Krazy Kat (also known as Krazy & Ignatz at some reprints and
compilations) is an American newspaper comic strip by cartoonist
George Herriman (1880–1944), which ran from 1913 to 1944. It first
appeared in the New York Evening Journal, whose owner, William
Randolph Hearst, was a major booster for the strip throughout its run.
The characters had been introduced previously in a side strip with
Herriman's earlier creation, The Dingbat Family (fr). The
phrase "Krazy Kat" originated there, said by the mouse by way of
describing the cat. Set in a dreamlike portrayal of Herriman's
vacation home of Coconino County, Arizona, Krazy Kat's mixture of
offbeat surrealism, innocent playfulness and poetic, idiosyncratic
language has made it a favorite of comics aficionados and art critics
for more than 80 years.
The strip focuses on the curious relationship between a guileless,
carefree, simple-minded cat named Krazy of indeterminate gender
(referred to as both "he" and "she") and a short-tempered mouse named
Ignatz. Krazy nurses an unrequited love for the mouse. However, Ignatz
despises Krazy and constantly schemes to throw bricks at Krazy's head,
which Krazy interprets as a sign of affection, uttering grateful
replies such as "Li'l dollink, allus f'etful", or "Li'l ainjil". A
third principal character, Officer Bull Pupp, often appears and tries
to "protect" Krazy by thwarting Ignatz' attempts and imprisoning him.
Later on, Officer Pupp falls in love with Krazy.
Despite the slapstick simplicity of the general premise, the detailed
characterization, combined with Herriman's visual and verbal
Krazy Kat one of the first comics to be widely
praised by intellectuals and treated as "serious" art. Art critic
Gilbert Seldes wrote a lengthy panegyric to the strip in 1924, calling
it "the most amusing and fantastic and satisfactory work of art
produced in America today." Poet E. E. Cummings, another Herriman
admirer, wrote the introduction to the first collection of the strip
in book form. These critical appraisals by Seldes and Cummings were
influential in establishing Krazy Kat's reputation as a work of
Krazy Kat was only a modest success during its
initial run, in more recent years, many modern cartoonists have cited
the strip as a major influence.
2 Cast of characters
2.1 Krazy Kat
2.2 Ignatz Mouse
2.3 Officer Bull Pupp
2.4 Secondary characters
3.1 Animated adaptations
3.2 A "Kounterfeit Krazy"
4 Chronology of formats
6 Reprints and compilations
6.1 Henry Holt & Co.
6.2 Grosset & Dunlap/Nostalgia Press/Madison Square Press
6.3 Street Enterprises (Menomonee Falls)
6.4 Real Free Press
6.5 Hyperion Press
6.6 Harry N. Abrams
6.7 Morning Star Publications
6.8 Eclipse Comics
6.9 Kitchen Sink Press
6.10 Stinging Monkey/BookSurge
6.11 Pacific Comics
6.13 Sunday Press Books
6.14 IDW Publishing
8 See also
11 External links
Notice the ever-changing backgrounds in this January 21, 1922 page as
Krazy tries to understand why Door Mouse is carrying a door.
Krazy Kat takes place in a heavily stylized version of Coconino
County, Arizona, with Herriman filling the page with caricatured flora
and fauna, and rock formation landscapes typical of the Painted
Desert. These backgrounds tend to change dramatically between
panels, even while the characters remain stationary. While the local
geography is fluid, certain sites were stable—and featured so often
in the strip as to become iconic. These latter included Officer Pupp's
jailhouse and Kolin Kelly's brickyard. A Southwestern visual style is
evident throughout, with clay-shingled rooftops, trees planted in pots
with designs imitating Navajo art, along with references to
Mexican-American culture. The strip also occasionally features
incongruous trappings borrowed from the stage, with curtains,
backdrops, theatrical placards, and sometimes even floor lights
framing the panel borders.
The descriptive passages mix whimsical, often alliterative language
with phonetically-spelled dialogue and a strong poetic sensibility
("Agathla, centuries aslumber, shivers in its sleep with splenetic
splendor, and spreads abroad a seismic spasm with the supreme suavity
of a vagabond volcano."). Herriman was also fond of experimenting
with unconventional page layouts in his Sunday strips, including
panels of various shapes and sizes, arranged in whatever fashion he
thought would best tell the story.
Though the basic concept of the strip is simple, Herriman always found
ways to tweak the formula. Ignatz's plans to surreptitiously lob a
brick at Krazy's head sometimes succeed; other times Officer Pupp
outsmarts Ignatz and imprisons him. The interventions of Coconino
County's other anthropomorphic animal residents, and even forces of
nature, occasionally change the dynamic in unexpected ways. Other
strips have Krazy's imbecilic or gnomic pronouncements irritating the
mouse so much that he goes to seek out a brick in the final panel.
Even self-referential humor is evident—in one strip, Officer Pupp,
having arrested Ignatz, berates Herriman for not having finished
drawing the jailhouse.
Public reaction at the time was mixed; many were puzzled by its
iconoclastic refusal to conform to linear comic strip conventions and
straightforward gags. But publishing magnate William Randolph Hearst
loved Krazy Kat, and it continued to appear in his papers throughout
its run, sometimes only by his direct order.
