Everything about Comic Strip totally explained
A
comic strip is a drawing or sequence of drawings that tells a story. Written and drawn by a
comics artist, 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 they're also serialized in, with a strip's story sometimes continuing over three pages or more. Comic strips have also appeared in US magazines such as
Boys' Life.
Storytelling using pictures has existed at least since the ancient
Egyptians, and examples exist in 19th century Germany and England. 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.
Newspaper comic strip
The first newspaper comic strips appeared in America in the late 19th Century.
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 Louisiana Purchase by
John Chase ran only in the
New Orleans Times Picayune.
Daily strips
A daily strip appears in newspapers Monday through Saturday, as contrasted with a Sunday strip. 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're tall, and panels, which are square, circular, or taller than they're 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.
Early daily strips were large, often running the entire width of the newspaper, and were sometimes three or more inches in height. 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 2000 four standard daily strips could fit in the 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've 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
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.
Proto-comic strips exist from the time of ancient
Egypt, and include medieval manuscript illumination and English cartoons. The 1865
German strip
Max and Moritz, about two trouble-making boys, 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 a cartoonist named 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.
Hundreds of comic strips followed, with many running for decades.
Conventions and genres
Most comic strip characters are
unageing throughout the strip's life, but in some strips, like
Lynn Johnston's award-winning
For Better or For Worse, characters age. 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,
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,
Bill 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 son of the creator. Also, many strips, some of which are still in affiliation with the original creator, are drawn or written by multiple people 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.
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 isn't as familiar with the characters. Also, many have said that continuing retired strips stops newer cartoonists from breaking through.
Censorship
Starting in the 1950s, newspaper comic strips were subject to very strict censorship by the national syndicates who distributed them.
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, can't be shown, according to
Dilbert cartoonist,
Scott Adams.
Many issues such as sex, drugs, and terrorism cannot, or can very rarely, be openly discussed in strips, although
Doonesbury is an exception to this rule. 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 won't 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's 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. King Features editor
Jay Kennedy created DailyINK for email distribution of King Features strips, both current and vintage.
Syndication
Further Information
Get more info on 'Comic Strip'.
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