Comic strip

Storytelling using a sequence of pictures has existed through history. One medieval European example in textile form is the Bayeux Tapestry. Printed examples emerged in 19th-century Germany and in 18th-century England, where some of the first satirical or humorous sequential narrative drawings were produced. William Hogarth's 18th century English cartoons 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 later 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.[3]

The first newspaper comic strips appeared in North America in the late 19th century.[4] 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.

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 M. Vieux Bois (1827), first published in the USA 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,[5] 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.[6]

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.[7] The history of this newspaper rivalry and the rapid appearance of comic strips in most major American newspapers is discussed by Ian Gordon.[8] 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.[9] 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:

1. The Katzenjammer Kids (1897–2006; 109 years)
2. Gasoline Alley (1918–present)
3. Ripley's Believe It or Not! (1918–present)[10]
4. Barney Google and Snuffy Smith (1919–present)
5. Thimble Theater/Popeye (1919–present)
6. Blondie (1930–present)
7. Dick Tracy (1931–present)
8. Alley Oop (1932–present)
9. Bringing Up Father (1913–2000; 87 years)
10. Little Orphan Annie (1924–2010; 86 years)[11]

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.[12]

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.

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.)"[13]

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.[14] 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.[15] Over decades, the size of 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.[14] 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."[16] 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."[17][18]

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.[6]

In Flanders, the two-tier strip is the standard publication style of most daily strips like Spike and Suzy and Nero.[19] They appear Monday through Saturday; until 2003 there were no Sunday papers in Flanders.[20] In the last decades, they have switched from black and white to color.

Cartoon panels

Main article: Panel (comics)

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.[6]

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 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".[21] 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.[22][23]

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. Zippy the Pinhead initially appeared in underground publications in the 1970s before being syndicated.[24] Bloom County and Doonesbury began as strips in college newspapers under different titles, and later moved to national syndication. Underground comic strips covered subjects that are usually taboo in newspaper strips, such as sex and drugs. Many underground artists, notably Vaughn Bode, Dan O'Neill, Gilbert Shelton, and Art Spiegelman went on to draw comic strips for magazines such as Playboy, National Lampoon, and Pete Millar's CARtoons. Jay Lynch graduated from undergrounds to alternative weekly newspapers to Mad and children's books.

Webcomics, also known as online comics and internet comics, are comics that are available to read on the Internet. Many are exclusively published online, but the majority of traditional newspaper comic strips have some Internet presence. King Features Syndicate and other syndicates often provide archives of recent strips on their websites. Some, such as Scott Adams, creator of Dilbert, include an email address in each strip.[25]

Most comic strip characters do not age throughout the strip's life, but in some strips, like Lynn Johnston's award-winning For Better or For Worse, the characters age as the years pass. The first strip to feature aging characters was Gasoline Alley.

The history of comic strips also includes series that are not humorous, but tell an ongoing dramatic story. Examples include The Phantom, Prince Valiant, Dick Tracy, Mary Worth, Modesty Blaise, Little Orphan Annie, Flash Gordon, and Tarzan. Sometimes these are spin-offs from comic books, for example Superman, Batman, and The Amazing Spider-Man.

A number of strips have featured animals ('funny animals') as main characters. Some are non-verbal (Marmaduke, The Angriest Dog in the World), some have verbal thoughts but are not understood by humans, (Garfield, Snoopy in Peanuts), and some can converse with humans (Bloom County, Calvin and Hobbes, Mutts, Citizen Dog, Buckles, Get Fuzzy, Pearls Before Swine, and Pooch Cafe). Other strips are centered entirely on animals, as in Pogo and Donald Duck. Gary Larson's The Far Side was unusual, as there were no central characters. Instead The Far Side used a wide variety of characters including humans, monsters, aliens, chickens, cows, worms, amoebas, and more. John McPherson's Close to Home also uses this theme, though the characters are mostly restricted to humans and real-life situations. Wiley Miller not only mixes human, animal, and fantasy characters, but also does several different comic strip continuities under one umbrella title, Non Sequitur. Bob Thaves's Frank & Ernest began in 1972 and paved the way for some of these strips, as its human characters were manifest in diverse forms — as animals, vegetables, and minerals.[6]

The comics have long held a distorted mirror to contemporary society, and almost from the beginning have been used for political or social commentary. This ranged from the conservative slant of Harold Gray's Little Orphan Annie to the unabashed liberalism of Garry Trudeau's Doonesbury. Al Capp's Li'l Abner espoused liberal opinions for most of its run, but by the late 1960s, it became a mouthpiece for Capp's repudiation of the counterculture.

Pogo used animals to particularly devastating effect, caricaturing many prominent politicians of the day as animal denizens of Pogo's Okeefenokee Swamp. In a fearless move, Pogo's creator Walt Kelly took on Joseph McCarthy in the 1950s, caricaturing him as a bobcat named Simple J. Malarkey, a megalomaniac who was bent on taking over the characters' birdwatching club and rooting out all undesirables. Kelly also defended the medium against possible government regulation in the McCarthy era. At a time when comic books were coming under fire for supposed sexual, violent, and subversive content, Kelly feared the same would happen to comic strips. Going before the Congressional subcommittee, he proceeded to charm the members with his drawings and the force of his personality. The comic strip was safe for satire.

During the early 20th century, comic strips were widely associated with publisher William Randolph Hearst, whose papers had the largest circulation of strips in the United States. Hearst was notorious for his practice of yellow journalism, and he was frowned on by readers of The New York Times and other newspapers which featured few or no comic strips. Hearst's critics often assumed that all the strips in his papers were fronts for his own political and social views. Hearst did occasionally work with or pitch ideas to cartoonists, most notably his continued support of George Herriman's Krazy Kat. An inspiration for Bill Watterson and other cartoonists, Krazy Kat gained a considerable following among intellectuals during the 1920s and 1930s.

