the smithsonian collection of newspaper comics
DESCRIPTION
This mammoth oversized anthology of color and b/w strips (mostly vintage 1895-1950) was and is an education, a revelation and a door to a separate reality. Who knew that such fully realized, utterly compelling and unique works of art were once commonplace features in our daily and Sunday newspapers? Compiler Bill Blackbeard provides minimal but insightful commentary, which only underscores his good taste as the majority of SMITHSONIAN is devoted to the actual comics themselves. Wherever possible, he provides continuities of strips to give the reader not only a fuller flavor of the individual storylines and the era they appeared in, but each strip's particular dynamic with its audience. What's also impressive is the sheer number of titles sampled. Among the weightier excerpts are Popeye, Moon Mullins, Wash Tubbs/Capt. Easy, Barney Google, Polly and her Pals, Krazy Kat...but many of the lightly-skimmed properties are just as good. Set aside their enormous entertainment value and what you may find most impressive is how starkly individual each strip creator is; what ends up on the page is the sum total of one man's creative & emotional being, distorted through a prism of fantasy or slapstick or melodrama. Your net gain as reader: 336 pages of the kind of joyous, crazy, all-elbows-and-graceful-despite-it art that can only emerge from forms that the Arbiters of Taste don't take very seriously. Splendid as this book is the first time 'round, it continues to enrich you, always revealing more with every subsequent re-reading.TRANSCRIPT
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Smithsonian
Collection
of
by
Bill
Blackbcard
and
Martin
W
illiamn
by John
Canaday
American newspaper comic strip (like
jazz
the
movies)
is
a
major innovative
and
crea-
cultural
accomplishment
of
the United
one that has
spread
around
the
world.
the
outset, the
comics
were widely
read
enjoyed by
the American public,
oblivious
cultural history
or
art
criticism. But
for sev-
decades,
historians of the arts
and
scholarly
mostly
shunned
the
supposedly
lowly
strips, largely l)ecaiise the
finest
of
thi'se
originally
appeared
in
the
sensational
press. Fortunately,
this situation
has
and those
in positions of
authority
in
arts
and
literature
are
now taking
the
seriously,
recognizing
the
often
subtly
splendidly inventive, and
creatively
<|iialitics
of the best
products
of
this
art.
essentially
a
narrative
art,
comic strips
provided
an
extraordinary vehich' for in-
graphic
and
narrative experimentation
accomplisliment
for
major
comic-strip
ar-
including
VVinsor
McCay
(Little
Nemo),
Feininger
(The
Kin-tler-Kuh).
E.
C.
(Thimble Theatre),
George Ilerriman
Kat),
Cliff Stcrrett
(Pollij and Her Pais),
Crane
(\Va.v/i Tuhhs),
and
many others.
comics
can
be
enjoyed
both as
gal-
art and
in
continuity iis
fiction
or
drama.
in
this
.Smithsonian
Collection
are
of
the
most
accomplished and critically
strips
from
the
Ve/Zoit, Kid
r)f
1896-tli<'
to
attain definitive
form—
to such admired
works
as
Peanuts,
B. C, and
Along
the way we come
across
old
Katzenjammer Kids. Mutt
and
]ef).
CUtnips, C.asoline
Allei/,
Moon
Mullins.
Vj)
I'atUer,
Mirkei/
Mouse, Little
Annie,
Dick
Tracij, Li
I
Aimer,
liarnnhij.
and
ever
so
many
more.
of
the
work.s
chosen
for
this vohnne
have
excellence
and wer<' popular
with
tlic
of
their
time.
The
editors
have looked
comics
that
are
important, interesting,
ar-
funny,
representational,
curious—
some or
of
these—
take
your
pick. These
newspaper
strips
ar<; an important
part of our
cul-
history.
They are also
fun
to read—and
are
to
be
enjoyed.
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I have
enormous
respect
for
the
comic
strip
as
a
potential
story and
art
form,
although
far too
few
of
its
productions
have
realized
that
potential.
If
those
few,
however,
could be
gathered
into some
sort
of
complete
collection,
the effect
on
those who
have
scorned the
comics as
a
whole
might well
be
devastating.
. .
.
Edmund Wilson
from
a
letter
to Bill
Blackbeard
1966
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The Smithsonian
Collection
of
ll lWilP^ F l B
(g(DIM (0
Edited
by Bill
Blackbeard
and
Martin
Williams
Foreword
by
John
Canaday
Copublished
by
Smithsoniaii
Institution Press
and
Harry
N.
Abrams,
Inc.
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Note
to
reader
The
comic strips in
this
book
are numbered in the order in which they are
repro-
duced.
References in
the
text
and
index to particular
strips
are indicated
by
those
numbers
in brackets.
Frontispiece:
Johnny
Wise,
1902, by Tad Dorgan.
Library of Congress Cataloging
in
Publication Data
Smithsonian Institution.
The
Smithsonian
collection
of
newspaper
comics.
Bibliography:
p.
Includes
index.
1.
Comic
books, strips, etc.—United States.
I.
Blackbeard, Bill.
II.
Williams,
MarUn
T.
III. Title.
PN6726.SS
1977
741.5'973
77-608090
Smithsonian
Institution Press,
Washington,
D.C.
20560
ISBN
0-87474-172-6
ISBN 0-87474-167-X pbk
Harry
N.
Abrams,
Inc.,
New York 10022
ISBN
8109-1612-6
ISBN
8109-2081-6 pbk
Designed
by
Elizabeth
Sur
Printed
and bound
in
Japan.
All rights
reserved.
Third
printing
The
cartoons
referred
to
here
by
Chicago
Tribune-New
York
News
Syndicate:
23,
strip numbers are
reprinted
with
96-107,
128-129, 138-139,
151-156,
221-277,
the permission
of:
438-441,
644-715,
720-722,
740,
760
Robert
C.
Dille:
427-428
Edgar
Rice
Burroughs,
Inc.: 429
Field
Newspaper
Syndicate:
3-4,
11-14,
20,
22,
126-127, 142,
.505-539, 755-757,
759
Johnny
Hart: 755, 757
I.H.T. Corporation:
126-127,
142
Crockett
Johnson:
505-539
Jack
Kent:
744-749
Selby Kelly:
7.34-737
King
Features:
5-10, 32-37,
40,
47-83,
92-95,
130-
135,
140-141, 144-1.50,
1.57-161, 170-174,
278-
319,
430-431,
444-484,
718,
723-733, 750-753,
758,
761-763
Mell Lazarus: 756,
759
McNaught
Syndicate, Inc.: 28-29,
41-46,
108-125,
136-137,
16.3-169,540-541
Newspaper Enterprise
Association:
175-178,
320-
426,
432-437.
497-504
The
Philadelphia Inquirer: 162
Scripps-Howard Newspapers:
1,
15,
19,
24-27,
30-31,38-39,716-717
The Seattle Times:
84-91
Skippy, Inc.:
174
Jessie
Kahles Straut:
14.3
Warren
Tufts:
741
United
Features Syndicate:
738-739,
742-743
Universal Press Syndicate
:
754
Raebum Van
Buren:
485-496
Walt
Disney
Productions:
542-643
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Contents
Foreword
by
John
Canaday
7
Acknowledgments 9
Introduction:
The
Comic
Treasures
of the
American Newspaper
Page
11
I
Struwwelpeter,
Pagliacci,
and Puss
in
Boots:
Folklore
Figures in
the
Early
Sunday
Comic Strip,
1896-1916 19
Hogan's
Alley
22
Johnny
Wise
23
Buster
Brown
24
Katzenjammer
Kids 27
Hans und
Fritz 28
Maud
29
Happy
Hooligan 30
Jimmy
31
Little Nemo
in
Slumberland
Nibsy the
Newsboy
36
The
Kin-der-Kids 37
32
The
Newlyweds
40
Mr. Twee Deedle 41
The
Naps of Polly Sleepyhead
Naughty
Pete 43
Mama's
Angel
Child
44
Bear
Creek
Folks
45
School
Days 46
Mutt
and
JefiF
47
Slim
Jim
49
Hawkshaw the
Detective
50
42
II
Mr.
Caudle,
Sherlock
Holmes,
and the Artless
Dodger:
Popular
Images in
the
Early Daily
Comic
Strip,
1907-1927
51
Mr.
E.
Z.
Mark
54
Mr.
Jack
54
Braggo the
Monk
55
The
Hall-Room
Boys
Sherlocko the Monk
Desperate
Desmond
Chantecler
Peck
56
S'MatterPop? 56
Midsummer
Day Dreams
A. Mutt
58
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IV
Sunny
Toonenille
and
the
Darkling
World:
Anecdote
and
Narrative
in
the
Daily
Comic
Strip,
1917-19.33 131
Out
Our
Way ia3
Bobby
Thatcher
134
Minute
Movies 136
School
Days
138
Toonerville
Folks
141
Moon
Mullins
144
Barney Google
and
Spark Plug
\A'ash
Tubbs 165
156
\'
Popeye,
the
Skipper,
and
the
Abysses
of
Space
and
Time:
Anecdote
and
Narrative
in the
Sunday
Comic
Strip,
1930-1941 183
Buck
Rogers 185
Tarzan
187
Flash
Gordon
188
Prince
VaUant 189
Alley
Oop
190
Captain Easy
193
Little
Joe
196
White
Boy 197
Toonerville
Folks
198
Thimble Theatre ( Popeye
199
VI
Shadow
Shapes
in
Moving
Rows:
Extended
Narrative
in the
Daily
and
Sunday
Comic
Strip,
1928-1943
231
Secret Agent X-9
233
Bringing Up
Father
233
Abbie
an' Slats 235
Our
Boarding House
237
Bamabv 239
The
Bungle Family 246
Mickey
Mouse 248
Little
Orphan
Annie 265
Terr\- and
the Pirates 274
Dick
Tracy
279
VII
Cats, Dogs,
Possums,
Counts,
and Others: A
Comics
Miscellany,
1928-1950 287
Nize
Baby
289
Count Screwloose
290
Dave's
Delicatessen 291
Felix
the
Cat
292
Li'lAbner
293
Hejji 296
Abie
the
Agent 297
Krazy Kat 298
Pogo 306
Gordo 310
Texas Slim and Dirty Dalton
Casey
Ruggles 312
311
VIII Little People, Wise
Guys,
and
Witches:
The
Return of the Funnies 313
Peanuts
315
King Aroo
316
Tumbleweeds 317
Beetle
Bailey 318
Hagar
the
Horrible 318
Doonesbury
319
B.
C. 320
Miss
Peach
321
The Wizard of
Id
Hi and
Lois
322
Momma 322
Broom
Hilda
323
Sam's
Strip
323
322
A
Selected, Introductory
Bibliography
of
Books
and
Articles on
Newspaper
Comics
324
An
Annotated
Index of the Comics
325
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Foreword
You have
to
be
lucky enough
to
have
been
around for a
rather
long
stretch of years
say
seven
decades—
to remember
a
time
when
newspaper
comics
were just
newspaper
comics
rather
than
sociological documents
and
works
of
art
with their
own
set
of inno-
vative
esthetic
principles, which
they
have
become.
If
you
have been
really
lucky,
luckier
than all
but
a
handful
of
people
I
know,
the comics are
tied
to the
time when
you were
a
small boy in a
small town
about
a
hundred miles
from
Kansas
City and
your
weekly reward
for good
behavior in
Sunday
school
was five
cents
for
a
copy
of
the
Sunday
Kansas
City
Star.
Along
with
reports of the
sinking
of
the
Titanic
in
1912,
the
declaration of
war
in Europe
in
1914,
and
other events in
the
fictional area
out-
side a
ten-mile radius
from the
Bourbon
County Court House
in
Fort Scott,
the
Star
kept
you
abreast
of
the
adventures
of
the
Katzenjammer
Kids,
Happy
Hooligan,
Bus-
ter
Brown, and
other familiar
personalities of the
real
world.
The
transmutation of the
old
newspaper
comics from
their
initial
character
as
en-
tertainments
to be
read
lying on your
stomach on
the Hoor before
Sunday
dinner,
into
their current
status
as
sociological
testaments
for
intellectual
evaluation,
as
demon-
strated
by
this book,
pleases
me,
since
it
is
always
reassuring
to
see
that
solid
respect-
ability
may
follow
thoughtless
youth. But
my
own response
to
the comics
reproduced
here is not at
all
intellectual. The
early
ones
reduce me
to
a
quivering jelly
of nostal-
gia,
which
is
the condition
of
remembering
how
sweet
hfe
used
to
be and
forgetting
how terrible it
was. This
holds up
to
about
the time I was eight,
when we
moved from
Kansas
to
Texas.
The years from
eight to twelve
were
my collector's
period, with suit boxes
filled
with
thousands
of strips
clipped
from
daily
papers
and filed b\' date
and subject.
Upon entering
high
school
I
threw
the
collection
out
as
kid
stuff, and
for
the
next
four
years the
comics,
although
assiduously
followed,
occupied
a
residual spot
in
my atten-
tion,
badgered
as
I
was,
as everybody
is
at that time,
by
geysers
of
hormones. The
trouble
with
having
been
lucky
enough to
know newspaper comics
shortly after
1907
and up
to
1919 is
that you
have
to
settle
for
the
1920s
for your
teen-age years,
and
there never
was a
much
more
embarrassing
time for
an
adult to
look back
on.
Teen-
agers
since
then
have
passed
through
more
dangerous,
more
violent,
and
more
tragic
periods,
but
not
more
embarrassing ones.
We
were silly,
let's let it go
at that.
The
point in
mentioning that
period
here
is that
in
spite of so
much
that is
painful
to
recall,
my
early
teens were
marked by
one discovery that
saves
my
self-respect.
This
was
Krazij
Kat.
Krazy
was not
a
general
favorite with
my
contemporaries
adolescent
or
adult.
They
liked Barney
and
Moon Mullins. So did
I. The more
sophisticated
of my
colleagues
went
for Toonerville
Trolley.
So did
I. But they
couldn't
see what
was fimny
about
Krazy Kat.
nor could
they see that
that
was exactly
the
point
—that
Krazy
tcasn't funny.
He/she
was
(is,
and surely
always wall be)
a
combination
of
a lot
of
things,
including
hilarious, but
not
funny.
In
1926
Gilbert
Seldes
in
The
Seven
Lively
Arts
wrote the
famous essay
on
Krazy,
celebrating
Kokonino
Kounty
and
its
inhabitants
on
a philosophical
premise
identify-
ing
Krazy
with
Don
Quixote,
but
this
was
several years
after
I
used to
go
through the
Strouds's
discarded
copies
of the
San
Antonio
Light
to
find Krazy.
My
father
refused
to
have a
Hearst paper
in
the house
and
the
Strouds,
less
fussy,
lived
next
door.
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\ATienever
self-doubts
as to
my
intellectual capacit>', my
poetic
sensitivity, my
criti-
cal
acumen,
or my
humanistic
discernment threaten to sink me, I
can always surface
on
my
record
as
a
precocious
member
of
what
was
to
become a
Kult.
Krazy
also saved
me later
in
life:
The
only
explanation I can
see
as
to
why my
mistakes
as a
parent
didn't
scar my
offspring
is
that Krazy,
by
then
collected
in a
book with
another
ap-
preciation
by
e e
cummings, was always at
hand
instead
of
the literary' pap
usually
fed
to
kiddies.
Within
the family we
mastered
Krazy
s
dialect
for use
on
special
occa-
sions, and
could
recite back and
forth
the dialogues
from
favorite
episodes.
It
sounds
precious and
would have been precious if there
had
been anything
self-conscious
or
Kultish
about
it,
but
it
wasn't
like
that.
Krazy
was
a
kind
of
pet,
mascot,
and Keeper
of
the
Peace around
our
house, a benign presence
and good
example even today from
his/her
spot
on
the bookshelf.
Somehow
I
never
managed to
get
really involved
with any of the comics
later than
Krazy
—a loss for me,
I'm sure, which this book
may correct. There
was
a
brief
period
at the
University of
Virginia
when it
was
voguish among the young professors to pre-
tend
to be
fascinated
with
Mary
Worth.
We
would
tell
each other we could hardly
wait
to
find
out
how she would straighten out so-and-so's troubles.
But
it
was all
pretty
phony, a kind of reverse
academicism.
During
those years
I remember also stumbling
over
stacks of comic
books upstairs in
the
boys'
room,
probably Buck Rogers and
Superman operating on different
wave
lengths
from Krazy
's in the
library
downstairs.
But
I never looked into these.
So
I
lost track of
the comics.
The
closest
I
ever
came
to
post-Krazy
involvement
was
in
the
spring
of
1944,
serving
in the Marine
Corps
with Alex Raymond,
who relin-
quished
the
authorship of Flash
Gordon
in order
to
enlist
with
a
group
of officer-
trainees
at
Quantico,
Virginia. Raymond
was
held
in downright veneration
by the
rest
of
the
class; even
the
drill sergeant,
who
was
otherwise
the
meanest
man in the
world,
regarded
him as
a
rare
and
fragile object that might
shatter if commanded to
shoulder
arms
in
too rough a
tone of
voice,
giving
me
some
idea
of the power that
comics
still held
in America
—
and,
I
am
sure,
still
do.
The comics are
ubiquitous.
You
don't
have to
have followed
a strip
for
its identity
to have somehow entered your
consciousness: the
comics affect your way of feeling
about
the
daily
world
whether or not
you
read
them.
So far as I can tell, the effect on
me
has
been
salutary,
and
I
am content
with
the
idea of strengthening
it
with
the aid
of this anthology. The
function
of art,
we
are told,
is to
clarify,
intensify, or enlarge
our
experience,
and the comics are
now
art.
Without
much
expectation
of clarifica-
tion,
or of intensification,
let
me
now
set
about
expanding
my boundaries. In
the
meanwhile,
although
grateful
for
this
book,
I
am also grateful for
the
time-scheme
that
allowed
me
to
know
the comics
when.
John
Canaday
New York,
May
17,
1977
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Acknowledgments
The
names of the
many syndicates
and
individual
artists who have
generously
con-
tributed
to
this volume appear on the
comics pages
which
follow.
Here we
would
like
especially
to thank
the
following:
King Features Syndicate and
Charlotte
MacCleary
Field
Newspaper
Syndicate
Mell
Lazarus
The
late
Crockett
Johnson
Selby Kelly
Robert
S.
Reed
and the
Chicago
Tribune-New
York
News
Syndicate
Johnny
Hart
David
Stolberg and the
Scripps-Howard
Newspapers
Charles
V.
McAdam
and the
McNaught
Syndicate
Robert C.
Dille
Jessie
Kahles
Straut
Thomas E. Peoples
and
the
Newspaper
Enterprise
Association
Joan
Crosby
Tibbets
Raeburn Van
Buren
Edgar
Rice
Burroughs,
Inc.,
and Robert
M.
Hodes
The
I.
H.
T.
Corporation
Jack
Kent and
Stanleigh Arnold
William Ravenscroft
and
United
Features
Syndicate
Walt
Disney
Productions
Universal
Press
Syndicate
and,
finally,
Rick
Marschall
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Sports
writers
. .
.
are surpassed
in
ingenuity and
success as
diligent coiners of
neologisms
only by the
comic
strip artists,
of
whom Thomas
A,
(Tad) Dorgan, Elzie
Crisler Segar
and Billy De
Beck
are
examples.
Dorgan
...
is said to have
invented
or introduced
drugstore
cowboy
,
nobody home
.
.
.
and to
have
launched
such popular
phrases
as 'You
tell
him,' 'Yes,
we have no
bananas,' and
'You
said
it.'
Segar (creator of Popeye) is
credited
with
goon
,
.jeep
,
and
various
other
teuiis
that, in
the
hands of
others, took
on
wide
extensions
of
meaning,
and with starting
the vogue
for
the
words ending in
burger.
To De
Beck
.
.
.
are ascribed heebie .jeebies
,
hot
mamma
,
hotsy-totsy
,
ajid horse feathers
. . .
.
The comic strip
artist
.
.
.
has
been
a
very diligent maker of
terse
and
dramatic
words. In
his
grim
comments
upon the
horrible
calamities which
befall his characters
he not only
employs many ancients
of English
speech,
e.g.,
slam
,
bang
,
quack
.
mee-ow
,
smash and biMp
,
but also
invents novelties of his own,
e.g.,
zowie
.
bam,
socko
.
yurp
,
plop
,
wow,
wham
,
glug
.
oof
,
ulk
,
whap
,
bing
,
fooie
and
grrr
. .
. .
Their influence
upon
the general
American vocabu-
lary
must
be
very
potent.
. . .
H.
L.
Mencken
The American
Language
.
1919.
and
Supplement One
.
19^5
10
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Introduction
a
The
Comic
Treasures
of the
American
Newspaper
Page
The
elements
of the
American comic
strip
were already
there. A succession
of
draw-
ings
expressing
a continuous
action, an
anecdotal
event,
a
narrative
—
they are
as old
as cave paintings
and
had been
vividly rendered in
European
art, in
Greek
temple
reliefs,
and
in
Giotto frescoes.
Talk
balloons,
speeches
oflFered in
encircled,
smoke-
like
wisps
from
the
mouths
of
characters,
were
fairly
common
in eighteenth-centur>'
caricature,
and graphic caricature
was
fairly commonplace
by the mid-nineteenth cen-
tury. And
so, in
the
British
comic
papers,
were
captioned
cartoon
narratives offer-
ing,
usually
in
broad burlesque, farcical
incident
and anecdote
which
largely
derived
from
the conventions
of
circus clowning
and
the
music hall-vaudeville
sketch.
It
remained
for
the United
States,
then
entering
fully
into
its
own
era
of
mass com-
munications,
to
put all these elements together and make something new
of them,
something
new
and
compelling,
and so
irresistible
that
it
spread (along
with our
movies
and
our
music
)
around
the
world.
Only in
the
past
decade
has
the
American
newspaper
comic strip
begun to be
recognized in
its
own
country
as
an
innovative
and creative cultural
accomplishment.
It
has
long
been
hailed in
France and
elsewhere
in Europe
as one of
the important
achievements in the arts of this
century,
and
it
has
been
studiously
examined
there in
a
number
of
journals
exclusively
devoted to
the
subject.
That
is perhaps not so exceptional or extreme
a
cultural default
as
it may
at
first
seem.
Notoriously,
Europeans
—and
particularly
the French
—have
recognized,
re-
searched, praised
(
and sometimes overpraised
)
the American arts
—
our
movies,
our
jazz, our comics—
before
we have. And
it
would
perhaps
not
be
too chauvinistic
to
point out that we have
produced those things, after
all, and loved
them,
and that
scholarship,
art criticism,
and cultural
history
are secondary pursuits.
At
the same time,
many
of
our own
historians
of the arts,
having borrowed their
principles,
procedures, and attitudes
largely
from
European
cultural
historians, have
proceeded
to
apply
those principles
only
to
such
traditional
categories
as we have bor-
rowed directly
from
abroad—
to
literary
history,
to
the
theater,
to
concert
music,
and
the
like, sometimes
pausing
to
scorn
or
reject
those
artistic
genres
that
are particularly
American,
like the movies,
jazz,
and the
comics.
Europeans, meanwhile,
have applied
their
principles of cultural
history and
criticism in
modified
form
to
those American
creations
and transmutations which we
still
think of as
our popular
or even
our
light
artistic
pursuits.
Thus
the
comic
strip
has
been critically
neglected
in the United States,
and
has
even
been
openly
attacked.
But
a
further,
and
perhaps
crucial
reason
for
the
neglect
of the
comics
lay in
the
aversion
of most
well-educated
Americans of
every
political
persuasion
for
the
sensational
press of the turn of the
century
and later.
The
profes-
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sors,
teachers,
prelates,
and literati
of the
time
usually did not see
these
newspapers
as colorful
and
amusing but
saw
them instead
as
vicious,
crude, and
frightening in
their instant and
openly
demagogic
appeal
to a mass readership.
And
the
papers
they
most
grimly
eschewed
—
the
Hearst titles
connected
in a
chain from
coast
to
coast,
the
Chicago
Tribune,
the
New
York
World
(until
1920),
the
New York
Daily
News
—
were
precisely
the
papers which carried
the largest
array
of comic
strips
by
the
most
talented artists.
The papers most
respected
and
read
by
these
educators
and
tastemakers
—
the New
York Times, the New
York Herald Tribune, the
Boston
Tran-
script,
the
Baltimore
Sun
—
carried
fewer
strips, and
the
Times carried (
and
carries
none
at
all.
Comics
seemed
to the
elite the
obviously
lowbrow Pied
Piper
which
lured
the inno-
cents to their
journalistic
doom at
the hands
of the
Hearsts,
McCormicks, and Pulit-
zers.
Weren't
Krazy Kat, Little Nemo,
Buster Brown, Happy Hooligan,
and the
Kat-
zenjammer Kids
being paid
for
and
distributed
by
Hearst? They
must therefore
be
tainted
by
his
political
ambitions
and
social
attitudes; any
intrinsic
merit
they
might
possess as works of
art
was
perhaps
accidental,
certainly
irrelevant, and surely
best
ignored.
The majority of those in
authoritative positions in
American literature and art
dur-
ing the
first
half of this
century
simply
may not
have seen
the
more
subtly imagina-
tive,
gorgeously
inventive, and creatively
memorable strips at all
because
these
exciting
works
were being
published in
the wrong
papers.
And
concomitantly, they
overlooked
the
colorfully
bound
strip reprint
volumes
issued
by
minor publishers at
the time,
both
as
entertainment for
themselves
and
as gifts for their
children.
At
the
same time,
even
the
most gifted
and
creatively
involved
comic-strip
artists
tended
to
hold themselves
and
their
work
in a modest and
unpretentious
low
regard.
They made
small
jokes
about their
strips in
public,
surrendered their
original
art to
their
employing
syndicates without
expecting or
wanting
its return,
supplied
funny
anecdotes for
superficial articles about their
careers, sighed
after
serious
art
pur-
suits, and
—
perhaps worst
for the historian
—
maintained virtually no reference
files
of their own
work.
Similarly,
our libraries
have
been
negligent. Many would not
even stock the
New
York
Graphic
or certain
of the
Hearst newspapers.
Only one substantial
book
has ever
been
devoted
to
the
Graphic,
possibly
the
most
iconoclastically
innovative
newspaper
in American
history.
A scant
half dozen
have been
written
about
Hearst's highly
im-
portant
chain
of journals. And none has yet
appeared
on the New
York Daily
News
or
the Chicago
Tribune.
A side
result
was
the
failure
of
the
New
York Public
Library to
maintain
any
comprehensive file of
Hearst's
New
York Journal,
crucial to the study
of
journalism
as well
as to
that
of
the
comic
strip. And indeed the
New
York
Graphic
has apparently
not
survived
at
all;
there
may
be
no
file
of
that
paper,
public or private,
left on
earth.
Had
the
comic-strip
material
which
ran in the shunned
popular
press been pub-
lished
instead
by
Vanity
Fair
or
The
New
Yorker, or
had
it
reached
the
august
pages
of the New
York Times,
there
can
be
little
doubt
that
the
best
example
of
the
strip
form would
have
readily received the critical
accolades
and
appreciative discussion
they
should have had from the outset.
As it is, we have
missed
such
theoretical
re-
wards
as H. L. Mencken's
comments
on E.
C.
Segar's Thimble
Theatre
as
Americana
and sustained
comic
narrative;
Lionel
Trilling's
consideration
of the
renovation of
the
Dickensian
character in
the
literature of
the
comic strip; Kenneth Burke's
analysis of
linguistic
symbol and graphic
leitmotif
in the
popular inythos of
the
strips; and Ed-
mund Wilson's
consideration of the
potential
of Edward
Corey's
working with the
sustained
characters
and narrative of
the
comic
strip.
Still
and
all, there have
been
some
nine
studies of
historical
and
critical substance
dealing with
the
newspaper
strips
published in the
United States since 1897. Perhaps
there
is
some
record
of appreciation of
a
national
art
form
after all.
