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Gary Larson often includes pop culture references as a source of humor in his work. Many issues of The Far Side incorporate this type of comedy. Some require pre-existing knowledge of the source material to be best experienced. Others, however, still entertain without a need for prior context. Popular culture continues to feed off of itself in an orrery-like sense, continuously looking to itself for references to lean back on. Larson knew well that he could pull unique references into his already-original comic strip.
Artistic and comedic techniques employed by Larson are key factors in the positive reception of The Far Side comics that use easily missed references. In some strips, visual elements prove humorous without context. At times, the inclusion of additional comedy entertains readers. Regardless of the means, the best of these issues are still hilarious.
A House Party In The Far Side Is Rudely Interrupted
Publication Date: April 3, 1988
Some film references to provide exceptional material for parody without the need for the audience to understand the source. A strange house party in The Far Side presents a sound example. The facial expressions and odd personification create comedy even if the reader lacks context. Larson’s use of exaggeration removes the need for a caption or pre-existing knowledge.
The vivid illustration offers an abundance of visual appeal. Larson’s attention to detail, character placement, and proportions creates depth and atmosphere. These aspects help make the scenario recognizable and add to the humor. The amount of amusement found in the strip unrelated to its reference finds this hilarious entry a place in the rankings.
A Famous Baseball Player Needs No Introduction In The Far Side
Publication Date: Sep. 12, 1987
Occasionally, The Far Side presents material that is so strange and thought-provoking that readers find amusement even if the reference is missed. Such is the case with a hilarious sports cameo that entertains without having the entire character in the scene. An odd assortment of objects in jars related to the icon provides enough suggestion to inspire thought and laughter without needing further context.
As the brain is an essential part of the body, readers understand that the baseball glove must also be an important object. The likeliest possibility is that the referenced character is a professional player. Larson’s provision of less-than-subtle allusions is key in creating humor. As such, giving readers additional information is unnecessary.
Pop Stars Come And Go Quickly In The Far Side
Publication Date: Sep. 2, 1992
While many pop stars come and go, some find lasting success. For the ones that stick around, their influence finds its way into many facets of society. Comic strips are no exception, as social commentary is the bread and butter of cartoonists. A problem with strips that satirize famous individuals is that fame cannot last. Thus, new generations might not be aware of the source material used for parody.
In rare cases, elements of comics that parody pop stars create humor without the reader having to know the reference. A hilarious issue of The Far Side accomplishes this feat entirely by accident. When Madonna’s famous top bursts a lifeboat, the obviousness of the garment’s lack of functionality and situational irony prove hilarious. Larson’s artistic techniques, like the numerous bubbles and textual representation of air release, remove any need for reader comprehension concerning the employed reference.
Mr. Ed Has Never Known When To Keep Quiet
Publication Date: Dec. 14, 1987
Sometimes, readers can find comedy in a reference with only a vague impression of its source material. A sound example in The Far Side involves a famous talking horse. Mr. Ed starred in a popular, self-titled television show, but that fact holds no bearing on the strip’s comedy. Readers only need to understand that the horse can speak to get the joke.
Larson’s illustration is simple but effective. Each object in the scene is easily recognizable. The caption explains the situation well without overstating or becoming wordy. A talking colt provides ample humor through irony and personification. The exclusion of distracting elements allows readers to focus on the core of the gag, which is available to a broad audience.
A Celebrity Is Caught Poaching In The Far Side
Publication Date: Nov. 4, 1991
Readers need not know who Mark Trail is to garner amusement from his appearance in The Far Side. While the irony is much greater if viewers understand the environmentalist nature of the famous comic strip character, Larson provides plenty of additional humor through creative artistic decisions. Choices like exaggerating the celebrity’s appearance and incorporating a lone elephant foot create outstanding visual comedy.
The assortment of animals inspires laughter due to their differing habitats. Larson exaggerates every element of the illustration to add comedic effect. His additional detail and contrasting hues for the featured character place a focal point on Mark Trail. Reader attention is continually brought back to the somewhat out-of-place individual, whose calm demeanor and direction of view add further amusement to the already amusing installment of The Far Side.
The Far Side Shows What Happened To D. B. Cooper
Publication Date: May 3, 1988
D. B. Cooper is a famous thief who has begun his fade into obscurity. Many readers today might not know the reference, but that doesn’t stop this hilarious strip from entertaining. The suggestive nature of the illustration creates humor without needing an explanation. Unexpected events that lead to physical humor are highly enjoyable, especially in The Far Side.
The bare-bones appearance of objects in the scene draws the reader's attention to the detailed person parachuting into the pen. His wide eyes and the sign’s text tell the intended story well enough that knowledge of the source material isn’t required. Larson’s artistic decisions and the creation of humor through means outside the referenced individual help put this entry in a sound position in the rankings.
Cameos In The Far Side Can Be Deadly
Publication Date: April 16, 1987
Amelia Earhart’s cameo in The Far Side shows that not all exposure is positive. Her appearance also reveals that referenced material can still be hilarious if the source is unknown. When two stranded people come across Earhart’s remains, the sign she holds speaks volumes. Even if the viewer is unaware of the reference, the suggestive nature of the discovery creates dark humor.
Someone writing their name on a sign implies they are either famous or concerned with being remembered. Because the former is more likely, readers get the gist of Larson’s intention. The emphasis in the caption adds comedy to its already humorous implications. Once again, Larson’s exclusion of unnecessary objects in the scene allows the focus to be placed appropriately, helping readers find amusement with or without context.
The Bates Motel Has A Celebrity Guest
Publication Date: June 30, 1988
At times, cartoonists use more than one reference in their work. Typically, oddities stemming from a contrasting pair of individuals or groups would be the intended source of comedy. A sound example comes from The Far Side when Elvis and Norman Bates make a dual appearance. Unlike similar comics, this strip can be entertaining without knowing anything about either character.
The atmosphere created by Larson is crucial in creating comedy. Dark skies and tints resembling a low flame lay the foundation for Larson’s morbid style of humor. The illusion of exterior reflection on water adds to the suspense through its connection to slasher films of the time. An effect that remains creepy without proper context due to the distortion created. These devices provide abundant entertainment without needing to catch the references.
Gorillas In The Far Side Create Comedy Without Context
Publication Date: Aug. 26, 1987
Larson is known for connecting human failings to animals in his personifications. An issue of The Far Side featuring gorillas provides ample evidence. During cleaning, the discovery of blonde hair spurs an angry response. The implied activity and depicted response create humor without needing previous knowledge. Due to the caption's contents, Jane Goodall’s identity is fairly obvious.
Physical human traits given to the animals help the personification create the intended comedy. The text contains subtleties but is comprehensive enough to make sense of the situation. The emotions of both characters are made apparent through the manipulation of features like eyes and brows. Combining the mentioned artistic and literary devices produces a timeless classic that proves hilarious without any additional context.
Jacques Cousteau's Cat Loses Its Mind In The Far Side
Publication Date: Aug. 4, 1992
The strip, easiest to understand from The Far Side without reference knowledge, features the famous explorer, Jacques Cousteau. Thanks to the exceptional artwork provided by Larson, readers don’t need to know who the individual is to find the comic entertaining. The expressive face of the cat is hilariously suggestive. It is plain as day that the poor creature is terrified out of its wits.
Larson’s use of deep blues provides the appropriate feeling of being beneath the ocean. Aquatic life adds substance to the scene. Bubbles coming from the submarine create a feeling of suspense through the idea of limited oxygen. Another humorous element is the ironic contrast in facial expressions between the two characters. Larson’s effective use of visual aids and situational comedy lands this entry at the top of the rankings.