Cast of characters
Simple-minded, curious, mindlessly happy and perpetually innocent, the
strip's title character drifts through life in Coconino County without
a care. Krazy's dialogue is a highly stylized argot ("A fowl
konspirissy – is it pussible?") phonetically evoking a mixture
of English, French, Spanish, Yiddish and other dialects, often
identified as George Herriman's own native
New Orleans dialect,
Yat. Often singing and dancing to express the Kat's eternal joy,
Krazy is hopelessly in love with Ignatz and thinks that the mouse's
brick-tossing is his way of returning that love. Krazy is also
completely unaware of the bitter rivalry between Ignatz and "Offissa"
Pupp and mistakes the dog's frequent imprisonment of the mouse for an
innocent game of tag ("Ever times I see them two playing games
togedda, Ignatz seems to be It"). On those occasions when Ignatz
is caught before he can launch his brick, Krazy is left pining for the
"l'il ainjil" and wonders where the beloved mouse has gone.
Krazy's own gender is never made clear and appears to be fluid,
varying from strip to strip. Most authors post-Herriman (beginning
with Cummings) have mistakenly referred to Krazy only as female,
but Krazy's creator was more ambiguous and even published several
strips poking fun at this uncertainty. When filmmaker Frank
Capra, a fan of the strip, asked Herriman to straightforwardly define
the character's sex, the cartoonist admitted that Krazy was "something
like a sprite, an elf. They have no sex. So that Kat can't be a he or
a she. The Kat's a spirit—a pixie—free to butt into anything."
Most characters inside the strip use "he" and "him" to refer to Krazy,
likely as a gender-neutral "he".
Ignatz being marched off by Officer Pupp for trying to throw a brick
at Krazy Kat. Behind the newspaper, Krazy is reading and describing
aloud the very same cartoon in which they are all appearing.
Ignatz is driven to distraction by Krazy's naïveté, and he throws
bricks at Krazy Kat's head. To shield his plans from Officer Pupp,
Ignatz hides his bricks, disguises himself, or enlists the aid of
willing Coconino County denizens (without making his intentions
clear). Easing Ignatz's task is Krazy Kat's willingness to meet him
anywhere at any appointed time, eager to receive a token of affection
in the form of a brick to the head. Ignatz is married with three
children, though they are rarely seen.
Ironically, although Ignatz seems to generally dislike Krazy, one
strip shows his ancestor,
Mark Antony Mouse, fall in love with Krazy's
ancestor, an Egyptian cat princess (calling her his "Star of the
Nile"), and pay a sculptor to carve a brick with a love message. When
he throws it at her, he is arrested, but she announces her love for
him, and from that day on, he throws bricks at her to show his love
for her (which would explain why Krazy believes that Ignatz throwing
bricks is a sign of love). In another strip, Krazy kisses a sleeping
Ignatz, and hearts appear above the mouse's head.
In the last five (or so) years of the strip, Ignatz's dislike for
Krazy was noticeably downplayed. While earlier, one got the sense of
his taking advantage of Krazy's willingness to be "bricked", now one
gets the sense of Ignatz and Krazy as chummy co-conspirators against
Pupp, with Ignatz at times quite aware of the positive way Krazy
interprets his missiles.
Officer Bull Pupp
A police dog who loves Krazy, and always tries (sometimes
successfully) to thwart Ignatz's desires to pelt
Krazy Kat with
bricks. Officer Pupp and Ignatz often try to get the better of each
other even when Krazy is not directly involved, as they both enjoy
seeing the other played for a fool. He appears slightly less
frequently than Krazy and Ignatz. He is also the main character of his
own short film series.
Beyond these three, Coconino County is populated with an assortment of
incidental, recurring characters.
Joe Stork: the "purveyor of progeny to prince & proletarian",
often makes baby deliveries to various characters. (In one strip,
Ignatz tries to trick him into dropping a brick onto Krazy's head from
above). The character debuted in Gooseberry Sprig as the titular
character's "Prime Minister."
Kolin Kelly: a dog; a brickmaker by trade who bakes his wares in a
kiln. Often Ignatz's source for projectiles, although he distrusts the
Mrs. Kwakk Wakk: a duck in a pillbox hat, a scold and busybody who
frequently notices Ignatz in the course of his plotting and informs
Officer Pupp. She is a social climber, attempting in one strip
continuity to replace Pupp as police chief.
Other characters who make semi-frequent appearances are:
Walter Cephus Austrige: a nondescript ostrich
Bum Bil Bee: a transient, bearded insect
Don Kiyote: an inconsequential heterodox Mexican coyote
Mock Duck: a clairvoyant fowl of Chinese descent who operates a
Gooseberry Sprig: the Duck Duke, who briefly starred in his own strip
Krazy Kat was created.
Also: Krazy's Aunt Tabby and Uncle Tom; and his aerial and aquatic
cousins, respectively: Krazy Katbird and Krazy Katfish.
Ignatz also has relations; his family of look-alike mice includes his
wife, Magnolia and a trio of equally unruly sons named Milton,
Marshall and Irving.