12
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This
collection presents,
in a
single
volume, an
extensive
gallery of
newspaper
comics,
an anthology which the editors
hope
ofiFers
some
memorable
and
amusing art
and
narrative.
The comic
strip is essentially a
narrative
art.
A
well-conceived story,
character, or
incident can make
clumsy or
barely
competent art
work
functionally
acceptable,
much as a
strong story and good
character
actors may
redeem
films
with slipshod
camera and
directorial
work. Indeed,
some
strip
artists
were,
by
strict
standards
of
draftsmanship or graphics, no
artists at all.
What they
had was a
point
of view
(a
sometimes rowdy
point of
view,
to
be
sure
)
on
the
human
animal
and
his attitudes
and
actions,
and a
functional
means to
convey
it.
Still,
the art
of
the
comic
strip
did
provide an
extraordinary'
vehicle
for
inspired
graphic
experimentation
and
accomplishment
by
some
major
comic-strip
artists,
in-
cluding
Winsor McCay, Lyonel
Feininger,
George
Herriman,
ClifiF Sterrett,
Roy
Crane,
Milton
Caniff, and others
whom
the reader
will readily
note
in
the
following
pages.
As we
indicate, however,
it
was as a
challenge
to
the
storytelling
imagination
that
the
comic
strip
stirred its most striking response
among
creative
minds,
and
it
brought to
light
a
number
of
talents who were able
to
use
its
highly
individual
techniques
of
con-
tinuity to often
remarkable
advantage.
Compare, for
example, the
graphic
compe-
tence
of Roy
Crane
in his
Wash Tubbs
stor\'
in
this
volume
with
that
of E.
C.
Segar
in the
Thimble
Theatre
narrative.
Crane's
sensitive
mastery
of
pictorial
composition
and technique is
self-evident (his
panels in
the
Tubbs
whaling
sequences
are as
defdy
evocative
of
the cetacean majesty and
movement as
Rockwell
Kent's
illustrations
for
Moby Dick), and
they
are
in
sharp
contrast
to Segar's
obviously
limited
graphic
con-
cerns.
However,
both
artist-narrators
were
readily
able
to
spin
stories of
arresting
in-
cident,
humor,
strong
characterizations,
and sustained
plot
interest,
and few
readers
can
resist
the
compulsion
to
read
their
narratives
raptly
through
to
the
end.
Thus the
dual
purpose of
this
collection
reflects
the
remarkable
dichotom>-
of the
strip medium
itself,
shared
only with cinema,
in
that
its
best
works
can be
enjoyed
both as
gallery art and
in
continuity as
fiction or
drama.
Indeed,
this
division
of
esthetic
possibihty
is
reflected
in
the
divergent
emphases
of
the
only
two
national
institutions
at
present
devoted in
full or
great part
to
comic-strip
art: the Museum
of
Cartoon
Art
in
Greenwich,
Connecticut,
which
is
largely
con-
cerned
with
rotating
displays
of original
strip
drawings; and
the
San
Francisco
Acad-
emy of
Comic Art,
which
files
all
of the
printed
strips,
so they
can be
studied
in
rela-
tion to
other
printed narrative
arts,
as
story-carrying
material.
The
comic
strip may
functionally be
defined
as
a
serially
published,
episodic,
open-ended
dramatic
narrative
or
series
of linked
anecdotes
about
recurrent,
identi-
fied
characters,
told
in
successive
drawings
regularly enclosing
ballooned
dialogue
or
its
equivalent
and
minimized
narrative
text.
Not all the
features
contained
herein
fit
that
functional
definition,
in
detail,
to
be
sure.
Johnny
Gruelle's
Mr. Twee Deedle,
for
example,
has
no
ballooned
dialogue
and
might
actually
be
considered a
kind of
comic
version
of an
illustrated
children's
book.
Similarly, the
comics page
Tarzan,
in
any
of
its
several
versions over the
years,
is a
condensed-narrative,
fantasy-adventure tale
in
text-and-illustration
form.
The American
comic strip
first
attained
definitive form
in a
Sunday
Yellow Kid
page,
drawn
by
Richard
Felton Outcault
for
William
Randolph
Hearst's
American
Humorist weekly
comic
supplement to his
New
York
Journal,
on
October
18,
1896.
The
immediate
progenitor of the
comic strip
was
probably the
illustrated
novel
of
the
nineteenth
century, which
in
England,
France,
and the
United
States
usually
fea-
tured
caricature
and
cartoon
art
as
intimate
accompaniment
to
the
texts
of
such
popu-
lar authors as
Dickens,
Thackeray,
Balzac, Hugo,
and others.
But the
strip
failed
to
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THE
YELLOW
KID
TAKES
A HAND
AT
GOLF.
develop as
an
immediate
outgrowth
of the
reading pubUc's
enormous rehsh for car-
toon-supported
narrative in
the
1830s
and 1840s. A
Pickwick
comic
strip, issued
in
bound
parts
by
the
same
pubHsher
who
originally
hired
Dickens
to
write
text for the
popular
cartoons
of
Robert
Seymour,
thus bringing
Pickwick
Papers
into
being,
might
seem
in
retrospect to
have been
a
likely
event.
With art
by
Phiz (
Hablot Knight
Browne)
and script and
balloon
dialogue
by
Dickens,
such
a
work
might
well
have
had
wide
popularity. But
it
would
have
taken a
prescient imagination
to
conceive
of
a full-fledged fictional
narrative
being
carried
forward
by means of dialogue
within
successive drawings, much
as
drama was
performed
on a
stage,
and
without need
of
extensive
prose explication.
Such
an imagination
did
not
exist
in
Dickens's time,
not
even in
his
own
fertile and
graphically
oriented
mind.
Any
narrative
that was presented
by
means of
short sets of successive
drawings
was
largely limited
to
pantomimic
pratfall
gags and
occasional simplistic political
parables. In
these
forms,
captions
and
dialogue, whether presented
outside
or
within
the
panels,
essentially served as embellishment
to the art. In the Outcault Yellow
Kid
of
October
18,
1896,
however,
the
whole
point of
the
vaudeville
gag
depended
on the
dialogue between
the
Kid
and the
parrot, and that
was
the
first
time this had
occurred
in
a graphic
work which also
met
the
other
prerequisites
of the strip
form.
Both
Outcault's
publisher, Hearst,
and
his fellow cartoonists
on the
staff
of the
American Hunwri.sf
were
quick to perceive
and
to pursue the
broad
possibilities
the
Yellow
Kid's turn
with a comic-dialogue
payoff had
for the comic-character
features
the Humorist
was then
emphasizing.
The
crucial
and relevant effect of
rapidly ex-
changed dialogue
in
a
Weber and Fields
vaudeville
skit
could
now
be
paralleled in
comic
art.
Possibly
Outcault's innovation
struck
the
Humorist
staff
in
something
of the
same
way
that the
direct
addition of
.sound
to film struck most
workers
in the
silent-
movie industry,
startling them
into
a
realization
of expressive
possibilities undreamed
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of.
Cartoonists
of the
time
had
long
been
wedded to the
notion
that art of
any kind
should
exist well apart
from prose
exposition,
like
a
kind
of
frozen tableau.
Outcault himself
promptly
seized
with
relish
on
the
potential
of
the
art
form
he
had
created, enlarging
on
the
dialogue
and
prose
essentials
of
the
comic
strip with pio-
neering
gusto
and
imagination,
as
did
his
companions
in the
new
field. By
the
turn
of
the
century,
dialogue and art
had
been
commonly
wedded
in
the
newspaper
comics.
And
by
the
1930s
comics
in
which
dialogue
was
minimal or
nonexistent,
such
as
J.
Carver
Pusey's Bennij
and
Carl
Anderson's
Hetny,
were
regarded as
inventive
and
original
in
their
refreshing
departure
from
convention.
Prolonged
graphic
narrative
was an
obvious
step
for
cartoonists
turning
out
weekly
newspaper strips
to
take, and
two of
Outcault's
confreres
on
the
Hearst
Journal,
Ru-
dolph
Dirks
(whose
Katzenjammer Kick had
entertained
readers
since
1896)
and
Fred
Opper
(the creator of
the comic
strip's
own
divine
and
Dostoevskian
Idiot,
Happy
Hooligan)
were
the
first
to carry
thematic
concepts
from
one
week's
strip
episode to
the
next.
Other
early strip artists
to
enlarge
on
narrative
possibilities
and
to
develop
actual
cliff
-hanging
suspense
were
Lyonel
Feininger
in
his
Kin-der-Kids
for
the
Chi-
cago
Tribune
in 1906,
Winsor
McCay
in
Little
Nemo
in
Slumberlaml
for
the
New
York
Herald
in
1905,
and
Charles
W.
Kahles
in
Hairbreadth
Harry
for the
Philadel-
phia
Press in 1906.
Weekday
comic
strips in
black
and
white
were
initiated
in
the
Hearst
morning
and
afternoon papers
across the
country
in
the
early
1900s.
At
first,
these
were
miniatur-
ized versions of the
Sunday
comic
strips,
self-contained
gags
about
reappearing
char-
acters
for whom
the
strips
were
named.
(
Some
early
examples
were
Cus
Mager's
Knocko
the
Monk,
H. A.
McCill's
Padlock
Bones,
the
Dead
Sure
Detective,
and F.
M.
Howarth's
Mr.
E. Z.
Mark.
)
Some
might
appear
for as
many as
ten
successive
weekdays, but
that
was
accidental;
the
average
frequency
was
three
days a
week,
and
the
editorial
purpose
was to
provide
daily
variety
in
strips,
not
daily
duplication
of
the
same
features.
In
1907,
however,
Henry
Conway
Bud
Fisher,
sports-page
cartoonist
for
the
San
Francisco
Chronicle,
introduced a
seven-day-a-week
sports-page
comic
strip
called
A.
Mutt,
which
gave
the
reader
daily,
tongue-in-cheek
horse-racing
tips.
Mr.
Mutt
suf-
fered or
prospered
according to
the
next-day
outcome
of
these
tips.
Fisher had,
in fact,
gotten
his idea
for
the
Chronicle
feature from
an
earlier but
ill-
fated
try for
a
similar
strip
created
by
Clare
Briggs and
Moses
Koenigsberg
for
the
Hearst
Chicago
papers,
the
American
and
Examiner.
Called
A.
Piker Clerk,
the
Briggs-drawn
sports-page
strip,
primarily
an
y\merican
feature,
was
intended
for
daily
pubhcation,
but
was
late
for
many
of
the
paper's
several
daily
editions
and
was
crowded
out
of
others
by
late
sports
news.
Finally
given
the
coup de
disgrace
by
Hearst—
who
found
Briggs's
twitting
of
foreign
dignitaries
(i.e.,
the
Czar
of
Russia)
in
the
strip
vulgar—
A.
Piker
Clerk
remains
a
vital if
premature
experiment
in
devel-
oping
a
daily
comic
strip.
Fisher's
A.
Mutt
(later
Mutt
and
Jeff)
literally
became
an
overnight
sensation
in
San
Francisco
and
materially
increased
the
daily
circulation
of
the
Chronicle.
The
paper's
bitter
local
rival, the
Hearst
Examiner,
sensed
a
good
thing
in
the
strip
and
promptly
hired
Fisher
away
from
the
Chronicle
at a
hefty
boost
in
salary.
The
local
delight
with
Fisher's
daily
episode
continued,
and
the
impressed
Hearst wasted
no
time
in
moving
Fisher
to
New
York and
syndicating
A.
Mutt
nationally.
An
aroused
public's
interest
in daily
character
strips
with
strong
thematic
narrative
was
nurtured
by
a myriad
of other
six-
and
seven-day-a-week
strips
which
quickU'
followed
on
the
sports
pages
of
papers
everywhere,
including
Sidney
Smith's
Buck
Nix
in the
Chicago
American, Russ
Westover's Luke
McGluck
in
the
San
Francisco
Post,
C.
M.
Payne's
Honeybunch's
Hubby in
the
New
York
World,
and
George
Herriman's
Baron
Mooch
in
the
Los
Angeles
Examiner.
On
January
31,
1912,
Hearst
introduced
the
nation's
first
full
daily
comic
page
in
his
New York
Evening Journal,
adding
it
to
his
other
afternoon
papers from
coast
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m
coast
a
few
days
later.
Initially
made up of
four large daily
strips,
including Herri-
man's Family Upstairs
and
Harry Hershfield's
Desperate Desmond
(a
continuing
cliff-hanger
)
, the
Hearst page expanded
to
five,
then sLx,
and
finall>' nine daily strips
through
the
teens and early
twenties.
Other
papers
emulated
the
Hearst example, and
by
the 1920s the
phenomenon was
to be
found
in hundreds
of
newspapers
around
the
coimtry,
fed
by
dozens of daily strips distributed
by a
multitude of small
syndicates.
From
these early
small svudicates
emerged the giants of the
thirties,
such as
Hearst's
King Features,
Newspaper Enterprise
Association (NEA),
the Chicago
Tribune-
New York News
Syndicate, the
Associated
Press,
and
United
Features from
United
Press.
By the
1930s,
comic
strips by the daily pageful
and
Sunday color section
collections
were
to be
found in most American
and
Canadian
newspapers.
Vital
to the then wide-
spread urban and rural competition between newspapers,
the
comic
strip
was
given
increasing
space and prominence, with
editors
vying for
the
newest,
strongest,
and
most original. As a
result,
the comic strip was to
be
seen
at its most
varied, inventive,
colorful,
and
exciting plent>' in the
thirties
and
early forties—a
peak
of
creativity
and
popularity
it has
not held since.
As
an introductory
collection,
our volume
has
(
and must
have
)
its
limitations.
Eight
strips are presented here in extensive
continuity'
with
complete
narrative
sequence,
but perhaps
as
many
as
thirty
deserve
that
kind
of representation.
Moreover,
a
num-
ber of fine strips have been crowded out of
even
the
group
of
single-episode examples
to
which
a
large
body
of
the
included strips have been limited. But in order to
estab-
lish
a
functional
basis
for
the selection of representative
material,
the
editors
had
to
set
a
few general rules of
procedure.
First,
we drew
up
two
lists of
comics. One
of
them contained
the editors'
choices
of
the
most accomplished
and
critically memorable
strips,
considered both
as
graphic
and
narrative
works.
The other set
forth the
most generally famed,
popular,
and
typical
strips.
Thus
The
Kin-der-Kids, Mr.
Twee
Deedle,
and
School
Days would be
on the
first
list,
but not
the
second;
while
Tillie the Toiler
and
Joe
Palooka would be
obvi-
ous
choices
for the second.
A number
of
strips, of
com-se,
appeared on
both
lists
(tides
such
as
Polly
and Her Pals, Thimble Theatre,
Katzenjammer
Kids,
Dick
Tracy,
and Mickey
Mouse),
and
clearly
these
were strong
contenders
for
relatively exten-
sive
representation
in the
collection.
The bulk of our
volume is
built around
examples
of those works which combine intrinsic
excellence
and
wide
popularity with
readers
of their
time, while
titles
relegated to
just
one
list
or
the other
were
included as
space
and
the need for reasonable
representation of
both
bodies
of material
seemed
to
dictate.
We
also
took
into
account those strips which
have
recently been
so
widely
re-
printed
to
meet the demands of
their
still-active
aficionados that
inclusion
at
length
in these
pages
might
be
considered
wasteful of
valuable
space—such strips as
Flash
Gordon,
Buck
Rogers,
Tarzan,
and
Prince
Valiant.
Dick Tracy is
included
in a
fairly
long
excerpt
because
of the nearly
exclusive
focus on the
post- 1940 strip in
current
reprints.
Our
selection
is
from
the
mid-thirties,
when
Chester
Gould's
work was
rather
different
in
quality and
tone.
Ultimately,
of
course,
what the editors
have
done
in
this
collection is
make their
own
choices
out
of
their own knowledge
and
their own
tastes. We
may
disagree as
to
whether
every
strip or
every
continuity herein
is art or
even
artistic. We
do
not
claim
that
the
volume
at
hand is
a
definitive comics collection (whatever
that
would
be).
We have put
together
a
selection
of
comics we feel are
interesting,
important,
representative,
funny, curious,
exceptional,
artistic
—and
the
reader, of
course,
will
take his
choice from among
those
descriptions.
Further
comments on
the
selections wdll be
found
in brief prefaces to
each
of the
several
period
divisions
of
the
book.
Extensive
discussion of
all
the
material in
this
collection
will
be found
in
coeditor
Bill
Blackbeard's
forthcoming
book
The
Endless
Art:
The
Literature
of
the Cotnic Strip (Oxford
University
Press).
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m
On
the
matter
of
authorship',
we
make
no
effort
to
disentangle
some
knotty
prob-
lems
of strip history. A successful strip
illustrator-author
might hire
an
assistant
to
help draw,
an assistant
to help
plot,
or
both,
at
one or more periods
of
his
career
—
or,
in some
cases,
an outright ghost or ghosts
to
take
over for
a
while.
Yet he still
might
retain an artistic control
over
his
creation.
(Or
he
might
not.
Indeed,
the trade
gossip
has
long held that
the
author of one
of the
most
successful strips of
the
1930s
and
1940s
never
drew the
feature at all,
even
in the
beginning, and probably that
gos-
sip
tells
the truth. However, such
matters
are
properly
the province
of other
scholar-
ship and
other books.)
The
pages
that
follow
have their share
of stereotypes
and
some
of those
stereo-
types
are
racial.
Comedy
and
melodrama
are
always based
on
the
manipulation of
stereotypes
of some kind, although
in
such
contexts we
usually call
them
stock char-
acters
or
traditional
types or some
such.
What
remains for
the true
artist,
of course,
is
to
bring
his types
to life
and relate them to
reality.
There
is
a
distinction
between a
simply
careless or
insensitive or even
racist exploi-
tation
of national and racial
types
on the
one
hand
and a quite
legitimate satire or
burlesque on
the other. But
such
distinctions
are
sometimes difficult to
make, and
American
artists
have
not
always
made
them.
The
distinctions
are
important,
to be sure.
And you will find in
these
pages
exam-
ples
of both unthinking racial
exploitation
and,
occasionally, true
satirical
observa-
tion.
In
the
popular culture of this country,
we are
dealing
with
an
art
to
which,
until
fairly recently, nothing
and
nobody was
sacred.
And in
which a
guileless
Irish
bum
(
Happy
Hooligan
)
,
a
confused
black janitor,
or
a
mysterious
Oriental
could
be
made
the
subject
or the butt
of humor or of
melodrama, fairly or
unfairly,
without
any
hesitation.
At
the
same time, we are
also
sometimes
the victims of
our
passing attitudes.
Thus
in
the
1970s we
are apt
to
find
the
conman
Kingfish
(
although
he was
portrayed on
television
by
a
skillful black
comedian,
Tim Moore) disquieting.
But
we
find Redd
Foxx's
Fred
Sanford
of
Sanford
and
Son
comfortably amusing.
And
we
acclaim
Richard
Pryor's
satiric
array
of scatological
black street characters as
examples of bold
and
insightful theatrical art.
Collective
attitudes
change. Perhaps
popular
insight changes as well.
But
comedy
and drama
both
remain, and so,
therefore, do
the
basic
types
that are
a
part of their
substance.
In
any
case, as
presented
here
they
are
a
part of
our
history, a
part
which
it
would
be
pointless for us to
attempt
to
suppress.
The
question
of
content and
meaning
in
these strips is one we
do
not
intend
to
pur-
sue further
in this
introduction.
But
it is a
question
quite
worth
pursuing,
and
one
that
would
encompass
collective
and
archetypical ritual; theatrical, literary, and
graphic
tradition;
and
contemporary
social attitudes,
conscious
and
unconscious.
It would
involve
the
individual
strip
author's intentions
as
well.
Harold Gray's
Lit-
tle
Orphan
Annie
clearly
invites us to admire the
sizable
empire-and-fortune-build-
ing prowess
of Daddy
Warbucks on
the
one
hand, and
the thrifty
and
loyal virtues
the
author
sees
as
encouraged
by
day-to-day
poverty
on
the
other.
Similarly, Dick
Tracy
was
frankly
conceived
by
Chester
Gould as
a
policeman who would save us
from
rampant 1930s
gangsterism
by
shooting
first
and
asking questions afterwards.
As
indicated,
much of the text of
this
volume
represents the collaborative
effort
of both
editors.
As
a
result,
the
stylistic
habits
of
each
writer
have been
set
aside
to
produce
a
harmoniously
unobtrusivebody
of
inf
onnation
to
accompany the
much more
important
graphic
content
of
the book.
Such
opinions and
historical
interpretations
as
are
set
forth
indicate
only that one or the other of us
held them; not necessarily both.
The
current
material
in Section
Eight,
included to
augment
the
general
appeal
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the
collection
and
necessarUy
limited
in
scope
through
space
considerations,
was
chosen
mainly
for
its
stylistic
or
thematic
relation
to the
older
and
earlier
material
in
the
book
and
does
not
represent, by
any
means,
all of the
current
titles
either or
both
of
us
would
like to
have
included.
By
collecting
and
juxtaposing
our
strips
as
we
have
here, we
do them
some
admit-
ted
injustice.
The
narratives
of
Segar,
Kelly,
and
the
rest
are,
after
all,
intended to
be
read in
daily
episodes,
and
each
such
fragment of
narrative
has
its
own rise
and
fall
and
an
implicit suspense
that
is
supposed to be
relieved
(and
then continued)
twenty-four
hours
later
with the
arrival
of the
next day's
paper.
But
we
have
placed
the
next
day's
episode
further
down
the page.
Read
them
with
that
in
mind.
And
enjoy.
Bill
Blackbeard
Martin
Williams
18
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a
Struwwelpeter,
Pagliacci,
and
Puss
in
Boots
Folklore
Figures
in the
Early
Sunday
Comic
Strip,
1896-1916
During
its
first two decades
the
new
comic-strip
medium
appeared
chiefly
on
large,
pulp
paper
pages in
color-printed
Sunday
humor and
magazine sections
of the
more
prosperous metropolitan
newspapers.
(
Tabloid-size
color
comic
pages
first
appeared
when the
Chicago
Tribune,
Portland
Oregonian, and other
papers
introduced
them
as a
paper-saving
measure
in
1918.)
Three
comic figures
of
popular
fiction
domi-
nated
virtually to the
exclusion
of all
others: the
demon
child, the
clownish
innocent,
and the
humanized
animal.
And the
demon
child led all
the
rest.
The character
also
appeared,
in
varying
de-
grees
of
rascality,
throughout
American
fiction
at
the
time
the
first
strips were
being
conceived,
notably
with
such
hellions as
Mark
Twain's
Huckleberry Finn,
George
W.
Peck's Bad
Boy,
and Edward
W.
Townsend's
Chimmie
Fadden.
However,
he was
perhaps
even more
luridly
and
seminally
rendered
in
such
earlier
German
popular
graphic
figures
as
Heinrich
Hoffmann's
Struwwelpeter
(
1845;
but anticipated
by
a
fig-
ure
in
Paul
Gavami's illustrations
for
Les enfants
terribles
of
1843)
and
Wilhelm
Busch's Max
and
Moritz
(1865).
The
premier
figure of juvenile
genius
and
subversion
in
the
comics
was,
of
course,
R. F.
Outcault's
Yellow Kid. He
was
almost
immediately
followed by
Rudolph
Dirks's
longer-lasting Katzenjammer
Kids
team
of
Hans
and Fritz,
which
had
originally
been
copied
directly from
the two
schrecklichkinder
of
Busch.
Subsequent
demon
children
of the
early
Sunday comics were
Outcault's
Buster
Brown,
Winsor
McCay's
Little
Samwy
Sneeze, Nemo's troublesome buddies
in Little
Nemo
in
Slwnherland,
George
McManus's Nibsy
(hero
of
a
short-lived
spoof
on
McCay's
Nemo
page,
Nibsy
the
Newsboy
in
Funny
Fairyland),
James
Swinnerton's
Jimmy,
Penny
Ross's
Esther
(in
Mama's
Angel
Child),
Tad
Dorgan's Johnny
Wise,
George
Herriman's
Bud
Smith.
C.
W. Kahles's Bobby
Bounce
(
continuing
in
the
strip
briefly
done in
1902 by
W.
W.
Denslow,
illustrator of
The
Wizmd
of
Oz, as
Billy Bounce),
A.
C.
Fera's
Elmer
(in
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Just
Boy),
Walter
Hoban's
Jerry, Tom
McNamara's
city gang in
Us Kids, Clare
Dwiggins's rural kids
in
School
Days
—
and
many others.
Almost
as
common
on the
early Sunday
comic
page was the
well-meaning,
even
saindy,
fool,
who
ranged
in
nineteenth-century
literature
from
Dickens's Mr. Toots
in
Dotnbey
and
Son to
Dostoevski's
Prince
Mishkin
of
The
Idiot,
but
who
was
per-
haps
most
popularly
rendered
in the sad
clown
hero of
Leoncavallo's later nineteenth-
century
opera,
/
Pagliacci.
Initially
introduced to the
comic
strip
in
Fred
Opper's
1900
Sunday
page,
Happy Hooligan,
drawn
for Hearst's
New
York
Journal,
clownish
inno-
cents
promptly
swarmed across
the
color
strips
in the guise of such characters as
Raymond
Ewer's Slim
Jim,
Billy
Marriner's Sambo,
Norman
R.
Jennette's
Marseleen
(a
clown
in
full
Pagliaccian
regaha), George
McManus's
Lovey
and
Dovey (in
The
Newlyweds),
C. M.
Payne's Pop
(in S'Matter Pop?),
Rube
Goldberg's
Boob
McNutt,
Winsor McCay's Little Nemo,
James
Swinnerton's
Sam
(in Sam
and
His
Laugh),
George
Herriman's Major
Ozone,
Charles
Schultz's
Fo.xy Grandpa,
and
many
another.
Not quite
as
widespread
in
the
early
Sunday
comics
as the two types cited,
but
a
close third in popular
usage and appeal, was the
humanized animal,
found
in
chil-
dren's
tales and
cautionary
parables as
far back
as
Aesop,
most memorably
captured
as a prototypical
image
in
Charles Perrault's
cocky
and adventurous Puss
in
Boots, and
abundantly
present
in
nineteenth-century
fiction,
notably
in Hans
Christian
Ander-
sen's
Fairy
Tales,
the monumental
Scenes in
the
Private atui
Public
Lives
of
Animals
by
Grandville
(J.
L
L
Gerard),
and
Joel
Chandler
Harris's
Uncle
Remus
series.
In
the
new narrative
art
of the comic
strip,
the
humanized
animal
was first
introduced
by
James
Swinnerton
in
the
figure
of
his
philandering
Mr.
Jack,
an initially unnamed
feline
character
who first
began to
emerge
as
a distinct
individual
in 1902 in Swinner-
ton's
popularly named
Little Tigers
feature.
(
Earlier Swinnerton cartoon
work fea-
turing
anthropomorphized animals, such
as
his
Little
Bears
and
Tykes panel of
1893,
and
his On and
Off
the Ark
of
circa
1900 and
later,
did not qualify as definitive comic
strips,
because of the lack of dialogue balloons
and/or individualized
and
regularly
recurrent characters.
At
about
the time
of
Swinnerton's
creation of the nattily
dressed
and highly hu-
manized
Mr.
Jack,
R.
F.
Outcault,
in 1902,
was putting salty and sarcastic
ripostes in
the
mouth
of Buster
Brown's
bulldog,
Tige,
and
casually
granting speech to
other
animals
in the strip. By 1904
Fred
Opper
had introduced
the
demonic,
high-kicking
Maud
the Mule
into
his
cast
of
comic-page
characters
—but by
then,
humanized ani-
mals
were becoming
commonplace
in the
comics.
Among
others
prominent
at the
time
were
Charles
Twelvetrees's
Johnny
Quack
and the
Van Cluck
Twins,
Gus
Mager's
Jungle
Folks,
the
Animal Friends
of Walt
MacDougall's
Hank,
J.
