Ginger Meggs, Australia's most popular and longest-running comic strip, was created in the early 1920s by Jimmy Bancks. The strip follows the escapades of a red-haired prepubescent mischief-maker who lives in an inner suburban working-class household. While employed at The Bulletin, Bancks submitted cartoons to the Sydney Sunday Sun, where he began his Us Fellers strip in 1921 in the "Sunbeams" section of the Sunday Sun. Ginger first appeared in Us Fellers on 13 November 1921; when Bancks died on 1 July 1952 from a heart attack, Ron Vivian took over the strip, followed by Lloyd Piper, James Kemsley and since 2007, Jason Chatfield. Bancks created, wrote and syndicated Ginger Meggs from 1921 until 1952, when he died unexpectedly of a heart attack; the character was based on Charlie Somerville. The latter was a resident of the Sydney suburb of Hornsby, who went on to become a businessman and councillor. After Bancks's death, there was a year's worth of strips to run. Ron Vivian wrote and drew Ginger Meggs from 1953 until 1973.
Lloyd Piper drew Ginger Meggs from 1973 until 1983, when he died in a car accident. James Kemsley wrote and syndicated Ginger Meggs from 1984-2007. On 3 December 2007, Kemsley died at his home in New South Wales. In the 2008 Queen's Birthday Honour lists, the Australian Government posthumously recognised Kemsley for his efforts with the Medal of the Order of Australia. Jason Chatfield has written and drawn Ginger Meggs since 2007; the strip remains the most syndicated Australian comic strip today, appearing in over 120 newspapers in 34 countries. In 1997, a park in Valley Road, was named Ginger Meggs Park. Bancks had spent much time in the area during his childhood. In 1985, a postage stamp honouring Ginger or his creator was issued by Australia Post as part of a set of five commemorating children's books. On 1 July 2011, the Perth Mint, released a commemorative 1oz Silver Australian $1 coin to celebrate the 90th anniversary of Ginger Meggs; the coin features an homage to James C. Bancks' 1945 Sunbeams Annual cover, which featured Ginger Meggs on the back of a kangaroo with his dog and his pet monkey, Tony.
The obverse portrays the Ian Rank-Broadley effigy of Her Majesty Queen Elizabeth II, the 2011 year-date and is issued as legal tender under the Australian Currency Act 1965. The coin was designed by Jason Chatfield. Ginger Meggs is a 1982 Australian film based on the comic strip, starring Garry McDonald and Drew Forsythe. Ginger Meggs was adapted into a stage musical, running since the early 1990s, distributed by David Spicer Productions. "Ginger Meggs: The Sunbeams Song" music by Henry T. Hayes and Billy Edwards Ginger Meggs / words and music by Jack O'Hagan Just a Little Ginger Headed Feller and music by Mary Brett, arranged by Tom Davidson A birthday celebration for Ginger Meggs: congratulations to the little Aussie battler, by Robert Holden The comic adventures of Ginger Meggs, created by Jimmy Bancks and drawn by James Kemsley Further adventures of Ginger Meggs Ginger Meggs and Herbert the billy goat Ginger Meggs and the country cousin Ginger Meggs annual Ginger Meggs at large: based on the stories and characters of Bancks Ginger Meggs, created by Jimmy Bancks, written & drawn by Kemsley Ginger Meggs' lucky break Ginger Meggs meets the test, written by Bill Peach, illustrated by Dan Russell Ginger Meggs at Go Comics www.gingermeggs.com Ginger Meggs history Ginger Meggs film at Oz Movies
Andrews McMeel Universal
Andrews McMeel Universal is an American media corporation based in Kansas City, Missouri. It was founded in 1970 by Jim Andrews and John McMeel as Universal Press Syndicate and was renamed in 1997 to AMU to reflect the diversification that had taken place since its founding, it now has the following subdivisions: Andrews McMeel Syndication, which includes GoComics Andrews McMeel Publishing AMUSE The company headquarters is located in downtown Kansas City, Missouri in the historic Boley Building. The six-story steel frame building was constructed in 1909 and was designed in the Art-Nouveau style by architect Louis Curtiss; the building is notable for being one of the world's first metal-and-glass curtain-wall buildings and the first to use rolled-steel columns. It was listed on the National Register of Historic Places in 1971. Official website
A comic strip is a sequence of drawings arranged in interrelated panels to display brief humor or form a narrative serialized, with text in balloons and captions. Traditionally, throughout the 20th century and into the 21st, these have been published in newspapers and magazines, with horizontal strips printed in black-and-white in daily newspapers, while Sunday newspapers offered longer sequences in special color comics sections. With the development of the internet, they began to appear online as webcomics. There were more than 200 different comic strips and daily cartoon panels in South Korea alone each day for most of the 20th century, for a total of at least 7,300,000 episodes. Strips are drawn by a comics artist or cartoonist; as the name implies, comic strips can be humorous. Starting in the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in Popeye, Captain Easy, Buck Rogers and The Adventures of Tintin. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s.
