Oblique Strategies for 4 panel comic strips.

Digging around through some old boxes of notes, instructions, ideas, images. Presenting these "oblique strategies" specific to 4-panel comic strips (and as such slightly literal sometimes):

• no difference between panel 3 and 4
• panel 3: a new character walks in.
• one box is all words peanuts: "hey what're you doing with those pliers?"
• 4th panel: report back to a new family member
• reality wins out in panel 4
• ask permission to do something already done
• absurd answer to unsolvable problem calvin and hobbes: how to get quarter out of snow field? melt it with a drier
• try to write as someone who doesn't love coffee
• all empty panels
• get what you want in panel 4 but work for it
• use a famous folk tale but keep it under wraps
• the way something feels
• 1 panel or 2
• something you saw on a meta-Garfield site
• more Japanese: less joke, more (development) movement
• compare 2 wildly different things Peanuts: school and prison (Sally: I'm still thinking!)
• panel 4 is much much later
• what is the silent gesticulating person talking about?
• panel 4 disproves panel 3
• the difference between panel 2 and 4
• the (character's) physical limitations make for a bizarre finale
• traditional character tries something traditional with nontraditional materials example: charlie brown kicking a hose (?)
• Compare AND contrast
• silent visual metaphor
• someone else's visual POV
• action described
• something weird, later contextualized
• everything is off panel
• switch a role
• stretch a character's strength (or weakness) and call him/her on it
• keep characters not on the same page
• funny picture for negative emotion
• beg (or get cocky) for something you don't get in panel 4.
• announce the climax early on
• what can you censor? example: lauren's locker room (****) for bag of crap