larson resisted or bypassed most of the established rules about “appropriate” art and comedy on the Funnies Page. That independence allowed him to introduce a set of innovative aesthetic devices, comedic tones, and philosophical frames that challenged and delighted many readers, while upsetting and confusing others. In sum, this book reminds old fans and new readers of the ways that Larson’s iconoclastic work and career effectively broadened the culture’s palate for alternative comedy, profoundly shaping the worldviews and comedic sensibilities of a generation of cartoonists, comedy writers and every day readers.Less
This book explores Gary Larson’s unlikely career as the creator of the groundbreaking, syndicated panel cartoon, The Far Side. To help contemporary readers understand the controversial qualities and cultural significance of Larson’s work, the author recreates the historical context in which The Far Side first emerged: the early 1980s when “family-friendly” mainstream mediums like the newspaper comics page were largely intolerant of alternative worldviews or irreverent brands of comedy. As a self-taught cartooning auteur with a morbid sense of humor and subversively scientific perspective on life, Larson resisted or bypassed most of the established rules about “appropriate” art and comedy on the Funnies Page. That independence allowed him to introduce a set of innovative aesthetic devices, comedic tones, and philosophical frames that challenged and delighted many readers, while upsetting and confusing others. In sum, this book reminds old fans and new readers of the ways that Larson’s iconoclastic work and career effectively broadened the culture’s palate for alternative comedy, profoundly shaping the worldviews and comedic sensibilities of a generation of cartoonists, comedy writers and every day readers.
