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   And no subject was off the table — not politics, sex, religion or war. I’d   
   never seen anything remotely like it, and it set me and many others on a   
   path toward a new kind of comics.”   
      
   “Feiffer” was anthologized many times. “Sick, Sick, Sick: A Guide to Non-   
   Confident Living” was a best seller in 1958. Other collections of his work   
   included “Passionella and Other Stories” (1959), “The Explainers”   
   (1960,   
   reprinted in 2008) and “Hold Me!” (1962).   
      
   Image   
   Mr. Feiffer’s anthology “Sick, Sick, Sick: A Guide to Non-Confident   
   Living” was a best seller in 1958.Credit...McGraw-Hill   
   Before long, Mr. Feiffer’s sophisticated humor drew the attention of   
   glossy magazines and other mainstream publications. Hugh Hefner had him on   
   Playboy’s payroll for a time, starting in 1958, and Mr. Feiffer’s work   
   also appeared in The New Yorker, The American Prospect and Rolling Stone,   
   among other publications. Exhibitions of his work included “Jules Rulz,” a   
   retrospective at the New-York Historical Society in 2003, and “If You   
   Really Loved Me, You’d Find Me: The Strips 1960-2000,” at the Adam   
   Baumgold Gallery in Manhattan in 2006.   
      
   Image   
   When Mr. Feiffer ended his strip in 2000, he depicted himself trying to   
   explain to the Dancer why she was out of a job. Credit...Jules Feiffer   
   But the restless Mr. Feiffer diversified almost as soon as his cartooning   
   career took off. His story “Munro” — 45 drawings composing a narrative,   
   eventually included in “Passionella and Other Stories” — was adapted into   
   an animated short by Gene Deitch, with whom Mr. Feiffer worked briefly as   
   an animator at the CBS Terrytoons studio in the late 1950s. The story of a   
   4-year-old drafted into the Army, it won an Oscar in 1961.   
      
   It was Mr. Feiffer’s first taste of Hollywood, but it would not be his   
   last.   
      
   In the mid-1950s, Norton Juster, a neighbor of Mr. Feiffer’s in Brooklyn,   
   invited him to illustrate a children’s book he was writing, “The Phantom   
   Tollbooth.” An ingenious kaleidoscope of wordplay arguably akin in style   
   to Lewis Carroll, the book, published in 1961, was an instant hit.   
      
   It was adapted into an animated feature in 1970; “The Phantom Tollbooth:   
   Beyond Expectations,” a documentary about the book’s creation and   
   influence, had its premiere at the New Yorker Festival in 2013.   
      
   Mr. Feiffer tried his hand at novels with “Harry, the Rat With Women”   
   (1963), a moderate success, and “Ackroyd” (1977). He also wrote and edited   
   “The Great Comic Book Heroes” (1965), which reprinted the adventures of   
   characters he loved as a youngster and included his alternately wry and   
   reverent commentary.   
      
   Image   
   Theater offered another creative outlet for Mr. Feiffer. Bob Dishy,   
   center, starred in his play “Grown Ups,” and Jack Nicholson, left — who a   
   decade earlier had starred in the movie “Carnal Knowledge,” for which Mr.   
   Feiffer wrote the screenplay — visited them backstage in 1982.Credit...Ray   
   Stubblebine/Associated Press   
   On to Broadway   
   The theater offered another creative outlet. His Broadway plays, some   
   ruefully semi-autobiographical, included the black comedy “Little Murders”   
   (1967); a segment of “Oh! Calcutta!” (1969); “Knock Knock” (1976), for   
   which he received a Tony nomination for best play; and “Grown Ups” (1981).   
   Among his many Off Broadway productions was a new staging of “Little   
   Murders,” which ran for 400 performances two years after its brief and   
   critically panned Broadway run, and for which he won an Obie Award.   
      
