Brian Bolland
Brian Bolland

Everything You Need to Get Caught up on Judge Dredd Comics

Brian Bolland
Brian Bolland

If your knowledge of Judge Dredd is limited to the campy Stallone movie or a couple of comics you read in the ‘90s, you’ve only scratched the surface of what this sci-fi classic has to offer. With some advice from Douglas Wolk—comics critic, Dredd expert, and writer for the new mini-series Judge Dredd: Mega City Two—I've compiled everything you might need to know to get started with this surprisingly interesting and complex comic.

Who is Judge Dredd?

Joseph Dredd is a law enforcement officer in Mega-City One—a sprawling American metropolis in the 22nd century, spanning roughly from Boston all the way down to Charlotte. Dredd and his fellow officers are referred to as "Street Judges" because they have the authority to apprehend, sentence, and even execute criminals on the spot. He is the most famous and most feared Judge in all of Mega-City One, where crime runs rampant despite the zero-tolerance polices of its authoritarian government.

We’ve never seen Dredd's face and only learned his true origin after decades of comics. He is a clone of Judge Fargo, the first Chief Judge.

Dredd was created by British comics writer John Wagner and artist Carlos Ezquerra for the second issue (or “prog” as they’re called) of 2000 AD magazine in 1977. To this day, Wagner still writes a majority of the Dredd strips and has been behind many of the most beloved stories in the character’s history. There have been a number of artists involved in the comic over the years including Brian Bolland, Mike McMahon, Colin MacNeil, Steve Dillon, and many more.

It’s a comedy, police procedural, and sci-fi epic rolled into one

Most people with only a passing experience with Judge Dredd tend to think it’s a holdover of '80s-era right-wing revenge fantasies in the vein of Dirty Harry. However, even back then, it was actually a satire of those kinds of attitudes about crime and punishment. The Judges will often slap litterers and traffic violators with ridiculous multi-year prison sentences. Dredd himself is kind of a fascist jerk who delivers ruthless justice in a way that makes you question whether he’s even supposed to be the good guy.

This is a British comic about a dystopian America written primarily for a British audience, and it often has some Anglo-centric in-jokes and sight gags.The writers typically use a police-procedural plot structure to explore Dredd's futuristic world and socio-political landscape. In recent years, the tone of the stories have become more sophisticated in how they depict the politics and ethics of the Justice System in which Dredd operates.

The stories progress in real time and Dredd is now 70 years old

We’re so used to superhero comics existing in a state of arrested development, but, since its debut in 1977, Judge Dredd has progressed in real time. It began in 2099 and it is now 2136. Dredd himself is 70 years old. He's been on active duty for over 50 years and is much more world-weary and reflective than he was in the early strips. His fellow judges look at him a little differently now, too, like an old timer who may be past his prime.

About six years ago, Dredd was diagnosed with benign duodenal cancer. It’s not something that is referenced much in the current stories and it may not be life-threatening (especially with all the future tech cloning possibilities), but it seems to point to the fact that we may be reading the protracted end of Dredd’s story.

While the comics are structured as short stories—the 2000 AD editions are delivered in 6- to 8- page installments at a time—there is a very tight continuity and the events of one story will have a lasting impact on future stories. Although it’s pretty easy to jump into any Dredd story to enjoy the action, the more you read and become familiar with his world, the more you appreciate the way it's building upon what has come before.

He has an extended family (most of which are his own clones)

An early Dredd story involved his twin brother Rico (who was actually just another clone of Judge Fargo, like Dredd himself). Rico turned evil and Dredd was forced to kill him in a duel. In a story called "Blood Cadets," published in 2000, another Dredd clone joined the academy and took on the name Judge Rico to commemorate Dredd’s deceased brother. The original Rico was aggressive and antagonistic towards his brother, but the new Rico looks up to Joe, who is old enough to be his father.

In 2006’s Origins, Dredd finds a whole clan of mutant clones made from his “father,” Judge Fargo, living in the Cursed Earth, which are the wastelands between Mega-City One, Mega-City Two, and Texas City. Their existence completely changed his outlook on mutant rights and led to Dredd lobbying for a repeal of the anti-mutant laws, showing a glimpse of empathy that we hadn’t previously seen from him.

