Krazy and Ignatz, 1929-1930: A Mice, a Brick, a Lovely Night

Krazy and Ignatz

by George Herriman, Bill Blackbeard

This volume is one in a long-term plan to chronologically reprint the entirety of the 28-year run of Krazy Kat's breathtaking Sunday page, most of which has not seen print since originally running in newspapers 75 years ago. Each volume is painstakingly edited by the San Francisco Cartoon Art Museum's Bill Blackbeard, the world's foremost authority on early 20th Century American comic strips, and designed by Jimmy Corrigan author Chris Ware. In addition to the 104 full-page black-and-white Sunday strips from 1929 and 1930 (Herriman did not use color until 1935), the book includes an introduction by Blackbeard and reproductions of rare Herriman ephemera from Ware's own extensive collection, as well as annotations and other notes by Ware and Blackbeard.

Of special note to collectors, this is the period when Herriman was again liberated from the "grid" constraints of the mid-'20s and was able to compose his pages far more creatively, resulting in richer, more complex, more eye-pleasing compositions. Krazy Kat is a love story, focusing on the relationships of its three main characters. Krazy Kat adored Ignatz Mouse. Ignatz Mouse just tolerated Krazy Kat, except for recurrent onsets of targeting 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 gender-less) 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.

Genres: Comics, Humor, Comic Strips, Art, Fiction, Graphic Novels, 20th Century

120 pages, Paperback

First published May 8, 2003

About the author

George Herriman was an American cartoonist celebrated for creating the groundbreaking comic strip Krazy Kat, a work widely regarded as one of the most inventive, poetic, and influential achievements in the history of comics. Raised in a culturally diverse environment and navigating complex racial identities throughout his life, Herriman developed a singular artistic voice that combined humor, surrealism, philosophical reflection, and emotional nuance. He began his career as a newspaper illustrator and political cartoonist before transitioning fully into comic strips, producing several short-lived features and experiments that helped him refine his sense of rhythm, timing, and visual storytelling. Krazy Kat, which emerged from an earlier strip called The Dingbat Family, became his defining work and ran for decades in newspapers across the United States. The strip centered on a triangular relationship among three main characters: Krazy, a blissfully optimistic and androgynous cat; Ignatz Mouse, who continually expressed his contempt or affection by throwing bricks; and Offisa Pupp, a dutiful dog who sought to protect Krazy and maintain order. What might have been a simple gag became, in Herriman’s hands, a lyrical exploration of love, longing, misunderstanding, and the complexities of emotional connection, articulated through shifting perspectives, inventive language, and a dreamlike visual landscape inspired by the American Southwest. Herriman developed a distinctive style that blended loose, expressive brushwork with carefully considered composition, often altering backgrounds from panel to panel to evoke mood rather than physical continuity. His dialogue employed dialects, puns, poetic phrasing, and playful linguistic invention, creating a voice for Krazy Kat that felt both musical and deeply human. The strip attracted a passionate following among intellectuals, writers, and artists, including figures such as Gilbert Seldes, E.E. Cummings, Willem de Kooning, and many others who recognized its sophistication and emotional resonance. However, Krazy Kat never achieved the widespread commercial popularity of contemporaries like Popeye or Li’l Abner and often relied on the support of influential newspaper magnate William Randolph Hearst, who admired Herriman’s work and insisted it remain in publication despite fluctuating readership. Herriman also produced the comic strip Baron Bean, as well as numerous illustrations, editorial drawings, and commercial work throughout his career, but it was Krazy Kat that defined his legacy and shaped the development of visual narrative art. The strip influenced generations of cartoonists and graphic storytellers, contributing to a lineage that includes artists working in newspaper strips, comic books, underground comix, graphic novels, animation, and contemporary experimental media. Herriman maintained a private, quiet personal life, working diligently and steadily, drawing inspiration from the landscapes of California, Arizona, and New Mexico, which he visited frequently and often featured in his art as stylized mesas, desert plateaus, and open skies. His deep engagement with the American Southwest brought texture, symbolism, and environmental presence to Krazy Kat, making setting an integral emotional and thematic component rather than a mere backdrop. Although widely honored posthumously, his work was recognized during his lifetime by peers and critics who understood the originality of his vision. Today, he is acknowledged as one of the key figures who expanded the expressive potential of the comic strip form, demonstrating that sequential art could convey subtle emotional states, philosophical ideas, and complex storytelling with elegance and humor. Herriman’s legacy endures in the ongoing study, republication, and celebration of Krazy Kat, which continues to be admired for its innovation, sensitivity, and unique artistic spirit.

Reviews

[Drew Canole · Rating 4 out of 5]

A wonderful volume of full page Sunday strips published way back in 1929 and 1930.

If you've read one Krazy Kat strip in your life, you know what to expect. By the end of this book I did have a deeper connection for Ignatz, Krazy, and Officer Bull Pupp. I feel like poor Pupp needs to be in the title as well, he's just as prominent as Krazy and Ignatz here, often times more so.

It's an odd love triangle, where Pupp loves Krazy, Krazy loves being hit by Ignatz's rocks. Pupp needs to arrest Ignatz to keep him away from Krazy.