Krazy Kat evolved from an earlier comic strip of Herriman's, The
Dingbat Family (fr), which started in June 1910 and was later
renamed The Family Upstairs. This comic chronicled the Dingbats'
attempts to avoid the mischief of the mysterious unseen family living
in the apartment above theirs and to unmask that family. Herriman
would complete the cartoons about the Dingbats, and finding himself
with time left over in his 8-hour work day, filled the bottom of the
strip with slapstick drawings of the upstairs family's mouse preying
upon the Dingbats' cat.
Ignatz Mouse resolves not to throw any more bricks at Krazy.
Temptation follows him at every turn, and ultimately he finds a
loophole to indulge his passion. (January 6, 1918)
This "basement strip" grew into something much larger than the
original cartoon. It became a daily comic strip with a title (running
vertically down the side of the page) on October 28, 1913 and a black
and white full-page Sunday cartoon on April 23, 1916. Due to the
objections of editors, who didn't think it was suitable for the comics
Krazy Kat originally appeared in the Hearst papers' art and
drama sections. Hearst himself, however, enjoyed the strip so much
that he gave Herriman a lifetime contract and guaranteed the
cartoonist complete creative freedom.
Despite its low popularity among the general public,
Krazy Kat gained
a wide following among intellectuals. In 1922, a jazz ballet based on
the comic was produced and scored by John Alden Carpenter; though the
performance played to sold-out crowds on two nights and was given
positive reviews in
The New York Times
The New York Times and The New Republic, it
failed to boost the strip's popularity as Hearst had hoped. In
addition to Seldes and Cummings, contemporary admirers of Krazy Kat
included Willem de Kooning, H. L. Mencken, and Jack Kerouac. More
recent scholars and authors have seen the strip as reflecting the Dada
movement and prefiguring postmodernism.
Beginning in 1935, Krazy Kat's Sunday edition was published in full
color. Though the number of newspapers carrying it dwindled in its
last decade, Herriman continued to draw Krazy Kat—creating roughly
3,000 cartoons—until his death in April 1944 (the final page was
published exactly two months later, on June 25). Hearst promptly
canceled the strip after the artist died, because, contrary to the
common practice of the time, he did not want to see a new cartoonist
The title card of this 1916 silent short read
Krazy Kat –
Bugologist. A Cartoon By George Herriman. Animated by Frank Moser."
Length 3m24s, 416kbit/s
The comic strip was animated several times (see filmography below).
Krazy Kat shorts were produced by Hearst in 1916. They
were produced under
Hearst-Vitagraph News Pictorial and later the
International Film Service (IFS), though Herriman was not involved. In
1920, after a two-year hiatus, the John R. Bray studio began producing
a second series of
Krazy Kat shorts. These cartoons hewed close to
the comic strips, including Ignatz, Pupp and other standard supporting
characters. Krazy's ambiguous gender and feelings for Ignatz were
usually preserved; bricks were occasionally thrown. With added sound
effects and music, these cartoons were in periodic reissue during the
1930s and 1940s, and ended up being syndicated to television in the
In 1925, animation pioneer Bill Nolan decided to bring Krazy to the
screen again. Nolan intended to produce the series under Associated
Animators, but when it dissolved, he sought distribution from Margaret
J. Winkler. Unlike earlier adaptations, Nolan did not base his shorts
on the characters and setting of the Herriman comic strip. Instead,
the feline in Nolan's cartoons was a male cat whose design and
personality both reflected Felix the Cat. This is probably due to the
fact that Nolan himself was a former employee of the Pat Sullivan
studio. Other Herriman characters appeared in the Nolan cartoons
at first, though similarly altered: Kwakk Wakk was at times Krazy's
paramour, with Ignatz often the bully trying to break up the
romance. Over time, Nolan's influence waned and new directors, Ben
Harrison and Manny Gould, took over the series. By late 1927, they
were solely in charge.
Winkler's husband, Charles B. Mintz, slowly began assuming control of
the operation. Mintz and his studio began producing the cartoons in
sound beginning with 1929's Ratskin. In 1930, he moved the staff to
California and ultimately changed the design of Krazy Kat. The new
character bore even less resemblance to the one in the newspapers.
Krazy Kat was, like many other early 1930s cartoon characters,
imitative of Mickey Mouse, and usually engaged in slapstick comic
adventures with his look-alike girlfriend and loyal pet dog. In
1936, animator Isadore Klein, with the blessing of Mintz, set to work
creating the short, Lil' Ainjil, the only Mintz work that was intended
to reflect Herriman's comic strip. However, Klein was "terribly
disappointed" with the resulting cartoon, and the Mickey-derivative
Krazy returned. In 1939, Mintz became indebted to his distributor,
Columbia Pictures, and subsequently sold his studio to them. Under
the name Screen Gems, the studio produced only one more Krazy Kat
The Mouse Exterminator in 1940.