M. Conde's
Uncle
Remus
characters (Br'er
Rabbit et al. in
Uncle Remus
Stories), the
fantastic
animals
in Harry
Grant
Dart's The
Explorigator and
Bob
Dean's
Swots.
Sherlock
Bones
in Lyonel
Feininger's
The
Kin-der-Kids,
Sidney Smith's
Old Doc Yak, George
Herriman's
later
Krazy Kat
(made
a
Sunday-page figure
by 1916),
C.
M.
Payne's
Bear
Creek Folks,
and R. K. Culver's
Roosevelt
Bears.
Several
of
these
humanized animal
features
were
not true
comic
strips;
rather, like
the currently
published
Prince Valiant,
they
were
lavi.shly
illustrated
prose
fiction,
without
balloons
or
linking panels of action,
but
their
frequency
in
comic
sections of
the
time
and
their emphasis
on
animals speaking
intelligently
call for
their
mention
here,
if
not their inclusion
in the
body
of
this anthology itself.
Virtually
ignored
in
the
Sunday
comic
pages
of these
early years was
the
serious
male
hero figure,
fiercely
active in the
popular
fiction of the time,
from
Sherlock
Holmes
to
Tarzan.
When present at
all,
he
was
treated as
a
butt of
.satire,
notably in F.
M. Howarth's
Old
Opie
Dilldock,
H. A.
Mc-CJill's
daily
Hairbreadth
Harold
in
Hearst's
New
York
Journal,
and
C. W.
Kahles's syndicated
Hairbreadth
Harry.
Women,
considered
a.s sympathetic
heroines, received
little concern
until
Gene
Carr's
Lady Bountiful appeared
as a Sunday
page
in early
1920,
although
a
few
ear-
20
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lier,
illustrated-story
pages, like
Wallace
Morgan's
Fluffy Ruffles,
ran in
newspapers'
Sunday
magazine
sections,
rather than
with the
comics. Seriously suspenseful narra-
tive
continuity,
too,
was
simply
nonexistent
in
these
two initial
decades
between
1896
and
1916,
when
slapstick humor
was the
bell-capped,
starry-kicked
king.
on
strips
in
this section
The
strip numbers, in
brackets,
accompany individual
comments
as
an
aid
to
easy reference.
That's
the
anticipatory
grinning
face
of
George
B.
Luks
looking
down
on
R.
F.
Out-
cault's
Hogan's
Alley
characters
in
the
opening
selection
[I]:
Luks was
to
take
the
World
feature
over
from
Outcault for
Hearst's
Journal
when
the
latter left, after
drawing this final
page.
Johnny
Wise
[2]
was a
very
early
page
from Tad
Dorgan,
a
cartoonist
chiefly noted
for his
later, daily
sports-page strips. It
appeared
only in the
San Francisco Chronicle.
The
Little
Nemo
in Slumberland episodes
[11-14]
were selected
from McCay's
first version
of
the strip, which ran in
the
New York
Herald
between 1905
and 1911.
(Two subsequent versions
ran
in
other
papers.
The
first
appeared
in the
Hearst
papers between 1911
and
1914,
and the second
in
the
New York Herald Tribune
be-
tween
1924 and
1927.
Examples
of
pages
from
these two
later versions
will
be
found
in
the third section of this book.
The
appearance
of Lyonel Feininger's remarkable
Kin^der-Kids
[16-18]
page
in
the
Chicago
Tribune
in
1906
marked
the
first
occasion
of
a
regularly
appearing
comic
strip being
drawn and
imported from
abroad;
in this
instance, from
Germany. Edito-
rial
difficulties
arising
from
this procedure led to the strip's demise
in less
than
a
year.
Johnny
Gruelle,
creator of the charming
fairyland fantasy Mr.
Twee
Deedle
[20],
later,
of
course,
wrote the
Raggedy
Ann
book
series.
C.
M.
Payne's
Bear Creek
Folks [24-25]
was derived
in part
from Albert Bigelow
Paine's Hollow
Tree
book series
with
their
striking
J.
M.
Conde
illustrations,
and
more
remotely from
Joel
Chandler Harris's Uncle Remus stories,
but
it
often
reads
like
an
anticipation
of
Walt
Kelly's later Pogo.
Clare
Victor
Dwiggins's School
Days
[26-27]
is
notable
(aside
from
its art and
wacky
humor) as
having
been the
first
strip
to feature
the
screwball
devices
or
in-
ventions,
with
which
Rube
Goldberg
later
became
identified.
The Mutt
and
Jeff
Sunday pages reproduced here were among the first to
be
re-
leased in color, but
they are typical of the
earlier Sunday
black
and
white
pages
pub-
lished
in
the
Hearst press circa
1911-1913,
and
reflect the inspired slapstick
qualities
which made
Bud
Fisher's
team
one of
the
great strip
hits
of all time.
[28-29]
Gus Mager's
Hawkshaw the Detective
[31]
was the Sunday-page continuation of
his earlier
daily strip,
Sherlocko
the
Monk.
Originally
supposed to
be
called
Sher-
locko the Detective, the Sunday page was
retitled Hawksliaw
(
borrowing
the name
of the
detective
once
famed in
Tom
Taylor's melodramatic play
of
1863,
The Ticket-
of-Leave
Man)
—
with the name
of
Sherlocko's
associate, Watso,
changed
to
the
Col-
onel
—
because
of
threatened
suit
by
A.
Conan
Doyle's American
representatives for
titular
infringement
of
Doyle's
Sherlock
Holmes
and
Dr.
Watson
characters.
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Hogan
s
Alley
R. F.
Outcault 1896
[1]
OPENING
OF
THE
HOGAN'S
ALLEY
ATHLETIC
CLUB.
22
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Johnny
Wise
Thomas
Aloysius Tad
E>organ
1902
[21
I
.TOHIS-N '
AVISE
GrP^Ts^
TflK
DOTJBT.K
nROSS.
9
*M6
I»Mrt
JtMr
HIM
N«ME|M A
-VMAUU&T
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Buster
Brown
R. F.
Outcault
1904
/
1906
/
1913
[3]
24
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New ytxk
H«rold
Co.,
1905
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[5]
REJtolA/E
D
That
irr
wad itTo
Do
OVER
asA<H-
0»
WEtt.,
NtVER. MlNP.tVEHYBOPYKUSHfp.
LAUCHTIR.
l5Hffll.TrfY.
HUIHOR
ISSANlTV.
iANE.
HMLTKy
PEOPLE
LAUCH
AS
^^UCH
ASTMtyMN.
ITKEERJ TmEMWEUL
AND
HAPPY.
You
CAMT
BC
MAIWl/AIUJJ
You
ARE
WCLL./INDYouCANTBE
WELLIFYoUfAKRY
A
GROUCH
flROUNp
ALL
TheTime
• USTS
OF
JiCK PWrtt
Think
ThE>'
HA«
A
CROUCH
BECAWe
THtY««
5ICK.
ITS
TXC
OTHtRWAY'
TuEY
A«
Jlf<
BtCMSt
TNfV
HAVf <
S«OuCM.
CQIiSvO'*
Bo 'S
LETS
LAUSH-
ThaTJoR^Y
^
5Tufr
WoMTCcrVouANrrMiN«.
IFA
MAN
tWESToO^n
IKJURY
LAUCH euWSl.
Y«/W«E
NOT
_
.HE
one
WHO
DID
The
INJUR/
LAUCH
flHYHOV-
DoNf
WORRY
^/.
^m-fS^m,/
,
IJ«v»ipupcf
foaK
26
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Katzenjammer
Kids Rudolph Dirks 1911
of
f^
-|
[6]
jsiisiiii^er's
Revenue,
or—
IWFt
TKIY «t
THt
umt
3«»n<b
, wim
(
_
,
iOME
MORE
W
THEIR
r
I
iiomm' rwusiiNtii;
11 '
The Americon
Exomin«r,
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Hans
und Fritz Rudolph
Dirks 1918
Hans
und
F
ritz-A
Vadvester
^
^
^
By
R. Dirks
j^^L^^S;
©
Prea Publishing
L.>
llho
Now
York
World) 1918
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Maud Fred Opper
1905
MASTER'S
VOICE.
-+:4»<»»-
GOMIG
5UPPLEMENToFmE
BOSTON
AMERICAN.
«IUI.Y9&
1005
AND
HER
NAME
WAS
MAUD
Americon-Journol-Examincr,
1906
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Happy
Hooligan
Fred
Opper
1905
MfK
^'^
KtSC-i^lSg*
.liiuriJgra
COMIC
5UPPUMENT
o''
«
^
«of7RlGMT1^5
p/Tut
AMERICAN-
JOURNAL-EXAMINEff-
-^ ^
.>^-'-' -^
AIL
BRITAIN KtanTS
RXitRVE^
if
Happy
Hooligan
Dropped
Into
the
House
of
Lords
Among
the
GWiering
Throng
Were
N
tontmofency
and Clo
oniy
Gus
t9J
^
•
Ani«lcon-Jouri>ol-tKamin«r.
1905
30
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Jimmy
James
Swinnerton
1915
JIMMY
Pinkey
Gives
Him
a Clear
Explanation
oi
What
a
Symphony
Concert
Is
[10]
Slor
Comporty,
1915
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utile
Nemo
in
Slumberiana
Winsor
McCay
1908
Cll]
Ig.
WHAT
ARt
fitT
OCT
Of
.
WE
GOINC MERE.
A5
Wfl^
Now
Voik
Iteiold
Co..
1908
32
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[12]
New
York
Herald
Co..
1908
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[13]
£
Now
Vwk
H«rold
Co.,
1908
34
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[14]
N.;.-. v^-k
Herold
Co.,
1908
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Nibsy
the
Newsboy
George McManus
1906
[15]
SAN
FRANCISCO.
CAL.
I
.^..^.i
^
t
fttii.'iiwiig^iiWiiaarttfii^ijji^^
p
.
i
Publishing
Compony
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The Kin-der-Kids Lyonel FeininKrr
1906
tI6
(2
Tribun*
Componv.
ChicOQO,
III.,
1906
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[17]
i,
I„bun.
Compony,
Chicago.
'»
>'<>*
38
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©
Tribune
Cooipony, Chicogo,
IN.,
1906
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The
Newlyweds
George
McManus
1909
[19]
I
THE
NEWLYWEDS—
THEIR
BABY
^
By
Geo.
iVlcManus
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Mr.
Twee
Deedle
Johnny
Cruelle
1914
P^
^^vj7(S(S
—After
their
escape
from
the
tngry owTier
of
the
lake,
the friends
came
upon
s
queer
looking
luft
of gnat
with e^ht
flowsn
groift-ing
from it
It
looks hke
a
porcupine.
»aid
Mr. Twm
Deedle;
we'd
better not
disturb it
>^*^^ia
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The
Naps
of
Polly
Sleepyhead
Peter Newell
1906
[21]
'gV'
|._Peiiy
wa*
aiiiinQ
out
ey
ih« rabbtt^
c*g*
watchlAi
ni«s
niCbl*
carrou.
The day
«M»a
warm
and
It
^wa*
aJ
Id
do lo
kcvp
f
rorn go.r.9 to kl««p.
No.
fi.—
AU
at
onc«
aha
hcare
the
ehii
chit,
cMt
Of an
autO«
mobila, and aoon
vea aurpr.^Ml
to a««
nar
(ri«rtd
tha
Jokar,
aaatcd
la
a
b>«nd
nav/
macnma.
Ha
tock
ott
bia
&M,
aod,
bowing
profoundly,
aald
to
nor;—
-
—
—
r.
toSnaitow Land,
tha
fair.
naiyrvAa
bo rankly
inar«.
1
ma. my da<
unny pfant
No. 3.—
Polly
raadliy*.
In baalda tha
JoKar
Stia
ihan
noticad a
abcut
tha
driver.
TTia
amok* ^waa pufTtng
pipa
hati
Tha
Jokap
obaarvad
tha iniarM
10
akcita
in
the liuia girl and
aaldr—
*'A
vary
able
ehauFTaur, ha.
Kara,
Chlt-ehi
Miaa Polly,
vho
to
Sh»apw Land
>Mth
ub
rantbling
vary
peculiar inlng
oui
or
hiatail aiova*
ind.
lurnina,
bowad
vary
low
ici
I
bow ihal Via aMvaplpa
hai
v>aa
lib
ina
ocfupanta
of
tha
raar aaat and
tha
• of
iha
drauflht
from Ihr
crcwn
atnt
tham
nyino out
of
rar
Pontjna<«ly thay
w.ra not hurt Bui
tha Jokar
waa
«i»4 t^t
ha
Boundly
baraiM) Chil-chat
tor
hia
carclvia-
No S
—
Onca again Ihay look
Utair
placaa In ih
aoon
ihry wara
m*rriiy
l>owlinp aton'j tha
lana t
Shadow
Land, cnuraly
totvalttiT
a*
lately befallt
lof III*
mtahap ihai
had
i
IS
-In
an
the Joker
moiionad
in tha dlr
directly
balora
tham
and
aalc
-
'•
the
Dunny Plania.
my
daar;
go
pull
ona.
aAt
tha
root
You'll find.
If I
an
_.
...
.a
thay
arrived
B-
the
automobile. Thau
of
pt>^nm
Odd
looking plajita
•M>« at
fault,
lurky
rabblt*a foot.
[
i^^^wB
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Naughty
Pete Charles
Forbell
1913
®
New
Yofk
Hofold,
1913
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Mamas
Angel
Child
Penny
Ross
1916
[23]
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Bear
Creek Folks
Charles
M. Payne
1911
BEAR
CREEK
FOLKS,
neg'lar
election
[24]
BEAR CREEK
FOLKS
off
the
track.
[25]
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School
Days
Clare
Victor
Dwiggins
1909
[26]
'Sf*
%
SCHOOLDAYS
Going
Dpi
Be
Good and
Maybe
Pip
Will
Let Yon Side io
Hia
Elevator.
and
Ophelia.
%
[27]
-*
SCHOOL-DAYS
r^'i^r^iVK%'^\^:sX^tU^.'^^
I
and
Ophelia
^
^OK
OVT
PiP.'
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Mutt and
Jeff
II.
C.
Bud
Fisher 1918/1919
^
CICtRoJ
'I
[28]
MRi.
ttOiTi
MOTHtH.
_>^
MUTT
AND
JEFF
—
Eight
Dollars
Is Some
Money—
By
BUD
FISHER
i,
H. C.
f.sher. 1918
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[29]
©
H.
C.
Fiihc-r,
1919
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slim
Jim Raymond Crawford
Ewer 1911
[30]
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Hawkshaw
the
Detective Gus
Mager 1914
[31]
Hawkshaw
the Detective—The
Colonel
Is
a
Little
Too
Hasty
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m
Mr.
Caudle,
Sherlock
Holmes,
and
the
Artless
Dodger
Popular
Images
in
the
Early
Daily
Comic
Strip,
1907-1927
Comic
strips in
their definitive
form
did not
appear
in
weekday
newspapers
until
the
turn
of the
century,
when the
Hearst
daihes
began
to
feature recurrent
cartoon char-
acters
in black and
white,
multipanel
gag
sequences.
Some
were
in an illustrated
text
format,
but
most
were in
true
comic
strip
style
of
four
to
six
panels per sequence.
At
first they
were
drawn
by
Hearst
staflF
cartoonists
in
New
York
and
mailed to
the other
papers;
later,
some
were created
locally.
None, however,
appeared
regularly every
day,
Monday
through
Saturday,
until
Bud Fisher
began
his
A.
Mutt
strip
in
1907.
These early and irregular
Hearst weekday strips,
a
group
of
which
are reproduced
on the first page of this section,
were aimed
more at
adult
readers
than
were
most of
the early
Sunday comics, and their characters
and
attitudes
were therefore different
from
those
of the
weekend
color
pages.
This relatively
sophisticated
orientation was
retained
for
the
daily
strip
as
its
use spread
among
newspapers
and
the
strips
added
three
additional
figures of
popular lore
—
the henpecked
father,
the
omniscient
detec-
tive,
and the
luckless, therefore lovable, scalawag.
Married
figures
had
already
appeared
in
the color
strips, of
course,
but
virtually
all
of
these
fell into
the innocent
fool
category
{The Netchjweds,
Their
Only
Child,
S'Matter Pop?
and so forth),
while the
prototypical
image
of the
henpecked
husband
(with
its
countervailing
image of
the
domineering
wife),
which was
to
be
so
widely
utilized
in
the
early
weekday
strips,
appeared
only
indirectly in
the
early
Sunday
pages,
in
the form of the rolling-pin-belabored Captain in
Dirks's
Katzenjammer
Kids,
who
was not
married
to
the
Kids'
often irate
mother,
but was
her star
boarder.
The
classic
figure of the wife-beset,
but
cynically
struggling, husband
was
portrayed
often
and
well
by
Dickens, particularly
in
his rendition of
the
paterfamilial
worm
in
Mr.
Snagsby of Bleak House and the
foredoomed
Captain
Cuttle of
Domhetj and
Son,
but
he
was perhaps most memorably
set
forth in
popular
nineteenth-century
fiction
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as
Douglas
Jerrold's
vocalK'
berated hero
of
Mrs. Caudle's
Curtain Lectures
in
1865.
He
appeared
notably
for the
first
time in
strips
as
Gus Mager's Henpecko
the
Monk,
in
the weekday
strip
of the
same
name,
circa
1908.
Two
years later,
George Herriman
introduced
E.
Pluribus Dingbat
in his
Dingbat Family, followed
in the
strips
by
a
number
of
similarly browbeaten breadwinners.
George McManus combined
the
hapless
husband image
with that of the socially
rising
family (a theme long treated satirically in popular American literature
and
drama) in his daily
Bringing
Up
Father
strip
of
1914
in
the
Hearst
papers. Mc-
Manus's
Jiggs
was an Irish
bricklayer-become-millionaire, Maggie was
an
ambitious
virago of
a
wife,
and after
their
appearance,
henpecker\' became
a
stock
subject in
the daily strips
(
broadening
later
into
the
Sunday
pages )
: Sidney Smith's
The
Gumps,
Billy
De
Beck's
Barney
Google,
Gene
Ahem's
Our
Boarding
House,
Harry
Tuthill's
Home,
Sweet Home
(later
The Bungle
Family),
A. D.
Condo's
The
Out-
bursts
of
Everett
True,
Cliff
Sterrett's
Polly
and Her Pals, Bud
Fisher's
Mutt and
Jeff,
W.
R.
Allman's Doings
of
the
Duffs,
and many
more.
The all
-perceptive
detective,
a
mythic
figure
essentially developed
in nineteenth-
century
fiction
and drama
(the term itself
only
dates
from
1843,
when
Sir
James
Graham,
British
Home Secretary',
coined
it
in forming his
Detecti%'e Police,
a body
made up
of the
most
intelligent
London
police
officers
of
the time),
was
first
effectively
introduced
to popular hterature
as a
figure
of detached, analytical intellect
in Edgar
Allan
Foe's
C.
Auguste
Dupin
of
The
Murders
in
the
Rue Morgue
(
1841
)
and
as
an
image
of dogged strength and
hard-boiled
professionalism
in
Charles
Dickens's
In-
spector Bucket
of
Bleak
House
(
1853
)
.
But
it
was A.
Conan
Doyle who, in his A
Study
In
Scarlet
of 1887,
combined
brain
with cold
professionalism
and
strong
per-
sonality
in
a classic
version
of the fictional sleuth Sherlock Holmes.
The
Holmes
con-
cept spread
like
paper-fed
fire
through
popular
literature
during
the following
de-
cades
and
reached
the comic strip in
a
short-lived
Hearst
weekday
spoof
of
1904
called Padlock Bones,
by
H.
A.
McGill.
Burlesques
of
Holmes followed
in
other
strips, both
daily
and
Sunday,
but
the de-
tective's
most
famous
early
strip
avatar was
Gus Mager's
weekday
Sherlocko the
Monk,
who
first
appeared
in
the strip of that
name
in
Hearst's
New
York
Journal
for
December
9,
1910, later
to become even better
known
as
Hawkshaw the Detective.
The
Holmes
character
was
burlesqued
further
in Sidney Smith's
early
Sunday
Sher-
lock Holmes,
Jr.
for
the
Chicago Tribune,
and
as a
comic figure
in such
established
strips
as Dirks's Katzenjamtner
Kids, which
featured an
Eskimo detective
named
Sherlock
Gunk,
and Segar's
in
Thimble
Theatre,
which
involved
a
Gimlet
the Detec-
tive
and
a
Shamrock
Jones
in its
daily
continuity.
More
generalized
detective figures
appeared elsewhere,
as in Harry Hershfield's weekday
Dauntless
Durham
of
the
U. S.
A.
and
Sidney
Smith's
daily
Buck Nix.
The
third
and
perhaps
most
widespread
new figure
in
the
daily
comic strip
was
the
inept
but
charming rogue.
He
had
long
been
a
figure in
popular literature,
of
course,
notably
as Falstaff, or
(
more
recently
) as
Dickens's Seth
Pecksniff
in
Martin
Chuzzlewit,
or
Mark Twain's
King and the
Duke
in
Huckleberry
Finn, or in the
more
heroically
presented
Tom
and
Jerry
of
Pierce
Egan's
Life
in
London
and
Sut
Lovin-
good
of George W.
Harris's
American fables.
This image had appeared
in
the early
Sunday
pages,
but almost always
as
either a
subsidiary character (i.e.,
Long
John
Silver
in
Dirks's
Katzenjammer
Kids, or Rudolph
Rassendale in
Kahles's
Hairbreadth
Harry),
or
as one or more
titular
figures whose roguery
was
implicit, in
dress
and
manner,
rather
than expUct in behavior
(i.e.,
Alphonse and Gaston, in
Opper's strip
of
that
name,
or Tom and
Jerry
in Rube
Goldberg's early The
Look-a-Like
Boys).
The one
notable exception was Svvinnerton's
married
flirt in
Mr.
Jack
(
whose
weekly
strip
behavior
in
pages
read
by
children
upset
many
readers and led to the
strip's
being
relegated
to infrequent
daily
appearance
in the safe,
smoking-room atmosphere
of
the
sports
and
editorial
pages after 1904).
But
in the daily
strips,
with
their
essen-
tially
adult
audience
at the
time,
scurvy
vagal)()ndage
prospered.
Artless
Dodgers
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were
memorable
in such
early daily
strips as Bud Fisher's
Mutt
and
Jeff.
Clare
Briggs's
A. Piker
Clerk,
Gus
Mager's various conniving
Monks
(excepting
Sherlocko,
of
course),
George
Herriman's Baron Bean, Dok Hager's
Dippy
Duck,
Sidney Smith's
Buck
Nix
and
Old
Doc
Yak, Billy
De
Beck's
Barney Google,
Frank
Willard's
Moon
MuUins,
E.
C.
Segar's
Thimble
Theatre,
Harry Hershfield's
Desperate
Desmond and
Abie
the Agent,
and
many,
many
more.
The order
of
the
day in
daily
strips
between 1907 and 1927
was satire, cheerful
cyn-
icism,
and
subdued slapstick,
centered
on
helpless husbands,
burlesque
detectives,
and
inept
scoundrels. But
new
kinds of
strips
and
heroes did enter the
scene in the
1920s
and shape
the
character
of
all
strips
in
the
following
decade.
For instance,
the image of
the
self-reliant
working
girl in
an
office
background
enjoyed
its
most
extensive
use in
the
daily
strips,
and developed
in
the
1920s
in
such
strips
as Tillie the Toiler
and
Somebody's
Stenog;
it
was not
a
part
of the group of
prototypical
figures which
shaped
much of the
content
of the
initial daily strip
work.
on
strips
in this
section Gus
Mager's
Monk
strips
[34,
36]
ran
initially
under a number
of
alternative
tides,
reflecting
the
name
of the
character
featured
in
a
given episode:
Tightwaddo
the
Monk.
Knocko
the Monk,
Nervo
the
Monk,
and
so on.
Their
popularity inspired the
stage
names
given
to
four of
the Marx Brothers during
a
poker game,
and the team
used
them
during the
rest
of
their
career.
The
Desperate
Desmond
[37]
strip
was
named
for its
top-hatted
villain
protago-
nist;
the
opposing
hero was named
Claude
Eclair,
and
the heroine
Fair
Rosamond.
The
prose
narrative
under
each panel
was auxiliary
rather than explanatory,
making
the
feature
an
odd
combination
of
illustrated fiction and
comic strip.
Midsummer
Day
Dreams
[40],
the
Winsor
McCay work,
is
typical
of
a
large
number
of
daily
graphic
anecdotes
he
drew
at
this time.
Few,
if
any,
involved re-
peated
characters,
and no
comic strip
developed out of them.
The
A. Mutt
episodes
included
here
[41-46]
ran only
in
the
San
Francisco
Exam-
iner
of the time (Bud
Fisher having
been
hired
away
from
the Chronicle
by
that
paper
in
1907 )
and involve
the
first
appearance of Mutt's
later
partner,
Jeff.
The
cas-
ual
comic
use
of a
lunatic
asylum
as the
setting
is
typical
of the irreverent, freewheel-
ing
content of
the
early
daily
strips.
The
Family
Upstairs
[48-53],
first
named
The Dingbat Family, and
later
given
that
name
again, carried
the
earliest
exploits
of Herriman's Krazy
Kat
krew,
at first around
the feet of the human
cast of
the strip,
and
then
in a
separate
row of
panels
below
them.
The
family upstairs of the title
refers
to
a
mysterious menage living
in
the
apartment
above
that
of the
Dingbats,
none
of whose
members are ever
seen
in
the
strip, and whose
weird
doings drive
the Dingbats
to
a
frenzy
of
curiosity
and
animosity.
Baron
Bean
[54-77]
featured a pretentious, ragtag
bum
of similar
mien
to
Dicken's
Montague
Tigg/Tigg Montague of
Martin Chtizzlewit,
who was
often
at
fanciful
war
with his
strangely loyal
manservant. Grimes.
Stumble
Inn
[78-83]
was an extraordinarily lavish
daily
strip of the dimensions in-
dicated
in
the selections
here.
Short-lived
as
a
daily,
it
ran
for
several
years
as
a
Sun-
day
page
and
exhibited Herriman's fancy
in
a
somewhat
more restrained
context than
usual.
Dok's
Dippy
Duck
[84-91]
was the
strip-in-residence
of the Seattle
Times,
appear-
ing
only
in
that paper
and running seven
days
a week, either
on
the front
page
or just
inside. The
resemblance of the cocky
Dippy
to the
later
Disney
Donald
Duck is
self-
evident, reflecting a
common
human perception
of
the
nature
of ducks.
Buck
Nix
[92-95]
first
appeared
as a strip
outgrowth of
the
sidelines
master
of cer-
emonies to
Sidney Smith's
Chicago
American sports-page cartoons,
which
displayed
Smith's
comic
genius as
an
absorbing
storyteller. An audience
quickly developed
which
preferred
Buck
Nix
to
more formal
sports art. Hired
away
by the
Chicago
Tri-
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bune.
Smith
continued
Buck
as
Old Doc Yak
[103-107],
first
as
a
Sunday
page, then
briefly
as
a
daily in
order to
introduce
Smith's
new
strip
concept.
The
Gumps [96-
102].
The
second
group
of Bud
Fisher episodes
selected
are a
random
potpourri of
Muti
and
Jeff
[108-125]
from its
best period
in
the
late
1920s
and
earl\- 1930s.
The
reader
will
note the
descriptive
phrases
and
subheads
assigned
to the
early
strips in
this
section.
As
strips
became more
and
more
popular, and
more
and
more
widely
syndicated,
the
composition
and
addition of
a
daily
descriptive
subhead
grad-
ually
became the
prerogative of the
comics
editor of
each
subscribing local
paper, not
that
of the
author or the
syndicate's
own
editor. Accordingly,
we
have
dropped
the
subheads from
most of
the
daily episodes
which
follow
in
this
volume.