All are called, comic strips, though cartoonist Will Eisner has suggested that "sequential art" would be a better genre-neutral name. In the UK and the rest of Europe, comic strips are serialized in comic book magazines, with a strip's story sometimes continuing over three pages or more. Comic strips have appeared in American magazines such as Liberty and Boys' Life and on the front covers of magazines, such as the Flossy Frills series on The American Weekly Sunday newspaper supplement. Storytelling using a sequence of pictures has existed through history. One medieval European example in textile form is the Bayeux Tapestry. Printed examples emerged in 19th-century Germany and in 18th-century England, where some of the first satirical or humorous sequential narrative drawings were produced. William Hogarth's 18th century English cartoons include both narrative sequences, such as A Rake's Progress, single panels; the Biblia pauperum, a tradition of picture Bibles beginning in the Middle Ages, sometimes depicted Biblical events with words spoken by the figures in the miniatures written on scrolls coming out of their mouths—which makes them to some extent ancestors of the modern cartoon strips.
In China, with its traditions of block printing and of the incorporation of text with image, experiments with what became lianhuanhua date back to 1884. The first newspaper comic strips appeared in North America in the late 19th century; the Yellow Kid is credited as one of the first newspaper strips. However, the art form combining words and pictures developed and there are many examples which led up to the comic strip. Swiss author and caricature artist Rodolphe Töpffer is considered the father of the modern comic strips, his illustrated stories such as Histoire de M. Vieux Bois, first published in the USA in 1842 as The Adventures of Obadiah Oldbuck or Histoire de Monsieur Jabot, inspired subsequent generations of German and American comic artists. In 1865, German painter and caricaturist Wilhelm Busch created the strip Max and Moritz, about two trouble-making boys, which had a direct influence on the American comic strip. Max and Moritz was a series of moralistic tales in the vein of German children's stories such as Struwwelpeter.
Max and Moritz provided an inspiration for German immigrant Rudolph Dirks, who created the Katzenjammer Kids in 1897. Familiar comic-strip iconography such as stars for pain, sawing logs for snoring, speech balloons, thought balloons originated in Dirks' strip. Hugely popular, Katzenjammer Kids occasioned one of the first comic-strip copyright ownership suits in the history of the medium; when Dirks left William Randolph Hearst for the promise of a better salary under Joseph Pulitzer, it was an unusual move, since cartoonists deserted Pulitzer for Hearst. In a unusual court decision, Hearst retained the rights to the name "Katzenjammer Kids", while creator Dirks retained the rights to the characters. Hearst promptly hired Harold Knerr to draw his own version of the strip. Dirks renamed his version Fritz. Thus, two versions distributed by rival syndicates graced the comics pages for decades. Dirks' version distributed by United Feature Syndicate, ran until 1979. In the United States, the great popularity of comics sprang from the newspaper war between Pulitzer and Hearst.
The Little Bears was the first American comic strip with recurring characters, while the first color comic supplement was published by the Chicago Inter-Ocean sometime in the latter half of 1892, followed by the New York Journal's first color Sunday comic pages in 1897. On January 31, 1912, Hearst introduced the nation's first full daily comic page in his New York Evening Journal; the history of this newspaper rivalry and the rapid appearance of comic strips in most major American newspapers is discussed by Ian Gordon. Numerous events in newspaper comic strips have reverberated throughout society at large, though few of these events occurred in recent years, owing to the declining role of the newspaper comic strip as an entertainment form; the longest-running American comic strips are: The Katzenjammer Kids Gasoline Alley Ripley's Believe It or Not! Barney Google and Snuffy Smith Thimble Theater/Popeye Blondie Bringing Up Father (1913–2000.