The art and scenery is lovely. The backgrounds can change each panel regardless of the characters actually moving. The word play in the dialogue and captions is excellent.

[Rob McMonigal · Rating 4 out of 5]

Thus far, I've enjoyed the Krazy Kat collections that I've read. This one, however, rises above the first two Sunday collections and is a thing of comic genius. Herriman, while still keeping the standard "hit-with-a-brick" joke going through most of the issues, starts to branch out further from the idea and allow for variations that give the strip enough depth to go from being a good comic strip to a great comic strip.

It's hard to review such a visual work in text without copying the pictures, but to give you an idea, there's the first-ever use in the comics of a character breaking the third wall. "What's that? You've counted them?" says Ignantz to the reader in a late 1930 strip, as he sets up the reader for the punchline. Is it any wonder that Herriman was the baffling comic of the day that only saw print by the grace of Hurst?

And despite the protests of the intro text, I find Herriman's writing very topical (and have said so on every review of his work I've written). In this volume alone, there's comments on rehabilitation of prisoners (going about as well as you would expect) and America's ongoing hatred of foreigners (in a comic that, with a little cleaner artwork, could be mistaken for a modern comic out of today's papers!). Herriman may not have been as overt about it as something like Pogo years later, but social commentary is in there all the same. I actually feel sorry for the reader who doesn't see it.

Herriman also, kinda badly I think, tries to do an ongoing storyline about a love-life for Krazy. It's hard at best when Krazy's gender is ambiguous (Herriman apparently found the character asexual) and pulls the book just a bit too far from its moorings. However, it is fun to the Ignantz and the Kop team up to try and get their friend back.

Verbal wordplay is hard at work, especially in my favorite strip where various birds baffle poor Krazy with their names. I actually did an LOL in public while reading it. Fans of Pearls Before Swine will especially enjoy this series, I think.

All in all, this is probably the place to start if you want to see if you'd like George Herriman's work. He is not an easy artist to read--it takes time to get the jokes--and I would not recommend it for anyone looking for instant gratification. But fans of early twentieth century humour, those who like word play, history buffs, and followers of early comics really owe it to themselves to read this book. (Library, 05/08)

Trebby's Take: Recommended without reservation!

[StrictlySequential · Rating 4 out of 5]

"grainy" covers-> if sticker remover skip ex-library

Satisfied is the feeling I get from reading a month or so at a time. Enriched. I adore his constant use of "big" words and "lofty" alliteration the most.

If it's a continuum then I will stay through it but the main problem is the repetitive brick. So, I take it in paces for freshness.

One thing missing: "Krazy" at full "stride"- "running" completely horizontally. I cherish the four paws in the air but I didn't remember seeing it anywhere.

His whimsome art, and it's immense freedom, make it legendary illustration- his freestyle writing and the always changing setting make me so happy.

[Matt Carton · Rating 4 out of 5]

I'm like Bum-Bill Bee with these books. I just mosey along.

[Matt Miles · Rating 5 out of 5]

The imaginative art and idiosyncratic verbiage of the characters and narrator alike along with a subtlety sad undertone elevate this collection of quirky characters and their decidedly one-note slapstick antics.

[Michael · Rating 5 out of 5]

I haven't read this particular volume yet, but I give it (and all the other books in this series) five stars anyway, because I already know that Herriman deserves every bit of the "genius" label that is often applied to him.

There has never been a comic strip like this; it's as close to poetry as the medium has ever been pushed. Lyrical, surreal, playful, mysterious, transcendent: If I could give this (and all the other volumes in this series) six stars, I would do so.

[Kyungmin · Rating 1 out of 5]

Call me uncultured (but don't stretch it to say that I'm unappreciative of graphic novels), but I honestly can't comprehend or envision what the literary genius is behind the author and his comic strip.

[James · Rating 4 out of 5]

I really like Krazy Kat, but I don't love Krazy Kat...that puts me into some sort of minority of people. However, I do LOVE the character Krazy Kat, feel indifferent about Ignatz and like Officer Pup.

[Emily · Rating 5 out of 5]

The wordplay in the strip is so, so much fun. Also, the Chris Ware covers for all of these Krazy books are beautifully designed. There is sheet music at the back of this volume; someone wrote a "Krazy Kat Rag" back in the day :D

[Jessica · Rating 2 out of 5]

The history is interesting behind it----I'm not going to be a pretentious comic critic and say I understand EVERYTHING---but I did smile at some of the jokes. I liked some strips better than others---and I like some of the series years better than others...

[Amanda · Rating 5 out of 5]

Love, love, love this strip.

[Robert · Rating 2 out of 5]

Only interesting from a history of comics perspective. Tough to read back to back, but a good book to leave in the bathroom.

[Michael P. · Rating 5 out of 5]

The usually sublmie George Herriman is usually sublime in these KRAZY KAT strips from 1929-30.

[Joshua R Derke · Rating 4 out of 5]

These are really fun comics that I think formed the foundation for the Simpsons' Itchy and Scratchy.