Comic strip

A comic strip (also known as a strip cartoon) is a sequence of cartoons, arranged in interrelated panels to display brief humor or form a narrative, often serialized, with text in balloons and captions. Traditionally, throughout the 20th and into the 21st century, these have been published in newspapers and magazines, with daily horizontal strips printed in black-and-white in newspapers, while Sunday papers offered longer sequences in special color comics sections. With the advent of the internet, online comic strips began to appear as webcomics.

Most strips are written and drawn by a comics artist, known as a cartoonist. As the word "comic" implies, strips are frequently humorous but may also be dramatic or instructional. Examples of gag-a-day strips are Blondie, Bringing Up Father, Marmaduke, and Pearls Before Swine. In the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in Popeye, Captain Easy, Buck Rogers, Tarzan, and Terry and the Pirates. In the 1940s, soap-opera-continuity strips such as Judge Parker and Mary Worth gained popularity. Because "comic" strips are not always funny, cartoonist Will Eisner has suggested that sequential art would be a better genre-neutral name.^[1]

Comic strips have appeared inside American magazines such as Liberty and Boys' Life, but also on the front covers, such as the Flossy Frills series on The American Weekly Sunday newspaper supplement. In the UK and the rest of Europe, comic strips are also serialized in comic book magazines, with a strip's story sometimes continuing over three pages.

History

Storytelling using a sequence of pictures has existed through history. An earthenware bowl from Iran has a sort of storyboard or comic strip, as it is decorated with one image after another showing a goat jumping towards a tree and then arriving and eating its leaves.^[2] Similar uses of sequential pictures are commonly found in medieval Islamic Persia.^[3]

A medieval European example in textile form is the Bayeux Tapestry. Printed examples emerged in 19th-century Germany and in mid 18th-century England, where some of the first satirical or humorous sequential narrative drawings were produced. William Hogarth's 18th-century English caricature include both narrative sequences, such as A Rake's Progress, and single panels.

The Biblia pauperum ("Paupers' Bible"), a tradition of picture Bibles beginning in the Late Middle Ages, sometimes depicted Biblical events with words spoken by the figures in the miniatures written on scrolls coming out of their mouths—which makes them to some extent ancestors of the modern cartoon strips.

In China, with its traditions of block printing and of the incorporation of text with image, experiments with what became lianhuanhua date back to 1884.^[4]

The origin of the modern English language comic strip can be traced to the efflorescence of caricature in late 18th century London. English caricaturists such as Richard Newton and George Woodward developed sophisticated caricature styles using strips of expressive comic figures with captions that could be read left to right to cumulative effect, as well as business models for advertising and selling cheap comic illustration on regular subscription.

Other leading British caricaturists produced strips as well; for example James Gillray in Democracy;-or-a Sketch of the Life of Buonaparte.^[5] His contemporary Thomas Rowlandson used strips as early as 1784 for example in The Loves of the Fox and the Badger.^[6] Rowlandson may also be credited with inventing the first internationally recognized comic strip character: Doctor Syntax whose picaresque journeys through England were told through a series of comic etchings, accompanied by verse. Original published in parts between 1809 and 1811 in Rudolf Ackermann's Poetical Magazine, in book form The Tour of Doctor Syntax in search of the picturesque ran to 9 editions between 1812 and 1819, spun off two sequels, a prequel, numerous pirate imitations and copies including French, German, Danish and translations. His image was available on pottery, textiles wallpaper and other merchandise.

The Caricature Magazine or Hudibrastic Mirror, an influential English comic series published in London between 1807 and 1819 by Thomas Tegg included some satirical stories in comic strip format such as The Adventures of Johnny Newcome.^[7] ^[8]

Newspapers

The first newspaper comic strips appeared in North America in the late 19th century.^[9] The Yellow Kid is usually credited as one of the first newspaper strips. However, the art form combining words and pictures developed gradually and there are many examples which led up to the comic strip.