King Features produced 50
Krazy Kat cartoons from 1962–1964, most of
which were created at Gene Deitch's
Rembrandt Films in Prague,
Czechoslovakia (now the Czech Republic), whilst the rest were produced
by Artransa Film Studios in Sydney, Australia. The cartoons were
initially televised interspersed with
Beetle Bailey (some of which
were also produced by Artransa) and
Snuffy Smith cartoons to form a
half-hour TV show. These cartoons helped to introduce Herriman's cat
to the baby boom generation. The King Features shorts were made for
television and have a closer connection to the comic strip; the
backgrounds are drawn in a similar style, and Ignatz is present. This
incarnation of Krazy was made female; Penny Phillips voiced Krazy
Paul Frees voiced Ignatz. The recurring character Officer Bull
Pupp also has his own cartoon series.
Jay Livingston and
Ray Evans did
the music for most of the episodes. Most of the episodes are
available on DVD.
A "Kounterfeit Krazy"
Dell Publishing revived the characters for a run of comic
books. All five issues were drawn by cartoonist John Stanley, best
known for his
Little Lulu comic books. While the general plot
premise is reminiscent of Herriman's strip, the look and feel are
entirely different: firmly in the visual and written style of 1950s
"funny animal" strips for children. Krazy is male in this version of
the strip while Ignatz is female. This "Krazy Kat" also made several
one-shot appearances in Dell's
Four Color Comics
Four Color Comics series, from 1953
through 1956 (#454, 504, 548, 619, 696,) and was reprinted in some
Gold Key and Page Comics over the next decade.
Chronology of formats
The strip went through several format changes during its run, each of
which impacted the artwork and the narratives that the form of the
strip could accommodate. What follows are the landmarks, which can
also help to date the era of a given strip.
July 26, 1910: First "beaning" of Kat by Mouse at bottom of The
Dingbat Family (fr). Strip is not sectioned off, but a detail at
the bottom of the panels. Strip as a whole tended to run 4 inches
× 13 inches. Soon the Kat and Mouse were a five-panel 1½ inch
strip at the bottom of the cartoon.
1911: First brief run of Krazy and I. Mouse standalone strips
(probably as a replacement to The Family Upstairs). Also, the
characters briefly take over the strip for a couple of periods in 1912
(at least once, while the Dingbats are "on holiday" in July 1912.)
October 28, 1913.
Krazy Kat debuts as a five-panel daily vertical
strip which runs down the side of a full comics page. This remains its
daily format until sometime in 1920.
April 23, 1916: First black & white full page Sunday strip.
March 4 – October 30, 1920: The "Panoramic Dailies" period,
where Herriman is allowed to experiment wildly in an unbroken daily
horizontal 3 × 13 inch space.
November 1920 on: Herriman is constrained to a more conventional daily
horizontal format containing three equal split sections, with the
center section further split in two. This allows the strip to be run
full page, half page or a third of a page, according to editorial
whim. From September 13 to October 15, 1921, Herriman regains some
control (no split center section) and resumes the previous years'
January 7 – March 11, 1922: In the New York Journal, 10 weeks
of Saturday full-page color strips, in addition to the ongoing Sunday
full page black-and-white strips. (In other words, two original
full-page strips every week). This is then canceled due to its lack of
noticeable commercial success, compared to the new Saturday color
sections in out-of-town Hearst papers which contained no Krazy
August 1925 to September 1929: Sundays are confined to 3-row,
split-middle-line format allowing some papers to reduce cartoon's size
and reformat into two daily-sized rows.
Summer 1934: Full page Sunday strips cease entirely, for roughly a
June 1, 1935: Full page Sunday strips resume, now in color, until
December 11, 1938: "Optional" horizontal panel begins running on
bottom of Sunday strips, as placeholder for potential advertising.
June 25, 1944: Final
Sunday strip published.
In 1934, the live action film Babes in Toyland starring Stan Laurel
Oliver Hardy the cat playing the fiddle (Peter Gordon) is
repeatedly hit in the head with a brick by a mouse (a capuchin monkey)
costumed to look similar to Disney's Mickey Mouse. 
Krazy Kat was rated #1 in a Comics Journal list of the best
American comics of the 20th century; the list included both comic
books and comic strips. In 1995, the strip was one of 20 included
Comic Strip Classics
Comic Strip Classics series of commemorative U.S. postage
While Chuck Jones' Wile E.
Coyote and Road Runner shorts, set in a
similar visual pastiche of the American Southwest, are among the most
famous cartoons to draw upon Herriman's work,
Krazy Kat has
continued to inspire artists and cartoonists to the present day.
Patrick McDonnell, creator of the current strip
Mutts and co-author of
Krazy Kat: The
Comic Art of George Herriman, cites it as his "foremost
Bill Watterson of
Calvin and Hobbes
Calvin and Hobbes fame named Krazy
Kat among his three major influences (along with
Pogo). Watterson would revive Herriman's practice of employing
varied, unpredictable panel layouts in his Sunday strips. Charles M.
Schulz and Will Eisner both said that they were drawn towards
cartooning partly because of the impact
Krazy Kat made on them in
their formative years. Bobby London's Dirty Duck was styled after
Jules Feiffer, Philip Guston, and Hunt Emerson have all
had Krazy Kat's imprint recognized in their work. Larry Gonick's comic
strip Kokopelli & Company is set in "Kokonino County", an homage
to Herriman's exotic locale.