The original Rico had a daughter named Vienna who was orphaned by his death and has returned in recent years as an adult. Dredd is protective of her and even visits Vienna on holidays. She is the only person who seems to elicit acts of compassion from him.

Another Dredd clone is Dolman, who went out on his own after quitting the Academy. He was forced to get a face change to protect Dredd's identity and he pops up from time to time. Dolman has become close with Vienna, who treats him like a little brother.

There are more clones of Dredd/Fargo out there that we continue to meet over time such as Judge Kraken (a rogue clone created to overthrow the judges), Nimrod (a genetically enhanced clone), and others.

He has a long tradition of working with tough female judges

Dredd has had a number of tough female partners over the years, from Judge Anderson of Psi Division to Judge Hershey (both had their own spin-off titles for a while). The comics have always presented these female judges as working on an equal playing field with Dredd and they have, in some cases, been his superior. Judges are prohibited from having sex and Dredd is as cold as they come, so there have never been any romantic entanglements. (Well, except for one time when Judge Galen DeMarco took him by surprise.)

Judge America (Ami) Beeny is the daughter of an activist who was killed because of an order given by Dredd in perhaps the most celebrated Judge Dredd story ever, America. In Cadet, one of two sequels to that story, we see Beeny rise quickly through the ranks, becoming a full judge by the age of 15. She is a prodigy in the Justice System and Dredd has championed and defended her progress, even when other Judges feel uncomfortable taking orders from a young girl. Although she does not blame Dredd for her mother’s death, her goal is to reform what she sees as a problematic system from the inside.

Over 80% of the population of Mega-City One has just been wiped out

In Day of Chaos, the most recent major storyline which ran through 2000 AD progs 1743-1789, Sov City (the Soviets) unleashed a deadly virus called the Chaos Bug in retaliation for the devastation they suffered during the classic "Apocalypse War" story from 1982.

In addition to the Sov City attack, a serial killer who has been posing as the mayor goes berserk and the genocidal Dark Judges are set loose. As a result, 87% of the population of Mega-City One are killed and a terrorist attack on the Academy of Law takes out almost every cadet.

Things are now a hell of a lot worse in the world of Judge Dredd, and future story lines must deal with the aftermath of the disaster(s).

There are now two publishers putting out Dredd comics

Historically, British publisher 2000 AD has been in charge of all things Dredd, publishing stories in 2000 AD magazine as well as Judge Dredd Megazine. They usually collect individual storylines and include them in their own graphic novels, although these are often hard to track down in the states. Digitally, most volumes are available in Kindle format and 2000 AD has an app in the iOS Newsstand where they sell affordable volumes of every single Judge Dredd story they’ve ever published.

In 2013, American publisher IDW began putting out their own monthly Judge Dredd comic written by Duane Swierczynski plus spin-offs like Douglas Wolk’s Mega-City Two and a Judge Dredd: Year One mini-series. The IDW books draw upon what John Wagner and company have established in the 2000 AD books, but the stories are set back in 2100 and it looks like they aim to establish their own unique continuity.

Where to start reading

There are a lot of Dredd stories out there and, in the past decade or so, they’ve become sophisticated in how they continually build upon what’s come before. It can be intimidating to figure out how and where to jump in. Douglas Wolk has probably the perfect prescription on his blog, where he gets into a lot of critical detail on each storyline.

This is the gist of Wolk's recommendations:

If you want to sink your teeth into classic Judge Dredd, the best place to start is Judge Dredd: Complete Case Files 05. This is a black and white, phonebook-sized collection of strips from 1981-1982 that include important classics like "Judge Death Lives" and "The Apocalypse War."

For recent Dredd stories where things get richer and more interesting, you probably can’t go wrong with the America trilogy. It’s considered a turning point in tone for the series; however, it doesn’t actually feature Dredd himself that much within the story. It’s hard to track down a print collection of this in the States, but you can buy it digitally from 2000ADonline or get a Kindle edition.