The Glasgow Looking Glass was the first mass-produced publication to tell stories using illustrations and is regarded as the world's first comic strip. It satirised the political and social life of Scotland in the 1820s. It was conceived and illustrated by William Heath.

Swiss author and caricature artist Rodolphe Töpffer (Geneva, 1799–1846) is considered the father of the modern comic strips. His illustrated stories such as Histoire de Mr. Vieux Bois (1827), first published in the US in 1842 as The Adventures of Obadiah Oldbuck or Histoire de Monsieur Jabot (1831), inspired subsequent generations of German and American comic artists. In 1865, German painter, author, and caricaturist Wilhelm Busch created the strip Max and Moritz, about two trouble-making boys, which had a direct influence on the American comic strip. Max and Moritz was a series of seven severely moralistic tales in the vein of German children's stories such as Struwwelpeter ("Shockheaded Peter"). In the story's final act, the boys, after perpetrating some mischief, are tossed into a sack of grain, run through a mill, and consumed by a flock of geese (without anybody mourning their demise). Max and Moritz provided an inspiration for German immigrant Rudolph Dirks,^[10] who created the Katzenjammer Kids in 1897—a strip starring two German-American boys visually modelled on Max and Moritz. Familiar comic-strip iconography such as stars for pain, sawing logs for snoring, speech balloons, and thought balloons originated in Dirks' strip.^[11]

Hugely popular, Katzenjammer Kids occasioned one of the first comic-strip copyright ownership suits in the history of the medium. When Dirks left William Randolph Hearst for the promise of a better salary under Joseph Pulitzer, it was an unusual move, since cartoonists regularly deserted Pulitzer for Hearst. In a highly unusual court decision, Hearst retained the rights to the name "Katzenjammer Kids", while creator Dirks retained the rights to the characters. Hearst promptly hired Harold Knerr to draw his own version of the strip. Dirks renamed his version Hans and Fritz (later, The Captain and the Kids). Thus, two versions distributed by rival syndicates graced the comics pages for decades. Dirks' version, eventually distributed by United Feature Syndicate, ran until 1979.

In the United States, the great popularity of comics sprang from the newspaper war (1887 onwards) between Pulitzer and Hearst. The Little Bears (1893–96) was the first American comic strip with recurring characters, while the first color comic supplement was published by the Chicago Inter-Ocean sometime in the latter half of 1892, followed by the New York Journal's first color Sunday comic pages in 1897. On January 31, 1912, Hearst introduced the nation's first full daily comic page in his New York Evening Journal.^[12] The history of this newspaper rivalry and the rapid appearance of comic strips in most major American newspapers is discussed by Ian Gordon.^[13] Numerous events in newspaper comic strips have reverberated throughout society at large, though few of these events occurred in recent years, owing mainly to the declining use of continuous storylines on newspaper comic strips, which since the 1970s had been waning as an entertainment form.^[14] From 1903 to 1905 Gustave Verbeek, wrote his comic series "The UpsideDowns of Old Man Muffaroo and Little Lady Lovekins". These comics were made in such a way that one could read the 6 panel comic, flip the book and keep reading. He made 64 such comics in total.

The longest-running American comic strips are:


#	Title	Years	Time	Ref.
1	The Katzenjammer Kids	1897–2006	109 years
2	Gasoline Alley	1918–present	108 years
3	Ripley's Believe It or Not!	1918–present	108 years	^[15]
4	Barney Google and Snuffy Smith	1919–present	107 years
5	Thimble Theater / Popeye	1919–present	107 years
6	Fritzi Ritz / Nancy	1922–present	104 years
7	Blondie	1930–present	96 years
8	Dick Tracy	1931–present	95 years
9	Alley Oop	1932–present	94 years
10	The Phantom	1936–present	90 years
11	Prince Valiant	1937–present	89 years
12	Mary Worth	1938–present	88 years
13	Bringing Up Father	1913–2000	87 years
14	Little Orphan Annie	1924–2010	86 years	^[16]
15	Henry	1934–2018	84 years