Mr. E. Z.
Mark
F. M.
Howarth
1907
E.
Z.
Mark
Makes
Protest
1.
MH.
E. Z.—
Look
h«r«.
ilr:
whit
doca Ihia
mMnT
Voy
K»v«
boon
fOllowl«o
mo
owof
•mco
I
loft
th«
train.
THC tHAOOWCn—Mr.
Mark. Vm
a
prUaU
do-
tactiwa
hirod
ky
Mro.
Mark
lo
follow
ai^
protact
jrow
ffo*
iKa
wtiao
o* th,
bwnke-otatm and
2.
MR.
E.
Z^Thla
la
on
owtraga An
Inaultl I'll
to
rtghl Into thia ato *
and 'phono
Mrs.
Mark
for
tho
mooning of
har inoo'ant and
uncallod
for
In-
to
rf<ran
eo.
THE
t^/AOOWER—Yaa,
olr;
aalloty
yowroatf
that
what I oaj
la trvo.
Lat mo
hold your
bog
until
yov
com« owl.
L
MRS.
HARKS
VOICE
OVER PHONE—
Vaa.
iti
ma.
What
la
tha
mattar
with
row,
onjrwajrT
No,
No, No.
No I
hlrad
n«
man
to ahadow
you. Car>
Ulnly
not.
Now. for
goodnaao
aaka.
E.
Z,
dont
tali
ma
yow
ara
akoui to
bo
buntiead
again,
Thara'a
oonMthing
wrong. Watch youroalf.
Oood-by.
4. MR.
E.
Z.
(ruohing Owt
of otoro)
—Vowr oUto-
mont Is
faloa. Vow
an an
Whjr,
whara
la
that
fallow
Vi
godal
OONB'
And
with
my
bag
con-
Ulnlng
ont
thousand dollars'
worth
of
nogotlabla
oocurltloo. WtOWl
DONE AOAINI
DONE
AOAINl
'
Mr.
Jack James
Swinneiton 1904
rVTR.
JACK.
^ASARAAftAA
)
Amoricon-Jowrnol-Exomlner,
1907
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ine Monk ous Mager
lyvi
rue
Hall-Koom
Boys
M. A.
Mcuiii
is*u/
Braggo
the
Monk.
The
tiall-Room
Boys.
THEY DO
IT
ON
S9.SO
PER.
[351
They
Steal a
March
on
the
Star
Boarder.
He
Can't
Keep
From Bragging.
Even
in
His
Sleep.
©
Americon-Journal-Exominer,
1907
©
Americon-Journal-Exominer,
1907
funny paper has
.
.
.
become
not only a
faithful
reflection of the
tastes
and
ethical
principles
the
country
at
large;
it
is
also
manifestly an
extremely
powerful
organ of social
satire. The
block of
cinema-squares
is the
medium
through
which the
vices
of man
are
held
up
for all to
....
The
few cardinal
virtues that
we
sometimes
venture apologetically to
call
our
own are
dis-
by
the funnies
as
comparatively
uninteresting
to the non-church-goer,
and as 'old stuff
to
veteran
of
the
Sunday-school
bench
or
the
straight-backed
pew.
All
of
them,
it
is
true,
draw
on
contemporary
mainners
for
their
subject
matter, but
the
genuine
masterpieces
of
the art use
merely
as
machinery
for
the display
of
the
essential
Satan,
the
unquenchable
'Peck's
Bad Boy,'
all
of us.
Brennecke
Real
Mission of
the
Funny
Paper,
Century
Magazine
,
March
192^1
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Sherlocko the
MonJc Gus
Mager 1911
Desperate Desmond
Harry
Hershfield
1910
[36]
Sherlocko
the
Monk
By
Gxts
Mtger
Despe;
VafA riAeiAnn<1
^
Picture
Drama
of
Love
and
Hate,
^
I
ale
LieSniOna
with a
nmU in Every
Picture
'0
[37]
;
N'olionol New*
Associolion,
191
©
New
York
Evening
Journal Publishing
Compony,
1910
Chantecler
Peck
F. G. Long
191
S'MatterPop?
Charles M.
Payne
1911
[38]
S'Matter.
Pop?
|K
|g
By C.
M.
Payne
(C
Pr«»
Publlthing
Co.
(The New York World).
1911
[39)1
IS
Preu
Publiihing
Co.
(The
New York
World).
1911
56
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iici ^uv
i^rcuni>
>vin>iur
JMCv^ay laii
Midsummer
Day
Dreams
[40]
t'oiijr'''
}••
•
'-
^-
'• v....,
\,,„,|
Bv
WINSOR
M'CAY
I
THINK
I'LL
RE-
TIRt FKOr^
THE
smoe.
UNLESS
OF
C0UR5E
THEY
PAT.
Ka
G OFFERED
ME
Five
HUM:u
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A.
Mutt H.
C.
Bud Fisher 1908
[41]
A.
MUTT
IS
SUMMONED BEFORE THE INSANITY COMMISSION
FOR
EXAMINATION
)
iijKW^n;
rffcrti
in rtgari fo .Un.'f
J
ment-Al
Itait
TO
a^aron
«WTT*5 -^htbi
ConD<T>on,SA«^—
•(
I
?^P'*Cr
Wtio
»*0
T*«r rV
lb
^-«.
'^^
P^tOnE^BhPOf
'I
S«
I^^rr
DC*-**,*.*
p:
—
^^•*T
-^S
St^te
t*M)
Alt
bm^iScsmthB
booby
1*1^
^riO
TB*T Tl*
eOC>B&
»**U:
OF
f«S
FATMnt
MBl-
•
I
l^iN,
Txe
0U>
AVtn A
[42]
DIVERS
OPINIONS AMONG BOOB
INSPECTORS
MUTT ASKS
POSTPONEMENT
TILL
TO-MORROW
y
Boob ,'if.-elor d{datet that ilatl
u
«•-,
wlif'tufci
Bco^ir
tnakei
ta<rt
at
the
Do.
««.*«caTricNOM^
^ ^
•ooena^eToe,
*•» -
^TTT
I*
HOT
^•»
»>%rrT
»w«
r
9ooe
e<f»%T
-
Sk*««T
c-
A«
0&TftiCk«
«»«o
ret
TUC
^r^
I'/
CCICO
-J-TT ..»•«
I
n«
p«pc««0 »<'»
[43]
THE
LOON
COMMISSIONERS.
AT
DEFENDANT'S
REQUEST.
SEND
HIM
TO
THE
BOOBY
CAGE
r
kaf trir4 nrrgtHnf Hit
•tf m-amlt
la
fa
tki
rn(r.
TS1>«0#IH«T
tVftCTAOM*
tO^'M
ON
[44]
MUTT
SPENDS HIS FIRST
DAY
IN
THE
BUGHOUSE AND
IS
WELCOMED BY ALL THE
BUGS
[45]
THE
RUDYARD
KIPLING
OF
THE
BUGHOUSE GIVES
MUTT A
LIVE TIP ON LEE
ROSE
A .Suf it*
J
taid^ivl
k'tit:i Iht
firfl
litft
tKi flma^fr ^
tif
tw ikt f*tlry
fOmU
•^S^KCMV
on
A
nnD
V,
(MKK&on
TH*
too*
tmx
Afc
^
con
«•»
Th«^ flMMT
58
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EFFORT
BEING
MADE
TO
HAVE
CITY
PAY
FUTURE
EXPENSES
OF
GREAT
MUTT
CASEi
[46]
U«..
)*..( ]t,
rt<i
»'••«
*<• .«
•CLl wit
rtxtnicovt
V>^Mt.
«I
^*
'^''*'' '
^^ '^O
a« TkT
»To*
1
Oftrt'T
f^tr
WHO
»Yr-
»-f
A. Piker
Clerk
Clare Briggs
1904
[47]
A.
PIKER CLERK
COMES
TO
THE RESCUE
OF CHICAGO WITH
A TIP
ON
THE RACES—KITTY
CLYDE
TO
WIN.
-•+•+•+•
A. Ptlicr u
iTovcdlr k rcneroo* mm. Be he&n
ot
IU70T Hutuod'*
won?
ora
tbi Uck ot
fl»nce* to ran
the city
prvpcrly.
He plsafu inio tbe brcAcL
Xttty
Clrd*
to
wis.
be
wbiapcn.
Tbc Haror
i«et
a ray of
bvpc
Take
tbu,
be
wn
u
b«
iuidi tbc
mnuapttl
btf
to
A.
Fikcr. OS to the bookmaker
(oe«
our b«ro.
Set to-d«r'i nc«
raolti.
The
Family
Upstairs George
Herriman
1911
[481
'iii&i
st«*.
louBi *yi ?^
'
ȣV/^
^
^1-
-_:.-
<
f
'-
Hottona\
N«ws
Atiociolion,
1911
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[49]
>
XVT
*
ilTIt» **tm
»
A^
#-
^€.
r
e^
^*rf?^
J
©
Notional
News Associotion, 191
I
[50]
©
hJotionol
N«ws Association,
1911
152]
I
Nalionot Nttws Associotion,
1911
60
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[53]
©
Naf'onal
News Aisoc.alion, i9ii
Baron
Bean
George
Herriman
1917
[S4J
©
tnternafional
News Service, 1917
HOLE
/*J
ctft
SHifi.
<s^^CHly,
t c«us
C*AJVA6t COM-M(Y>e£ Dft-t'MS
TWt.
CflJwflL.
tvMifw
i^Aves
cue
-swif
hi6n-aa;d
Dey.
1^^
we
Ptr4
CCitn-
/a;
the
wtt
,
> =''ce
wwrcw
~IJE. CC'M'MrrTtfi OF
ilQt'DS
Tl/«A-^
(7to
&(?*r
cwjCE
'Wofte ftois
^>
[55]
®
Internotiortot
News Service,
I9I7
[56]
[57]
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[58]
[59]
[60]
[61]
[62]
I Internotionol News
Service.
1917
62
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[63]
[65]
[66]
[67]
©
Inlernationol
News Service,
1917
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[68]
[69]
(Fl
International
News
Service, 1917
[70]
M- tW*T Nt
Ootsvr
MA^t
70
*j«&
TiiEy
Si,PHy
Alt.
To You^
-i^jb
y^
'
Cam
5MATH6
JuCT
ciffE
y-w«;
^27A
©
Internotionot
N«wj Service,
I9I7
[71]
r
[72]
inl«rnatlonot Newt Service, )9I7
64
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ie«^JlNaTo ST/^y uM>e* ivA ^ft
&o*^
Om'Aff
>tXJ
?
-
*WtetL.
»*E
HlktD
A
c
FlW/
.»
OtEf
JE«
FlSM
. TD
Tl>0<
(OV
tue
wac
Fish
/iitmco
cf
S7-«v/\6
(UOEIL
ht
VMS
SUCH
A
6M0 PVNC
7XOT1
IN
WOliuc
HE. HAB
OUtFONtp l>t
I
^lAVEO So
UNS
UTOtt «AT»ft.
VjlM
IE
PoOK FiSN'
DMwMDtD
I
f73)
©
Internorionol
Newi
Service,
1917
(74)
[75]
[76]
[77]
Internolionol
New»
Service, 1917
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Stumble
Inn
George
Hemman
lyzz
[78]
r
King
frotur«»
Syndicate,
Inc.
1922
(£i
King
F«atur«i
Syndicate.
Inc..
1922
66
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[83]
©
King Features Syndicote,
Inc., 1922
King Feolurcs Syndicote, Inc., 192
King
Feolures
Syndicote. Inc..
1922
[82]
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Dok's Dippy Duck
John
Dok Hager
1917
[88] [891
[901
[91]
68
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i^ix
oiuiiey
oiniui
ivii
[93]
BOtK
WAD
Btf
M
W*rrMi«r^
THE QOOf)
Sujp'NevPR
S'WX
AROm
T*iC
little tV'NDOW
I
M
T-iE NOtP|T*L
'.V&RD
View <^'TN
iTi
pnccioo&
CAR
wo
HELD AT
^ilH
HAPPlHCiS
AND
MiS
NATIVE
LAND-iFJ
WNHt
BTWi
&i»t
AND
LIPE-
&«e«iVtjLY A'tOWER
&TfttTCNiMfi OUT
BEFORE-
Mt«
-
[941
HANff
MOrDflCVU.f-,
HPT
•»
* ViAiTOff,
6ulK
MiJL
T6
fUHE Hli[4CAPC
^*0M
tHC4UA(tANrfMe
^UAftTFNS,
ME
(tCKU&6iN<i BLlTHSlt
4t.0«4,
\WhFW a
tAMli.iAR'PST.VCAiiSEs
HIM
T6 Tun**
nil
meab
.
t.OO«IN(T
A^bAE
Mftf
ERKWS
THAN
F*f
R,
THERt
iPTS
TXEOLDMAV
Of MVSTfRt.
BUCK N(K
0<fRCOMe8*
HISPHtFKf
PAiLSO
T»
»EGA'«r
HIS
EOyiLiBRioM
'
VTMJO
^
?'* '-^^^
A
Rotior
coAir.
•tm( irom
T>*tt
I
AM
ABOur
ronEcArf
k*S
••tVlBEti
-EAR
6
BY
EA^ioF
mortai.
m«
^rARS UPON
ItARS
«*»(
PAiiEP
OvrR
My
OARl
nEaO
SJ«|(t Fift
3T.
/N
''hE
SlOOmO
'WNCH-tNT
CKilOHOOe
,
THf StCRET WHuN l
A* AfiOor
TO
SflAff
W*i
W^ShCO
yPON »i
IT WAS
CvOiD
*OUN(,
MAN-GOUJI-'-TW
T£«ilBlf
C(y#iF
-
THtliRftO
for
PReMfORI WCAI}-,^
-TkE
VT»' «&
fOOP«»«W
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COWtiONi-t
WTM
ON fOl* »<
*«
J
J
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'i
WT
-Ui
OwABFeo
m
t
H^Utt *WD
NARPIC Wil (AtULTiei ,
LC«ri«(j
M£
A$ MU
itf
-
A
in4M ei.i*<U
-.Rtt .
WPTM
CfMtmiNtj
60 (6S<nCi
CREAKIAHiOttwri,
A Wtf
TOtKRrPASVVl,
S'0»«-T-.f
IjAMtftf O*^^
XHt
RWMEfvTS.
'ME LIT
(If
C-iiMIKBuH
FROMMCnTtRooR,
t*£«
ThE OumEI
Bf
AtiTh
(CuRRi
Bfron mi Tomffnt,
woiMtPl.
I
T «*
fc
©t(
f* tbf
cyBif
o»myi.iPE:
i
lOuEFTtO
A^AjMST
'XP
I
LiT
»KT
.IxC Acii<TAR>
*U(»t
OF
ftuK
MtRO
11
»e(M
LI O'tR
WrU
AND
OAlE.
QE^T
u^OV
TM£
i>WRA*lLUIi>6i
[95]
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The
Cumps Sidney
Smith 1917
[96]
INTRODUCING THE GUMPS.
Hope-
Gump
TWE-rAWVO
CAT-
OVbT/V
PLAIN
ORDINARY
_.
AMD
Klkl^^
CHESTER
GiUlAP
WHOSE
P6T
STONT
1%
VoRNiNft
IN
FALSE
ALA«tlA5>
ON Z.ERO
NKjHTS
to
iEE
THE
Fl?E
ENtilNt^
ftOBV.
WS
tATS
PICKLES
\N1TH
HI
^
ice
CREAsAS
.^
^NOREVJ
GUMP
VIHO
/
NVlENTECi
THE
FLOWER
POT.
H6A.LS0
INTROOOCED
TXE-
POLKADQT
TIE-
IN
T>1l5COONTR-<.
hE-HAS
SEEN
WORKlNli
ON
PERPETUAL
/MOTION
'=OR. 30
YEAeS
AND
I^^TftLKjH
—
XE
^MS
THEY'LL
KA'Jt
To
SHOOT
M|^AON
OUOCaMtNT
DAV.
t?^
T>te
QUK*^
HAKE
IMCOLLC^E
yCKs&UMp
--^>^
THE
BOl/LE-VARD
VA^Af»IRE-
r^i,
VilNOHAS
NEvEf?
MAO
A
KNOCK
OOT
SCORE-P
A<3Anl%T
HI^A»
HIS
PET
TRAINIftd
^tuNT
ISLl(.KIN(j
PLATED
EVEM
K^ORNrNU
TO KEEP
IN
TR(N\
NiNtm
GOMP
^N^^o
is
reaily
The
BSHiNScf
TXf
FAWllll
dtNTVE.LtXINll
AHB
tNOUR^Nti.
\NI1>I
A
oT^CWir
euTA
TERRAIN
The
Gumps new
mqnve-
ThEREARE
(AANT
STRANfat
RUIWRS
ABOOT
THl^
HOUSE-
SOTAt
iAY
TMEPtAtE
14 MAONTEO-
OTHERS
RoisiA^
^PT
THt
l*Ot.lCE
T>«INK
Tli
^
A
*^ENCE-
FOR
STOLEN
AvVOW\OSH.F-S.
we
SMALL
[97]
[98]
THf
^A/WLT
rnKT
UKtD
ftHE
BEfOW
WERE\buNUI
Of
«OU<»H HtCR.
HEWUSTKAilt
WtflT'T'lNTO
oCaHTMiS PlPt
f>N
THAT.
OH
VI
ELU
IXL
MA
TXAT
Mil
is
confusion
mTUEStlf
M0y4t
MOLb-
THEIR
PolhllTUI
AHR\>ltD
LAST
NI(»M»-
AT
IX
O
tkOC>C-^ N0»T»l«i^lM
THE
PIAHO WERE B«0(Clf4
AH^
^
VK.TROIA
RECORDS
AW\ASH10
LITTUCMtVIft
llfHn*E«1^RE
HI^M
IN
A
bUI)(AU
DRAWED.
HtVl
MI5IW\
I ^OTT*.
BLOW
\
[
out
LEMNiE
\
•
^ibNfT
awiiTji^
70
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[09]
[100]
'
—
^H^NEH,HBOR^A
UTTifrCLA^^,—
T»tY
HAVE-
OUST
aOUbHTA,NEW
PAR
1.0ft UAfV\P
A.N&
%HE
tif\\
DKlOEB TOUVWBEB
OWM NAT FROWy^iW.
^Cp
VMiNOOv*.
vtiTM
The
AiDO^
a
WACOvK
PfAlMtR
TVAT
«a«.8EEn8«<
OF APttniRC-fRAMt,
AGiLriED^nntit
AXt>Al-»ST(EAA4
^HAP( 4V4E-HA^
SET
Out TTi
<u««>St
^^fcMUl6AWB
Af»D
liA^/t
^^oNt-<—
<AAA^A/«^^^*.'i
•
RV—
BUCK
TVl
BOOUtVAI^O
VAMPll^e- li
STILL
AT
LARtiE .
TWef
THINK.
THt
OOti
tATCWtR\
tion
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[102]
Old
Doc
Yak Sidney Smith
1917 (precedes
The
Gumps
in
date)
[103)
[104]
[105]
^nt^ie^'Jf^S^
HAS
RCCClveO
NOTltt
FWOfA
HIS
LANDLOftD
TWAT
IP
•n*»
BtNT
PORTHi^
SPACE
1^ hOT PAID
By
^ATuRCAf
HSAHD HIS UTTLeCOM
YUTtM
WlLU HAVe
ro
leAWE
TmiS
PA6E
ANO
tr
WILL
BC
RENTED
TO
ANOTmEU
PAATT
—
Doc
MA^
But
•<*^
in
T>4C
BANK.
AWO
HA^ POOMlUO
TO
PAY
A
<«ft(KCR
ati-L
OF
TXtUt
1^
ONt
MOPt
—
IT
l^LlKt
PyiLlNti
TttTU.
HE
^YlLU HA\
Ml^ CA.K
Hr^
I.IFCL0N<1 FR»CnO
Ok&
i^&
-
't
WILU
PART
vs/iTM
THAT-
15%- >*t
wrV.L
AUCTfOH
IT
OP^
- vii50f«».y
NieA#«i
'
I
A^A
OFFtWNtj
A
CAW \
TKAT
i^
iuPtmoR ro
ah/
\
ON TNC ^AARKtT
TO
OAX
\
AT
ANY
PRICE-
A
CAH.
rWAT>
»AflH
CiO
RtGHT
OUT
NOV*
ON
TMt
BOUlfVA(tt>
AHt>
TI^IN^
ANY
TNIN&-
FOANCii
Q«tf
FIN
PBRCy
FORD O^ ANY
BODY.
A
CAR
TNAT HAi
^TOOO
TMt
TEST
OP-
YEAW^, THAT
HAS
auMpeO
tVCR^i
bu*A(>
PROfA
HKKC-
TO
aLt-NCOtAMD
BA^K
IF
XOU
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ir
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SPAi-
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-
f NOYfr
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OF TmC
aoDX
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THAT
FA^HlONAALt
CHiNpStCOWL
AND
THJ-N ao
UNDtft
The hooo
and
take- it
APART
NUT
6t
NOT
60lT
BTf
BOi-T
-
I
DCFT
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FiNOA
FLAW -
TAKE
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BRlNb
YOU**
OWN
CAR£
-
TV<EN
COonT
ThE
NUfABBROF
bPOKpV
NOW
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—
I
OFFER
THii
vvON0eRFUl-\
plfcCt
OF
y<ORK»AANiwiP
THii
#AA&rERPlEC£- OP
H<JMAN
'NQENU'TY-
FOR
SAUt-
,
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(T
COOK3
PARK
PO(%
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MC^-t*
MAYC
A
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T'ME
PAYIN*
T>iAT ^ftO<-eRT
fliL*.
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ALONE
3rAYIN<3
ON
>*H1%
PA<»6-
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[106]
[107]
Mutt
and
Jeff
H. C.
Bud
Fisher
1927
/
1928
/
1932
[108
®
H.
C.
Fiilwf. 1927
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[112]
[113]
^
li.
M. C. F.ih.r.
1928
74
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IN
BUYIM&
TOU
TUG
FTtOWV
•an
tfbNty
»
I
[1141
[115
[11
[i
£
H.
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[1211
M\iTT
THtMMS
1%
&»l*A&
THG:
ICCMAW
STlU -
CALL
OU
MRU
GlwBATTte
wHCM
MR.
GlttBATTL*
LASr
MftMTM?**
HA
-HA-
ha:
OOWAH.'
THAT'S
THt CTOFF-'
[120]
H.
C.
Fiiher.
1932
76
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has
mt.
-reuju
UIITM
Hit
CYHOia
C01.UMW-
[122]
[123)
[124]
[125]
©
H.
C.
fisher.
1932
have
that
fallacious
feeling of
absolute
knowledge
that
a
first
edition
of
Theodore Dreiser will
only the
value
of
its covers
for
a
quaint
period chocolate box
in
2000 A.D., whereas
the
copy
known of three
famous
comic
strips, say
'Mutt and
Jeff,'
'Andy Gump,' and 'Krazy
Kat,'
from their
beginnings,
cut out
and
pasted
in
endless
oilcloth-covered
volumes
by
an
invalid
of
the epoch
on
an
isolated
fann,
will
have
something
like the
value
of
the
original
manu-
say,
of the Book of
the
Dead.
Bolitho
Strip,
Camera
Obscura
, 1930
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**No
No,
t-APV
NOT HIM
?
THE LITTLE
BITTY
FELLER WITH
THE
DERBY
HAT? THAT'S
MICKEY
McdUIRE
TOONERVILLE
FOLKS
B^
FONTAINE
FOX
SUNDAY. DECEMBER
21,
1930
TOONERVILLE FOLKS
Seaaonable
Trials
fontaine
Fox
« -•
U% IM OU
THERE'S
THAT
KtP
NOW
IT'S
eONNA
BE
DARK
IN A
MINUTB
AND
MAY»E
I
CAN
NAB
HIM
?
I
WONPen
IP
M«
PHONEP
THE WIFE TO eCT
THE
KID/
AWAY
?
HE'S
STILL ^A
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m
Old
Cunning
Stagers
Long-Lived
Stars
of
the
Comic
Strip's
Second
Two
Decades
1916-1936
This
section
of
Sunday
pages
is devoted
to
famous
and
long-surviving
characters
brought
to
hfe
in
the
multitude
of
comic
strips which
packed
the color
comic
sections
of
the
1920s and
early
1930s.
That
was
the
period
in which
weekend
comic
sections
went
from four
to eight
and
then
to
sixteen
pages,
with
the
Hearst
papers
initiating
a fantastic
thirty-two-page
tabloid
section
in
1935.
And
that
encouraged
the
proliferation
of
new
strips
from
the
dozen
or
more
syndicates
which
were
by
then
supplying
an
insatiable
newspaper
market.
The
old
and
established
strips
seemed to
retain
their
earlier
places
through
the
floodtide
of
new
titles,
and
a
few
of
the new
strips
(Moon
MuUins
and
others)
displayed
the
qualities necessary
to
match
the
audiences
for
the
classic
works,
and
to
continue
through
the
subsequent
decades
with them.
We
have
included
a
short-lived
but
very
typical
new strip
of
the
period, The
Smythes.
This
was also
the last
great
period of
full
Sunda\'
pages
for
each and
ever\'
strip. In
the
1940s
half
pages and
even
one-third
pages for
major
strips
gradually
became
a
common
and
accepted thing.
The galaxy of
the
comic strip
never again
was
to
glow
so brightly
as during
these
last
marvelous
years of
its
springtide.
on
strips
in
this
section
The
Smythes
[126-127]
represents
one
of
the
few
occasions
(but not
the only)
in
which
one
of
the circle
of Neic
Yorker
magazine
panel
cartoonists
ventured
into
the
comic
strip.
Rea Irvin,
the strip's
creator,
did
these
Sunday
pages for
the New
York
Herald
Tribune,
whose comic
section
was
marked
by
a special
sophistication
and
restraint.
The
Gumps
pages
included
[128-129]
are
typical
of this immensely popular
strip
of the
1920s,
whose
saucy
familial
banter and
obsession
with
cars
suited
the
pubhc's
fancy.
The
Old
348,
Andy
Gump's
large-licensed
auto,
was
inherited
by
him
from
Sidney
Smith's
previous
Sunday-page
hero.
Old
Doc
Yak.
Cliff
Sterrett
was,
after
George
Herriman,
the
unbridled
and
unflagging
graphic
master
of
the comic
Sunday
page. In
fact,
Sterrett
took
his
popular
strip of family life
so
far
from
formal graphic
reality
that his
syndicate
became
alarmed
and
ordered
him
to
restore
some
measure
of
comprehensive
nonnality
before
his
readership
abandoned
him
in
the same
perplexity
with
which
they
reacted
to
Herriman's
Krazy Kat.
The
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pages
of
Polly
and
Her
Pals
reproduced
here
only
suggest
the extent of Sterrett's bril-
hant
graphic work
in
the
late
1920s
[130-135].
These later
Moon Mullins
Sunday
pages
[138-139] are
concerned
with
the
first
ap-
pearance
in the
strip
of
Moon's
earthy Uncle
Willie,
an event roughly similar to the
first
tentative
introduction
of Mrs. Gamp into Dickens's Martin Chuzzlewit.
This
second group
of McCay's Nemo pages
[140-142] combines examples from
the
strip's
second Hearst
period
(the
first
two
selections
of
1912)
and
its
third and final
period with
the
Herald
Tribune
( the
last
selection
of
1925
)
.
As
can be
seen,
McCay's
imagination
did
not
flag,
although
his
graphic
verve was
hampered
by
the
Herald
Tribune's
policy
of
a
standard
twelve-panel
format
for
most
of
his later
work.
The unforgettable
images
of C.
W.
Kahles's
delightful
cast
of
melodramatic
char-
acters
are
showoi
to
advantage
in this
example
of
Hairbreadth Harry
[143]
from
Kahles's
last
decade
as a cartoonist.