   His first screenplay was “Carnal Knowledge” (1971), a lacerating   
   examination of two friends and their relationships with women, directed by   
   Mike Nichols and starring Jack Nicholson and Art Garfunkel (in a role Mr.   
   Feiffer later said was modeled after Bernard Mergendeiler). A movie   
   version of “Little Murders,” for which he wrote the screenplay, was also   
   released that year, starring Elliott Gould, who had starred in the   
   Broadway version, and directed by Alan Arkin, who had directed the Off   
   Broadway version.   
      
   Image   
   Mr. Feiffer in 2024 at his home in Richfield Springs, N.Y., near   
   Albany.Credit...Tony Cenicola/The New York Times   
   Around 1980, the movie producer Robert Evans recruited Mr. Feiffer to   
   write the screenplay for Robert Altman’s “Popeye.” Mr. Feiffer patterned   
   his script after the Segar newspaper strip, not the animated adaptations   
   made by the Fleischer brothers in the 1930s and ’40s. When E.C. Segar’s   
   daughter saw the movie, Mr. Feiffer told The Comics Journal in 1988, she   
   called to tell him he had captured the essence of her father’s creation —   
   at which, Mr. Feiffer added, he cried. Though it met a mixed critical   
   reaction, the film, starring Robin Williams as Popeye and Shelley Duvall   
   as Olive Oyl, was a hit.   
      
   On the set of “Popeye,” Mr. Feiffer met his second wife, Jenny Allen, who   
   was then a reporter for Life magazine and went on to become a playwright,   
   humorist and monologuist. They divorced in 2014. (His first marriage, to   
   Judy Sheftel, a book editor, had also ended in divorce.) Mr. Feiffer   
   married Ms. Holden, a freelance writer, in 2016.   
      
   In addition to his wife, he is survived by his daughters, Kate Feiffer, a   
   children’s book author who collaborated with him; Halley Feiffer, a   
   playwright and actress; Julie Feiffer, a landscaper and shopkeeper in   
   Martha’s Vineyard, Mass.; and two granddaughters.   
      
   In May 1997, Mr. Feiffer ended his affiliation with The Village Voice over   
   a salary dispute. “It’s not that I’ve slipped,” he said at the time.   
   “It’s   
   that I’m too expensive.” (In April 2008, he returned for a one-shot, full-   
   page take on Hillary Clinton’s presidential campaign.)   
      
   Later in life he derived great pleasure from writing and drawing   
   children’s books, some in collaboration with his daughter Kate, among them   
   “The Man in the Ceiling” (1993), “Bark, George” (1999), “By the Side   
   of   
   the Road” (2002), “The Daddy Mountain” (2004) and “A Room With a Zoo”   
   (2005). A 2010 reunion project with Mr. Juster, “The Odious Ogre,” was   
   warmly reviewed.   
      
   Image   
   In 2014, after many years of writing and drawing children’s books, Mr.   
   Feiffer returned to adult themes with “Kill My Mother,” a monochromatic   
   tribute to film noir and hard-boiled detective fiction.Credit...Liveright   
   Publishing Corporation   
   In 2014 the tireless Mr. Feiffer returned to adult themes and the graphic   
   novel format for “Kill My Mother,” a monochromatic tribute to film noir   
   and hard-boiled detective fiction. “His kinetic line drawings unspool like   
   an obscure film found during late-night channel surfing,” Laura Lippman   
   wrote in The New York Times Book Review. “The story,” she added, “is a   
   thoughtful meditation on female identity and whether the not-so-simple art   
   of murder can ever be defended as a moral necessity.”   
      
   Two additional installments in a “Kill My Mother” trilogy — rendered in a   
   similar style, and also distantly echoing his influences Will Eisner and   
   Milton Caniff — followed: “Cousin Joseph,” in 2016, and “The Ghost   
   Script,” in 2018. (The copyrights for all three belong to the “B.   
   Mergendeiler Corp.”)   
      
   In 2023, Mr. Feiffer collaborated with the author Roger Rosenblatt on   
   “Cataract Blues: Running the Keyboard,” a collection of short pieces   
   about, Mr. Rosenblatt said, “the seen and the unseen and the imagined,”   
      
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