Made by writer and cartoonist Berkeley Breathed, Bloom County was published from 1980 up to 1989 and offered a sarcastic look at society. The comic strip ridiculed politicians, socialites, and more through a range of gibber wars customized by the artist and brought to life by distressed characters. Despite the comic's satirical nature, support often came from Milo Bloom, who was sensible and sober at all times. The protagonist is a ten-year-old, socially awkward master Milo Bloom, who contends with other characters such as Opus, a lovable and innocent penguin, and Bill the Cat, a lazy and disheveled feline with a perpetually confused state.

In Bloom County, it is common to find biting political commentary distorting the narrative structure, ironically criticizing antics and negligence, including corrupt leaders and the consumption of inappropriate content by children. In the context of the 1980s, the strip dealt with issues such as environmental protection, big business, and Cold War propaganda. However, it never becomes too heavy, as the caricatures and humorous action brought levity to serious topics.

Witty repartee, parody, and exaggeration made the comic a favorite of critics who appreciate not taking life too seriously. In terms of humor and character-driven narrative, the balance between satirical elements and heartfelt moments allowed Bloom County to acquire a dedicated fan base and secure a golden position in the history of American comic strips.

While the comic strip Calvin and Hobbes, created by Bill Watterson, captured the passion of many, it ran from 1985 until 1995. It features Calvin, a hyperactive and imaginative six-year-old boy, and his favorite animal-turned-best friend, Hobbes, a toy tiger brought to life through Calvin’s imagination. The strip brilliantly touches upon the purity of a child’s world, where creativity and complex life questions coexist. This happens regularly through Calvin's deep thoughts and adventures.

Calvin's escapades, often in the realm of speculative fiction, highlight his wild imagination, with Calvin taking on superhero roles in fantastical worlds. These adventures disregard the normal laws of nature, where fights and achievements seem limitless. Hobbes, while appearing to others as a mere stuffed tiger, engages in dynamic and clever conversations with Calvin, often acting as a voice of reason amid their playful banter.

Throughout their adventures, the comic delves into deeper topics such as friendship, alternative views of the world without technology, and societal and environmental concerns. However, Watterson weaves these themes in a way that never compromises the strip's wit, charm, or compassion. His minimalist yet expressive art style, along with his ability to communicate profound ideas through simple visuals, makes Calvin and Hobbes a timeless and prestigious creation in the world of comics.

With its blend of humor, introspection, and imagination, Calvin and Hobbes speaks to readers of all ages. Its legacy as one of the best comic strips of all time continues to inspire appreciation across generations, making it a true classic in comic literature.

The comic strip For Better or For Worse is one of the main Canadian exports in the entertainment sector. Moreover, this comic strip has pioneered its way and has been published for over several decades, focusing on the well-known Patterson family. The story first debuted in 1979, with readers appreciating its credible representation of characters' daily lives that are closely tied to reality. The comic reflects social and time-relevant issues of everyday life, including aging, parenting, marital dynamics, and personal development.

The core of the story centers around Elly Patterson (formerly Evans), married to John, and their three children—Michael, Elizabeth, and, later on, April. Over the years, readers witness the full lifecycle of responsibilities and joys related to raising children, maintaining a marriage, and navigating professional and personal challenges. The strip's relatable portrayal of family life, friendships, conflicts, and struggles earned it widespread popularity.

The strip has been praised for addressing heavier topics such as divorce, aging, and teenage transformation. The way Lynn Johnston handles these subjects in a light-hearted yet meaningful manner has made For Better or For Worse a favorite among readers of all ages.

What also sets this comic apart is its ability to juxtapose the ordinary day-to-day details of people’s lives with more profound emotional and social themes. The characters grow and change over time—getting older, moving out, and building new lives—which added a unique depth not common in other comic strips. The strip provides a warm yet realistic perspective on family life, making For Better or For Worse a classic in the world of comics.

One of the most iconic and popular comic strips ever made is that of Garfield, written and drawn by the gifted hand of Jim Davis. Its first-ever release was back in the year 1978, where it every day presents to its readers the experiences of a typical American cat of ginger coat, Garfield, who has an extensive appetite but is in more cases lazy and makes a lot of wit during its sarcasm. A large portion of his engagements extends to eating and napping, unnerving Garfield’s body of course. Moreover, like any other cat, Garfield is not given to a week seemingly filled with the cacophony of all kinds of activities. Other characters in this comic strip include Jon Arbuckle, who is Garfield’s master, and Odie, Jon’s dog whose innocence is beyond being attached.

Garfield’s humorous and recognisable contempt for things such as dieting, fitness, work and especially the most hated paediatric cancer of all time, the Monday calender day of the week is well received by people of all ages.

Most of the fun comes from barbs that Garfield throws at Jon, whom he often uses to his advantage, and Odie, who is usually the butt of his jokes. The comic strip is distinguished by its restrained, but also hilarious, thanks to Garfield’s spiteful musings that are understood by the readers, though they are not heard by either of the characters portrayed in the comic strip.

The attractiveness of this strip is its ability to work with what has existed, that is, has made it stardom, the accomplishments, failures and more importantly, the inanities of existence as seen by a very unalien carefree cat. It’s been over forty years now, and the power of the comic consisting of a very exaggerating main character and two very zany horizon through which comedy is passed, only seems to be growing.

The worst Sunday strips, no less fascinating, among Garfield’s best gags are those that manage to raise two contradictory responses.

Spy vs. Spy is a highly visual comic strip that lacks words and exists as a series of black-and-white sketches created by Cuban artist Antonio Prohías. Antonio published the comic for the first time in the issue of MAD Magazine released in 1961. The strip features two nearly identical agents—one dressed in black, the other in white—who relentlessly attempt to outsmart and destroy each other, with each scheme typically ending in failure.

The competition between the spies reflects the Cold War tensions of the 1960s, with each comic borrowing elements from espionage literature and drama to entertain readers. The strip often follows a repetitive but entertaining formula, with scenarios that unfold through tight sequences of action. Typically, each installment consists of 17 or 18 panels arranged around a central action, making use of gadgets, weapons, and elaborate traps. The absurdity of their schemes highlights the senselessness of their conflict, parodying the world of espionage in a humorous and exaggerated way.

The comic's defining feature is its animated, silent style, full of painful wit conveyed through physical comedy. The interactions between the two spies often lead to unrestrained outbreaks of conflict, which escalate into more tragic or exaggerated physical confrontations. Despite the passage of time, Spy vs. Spy remains a timeless portrayal of treacherous and absurd rivalry.

Although it began as a cartoon in MAD Magazine, Spy vs. Spy has since become a standard bearer of physical humor in the world of espionage satire. The strip is best known for its clean, minimalist visuals and its Cold War-centric humor, making it a classic of the genre.