Chris Ware admires the strip, and his
frequent publisher, Fantagraphics, is currently reissuing its entire
run in volumes designed by Ware (which also include reproduction of
Herriman miscellanea, some of it donated by Ware). In the 1980s, Sam
Hurt's syndicated strip Eyebeam shows a clear Herriman influence,
particularly in its continually morphing backgrounds. Among
non-cartoonists, Jay Cantor's 1987 novel
Krazy Kat uses Herriman's
characters to analyze humanity's reaction to nuclear weapons, Russell
The Medusa Frequency
The Medusa Frequency (also 1987) uses a quote from the
cartoon in an epigraph ("ZIP... POW... LOVES ME") while Michael Stipe
of the rock band
R.E.M. has a tattoo of Krazy and Ignatz. In one
Garfield comic strip, where it shows the
Garfield logo, you can see
Ignatz throwing a brick at Garfield. Also, in the
Garfield TV special
Garfield: His 9 Lives,
Garfield plays a stunt double for Krazy Kat. In
Bloom County strip by Berke Breathed, Krazy and Ignatz can be
seen watching Binkley, Oliver, and Opus float through a Herriman-esque
Reprints and compilations
For many decades, only a small percentage of Herriman's strip was
available in reprinted form. The first
Krazy Kat collection,
Henry Holt and Company
Henry Holt and Company in 1946, just two years after
Herriman's death, gathered 200 selected strips. In Europe, the
cartoons were first reprinted in 1965 by the Italian magazine Linus,
and appeared in the pages of the French monthly Charlie Mensuel
starting in 1970. In 1969, Grosset & Dunlap produced a single
hardcover collection of selected episodes and sequences spanning the
entire length of the strip's run. The Netherlands' Real Free Press
published five issues of "
Krazy Kat Komix" in 1974–1976, containing
a few hundred strips apiece; each of the issues' covers was designed
by Joost Swarte. However, owing to the difficulty of tracking down
high-quality copies of the original newspapers, no plans for a
comprehensive collection of
Krazy Kat strips surfaced until the 1980s.
All of the Sunday strips from 1916 to 1924 were reprinted by Eclipse
Comics in cooperation with Turtle Island Press. The intent was to
eventually reprint every Sunday Krazy Kat, but this planned series was
aborted when Eclipse ceased business in 1992. Beginning in 2002,
Fantagraphics resumed reprinting Sunday Krazy Kats where Eclipse left
off; in 2008, their tenth release completed the run with 1944.
Fantagraphics then reissued, in the same format, the strips previously
printed in Eclipse's now out-of-print volumes. Both the Eclipse
Fantagraphics reprints include additional rarities such as older
George Herriman cartoons predating Krazy Kat.
Kitchen Sink Press, in association with Remco Worldservice Books,
reprinted two volumes of color Sunday strips dating from 1935 to 1937;
but like Eclipse, they collapsed before they could continue the
series. Issue number five of The 3-D Zone comic book series,
published by The 3-D Zone in June 1987, features reprints of Krazy Kat
strips converted into 3-D, and also includes two pairs of red/blue 3-D
The daily strips for 1921 to 1923 were reprinted by Pacific Comics
Club. The 1922 and 1923 books skipped a small number of strips, which
have now been reprinted by Comics Revue.
Comics Revue has also
published all of the daily strips from September 8, 1930 through
December 31, 1934.
Fantagraphics come out with a one-shot reprint of
daily strips from 1910s and 1920s in 2007, and plans a more complete
reprinting of the daily strip in the future.
Scattered Sundays and dailies have appeared in several collections,
including the Grosset & Dunlap book reprinted by Nostalgia Press,
but the most readily available sampling of Sundays and dailies from
throughout the strip's run is Krazy Kat: The
Comic Art of George
Herriman, published by
Harry N. Abrams, Inc.
Harry N. Abrams, Inc. in 1986. It
includes a detailed biography of Herriman and was, for a long time,
the only in-print book to republish
Krazy Kat strips from after 1940.
Although it contains over 200 strips, including many color Sundays, it
is light on material from 1923 to 1937.
Henry Holt & Co.
Krazy Kat (1946) Introduction by e.e. cummings. Hardcover B&W
compilation of daily and Sunday strips, concentrating on 1930–1944.
Grosset & Dunlap/Nostalgia Press/Madison Square Press
Krazy Kat: A Classic from the Golden Age of Comics (1969, 1975) An
entirely different compilation of dailies and Sundays, with examples
from the entire run of the strip—including 23 The Dingbat
Family (fr) bottom strips. Reprints the e.e. cummings
introduction from the Henry Holt volume. 8 pages in full color; some
later editions have daily strips reproduced in blue ink.
ISBN 0-448-11945-5 (hardcover), ISBN 0-448-11951-X
Street Enterprises (Menomonee Falls)
Krazy Kat Vol. 1, No. 1 (March 1973) 32-page
newsprint magazine reprinting 60 daily strips from July 3 – October
28, 1933. (Inside cover claims inaccurately that they are from 1935.)
Real Free Press
Krazy Kat Komix, Nos. 1–5 (1974–1976) Joost Swarte, ed. The
5-issue magazine also features other Herriman strips.