Pibgorn is a webcomic by Brooke McEldowney that began in early 2002. The title character is a fairy whose adventures span real worlds. McEldowney creates the syndicated comic strip 9 Chickweed Lane crossing over to Pibgorn, which explores stronger themes of sexuality and violence. Pibgorn evolved over the years after McEldowney had begun 9 Chickweed Lane, wherein Edda would have flights of fancy where she appeared as a prototype Pibgorn on rare occasions, he started adapting the idea into a proposed spin-off entitled The Titans, rejected by syndicate editors, in 2000. These proposed strips and accompanying sketches were presented on the Pibgorn website in 2005 during one of McEldowney's hiatuses from the strip. Titans would have been a gag-a-day format strip, in which Pibgorn, disenchanted with her expected role as a fairy would break away from her regular routine to wax philosophical. Oola was one of life's losers, her dialogues resulting in misfortune, such as having a magic 8-ball roll over her, or nearly being eaten by whatever animal she's conversing with.
The strips showed a darker side to her character, as in addition to managing dewdrops, her responsibilities include serving as the "voices-in-my-head" of disgruntled government employees, driving one to attempted homicide on at least one occasion. The final set of proposal strips showed Oola running afoul of Prince Crewth and Gaggot, here named Prince Grabstein and Rhune, when she petitions to leave "dewdrop brigade" and become a stand-up comedian. Unable to tell if she's laughing with him or at him, Grabstein outlaws laughter altogether and sets Luciano after Oola, only for the fly to fall in love with her; these situations were recycled as part of the early Pibgorn story arcs. Until April 18, 2007, Pibgorn was published on internet by United Feature Syndicate on their Comics.com website. It has been published as a graphic novel, Pibgorn: The Girl in the Coffee Cup, released in October 2006. Other releases include A Midsummer Night's Dream, The Poltergeist in the Piano, The Borgia Cantus; because of graphic novel considerations, Pibgorn is characterized by involved story arcs which may seem better suited to a graphic novel than a daily comic, it is notable for its creative use of color and large format, together with strong themes of violence and sexuality, attributes not associated with daily print comics.
The artist has made the point that he wants to create a story without worrying about the editors of family newspapers. Pibgorn ran daily Monday through Saturday, but on February 8, 2006, it was announced that beginning on February 13, the strip would run only on Monday and Friday, it ended its run on Comics.com on April 18, 2007, resumed with GoComics.com on May 14, 2007. McEldowney stated the burden of writing two daily strips concurrently as the reason for the cutback; as of July 14, 2008, the strip began running 5 days Monday through Friday. On April 17, 2007, United Feature Syndicate announced through Comics.com that Pibgorn would be discontinued on the following day. Brooke McEldowney has indicated that United Feature Syndicate accommodated his request to be released from his contract in order to secure a new online home for Pibgorn. From a letter from Brooke McEldowney to his readers: With United Media’s announcement that “Pibgorn” is to be discontinued, I have been inundated with e-mail, much of it agitated and distressed.
I’m sorry you had to get the news in this rather dispassionate way. That I may answer your central question forthwith, I’ve composed this response for everyone – so please forgive me if I seem impersonal. “PIBGORN” WILL CONTINUE. There; that is the main thing. Comics.com, will, as they have announced, no longer be the source. Nothing dramatic happened, really. I came to feel that the editorial needs of comics.com and those of “Pibgorn” were becoming more and more divergent and incompatible. For this reason I asked to be released from my contract with United Media in order to secure a new online home for “Pibgorn.” United Media most graciously, reluctantly, agreed. In short order I hope to get Pib back up and flying. Meanwhile, you have seen the most current installments of'"Pibgorn." Hold that thought. We’ll be back. All best wishes, thanks so much for writing. After the move to GoComics.com, the content became more risque, including nudity and implied sexual content. For example, in the August 22, 2008 strip, Geoff is seen walking down the street, with his bare buttocks on display.
