Krazy & Ignatz 1937-1938: "Shifting Sands Dusts its Cheeks in Powdered Beauty" (Krazy Kat) (Krazy and Ignatz) 
asked by lovieduvie on November 2, 2006 3:25 AM
Our second collection of full-color Krazy Kat comics!George Herriman integrated full spectacular color into Krazy Kat in June 1935. The gorgeous evolution continues in our second color volume, which includes the Sunday strips from all of 1937 and 1938. The color format opens the floodgates for a massive amount of spectacular rare color art from series editor Bill Blackbeard and designer Chris Ware's files.
Krazy Kat is a love story, focusing on the relationships of its three main characters. Krazy Kat adored Ignatz Mouse. Ignatz Mouse simply tolerated Krazy Kat, except for recurrent onsets of targeted tumescence, which found expression in the fast delivery of bricks to Krazy's cranium. Offisa Pup loved Krazy and sought to protect "her" (Herriman always maintained that Krazy was genderless) by throwing Ignatz in jail. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy & Co.'s unique dialogue. Most of these strips in this volume have not seen print since originally running in Hearst newspapers over 70 years ago.
Krazy Kat is a love story, focusing on the relationships of its three main characters. Krazy Kat adored Ignatz Mouse. Ignatz Mouse simply tolerated Krazy Kat, except for recurrent onsets of targeted tumescence, which found expression in the fast delivery of bricks to Krazy's cranium. Offisa Pup loved Krazy and sought to protect "her" (Herriman always maintained that Krazy was genderless) by throwing Ignatz in jail. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy & Co.'s unique dialogue. Most of these strips in this volume have not seen print since originally running in Hearst newspapers over 70 years ago.
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We are now, depending on method, between 1/3 & 1/2 way through the republication of Herriman's full-page comic spreads. There is plenty of good discussion of the artistic & literary value of this eccentric comic elsewhere, though perhaps not enough on the underlying philosophical issues it seems to raise, both in the push-&-pull of Kokonino Kounty's animal society, & in the recurrent surreal transformation of landscapes, an endless perceptual pun. But there is also immense & gentle, grace-filled hilarity of a sort we need no less now, than when Herriman was alive. Blessings on Fantagraphics for committing itself to this republication. Advice? Read it. Read them all - good food for the mind & the funnybone, not too common a combination...
reviewed by orla on November 19, 2006 1:06 AM
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Has the Krazy Kat curse finally lifted? More than a few brave companies have tried to reprint entire runs of this highly acclaimed but very underprinted comic only to end up self destructing. Way back in the hoary old days of the 1990s a company called Eclipse printed all of the Sunday pages from 1916 to 1924. Then something happened. No 1925 volume ever appeared. The curse begins. Not long after, another company, Stinging Monkey, printed volume one of "the complete Krazy Kat Dailies". That bold venture only lasted one mere volume. The curse returns. The small Pacific Comics Company has actually released three entire volumes of Krazy Kat dailies with no sign of stopping, but their market reach remains quite diminutive. Enter Fantagraphics, a company that may finally lift this ignoble curse from one of the best comics ever produced. They exhumed the smoldering Eclipse series and began anew with the year 1925. So far seven volumes have appeared covering the years 1925 - 1938. The last two issues appearing in full color (just as the strip did in 1935). Only three potential volumes remain for the years 1939 - 1944. Fantagraphics now stands well poised to obliterate this vile printing curse forever.
