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"In Krazy Kat the poetry originated from a certain lyrical stubbornness in the author, who repeated his tale ad infinitum, varying it always but sticking to its theme. It was thanks only to this that the mouse's arrogance, the dog's unrewarded compassion, and the cat's desperate love could arrive at what many critics felt was a genuine state of poetry, an uninterrupted elegy based on sorrowing innocence. In a comic of this sort, the spectator, not seduced by a flood of gags, by any realistic or caricatural reference, by any appeal to sex and violence, freed then from the routine of a taste that led him to seek in the comic strip the satisfaction of certain requirements, could thus discover the possibility of a purely allusive world, a pleasure of a "musical" nature, an interplay of feelings that were not banal. To some extent the myth of Scheherazade was reproduced: the concubine, taken by the Sultan to be used for one night and then discarded, begins telling a story, and because of the story the Sultan forgets the woman; he discovers, that is, another world of values."
Umberto Eco, translated from the Italian by William Weaver, from "The World of Charlie Brown", ©1963 Umberto Eco
"...after World War II, when I came home, Krazy Kat became my hero. I had never seen Krazy Kat up until then because neither one of the papers in the Twin cities published it, so I didn't know Krazy Kat. But then it became my ambition to draw a strip that would have as much life and meaning and subtlety to it as Krazy Kat had."
Charles Schulz , interviewed by Rick Marschall and Gary Groth in Nemo 31, January 1992
"Krazy Kat's sparse Arizona landscape, like Pogo's dense Georgia swamp, is more than a backdrop. The land is really a character in the story, and it gives a specific mood and flavor to all the proceedings. The constraint of Krazy Kat's narrow plot seems to have set free every other aspect of the cartoon to become poetry, and the strip is, to my mind, cartooning at its most pure."
Bill Watterson, from "The Cheapening of the Comics", July, 1989
"With all the vaudevillean Repitoire, the cascading gestures, slapstick and pratfalls, the storms and catastrophes, the child's play and philosophic meanders and ritual moongazing, his is a universe of frauds, love, fatalism...but nothing about death."
Painter Wayne Thibaud, from the guide book to the "Homage to George Herriman" show at the Campbell-Thibaud Gallery in San Francisco, CA, January, 1997.This show featured Herriman art and tributes by Thibaud, Bill Griffith, Joan Brown, Ron Nagle, Art Spiegleman, Richard Diebenkorn and others.
"...I wanted to try and find the strength of comics as read pictures. I noticed that in reading comics that didn't have words the whole force of the story was propelled by the implied action of the characters. Like in a George Herriman [who wrote 'Krazy Kat' in the 1920s] Sunday page, where he didn't use many words, the characters literally seemed to be moving around on the page. And I noticed that in reading them there were these imaginary sounds that were created in your mind that were analogous to music."
Chris Ware, creator of "Jimmy Corrigan" and "The Acme Novelty Library", and designer of the recent Fantagraphics Krazy + Ignatz collections (see Bibliography), in a March, 2001 Time Magazine interview
"An immediate progenitor of the Beat Generation and its roots could be traced back to the glee of America, the honesty of America, its wild, self-believing individuality."
Jack Kerouac - The "it" Kerouac refers to is Krazy.
"You give a reader a blank background, and the tendency of the reader is to supply the background out of his own imagination or his own experience. I learned that from one of the comics that influenced me tremendously early on, Krazy Kat. If you examine [George] Herriman's early work, you'll see that he had a visceral instinct for this kind of thing. After studying that as a kid, I thought, "Gee, this guy's got something here."
Will Eisner, interviewed in The Onion
"I had a dream-detective character that was inspired by Will Eisner’s Spirit, I got into a George Herriman phase and tried to come up with a Krazy Kat–type character, I had an angry dog character called Crud Puppy for a while, and right before I did Powerpuff, I had a Mexican-wrestler hero named El Fuego, but I never could really get into it so much."
Craig McCracken. creator of the "Powerpuff Girls", interviewed in L.A. Weekly, 11/2000