In
the mastery
of
strip graphics,
few
cartoonists have
equaled George
McManus,
as
these
two
selections
of his
Bringing Up
Father will demonstrate [144-145]. The
humor
he sustained
over
the years in developing the
familial
conflict between
Jiggs
and Maggie
is
also well
evidenced.
Included
here
are
the
Katzenjammer
Kids
pages of Harold
H.
Knerr
[146-148],
drawn
for
the
Hearst
papers from the
mid-1910s on, after
Rudolph
Dirks
left
Hearst
to
continue
his
strip
elsewhere, and
now
called The
Captain
and
the Kids. Both
Dirks
and
Knerr
have
their
partisans, but they
were
both
ingenious
in handling
the Katzen-
jammer menage.
Barney
[149-150], the
rogue
and
vagabond
strip
ne
plus
ultra,
along
with
Frank
Willard's
equally
perceptive
Moon Mullins
[138-139],
caught the
raffish, des-
perate,
yet
raucously
colorful
quality of lower-class,
pool-hall-and-race-track life of
the
twenties.
Billy
De Beck
even extended
the
scope of his strip to the
expatriate
Paris
of
Hemingway
and Fitzgerald,
as
will be
noted
in
one
of
the
selections
included here.
De
Beck's
later
turn to
backwoods
hillbilly
life with
the
introduction of
Snuffy Smith
in the early
thirties
probably
resulted from
his own
distaste
for
the
grim
decade
which
replaced
the
roisterous twenties,
and
his attempt
to
find
an idyllic
world
to
re-
place
it.
Frank
King had
a
highly fanciful
way
with
his
Sunday-page work
which
is often
overlooked
in
discussions
of
his
cradle-to-maturity family
saga,
Casoline
Alley, fea-
turing
Uncle
Walt
and
Skeezix. Here
we have
reproduced some
of
King's finest pages
[151-156], including
one
which
mildly
parodies German
expressionism,
one which
brings
the look of
woodcuts to
the comic
strip, and others which
startlingly follow
the
twelve-panel
progress
of
the
characters across
a
full-page field of static
back-
ground.
Rube
Goldberg's
Booh
McNutt
[157-158]
was
one of the few
major narrative and
suspense
strips
which never
appeared in a
daily format,
running from start to
finish
as
a
Sunday
page only.
The
two
examples
shown
here are from
the strip's
earlier, anec-
dotal
phase.
Merely
Margy
[161]
was
the comic
strip of
John
Held,
Jr.,
renowned artist
for
College
Humor and
other
youthfully oriented
publications
of the period.
Like most of
Held's
popular work,
Margy reflected
the view of college and
flapper life held
by
most
collegiate
youths
of
the
time, from coonskin
coats to hip
flasks.
Somebody's
Stenog
[
162]
was a Sunday
page
of fine graphic verve,
a
point
which
has
sadly
been lost
because of the feature's
later
reputation
as a kind of
second-string
Tillie
the Toiler.
Harry Tuthill
was
the Louis-Ferdinand Celine of the comic
page,
and his
bleakly
jaundiced
view of lower-middle-class family life ( happily offset by a
wild sense of
humor
and
a
fancy which filled
the
later
strips
with
gnomes,
enchanted
mice, fairies,
magicians, and
time-travel
)
is well
reflected in the group of early 1930s Bungle
Family
pages
reprinted
here
[
163-169].
George Herriman's
Krazy
Kat, the apogee of comic-strip art
and
narrative to date,
puzzled
so
much
of
the readership
of
its
time
that
many
Hearst
chain
editors
pub-
80
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lished
the Sunday
pages only
under
direct orders
from
Hearst
himself,
who
recog-
nized
and appreciated
Herriman's fey
genius.
However,
Hearst had it
printed
in
the
weekly
drama
and
arts
section
of his
papers,
where
it
had
to
run
in
black and white,
rather
than
in
the
full
panoply of color which
Herriman could
put to the
stunning
use
demonstrated
in Section
Seven
of this
collection.
Virtually all of
Herriman's Sunday-
page work between
1916 and 1934
accordingly
ran in black
and white
(except for a
brief
group
of pages
published in the New
Yor^
Journal
in
1922)
and the
preponder-
ance is reflected in the selection reproduced
here [170-172].
The Blondie
page is
typical
of the
early strips
[173].
Our
Skippy
selection
demonstrates
Percy
Crosby's
early
unfettered
strip
humor
and mobile line
[174].
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The
Smythes Kea
Irvin
1»30
[126]
82
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[127J
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[128]
<&
Ih«
Chicago
Tribune.
1924
84
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HAND »V \
^V\RtVJ
^5^
^
^
[129)
drama
oP
idvenlure
and
Uirilh
^
'M»0
\\
POURlMCi
OUT
«>»
VKKT
f^OKVUIte
VvKW&N*
0>R«i\OlE
SKVXOON
KVlD .CROVVM*-
s\\^
vrn\.t
tviPT<
^ootA
/
CAMT
WEVP
£»CS«Ces
KMtEIRS
roef
EvE>»
TMCBE
MMUb
OE
HI
MiH
n>
(w^.
1
<,u ihp
Chicago
Ir.bune
1926
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PoUy
and
Her
Pals
Cliff
Sterrett
1926
/
1927
/
1930
[130]
Polly
and
Her
Pals
86
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[131]
Polly
and
Her Pals
i:
Nr-w.cacor
r.-otv-f
k .
<o
St.. 1927
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[133]
©
Newipapcf
Feoturc
Service.
Inc.,
1927
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[134]
i^
h4«<w<popwr
ftiOtuic
Scf^iCu. Inc., 1927
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I
l:J.5)
Polly
and Her Pals
fe)
Newspopcr
Feature Service.
Inc.,
1930
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Mutt and
Jeff H. C.
Bud
Fisher
1925
/
1928
[136]
MUTT
AND
JEFF
-:-
They
Fire
Off
Seventy-Five
Poands
of
Giant
Powder
-:-
By
BUD
FISHER
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[137]
FAT?
AND
JEFF
Mutt
Needed
a
Blow-Out
Patch
By BUD
FISHER
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Moon
Mullins
Frank
WiUard
1927
[138]
Moon
Mullins
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ri39]
iicogo
Tnbun*,
1927
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Uttle
Nemo
in
the
Land
of
Wonderful
Dreams
WinsorMcCay
1912/1925
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[1
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[142]
<5
N«w Yo<k Tribune.
Inc.
192J
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Hairbreadth
Harry C. W,
Kahles 1924
=^3^
[143]
n^iXUQ-l
C.W.
KAHLES
iSNT IT
wonderful
ITA
WONDEK^UL
A(£
WE'RE
1.IVIN6
to$Mie
*NP
evERrmiN<s,You
know'
LOVE
TO
MEET
ONE
OF
THOSE
',
WHOSE
SOUi
VIBRATES
)te
AMOIUTE
ANP
YtW
IS
IN
COMMUWIO*
;
IWVISIBLE.J
WELl.OFAUreRSONfi
PEL16HTED,
I'M SOKE.
LAW
INNE2-VI22
HOW
LOVELY
AND
ETHEREAL
YOU'RE
i,
LOOKINg.MY
PEAg
'J
AMO
SO
T«15
15
LITTLE KNOTT
THEYCK'
WELI'WHAT
ASTUEff
LITTLE
OW
HE6
OETTINfi
TD
BE'
lAST
TIME
I
SAW HIM
Ht
WAS
UsrH
A
jPKfTE
Of
A
i:XllD
I
'
HOW
iNTn?EsriN<;.
RUDOtPH
IS
ONEOFTWSE
PilCHIC
PERSONS
ME,
BUT
THOiE
WEBE
FRiENOS OC
f
OF THE
INVIS4BLE
yvOELD.'OFCOUtSE
I
iArfT
SEE
T>fEM
IJUCESS TOU ARE
TUMED
VIBRATE
^
FklENO.
BELINDA
BUNKS
/
I
WEIL.IF THIS
»4N'T
THECOONTFiS
iNorri-Nirril
i
never
a<w
you
I
LOOK
30
CHAPHAHOUS;
THIS
ji
A
TREAT,
IM
SURE
PARDON The
INTEI^KUPTlON, MY
PEAR OXJNTESS.'
THAT
LOW u
VUL<jARIAN
has no manners.'
ALLOW
ME
TO INTKOOUteMTj
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Bringing
Up
Father
George
McManus
1918 /1920
[144]
BringngUplather
It's
Too Bad
Mo-'iahan
Didn't
Get There Earlier
and Have
Some
Fun
p^^t-^^^*
Star
Cuiripony.
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[145]
COMIC SECTION
or
THE
SAN FRANQSCO
EXAMINER
November 14,
1920
Bringing
Up
FatLer
WONT
>kUI_Ow
VOO'bE
Ifl
TOO
V/C <.OTT*kCIT
TO
e*** ^^
*>N>r
ci<.*^Q*)
12
em
in
tiOMenow
INTO
•^o*-t' -^
—
^ mB^YOO
COi-ie'vjlTH
COT
A
r^^J^_NE
Dl^4TV.'
,^^B
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Katzenjammer
Kids
Harold
H.
Knerr 1925
/
1926
/
1932
[146]
The
Katzenjamiiicr
Kids
VCKJ
»u\^
f^ ''< '^'i*'
RicvAT
^v^r ojwe^l'iEN
ot*?
vjn
l>
8l*WK
1
Tou
\V> Soi^t
UNO
I'M
J
IS^
OF ?
ffVPTL^
-
—
®
Inlornolional
F»otufd
Servic*. Inc.,
1925
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„
l^rtA, MWE
TO
\*/a.\T,£AlD
MR
OoRStT.
l^tWuTj^AS
(O
(MWT.fAlOMR DO«V*.T.
YouXV
H^Vt
To
VNft'T.5ft>a
fV\
,Don5tT_-
j
I
^^SV
VAll.CO>.M<ZMe
)
.
RUBBtR
COR&ET
'.
[147]
Internoiionol
feature
Service,
Inc.,
IW6
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[148]
King Footurei
Syndicate.
Inc.,
1937
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Barney
and
Spark Plug
Bill\
Do Beck
1929
Z
A'M-r
ACT
youst
Tb
0« muTwm
*«eT.
u*vt
1
(
y-
pew
K«ei»
v€«t
^ ^
»* '^«SS't
V
,
X
Teix'*otj&*
WOT
X
vnr
tl49J
uAvK
you
^j«Ne«.
wtA^oo^
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AND
'^
^y
Vi«»*t:vmi«
&OVT
vow
I
Barney
Google and Spark
Plug
CAKTE POSTAlye_
SAO
efc^eo^o'^
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OET
lo
ste
I
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S»GmT^
here
^
\
ANJO,
SO
FAR..
TmS
OCT
ANvTmpSJG
rVE
A
van
ofAKEwcwi toubists
1
V
IHr C/wP^
LtJ
THE
MclNTMftBni.
m-
tiTn:
AVftb BEKwe
THe.V>OUC€/
vHHIVeu.UUT
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IN TVO,
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DeSCRVPTioM
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HIM
•
Tf^&C
SftY H€,
Y#V£
TT«/
PlBRCti
1.0<K1 «
-AW-ri-Hr-OdUINT,
KUN AND
IMSTBADQF
THBCllSTDCIfiW
sefiET
HavtfsS yjwRiNG
a
shiny
J^
King
Features Syndicoto,
inc.
1929
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[150]
Barney Google
and Spark
Plug
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CasoUne Alley
Frank
King
1929-1931
[151]
'^
^\
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[152]
Ih«
OilcoBO
Trlbuiw.
19
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GB&iAmeAlley
[153]
Ky
ine v_nicago
i
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£154]
£)
Tho
Chkogo
Tribune,
19
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(155)
Th« Chicago
Tribune.
1931
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i,
Ihc
Cli,.jao
Iiibu.K-
1931
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Boob
McNutt
Rube
Goldberg
1919
/
1920
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\ <cAM
Ler
you
i.
\0^
1
Ap'\RTMexx
For.
30,000,000
'
IS
FtFTY
oe>JTS
I
MOKiey.
I
THiiOfc
I
I'lL
Moye
V
VJP
TO
MACS
COMIC
SECTION
THB
SAN
RANQSCO
EXAMINER
April
18,
1920
R((iii><xi t:
e
r«t*M
ncM*
Boob
McNutt
C
Slor Compony.
1920
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Happy
Hooligan
Fred
Opper
1925
[159]
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S'Matter Pop?
Charles
M.
Payne 1929
~|
l.i<it1TNiky',
IT
Mt
bo
MUCrt, /
I'm
too
mJ
TiETvweehj
Tf+A
KiT^EW
..':~mrT
_._«_ -
,
A
I
-Tt-R^^OT
To'Pt?OTeCT
'
''/ilMSi€L-F Sufficient
.--V*
8
Ball
SvndlwH,
Inc..
1959
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Merely Margy
John
Held,
Jr.
1930
[161]
King
Feoturej
Syndrcote,
Inc., 1V30
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Somebody's Stenog
A.
H.
Hayward
1931
The Back'Seat
Driver
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The
Bungle
Family
Hany
Tuthill
1931
/
1932
/
1930
[163]
BUNGLE
FAMILY
ONE
MORE
FRIENDLY
LESSON
By H.
J.
TUTHILL
a*rs, GeoRise
I
JU3T
SAWV
THOSE
,
\fl*'^NGLeS
V«*£XXJNG
WAJ_K
AND 1
TWCVRf
AND
i
TWI9
LOOKS
J
n-l
J
I
SEE
aOMCTMrNO
MOVIMS.,..
MOVIN9.
VDU KJCK ON
TMC
OOOR, HAROOI..
WW4IU£
I
WNO
H.
J.
Tuihill and ^AcNaught
Syndicate. Inc.. 1931
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>^^^
THE
BUNGLE
FAMILY
TROUBLE
ALWAYS
MEETS
CEORCE HALF
WAY
AT
LEAST
By
H. J.
TUTHILL
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[165]
BUNGLE
FAMILY
TUTHIU.
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[167]
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[168]
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[169]
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Krazy
Kat George
Hemman
1922-1923
THIS MOST AMUSINa COMIC
KRAZY
KAT
APPEARS
EVERY
DAY
IN
THE
NEW
YORK EVENING JOURNAL
C«fftnr»t. IKS.
tv
lalw>klt«^
Fwiw Svrw.
\uHicfc
*e
To*i.«i-n;s
Hat, ^i cHUcik
6«£>we;^.
To m>AtV
5
P»3«>A
,
^OU-S -V
IT W6At
/V
'THt
fetLATwes ey 6t»'Aj&
His
'HAiett
CD
Inrvrnotional
Faotur*
Sffrvics,
Inc.,
1922
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Krazy
Kat
[171]
By
H
erriman
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Blondie
Murat
Chic
Young
1933
[173]
©
King
Feofures
Syndicote,
Inc., 1933
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Skippy Percy
Crosby
1930
I
S1CII»I»
I^erey
Qrogiby^
|
M«YMAP. But
to
cowfiNuf:
WHICJ
r
AM
WOT
AT
5UJ0RDS
POiNTi
uiTM
TMS
Cosmic
MCSiACC
OF
A
SHftLtV
*S
MANIFEJT60
iN'PBOMfTHfUS
OWeOON0, wf
MOST
TAKE
C06K>lZANCe
Of
rut
pANTMflSTIC
P0CT«IN£S
of
UOOOSu'oerH
YfH,
r
BfMfMSfR
rwe
SIXTH
T/ME
I
KAp'TRfAJoee
IJ£.AND I
LtHtD
THAT
pABTWttflif
W
Got
his
arm
X.MOST
SHOT
OFF
VP
on
TH6
MAST
IT
Slim
TO
Mt,
MY
FBiCnD, that
VOO HAVf
A
PeoCLlViTY
TO
CO
IN
fOff
Th6
SANGUINARY
Sort
of
thiws.
this
roietc.
/•wouch
for
a
-flMf
i
IVf
P
OOnjN,
MAY
PR0V4
RttRoOtSCfNT
U)£tt,
UIHAT
I0K.L
YOW;
THf
ON0«AT0P0«IC
VACUfS
OF'COtePlOCt,
OR,
iHAtC Ult SAY THOJC
OF
A
CONTEMPORARY
SOCH
AS
CMfSTfRTON
IN
HIS
if
PANTO,.
OR
IINOSAV
IN HIS
CON
60
?
m
THfY'S
A
PART
IN
TRtASoRE
IJtANP
<<jHeB£
JIM
t
Hioes
IN
A I
BARREL
p
•iiir
M
MY
ONS0tlCIT£0
ADV1C6
IS
THAT
YOU C(XT)V/ITT
TASTES
THAT
CAN
M
PUSSOEO
WITH IMPUNITY,
SOMCTHINC
MORE COMPATiece U/fTH
THf
/
ADOLESCENT
Mind,
cood
pay.
my
friend.
©
Percy
L.
Croiby
ond King Features Syndicole.
Inc.,
1930
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m
Sunny
Toonerville
and
the
Darkling
World
Anecdote
and
Narrative
in
the Daily
Comic
Strip,
1917-1933
The
reality
of
death,
and the recurrent
threat
of it, on which
adventure and
detective
fiction
are based, came to
the
comic
strip
in
the
winter
of
1925,
quietly,
unexpectedly,
and somewhat obscurely. There had
been
hints
earlier:
a
few
men
had
been
brought
low
as
part of
the
plot
mechanics
in
the
movie
satires of Ed
Wheelan's
Minute Movies
and Chester Gould's
Fillum
Fables,
but
only
as
jests
poked
at
the
mayhem of some
silent
film melodramas.
And
a
cold-blooded
murder plot,
which
had
been
hatched
against
Oliver
Warbucks in
Harold Gray's
Orphan Annie
in
mid-1925, built some
brief suspense but
ended
farcically,
with
the
plotters
booted
offstage. Roy Crane's
Wash
Tubhs,
which
had
begun in early
1924
and
was to become
the
greatest
adven-
ture strip of the
1920s,
had
not
yet
moved
beyond
comic
melodrama
and
village
ro-
mance, with
an
early
seafaring
treasure
hunt
handled
largely as
knockabout farce.
In Phil
Hardy,
however,
a
new,
short-lived
daily
strip of late 1925,
and
in
Out Our
Way, an
established
daily
panel
anecdote strip
with
recurring
characters
and settings
by
J.
R.
Williams,
a
good
deal of
realistic
blood was often
shed in
full view
of
the
reader.
Out Our
Way
was
distributed largely
to
rural
papers
and
second-string
urban
afternoon
dailies, so
that
the
impact of
realistic
death
in
the
comics was
somewhat
muted. But
the
opening
note for
serious
action and
adventure had
been
struck, and
the monopoly
of
humor
on
newsprint
space
began
slowly
but
with an
accelerating
pace
to
yield
to
suspense
and
melodrama.
A
few
established
strips
moved
to
suspenseful
adventure,
notably
Crane's
Wash
Tuhhs,
Gray's
Orphan Annie, and
Smith's
Sunday
Gumps. But most
of the
new
em-
phasis
came
with
new,
largely
daily,
strips such as
George Storm's
Bohhy
Thatcher
(1927),
Gus
Mager's
Oliver's
Adventures (1927),
Hal
Forrest's
Taihpin
Tommy
(
1928),
Lyinan
Young's
Tim Tylers
Flying
Luck
(
1928),
Monte Barrett's Jane
Arden
(
1929),
Rex
Maxon's and
Harold
Foster's
Tarzan
(
1929),
and
Phil
Nowlan's
and
Dick
Calkins's
Buck
Rogers
(1929).
After
1930
came
the deluge,
permanently
altering
the
content of
the comics
pages with
crime
and
adventure
strips
Skyroads, Jack Sicift.
Dick Tracy,
Scorchy
Smith,
Dickie
Dare,
Patsy
Ming Foo,
Little
Joe,
Dan
Dunn,
Donnie,
On The
Wing, Broncho
Bill,
Brick
Bradford,
and
others, endless.
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The
major
humorous strips
held their
own, retaining
the static shape of
yesterday
and
the da>^ before, much
as
^^
. C. Fields
and Laurel
and
Hardy
brought
their
earlier
comic trappings securely and successfully into
the
sound
films
of the thirties.
The
daily panels
of Toonerville Folks
and
School
Days
illuminated the
pages of
the
daily papers.
Moon MuUins
and
Minute
Movies continued
to
spin
irreverent narrative
of a
high
order.
There were
as
many laughs
as
ever
to be
had.
The
comic
strip
had
grown and performed
an
amoebic split
into
two
spheres of appeal,
but almost
noth-
ing
was lost
in
the
act,
and a great deal
was
gained.
Notes
on
strips in
this
section
Out Our Way
was
a
curious
strip
in
that
it
alternated
among
as
many
as
four
separate
anecdotal
series,
involving
four
separate
sets
of characters
and
settings,
devoting
one
or
two
days
per
week
to
each continuity [175-178].
Moon MuUins
and
Barney
were two
of the
great
daily
narrative
strips
of
the
1920s
and 1930s, as the
selections
included here will attest [221-319], (Dover
Books
has
repubUshed
two erratically
condensed
but
still
delightfully
roguish Mullins
narratives from 1929
and
1931 respectively.
Another
stor\-
strip of the
period,
which
held
readers
for
several decades, was
Frank King's Gasoline
Alley,
but
this work,
extraordinary
as it
was in some ways
as a
chronicle
of
an
American
family,
and
unassuming
as
it
was
in
its
stance
and
tone,
does
not excerpt well:
it
depends heavily on
the
reader's intimate knowledge of what
has
happened
before
in the strip, and to
whom.
The
same
is true
of the
daily
episodes
of
Sidney
Smith's
The Gumps,
which were
remarkable
in
that they
gripped
millions
of
readers with continuity on two disparate
levels: that
of
a
straightforward,
bathetic,
and
deadly
serious melodrama
and
that of a
hilarious
and
deeph'
engaging takeoff
on
their own
outward
content. There is
httle doubt
but
that
Smith, a
Rabelaisian and
ir-
reverent man
of
comic
wit
and imagination,
knew what
he
was doing to
his
readers
on both levels, and as a
greatly gifted
storyteller
was able
simultaneously
to
satisfy the
expectations
of the two
groups. But
the story
line
is so
complex
and
extensively de-
veloped
that
any
excerpt of less than
eight
or nine
months would fail
to be
self-
explanatory
as
a
unit.
Regrettably,
therefore,
the
daily
Gumps,
as
well
as
the
daily
Gasoline Alley, have
been passed
over in
this collection. Both
surely
deserve ex-
tended,
carefully
edited, anthologies.
Roy
Crane's
Wash
Tubbs
(published in
a
companion
Sunday
page
as
Captain
Easy)
is
reputedly the finest adventiire
strip
of
its
time,
surpassed
only after
1934
by
the work of
a
man who
had
self-admittedly
been Crane's
devoted student: Milton
Caniff and his Terry and
the
Pirates.
The
Wash Tubbs sequence reprinted
here
is re-
garded
by
its devotees
as
the
graphic
and
narrative
apogee of
the
strip [320-426].
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Out
Our Way
J.
R.
WilUams
1925
/
1927
/
1932
/
1935
[176]
[178]
©
NEA
Services, Inc., 1932
) NEA S<rvices,
Inc., 193S
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Bobby
Thatcher
George
Storai
1932
Wev6R
HACT
NOeOOV UKS
T«E
PROFESSCR
CHARGE
BEFORE
WB
KMOW
SOiwEBOCV
HBLPED
HIM
DOWN
WI-TH
TMATT
SIGN,
BUT
HE
WOh'T
SAV
who
HE
JUST
SET3
M
THE
CALABOOSS
AND
WOHT
TALX
AMO
WOhV
eat
HI
©
Bell
Syndicale.
Inc.,
1932
©
Bell SyndicoK
1
UE
PROCESSOR
WAS esGM
IM
TME
CALASQOSe
reHES
OAVS,
Al«0 STia_
ME
WOMT
TBLL.
how he
OOT
THAT
SICM
DOW>J
NOR
WHAT
HE
DID
WITH
THE
COLD
FILLIMCS
HE
HOOKED
FRO*
THE
OEMTISTS
OFFKie
HE
WOnV
TAKE
THE
MOHE/
HE
PlAlO
US
EITHER.
•••
^
like
TO
DO
-/ SO-STHIM'
TO
MeiJ».HlM^
BUT
1
OOnY
vV.__r_—
r
KHOW
WHAT
?AuT
DARK
FORCES ARE
jy
MOVIMC
TO
FURTHER
,
CCXPLIOTE
THE
SCrE«TlSTS
TROUBLED
AFFAl*2S---
THE
DREADED
COVE
GAMO
IS
EHTERINC
THE
VULLAOE
TO
EFFECT
HIS
RESCUE
IM
TWE
eCUEF
THAT
THEY
ARE
AIOIMC
A
PARTMEFi
IN
Crime
THE
SILEMT
VILLAGE
IS
WRAPPED
IH SLUAHSER
AHD
THE
Clock
im
the steeple
STRIKES
otte'.'.
ell Svndico
lO'FF
TOLl.y
-'
AMD
THE
MOST
RESOLUTE
MEMBERS
OF
TME
DREADED
COVE
C^XC
ABE
GROUPED
AROUND THE
CALAaOOSE,,.,
THE
OnlV
SOUNDS
TO
BE
HEARD
IM
THE
SLUMBERIHC
village 'S
the
distaht
BavihC
of
a
watch
ooc--
JUST
THE
SAME weos
CONNA.
Tai
you
OUTA
TUBOS
FOR
rOUH.
OWK
GOOD---
' V
OLD
RAP
ALWAVS
SAO
'A
BIRD
OH
A
LIMB
S'NCS
SWEETER
THAW
OME
IN
A
If'
Bell Syndicate,
Inc.. 19321
[ XIhe
stout
bars
of
the
calaboose
WINDOW
DIO
NOT
LONG
RESIST
THE
MIGHT/ Blows
Of
a
sixteeM
pound
spike
aaaul
wrapped
in
burlap.
WIELDED
By
biff
toll/
Himself...
l-^^
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[184]
[185]
[186]
[187]
idicaie.
Int., 1932
—1
[188]
ALBeRX
PETTIBOHE'.
BEWARE
'.'.
THE OUTIAW
CHiEP
IS
A
v«lC<EO
AMO
desperate
mam'
mo
cooo
cam
COME
OF
T14e
FRlGWOSHIP
VJHlCX
ME
TMRUSTS
UPOM
vou'
S
B«ll
Syndicate, Inc..
1732
7/17/2019 The Smithsonian Collection of Newspaper Comics
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O
S
WAVIH' no
BORROW
A
CC^
86CAUSE
THE
PROFESSOR
WAMTS
A
CLASS
OF
MILK
FlRS-r
THIUC
rt3u
KWOW
Bin=Ll.
WAVE
VOO
1M A
KITCHEN
AP»e?0>4
BAKIW
ANCeU
CAKES
>
FOB
»
tJ
MUT JP
amo
oowt
LCX
THIS
SCOW
SWIWC
»
THE
r-',_,»^
CuBtaeMT...
I
^^
^MEBBE
THE
PROFESSOR.
DO»T
V/AKTA
PUT
IM
WitM
US
BECAUSG
HE
TMIMKS
WEtJE
POUCH-WSCXS-
...
WS'ul-
ALl_ SLICK
UP
Fo«
MtM
AWHILE
>
WHEN
HE
GETS
A
LOAO
OP
THIS
OUTFIT
HEVl
KUOW/
TH6RES
OMS
CEMTLEMAH
1
the:
PACK
II
5»nd)coi8.
Inc..
1932
Minute
Movies Edgar
Wheelan
1929
ED
WHEEL
AH
prcscorff
m?
