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Editorial Reviews
From Library Journal
Herriman's comic strip "Krazy Kat," which ran in newspapers from 1913 until Herriman's death in 1944, is widely regarded as one of the greatest examples of the comics as art. Comics creators from Charles Schulz and Bill Watterson to Jeff Smith and Art Spiegelman have sung its praises. This volume is the second in Fantagraphics's series reprinting the complete strips from the Sunday pages, picking up where an earlier series from the now-defunct Eclipse Books left off. The strip's basic situation is simple: Ignatz Mouse loves to bop Krazy Kat on the head with bricks. Krazy, who loves Ignatz, receives each blow as if it were a token of affection, and Officer Pupp, who loves Krazy, tries to thwart Ignatz's abuse. In most of the strips here, Herriman's boldness is hampered by the eight-panel format temporarily forced upon him, but his wit with words, constantly changing desertscapes, and inventiveness are in full play. The strips are presented in their original black and white. Smaller libraries might be content with a sample volume or with the out-of-print anthology Krazy Kat: The Comic Art of George Herriman (Abrams, 1986). Large libraries and specialists in comics history should kollect this klassic komplete.
Copyright 2002 Reed Business Information, Inc.
From Booklist
It isn't uncommon now for comics to aspire to high-art status, but Herriman's newspaper strip, "Krazy Kat," which debuted in 1913, reached still unsurpassed artistic heights during the medium's early, declasse years. It centers on the titular, apparently genderless feline; its nemesis and beloved, Ignatz Mouse, whose mission in life was heaving bricks at Krazy, who perceived them as love offerings; and Offissa Pupp, a dog policeman dedicated to jailing Ignatz and winning Krazy's affections. Herriman situated this simple triangle of misdirected and unrequited love in the vast universe of Coconino County--the scene would change radically from one panel to the next, independent of the characters' movements--rendered in a distinctively scratchy, idiosyncratic style; and he gave Krazy a fanciful argot based, maybe, on Yiddish-accented English: "There is a heppa lend, fur fur away." Simultaneously simple and profound, the strip was adored by the era's intelligentsia. This, the second volume of a project reprinting the strip's 28-year run, showcases the 1927-28 Sunday strips in black and white, for color wasn't used until 1935. Gordon Flagg
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Herriman's comic strip "Krazy Kat," which ran in newspapers from 1913 until Herriman's death in 1944, is widely regarded as one of the greatest examples of the comics as art. Comics creators from Charles Schulz and Bill Watterson to Jeff Smith and Art Spiegelman have sung its praises. This volume is the second in Fantagraphics's series reprinting the complete strips from the Sunday pages, picking up where an earlier series from the now-defunct Eclipse Books left off. The strip's basic situation is simple: Ignatz Mouse loves to bop Krazy Kat on the head with bricks. Krazy, who loves Ignatz, receives each blow as if it were a token of affection, and Officer Pupp, who loves Krazy, tries to thwart Ignatz's abuse. In most of the strips here, Herriman's boldness is hampered by the eight-panel format temporarily forced upon him, but his wit with words, constantly changing desertscapes, and inventiveness are in full play. The strips are presented in their original black and white. Smaller libraries might be content with a sample volume or with the out-of-print anthology Krazy Kat: The Comic Art of George Herriman (Abrams, 1986). Large libraries and specialists in comics history should kollect this klassic komplete.
Copyright 2002 Reed Business Information, Inc.
From Booklist
It isn't uncommon now for comics to aspire to high-art status, but Herriman's newspaper strip, "Krazy Kat," which debuted in 1913, reached still unsurpassed artistic heights during the medium's early, declasse years. It centers on the titular, apparently genderless feline; its nemesis and beloved, Ignatz Mouse, whose mission in life was heaving bricks at Krazy, who perceived them as love offerings; and Offissa Pupp, a dog policeman dedicated to jailing Ignatz and winning Krazy's affections. Herriman situated this simple triangle of misdirected and unrequited love in the vast universe of Coconino County--the scene would change radically from one panel to the next, independent of the characters' movements--rendered in a distinctively scratchy, idiosyncratic style; and he gave Krazy a fanciful argot based, maybe, on Yiddish-accented English: "There is a heppa lend, fur fur away." Simultaneously simple and profound, the strip was adored by the era's intelligentsia. This, the second volume of a project reprinting the strip's 28-year run, showcases the 1927-28 Sunday strips in black and white, for color wasn't used until 1935. Gordon Flagg
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
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