Judge Dredd: Origins is a recently released collection that finally lays out all the pieces of Dredd’s origin that have been hinted at for decades. You can get it in book format or digitally via 2000AD. Appropriately, Dredd creators John Wagner and Carlos Ezquerra reunited to tell this story.

Meanwhile, IDW is aiming for something of an “Ultimate” Judge Dredd, in which their comics are free of the past couple of decades of continuity and have started fresh with a younger Dredd and Judge Anderson solving cases in Mega-City One. This is still very early into its run, with three volumes of the main series currently available.

*****************

Previously in this series I've helped you catch up on everything going on in the X-men comics and in Batman comics.

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Comic: Hake's. Background: iStock.
When Superman Fought Xenophobia in a 1949 Comic
Comic: Hake's. Background: iStock.
Comic: Hake's. Background: iStock.

A vintage comic book-style illustration that shows Superman lecturing a group of students on the values of tolerance has circulated widely on social media. “And remember, boys and girls, your school—like our country—is made up of Americans of many different races, religions and national origins,” Superman says with a wag of his finger, “So… If YOU hear anybody talk against a schoolmate or anyone else because of his religion, race or national origin—don’t wait: tell him THAT KIND OF TALK IS UN-AMERICAN. Help keep your school All American!”

The illustration is authentic. It was drawn by Superman comic book artist Wayne Boring around 1949, and it was stamped on a protective schoolbook cover (one of which recently sold at auction for $805) and a poster. But the comic is more than a quaint piece of Americana; it’s a relic from a largely forgotten nationwide tolerance movement that swept the country for more than a decade. Powerful people in government also suspected Superman’s brand of patriotism was ... anti-American propaganda.

THE TOLERANCE MOVEMENT

During the 1940s, America basically underwent a nationwide sensitivity training program. Zoe Burkholder, a historian of education, writes in the Harvard Educational Review that a “forced tolerance” movement had begun frothing a decade earlier as educators feared that scientific racism—the pseudoscientific “Master Race” theories brewing in Germany—could waft overseas.

Educators deliberated how, and if, they should teach students to accept racial, cultural, and religious differences. After all, the ethnic makeup of America was quickly changing. The first wave of the Great Migration saw nearly 2 million African Americans move north and west to cities. While most classrooms remained segregated, even the whitest schools were increasingly mixed with the children of different immigrant groups.

In 1938, the New York City Board of Education began requiring students to learn about how multiple groups contributed to American history. When World War II erupted one year later, the demand for tolerance education spiked. The New York Times reported in 1939 that "Instances were cited of teachers in New York City and elsewhere being 'ridiculed, harassed and otherwise impeded' by pupils under the influence of, and stimulated by, Nazi doctrine." To nip foreign propaganda in the bud, schools across the country joined the tolerance movement. Military leaders encouraged it, too. They knew that American troops, many of them fresh out of school, would fight their best if they learned to set aside their differences.

Countless non-profit groups, many of them interreligious, led the charge. Burkholder writes that “Religious leaders, educators, and politicians stressed tolerance as a central tenet of democracy." They provided prejudice-fighting materials to schools, from teachers’ manuals to comic books to textbooks.

Outside of school, short pro-tolerance films played at the beginning of movies. People held tolerance rallies. The National Conference of Christians and Jews distributed 10 million “Badge of Tolerance” buttons. Groups such as the Council Against Intolerance in America distributed maps showing the breadth of diversity in America’s cultural landscape. Even Superboy stepped in, telling a bunch of his schoolmates that “No single land, race or nationality can claim this country as its own.” At the end, Superboy and his pals celebrate by eating Swedish meatballs.

The Superman comic that went viral was the handiwork of one tolerance organization: the Institute for American Democracy. Led by an Episcopalian priest, the Institute’s lineup of leaders resembled a walk-into-the-bar joke: Among its officers were a Catholic bishop, a rabbi presiding over the Synagogue Council of America, and labor movement honchos. The Institute’s goal was to “blanket the nation with poster, billboard, cartoon, and blotter advertising—expertly planned to ‘sell’ the American public a greater appreciation of the American Creed.”

