Gary Larson's iconic comic strip, The Far Side, ran from January 1, 1980, to January 1, 1995, resulting in over 4,000 strips. Initially appearing in The San Francisco Chronicle, its reach expanded to nearly 2,000 newspapers, cementing its popularity decades after its conclusion.
Larson's genius was characterized by the varied nature of his humor, which could shift from sophisticated wit to outright absurdity within the same strip. He demonstrated mastery through clever wordplay, entirely wordless panels, and a unique ability to consistently deliver hilarious and memorable comics. Here are five examples from the 1980s that highlight the diverse facets of Larson's talent.
The Incredibly Stupid
Much like other comedic geniuses such as Mike Judge with Beavis and Butt-Head, Larson often excelled at portraying sheer stupidity. His comics frequently featured scientists acting like childish fools or mobs gathering for nonsensical reasons. A prime example of this particular brand of humor appeared on September 29, 1983, depicting a man utterly incapable of figuring out he was holding his spoon incorrectly—a testament to Larson's ability to conceive such profound daftness.
The Subtle and Smart
Larson's work often incorporated references to classic literature, including Mary Shelley's Frankenstein and Salman Rushdie's The Satanic Verses. However, he showed a particular fondness for Herman Melville's Moby Dick, referencing it multiple times. One of the most understated nods to the novel appeared on August 21, 1980. In this strip, Captain Ahab is depicted at a bar with a whale activist who wryly comments, “Oh, sure — white whales. … We’ve got plenty of them.”
This comic relies on the reader's familiarity with Moby Dick, including Ahab's iconic appearance and his monomaniacal pursuit of the white whale. The subtlety lies in the possibility that many readers might not even recognize the reference, underscoring the intellectual depth that often went unnoticed in Larson's work.
The Strange and Surreal
Another strip requiring prior knowledge, this comic draws from the popular 1950s song “Mack the Knife.” It presents anthropomorphic kitchen utensils in their home, with the knife and spoon engaged in a game of poker while the fork plays the piano. Without familiarity with the song, the cartoon’s premise would be entirely obscure, and even for those who know it, the image of living silverware is inherently bizarre, showcasing Larson’s surrealist tendencies.
An Ingenious Turn of Phrase
“Curiosity killed the cat” is a well-worn idiom, yet Larson found a novel and humorous way to subvert it. In a comic strip featuring a detective at a crime scene littered with deceased cats, he literalized the expression by exploring the cats' curiosity in a scientific context. This imaginative reinterpretation of a common phrase demonstrates a rare genius.
No Words Required
This comic exemplifies Larson's ability to reimagine familiar scenarios with a simple, yet profound, twist, relying solely on visuals. It depicts a dog driving a car with a human passenger excitedly hanging their head out the window, reversing their typical roles. The strip is a concise blend of simplicity, intelligence, and humor, encapsulating the multifaceted brilliance that defined The Far Side creator Gary Larson.