Pibgorn returned to the Web at gocomics.com, owned by Universal Press Syndicate. Continuing in its three-per-week format, the interrupted story arc was presented from the start so as not to confuse new readers. In late 2015 Pibgorn switched to presenting an older series of WAHOO TERMINAL comics, which continued through September, 2016. Afterwards, Pibgorn returned to its earlier story arc, but on an intermittent basis while presenting some experimental styles. On August 17, 2017, McEldowney posted a note on Pibgorn’s Gocomics page, explaining that he was still recovering from a stroke, that in the meantime, there would be a rerun of the storyline “Pibgorn and the Djinn of It,” which began four days on August 21. Pibgorn: The title character, a fairy, not satisfied flitting around when she could be getting into trouble instead. She's sweet, effervescent and flighty, with a succubus for a best friend and a human for a sweethea
Peanuts is a syndicated daily and Sunday American comic strip written and illustrated by Charles M. Schulz that ran from October 2, 1950, to February 13, 2000, continuing in reruns afterward. Peanuts is among the most popular and influential in the history of comic strips, with 17,897 strips published in all, making it "arguably the longest story told by one human being". At its peak in the mid- to late 1960s, Peanuts ran in over 2,600 newspapers, with a readership of around 355 million in 75 countries, was translated into 21 languages, it helped to cement the four-panel gag strip as the standard in the United States, together with its merchandise earned Schulz more than $1 billion. The strip focuses on a social circle of young children, where adults exist but are seen or heard; the main character, Charlie Brown, is meek and lacks self-confidence. He is unable to fly a kite, win a baseball game, or kick a football held by his irascible friend Lucy, who always pulls it away at the last instant.
Peanuts is one of the literate strips with philosophical and sociological overtones that flourished in the 1950s. The strip's humor is psychologically complex, the characters' interactions formed a tangle of relationships that drove the strip. Peanuts achieved considerable success with its television specials, several of which, including A Charlie Brown Christmas and It's the Great Pumpkin, Charlie Brown, won or were nominated for Emmy Awards; the Peanuts holiday specials remain popular and are broadcast on ABC in the U. S. during the appropriate seasons, since 2001. The Peanuts franchise had success in theatre, with the stage musical You're a Good Man, Charlie Brown an oft-performed production. In 2013, TV Guide ranked. A computer-animated feature film based on the strip, The Peanuts Movie, was released in 2015. Peanuts had its origin in Li'l Folks, a weekly panel comic that appeared in Schulz's hometown paper, the St. Paul Pioneer Press, from 1947 to 1950, he first used the name Charlie Brown for a character there, although he applied the name in four gags to three different boys and one buried in sand.
The series had a dog that looked much like the early 1950s version of Snoopy. In 1948, Schulz sold a cartoon to The Saturday Evening Post, which published 17 of his single-panel cartoons; the first of these was of a boy sitting with his feet on an ottoman. In 1948, Schulz tried to have Li'l Folks syndicated through the Newspaper Enterprise Association, a firm run by the Scripps-Howard newspaper chain. Schulz would have been an independent contractor for the syndicate, unheard of in the 1940s, but the deal fell through. Li'l Folks was dropped in early 1950; that year, Schulz approached the United Feature Syndicate—also operated by Scripps-Howard—with his best work from Li'l Folks. When his work was picked up by United Feature Syndicate, they decided to run the new comic strip he had been working on; this strip was similar in spirit to the panel comic, but had a set cast of characters rather than different nameless little folk for each page. The name Li'l Folks was close to the names of two other comics of the time: Al Capp's Li'l Abner and a strip titled Little Folks, so to avoid confusion, the syndicate settled on the name Peanuts, after the peanut gallery featured in the Howdy Doody TV show.
The title Peanuts was chosen by the syndication editor. In a 1987 interview, Schulz said: "It's ridiculous, has no meaning, is confusing, has no dignity—and I think my humor has dignity." The periodic collections of the strips in paperback book form had either "Charlie Brown" or "Snoopy" in the title, not "Peanuts", because of Schulz's distaste. From November 20, 1966, to January 4, 1987, the opening Sunday panels read Peanuts, featuring Good Ol' Charlie Brown. Peanuts premiered on October 2, 1950, in nine newspapers: The Washington Post, The Chicago Tribune, The Minneapolis Tribune, The Allentown Morning Call, The Bethlehem Globe-Times, The Denver Post, The Seattle Times, The New York World-Telegram & Sun, The Boston Globe, it began as a daily strip. The first strip was four panels long and showed Charlie Brown walking by two other young children and Patty. Shermy lauds Charlie Brown as he walks by, but tells Patty how he hates him in the final panel. Snoopy was an early character in the strip, first appearing in the third strip, which ran on October 4.