Most newspaper comic strips are syndicated; a syndicate hires people to write and draw a strip and then distributes it to many newspapers for a fee. Some newspaper strips begin or remain exclusive to one newspaper. For example, the Pogo comic strip by Walt Kelly originally appeared only in the New York Star in 1948 and was not picked up for syndication until the following year.^[17]

Newspaper comic strips come in two different types: daily strips and Sunday strips. In the United States, a daily strip appears in newspapers on weekdays, Monday through Saturday, as contrasted with a Sunday strip, which typically only appears on Sundays. Daily strips usually are printed in black and white, and Sunday strips are usually in color. However, a few newspapers have published daily strips in color, and some newspapers have published Sunday strips in black and white.

Popularity

Making his first appearance in the British magazine Judy by writer and fledgling artist Charles H. Ross in 1867, Ally Sloper is one of the earliest comic strip characters and he is regarded as the first recurring character in comics.^[19] The highly popular character was spun off into his own comic, Ally Sloper's Half Holiday, in 1884.

While in the early 20th century comic strips were a frequent target for detractors of "yellow journalism", by the 1920s the medium became wildly popular. While radio, and later, television surpassed newspapers as a means of entertainment, most comic strip characters were widely recognizable until the 1980s, and the "funny pages" were often arranged in a way they appeared at the front of Sunday editions. In 1931, George Gallup's first poll had the comic section as the most important part of the newspaper, with additional surveys pointing out that the comic strips were the second most popular feature after the picture page. During the 1930s, many comic sections had between 12 and 16 pages, although in some cases, these had up to 24 pages.

The popularity and accessibility of strips meant they were often clipped and saved; authors including John Updike and Ray Bradbury have written about their childhood collections of clipped strips. Often posted on bulletin boards, clipped strips had an ancillary form of distribution when they were faxed, photocopied or mailed. The Baltimore Sun's Linda White recalled, "I followed the adventures of Winnie Winkle, Moon Mullins and Dondi, and waited each fall to see how Lucy would manage to trick Charlie Brown into trying to kick that football. (After I left for college, my father would clip out that strip each year and send it to me just to make sure I didn't miss it.)"^[20]

Production and format

The two conventional formats for newspaper comics are strips and single gag panels. The strips are usually displayed horizontally, wider than they are tall. Single panels are square, circular or taller than they are wide. Strips usually, but not always, are broken up into several smaller panels with continuity from panel to panel. A horizontal strip can also be used for a single panel with a single gag, as seen occasionally in Mike Peters' Mother Goose and Grimm.

Early daily strips were large, often running the entire width of the newspaper, and were sometimes three or more inches high.^[21] Initially, a newspaper page included only a single daily strip, usually either at the top or the bottom of the page. By the 1920s, many newspapers had a comics page on which many strips were collected together. During the 1930s, the original art for a daily strip could be drawn as large as 25 inches wide by six inches high.^[22] Over decades, the daily strips became smaller and smaller, until by 2000, four standard daily strips could fit in an area once occupied by a single daily strip.^[21] As strips have become smaller, the number of panels have been reduced.

Proof sheets were the means by which syndicates provided newspapers with black-and-white line art for the reproduction of strips (which they arranged to have colored in the case of Sunday strips). Michigan State University Comic Art Collection librarian Randy Scott describes these as "large sheets of paper on which newspaper comics have traditionally been distributed to subscribing newspapers. Typically each sheet will have either six daily strips of a given title or one Sunday strip. Thus, a week of Beetle Bailey would arrive at the Lansing State Journal in two sheets, printed much larger than the final version and ready to be cut apart and fitted into the local comics page."^[23] Comic strip historian Allan Holtz described how strips were provided as mats (the plastic or cardboard trays in which molten metal is poured to make plates) or even plates ready to be put directly on the printing press. He also notes that with electronic means of distribution becoming more prevalent printed sheets "are definitely on their way out."^[24]^[25]

NEA Syndicate experimented briefly with a two-tier daily strip, Star Hawks, but after a few years, Star Hawks dropped down to a single tier.^[11]

In Flanders, the two-tier strip is the standard publication style of most daily strips like Spike and Suzy and Nero.^[26] They appear Monday through Saturday; until 2003 there were no Sunday papers in Flanders.^[27] In the last decades, they have switched from black and white to color.