And it did. Al Segal, a columnist for the Indiana-based Jewish Post, wrote in 1947 that the Institute was “hitting anti-Semitism and allied hates between the eyes in street cars, buses and newspapers all around the country.” In 1953, The New York Times called the Institute’s work “Do-Good advertising” that proved “mass media advertising can sell an idea, just as it can sell soap or chewing gum.”

ADL/Institute for American Democracy

ADL/Institute for American Democracy

ADL/Institute for American Democracy

Messages we can all agree on, right? Nope. This was the McCarthy era. Even the most pro-American advertisements couldn’t help being called un-American.

AN INTOLERABLE CONSPIRACY?

In 1948, California's Joint Fact-Finding Committee on Un-American Activities—a group of lawmakers charged with investigating disloyal and subversive citizens and groups—listed the Institute for American Democracy as a potential communist front. It claimed that the Institute had “numerous known Communists” on its governing body.

The committee complained that a truly American organization would speak explicitly against communism. Since the Institute didn’t scold communists, it was complicit with them. The committee further argued that the Institute, and other pro-tolerance organizations like it, had exaggerated America’s discrimination problems: “There is an attempt to spread the idea that forces of fascism are everywhere entrenched,” it stated.

A bigger problem was that the Institute was mostly subsidized by the Anti-Defamation League of B’nai B’rith, or ADL. The House Un-American Activities Committee was not a fan of the ADL.

The Anti-Defamation League formed in 1913 to combat prejudice against Jewish people. Between 1880 and World War I, approximately 2 million Jews had emigrated to America. By the early 20th century, restaurants, hotels, and clubs regularly barred Jews from entering their premises. Medical schools at Cornell and Yale placed limits on the number of Jewish students they would accept. (Yale’s medical school dean, Milton Winternitz—who was Jewish—reportedly told the school’s admissions officers, “Never admit more than five Jews, take only two Italian Catholics, and take no blacks at all.”) Even the U.S. military's medical advisory board casually stated that “the foreign born, especially the Jews, are more apt to malinger than the native born.”

By World War II, the ADL had joined the tolerance movement. It helped found and fund [PDF] organizations like the Institute for Democratic Education and the Institute for American Democracy, soaking citizens in calls for brotherhood. The groups aired radio shows telling the stories of famous Americans, such as George Washington Carver, and played them on more than 700 radio stations. It even lobbied the producers of the Superman radio show to insert democratic themes into its broadcasts. The group reached 63,000 schools, veterans groups, and private businesses.

Some legislators, especially State Senator Jack B. Tenney, chairman of California’s Un-American Activities Committee, believed this was a nefarious facade. Tenney, who was once nominated as a candidate for Vice President of the Christian Nationalist Party (which advocated racial segregation) and who equated [PDF] McCarthyism with “Americanism,” had once visited an ADL office and returned convinced their anti-prejudice campaigns were a Trojan Horse designed to brainwash Americans with Zionist propaganda. He believed the ADL was a gestapo-like cabal with communist sympathies.

LIFE magazine minced no words when it called Tenney a “notorious anti-Semite.” But his paranoia didn’t stop there. He didn’t trust Shintoism and used similar “Trojan Horse” arguments to justify the internment of Japanese-Americans. He wasn’t keen on Italians either. During World War II, the Tenney committee’s misgivings would help force 10,000 Italian immigrants in California to relocate.

As for the Institute for American Democracy, their ties to the ADL convinced Tenney that their loyalties existed outside of the United States. For that reason alone, an organization with the sole mission of touting American values was suspected of ... lacking American values. 

