2009: BEST IN THE FUNNIES

In the newspapers, Garry Trudeau’s Doonesbury continues its long run as both a funny and sharply satirical comic strip; and this year, its expose of “the Family” (which we examine, albeit briefly, in the Usual Place, R&R, Op. 247) qualifies it as investigative journalism, too. But Brooke McEldowney’s 9 Chickweed Lane is the best comic strip (again this year) for its mastery of the medium and for its gentle humor and profound humanity — and for its daring: Edda’s losing her virginity “on camera” in October 2008; God getting an actual first name (Monty).

Greg Evans’ Luann is also a rewarding pleasure to read, particularly when he dwells on the romance developing between Luann’s nerdy brother, Brad, and the beauteous Toni (who initiated Brad into the joys of carnal knowledge last fall, in one of the subtlest maneuvers in the comics). You’d think, from the last two examples, that deflowering virgins represents to me the highest form of entertainment, but you’d be wrong. Other strips are also on my “must see” roster. To name a few: Jef Mallett’s Frazz (for its occasional wisdom passing as wit), Darrin Bell’s Candorville (for sharp satire), Keith Knight’s The Knight Life (with its uniquely autobiographical slant -- that's it on the right), Zits by Jerry Scott and Jim Borgman (the artistry of comic strip cartooning), Jimmy Johnson’s Arlo and Janis (for its understanding of relations between the sexes), Betty (a rare and wonderful evocation of a vintage graphic style treating of contemporary matters, written by Gary Delainey and drawn by Gerry Rasmussen), Hilary Price’s Rhymes with Orange (I might miss something very clever if I don’t read it every day), and Brian Crane’s Pickles (ditto). I’m sure I’ve left some of my favorites out; for which, my profound apologies. Maybe next year.

On the Web, there are too many thousands of comic strips and cartoons to contemplate in this round-up, particularly since so many of them are astonishingly inferior. But one is head-and-shoulders above the rest: superbly drawn, acutely comedic and often satisfyingly satirical — Tatsuya Ishida’s Sinfest. I never tire of reading it and beholding its beauties.