Walt Kelly (1913-1973) is one of the most respected and innovative American cartoonists of the twentieth century. His long-running Pogo newspaper strip has been cited by modern comics artists and scholars as one of the best ever. Cartoonists Bill Watterson (Calvin and Hobbes), Jeff Smith (Bone), and Frank Cho (Liberty Meadows) have all cited Kelly as a major influence on their work. Alongside Uncle Scrooge's Carl Barks and Krazy Kat's George Herriman, Kelly is recognized as a genius of "funny animal" comics. We Go Pogo is the first comprehensive study of Kelly's cartoon art and his larger career in the comics business. Author Kerry D. Soper examines all aspects of Kelly's career--from his high school drawings; his work on such animated Disney movies as Dumbo, Pinocchio, and Fantasia; and his 1930s editorial cartoons for Life and the New York Herald Tribune. Soper taps Kelly's extensive personal and professional correspondence and interviews with family members, friends, and cartoonists to create a complex portrait of one of the art form's true geniuses. From Pogo's inception in 1948 until Kelly's death, the artist combined remarkable draftsmanship, slapstick humor, fierce social satire, and inventive dialogue and dialects. He used the adventures of his animals--all denizens of the Okefenokee Swamp--as a means to comment on American and international politics and cultural mores. The strip lampooned Senator Joseph McCarthy during the height of McCarthyism, the John Birch Society during the 1960s, Fidel Castro during the Bay of Pigs fiasco, and many others. Kerry D. Soper, Orem, Utah, is associate professor of humanities, classics, and comparative literature at Brigham Young University. He is the author of Garry Trudeau: Doonesbury and the Aesthetics of Satire, also published by University Press of Mississippi.

Kerry D. Soper reminds us of The Far Side's groundbreaking qualities and cultural significance in Gary Larson and ""The Far Side."" In the 1980s, Gary Larson (b. 1950) shook up a staid comics page by introducing a set of aesthetic devices, comedic tones, and philosophical frames that challenged and delighted many readers, even while upsetting and confusing others. His irreverent, single panels served as an alternative reality to the tame comedy of the family-friendly newspaper comics page, as well as the pervasive, button-down consumerism and conformity of the Reagan era. In this first full study of Larson's art, Soper follows the arc of the cartoonist's life and career, describing the aesthetic and comedic qualities of his work, probing the business side of his success, and exploring how The Far Side brand as a whole--with its iconic characters and accompanying set of comedic and philosophical frames--connected with its core readers. In effect, Larson reinvented his medium by creatively working within, pushing against, and often breaking past institutional, aesthetic, comedic, and philosophical parameters. Due to the comic's great success, it opened the door for additional alternative voices in comics and other popular mediums. With its intentionally awkward, minimalistic lines and its morbid humor, The Far Side expanded Americans' comedic palette and inspired up-and-coming cartoonists, comedians, and filmmakers. Soper re-creates the cultural climate and media landscape in which The Far Side first appeared and thrived, then assesses how it impacted worldviews and shaped the comedic sensibilities of a generation of cartoonists, comedy writers, and everyday fans.

Since 1968, Garry Trudeau (b. 1948) has brought his brand of political satire to bear on public figures, movie stars, heads of state, and even on himself. Trudeau has also advocated for artists' rights and challenged industry norms while keeping a decidedly low profile. In Garry Trudeau: ""Doonesbury"" and the Aesthetics of Satire, Kerry D. Soper traces the contribution of this groundbreaking artist. Trudeau is arguably the premier American political and social satirist of the last forty years. Amazingly, he achieved this on the comics page, rather than the editorial page. By defying convention, Trudeau has established a hybrid form of popular satire that capitalizes on the narrative continuity and broad reach of the comic strip form, while operating according to the rules of combative political commentary. Garry Trudeau: ""Doonesbury"" and the Aesthetics of Satire is divided into chapters that offer a history of Doonesbury; an analysis of Trudeau's effective satiric methods; a discussion of the methods whereby he challenged the business practices of the comic strip industry; an examination of the aesthetics of Doonesbury; and a consideration of Trudeau's significance as a social chronicler through an analysis of his character construction, narrative practices, and documentation of the American zeitgeist. Garry Trudeau is a thorough assessment of one of America's most popular and controversial cartoonists.

Kerry D. Soper reminds us of The Far Side's groundbreaking qualities and cultural significance in Gary Larson and ""The Far Side."" In the 1980s, Gary Larson (b. 1950) shook up a staid comics page by introducing a set of aesthetic devices, comedic tones, and philosophical frames that challenged and delighted many readers, even while upsetting and confusing others. His irreverent, single panels served as an alternative reality to the tame comedy of the family-friendly newspaper comics page, as well as the pervasive, button-down consumerism and conformity of the Reagan era. In this first full study of Larson's art, Soper follows the arc of the cartoonist's life and career, describing the aesthetic and comedic qualities of his work, probing the business side of his success, and exploring how The Far Side brand as a whole--with its iconic characters and accompanying set of comedic and philosophical frames--connected with its core readers. In effect, Larson reinvented his medium by creatively working within, pushing against, and often breaking past institutional, aesthetic, comedic, and philosophical parameters. Due to the comic's great success, it opened the door for additional alternative voices in comics and other popular mediums. With its intentionally awkward, minimalistic lines and its morbid humor, The Far Side expanded Americans' comedic palette and inspired up-and-coming cartoonists, comedians, and filmmakers. Soper re-creates the cultural climate and media landscape in which The Far Side first appeared and thrived, then assesses how it impacted worldviews and shaped the comedic sensibilities of a generation of cartoonists, comedy writers, and everyday fans.