The collection, which is packaged in an enormous box, weighs in at a ponderous 19 pounds. Divided into two volumes, each book is bound like a pricey art catalog and "printed in full color on specially milled paper." It even has that damn good fine book smell. The case depicts two compilation scenes featuring all the recurring characters (cows, that chunky kid with the glasses, etc.) in awe-inspiring high Renaissance designs.
Yet the content of this collection speaks for its creator's amazing accomplishments, even more so than the myriad awards the cartoonist has received over the years. For, unlike the Reuben Award for Outstanding Cartoonist of the Year, this book shows the tangible product of his efforts in its entire glory. Who else could create over a hundred hilarious single-paneled comics simply about two guys on a deserted island? Or about suggestion boxes in Hell?
This collection also includes some excellent commentary. Famous comedian Steve Martin offers a cleverly eclectic foreword that reminds us that these comics are merely the machinations of Larson's depraved mind. Jake Morrissey, long-time editor of "The Far Side," introduces the anthology by explaining the pitfalls and privileges of working with Larson. Additionally, Larson himself shares anecdotes from his childhood, working years and retirement to preface each arranged chronologically section of comics. My favorite, entitled "The Jungle in My Room," recalls young Larson's deep interest in Tarzan paraphernalia.
Of course, what collection would be complete without classic excerpts from "The Far Side" mailbag? Here one finds the entire gamut represented, including love-mail, hate-mail, and marriage proposals. Surprisingly, a lot of the hate-mail focused on people's revulsion to the comics that dealt with torture chambers. I guess that sort of thing comes with the torturous humor territory.
It is crucial to understand the importance of this project: Think of it as an art portfolio on black-tar heroin. All the classics, all the laugh-out-louders, all the puzzling ones-in chronological order. This package delivers far more than its commentary and flashy, heavy design. My only disappointment is that this final collection does not include explanations of the more esoteric cartoons. For every completely self-contained strip, there exists at least three others that engender the "What-the? Reflex," a term coined by Larson to describe the general response to his most far-sided entries. Morrissey, Larson's old editor and partner in the 14-year folie-a-deux, expands on this concept in the introduction: "Thursday's cartoon was more often than not one of the week's strange cartoons, while Friday's and Saturday's were usually the oddest of the group-the ones we weren't quite sure anyone would get …"
In retrospect it appears that none of "The Far Side" comics escaped their mystifying larval stage, even at the end of the road. Nonetheless, I encourage all loyal fans to either purchase or steal (I mean, "borrow") this superb work. Although it might not provide all the answers, perhaps it was the journey that counted … or maybe the strips about amoeba pornography. You decide-after you get your hands on this collection.