COMEDIANS
IN *
fcURLESQUF
OF
•DTW
OOlltOTE:
DOW
K,
IlONG
ACO
IN A
CERTAIN
SBON
•^iSg
\;iLLAfiE IN
LA
UOOCWA
IMERE
LWED
AN OLr>
<JEmT
UMO
HAD
REiiD
«3
MANy
-n?UE
STO»eS
IN
TWE MAGAZWES
njfcr
WE
WAS
AiuiAVs
see
INCr
WIN&?
.
IN SPiTe
OP
THE
FACT
TVIca WE
AJEVCl?
TonCUFD
A
PROP
—
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[193]
[194]
UWEELbH'S
SlAPSTiCK
PART
d)
(aJftcr
being,
-meoujN
fob
A
LOSS
By
TUE
WlNDMliL
WUICH
HE
MISTOOK
FDR
A
'GIN MIU.
,
DON K.
UiAlGV^y.
THE AJUTT/
KMISUT,
«/AS
PRETT/ UIEIL
BUNCrED
UP.BUT/loT
D)S-
HEARTENEO
„.-
SlieNOE.POOl,'.'
UIUAT
AM
I
A CRAVEN,
A
COUIAfsP,
tWAT
I
SHOULD
CEASE
MV
EFRORTJ
To
MAkTEJJE
MOJLOJ
SAPC
FiSR'-
TUftN
H
OF
1
NO-NO-ATWOU-
Si>ND
TiMCS
I
SHOUiDn
-SAV
NOT-
OTTMSfoiriT
OUFS
THEME.
50N(1, C CIN
k.
UAuewTy
I
LOVE VOO*
IS
softlv
INTRODUCED
ON
THE OBOE
[195]
faithful
STAN2A
SUCCEEDED
DOH
HS
STKED
,
AND
so.
THEy
KODE
For
TeouBiE
-
UJUEEIAN'S
K.
coNie
ON. Fellers.
UTS
K>40CK
TVllS
SOOFy
eOV
FOfe
A
Row
OF
ASH
'
CANS
;:
;
'~^Al
/iND
now
A
GREAT
CROWD
OF
RUNMEtSS.
EN&A&ED
IN
A
I
CI?0SS-COUNTtey
MAKATHOM,
APPROACWCP
DON
k. -
_ui.
o.
[196]
IHFUBIATED
D(2A<WEC
SELF-
APPOINT-
P(?OHlE>niON
OFF
HIS
Moi?se
Gave
MiM
WORKS
'-
[aJfTer
it
uas
/'
All
OWER.TWE
V
ll
FAITHFUL
FKlNCHO
STANZA
GATHERED
OP
THE
REMAIN?
And
off
the/
SIABTED
for'
MOMC
-
COME
TD
think:
OF
(T.
Good
Rxncuo,
MAyse aj
LiTTiE
di?ink
noui and then
/^EVEG
HueT/
^
AMVBOD^^
/
svsrW 4.AA
iSj
-i*
ysA
AGAIN
7/17/2019 The Smithsonian Collection of Newspaper Comics
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^cuuui
i^ay5 »--iare
v
icror L/\\iggms lyiii
/
lyzo
/
lyzo
/
lii'^b
/
lyzY
Vtemoxl
tVoW
C0I«
AIL
-^
T
-
^--
.^
[
®
McClure
Syndicoia.
1723
1 McClure
Syndicate, 1953
7/17/2019 The Smithsonian Collection of Newspaper Comics
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®
McClur. Syndicole.
IM7
©
McClure
Syndicole,
1926
7/17/2019 The Smithsonian Collection of Newspaper Comics
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vm
IM
McClure Syndicate, 1927
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ToonerviUe
Folks
Fontaine
Fox,
Jr.
1917
/
1924
/
1928
vjHe.H
HE
DOESN'T
GET
A
Good
running
stakt
THE
SKIPPER
HAS TO
USE
A
•SPCCIAU
EMERGENCY
POWER*
To
GET
THe
CAR
UP HOMAn'S
}\IUU.
7/17/2019 The Smithsonian Collection of Newspaper Comics
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fl\f.
A^ATlVfeS
ALWAYS iAY^ASKTMe
SMPffk
WHfH
Att-iohle.
ASKS
WMY
THC
TRAdKS
WSRE
UAIP oUT
Zld
ZAd
oN
MAIhl
S-r(^E6T
,
Mov^
Lof/a
MP IT
-TAKf
2 iii
To
FiaoKP
OUT
THIS
MYSTiei^Y
?
frit £)<i)JJV
i-rfTlt
couucee
BoV
wjho
6-fooO
RiCrt-t'
Ov/fe«
rne.
SH6».t PlPt torW/sce
v<1*.aRiiJ6
A PAIR of-
rnose.
wiofc
fAAWa-
(C»fr i' -
1***
*y
^' ^* Srnd-«tt.
iiK)
YSTaRS
ArJp YPARS Aao, WMChi TMC
SKlfffR
WAS
iTlUL
A
YoUPJai MAf^,
MIS AMSlTloM
WAS
T
»*<iOMt
A
l.oCOMOTl>/^
0ti^lf4eeK .
^fU^'t
^^^^:^^
—
Ai^o
fVeKi
oricf ifJ
A WHILE
\fji\t.r4
Hc
thikIk;*
no
oNC wilu sre HirA
hc
ri-AYS
A SArAP
OF
t-ET'S
rReTfr>/P.*'
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[21
[220
3Cfj
1684
v/Hehi
-THF
sKirreK
col/ld
LICK ANIY MAhi
llJ
-THC
CoUaJTY, ME
HAP
TrtE
TffACKS
1-AIP
OUT
TMAT
Way
eecAose
ne
was
ai^o
villasf
LAMfi.icHTe'/^.
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Moon
Mullins Frank Willard 1928
[224]
«
Th«
Chlraso
Tribunt.
I93(.t
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[225
[226]
[227]
[228]
fcl
The
Chicopo Tribune.
1928
7/17/2019 The Smithsonian Collection of Newspaper Comics
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232
The Chicago
\r.bune.
1928
/ MOOm^WlwE'.
CAM
NtXJ
N
/
IMA.CilNt
tUCM
A
NiWNV?
/
EivPT
MA^
FLEW OFF
TH^
I HAMDUE
BECAUIt
MAJCX9
SLOEPOINT
CjlVE
I HER
THAT
EV-EtiAtJT
\ ORAV40 P\AM0
when
\
SHE
WA'S
EXPECT(KJ'
/
A
AuTVMoeiii
Foa
/
HEB BIRTHOAV
\PACK
OP
AHO
CO AWXW
[233]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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TtStlN.
l/7_
^
__H
EMMV-.
GET NOU
*.
OUTSIDE
BOOM
EICiHT
OOUUJIS
AT
h»V
BETTEO 6eT
ME A
IMSlOe ROOM
ECiVPX-
rr LOOKS
KINOA LIKS
[234]
MlJt
HGa
,
.
I
V/CALTWV
BLUEPOINT,
COOO-evE .
HAVING
LEFT VN
A
HUFF, A*40
SCHMALT2.
NOT
SEINCi
ABLETO
Hlh^
.
—
AMD
IN
THE
0LOAMIN6
WHEN
HE
CALLED WITH
A
PEACE OFFEPINO.
LITTLE
DID
THE OALANT
MAJOR
SDSPECT -THAT
THE OIRLOF
HIS
DREAMS
WAS FAR,
FAR
AW«<
^
ANJO
AT
THAT
VERV
-^^
MOMENT FiaUBlN<,
OHjJ
Puttimcj him
BAS>*^'5>
INTO
ClRCUljiKgO^
•
^\
The
Chicago
Tribune,
1928
HtAVENUY
OAVs
>
[235]
HOW
COULO THAT
WOMAN
THINK
I
MEANT
THOSE
FOQ HER?
DID
I UUN
LIKE
A
WHEN
SHE
RE^OINO
THOT
OF SENTIMEMTAL
.
I WROTE
TO
^IHW
MUST
EyPLAIM
THIS
H«cr
V^HO
STICK
UNCLE WILLIES BACH A
IN
TOWM—
WHAT-LL
\
HE
SAV IF
HE
FINDS
.
OUT
-you're
GET-nN'
I
,
FLOWERS
FROM
ANOTHEW
I
^
ODV, MAMIE?
1^
,
OHt
I
M16HTA
KNOWEO
HFD COME
BOTTIMO
IW
JUST
THE
MINOTE
THE
FIRST
MAW
VJITH MONEV
EVER TOOK
A
FANCY
-to
ME
Orr
VOOR
U6Uf
FACE
AWW
FROM MEVJEl
ciTAW*«<-
The
CHicogo Tribune,
1928
[236]
£; The
Chicago Tribune.
1928
[237
The
Chicogo Tribune,
)928
Hcoe
.oocToa-
vou
TAKE
CHWICE
OF
THE
hAAJOQS
VALUAB\.ES--rHtV'n£
5APE
ENOUCiH
KEQE
SO
FAO
AS IM
LCOh4CEC NED
OF
COURSE,
eoT
\
THEOEi
OUST
Me
AhJD
KtocMSKOlE
I
HEOE
AND
L DOMT
WANT
KiO
S*_>SPiOOKtS
CAST
MN-
WAV
W
CASE
AKiVTWlMOS
M>SS\M'
VJHEN
•
OET3 BACK
HIS
rAEMORY.
[238]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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OH
-THEtre VOU
ABE
EGVPT-IVE
BEEN
UOOKIMO
HIGH
AND
IJDW
FOR
VOU
TO R6AO >OU
HIS
LETTER
I 005T
FROM
AOONSHINC
.
•••V.vi3-
/*7
FOB PIXV SAKES
'
r
ave
too
to
unoerstano
I
VOUT^O
MAN.
THKT
X
WOULDMT
PAt TWEhTTX
FIVE
CE»^TS
tO
SET
OKI THE THROME
WITH
THE
KINO OF
EMOLAMO,
HISSELF'
TWEKTTV-Flve
CEKT5-
POO-noOH
—
«UCM
CRUST.
''fev..'
VJELL
TOCONTINUE
WITH
THIS
EPISU-E
MOONSHINE
SAVJj
XUf
Atr»~^-
L
NOW ISNT
THAT
J05T k*Y
UJCK.EOVPT-THE
WEAtTHy
fAAJOR BLUePOIHT HEU>LESS
IN MY
VEPY.
OWN
HOUSE ANO
ME
AWAV^
TSK-tSV<
fca
V^*^. CM;
l^*r<»^
»
£:
The
Chicogo
Tnbune.
19J8
MOW,
Mr
OEaA
nephew-
VOOSE
SHOUUONT
TDIN
/
WE
dOWN
UKETHAT
WHEN
I
AST FERA
3UOHT
LOAN-
,
ONE
RELATIVE
SHOULD
AUWAVS
BE
HAPPV TO
HELP
TCHE
OTHER
.
(
HELLO.
VUkMlE-
I
OUST
SEEN
VOOR
DEVOTED
HOSaANO
DOWN
'
I
THE
STREET.
T
The Chicago
Tribune,
1928
[241]
rr
/weu.>«eoeAB
'
LITTLE
WOMA^
PCTST
I
BOU6HT
ME
SELF ANEW
. DINNER
SUIT-
ITHEN
AOINNCP
WHKT?
YOU
BACK
HERE ae^/att^ACAJM,
WlLLIAMt
MOONSHIHE
SMD
HE
<yve
NOU
A
QUARTER
VtSTEOOaf.
,„^,,
„^„r^
BWMATO
NOJ OO
WTTM
Tt?
1
ANO
TO
THE
-r—l
—
»r
IT-,
^THEATER
AHO
A
r^
^|»
/
/
jOLC^<
NJOHT
CLUB
AFTER
^jJ^T /
WHICH I
REMTEO
MtiELF
J^i>5o
VARooM»A^THeom.
I
'^^\
rr
COME
ON WTTM
ME.
BUM
tM
OONMA
HUNMOO
IN
WHAT
FOR?
f
W *.
FOR
BEIN
A
aOKA
THAra
WHIT,
f
OFFICER
-
--OAWN
N-OU AINT &Crr._/
HOWCAN
AMY
VISIBLE
MEANS
OF
/
\OUSe
SAY
SUPPORT
-
l^iZ^
HCV.MAMIC
'
POKE
VER
HEAD
OOTTH'WWBtR
AND
LET
TH'
OFFICER
TAKV
A
LOOK
AT
The Chicago Ir.bore.
1928
[242]
WHAT
nJTHB
WOILD
15
EATING
,
ON
-yOUSE.WN OEAH?
you
COT
A
LOOK
ON
NOUR FACE LIKE
A
CAT
CAUtjHT
IN
CHICKEN HOUSE
--_
XI
M.
WILLIE,
HOW WOLn.O
VOU
LIKE
TO
OO
FOR A
Nice
LON6
WALK IM
THE MOONLIOHT?
/^WHy,tAV
^
DEAH
fAAMIE-
THAT
WOULD
SUIT
ME
_
JUSTQ^NOY.,
^-y WK
tr n. O*—
^
A
8UMP
ON
Hit
i
eEAKl.
EH?
I
W«LL..H«R«hAMOTWeR
1
TO
KEEP IT
COMFAmy
kj \
3NAKC
t4TX
CRASSI
:^^^^
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[2141
[245]
POINT
BEeKJ
BEFORE,
TIMES
6V
CEOQOE.MR MULLINS-
IT NA/A-S WIMO
OF
VOL)
TO
COKAE, SIR*
VOU
UMOEB
STAND
THAT
t
AM A
^TRANCjEC
\m\our.
CITV
AMO THEV
REFUSE
TO
ACCEPT
MY
CHECK
IMPA/MENT
A
S1UV.V
JlOfiE-FiME-
l
VJOMDER
iF
I.
COULD
TftOOBLE
VOO
TO
OET
IT
CACHED
FOR.
ME
SO
t
CAM 6ET
OLJT
OF THIS
/
BEA-STLN-
^
TTrTT
TnTm
BUODV
VOU'BE
r
^
-c^
FADED
J^/jl\\
[246]
The
CKicogo
Tnbune,
1928
weiXOME HOMe
-rwiS-NOTASOLn-^
STATION TO
MEET J
JM
JAvlL.
VVMBRI IS
/
-THANK
A
heaven
[247]
[248]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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7/17/2019 The Smithsonian Collection of Newspaper Comics
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©
The
Chicago Tribune.
1928
MV
CjOOO
WOMAl-i
t
A^A
VMIU\_1M<*
TO
TESTIFY »N
COURT
IF
NECe.55AflV
THAT
THE
MAJOQ
WAS
EMTIOEtN' OUT
OP
W(5
'HEAO OUUVMC
THE.
-TBM
DAVS
I
TREAXED
UlfA
MERE-ME
DlOMTl
EVEN
KNOW
VJHER&
^
He
WAS.DUETO
A
ma vjeh.
MA><^e
VOU
CAN
EH-P^JkIN
TH\S NOTE
HE
VJROTE
BEFORE
HE COT
THAT
BUN^P
ON
H\-S
BEAN,
OOC
TO
THE
SWEE «'EST
THE
CEQTA1NI.V.
I
ALWAVS
VJOlTE
THAT
TOMVSSECVPT.
I
WAS
NOTAWAQE
THAT
5HE AND
MISS
SCHfAAin^X
WEU-VJEHAve
AUU
OF
THE
MAJOR'S
TROUBLES
WITH
TOUR
VAMPlNO
COOK
SETTLtq
MISS
SCHMACrZ.
AND
t
KNOV^
YOU
VsflUL BE
HAPPY
TO
KNOW
-THAT
THE
DOCTOR HAS
VINDICATED
ME.
OH
SOU
POOR
OOVl^
OONT
NEED
TO
TCU.
THE
DOCTOR
I
TO Put
a oooo I
BAMDAtiE OMVOUR
/
A.BNA
ANO
UEAVE J
VT
TIUC
TVtE
( ^
S\WEU\_lN4i
<*oe5
'
[
7/17/2019 The Smithsonian Collection of Newspaper Comics
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,
NOW-
SIR
—
I
-nwcr
I
HAVE
TMOoouomv
EXPUAtfJEO
HOW
UTTEOli^
BASELESS ABE
VOUO
ClAIMS
F0O»S0,00O'«
FOfJ
VOUCl V>'lFrt
AFFtCnONS-
I
HAVE
HAD
KAV
LAMvTVED
CQAW UP TX\S
STATEMENT
1
COMPUETEi:*'
exONOOATIMO
'
—WHICH
VOO
WILL
StCN
OH
THl
DOTTED
Llh4e
BEFORt
THREE
MINUTES ELAPSE
am A
PCH-ICEMAM
WlTM
WAOBAINTT
FO«
BLACKMAIL
WHOM
1
HAVE
ITATtONEO
OOTSlOt
WH4.
COME
W
V^iHE^a
I
WHISTLE
TVJiCE
OUT
TMAT
VN/IMOOW.
K*E-
©
The Chicogo Tribune.
1«8
IM
Ft
\tvw
I
HOOT 3MOKE
LOCH AT
UNCLE
WILLIE
WXkLKVsf
0\CKr
tW
FCONT OF
TMATCAW
WILLIAM,
V.MEPE
IS
YOUR
Buimcss
SAOICITV
—
LA.T
DOWN
THEWt
A*JD
CDCAN
umE
A
PIPE
COClA^J-
TWAT1
MAJOff
BlUEPOihtS
CAR
Af>*0 WE
OUGrtTA
liET
BIG
DAMAGE*
FOB
THIS
-I
WOULOtJT Be
5LIRPRI6EO
IF HEDIO^rr
-TVAT
OH
^
T~
PV^^POSE
71
OW
©
Th«
Chicogo
Tribune. 1928
I
HATE
TO
BOTHEO
'*OUSE
AT
THIS HOoa
OF
THE MIGHT,
MISS
SCHMVAUTl
BUT
ME
AMO
MAMIt
MAO
AMOTHEO
ONE
OF
Oun BOAJS AMO
WHEM
t
LEFT
SHE
WA'S
THOEAT-BNIN'
TO
OO JUMP IM
TME PIVER
AND
I JUST
\A/ANT
TO
tOMOW
>F
SHE'S O.H
t
OOKTT
KMOVSf
WHEnE
SHE'S
WEKT^
VWILL16
TME LAST I
ISEEN
OF
HER
SHB
V/AS HEAOEO
FOR
TME
HIVEO
.
I
The Chicago
Tribvne,
1938
K
VOU
MEAN
-TO
SAN/
TMKT
MAJOR
BLOePOiNT
MAO -TME
CALL TO OFFEO
>0»J
^ffOO-'
TO
LEAVe
TOvgN
A>jO
HEvEO
*,6t
I
ME.
AOJ^lN? SUCH
CROST/
WELL I
WOPE N-oo
TUONEO
MiM
OOWM
COOD
AMD HAOO
I MOPE
TO
TELL
\A
I
OtO,
CGVPT
l>^ molOim
OUT
Fta
A
etTTER
.
OPPE»
>
5AV
LISSEKI,
MAu>OR-)F
All NOU
%WAf4T
»5 TO
GET
MARRiEO
[
vjOmV
STAtJO
IM
VOUa
WAV-
IT-L
PIX
THAT-
UO
FOR
VOO
.
i<^l^
}
) The
Chicaoo
Tribuna. 1920
WELL,
W«LL WAU.-SO
E^vP-r
AnQ
V,
bUOOi)
«LUCPOint
MAO
A
lAAT AND
THE MAJOU
ts
GOING
TO
CO
lACW
Do
0>4C'»^»J*Ti
—
ILL JU5 T
GO
BV
TV4C
oAPAoC
AMD
BiO
HiM
00<X>-«VE
OMt
CAfi
NtVCR
TEI.C
WHAT
WILL KA»*P«>4
•bWY AAV 3
TMAT M«
JinT
OVIM*.
TO
0«T
MAPRlBD
7/17/2019 The Smithsonian Collection of Newspaper Comics
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f
ViHArr
IS
THtRE ABOUT
mO
MOSHMOOTM-TMAn
MA.KES
'
tvEQveoov sMiue
and
POlMT AT
ME
WHEN
W/E -
> THBOUOM
A
-TOWM<
[2
£i
Ihe Chicogr,
T,,Djr,.,,
1928
[2
©
The
Chicago
Tribune,
WEMT
AmO
VJA-STEO
PlFTCCH
OOUOENi
hAlNUTES
Vs/A»Xih4'
FOR
THAT
OUO
BVJM
TO WAvefi
UO
ASV<
mr^
THE DlOeCTIONS
,
AND
THEM
HE
OOK
T EVEM
V
[2
) The
Chicago Tribune,
1928
USSEM
VJlLLlE'
ABOUT
TWO BOCKS
BOUnVED
OM ME
EEV<.
MV
OEAR.
MOONSMlME-
NOOSE
WILU
C*E.T
VOUR
TWO
DOUUARS
OUST AS SOON
AS
MAiOK
BLOePOlKT
KVCKS
IN
VJ>T>t
ALL
THEM
Bl£j
PROMISES
HE
MAOE
ME
FOR.
FlSMlK W\M
OUT
OF
TH-
RIVER
[2
c.
The
Chicogo Tribune.
1928
TWS
13
BLUEPOINT
I
canV
wmv
wasn't
showed
W£
PQOM<SBD
CALL
TO-Nl(jHT
BRING Me A
or
KAR
Rlf40S
I AOMiRED,
USSEM.
EGYPT
IP
^U- THAT
OLO
TIGHT VJAS>
OFF
ECHO
MV
UNCLE
\AJILLie
FOR
SAVING HIM
TTIOM
DROWN
\MO,
WAS
A
JOa
OF WOR«.
VOU
GOT A PAT
CHANCT
OP
GCT-TIN- ANVTM\NG
GOT
OP
-THAT
eABY
FQH
[268
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IS
XA.T
SO? t
(S
1*.T SO? \
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©
The Chicogo
Tribune,
1928
7/17/2019 The Smithsonian Collection of Newspaper Comics
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Bamey
and Spark
Plug Billy De Beck
1930
pr
King
Feotures
SyndiCote, Inc.,
1930
SeJtflbR,
S»4Mtf>PS **^f<tt^ A
SUCKER
OUflANou-WUerC
WCULO H&
«£
~E)D«««
IP IT
WPSUr
POR
^*)Ot
^U&£
WE.
rc»e
LEAST
WE
O^
DO
tS
T5
PAV
Voo
BfiC'K
ThE.
MCNEf
^*>y
SPENT
OnIhEM
cisri«'3r
scrs
we.
coulO lcame^
9JSHT M*C.
£u^
ur To
Mrs
MOTtL
AMD
ng
Feolurat
Syndkat*.
Inc..
1930
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t^ft
t
iwOeClSiO^*-A.LL
Woo WAvJE
^
Do
is Tb
Livy£
iisi
C<-i(r>jA
For.
T;«.
RCST of <tJoft urE. ANO
CweOK
FoR.»iSS,000
-S
'^OUI«^l
A^
VOUR
LECiAL AO^'SeR 1
<
<moulO
make,
ft
/,
~>
111
wy
t^
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.ndcoir
(nc 1930
AffoRMCV
•
1
AM
Q0'N6
15
1
AM
(N LOVt
v*1(TH
MAOAME
lA
Mousse^
mi*-'
3.
CA»4**ftT
QEAK
7i
LOOK.
AT
«T
©
King
Ftofurej Syndicot*.
Inc..
1930
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d:
Kmg
Feolurcs
Syndicate.
Inc..
1930
mmsj
Feoturei
Syndicate
Inn
1930
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Kmg
F«alurei Syndicolo,
Inc., 1930
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[3
[
<m9
Feal rei Syndicote, Inc..
1930
-MV
PRWATE
\ 1he
MAOAME
lA
MOUSSE
MISS
SWCMJERS. >
1«_ II^C
FOBE^K
CWJ
HER
V*W
OP-
She
ASREE
To
VAMP
[30
[3
[
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To
«»ie
GOoeLt ANO MADE
AW
APSC *4^S*jT
FOR
CP-a.i_
-h
rv^EET
M^M
AT
BiS«T
OCUOCn:
C41E
tVENIfjES
—
TwE.
eer
TbocTHEa
i.
SMAIJ. 'PWOWE.
LA
MOUSSE
AWO
TwEM 1W
A
TA1<»
(^
King
F«oturas
Syndicotv,
Inc..
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SMC^ A
Mice
OLD
GAL,
Bur SOOTA
DUMG
-
TVC
EVEAJIKJG9
I
^ASTt Ckm
wer.
ARE.
<3KTTI<M'
KI^JDA
BlAH
-
1-H
ASOUr
R&aov
To
cur OUT
LA
MOUCSIN'
II
[3
©
King
Feoiures Syndico'e.
Inc..
1930
[31
WOPt
5ME OOWT
OET ^-M^SC
Tf*tfr
TCc
cooee is
A
PMC^^
BdCUSe
OH.
tALA*
C
I'X),
KIni Fhnra Synfciw,
Uc. >}' &<
ituirf
litlat
n*tr^
/
mello.TomTom-
'
NO',
no
DomT
OisTuRa
MADAME
LAMOU55et
kMQW
VJMERE NtiU
CAN
MM:K.y
Those
soeahs
g
yooe^
Foft.
A
(.^
DARw
eooo
^
f
^
u^)^fi£^
©
King
Feorures Syndicote, Inc., 1930
[3
Pice. EARCV,
MISS
-
VOVj MdiWE. S/
J
FEEL
C»-iaoeEMewT
voir?*
/
So^J£RVOUS
TUlS
EvjeWiNQ/ ABCoT MeSTTAJd
^_^
ANO
IwGois;G
/a
CTiWUoCE
MAW
r&^
'*>
SEClCwCT
i
MR.ZIT2.
v
Jt^-N-^.^
-
/--—<—
\
eusi^jEss
AU
Oe
DA OA
DC
DOO.
\^
X
woNcea
wwtfT V
SHS
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OfWL
SHOWERS.'
J
l-K>PE
SWE AiwT«3oTA
&EEZER Oj
HCR.
Like.
*r
;
g3
<^i-^^
Sdod
evEwiuQ,
MR
HOW \%
evEft-YlWlMS?
WELL.
WELL
.MR,
21rzV
tbo'RE
ffOlTt
A
STRAMQCft
?
Lootc
Me.
cwee.
-
IM
€TePOIN(
CUT
\AjiTft
A
MCW
MAI^'lA
TEiNHOwT
At>*0
JM
PiMS
0*J'
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I
cot-It WALK,
UP
TUB.
•STIiS&'r
Ar40 VMS LL
UM-IE.
A
LiTTLC
04AT-
HCMtS
HORStf^ee
SCWJOPPS
,
ng
Features
Syndicote,
Inc., 1930
A
LtfTlE. PEACH
-
Swe,
OOiJT
lOOW:
Hk.E TCie.
\
^ofTwHOD
vgont,
V
(w*A3U
WCfeS
To A
sTbAMoe
Gut 1
i
Gutss
r-\v
,
BoeBLE eves
<^
/^
QCTHef*.
[3
©
King
Features Syndicate,
Inc.,
1930
[31
ZIT2
-
VA
'mem
BER.
TUAX
SEMATJJe
sewMows
2ZOCC
«p
a'D So
Ta
c
TAKE IT
LAST
MIGHT
O
LAMousse-s
JUMeoc-
Tore
Me
To
RIBBONS
WOfAiRE.
Nt,7lT£
^(bo
eeTTEii
Go HOME
AND
,
RESrMioRMeBNts
jll
OUONE.
VOU
AffeR 1
TALK
To Tte.
SGWrtTOfi.'.
AMM
T^IKlGS
ARE
WCiRKIMQ
OuT
BEAUTTFULLV
-
J
TWIMK
SENATOR
SCHMO^PS AMD
H»S
lACW
LC^/e,,^lAClAME-
LAf-10uSSe.,VA;itL
SOOM
BE
SVoEeTWEAftTS
AJSAlf4
—
L
'-^^
SOCIAL
EVeWT
OP
fftC.
SeaSOKJ-
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King
Features Svndicatfl,
Inc., 1930
.