Its first Sunday strip appeared January 6, 1952, in the half-page format, the only complete format for the entire life of the Sunday strip. Most of the other characters that became the main characters of Peanuts did not appear until later: Violet, Lucy, Pig-Pen, Frieda, "Peppermint" Patty, Franklin and Rerun. Schulz decided to produce all aspects of the strip himself from the script to the finished art and lettering. Schulz did, hire help to produce the comic book adaptations of Peanuts. Thus, the strip was able to be presented with a unified tone, Schulz was able to employ a minimalistic style. Backgrounds were not used, when they were, Schulz's frazzled lines imbued them with a fraught, psychological appearance; this style has been described by art critic John Carlin as forcing "its readers to focus on subtle nuances rather than broad actions or sharp transitions." Schulz held this belief all his life, reaffirming in 1994 the importance of crafting the strip himself: "This is not a crazy business about slinging ink.
This is a deadly
Pearls Before Swine (comics)
Pearls Before Swine, is an American comic strip written and illustrated by Stephan Pastis. It chronicles the daily lives of an ensemble cast of suburban anthropomorphic animals: Pig, Zebra, a fraternity of crocodiles, as well as a number of supporting characters; each character represents an aspect of Pastis' own world view. The daily and Sunday comic strip is distributed by Andrews McMeel Syndication; the strip's style is most notable for its dark humor, fourth wall meta-humor, social commentary, mockery of other comic strips and stories concocted in elaborate fashion leading into a pun. Prior to creating Pearls Before Swine, Pastis worked as a lawyer in California. Bored in his law school classes, Pastis started to doodle a rat casting it in a non-syndicated comic strip which he titled Rat; the title character of Rat would become one of the main characters in Pearls Before Swine. Pastis continued to draw comics. Several expressed interest and three accepted it, but they could not convince their sales staff that it was marketable.
However, Amy Lago, an editor at United Media, saw the strip's potential and launched it on the United Media website in November 2000, to see what kind of response it would generate. Pastis recalled in 2009, United signed me in December 1999, they put me in development... where the syndicate says, OK, you were funny in your submission packet, but for all we know, it took you 10 years to come up with these 30 strips. So we want you to keep drawing, we'll watch you. If you're good, we'll agree to put you in newspapers. A development period can be anywhere from two weeks to a year. Not all cartoonists have to do it. Pearls Before Swine debuted in 2000 as a website strip under United Feature Syndicate; when Scott Adams, creator of Dilbert and supporter of the strip, told his fans about Pearls Before Swine, interest skyrocketed, the strip was taken to print. Aiding Pastis in the artistic elements of the strip was Darby Conley, creator of the comic strip Get Fuzzy. United Feature Syndicate launched the strip in newspapers on December 31, 2001 in The Washington Post.
On January 7, 2002, Pearls was running in 150 papers. Since 2011, the strip has been appearing in 750 newspapers worldwide. Pearls' style and humor are inspired by several comic strips, chiefly Peanuts, Dilbert and Hobbes, Bloom County and The Far Side. Pastis has drawn tributes to these influences in his strip; when asked in an interview about whether his profession as an attorney inspired the humor in the comic, he said, "I was unhappy as a lawyer, humor is a reaction to and defense against unhappiness.... If you dislike what you're doing to the extent that I did, it gives you the impetus to get out."Cartoonist Darby Conley, creator of Get Fuzzy, helped teach Pastis the technical aspects of cartooning. The two remain friends, sometimes poking fun at each other in their strips. Rat is the antihero of the comic strip, he breaks the fourth wall. Rat is an insensitive character in the strip, whose interactions with others are sarcastic, self-centered and violent. In particular, he will berate his creator on the general quality of the strip.
Self-employed, most of his businesses involve either punishing or defrauding people for their ignorance, much in the same vein as Dogbert, though with darker humor. His political views are right-wing in foreign policy. Rat's short stories, which are extremely cynical reflections on life and love, make up several comic strips. Pastis has mentioned that the character of Rat is his "voice" and that he identifies himself with Rat more than any other character. Pig is the character, he is kind by nature, but stupid. Pig's jokes involve his stupidity. Pig has a habit of talking to inanimate objects such as stop lights, or bait. Pig's moody on-and-off girlfriend, Pigita misunderstands his ignorant statements and will become violent toward him. Pig loves to eat, including pork products, making him a cannibal, although he appears to misunderstand this. Unlike the other characters, Pig never uses mock profanity. Goat is the intellectual of the strip appearing whenever there is a small issue dealing with a character or a conflict to be mediated.
