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Comic strips Analyzed
From Wikipedia, the free encyclopedia

The examples and perspective in this article may not represent a worldwide view of
the subject. Please improve this article or discuss the issue on the talk page.

This article is about the sequential art form. For other uses, see Comic strip
(disambiguation).

Winsor McCay's Little Nemo, one of the earliest and best known American Sunday
strips, from the very early 20th century. It used narrative sequences spread over
panel rows, a heightened use of perspective and imaginative dream-like plots.A
comic strip is a sequence of drawings that tells a story.

Currently in the Western world,
most comic strips are written
and drawn by a comics artist or
cartoonist, and many such
strips are published on a
recurring basis (usually daily or
weekly) in newspapers and on
the Internet.

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 or more. Comic
strips have also appeared in
US magazines such as Boys'
Life[1]. Storytelling using a
sequence of pictures has
existed at least since the
ancient Egyptians. One
medieval European example in
textile form is the Bayeux
Tapestry. Examples in print
form exist in 19th century
Germany, and in 18th century
England, where some of the first
satirical or humorous sequential narrative drawings were produced, see William
Hogarth.

The American comic strip developed this format into the 20th century. It introduced
such devices as the word balloon for speech, the hat flying off to indicate surprise,
and specific typographical symbols to represent cursing. The first comic books were
anthologies of newspaper comic strips.

As the name implies, comic strips can be humorous (for example, "gag-a-day" strips
such as Blondie, Bringing Up Father and Pearls Before Swine). Starting in the early
1930s, comic strips began to include adventure stories. Buck Rogers, Tarzan and
The Adventures of Tintin were some of the first. Soap-opera continuity strips such
as Judge Parker and Mary Worth gained popularity in the 1940s. All are called,
generically, "comic strips", though cartoonist Will Eisner has suggested that
"sequential art" would be a better name for them.[2]

Contents [hide]
1 Newspaper comic strip
2 Daily strips
3 Sunday strips
4 Origins
5 Conventions and genres
6 Major issues in American newspaper comic strips
6.1 Size
6.2 Format
6.3 Second author
6.4 Censorship
7 Social and political influence
8 Publicity and recognition
9 Underground comic strips
10 Webcomic
11 Syndication
12 See also
13 References
14 External links

Newspaper comic strip:

The first newspaper comic strips appeared in America in the late 19th century[3].
The Yellow Kid is usually credited as the first newspaper comic strip. However, the
artform combining words and pictures evolved gradually, and there are many
examples of proto-comic strips. Newspaper comic strips are divided into daily strips
and Sunday strips. Most newspaper comic strips are syndicated; that is, a syndicate
hires people to write and draw the strip, and then distributes it to many newspapers
for a fee. A few newspaper strips are 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[4].

Daily strips:

Daily strip from 1913 from Mutt and Jeff by Bud FisherIn the United States Of
America, a daily strip appears in newspapers on weekdays, Monday through
Saturday, as contrasted with a Sunday strip, some of which only appear on Sundays.
Daily strips are usually in black and white, though a few newspapers, beginning in
the later part of the 20th century, published them in color. The major formats are
strips, which are wider than they are tall, and panels, which 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. 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 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".

Early daily strips were large, often running the entire width of the newspaper, and
were sometimes three or more inches in height.[citation needed] At first, one
newspaper page only included one 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. Over decades, the size of daily strips became smaller
and smaller, until by the year 2000, four standard daily strips could fit in an area
once occupied by a single daily strip.

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.

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

Sunday strips:

Sunday newspapers traditionally included a special color section. Early Sunday
strips, such as Thimble Theatre and Little Orphan Annie, filled an entire newspaper
page, a format known to collectors as full page. Later strips, such as The Phantom
and Terry and the Pirates, were usually only half that size, with 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 Daily News. 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, to save the expense of printing so many color pages. The
last full-page comic strip was the Prince Valiant strip for 11 April 1971. Today, most
Sunday strips are smaller than the daily strips of the 1930s.

