If a reader today is at all familiar with Walt Kelly's long-running comic strip Pogo, their familiarity may simply be with the most widely circulated quote from the strip, “We have met the enemy, and he is us,” which appeared in the strip in 1970 and the same year on a poster for the first Earth Day celebration, and was repeated in 1971. But just as there is much more to this simple quote — which appeared over twenty years into the strip's run — than a simple environmental message, there is so much more to Pogo, the masterwork of one of the greatest cartoonists ever to have lived.
ComicsAlliance Presents “Kate or Die,” a series of exclusive comic strips created by one of our favorite cartoonists, Kate Leth! In this episode, Kate has some advice for people starting out in comics, on being aware of the ways that people might try to take advantage of you, and on the importance of building a support network.
The premise is always the same: Cat loves mouse. Mouse hits cat with brick. Dog takes mouse to prison. While not literally every installment of George Herriman's Krazy Kat follows this exact premise, this is the framework around which the strip was built. One might think that such a simple formula would grow tiresome quickly, but Herriman — like a master of that other uniquely American art form, jazz — could take that simple framework and improvise around it, shifting characters and landscapes into something new and beautiful every day for over thirty years.
When you look back at pop culture, you can occasionally follow the threads back to these points that change everything. They're the projects that paved the way for so much that came after, the ones that introduced their audiences to a strange new way of thinking that eventually becomes the new standard, these massive influences that vast sections of the things we love almost certainly wouldn't exist without. And for my generation, Gary Larson's The Far Side is one of those points.
ComicsAlliance Presents “Kate or Die,” a series of exclusive comic strips created by one of our favorite cartoonists, Kate Leth! In this episode, Kate dreams of another word, a better world, a magical, mythical place where we're not all on Twitter every waking minute of every day! And also where we are chairs.
ComicsAlliance Presents “Kate or Die,” a series of exclusive comic strips created by one of our favorite cartoonists, Kate Leth! In this episode, Kate turns a potentially awkward social interaction into a frankly awesome meeting of minds.
A few weeks ago, Matt Wilson and I watched Dick Tracy, the 1990 adaptation of the classic comic strip, directed, produced by and starring Warren Beatty. It's a pretty interesting movie, something that Beatty had wanted to do since the '70s that was clearly styled as a reaction to the success of Batman '89, a strange and ambitious project with a whole lot of fascinating flaws. But what's even stranger is the half-hour special that aired 18 years later, where Beatty reprized his role so that he could be interviewed, in character, by Leonard Maltin.
ComicsAlliance Presents “Kate or Die,” a series of exclusive comic strips created by one of our favorite cartoonists, Kate Leth! In this episode, Kate has some excellent advice for freelancers and aspiring freelancers to help keep you sane in the weird amorphous world of 'working from home'. If you ever hope to make comics full-time, these are excellent tips to keep in mind!
On this day in 1958, the world’s most famous MI6 Agent took to the world of comics for the first time, as Ian Fleming’s James Bond brought his hard-drinking, womanizing, spy-killing adventures to the pages of UK newspaper The Daily Express just five years after the launch of the novels with Casino Royale.
In the golden age of newspapers, the comics pages were often a draw for readers — with the colorful palette of Robert Outcault's Yellow Kid being the source of the term “yellow journalism” — and so editors, acknowledging what they owed to the funny pages, made concessions to that. Works by such masters as Herriman and McCay were allowed room to breathe, and to display their ingenuity in full-page panoramas.
By the time Calvin and Hobbes debuted in 1985, this was no longer the case. The comics pages were increasingly cramped, with cartoonists being forced by their syndicates to adhere to a strict format for their Sunday pages that would allow papers to cut panels to reduce space even more. But Bill Watterson dreamed of the beautiful vistas of Slumberland and Coconino County, and he fought for them.