For Griffith - and a legion of comics legends who worship Bushmiller - the story of Bushmiller's life and the story of *Nancy* and its groundbreaking methodology are inseparable. We watch as Bushmiller starts out as a teenaged dropout copy-boy in the bullpen at a giant news syndicate, running errands for the paper's publisher and, eventually, its cartoonists. Bushmiller burns to get into the funnies, and he's got a good head for gags, but his draftsmanship needs work.

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He secretly enrolls in a life-drawing class, which does him little good, but he applies himself and applies himself, and eventually is given his big break: taking over Fritzi Ritz, a daily cartoon serial about a sexy flapper.

Bushmiller's run on Fritzi Ritz outlasts flappers, and, as he struggles to keep the character relevant amidst changing times, he eventually hits on a "Cousin Oliver" gambit: adding in a sassy niece named Nancy:

tvtropes.org/pmwiki/pmwiki.php…

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Cousin Oliver

Cousin Oliver is that inexplicable kid added to the show's roster, usually in an attempt to liven up an aging cast with a character the younger demographics can (supposedly) relate to. However, such a character is likely to upset the dynamic of …

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Cousin Oliverae are rarely successful, but Nancy turned out to be the exception that proved the rule. Nancy took over the strip, and "Aunt Fritzi" receded in importance, taking a backstage to Nancy and her pal Sluggo.

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As Nancy comes into her own, so did Bushmiller. Bushmiller combined an impeccable sense of the gag (he started with his punchline panel - "the snapper" - and worked backwards) with a visual style that he refined to something so pure and refined that it inspired generations of comics creators.

Bushmiller was the master of simplifying, and then simplifying more, and then simplifying even more.

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Visually, his characters and his furniture (especially the iconic "three rocks" of the title) are refined to something so iconic they're practically ideograms. While some accused Bushmiller of re-using a small set of drawings, Griffith makes the convincing case that Bushmiller *perfected* a small number of icons, and repeated them as *motifs*.

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Indeed, these characters are so perfect and finely tuned that when Griffith inserts Nancy, Sluggo and other characters from Bushmillerville into his graphic novel, he doesn't re-draw them - rather, Griffith carefully crops these characters out and collages them into his own panels. Every image of Nancy in this book was drawn by Ernie Bushmiller.

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This pared-down, severely restricted graphic style provides the perfect toolkit for the Bushmiller gag, which, at its best, is profoundly surrealistic, often playing on the form of the comic itself (for example, when Nancy asks Sluggo to give her a push on a bicycle, Sluggo obliges by stepping out of the comic and tipping the final panel at 45 degrees, sending Nancy rolling "downhill").

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These meta-humorous gags give rise to Griffith's key insight: that Nancy isn't a comic about what it's like to be a kid - it's a comic about what it's like to be a *cartoon character.*

This is *such* a good organizing principle for understanding Nancy's staying power and influence. Other cartoons like Peanuts are nominally about being a kid, but are actually about being a small adult.

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Nancy, meanwhile, shares a lineage with, say, Animaniacs and Bugs Bunny and Groucho (who, we learn, wore out his welcome with Bushmiller and his wife by relentlessly hitting on the latter at celebrity dinners at the Brown Derby). It's no wonder that Scott McCloud, the prophet-explainer of sequential art, loves Nancy: she practically invented stepping outside the frame and making us think about how these pictures and words worked, and why, and she made us laugh the whole time.

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Bushmiller had a unique mind. He was a workaholic, turning out a 7-day/week strip for decades, even as he shouldered a variety of side-projects and other strips. Once he started making money, he moved to the Connecticut suburbs where he could have a work-room big enough to accommodate four drafting boards, so he could work on four strips at once. He would sometimes get a *year* ahead of schedule with his publishers.

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It was only very late in his life that Bushmiller took on any kind of assistants, and even then, he obsessively supervised them, counting the spikes in every depiction of Nancy's hair to ensure that they fell within the regulation 69-107 spikes.

Despite his massive following among artists, hipsters and intellectuals, Bushmiller insisted that the secret to his success was in his devotion to simplicity and the universality it brought.

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Bushmiller's editorial process seems to have consisted almost entirely of his removing words, images and lines from his panels, paring them down further and further until they became, essentially, narrated pictograms - almost funny Ikea assembly instructions.

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Griffith - a daily cartoonist workaholic who has been turning out *Zippy* strips since 1971 - bursts with admiration for Bushmiller, and this biography saves a lot of space for Bushmiller himself, with long sections given over to reproductions of some of Nancy's best outings.

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Griffith has had more than half a century to think about what makes surreal comic-strips tick, and, like McCloud, he pours these out on the page, but largely confines himself to illustrating his insights with Bushmiller strips and panels. The result is a heady volume: a great biography *and* a great book of literary criticism and comic arts theory.

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Nancy is still around, written and drawn by the amazing Olivia Jaimes, whose first collection of new Nancy comics I called "incredibly, fantastically, impossibly great":

memex.craphound.com/2019/10/17…

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I'm at the end of my 24-city book tour for my new novel *Picks and Shovels*!

Catch me in #LONDON with RILEY QUINN from #TRASHFUTURE NEXT TUESDAY (July 1):

howtoacademy.com/events/cory-d…

And in #MANCHESTER at Blackwell's Bookshop on July 2:

eventbrite.co.uk/e/an-evening-…

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