Thankfully, that attitude didn’t last for long. In 1949, Tenney was on his way out of the fact-finding committee, which soon gave the Institute for American Democracy a clean bill of health, offering this mea culpa:

The committee’s 1948 report, under its general designation of Communist-front organizations, listed the Institute for American Democracy and the Institute for Democratic Education. The continuing investigation of these organizations reveals that both are sponsored by responsible individuals and groups of unquestioned loyalty. The programs … are in full keeping with the best American traditions and ideals and it is the design of the sponsoring individuals and groups to inculcate and preserve in the hearts and consciences of the American people love and loyalty for and to our country and the great principles of American liberty and democracy.

When you consider this historical context, the Superman comic becomes far more badass. The illustration appeared in 1949, one year after the Tenney Committee suggested the Institute for American Democracy was a communist front. Superman’s response? He steals the committee’s favorite accusation and slings it back in their direction: “That kind of talk is Un-American.”

As for Tenney, he’d later run for Senate in Los Angeles under the slogan “The Jews won’t take Jack Tenney,” a prediction that applied to Jewish people and, apparently, everybody else. Despite a plot to confuse voters by putting a mental patient who shared the same last name as his opponent on the ballot, Tenney still lost the Republican primary to 33-year-old Mildred Younger, a political activist who had never before held government office.

This piece originally ran in 2017.

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iStock
20 Things You Might Not Know About Garfield
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iStock

Everyone’s favorite lazy, lasagna-loving cat made his debut 40 years ago, but Garfield is still just as popular today. The comic strip spawned a TV show plus a number of video games, feature films, books, and, of course, holiday specials—not to mention one very memorable car window craze. We sat down with Garfield creator Jim Davis to nail down a solid list of 20 things you might not know about the wisecracking feline.

1. JIM DAVIS ORIGINALLY INTENDED TO FOCUS THE STRIP ON JON.


Courtesy of Jim Davis

“I ran some early ideas at a local paper,” Jim Davis tells Mental Floss, “to see how I felt about it and I called the strip Jon. It was about him, but he had this wise cat who, every time, came back zinging him. He always had the great payoff. At the time, I worked for T.K. Ryan—the cartoonist for Tumbleweeds—and I showed it to him and told him how every time I got to the punch line the cat zings him. And T.K. said, 'Well, what does that tell you, Jim?'" he laughs. “The strip must be about the cat. Go with it.”

2. JON WAS A CARTOONIST IN THE VERY FIRST COMIC STRIP, BUT IT WAS NEVER REALLY MENTIONED AGAIN.

“I didn’t want to tread on the fact that Jon’s a cartoonist because my biggest fear was getting a little too inside," Davis says. "That it would be a little too easy for me to write. I didn’t want to lose the readers just for my own enjoyment, or for a handful of peers. Also, I purposely gave him a job right off the top for the reason that The Adventures of Ozzie and Harriet never explained what Ozzie did for a living. Nobody ever knew because he was always in the house with Harriet and Ricky and David. Just hanging around. So I thought I would give Jon a job right off the top to avoid being asked what he does for a living in interviews.”

3. GARFIELD WAS NAMED AFTER DAVIS'S GRANDFATHER, JAMES A. GARFIELD DAVIS ...

... who was named after President James A. Garfield. That’s quite a connection. Now just imagine a fat, wisecracking, lasagna-eating cat as the President of the United States of America. (Sounds like a dead-ringer for William Howard Taft!)

4. GARFIELD IS SET IN DAVIS'S HOMETOWN OF MUNCIE, INDIANA, BUT THAT'S ALSO MOSTLY LEFT UNSAID.


Courtesy of Jim Davis

“I would like for readers in Sydney, Australia to think that Garfield lives next door,” Davis says. “Dealing with eating and sleeping, being a cat, Garfield is very universal. By virtue of being a cat, really, he’s not really male or female or any particular race or nationality, young or old. It gives me a lot more latitude for the humor for the situations.” The farm that Davis grew up on reportedly had 25 cats, several of which he based the Garfield character on.

5. DAVIS MAINTAINS COMPLETE CONTROL OVER GARFIELD'S FINAL PRODUCT, BUT HE NO LONGER DRAWS THE DAILY COMIC STRIP.

“I’m sitting here working on the writing right now,” he says. “I see gags and I work with assistants on the strip and stuff like that. We do roughs and it all filters through me so that it has one voice. We all get together occasionally in the same room and draw and work on shapes of fingers and gestures and expressions and things like that so that if any one of us draws it, you can’t tell which one did it.”

