Who Are The Main Characters In Little Annie Fanny, Vol. 2: 1970-1988?

Little Annie Fanny is this wild, satirical comic strip that ran in 'Playboy' back in the day, created by the legendary Harvey Kurtzman and Will Elder. The main character is, of course, Annie Fanny herself—this bombshell blonde who constantly finds herself in ridiculous, over-the-top situations. She’s like a parody of the 'dumb blonde' trope, but with this sharp, underlying critique of American culture and sexuality. The other characters are mostly male figures who orbit around her, like the lecherous bosses, politicians, and celebrities who keep getting into absurd misadventures with her. It’s all very exaggerated, almost like a Mad Magazine take on the male gaze. What’s fascinating is how Annie Fanny isn’t just a passive character—she’s often the one who unintentionally exposes the hypocrisy of the men around her. The strip’s humor is super layered, blending slapstick with social commentary. If you’re into vintage satire or just love seeing old-school comics push boundaries, it’s a trip.

Little Annie Fanny' was this wild, satirical comic strip that ran in 'Playboy' from the 60s to the 80s, created by Harvey Kurtzman and Will Elder. It’s a parody of old-fashioned romance comics, but with a heavy dose of adult humor and social commentary. The titular character, Annie Fanny, is this impossibly curvaceous, naive woman who constantly finds herself in absurdly risqué situations—often involving wealthy, sleazy men or bizarre societal stereotypes. The plots are episodic, with each installment throwing Annie into a new scandal, like getting caught in a cult, tangled in Hollywood schemes, or even accidentally joining a feminist revolution. The humor’s over-the-top, with exaggerated visuals and dialogue that poke fun at everything from politics to pop culture. It’s definitely not for kids, but if you enjoy vintage satire with a cheeky edge, it’s a fascinating time capsule. What’s interesting is how the strip evolved over time. Early episodes leaned harder into pure titillation, but later ones got sharper with their satire, mocking everything from consumerism to the counterculture. Annie herself never learns—she’s perpetually wide-eyed and clueless, which is part of the joke. The art’s lush and detailed, almost like a high-end cartoon, which makes the absurdity even funnier. It’s a relic of its era, but there’s something oddly charming about its unapologetic excess.