Some comic strips, such as Doonesbury and Mallard Fillmore, may be printed on the editorial or op-ed page rather than the comics page because of their regular political commentary. For example, the August 12, 1974 Doonesbury strip was awarded a 1975 Pulitzer Prize for its depiction of the Watergate scandal. Dilbert is sometimes found in the business section of a newspaper instead of the comics page because of the strip's commentary about office politics, and Tank McNamara often appears on the sports page because of its subject matter. Lynn Johnston's For Better or for Worse created an uproar when Lawrence, one of the strip's supporting characters, came out of the closet.[26]

The world's longest comic strip is 88.9-metre (292 ft) long and on display at Trafalgar Square as part of the London Comedy Festival.[27] The London Cartoon Strip was created by 15 of Britain's best known cartoonists and depicts the history of London.

The Reuben, named for cartoonist Rube Goldberg, is the most prestigious award for U.S. comic strip artists. Reuben awards are presented annually by the National Cartoonists Society (NCS).

In 1995, the United States Postal Service issued a series of commemorative stamps, Comic Strip Classics, marking the comic-strip centennial.

Today's strip artists, with the help of the NCS, enthusiastically promote the medium, which since the 1970s (and particularly the 1990s) has been considered to be in decline due to numerous factors such as changing tastes in humor and entertainment, the waning relevance of newspapers in general and the loss of most foreign markets outside English-speaking countries. One particularly humorous example of such promotional efforts is the Great Comic Strip Switcheroonie, held in 1997 on April Fool's Day, an event in which dozens of prominent artists took over each other's strips. Garfield’s Jim Davis, for example, switched with Blondie’s Stan Drake, while Scott Adams (Dilbert) traded strips with Bil Keane (The Family Circus).

While the 1997 Switcheroonie was a one-time publicity stunt, an artist taking over a feature from its originator is an old tradition in newspaper cartooning (as it is in the comic book industry). In fact, the practice has made possible the longevity of the genre's more popular strips. Examples include Little Orphan Annie (drawn and plotted by Harold Gray from 1924 to 1944 and thereafter by a succession of artists including Leonard Starr and Andrew Pepoy), and Terry and the Pirates, started by Milton Caniff in 1934 and picked up by George Wunder.

A business-driven variation has sometimes led to the same feature continuing under a different name. In one case, in the early 1940s, Don Flowers' Modest Maidens was so admired by William Randolph Hearst that he lured Flowers away from the Associated Press and to King Features Syndicate by doubling the cartoonist's salary, and renamed the feature Glamor Girls to avoid legal action by the AP. The latter continued to publish Modest Maidens, drawn by Jay Allen in Flowers' style.[6]

As newspapers have declined, the changes have affected comic strips. Jeff Reece, lifestyle editor of The Florida Times-Union, wrote, "Comics are sort of the 'third rail' of the newspaper."[28]

• Biblia pauperum
• Billy Ireland Cartoon Library & Museum
• Comic book
• Comics studies
• History of American comics
• List of British comic strips
• List of cartoonists
• List of newspaper comic strips
• Military humor comic strips

• Blackbeard, Bill, ed. The Smithsonian Collection of Newspaper Comics. (1977) Smithsonian Institution Press/Harry N. Abrams
• Castelli, Alfredo. Here We Are Again
• Gordon, Ian. Comic Strips and Consumer Culture (1998) Smithsonian Institution Press
• Goulart, Ron. Encyclopedia of American Comics
• Goulart, Ron. The Funnies
• Goulart, Ron. The Adventurous Decade
• Holtz, Allan. American Newspaper Comics: An Encyclopedic Reference Guide. (2012) University of Michigan Press. ISBN 978-0-472-11756-7
• Horn, Maurice. The World Encyclopedia of Comics. (1976) Chelsea House, (1982) Avon. ISBN 978-0877540304
• Horn, Maurice. The World Encyclopedia of Cartoons (Chelsea House, 1979) ISBN 978-0877541219 — 6 volumes
• Horn, Maurice. 100 Years of American Newspaper Comics (Gramercy Books, 1996) ISBN 978-0517124475
• Koenigsberg, Moses. King News, Moses Koenigsberg
• Mott, Frank Luther. American Journalism
• Robbins, Trina. A Century of Women Cartoonists
• Robbins, Trina and Yronwode, Cat. Women and the Comics
• Robinson, Jerry. The Comics
• Sheridan, Martin. Comics And Their Creators
• Stein, Daniel and Jan-Noel Thon, eds. From Comic Strips to Graphic Novels. Contributions to the Theory and History of Graphic Narrative. Berlin/Boston 2015.
• Tebbell. The Compact History of the American Newspaper
• Strickler, Dave. Syndicated Comic Strips and Artists
• Walker, Brian (2004). The Comics: Before 1945. Harry N. Abrams. ISBN 0-8109-4970-9.
• Walker, Brian (2002). The Comics: After 1945. Harry N. Abrams. ISBN 0-8109-3481-7.
• Watson, Elmo Scott. A History of Newspaper Syndicates in the United States, Elmo Scott Watson
• Waugh, Coulton. The Comics

Wikimedia Commons has media related to Comic strips.

• National Cartoonists Society
• Leiffer, Paul; Ware, Hames, eds. "The Comic Strip Project". Archived from the original on March 23, 2010.CS1 maint: extra text: authors list (link)
• Comic Art Collection at the University of Missouri
• Billy Ireland Cartoon Library and Museum at Ohio State University