6. HE REGRETS AT LEAST ONE LICENSED GARFIELD ITEM.

According to Slate, Garfield merchandise brings in $750 million to $1 billion annually. Davis’s creation has been adapted and licensed more times than anyone could probably count, and of all of those items, there's one that Davis isn't thrilled with. “A few years ago there was a Zombie Garfield,” he says. “It was really gnarly and I thought, 'Oh, this will be fun.' So I did it and it sold okay. It was really interesting. But then I looked at it later and I go, ‘It did nothing for the character’s advancement.’ I figured I just did it because it was cool and everybody was doing it at the time. I just didn’t have a warm, fuzzy feeling after doing it. But those T-shirts go away," he laughs.

7. GARFIELD HOLDS THE GUINNESS WORLD RECORD FOR BEING THE WORLD'S MOST WIDELY SYNDICATED COMIC STRIP.

Garfield is syndicated in more than 2500 newspapers and journals. The cat also has more than 16 million fans on Facebook. That’s one seriously popular feline.

8. GARFIELD'S CHARACTER DESIGN HAS CHANGED MANY TIMES OVER THE YEARS.

There's one constant, though: The fat cat has always been—and will always be—fat. “If he lost weight, that would effectively end Garfield as we know it,” Davis says. “Garfield sends a healthy message in that he’s not perfect. He knows that and he’s cool with that. He’s happy with himself. If everybody were, there would probably be fewer disorders of all natures. He’s not perfect. In fact, he’s the imperfection in all of us underneath. I think that makes him probably easier to identify with than a slim, athletic character in the comics.”

9. DAVIS REALLY ENJOYED SCARING KIDS WITH GARFIELD'S HALLOWEEN ADVENTURE.

"It was such a challenge to try to think of something that could be scary, but fortunately we got to work with animation—we could marry scary sounds with scary music and scary images, and set the stage for a scary experience," Davis says. "Even down to the use of the actor’s voice. C. Lindsay Workman [who voices the old man that tells Garfield and Odie about the vengeful ghost pirates] was just a great character actor. I think we took our time to build to a scary scene where the ghost pirates invaded the house to look for the buried treasure. We tried to throw as many elements together as possible to create a situation where, at least for a few minutes, it could create a scary situation for the young viewers."

10. CREATING THE GHOST PIRATES IN THE HALLOWEEN TV SPECIAL WAS MUCH MORE DIFFICULT THAN YOU MIGHT THINK.

“We did it in our own art department (here at Paws, Inc.) because we wanted to make it just right,” the Garfield creator told us. “It was done with a white, chalky pencil on a rough texture so that everything would be really grainy. Back then, we animated on real film, so in order to get that glow we did what’s called a double burn. We exposed the film twice to overexpose the ghosts, and that gave it that eerie glow. We were totally in control of the process and the results turned out very well.”

11. IN 2011, A FULL-LENGTH STAGE MUSICAL CALLED GARFIELD LIVE WAS STAGED IN MUNCIE.

The musical was supposed to start touring the United States in September 2010, but was delayed until January 2011, when it premiered in Muncie. Davis wrote Garfield Live, while Michael Dansicker and Bill Meade handled the music and lyrics.

12. DAVIS LOVED THE CASTING OF BILL MURRAY AS THE VOICE OF GARFIELD IN 2004'S GARFIELD: THE MOVIE.


Muncie Magazine

“It was because of Bill Murray’s attitude [that he was cast],” Davis tells us. “It wasn’t really so much his voice. It was the fact that he embodies the attitude that Garfield has always displayed in the strip. Lorenzo [Music] obviously wasn’t a choice since he passed away years ago, and when the producers said, ‘Bill Murray would like to do the voice,’ I thought, ‘Oh, cool.’ My biggest concern about doing a CGI Garfield with live action was that people wouldn’t buy into the fact that this was our Garfield—the Garfield we’d known all these years. But I thought that as soon as they heard Bill Murray’s voice they’d get it. There will be that emotional tag going with his voice. That will establish the fact that, ‘Yes, this character has attitude.’”

