In the early 1980s, the single-panel comic “The Far Side” became, arguably, the smartest and most inventive daily comic of the late 20th century, asarahlarson writes.
a “Far Side” page-a-day calendar and going, “I don’t get it. I don’t get it. I don’t get it. I don’t get it.”) Some readers wrote letters to their local paper expressing horror at the strip’s brutality or obscurity, demanding that it be cancelled. Millions of others were rabid enthusiasts, buying books, calendars, greeting cards.
As the years went on, Larson drew thousands of “Far Side” cartoons. Some are duds. Some are groaners—illustrated puns, along the lines of the new taxidermist cartoon, such as an image of an eel cocktail party, captioned “Social morays.” Meanwhile, the culture flourished and changed, in part encouraged by the landscape that “The Far Side” helped create.
In 1994, in Larson’s farewell letter to newspapers, he cited “simple fatigue” and a desire to avoid easing into the “.” On the comics pages, mediocrity followed in his wake. The funny pages today feel startlingly similar to the ho-hum amusement I knew as a kid, but several strips use Larson-flavored weirdness as a kind of selling point , with tame results. “The Far Side” helped weirdness, once taboo, become a funny-pages genre—and, depressingly, a boring one.
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