.
.
Ihe
comic
strip,
especially
after
you
leave
the domestic-
relations type which is itself realistic ajid
unsentimental,
is
specifically
more
violent, more dishonest, more
triclcy
and
roguish,
than America usually
permits its
serious
arts
to
be.
. .
.
Mutt
and
Jiggs and Abie the
Agent,
and Barney Google, and
Eddie's
Friends
have
so
little respect for
law, order,
the
ri^ts of
property, the sanctity of
money,
the romance of
marriage, and
all
the other
foundations
of
Americaji life,
that
if
they
were put
into
(popular)
fiction
the
Society
for
the
Suppression
of
Every-
thing
would
hale
them incontinently to
court
and
our
morals
would
be
saved cigain,
Gilbert
Seldes
The 'Vulgar'
Comic Strip,
The
Seven
Lively Arts
,
1924
7/17/2019 The Smithsonian Collection of Newspaper Comics
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Wash
Tubbs Roy
Crane
1933
^iPflNO
PMiVEMOMIA. fdREWEU.,
WUSH
ANP
\i/EAS-(
SPENP
StMERAl
tMY, PELIftHTFUL
PASS
AeoARP
A
R\>JE«.
BARtie.
H«t
«
-(OUR
IWIOtn,
(ASV.
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mes
TWx
»«t,
etPH
Foiiy, na
,
le
MMUV
Ik
VMKiX.
er SIMWI'MS
J
us
E«K
IE
CLAK>£S
^VEJ
0«.
OMtM
Ht
ttfe^
TMt
ftO«\.'^
MAT6
—
WTW
H»S
BtMIUACK
hilt
TMK-T
H01UK\«L6
STtSU
HOOK,
KEAPV
ANP
WfkrnN&.
'^
^Mojes.
tMtf STM<»
-roe
is
Toe.
ittc
ulcmu
it
cexmif.
AMI
<(U>M
MOM OM,
W»S»
two
Ml»
^
^TV^wt
a
OMW
owe
•
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IF VOU CAN, TMt
LOMGIMG
Of A ^
/^
^W^LING
CAPTfMW To QETUftM
10
teA
FOft
OHE
lAST
VOVA(i&.
'^
/^NO 'ntt 9ACKMED
Of
WihCil
B£C6Mt*
^
MtGHTMARtJ
7/17/2019 The Smithsonian Collection of Newspaper Comics
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_
I
ME,
ANE,
'
V
SIR .
*(E LL fXXe
TOM'S
PlACt
IN t^
ROAT,
'N-
IF
E«ER 1
SEE
>(6 SO
MUCH
AS
TKEWBLt
0.T
WE
l '^
^^
lU
BKt
^R BWtttS
0\)T
Tuis GOES
ON.
SO
SlCKENlItt
IS
TUe SMELL Of
W^^\.E oa
AHP
«0
AMFUL TUC oREfLSV SMOKE,
T^fcT
THEV MOPE
Ito
ttCMlEN TWtV
©
NEA
Service, Inc., 1933
VfiHKT
A
aeilEf
IT IS, »I«SN TME lASTOF
TWE
WM-t
OIL
S
STOWEO KWAN,
AV*D
TWt
PCNUDe.9
CARCASS IS LEFT
CD
TV*e
SHARKS
ANP
OUUS.
^
VTJUT
THEN
BE6IHS
MORE
BOAT 1
li^PBACTlce,
miTW
UASW TAK-
ING TOM'S
PLACE.
/
CRACK
VER
BACk;-'
BONES, ve
LArV
LOfvfERSl
PULL,
BLAST
NE'.
POLL'.
g\*,
WHAT
A
MISERABLE
VOVAat BOTAT
LAST,
W
PASSING
SHIPS
eeCOME
NUMEROUS
mtv ARE
NEARIMG
The
PANAK\A
CAHAL.
/^
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msn'vfs/^
sreuvVi
uwt
Roiry.
65
wcr
wwetLW^st.
40-000
T1M«
kl
UkBjb%
KS
1UKT
eiG
9M9
/-
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fJoLP.
HUM69.V,
M*P M\S6RA^», TM»
©
NEA
Service,
Inc.,
1933
Vi«(TW
TUt
PtK^
wMKtl,
BUT
TUERE
«
»W
DNe TV«HK
I'M IC601W'
& I^T
/%SUN »e(JlNS •WE LON4,
UMPI.EASKMT
vi^TXAK C*
COTTIHQ
IN,
MJO
tolLINIi
NEA
Ser.ice,
Inc.,
19
(w^S
WHALE
-V we
AlWT
aCTT
RVPPA
J
IK
lAST
0N6
16T.
,
euo&s
IS
mis?
AN
CONTEST?
5«
WHME,
GO 'YOWP IN
1
1 fioina
TO
1
I
COULPN'T
tvJCN CUWR
IN
THE
BOW.
LOKfER4'.
EMEW MAN ff YE
T
1V6
BOOTS.
o
©
NEA
Service,
loc
,
1
,
.'
.,
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^«t
MUTE'S
tOKT fUJOB-
ClU«iklH6
-THE
seeOKB
K*Tt
TO
-niE
Rescue
mw
Ik
BOMB OUH.
7/17/2019 The Smithsonian Collection of Newspaper Comics
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'
FROft\
HOVl
OH,
NCU,X
V6
eLINKlN
OtO
TAKC
ORWW FOm I
eia'<(>0*.T,
Ol'
MC
It,
J-^e
»»E»R'.
y—7
MV
»151DL.
y
TOiw is Bfre<«MiUEP
to
Bfc
mt
MO&Tttk
Of
-
W
\S
OWM SHIT.
,
fWT
m
ft
SCCONP
TUt TAeiES
TURUflT
-Ci
^^Q/44^
S
»JM4-
OMt
«e>iot\J€R
tftfrSHES
TO
-mt
CURSeSl
SCKEAMS
mtu t.
>ooR
gmts-re
op&n, om?
tHti g£ ow
PEeK. ^
[367]
^
^cKntiM
POU.V,
CUT
ftwp
eiEEpmo.
IS
f
emc-
foft.
Hts
uFtJ
1
NEA Sc'.co
Inc
,
1933
fouv
aiues
a
mufflep
sob
a,s
Ihe
MATE
OleRTAKES
HIM.
'RftOM
Hit
*Lki%
hT
TWi WHEEL/
MASH
Ire
[368]
IS SCARED
OUT
Of
HIS
WITS.
AND
MO
WONOERI
HE
WAS TVE
SOLE
WITNESS TO
FOLLV'S TRAGIC
BSTTLE
WITH
THE HATE.
ITS
HEARD
-X
rt-NoTA
'N'
hope
TO DIE,
I'M
AS
DEAF
KADOORtCNOS.
^i
^
rs
A
BLASTED
GOOOTWlNO.TOOl
AN' MAOK
MV
WOBO,
VE
BUa-fKEO BRAT, I'M
A'WATCHIN*
VE
I
01E
HEAR-?
I'M
A'WATCHIM'-ie.
[369]
Hemember one vap
out
0'
-(E,
AM-
-(ERE
SHABK-tAtr.
5^
|AtH
KNOWS TOO
MUCH.
»E
WAS
A WITNESS
TUE
SOLE
WVTNeSS
—
TO
T«e
TRAGIC
PEATH
CA^PTAIM FOLLW.
OE
PoeSNT
PARE
COMRPE
IM
EVEN
1
'MS
BEST FRIEND.
'(TiE
ROLLS
ANP
Tosses
IV S
Vl^HtS
BOHK.
Mt
CAtTT
SLEEP.
fe^^
S
NEA
Service,
Inc., 1933
')f9^ASy
WATtHeSHlMjMALARM,
CCRTMH
THKr
SOMsA
[370]
\JTrtlN&
l&
^^
^^
^
HKONG.
/
P«ST'. VOU
HAMENT^^H^r
^^
*^'''''.
I
lEAME
ME
S
NEA
Service,
Inc.,
1933
TO
SAV,
«0
MEMTION
\S
MADE Of
CAITAlM
FOUVS
PlSAPPEAkdAMte. THE
tREW SUSPECTS
M0TWW6.
J
^/n^ASH,
ANP
WASH
ALANE,''
WnNOVIt
THAT TWE
CAP-
TAIN UlAi
THROWN
01ER-
tOARP.
r^UT
\*£.
PAR^S
l*OT
OPEN
HIS
U/MOUTH.
THE
CRAFTY,
OUTTERlna
EVES
OF
TWE
MATS
NEMER.
l£AME
HIM.
C
J
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ITHECC
.
ei.*5T
76
I
YE'LL NE.VCft
SQUEAL
^_0N
(26/
rs
,
/^
•
J:
[379]
[380]
[381]
[382]
[383]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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^^
APPEAgS.
WHfcT DO
/PHUCKL)M6
OVtC
HIS
DIRTV
VAOftK,
TWC
Vij
MA.76 «1TS
BACK
AMO
>MWTS
FOt
TME
6ieU TD
TRV
ID
ST*OT
U£R
HOTOt?
60*T.
D04T
BE
AFKAIO.MA'aO
M
LOOfcTING
FORAONE-
AKMEO
SCAMP
AND
A
LITTLE
FELLA WfTM
COfilVl
HAIR..
i^dM^-^
^
A
Bio Soeit-L*. WtTM
A HOOK?
SuRB,
HE
WAS MECE
-
BUT
, A4oe0WEl.SE.
WHV? IS
^--
—
,
S0METH1M&
weOI>J6.
BIazes.Yes
=^,
THAT
MUG'S ALONE,
LAOV,
THEBE'S
I
PtEffTyWfiONA,
7'
kAS^
STMCtS OFF
iN
ttHfttH
OF
WKSH.
'HE
MATt
\t BtAMT
AFTEK. XIM
UMTIV.
HE SEtt
THE
avtU.
«««»
Ij'TVMt
FOB
HAtF
AM HOUR.
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HAME
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OOMT MOBODV
SAY
T
IT
VilA
JsiHt'.
EMT
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UP
WE
'
WANT
TO
JOIN f
C391]
[392]
[393]
[394]
[395]
[396]
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^^
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VEAM' I
COME
BACK TO
GIT
EVEM
Wl'
THEfA
]
[405]
Bloom'in'
mutineers, 'w'
ve'RE
goin'tohelp
me.
I
[403]
[404]
[406]
[407
®
NEA Service.
Inc.,
1933
[408]
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[409]
[414]
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[415]
ce.
Inc., 1933
[417]
[416]
[418]
[419]
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[421]
[422]
(
r
fVIt
OOESU'T
HW6
\
/
TO
COME
ArrsB.
i I
you.
TLL
CMtBSy
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w
Popeye,
the
Skipper,
and the Abysses
of
Space
and
Time
Anecdote
and
Narrative
in
the
Sunday
Comic
Strip,
1930-1941
Adventure, crime,
and comedy
were as
mixed in
the
Sunday
comic
pages
after 1930
as they
were
in
the daily
strips, but a
new
narrative genre,
science
fiction,
entered the
serious
comic strip at
the turn
of the
decade.
It
had
already
been
touched
on
humor-
ously in such
strips as
Segar's
Thimble
Theatre and Kahles's
Hairbreadth
Harry.
With
the
daily
and
Sunday Buck
Rogers,
the
concept
of
time
and
space
as
a
realistic, full-
scale
playground was
transferred from
contemporary
pulp
magazines into
the
comics,
and
almost
immediately
accepted by
the
public
and
by
other
comic-strip
artists
and
writers.
An
eariy close
follower
of
Buck Rogers
was
the daily
Jack Swift
of
Cliff Farrell
and
Hal Colson
(1930).
Another
daily,
Brick Bradford,
by
William Ritt and
Clarence
Gray
(1933),
followed a
litde
later.
And the
celebrated
Flash Gordon
of Alex Ray-
mond
appeared
in the
Hearst
Sunday
pages
in the
first week of
1934.
Science fiction
themes
also appeared
on
other
and
sometimes
unlikely narrative
strips such
as
Frank
Godwin's Connie,
Harry
Tuthill's
The
Bungle
Family, Chester Gould's
Dick Tracy,
Norman
Marsh's
Dan
Dunn,
Lyman Young's
Tim Tyler's Luck, Lee
Falk's
Mandrake
the
Magician
and
The
Phantom,
and
others.
A
most
successful
and
well sustained
comic
treatment of
science
was in
E.
C.
Segar's
Sunday Sappo,
where
the
brilliantly
cracked
Professor O.
G.
Wottasnozzle
came up
with
continually
ingenious
and
highly
risible
inventions.
The great
old-timers
in the
strips
continued
as
before,
often
untouched
by
the
furor
of
action,
adventure, and
horror
on
the
pages
about
them.
McManus's
Maggie
and
Jiggs
went
their
bickering
and
battling
way
through the
thirties as
they
had
the
twenties and teens
before.
The bucolic
populace of
Toonerville
meandered
as ever
be-
tween
the
architectural
bulk of Aunt
Eppie
Hogg
and the
mobile
clatter
of the
Skip-
per's
trolley.
New
humor
strips were introduced,
such
as
Rube
Goldberg's
Lala
Talooza
and Ed
Wheelan's
Big
Top,
but
there
were few
real
successes
in
the
thirties
against the bi-
zarre
and
exciting
competition
of
the
fantastic, criminal,
and
adventurous
strips, al-
though
Lank
Leonard's
Mickey
Finn
and Al Capp's Li'l
Abner
survived
the era
handily, as
did
V.
T.
Hamlin's
Alley Oop.
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Notes on
strips in this section
Dick
Calkins
drew
only
the
daily
Buck
Rogers.
Despite
his
signature
on
the
Sunda
pages of the
early thirties,
Russell Keaton
was
responsible
for the
striking
artistry
the
two
pages
which
open
this
section
[427-428].
The
realistic or
illustrative beaux arts
style
of drawings entered the
comic
str
with the
advent of
realistic
adventure,
although it
was foreshadowed
in the work
\\'insor
McCay. Probably
its
most effective
use
was
in
the
work
of Alex
Ra\inond
his
early
(1934-36)
Flash Gordon
[430];
and in
that
of
Harold
Foster in
his
Tarza
period (1931-36)
[429].
Foster's figures are
often
particularly notable
for
their
move
ment
and
force.
Almost
universally
published at
the
time
in
full-page size, with
ade
quate space for the presentation
of
varying
spatial
concepts
from
panel to
panel,
t
skillfully
free-flowing and open style of both
artists permitted
the full integration
visually
compulsive, multipanel
movement
and necessary
narrative development
vital
to
the
creation
of effective comic-strip color pages.
Subsequent realistic
work in
the
comic-strip
vein, additionally hampered
by the
r
duced reproductive space available in
later
years,
has
tended
to
be
increasingly
d
tailed,
with
an
almost obsessive need
to fill every
part
of
every panel
with
blac
shadow
and
complex linework.
Such
visual
weight
can slow down a
reader's ey
movement across
the
narrative
panels,
and even
draw his attention
to
irreleva
detail.
Like
Buck
Rogers, Tarzan, Flash
Gordon,
and
Prince
Valiant
[431]
are
frequentl
reprinted
here
and abroad, and
are
(or
soon
will
be) accessible
to
collectors
in
si
able editions.
One man
who offered
a
highly
fanciful
Sunday
page
was V.
T.
Hamlin
with h
Alley Oop [432-434].
He
was
also
the
first
major comic-strip artist
to take the
reade
back into
prehistoric time
for his narrative
setting,
thereby reversing the direction
Buck Rogers
and
Flash
Gordon.
With
Cliff
Sterrett,
George
Herriman,
and
Winsor
McCay, Roy Crane was one
the
great technical masters
of the
Sunday-page
layout.
In addition
to
his
graphic dex
terity
with
page space,
Crane told a rattling,
tongue-in-cheek
adventure
tale,
whic
made
his
Sunday
Captain Easy
[435-437]
the
equal
of his
daily
Wash
Tubbs
strip.
Little
Joe
[438-439],
nominally
bylined
for
Ed Leffingwell, Harold Gray's back
ground
artist
for Orphan Annie,
was
in
fact scripted
by
Gray
through the thirties an
early forties,
and its characters were
drawn
by
him
for
a number
of
years.
This littl
known
Sunday
half page
was an
entertaining and gripping strip. Replete with a
sa
donic
and often
bloody
humor. Little
Joe
was
a thoroughly adult strip.
At
the
time
was relished
by
a few
cognoscenti,
but
was
apparently
of little interest
to
the
gen
eral
public
of
the
thirties,
which still thought
of
western fiction
in
terms
of
Zane
Grey
Richard
Dix,
and
Tom
Mix,
and preferred
western
strip work of a
similar
nature.
White
Boy
[440-441]
was another imaginative,
nonderivative
western strip of t
time,
drawn
by
New Yorker
artist
Garrett Price in
an
often
stunning graphic
styl
and
told
by
him
with
many
skillful
touches
of
the
fantastic
and
unexpected.
It
wa
caviar
to
the
average
reader, had little
circulation, and expired in
the
late thirties.
The
extended
Thimble
Theatre
Sunday
sequence with
which we
close
this secti
is
not
only
the
comic and
narrative
apogee of E. C. Segar's work,
it
may
be
the
fine
example of pure
comic-strip
narration
[443-474]. Segar is
almost
unknown
to
an
reader under fifty
who
has not
encountered
the
only
extensive
reprint of
his
wor
since
1940 (the Nostalgia
Press Popeye
the
Sailor collection
of
1971).
He based
h
humor
on
the
interaction
of
one
of
the
most
inspired casts of comic characters
this
si
of Dickens.
{ The inherent
conceptual
strength
of
many
of
his Thimble Theatre
fi
ures is perhaps demonstrated
by their
continued popularity
in
the
hands
of
sever
successor
writers and illustrators since Segar's early death in 1938.) But
introducto
words
are
unnecessary with
Segar: the
great
sequence
awaits
only
the
turn
of
t
reader's eye
to
the
first
episode to speak for
itself
in
the
salty,
epic
speech
of
Popeye
the
propitiative
murmur of
J.
Wellington
Wimpy,
or the cursing
cackle
of the
Sea Hag
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Buck
Rogers
Phil
Nowlan
and|Dick
Calkins
1932
/
1933
1
[427]
John
D;lle
Co.,
1932
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[428]
w
><oj
couc>
cojTWX 6(awnv 1
voo
SuftCiv
fcWOO&M
tD
UUOV
A
1.0TC*
y
C001.0
^ASC
-^
TMe*^
T06CTUEP
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Tarzan
Edgar
Rice
Burroughs and
Harold R.
Foster
1933
[429]
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Flash
Gordon Alex
Raymond
1935
PH
I
SEE
FLASH-OFiOER
TVt
FIRST
COMPAMV
OF
L/WCERS
TO
CHARGE.
COLOJEl-/
J
\r-^
ALEX
RAYMOND
l^*-*
:*
Da
?ARKCV
AMD
A
RECWEWT
:
OF
HAVWKMEW
MARCH
TO RESCUE
r-^
FLASH,
NK3T KKJOWIKJG
THAT
HE,
UNDER
THE
WITCH
QUEEN'S
DRUG,
IS
LEADING
THEIR EMEMIE5
The
FIRST
LANCERS.THE
GREATEST
FLIERS
IW
Tl-e
HAWMMEN
ARMY,
CIRCLE
TO
A
DIZ^y
HEIGHT
AND,
AT
A
SIGNAL
FROM
THEIR
LEADER,
FOLD
THEIR WINGS
AND DIVE
ON
AZURA'S
ARMV/
\
Flash
is quick
to
see
them-
HE
raises
mis
sworo—
-
THE
GUNS
OF
THE
>
COMeuSTlOM-RAV
MACHINE
SWING
INTO ACTION
/
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Prince
Valiant Harold
R.
Foster
1938
mm
L,
IN
THE DAYS
OF
^
KING ARTHUR
[431]
SYNOPSIS-VAL
APPEALS
TO
MERLIN.
THE
GREAT
MAGICIAN. FOR
AID
IN
RES-
CUING
SIR
GAWAIN
FROM
THE
POWER
OF
MORGAN
L£
FEY,
THE
SORCERESS .
MERLIN
ASK.5
FOR
SOME
PERSONAL
POSSESSION
OF
LE
FEY'S WITH
WHICH
TO
WORK HIS MAGIC AND
VAL STEALS
HER
PET FALCON,
BUT
SO
SWIFT IS THE
PURSUIT
THAT
HE
IS
CORNERED
AT
MERLIN^
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Alley
Oop
V.
T.
Hamlin
1935 /1940
[432]
M
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[433]
: NEA Service,
Inc..
1935
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[434]
®
NEA
S-
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Captain
Easy
Roy
Crane
1935
/
1941
501DU
R
Of
^ORTUME
k«
»•«•««
[435]
ni^JO Ta.NKETS
OP
SRA-^iS
AfcJb
JADE.
OTmeb^
Tviceow
80K£
NECKLACES
ACOU*C MIS
MECK.
THtrKE
M.I
UIIH I«M6,*M0
MIWOIMG
*
Li>l60
THAT
SOUM05
UK>
A
BUUCM
OF
M«
tOUEALiMS.
i^TTNT
i
NEA
Service,
Inc.,
IWS
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r
CAPfAlM
setou^^jwuwE
wo HCURS
LATER,
THE
COMSPlRATORS
CLUB A
SEWTBi
THsajsr
A
cuse imto a powder
MAaAziwe,
and
u5nr
•U(SlE
CALUS.'COJPUSIOJ.' SOLD:eRS
^LEAP
FROM TMEIR
BEDS
AkJD FIRE
J
ACROSS
THE BORDER.
TWSEE
/ORE
SLAlM.
MOCMIWQ
:
WILD
E)43TEMEMT/
EACH
COUMTCV BLAMES
kT^eCTTMER
FOR
THE OJTRAQE. BAWDS
PlAV
HOOPLA
FOR
DER
czar:
TViERE
are
Parades,
speecmes,
RiCTs,
AMD
SOWFfRES.
fclPLOMATS
BUS''
rt)
AMD FBO, lOoona
I
|fW3CRiED. A
EAILWAW eCiD<3E
IS
BlOWM
UP.
AkJOTk-ER
SEMTRV
S SHOT.
ULTIMATUMS
ABE MUHLED
BACK
MiD
FOBJU
w
'OOPSVCASIA
BECOMES ALARMED
AMD
MOB-
ILIZES,
FOLLOWED
BV
NIKKATEEMA.
H£ia«£6K
TROOP
TRAINS.
9
NEA
S<rvlc«,
Inc..
1935
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^PTAIN
dWCE
A6A\U,
FATE
DRAWS
EASVS
MOBTAL
BNEMy
MEAR. ON
AWOTHER
OF HIS
(OEFABWUS
M1S610WS,
DAWSOM
DISEMBARKS
FROM
THE:
«CHOONE«
'OUEEW
OF
THE
MAY
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Little
Joe
Ed
Leffingwell
1938
/1941
[438]
^^^^^^
TftKE IT EASY
|
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White Boy
Garrett Price 1933
[440]
New
York Ne
[441]
(£- New
York
Newi
Synd'cote Company, Inc.,
1933
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Toonerville
Folks
Fontaine Fox,
Jr.
1930
oh
v^as
that
-rwe
TRoi-Ley
car
X
TMOOCMT
THAT
WAS
A
t-UNCH
WAgON
TOONERVILLE
FOLKS
^r
FONTAINE
FOX
SUNDAY,
OCTOBER
5,
1930
TOONERVILLE
FOLKS
A
Bad
Risk
Fontaine
Fox
©
Fontaine
Fox,
193
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Thimble Theatre
Ebae Crisler
Segar
1933-1934
[443]
©
King Features
Syndicote, Inc.,
1933
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[444]
.^Sids^ti^
/
I
W«M
IKXro
EITHER
VTOP
MMOH&
^
GOOF-/
WV^NTIOtft
0«
WKD_ftl«>THeB.
;
n
NOT
GooFv:
^rrs
(V
MMJvcuuV
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A
RW
THW
UJIU.
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PERSON
TO
CiROW
eftCKUJftRO
IS
NOT
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SOMETIMES
weiu.
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«o
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TO TrtAT
POKER
GtSHE?
COME ON.
ITS LATE
'
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BLOU
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LATIK 0«
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I
FLOOR.POPt*-
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TIMES.
.
EH
-
C>
King
Faoturet
Syndicol*. Inc.,
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[445]
/'rvE GOT
TO
^
,
AVJ,
DON'T 8E
40
TIMPERAMtHTM..
JHtRE
14NT
f\N
EGG
UjnmH
MlV-tS OF
HERt
_CL
r8t61N>*lN&
I
ou
HO.TIUO
^iS:
:i
mmmf^^
OT COT
STWat
MAD
FlUM
-
MAKtsuTs
M.ON&
ocrreo
l.lNEi> ON
SCRtEN
CVtfvNGE.
HEM)S
9V MOVINCj
HV.M THROOCjH
SV-ITS
—
ANOTHER
SHOW
NEXT
UDEtK.,
TMIMBLETriEATRE.
^
MOVIES
^
enO
King
Feaiucei
Syndicate,
Inc.. 1933
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[446]
<S)
King
fvalvtvi $ynd>COl«,
Inc,
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[447]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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King
Ftolum
Syndlcolt.
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
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TO
SHIP
BWN&
BACK
—
«VW^Vv
HOUJ
[449]
(BE6lNN«^
I
THt
MAGIC
BOTUE
^ 3
P
f
MfflMHSfer^
CUT
OUT
STfVit
MAO FIV-M-
MAKE
SUTS
WJ»te
DOTTED
UNES
ON
SCREEN- BRING
DIFFERENT
HENIS
OOT OF
TWE
BOTTLE
eV
MOUINt.
Film
through
slits
^NOTrtER
SW W
next
week
TmimbleTheatrl
a
MOVIES
jg^
PftST6
TO
^
^
©
King
Feofurei Synd-cate,
Inc., 1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 210/343
_«»^5^
WOTA<,N02ZLE
tf*JENT60
A
ptUL THAT SHR»*KS
MATTER-
THE
P11.1..
AFTER
OlSSOWlNt..
SPREADS
THROUCH
THE
SfSTEM
Af*0
ACTOAlif
CAUSES
THE
ATOrft
TO
SHRINK
—A
RMJIKnoN
THROOGrt
T«e
PORES
Of
THE
SWr*
CAUSES
THE
CUOTrtlNCa
TO
[^(iVNNlV46^
AH
THERE
HE
15
Kbut hes so
'SMAVL
to
MASH
IF
I
T151E0
TO
J
PlCki
HIM OP
ILL
GET A SHEET
OF
>
PAPER AND
TR-(
TO
SKOOT
it
ONDER
A
HOOSEf
L-f
5EE%
SAPPO ANOCKCES
TO
MAKE A
MEAV
OF
HIM-
H'^
1
1 GONE' 1
MA-(
NEVER. FiNO^
HIM
(\&(MN BECAubE HE
b
GETTlNfa
SMALLER EVERV >
MIHJTf.
Co^iTl^^oEO
^*EXT
a;EEK
NOSE^
O'
^^
,^.
MiKfian:;;
r^^
Cut
Out
stage
ako
F\lm
mf\k.e
slits
alon&
dotted
lines
on
screen-chpin&e
NDSES
BV f-o\)lNCi FILM
THROOOH
SUTS
o
ANOTHER. SHOVU
NtXT
UJEEK
-.
ThimsleTheatrl
MOVIES
ja
I
PASTE
TO
pPPOSlltftLn
Thimble
Theatre
(S)
Kinfl
Feolurai Syndicoi*.
Inc.,
19)4
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 211/343
[451]
Thimble
Theatre
1^
THe
DOPETTHt
SEA
HfviS
GOON
TOPOPeiESiuP.CM'loRtiUJlMPyoMO
to the
P\RM6
S
v€SSEL
-TWE
ooon
BftCK-TlE^POPe-<E
kJHiLt ME
l^$LtePlNC»
HIM
TO
THE
Sef».H^C3-
OJIMPV
TKftT
THE
OUO
HA&
H^S
MftNV POONOS
Hftr-\6URCiER
AdOARD
KtR ArVO
IN
L0\*
HJITH
GETS
lOOSE.