13. THERE'S A GREAT LINK BETWEEN GARFIELD VOICE ACTOR LORENZO MUSIC AND BILL MURRAY.

Lorenzo Music provided the voice of Garfield in all of the cat’s TV specials from 1982 to 1991, as well as during the 1988 to 1994 run of Garfield and Friends. Music also provided the voice of Peter Venkman in The Real Ghostbusters. Murray, of course, played Venkman in the Ghostbusters films and would, in 2004, provide the voice of Garfield in Garfield: The Movie. “I didn’t know about the relationship with Ghostbusters until years later."

14. THE MACY'S PARADE ONCE CITED SHAMU THE WHALE AS THE PARADE'S LARGEST BALLOON, BUT DAVIS SAYS GARFIELD WAS LARGER.

“In the Macy’s Thanksgiving Day Parade, they had published that their biggest balloon ever, by volume of gas, was Shamu the Whale with over 18,000 cubic feet," Davis says. "The fact is that the Garfield balloon was filled with 18,907 cubic feet of helium. So we just confirmed that the Garfield balloon, in fact, was the largest one by volume of gas.”

15. THERE ARE ONLY THREE COUNTRIES IN THE WORLD WHERE GARFIELD IS NOT NAMED GARFIELD.

“In Sweden, Garfield is known as Gustav,” the Garfield creator says. “There are only three countries in the whole world where he’s not Garfield and they’re all in the Nordics.” The other two are Norway and Finland.

16. THE STUCK ON YOU GARFIELD PLUSH WITH SUCTION CUPS WAS THE RESULT OF A MISUNDERSTANDING.


Amazon

In the 1990s, it wasn't unusual to see a number of cars with little Garfield plushes stuck to the windows with suction cups. But that wasn't the original design—or the intended use. “I designed the first Stuck on You doll with Velcro on the paws, thinking that people would stick it on curtains,” Davis says. “It came back as a mistake with suction cups. They didn’t understand the directions. So I stuck it on a window and said, 'If it’s still there in two days, we’ll approve this.' Well, they were good suction cups and we released it like that. It never occurred to me that people would put them on cars.”

17. THE GARFIELD COMIC STRIP BOOKS HAVE BEEN HUGE HITS.

“The 11 Garfield comic strip books have all been number one on the New York Times Bestseller List,” Davis says. “At one time there were seven on the list simultaneously. At that point, they changed the way the list was done because other publishing houses were complaining that their authors couldn’t get on the list because of Garfield. Garfield at Large (1980) was number one for two solid years. Over 100 weeks.” The title of every compilation book is a reference to either food or Garfield’s weight.

18. STEVEN SPIELBERG AND STEPHEN KING ARE AMONG THE MANY CELEBRITIES WHO OWN ORIGINAL GARFIELD STRIPS.

They both contacted Davis personally for the strips; the cartoonist happily obliged.

19. DESPITE GARFIELD BEING INSANELY POPULAR FOR DECADES, DAVIS IS STILL MOSTLY ANONYMOUS.


Muncie Magazine

“Being a cartoonist, you really enjoy a lot of anonymity,” he says. “You take a half-dozen of the biggest cartoonists and walk them down any street, nobody would notice them. They only know their characters. So I just hide behind Garfield. The only time anyone knows the name or spots me is if I’m out on book tour and I’m meant to do publicity. We don’t suffer any of the kind of attention problems that I think people do on TV or in movies. It’s not a big deal. I’m sitting here in the countryside of East Central Indiana, so it’s pretty quiet.”

20. DAVIS'S FATHER'S FAVORITE COMIC STRIP WASN'T GARFIELD.

Davis's father and namesake, who passed away in 2016, liked Garfield but preferred another comic strip: Beetle Bailey. “Nobody else knew that until today,” Davis tells us.

This article originally appeared in 2014.

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