Cartoon panels

Jimmy Hatlo's *They'll Do It Every Time* was often drawn in the two-panel format as seen in this 1943 example.

Single panels usually, but not always, are not broken up and lack continuity. The daily Peanuts is a strip, and the daily Dennis the Menace is a single panel. J. R. Williams' long-run Out Our Way continued as a daily panel even after it expanded into a Sunday strip, Out Our Way with the Willets. Jimmy Hatlo's They'll Do It Every Time was often displayed in a two-panel format with the first panel showing some deceptive, pretentious, unwitting or scheming human behavior and the second panel revealing the truth of the situation.^[11]

Sunday comics

Gene Ahern's *The Squirrel Cage* (January 3, 1937), an example of a topper strip which is better remembered than the strip it accompanied, Ahern's *Room and Board*.

Russell Patterson and Carolyn Wells' *New Adventures of Flossy Frills* (January 26, 1941), an example of comic strips on Sunday magazines.

Sunday newspapers traditionally included a special color section. Early Sunday strips (known colloquially as "the funny pages/papers", shortened to "the funnies"), such as Thimble Theatre and Little Orphan Annie, filled an entire newspaper page, a format known to collectors as full page. Sunday pages during the 1930s and into the 1940s often carried a secondary strip by the same artist as the main strip. No matter whether it appeared above or below a main strip, the extra strip was known as the topper, such as The Squirrel Cage which ran along with Room and Board, both drawn by Gene Ahern.

During the 1930s, the original art for a Sunday strip was usually drawn quite large. For example, in 1930, Russ Westover drew his Tillie the Toiler Sunday page at a size of 17" × 37".^[28] In 1937, the cartoonist Dudley Fisher launched the innovative Right Around Home, drawn as a huge single panel filling an entire Sunday page.

Full-page strips were eventually replaced by strips half that size. Strips such as The Phantom and Terry and the Pirates began appearing in a format of two strips to a page in full-size newspapers, such as the New Orleans Times Picayune, or with one strip on a tabloid page, as in the Chicago Sun-Times. When Sunday strips began to appear in more than one format, it became necessary for the cartoonist to allow for rearranged, cropped or dropped panels. During World War II, because of paper shortages, the size of Sunday strips began to shrink. After the war, strips continued to get smaller and smaller because of increased paper and printing costs. The last full-page comic strip was the Prince Valiant strip for 11 April 1971.

Comic strips have also been published in Sunday newspaper magazines. Russell Patterson and Carolyn Wells' New Adventures of Flossy Frills was a continuing strip series seen on Sunday magazine covers. Beginning January 26, 1941, it ran on the front covers of Hearst's American Weekly newspaper magazine supplement, continuing until March 30 of that year. Between 1939 and 1943, four different stories featuring Flossy appeared on American Weekly covers.

Sunday comics sections employed offset color printing with multiple print runs imitating a wide range of colors. Printing plates were created with four or more colors—traditionally, the CMYK color model: cyan, magenta, yellow and "K" for black. With a screen of tiny dots on each printing plate, the dots allowed an image to be printed in a halftone that appears to the eye in different gradations. The semi-opaque property of ink allows halftone dots of different colors to create an optical effect of full-color imagery.^[29]^[30]

Underground comic strips

The decade of the 1960s saw the rise of underground newspapers, which often carried comic strips, such as Fritz the Cat and The Fabulous Furry Freak Brothers.

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