A recent One Big Happy:
Ruthie is verbing names of locations: shed, porch. Granting that she’s a cartoon character, we can nevertheless speculate that she’d heard the verb shed and connected it to the familiar noun shed. Then porch by analogy.
For years it was clasped firmly in the embrace of a plastic device with a magnetic strip on the back, which allowed it to be displayed on a refrigerator (or other metal surface). But then it somehow slipped out and, being almost weightless, wafted away on some breath of a breeze, until eventually it was discovered by a visitor, on the floor far from the refrigerator.
It’s a Chinese paper cut, depicting my animal from the Chinese zodiac, the dragon:
A gift from the students in my 1985 classes at the Beijing Language Institute (as it was then).
A One Big Happy from yesterday (May 25), on conversational organization; and then three from this morning’s (June 1st) crop: a Bizarro with an ambiguity introduced by truncation; yet another meta-Zippy, this time on reports of Zippy’s death; and a Rhymes With Orange with a pun from the Black Lagoon.
Three recent cartoons on divergent subjects: a Bizarro with language play turning on ambiguity; a Scenes From a Multiverse with metacommentary by the characters; and another classic Watergate Doonesbury, from 1974, with the denominal verb to stonewall.
Two of today’s cartoons: a Dilbert and a Pearls Before Swine, both with elaborate puns:
This turns on the verb weasel, plus the legal phrase (beyond a) reasonable doubt (plus the derivation of adjectives in -able from verbs).
And this one turns on the noun and verb hex, plus the food compound Tex-Mex.
In each case, “getting” the comic requires two pieces of information, from different spheres. (And both beyond weaselable doubt and Hex Mex could be viewed either as elaborate imperfect puns or as complex portmanteaus: weaselable + beyond reasonable doubt, hex + Tex-Mex.)