The measure of greatness in a comic strip, particularly one as limited in space as Gary Larson's "The Far Side," is often debated. Unlike strips that delve into deep philosophical territory or rely on recurring characters, Larson's work focused on delivering a singular, effective joke. This approach, which eschewed character development for punchline prowess, means that the best "Far Side" comics are those that are exceptionally clever and funny.
Larson's reliance on standalone gags, rather than a consistent cast, allowed him to explore a vast array of subjects without being tied to familiar personas. His art style, often described as grotesque, served the comedy, enhancing the absurdity of the scenarios.
The Top Tier of Far Side Humor
Among Larson's most celebrated works, the "Smoking Dinosaurs" comic stands out. It combines several of Larson's signature elements: a fondness for dinosaurs, a penchant for dark humor, and a surprisingly clever twist. The image of dinosaurs smoking cigarettes is inherently amusing, but the implied punchline—that they went extinct from smoking—elevates it to a remarkably witty commentary on existence. This single strip encapsulates much of what makes "The Far Side" so beloved.
Comics That Play with Perception
Several "Far Side" comics are lauded for their intricate joke construction, requiring the reader to actively participate in finding the punchline. The "Find Peter" comic, for instance, rewards careful observation, asking the viewer to identify a specific cubicle among many. Similarly, the "Fly Woman" comic presents a visual gag that unfolds as the viewer's eye moves from the foreground to the details on the artist's glasses.
Larson also frequently employed self-referential humor, using his panels to deconstruct the very nature of comic strips. A notable example is a comic featuring "sketchy" characters, where Larson deliberately employed a crude drawing style to comment on the aesthetic. Another instance satirizes newspaper activity panels, like "hidden images" comics, by depicting a forest filled with poorly concealed appliances, undercutting the genre's premise with an absurdly high count.
Subverting Expectations
Beyond meta-commentary, Larson excelled at putting fresh spins on familiar concepts. The comic featuring Pinocchio, who notoriously wishes to become a real boy, humorously explores a scenario where he might not want that outcome. Another strip demonstrates Larson's knack for absurdity through overkill, presenting a murder scene where the obvious murder weapon—a bowling pin—is overlooked by clueless investigators amidst a sea of other bowling pins.
The comic titled "Snakes" offers a whimsical take on creation, humorously suggesting God fashioned snakes from Play-Doh, a gag that subtly trivializes the grand narrative of existence. These comics, whether relying on visual gags, narrative twists, or subversions of common tropes, highlight Larson's mastery of the single-panel format.