Origins:

Early proto-comic strips exist from the time of ancient Egypt, and include medieval
manuscript illumination, the medieval Bayeux Tapestry which is a visual narrative
embroidered on a 70 meter (230 feet) cloth strip with captions in Latin, and William
Hogarth's English cartoons from the 18th century, which include both "single panel"
work and also narrative sequences such as The Rake's Progress.

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.

The Swiss teacher, author and caricature artist Rodolphe Toepffer (Geneva, 1799-
1846) is consider 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) are
believed to have inspired subsequent generations of German and American comic
artists. In 1865, the 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 severely
moralistic tales in the vein of German children's stories such as Struwwelpeter
("Shockheaded Peter"); in one, the boys, after perpetrating some mischief, are
tossed into a sack of grain, run through a mill, and consumed by a flock of geese.
Max and Moritz provided an inspiration for German immigrant Rudolph Dirks, who
created the Katzenjammer Kids in 1897. Familiar comic-strip iconography such as
stars for pain, speech and thought balloons, and sawing logs for snoring originated in
Dirks' strip.

Hugely popular, Katzenjammer Kids was responsible for one of the first comic-strip
copyright ownership suits in the history of the medium. When Dirks left Hearst for
the promise of a better salary under Pulitzer (unusual, since cartoonists regularly
deserted Pulitzer for Hearst) Hearst, in a highly unusual court decision, 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 America, the great popularity of comics sprang from the newspaper war between
Joseph Pulitzer and William Randolph Hearst. The Little Bears was the first
American comic with recurring characters, while the first color comic supplement
was published by the Chicago Inter-Ocean sometime in the latter half of 1892; Mutt
and Jeff was the first successful daily comic strip, first appearing in 1907.

Hundreds of comic strips followed, with many running for decades.

Conventions and genres:

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 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 as main characters. Some are non-verbal
(Marmaduke, The Angriest Dog in the World), some have verbal thoughts but aren't
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, he 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.

Major issues in American newspaper comic strips:

Since around the 1960s, comic strip presentation in newspapers and the business
itself has considerably changed.

In the past few decades, many cartoonists have voiced their concern about the
present and future of comic strips, most notably Calvin and Hobbes cartoonist, Bill
Watterson.

Size:

The issue most commonly addressed was the swiftly declining size of newspaper
comic strips. In the early decades of the 20th century, all Sunday comics received a
full page and daily strips were generally the width of the page. Only one newspaper,
the Reading Eagle, continues to run many strips in the largest available size. Many
papers drop several panels so more strips can fit on a page.

Bill Watterson has written extensively on the issue, claiming that size reduction and
dropped panels reduce both the potential and freedom of a cartoonist. When
Watterson's Calvin and Hobbes grew to fame, he insisted that his Sunday strip be
published without cropping and at a half-page size, a move criticized by newspaper
editors and a few cartoonists, including Family Circus cartoonist Bil Keane.

Format:

In an issue related to size limitations, Sunday comics are often bound to rigid
formats that allow their panels to be rearranged in several different ways while
remaining readable. Such formats usually include throwaway panels at the beginning,
which some newspapers will omit for space. As a result, cartoonists have less
incentive to put great efforts into these panels.

Second author:

Many older strips are no longer drawn by the original cartoonist, who has either died
or retired. A cartoonist, paid by the syndicate, or sometimes a relative of the original
cartoonist continues writing the strip, a tradition that was commonplace in the early
half of the 20th century. Hägar the Horrible and Frank and Ernest are both drawn by
the sons of the creators. Some strips which are still in affiliation with the original
creator are produced by small teams or entire companies, such as Jim Davis'
Garfield and Lynn Johnston's For Better or for Worse.

This act is commonly criticised by, primarily modern, cartoonists including Bill
Watterson and Pearls Before Swine's Stephan Pastis. The issue was in fact
addressed in six consecutive Pearls strips[citation needed]. Charles Schulz, of
Peanuts fame, requested that the strip not be continued by another cartoonist upon
his retirement. Schulz also rejected the idea of hiring an inker or letterer, comparing
it to a golfer hiring a man to make his putts.

The problems cited with attaining a second cartoonist state that the second
cartoonist is generally less funny or compelling than the creator, and also the
cartoonist is not as familiar with the characters. Also, many have said that continuing
retired strips stops newer cartoonists from breaking through.