The Family Upstairs: Introducing Krazy Kat: The Complete Strip,
1910–1912 (1977, 1992) Introduction by Bill Blackbeard.
ISBN 0-88355-643-X (hardcover), ISBN 0-88355-642-1
Harry N. Abrams
Krazy Kat: The
Comic Art of
George Herriman (1986) Patrick McDonnell,
Karen O'Connell, eds. Various strips in B&W and color, mostly from
original art, including some watercolor paintings.
ISBN 0-8109-8152-1 (hardcover), ISBN 0-8109-9185-3
Morning Star Publications
Coconino Chronicle (1988) Alec Finlay, ed. 130 strips from
"Krazy and Ignatz: The Komplete Kat Komics" (series), Bill Blackbeard,
ed. Each of these volumes reprints a year of Sunday strips.
Vol 1: Krazy & Ignatz (1988) 1916 strips. ISBN 0-913035-49-1
Vol 2: The Other Side To the Shore Of Here (1989) 1917 strips.
Vol 3: The Limbo of Useless Unconsciousness (1989) 1918 strips.
Vol 4: Howling Among the Halls of Night (1989) 1919 strips.
Vol 5: Pilgrims on the Road to Nowhere (1990) 1920 strips.
Vol 6: Sure As Moons is Cheeses (1990) 1921 strips.
Vol 7: A Katnip Kantata in the Key of K (1991) 1922 strips, including
10 color Saturday strips. ISBN 1-56060-063-2
Vol 8: Inna Yott On the Muddy Geranium (1991) 1923 strips.
Vol 9: Shed a Soft Mongolian Tear (1992) 1924 strips.
Vol 10: Honeysuckil Love Is Doubly Swit (unpublished) 1925 strips.
Kitchen Sink Press
"The Komplete Kolor Krazy Kat" (series). Each volume reprinted two
years of Sundays. (The publisher dissolved before the series' aim of
completeness could be achieved.)
Vol 1: 1935–1936 (1990) Rick Marshall, Bill Watterson, contributors.
Vol 2: 1936–1937 (1991) Rick Marshall, ed. ISBN 0-924359-07-2
Krazy & Ignatz, The Dailies. Vol 1: 1918–1919 (2001, 2003)
Gregory Fink, ed., introduction by Bill Blackbeard. (Stinging Monkey
edition in large format, ISBN 978-0-9688676-0-0. BookSurge
reprint in smaller 7.9 × 6 inch format, ISBN 1-59109-975-7,
"All the Daily Strips...." (series) 6¼ x 6¼ inch format.
Krazy Kat vol 1: 1921 (2003)
Krazy Kat vol 2: 1922 (2004)
Krazy Kat Vol 3: 1923 (2005)
"Presents Krazy and Ignatz" (series) Four 3¼ x 4 inch volumes
reproducing the 1921 strips in miniature.
(Picking up where Eclipse left off, each of the following volumes
reprints 2 years of Sundays. Bill Blackbeard, series editor. Chris
Ware, designer. The first five volumes are in B&W, as originally
Krazy & Ignatz in "There Is A Heppy Lend Furfur A-Waay":
1925–1926 (2002) ISBN 1-56097-386-2
Krazy & Ignatz in "Love Letters In Ancient Brick": 1927–1928
(2002) ISBN 1-56097-507-5
Krazy & Ignatz in "A Mice, A Brick, A Lovely Night": 1929–1930
(2003) ISBN 1-56097-529-6
Krazy & Ignatz in "A Kat Alilt with Song": 1931–1932 (2004)
Krazy & Ignatz in "Necromancy by the Blue Bean Bush": 1933–1934
(2005) ISBN 1-56097-620-9
Krazy & Ignatz: The Complete Sunday Strips: 1925–1934 (Collects
the five paperback volumes 1925–1934 in a single hardcover volume.
Only 1000 copies printed, only available by direct order from the
publisher.) ISBN 1-56097-522-9
(The following volumes, through 1944, are in color, reflecting the
shift to color in the Sunday newspaper version.)
Krazy & Ignatz in "A Wild Warmth of Chromatic Gravy": 1935–1936
(2005) ISBN 1-56097-690-X, 2005
Krazy & Ignatz in "Shifting Sands Dusts its Cheeks in Powdered
Beauty": 1937–1938 (2006) ISBN 1-56097-734-5
Krazy & Ignatz in "A Brick Stuffed with Moom-bins": 1939–1940
(2007) ISBN 1-56097-789-2
Krazy & Ignatz in "A Ragout of Raspberries": 1941–1942 (2007)
Krazy & Ignatz in "He Nods in Quiescent Siesta": 1943–1944
(2008) ISBN 1-56097-932-1
Krazy & Ignatz: The Complete Sunday Strips: 1935–1944 (Collects
the five paperback volumes 1935–1944 in a single hardcover volume.
