this post was submitted on 24 Aug 2023
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The Far Side
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Hello fellow Far Side fans!
About this community and how I post the comic strip… Many moons ago, I would ask my Dad to save the newspaper for me everyday so I could read my favorite comic strips and one of those was The Far Side. These days of course you find just about anything online including www.thefarside.com where they post several comics a day and I repost them here. Just to note, the date you see in my posts is not the initial release date, but the date they were posted on the website.
The Far Side is a single-panel comic created by Gary Larson and syndicated by Chronicle Features and then Universal Press Syndicate, which ran from December 31, 1979, to January 1, 1995 (when Larson retired as a cartoonist). Its surrealistic humor is often based on uncomfortable social situations, improbable events, an anthropomorphic view of the world, logical fallacies, impending bizarre disasters, (often twisted) references to proverbs, or the search for meaning in life… Read more: https://en.wikipedia.org/wiki/The_Far_Side
Hope you enjoy and feel free to contribute to the community with art, cool stuff about the author, tattoos, toys and anything else, as long it’s The Far Side!
Ps. Sub to all my comic strip communities:
Bloom County [email protected] https://lemm.ee/c/bloomcounty
Calvin and Hobbes [email protected] https://lemmy.world/c/calvinandhobbes
Cyanide and Happiness !cyanideandhappiness https://lemm.ee/c/cyanideandhappiness
Garfield [email protected] https://lemmy.world/c/garfield
The Far Side [email protected] https://lemmy.world/c/[email protected]
Fine print: All comics I post are freely available online. In no way am I claiming ownership, copyright or anything else. This is a not for profit community, we just want to enjoy our comics, thank you.
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It invokes for me the 1993 lecture from Rick Roderick about society... In any case, it starts with the body of the condemned, and the next chapter is about the spectacle of the scaffold and all of the ritual that goes along with these kind of ceremonies. When they are going to do this, you can imagine the streets of Paris, they are all abuzz, there is the spectacle, the scaffold. There are vendors, there are people that write little pamphlets about the executed. I mean, we have an American analogy to that, that’s like, you know, the little Billy the Kid pamphlets that were printed up in the early west about our great criminals and so on. Foucault asks this very interesting question. What was it that fuelled the interest in the criminal? Why was the criminal the star of this production, this scaffold, the spectacle of the scaffold? He’s the star! Well, the crowds became unruly because in many cases the courage of the criminal would become the legend of the spectacle. The courage, the tenacity and the bravery of the criminal would become the story. Well, reformers decided that this was not a healthy mode of punishment. Foucault cynically decides that perhaps it was not considered healthy because the wrong people were the stars of the show, not because it was too barbaric, and I think that that’s not only a cynical guess but he gives some evidence that that’s the case.
Oh yeah, for sure. The spectacle and near-'festival' atmosphere around the capture, trial, and execution of notable criminals of the era absolutely lionized the criminal in many cases.
There was also some amount of ghoulish fascination with particularly macabre crimes and criminals as well, but The State was already very close to being the bad guy for the average bloke in that era, so criminals whose acts were relatable, daring, or 'noble' somehow also were turned into backalley heroes via the spectacle of their trial and execution.