This volume, like its predecessor, displays the Sunday pages in full color throughout. During these two years the strip began to take on an even more surrealistic and esoteric edge. The addition of color heightened the abstraction of Herriman's brilliant backgrounds. Folded moons, impossibly high cacti, and chunky mountains fill in nearly every gap (see the particularly stunning strip from September 12th, 1937). The adobe colored jail becomes a permanent home for Ignatz as it now appears on almost every page. And the incessant love triangle between a Kop, a Kat, and a Mouse kontinues unabated. Signs of the strip's maturity peek out from behind every frame. The humor becomes more subtle, relying less on wordplay and slapstick than earlier strips. The jokes don't reach out and grab like a cattle prod (unlike many of today's strips that thoroughly rub the joke in your face); some require re-reading or reflection. Or a large vocabulary. Regardless, many remain laugh out loud funny despite their age. The March 27, 1938 strip depicts Offica Pupp trying to arrest Ignatz because he misunderstood his verbal fulmination "DUCK!" Pupp examines a book entitled "Law" while murmuring "Maybe - MA-A-AYBE I can arrest him fot it - Let's-s-s-see." Also, Herriman's little cartoon asides begin to appear at the very end of this volume (starting with December 11th, 1938). These small frames appear incongruous but they actually complement the strip as a whole and alter the mood. They harken back to his early "Family Upstairs" strips. Unfortunatley, the strip paid dearly for its waxing maturity and subtlety with plummetting popularity. The 1930s and 1940s saw the inexorable commercial decline of Krazy Kat. It appeared in increasingly fewer papers as irritated editors tried to slash "old man Hearst's" favorite strip. This volume helps preserve Herriman's legacy to the comic form, and it proves once again that commerciality does not always equate with high quality.
Unlike all other Fantagraphics volumes so far, this one does not contain an introductory essay. Nonetheless, some amazing watercolors and photos bookend the strips, including a rare one of Herriman without a hat. And the tradition of the "Ignatz Mouse Debaffler Page" gets upheld.
With each successive volume it appears that Fantagraphics may be well on its way to completing this series. The quality has not waned an iota from the first issue. Impressive. Carry on, please.
This volume, like its predecessor, displays the Sunday pages in full color throughout. During these two years the strip began to take on an even more surrealistic and esoteric edge. The addition of color heightened the abstraction of Herriman's brilliant backgrounds. Folded moons, impossibly high cacti, and chunky mountains fill in nearly every gap (see the particularly stunning strip from September 12th, 1937). The adobe colored jail becomes a permanent home for Ignatz as it now appears on almost every page. And the incessant love triangle between a Kop, a Kat, and a Mouse kontinues unabated. Signs of the strip's maturity peek out from behind every frame. The humor becomes more subtle, relying less on wordplay and slapstick than earlier strips. The jokes don't reach out and grab like a cattle prod (unlike many of today's strips that thoroughly rub the joke in your face); some require re-reading or reflection. Or a large vocabulary. Regardless, many remain laugh out loud funny despite their age. The March 27, 1938 strip depicts Offica Pupp trying to arrest Ignatz because he misunderstood his verbal fulmination "DUCK!" Pupp examines a book entitled "Law" while murmuring "Maybe - MA-A-AYBE I can arrest him fot it - Let's-s-s-see." Also, Herriman's little cartoon asides begin to appear at the very end of this volume (starting with December 11th, 1938). These small frames appear incongruous but they actually complement the strip as a whole and alter the mood. They harken back to his early "Family Upstairs" strips. Unfortunatley, the strip paid dearly for its waxing maturity and subtlety with plummetting popularity. The 1930s and 1940s saw the inexorable commercial decline of Krazy Kat. It appeared in increasingly fewer papers as irritated editors tried to slash "old man Hearst's" favorite strip. This volume helps preserve Herriman's legacy to the comic form, and it proves once again that commerciality does not always equate with high quality.
Unlike all other Fantagraphics volumes so far, this one does not contain an introductory essay. Nonetheless, some amazing watercolors and photos bookend the strips, including a rare one of Herriman without a hat. And the tradition of the "Ignatz Mouse Debaffler Page" gets upheld.
With each successive volume it appears that Fantagraphics may be well on its way to completing this series. The quality has not waned an iota from the first issue. Impressive. Carry on, please.
reviewed by bookworks on November 22, 2006 3:51 PM