Only 1000 copies printed, only available by direct order from the
publisher.) ISBN 978-1-56097-841-1
Krazy & Ignatz: The Kat Who Walked in Beauty (2007) 11" × 15"
horizontal hardcover; reprints dailies from 1911–12, 1914, 9 months
of large-format dailies from 1920 with an additional month from late
1921, and 1922 pantomime ballet artwork. ISBN 1-56097-854-6
Krazy & Ignatz in "Love in a Kestle or Love in a Hut": 1916–1918
(2010) ISBN 1-60699-316-X
Krazy & Ignatz in "A Kind, Benevolent and Amiable Brick":
1919–1921 (2011) ISBN 1-60699-364-X
Krazy & Ignatz in "At Last My Drim of Love Has Come True":
1922–1924 (2012) ISBN 1-60699-477-8 (also includes Us Husbands)
Krazy & Ignatz: The Complete Sunday Strips: 1916–1924 (2012,
Collects the paperback volumes 1916–1924 in a single hardcover
volume. Only 1000 copies printed, only available by direct order from
the publisher.) ISBN 160699428X
Sunday Press Books
Krazy Kat: A Celebration of Sundays (2010) Patrick McDonnell, Peter
Maresca, eds. Various Sundays reprinted in their original size and
colors. ISBN 0-9768885-8-0 (hardcover)
George Herriman's Krazy + Ignatz in Tiger Tea (January 2010) Craig
Yoe, ed. Collects the "Tiger Tea" storyline from the daily strips, May
1936 – March 1937. ISBN 978-1-60010-645-3 (hardcover)
LOAC Essentials Presents King Features Volume 1:
Krazy Kat 1934 By
George Herriman (April 2016) Dean Mullaney, ed. Collects a years worth
of daily strips, Dec 25, 1933 – Dec 31, 1934.
Krazy Kat filmography
Krazy Kat Klub, a Bohemian nightspot in
Washington, D.C. during
the early decades of the 20th century, named after the comic strip.
^ Blackbeard, Bill and Martin Williams, "The Smithsonian Collection of
Newspaper Comics". pp. 59–60.
^ a b Kramer.
^ a b c Shannon.
^ a b McDonnell/O'Connell/De Havenon 26.
^ Seldes, Gilbert. "The
Krazy Kat That Walks By Himself". The Seven
Lively Arts. New York: Harper and Brothers, 1924, p. 231.
^ a b c Humphrey, Aaron (2017-06-05). "The Cult of Krazy Kat: Memory
and Recollection in the Age of Mechanical Reproduction". The Comics
Grid: Journal of Comics Scholarship. 7 (0). doi:10.16995/cg.97.
^ Heer 41–45.
^ A Mice, A Brick, A Lovely Night 71.
^ Krazy Kat: The
Comic Art of
George Herriman 97.
^ Schwartz 8–10.
^ Pilgrims on the Road to Nowhere, 47.
^ There is a Heppy Lend, Fur, Fur Awa-a-ay-, 62.
^ Necromancy By the Blue Bean Bush, 16–17.
^ A Katnip Kantata in the Key of K, 71.
^ Schwartz 9.
^ A Mice, A Brick, A Lovely Night 67, et al.
^ McDonnell/O'Connell/De Havenon 52.
^ McDonnell, O'Connell and De Havenon 58.
^ Blackbeard 1–3.
^ McDonnell, O'Connell and De Havenon 66–67.
^ a b Bloom.
^ Schwartz 9–10.
^ a b Crafton.
^ Maltin 205–06.
^ Winkler Productions: copyright synopsis for Web Feet (1927).
^ Rail Rode.
^ Maltin 207.
^ Maltin 210–11.
^ Maltin 213.
Screen Gems Archived August 7, 2009, at the Wayback Machine., The
Columbia Crow's Nest — Columbia Cartoon History.
^ Young, Frank M. (August 9, 2008). "from 'Krazy Kat' #4, 1952: soup's
on!". Stanley Stories. Retrieved October 7, 2011.
^ "Dell Four Color Comics". Archived from the original on July 21,
^ McDonnell/O'Connell/De Havenon 55.
^ McDonnell/O'Connell/De Havenon 57.
^ A Katnip Kantata in the Key of K, 1–3
^ McDonnell/O'Connell/De Havenon 77.
^ McDonnell, Patrick, Krazy Kat. The
Comic Art of George Herrian,
Harry N. Abrams, Inc., Publishers, New York, 1985, page 76.
^ "Kreem of the Komics!", Detroit Metrotimes. Retrieved on January 13,
^ comic masters. Retrieved on January 13, 2005. Archived March 18,
2005, at the Wayback Machine.
^ Watterson 17–18.
^ Charles Schulz, interviewed by Rick Marschall and Gary Groth in Nemo
31, January 1992. Cited at  (URL retrieved January 13, 2005).
Archived February 8, 2005, at Archive.is
^ The Onion AV Club interview with
Will Eisner Archived 2007-09-26 at
the Wayback Machine., September 27, 2000. Retrieved on January 13,
^ a b Comics in Context #20: This Belongs in a Museum. Retrieved on
January 13, 2005.
^ The artsnet interview: Hunt EMERSON. Retrieved January 13, 2005.
^ Rec.music.rem FAQ (#A15). Retrieved January 13, 2005.
^ Exhibit catalog from the Musée de la bande dessinée in Angoulême,
1997, cited in BDM 2005–2006, by Bera, Denni and Mellot.
^ There is a Heppy Lend, Fur, Fur Awa-a-ay-, 119.