Censorship:

Starting in the late 1940s, newspaper comic strips were subject to very strict
censorship by the national syndicates who distributed them. Li'l Abner was censored
for the first, but not the last time in September 1947, and was pulled from papers by
Scripps-Howard. The controversy, as reported in Time, centered around Capp's
portrayal of the US Senate. Said Edward Leech of Scripps, "We don't think it is
good editing or sound citizenship to picture the Senate as an assemblage of freaks
and crooks... boobs and undesirables." [5]

Stephan Pastis has said that the "unwritten" censorship code is still "stuck
somewhere in the 1950s." Generally, comics are not allowed to include such words
as "damn", "sucks", "screwed", and "hell", although there have been a few
exceptions. In addition, many images, such as naked backsides and shooting guns,
cannot be shown, according to Dilbert cartoonist Scott Adams[6].

Many issues such as sex, drugs, and terrorism cannot, or can very rarely, be openly
discussed in strips, although there are exceptions, usually for satire, as in the case of
Bloom County. This has led many cartoonists to resort to double entendre and, as in
the case of Luann cartoonist Greg Evans on several occasions, speak in a manner so
that young children will not understand.

Many of these words, images, and issues are common in every day life, and many
young cartoonists have claimed they should be allowed in the comics. Many of the
censored words and topics are mentioned daily on television, as well as in other
forms of visual media. Web comics, and comics distributed primarily to college
newspapers, are much freer in this respect.

Social and political influence:

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 right-wing views of Little Orphan Annie to the liberalism of Doonesbury.
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.

Some comic strips, such as Doonesbury and The Boondocks, are often printed on
the editorial or op-ed page rather than the comics page because of their regular
political commentary. For example, the August 12th 1974 Doonesbury strip was
awarded the Pulitzer Prize in 1974 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.

Publicity and recognition:

The world's longest comic strip is 88.9 metres long and on display at Trafalgar
Square as part of the London Comedy Festival. The record was previously 81
metres and held in Florida. 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).

Today's strip artists, with the help of the NCS, enthusiastically promote the medium,
which is considered to be in decline due to fewer markets and ever-shrinking
newspaper space. 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). Even the United States Postal
Service got into the act, issuing a series of commemorative stamps marking the
comic-strip centennial in 1996.

While the Switcheroonie was a one-time publicity stunt, for one artist to take 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 1924-44 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 a string of successors, notably 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.

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.
Bloom County and Doonesbury began as strips in college newspapers, 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 and Gilbert Shelton went on to draw comic strips
for magazines such as Playboy, National Lampoon and Pete Millar's CARtoons.

Webcomic:

Webcomics, also known as online comics and internet comics, are comics that are
available to read on the Internet. Many are exclusively published online, while some
are published in print but maintain a web archive for either commercial or artistic
reasons. With the Internet's easy access to an audience, webcomics run the gamut
from traditional cartoon strips to graphic novels and beyond. Two of the most
popular are Penny Arcade, focused primarily on video gaming, and User Friendly,
which bases its humor on the Internet and other computer-user issues.

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. Scott Adams, creator of Dilbert, started a trend by including his
email address in each strip.

References:

^ http://www.boyslife.org/section/magazine/
^ Will Eisner, Comics and Sequential Art, Norton, 2008, ISBN 9780393331264
^ Robinson, Jerry; The Comics: An Illustrated History of Comic Strip Art. 1974. G.
P. Putnam's Sons, pub.
^ Pogo, Volume 1, from the introduction by R. C. Harvey, page v, Fantagraphics
Books, 1992, ISBN 1560970189
^ Tain't Funny - TIME
^ Scott Adams, Stick to Drawing Comics, Monkey Brain!: Cartoonist Ignores
Helpful Advice, Portfolio Hardcover, 2007, ISBN 9781591841852
Walker, Brian, the comics: After 1945.
Walker, Brian, the comics: Before 1945.

External links:

National Cartoonists Society Reuben Awards
Cartoonists in the Fred Waring Collection
Comics Remixed Derivative art made from modern comic strips.
The Doodle World by Hans Albert Lewis

Dilbert