Goat has a hard time dealing with Rat's cruelty and occasional ignorance. He is sometimes seen telling other characters about various philosophical and social issues, though the others do not care. Goat's real name is revealed as "Paris" in the September 2007 strip. In early strips, Goat has a beard. Zebra known as "zeeba neighba" by the crocodiles, is a zebra, seen trying to patch up relations between his herd back home and its predators. Pastis has stated that the Zebra's only goal is to avoid being eaten by his inarticulate next-door neighbors, the crocodiles. Jokes involving Zebra involve his interactions with predators; because Stephan Pastis was once unable to dra
Liō is a daily comic strip created by American artist Mark Tatulli and distributed by Universal Press Syndicate/Universal Uclick/Andrews McMeel Syndication since May 15, 2006. As a pantomime strip, it has an international appeal. In 2008, the strip brought Tatulli a National Cartoonists Society Newspaper Comic Strip Award; the strip debuted on May 15, 2006, in more than 100 newspapers which included The Atlanta Journal-Constitution, The Dallas Morning News, Detroit Free Press, Houston Chronicle, Los Angeles Times, Denver's Rocky Mountain News, Raleigh News and Observer, The Seattle Times, St. Petersburg Times and The Washington Post; the strip is wordless, therefore it can be marketed worldwide. As of August 2007, Liō runs in more than 330 newspapers worldwide; the strip focuses on the adventures of a creative little boy, Liō, who lives with his father and various monsters, aliens, lab creations, other creatures. Liō's mother is deceased, it is unknown how she died. The setting of the story varies from Liō's house to the general outside world.
The time period appears to be contemporary, except for an episode set in the year 2101, when Liō is in his nineties but still much capable of mischief. The story is told visually, with no dialogue. Gags involve the supernatural, alien invasion or mass destruction of many sorts, creating a surreal, disturbing atmosphere; some of the strip's recurring themes involve Liō getting with grade-school bullies, helping animals defend themselves against humans or their predators, performing mad scientist style experiments. He is seen using robots that he constructs himself for causing mischief. Another recurring gag in the strip is parody of other famous comic strips, including Cathy, For Better or For Worse, Zits and Hobbes, Peanuts, Pearls Before Swine, The Family Circus and Berkeley Breathed's strips. In addition to Liō, the strip only has Liō's unnamed father, he is shown to be the subject of Liō's pranks, sometimes he has to get his son out of difficult situations. When he watched a news report of an alien invasion, he gave Liō a spanking for having piloted the alien ship and parking it in the backyard.
On the other hand, one day when the boy came home from school dejected because a drawing he created had horrified the faculty, Dad proudly hung up the piece of art on the refrigerator, giving his son much-needed comfort and joy. Quite father and son prove that they love each other, no matter what. Liō has at least five companion animals: a spider who has helped him cheat on tests. Cybil, a white cat who has unique methods for getting Liō to feed her, she is not. She has an affinity for gin. Frank, a cobra who sometimes sleeps in Liō's bed. Ishmael, a giant squid identified as a cephalopod. Mittens, a lobster rescued from his father's planned dinner. There are several recurring characters: Liō's hunchbacked assistant, his grade-school teacher Mrs. Gatchi. A group of school bullies. Assorted mythical monsters. Assorted aliens. Various lab creations. Eva Rose, a violent girl with bangs that cover her eyes and an interest in surgeries and autopsies. Liō has a crush on her, she does not return the feeling and is quite violent towards him or his expressions of love.
This does not sway Liō in the slightest, except maybe to make him more determined in his quest to win her love. Bubbles, Liō's wide-eyed infant cousin, scared of nothing and comes up with devious plots; the monsters under the bed. Hunters. Archie, Liō's psychopathic ventriloquist's dummy. Liō's grandmom. While it may seem that all the strips are from Liō's imagination, Tatulli has stated that all events in the strip happen to Liō, though most of the time others turn a blind eye to it, unlike the other-worldly situations in Calvin and Hobbes. Another notable aspect of Liō is its general lack of dialogue, though there are occasional vocalizations and there are labels on certain objects to make the gags more obvious. One-time characters have sometimes spoken, characters in some of the parodies have had dialogue when Liō himself is silent. Tatulli has credited Gahan Wilson, Charles Addams and U. S. Civil War era caricaturist Adalbert J. Volck as influences on the visual style of Liō. An October 23, 2007 article in Variety revealed that the strip had been optioned for a live-action feature film by producer David Kirschner.
But as of 2017 there has been no word. The Addams Family, a single panel series of illustrations with imaginative dark humor Ed Grimley, a live-action and cartoon character, with a similar front spike hair style