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Johnston's strip began in September 1979, and ended its original daily black-and-white run on August 30, 2008, with a postscript epilogue (as a full-colour Sunday strip) running the following day. Starting on September 1, 2008, the strip began re-telling its original story, using a mixture of straight reruns and retouched strips which featured altered dialogue. This new format, however, was dropped after less than two years and in July 2010, the strip switched entirely to reruns (with some minor alterations). The strips seen in papers in 2016 were originally from 1987.
The comic's main characters were initially based upon Johnston's real family, but Johnston has made significant changes. When her children were younger, she asked their permission before depicting events from their lives; and she only once used a \"serious\" story from their lives, when Michael and Josef photographed an accident before Michael realized he knew the victim. Unlike Deanna, the real-life victim did not survive. Johnston says that she dealt with the bad news of her own infertility by creating a new child (April Patterson) for the strip.
The official For Better or For Worse website has a section dedicated to Farley; this includes the strips depicting his heroism and death, plus a selection of \"Farley's Spirit\" strips. Farley was also named after Canadian author Farley Mowat, a long-time friend of Johnston.
In April 1993, Lawrence Poirier's coming out generated controversy, with readers opposed to homosexuality threatening to cancel newspaper subscriptions. Johnston did receive supportive mail on the issue generally from social workers and politicians, who praised her for portraying it with realism and avoiding vulgarity. Opposed readers who believed that a homosexual character was highly inappropriate for a family-oriented strip wrote Johnston many letters. While few letters were vicious, Johnston did say that many who opposed the story arc did so in a poignant manner. Johnston said one that was particularly hurtful was from a longtime fan who said she felt it was against her conscience to continue reading the strip; the woman's letter did not have any foul remarks, but the envelope contained returned yellowed FBoFW strips the fan had kept for a long time on her refrigerator. Over 100 newspapers (including New Hampshire's Union Leader) ran replacement strips during this part of the story or cancelled the comic altogether. Much more favourable was the article \"Coming Out in the Comic Strips\", by David Applegate, current editor of the CFA-APA,[circular reference] which ran in Hogan's Alley No. 1. Three years later, Lawrence introduced his boyfriend, giving rise to another, though smaller, uproar.
Explaining her decision to have Lawrence come out as gay, Johnston said that she had found the character, one of Michael's closest friends, gradually \"harder and harder to bring... into the picture\". Based on the fact the Pattersons were an average family in an average neighbourhood, she felt it only natural to introduce this element in Lawrence's character, and have the characters deal with the situation. After two years of development, Johnston contacted her editor, Lee Salem. Salem advised Johnston to send the strips well ahead of time so that he could review the plot and suggest any necessary changes. So long as there was no overt or licentious material, and Johnston was fully aware of what she was doing, Universal Press would support the action. Johnston's personal reflections on Lawrence, an excerpt from the comic collection It's the Thought That Counts..., are included on the strip's official webpage.
The story goes that Connie adopts a dog to deal with her pre-empty-nest syndrome, and as Michael and Lawrence are talking about her desire for grandchildren, Lawrence mentions that he probably will not be giving her any, and then confesses that he's in a relationship, but with another young man. Michael reacts in disbelief to the news and struggles to understand. Realizing that Lawrence is not \"hot for him\", Michael understands Lawrence sees him as a friend and not a lover. Michael then insists that Lawrence needs to tell his parents. Lawrence himself is unsure of this, claiming that he really ought to see his family's view on homosexuals and that it could be hurtful to them if he comes out, which is not his intent, but Michael retorts, \"it'll be a lie if you don't\". Hearing the news, Connie reacts with desperate denial, then orders her husband Greg to speak to him. Greg throws Lawrence out of the house, challenging him to see if \"his kind\" will take care of him the way Connie and Greg have all these years.
In 2001, when Michael chose Lawrence to be best man at his wedding to Deanna, Johnston ran two sets of comic strips. In the primary storyline, Deanna's mother Mira Sobinski objects to having a gay man in the wedding party, while in the alternate storyline, which used the same art but modified the dialogue, she instead objects to the flowers that Lawrence, by this time a professional landscape architect, has given Michael and Deanna to decorate the church. The alternate storyline was for newspapers who had not originally published the 1993 debut of Lawrence's homosexuality.
Johnston had planned to retire in the fall of 2007, but in January 2007, she announced that she instead would be tweaking her strip's format beginning September 2007. Storylines would now focus primarily on the second-generation family of one of the original children; scenes and artwork from older strips would be reused in new contexts; and the characters would stop aging. Johnston announced that the changes were to provide more time for travel and to accommodate health problems, including a neurological condition (dystonia) she controlled with medication.
The next day, September 1, For Better or For Worse ran as usual, but Michael was once again a small boy, asking his young mother, Elly, to get him a puppy. This began what Johnston called \"new-runs\", restarting her storyline with a roughly 50/50 mixture of reruns of early strips, and re-workings of 1980s strips that featured the original artwork (sometimes slightly retouched) with new dialogue. The time frame appeared to be 29 years before the present day; the family is correspondingly younger. Michael looks to be about five or six years old, Elizabeth is a small child learning to talk, and the family is also raising a puppy.
For the next 22 months, the strip ran in this format. On July 12, 2010, without fanfare, the strip quietly switched to straight reruns of material from the 1980s. However, these straight reruns have had slight alterations as well. The daily strips, which were originally inked, have been digitally colourized. In the December 31, 2012, installment, dialogue that referred to the initial date of publication (1984) was altered, so that the strip was seen to be taking place in the present day. Another slight touch up to show a present-day timeline is where a child Michael invites his friends over to play on a video game console he recently got as a present and they are seen using a Nintendo Wii; in the original strip a second generation video game console was played. Some strips have had altered panels, in particular those dealing with child discipline, because of the increased social and cultural opposition to corporal punishment. Occasionally in the original strips Michael or Elizabeth would be spanked. The new strips have modified the artwork to eliminate the device of stars coming out children's butts denoting the after-effect of a spanking, or in certain cases, have made a whole new panel to change the punishment to a \"time out\" (being made to sit in a corner or like isolation) instead of a spanking.
The strip is perhaps best known for the fact that, unlike most comic strips, it took place more or less in real time for most of its run. Michael and Elizabeth were a young child and a toddler at the strip's beginning, and by the end had grown into adults, with Michael married and raising his own children while Elizabeth married at the end of the strip. Youngest child April was born 11 years into the strip's run and was 17 at the strip's conclusion.
Beginning in 1992, another Ottawa-based studio, Lacewood Productions, produced six more specials, also for CTV. In the USA, these were seen on The Disney Channel. According to Lynn Johnston, the set designs (for instance, for the Pattersons' house) which these and subsequent television programs required led her to develop a much more sophisticated background style in the comic strips, with the layouts of homes and even towns consistent from story to story. 59ce067264