^ a b Campbell, Peter. "Bibliography". Coconino County. Archived from
the original on 2009-09-12. Retrieved 2015-05-18.
^ The Mouse Bibliography
Blackbeard, Bill. "A Kat of Many Kolors:
Jazz pantomime and the funny
papers in 1922." (1991). Printed in A Katnip Kantata in the Key of K
Bloom, John. "
Krazy Kat keeps kracking." United Press International,
June 23, 2003.
Crafton, Donald (1993). Before Mickey: The Animated Film, 1898–1928.
University of Chicago Press. ISBN 0-226-11667-0.
Crocker, Elisabeth. "'To He, I Am For Evva True': Krazy Kat's
Indeterminate Gender." Postmodern Culture, January 1995. January 12,
Heer, Jeet. "Cartoonists in Navajo Country." Comic Art, Summer 2006.
Herriman, George (1990). Pilgrims on the Road to Nowhere. Forestville:
Turtle Island, Eclipse Books. ISBN 1-56060-024-1.
Herriman, George (1991). A Katnip Kantata in the Key of K.
Forestville: Turtle Island/Eclipse Books. ISBN 1-56060-064-0.
Herriman, George (2002). Krazy & Ignatz 1925–1926: "There Is A
Heppy Land, Fur, Far Awa-a-ay -". Seattle:
Herriman, George (2003). Krazy & Ignatz 1929–1930: "A Mice, A
Brick, A Lovely Night". Seattle:
Herriman, George (2004). Krazy & Ignatz 1933–1934: "Necromancy
by the Blue Bean Bush". Seattle:
Inge, Thomas (1990). "
Krazy Kat as American
Dada Art" Comics as
Culture, Jackson: University Press of Mississippi.
Kramer, Hilton. Untitled review of Herriman art exhibition. The New
York Times, January 17, 1982.
Maltin, Leonard (1987). Of Mice and Magic: A History of American
Animated Cartoons. Penguin Books. ISBN 0-452-25993-2.
McDonnell, Patrick; O'Connell, Karen; de Havenon, Georgia Riley (1986)
Krazy Kat: The
Comic Art of George Herriman. New York: Harry N.
Abrams, Inc. ISBN 0-8109-2313-0.
Schwartz, Ben (2003). "Hearst, Herriman, and the Death of Nonsense."
Printed in Krazy & Ignatz 1929–1930: "A Mice, A Brick, A Lovely
Shannon, Edward A. "'That we may mis-unda-stend each udda': The
Rhetoric of Krazy Kat." Journal of Popular Culture, Fall 1995, vol.
29, issue 2.
Tashlin, Frank. "In Coconino County". The New York Times, November 3,
1946, p. 161.
Watterson, Bill (1995). The
Calvin and Hobbes
Calvin and Hobbes Tenth Anniversary Book.
Kansas City: Andrews and McMeel. ISBN 0-8362-0438-7
Wikimedia Commons has media related to Krazy Kat.
Krazy Kat at Curlie (based on DMOZ)
Krazy Kat at
Internet Archive (comic strips, video and audio)
Coconino County — History, bios, strip archive, bibliography and
"'Some Say It with a Brick': George Herriman's Krazy Kat" — A
Krazy Kat Cartoons from the 1960s — A list of
Krazy Kat cartoons in
Bill Watterson's foreword of the book The Komplete Kolor Krazy Kat
(archived from the original on April 3, 2016)
Krazy Kat at Don Markstein's Toonopedia. at Don Markstein's
Toonopedia. Archived from the original on December 2, 2015.
King Features Syndicate
King Features Syndicate comics
The Amazing Spider-Man
Barney Google and Snuffy Smith
The Brilliant Mind of Edison Lee
Dennis the Menace
The Family Circus
Hägar the Horrible
Hi and Lois
The Katzenjammer Kids
Kevin and Kell
Mandrake the Magician
Moose & Molly
Mother Goose and Grimm
On the Fastrack
The Pajama Diaries
Pardon My Planet
Pros & Cons
Rex Morgan, M.D.
Rhymes with Orange
Sam and Silo
Slylock Fox & Comics for Kids
Take It from the Tinkersons
Todd the Dinosaur
Abie the Agent
Alphonse and Gaston
And Her Name Was Maud
Art Linkletter's Kids
The Better Half
Betty Boop and Felix
Big Ben Bolt
Bleeker: The Rechargeable Dog
Bringing Up Father
Count Screwloose from Tooloose
Felix the Cat
Grin and Bear It
The Heart of Juliet Jones
Heaven's Love Thrift Shop
Inside Woody Allen
King of the Royal Mounted
Little Annie Rooney
The Little King
The Lone Ranger
Ollie and Quentin
Pete the Tramp
Polly and Her Pals
Room and Board
Secret Agent X-9
Steve Roper and Mike Nomad
They'll Do It Every Time
Tillie the Toiler
Tim Tyler's Luck
Toots and Casper
Walt Disney's Treasury of Classic Tales
What a Guy!
Winnie the Pooh
Billy Ireland Cartoon Library & Museum
Central Press Association
King Features Syndicate
National Cartoonists Society
The Sunday F