TO CLEAN
CReiU.
BOT
HE
SEES
KISSINC)
ME
^0
FIOHT
TMt
ujho
scuart-
HiH
King
Features Syndicate, Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 212/343
[452]
SCPPO
ESCOPtO
CROM
JVX.
SP'OERS
WE8-B0T
HES
FftH FROM
DOST
PRBTicLE^
S«50J
PAST
KM
C0NT1NUM.V.V-
iHf
ftae
SOMEiUMAT
UtartTER
TKf^N
tti4
BOOV. SOT
HEftUV
ei^OCjH
TO
DO
O'^MACiE
I
A
^UOOEN
DRtvFT
PROM
uf^iOtR THE
OOOR CARftlCa
rtlM
H^tiH
INTO
THf
'^i^^
P»*0
UJ»^t«E OO
voo SUPPOSE,
SAPPO
IMAOS
-rt^'.
RiortT On
TOP
OF
iSUJifE'S
NOSE.
iM^CiNE
mtRTlE
GRiEViNC:
FOft
HER. MUSBf>sNO
ftND
Him Sitting
on heR noi>E-
of
course.
she
doesnt
hnovj
it
noo
does
he.
FOR
HE
IS NO
8l6(iERTHW<
AN
AOlJLT
GERM
HERE
—
_i
UJt
SEE
A
PftftT
OF
MRS.
SAPPO'5
NOSE
'^NO SftPPO
Mft&NIF.ED
ONE THOOSWO
TIMES
AND
IT
PROVES
TH^T
HE
REfti.UV
IS
SITTING
THERE
<r
6000
HtfMJENSl
^
[
BEGINNING
\
^
iiij:i:iiaii:fer
CUT
OOT STfvGt ftfAD
^\LM-
MfvKt
'iV\-'> PsLCMio
DOTTED
Lif^ES
O^* SCREEN-MOVE
tiLM
THROUGH
SUTS
ftNO
5tE Popeve
SHOOT
THe
OOCKS
-
^^NOTHtR.
SHOUJ
NEXT
UJ&tK
OPr^^nt
f
H.M
Thimble Theatre
'
PftSTt \
1 LIKE
TOUiMR
WtMPV,
BUT BEFORE
i
ACCEPT
1
AS
A
CLOSE
FRlENO.J
VOO MUST
PRoye
you
HAv/e
nervej
OH'. 60&0
HEWt»iS
:
/
/
'
I'M
NO
N
UJMRT
An
1
A96yT
.il-'r^
1 \
KWROERES.
)
TO
OC'. MERC-/.'
);V(^?*i.
:>j-—
^
niUOOVONT
BE
All
••A^'''^
RltKT
TO
,
^J—
«
-M
_
BtnehO
^ )
A^tlSv
,
5i
,
7/17/2019 The Smithsonian Collection of Newspaper Comics
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r^Tj^^si^
\7ou
HOW PROTESSOR.
CfvO'SED S^PPO
^NO
HIS
CLOTMCS
TO
SHRlMW.
tJJELU.rtt
IS
STILL
SHRlNKINti.
HE
IS
IsiOuJ
MACROSCOPIC
LAST
UJECK
(^
POCF OV
OJiNO
l^NOED
Hin
ON
His
ujifes
Nose
Mrt(n\.t
Hftb
LITTUt iNTtRtST IN
WtR.
THKT SMtLL
NE^/eR
SEE JOHN
AO^^^^
*.HD
RlCaHT Tmi ^VOMENT
X)WN
tS
VjOf*OEa
WHW SHEt)
00
IF
SWE
.^
TO
SAPPO
M-(RTltS
NOSE
SetMS
TO
BE
. ft
HUCsE.
N
TIMES
N..
THE.
HECK
OF IT l^,
HE'S
^
GETTirHCs SMAatft
E\ftRV
SECOND- HOW
CftN
Y^
I
FIND
HIM'HOUJ
CAN
)
IBftlKCD
HIM
BACK?/
Sft?PO
COf^S UPON
^
SKIN
PORE-
A
TINV
HMR,
Cf\N
6E
SEEN
IN
Tcit
BACKCaROOND-
Mft.GNIg-iE.D
/QOOQ'
TIMES
ATEf\ftlSR0LUNC3
-THE TEftR
ABSORBS
SAPPO AND INSIDE
OF
TEhR.
SftPPO
SUMMM*N6^<^W&l.lF6
TO
St
CONTtlNOEO
—
-«
itijgRiianiife
CUT OOT
STft&E
M« FILM-
MAKt
SLITS
ftLON<> OOTTeD
LINES ON
SCRtttA-C«(>»<6t
^tTlo ^ Bv
kovincj
film
THROUCsrt
SLITS
ANOTHEft SHOW
NEXT
VJEEK
>«<^.l
[453]
Thimble
Theatre
King
Feoiures
Syndicole,
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 214/343
King Features
Syndkol*,
Inc..
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 215/343
W.ON0
SO
u-ieaj
IS
eecAose
/
ANOy
ARt
THE ACME
/^
i
Kft\;e
/
ALU
Hfi^OS ON
OeCK'.
KtLL
THE
f^f^T'.
I
OOKT CP^Re
HOW
VOO
00
n.
aOT
ofcTHlH:
^^^
[455]
etbiNNiCHCa
pop£ve
I
^
Bill
eAR'^tv-L'.
(
)
iiij:i:riaii:R:
r^
COT
OOT
STAGE
AuO tn.H_
Mf\KL
SUTb ALQNtjOOTTfO
hE^Os qv movin<j
Film
THftOUGH SV-l T^
—
ANOTHER
Shoo;
NEXT
Lueei^-
ThimbleTmeatrl
H
MOVIES
jSl
PASTE
TO
OPPO-iiTC
^
©
King
features
Syndicote,
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 216/343
[456]
Mf
J
:
RftV
—
THE
J
RM lb
UtftU't
A
Pit
Irt
U.MEl^Of*
RftV-
TOO
UjOUtOWT
OtTAltS
INVISl&UT*
TO
fKl.L
KIHD^OF
AHlHPiLS
P^HO
TO
AtL
ASIMAL
PROOOCTS
-
-1
SOCrt Pi's
-
WOOL
Cl-OTHlNti
-
SlLK'
1
LEMHtR.
tTC
-
J
,7J-N.-^
SEE-M^M>MS^
OOUT IRtTOTeU-
Mt
''Ou CAN
fAAKE
A
PeRSO«lNVftlBL.t.
I
liJONiT
USIEN
TO
SOCM
TAUK-VOU
LC^T VOOR
ARM^-
i
KNOUJ
.
-
I'HEf.
LUHAT S
(lOlTrt
Twe
[
>
t>RAPes
(
HANGING
(NSiOE
AND T-
JFlNO
OUT
^
iNviSlQluTV IS Ari
lMPOi>SieiUTY
'it*^- mEm;
MtH
h£h:
tAtH'
h€w.
heh:
f>^iii/
UJiMP-y
aLIJ l2llllli:^
CUT
OOT 6TA6t '\kO PlL(-\S
-
CUT
SL1T5
iM-ONib
OOTTtO
LINES
ON
SCReeS-
MAKE
OLD
UJiMPN
EAT SPAGHETTI
Sf PULLING FILM
OP
THROUGH
SLITS—TRIM
BLACK
LiMES
FROM
PiLMS
'^NO PAST
.
-rKer-A
TOGE.Tt^eR
Thimble
Theatre
AW
LET
EM
SCRAP
SALTV
LE'S GO
ON
OCCK AN'
Clean op
the
rest of
THEM
SUi^ABS
Me
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[457]
©
K.ng
feolurei
Syndicore,
Inc., 1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 218/343
(IF rvE 5T1LV.
GOT
ft
H£^
ITS~
^£(t^e^
SO ^OO
CDHT BEUtve
I CCOLD
INvEKT
RA>-^3
THM
UJOClD
CM>4£
iNViSl8ll.tT¥-
REMEMBER
UJHEN
fOU
STUCK
yOUR
HEf^O
INTO
THM
TMl^4G
UlUTh pRhPE'S
ftftOUNO
SORE-
iTS
JCST
INVISIBLE.THKTS
W.
f-lf
SPeClftL
UP' .
Q -fo3-R-7J-
LUiLL,
t-lAKE
IT
VISIBLE
^
OKM
lieP-ICAN
S
VEELIT
me
CAT*
plm
poker
5APP0
COOLOHTr^'SAV,
%T0P -OU-
^
DOMT
TEH.)^
HER
»eo</7^~.
MR^SAPPC-
IHtRt'S
IS
MO
'
?^£*VSO»A R5ft.
VOOR.
SEiNCj in
SED
|'Bc6»W*lK0
>
GOOFV
FACES
t\mu\K^.
CUT OOT STfv&E fwiO
P\U^-
MftRE SLlTi ftLONdOOTTeO
LINES ON
SCREeN-CH^N6E
PA.CeS
8V
MIXING f
ILM
THROOGM
SUTS
ANOTHER.
SHOUJ
ME>.T UjEeK
—
L]
ThimbleTheatre.
;
MOVIES
p
OPPCSiTe
PlLM
Thimble
Theatre
HA-
WMCr^
v-Z-PV
iS
SCAPED
Hf
CAN
corr^w
f*
rashit
<£
King
Feotyre* Syndicate,
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 219/343
WE'LL PM lOuJ
v^-
rn^
'tlridiUir rv.
Cm- Aoii-
BlOlNNl^4G»
^
U5E ^)OfT
ftLC^K.
(VMO
FINIirt
_LL
ft
V
fp
.
_LL
iij;i;waii:feY^
COT OUT
STft&L WAO f
ILM-
MRKE
5LITS
AV.OM6 00TTEO
LINES
ON
SCB.EE.N
.
CHANGE
HEPOS
6^
MOV/lNCj
Film through
SLns-
ftMOTHER
SHOW
-NEXT IDEEK-
ThimbleTheatre.
MOVIES
pASTe
TO
I
_1_L.
?'
0-,
[459]
Thimble
Theatre
©
Kmg
Feotures Syndicate,
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 220/343
[460]
[StGlNr^NO
I
Ui>e
SOFT
Bl-ftCK.
Pencil
ano
fihvsm
faces;
i^
1^
o
^<
-LT
.v<>
iLij:i:ria»;K
r^
COT
OUT STftCE
WO
FIVJI.
fAM<.t SLITS fvLONG
DOTTED
LINES
ON SCRtEN
Change
heads
By
mov/inCi
FILM
THfiOD&rt
SLITS—
ANOTMER
SKOU^
fSEXT
LOEEK
—
ThimbleTheatre.
1^
MOVIES
^
PASTE
TO
Thimble
Theatre
King
Fealurai Syndicol*.
Inc., 1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 221/343
[461]
-\
r
'1
1
r r
1
rii
r
'
1
\
1 1
UX>OL0NT
JMSgSS^^S^^
—
\WyA,V
ON
THIS
I^^^^^^^^S
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[462]
Wlt^PW.
VA
KSOW
UJHfVT
THE
euftSTEO
SEA
H^CsS
GONER
DO
f-HftH'.
SEED
SPlNftCH
TO THE
GOON
(
SOS
IT
KIN
LICK
MtjW
ftN'
If THE
GOON
f-:XZ
LICKS
ME
THE
rV^
'
Of
HAG
UJILU
yO^T^
GET
ALL
Of
r*~A^'?A5
7/17/2019 The Smithsonian Collection of Newspaper Comics
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cP\c^e^G
[4631
King Features Syndicote, Inc., 1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 224/343
464]
®
King
Ffroturei Syndicote,
Inc., 1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 225/343
THIS
WttH.
DRWgi)
CWE PlCTORtS
OF PtTG
/COM€
OK,K>D'j
IN DlFf
ERENT
PO-bES
—
1 CiET
vf^ f\
XJFT
PENCll.
ft.N'
DRhvo
PvTCKtRS
[465]
tt
7/17/2019 The Smithsonian Collection of Newspaper Comics
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1
1^
*
«»**
^
»*r^~
St3H
^
King
Feature) Syndicoi*.
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 227/343
VOOR
UJiFE
TO
r^
V^LC.THfb
AND
A\.L
poPevE'5
'^- ^'^i
t-
.-
303333:^^013]
[467]
rv€
ftttN
UJAIT1N&
FOR
NiNETV
YCARS
50 TneOE
SURELV
OUGWTA
Be
ONE.
AvoNG
PeRTtxrrC-
Thimble
Theatre
©
King Feoiures
Syndicote,
Inc.. 1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 228/343
King
Featur«i Syndico'r.
Inc
,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 229/343
riTO]
Thimble
Theatre
IS
6S
i^9ntb
»s)
/
LISTEN,
itai. 1 NOT
|
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 230/343
'POPe,v&'5'
aaacdiPDszE
A
CaOT
TO
1-t.P.R.M
TO
Dftf>MJ
PcT
FACE.5
**
EM- ^
5i.
^
t/
ttt^ei-^aeO-.iF
vA
COT
A
<
®
King
F«otur*i Syndtcoi*, Inc..
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 231/343
'ft*<rf.KiDS.C>tTl
[471]
©
King
Features
Syndicote,
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 232/343
POPL^LS
CARTOON &I.VJ&
(0
King
Footurcs Syndicot*.
Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 233/343
ArtQW,BKL*).TO
DM
UJC
got ftKOTMtR.
*\
IP
>A
GtT*i
ATAV
ShOUJ
TOUU.S
HOUj TO
OO
en
UP—
iF
EVJERBODV
Do
Right
me''
ujOolONT
be
MUCM
TROUftLt
ON THi*.
ol:
tAPT'
[473]
<S>
King
Feorures
Syndicate, Inc.,
1934
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 234/343
King
Feoiursi
Synd'COte,
Inc.
7/17/2019 The Smithsonian Collection of Newspaper Comics
http://slidepdf.com/reader/full/the-smithsonian-collection-of-newspaper-comics 235/343
m
Shadow
Shapes
in
Moving
Rows
Extended
Narrative
in the
Daily
and
Sunday
Comic
Strip,
1928-1943
There
is
little
doubt
that a
day-to-day
narrative
continuity was
attractive
to
the
reading
public
in the comic
strips of
the
thirties
and
forties. It was
hard to find
a
sim-
ple anecdotal strip
among
the
daily comics.
Such
strips
as
adhered to
a
daily gag
pat-
tern
—Carl
Anderson's Henry, or the
Disney-produced Donald
Duck,
by
Al Talia-
ferro,
or
J.
Millar
Watt's
English
import, Pop
—
stood out
oddly
among the
multitude
of
story strips. Even the
humorous
strips
from
the
twenties
and before,
such
as
Bring-
ing
Up
Father
and
The Captain
and the
Kids,
turned
in the
course of
these
two
de-
cades
to
story
lines with
carry-over
subsidiary
characters.
New
daily
narrative
strips, with the
most
graphic
pretension
to
realism,
included
Ritt's
Brick
Bradford;
Falk's The
Phantom
and
Mandrake the Magician;
Briggs's
daily
version of Flash
Gordon; Young's
Tim Tyler's
Luck;
Forrest's
Tailspin
Tommy; God-
win's
Roy
Powers, Eagle
Scout;
Fanny Cory's
Babe
Bunting;
Zane
Grey's
King
of
the
Royal
Mounted and
Tex Thorne,
with their
various artists; and a
number
of others.
Characterizations,
plots, and dialogue
tended to
be
stereot>'ped;
the
aim of
the
new
narrative
strips was
at the
audience
for boys'
adventure stories
(
although the
leggy
girls
who
paraded
through
Mandrake,
Flash
Gordon,
and
The
Phantom
probably
drew some
interested
glances from
adult readers
too
)
.
There
was
a good
deal of
genuinely
inventive,
sharply original,
and
often
captiva-
ting
narrative,
serious and
comic, among
other
daily
strips
of
the
period, and a
num-
ber of
examples
have
been selected
for
inclusion
in
this
story-oriented
section.
on strips in
this
section
Alex
Raymond's
Secret Agent
X-9
of
1934-.35, based
in
part
on
scripts
by
Dashiell
Hammett,
reads as
freshly
and forcefully
today
as
it
did
at
the
time
it
was
published.
For
a
long
period
in
the
middle
of 1934,
when
Hammett's
script
seems
to
have
been
adapted
in
unadulterated
form
by
Raymond,
X-.9 was
so
superbly
executed
and nar-
rated
that
it seems
one of the
finest
achievements of
the
story
strip.
The
selection
here
[475-478]
hints at
the
quality
of
the
whole.
Nostalgia
Press
has
published
much
of
X-.9
for
1934 and 1935
in one
volume.
The
Abbie
an
Slats pages
selected
here
inc-orporate
the
opening
weeks
of this
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Hardcover
anthologies
which
draw
on Little Orphan Annie
(daily episodes only), Dick
Tracy
(again
dailies only),
ToonerviUc
Folks. The
Gumps, Bringing
Up
Father,
and
Buck
Rogers
have ap-
peared
recently
enough still to
be
found
in
remainder bookshops
and
on
bargain
tables.
beautifully drawn strip, for which Raebum
Van Buren
maintained a high level of
nar-
rative and
humor
[485-496].
In Barnaby, illustrator Crockett
Johnson
brought
a memorable whimsical fantasy
(or
itas
the
fairy godfather fantasy?) to
the
comics
pages,
one which
appealed
to
both adults and children. Our episode
reflects
its
World
\\'ar
Il-period
origins
[505-
539].
(Dover Books has
reprinted the
Barnaby
and Barnaby
and
Mr. O'Malley
col-
lections
in
current paperback.
The
Mickey
Mouse
narrative
chosen
here
[542-643]
is
dehghtfully
topical
of those
drawn by
Floyd
Gottfredson
between
1930
and
1950.
It
is
full
of
colorful
incident
and
character and demonstrates
the kind of
absorbing,
ingenious,
risible comic-strip
story
often
overlooked at the
time
by
strip
readers,
who
thought
of the Mouse
feature
as in-
tended
solely
to entertain cliildren. The
qualit>'
of
these
early
Mickey
Mouse
narra-
tives
has recently
been
recognized
by the
Disney interests,
and
one,
in
a
papercovered
volume
by
Gold
Key Mickey
Mouse and the Bat Bandit
—
has
already
been released.
With
the
last
strip
selections
in
this
section.
Little
Orphan Annie,
Terry
and the
Pirates,
and
Dick
Tracy,
we
encounter
the
sequential
linking
of
daily
and Sunday
strip
episodes
through
continuous
narrative,
standard
practice
of the Chicago
Tri-
bune-New
York
Daily News Syndicate through which these three
strips
were
distrib-
uted. These fine Tribune-News
Syndicate
strips
have
been
widely
reprinted
in recent
years
in
various
formats.
And
Little
Orphan
Annie
was
reissued
in
the
1970s (with
some
minor
but
pervasive
changes
)
in
episodes
that
originated in
the thirties. Terry
and
the
Pirates
is
being
reprinted
from
the
beginning
by
Nostalgia Press and the first
three volumes
are available. Vintage
Dick
Tracy
has recently
appeared in
a
number
of forms, including
a
paperback
series
from Fawcett
Gold
Medal Books.
The
Orphan
Annie selection
included
here
may
surprise many individuals who had
assumed
that
the
Harold
Gray
strip
was
an
exercise
in
sentimentalit>'
and
political
conservatism.
It
was
a
work
of a much
higher
order
of
narrative
imagination than
most strips.
Gray
devoted
the
majority of
his waking
hours
to
researching,
writing,
and
drawing
Annie, and
he told
an
often
gripping
story
with
a
variety of
strong char-
acters. This one,
the end of a much
longer
narrative,
is one
of his best [644-672].
(
Dover
Books
has
republished
two Annie
narratives
from
1926
and from
1933, as orig-
inally collected
—and
somewhat
condensed—
by
the Cupples
and Leon
Company.
)
Most
of the
reprinting
in recent
years
of
Chester
Gould's
detective
strip,
Dick
Tracy,
has
emphasized Gould's relatively
fanciful work
of the forties, with
its
amus-
ing
galaxy
of grotesque
villains ( Flattop,
Pruneface,
and the rest
)
.
Here we draw
on
his
often savagely realistic material of the
middle
thirties,
the
pursuit and dispatching
of
Boris
Arson. Gould's
delineation
of
the character and
the
environment
of
a type
of
midwestern
desperado of the period (for
example,
Cutie
Diamond)
is
exceptional,
as
is his handling of
the
Indian
officer working
with
Tracy,
unusual and
interesting
in
the
context of
the
time
[688-715].
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Secret
Agent
X-9
Dashiell
Hanunett
and Alex
Raymond 1934
[475]
[476]
[477]
[478]
King
Feoiures
Syndicate,
Inc., 1934
Bringing Up Father
George
McManus
1936
I
WRCTTE
THE
OEAN
OC
THE
COU-ESE
THAT
OUR
SOKI
WAKPTED
TO
QUTT
SO-OCH.
ANO
THAT
WE
WERE
C0N>S10-
S2 iS'
iil?
«EQIJES.T.
HE
IS
COfAlNS
tgae
TO
SEE
LTS-
1 KKJCW
HEU.
TKV
TO
COMV1I.JCE
US (OCT
TO
OO
IT-
1
WkMT
VOU
TO
SEE HIW
t^
1
CA.M'T
[479]
(^
George
McMonui
ond
King
feoiufei
Syndicate,
Inc., 1936
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WE
MUST FIX
1*5
SO*MS
Roo»A
e£(=ORE
HE
©ers
&ACK FPOM
COLX-BSG-
>^'S
SUCH
A
voME
ecrr-
l
VrfAMT
HIM
TO
PESU
e
King
Features Syndicate,
Inc..
1936
yCXl
kWJST
HURRV TO TVE STACTIOM
ANO *AEET
OUR
SOKL
AS t KKOW
v-e
WH-U
BE
LXADSO COMM WITH
HIS
eootce AKo
stuoes.
i-cui-
meeo
SOME
1-El.P
<£)
King
Feoturct Syndicot*, Inc., 1936
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Abbie an' Slats
Raebum
Van
Buren 1937
[485]
[486]
[487]
[488]
[489]
i.
United Feature
Syndicate,
Inc., 1937
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[490]
{-HE
AINT
FOOLIN'ME.'
HE
HATES
IT
HEPIE,
ALREADY—BUT HE
WONT
LETO/V.
SO-/
GUESS
—
l-l
BETTER
NOT
LET ON
-HOW
TEmiBLE
MUCH- I WANT TH- BOY
TO
trAY.'-)
[491]
[492]
[493]
[494]
Ci United
Fwtyrt
Syndicat*,
Inc.,
1937
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[495]
[496]
©
United
Fealore Syndicate.
Inc., 1937
Our
Boarding
House
Gene
Ahem 1929
Some
taV
ue>eX
loeex
cuRikis
•VoUR
LUklCH
HOUR,
BBoP
iii -tW
RummleV
art eAa6«y
To
see
Aki
EXHiaiTioKj
ot=
600FV
MoDERti Asr.'—
Ttl'
MAJOR
HAS
ekiTeRED
A
sfArue
hs
MABe
OF -PLmV,
tMat
looks
LIKS
Me
BID
if
U)HI1.E •FAaiJa
TJOWkJ
STAIRS
/—
He
Atl^
I
ABE
PtAVlJa
A
6AS
16
WORK
A
lOAT> OP
lAUtSrtS
OFF oJ
•W
(Jlir EXHlBlfiok),
Ke'^
S'POSSP
Ta
CotAB RJOM
FiJlAjJI.
Arf
in
His MAklASER
,
ms
Work:
is usrei>
Jusf
DoiJ' (f
foR
A
LAUSH,
£H
?
WELt,
TH''
Bcflfl
<*^
Vol)
MaV
WIVlD
UP -TbVkJ' To
LA1I614
A
peSK
SERSEAjf
«>lro LETrill'
ibJ-Piir
iJT>
SotAg
HAf/
Tor
-BAIL
/.
aJ'
see
o-/
—
ru
so
iJTo
okJe
<X^
TMoie
ARTisTic
TRAJCES,
All'
START
-RAOlOS
0\)ER
TH'
'STATUE
UliflL
THeV
TtN
To
SELL
iT
Tb
MS,
~vixeu
I'll
BESAltl
MV
COMPOSURE
'.
GREAT
HEAJEtJS; MAlJ,
J
14IS
MASTERPieCE,
tVlE
STATuc
//_
„Vol)
HAVE
IT
TAClJS
TiJE
IDEST,
—
AkId
IT
SHoUlT>
Face
-*£
South-
east
/
—
(7UICK,
TURkJ'iT
ARoU>lr>,
3EfoRE
vou caJFiise
IT'S
ART
vJlBRAtiokls/
— aJd
The sTaTue
MJST
-REST
o4
AiJTiqJue RoJe
vJEUVET/
•
oHiTHiy
IS
Au)T=UL
[498]
®
NEA Service.
Inc
,
1929
©
NEA
Service.
Inc..
1929
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[499]
NEA
Se.-..ce.
^nc
, 1929
[501]
yes
siR,->>-rriE
ouRvar
M01>eRJ
ART
CRlT-iCS
VoTEO
The
Tirst
pbize
oJ mV S-TaTuE,—
AdD
AvOA-RBeP
M6
#
50.
Iki
CASM
/—
iJouJ, ur
M£
HEAR
>)faJ
aTYemPT To
SCO'P?
TtJA-r,—
E6AP
/
—
—
TuRYhiePMORE
,
YheV
said
MV
STaTuE
WAS
fte
utiMlsrAK-ABuE
lOoOlf
OV
GEkJiUS
'
_~ AWiRk-
THAT, -^
THey
HAIL
ME
AS
A
(JEtJlUff
/,
TU'
lOORD
fiEvJiJS
To-DflV,
DoESiJV
m6*
J
AklVTMlUS
.'
it's
A
T?uBBeR
TiTlE
THAT
uliu. TiT
AiJVBolW
'-~~-
-MEAklTo' SaV
»,*xl
CAU ulOiTE
VouR
tJAnE
uJder
mike
AlJSEtb'S
?_
—
VoU
COULD
owl
A
Bom
:rtEC(f
'.
SAS/_J>oiJ'T
T«RSeY Vod
MADE
TMAT
UieHTMARE
sTaTlie
Just
fbn
A
UUGH., Akl'To
RiB
TrilS
MODERiJ
ART
CRATE
;
—
VoO
DID
rr
To
PRoxJE
That
Aiiseopy
CodLP
po
iT
/—
-
Akl'
liou)
WoO'RE
TAKiklS
A
BEllD
OU
3£li)6
A
SEklioS
'
T,
NEA
Service.
Inc
,
1929
(smj
FT
uJn
M
-M
-
UM
-
A«_
6o
EGAD,—
OM -
Z-zz-
<•
I
MADE
*85.
out'
<SF
Twe
-DEAL
WITH
mV
Sfylite
,
—
HErf-HEH-MEH
AM-.60lZ-7-z„^_
•enT
Tme
madam
^^5^
1
AJof
LEARU
fHAf
r
HA\/e
/
Ho/_^v4_
M-H-. J
''°-
oo
i
HMf
,
—
u)haY
a
Rime
AUlAKEklljG Vod
lOiLL
'
HAVE,
MV SlEEPIiJG
BeAuTV/
TIiE
otJLV
TIME
i
PaV
A<JV
ATTEkJTioiJ
ro
VojR
CoJUERSATioJ,
IS
iDHEkl
-fed
Talk
iJ
soiJR
Sleep
<
Art-ri- MlSTAlR
VIlSTADJ,
—
-I
AW
OV^ERCOME
VOIZ
JoV/
SoO
l^AvJE WlJ
SRAkJ'
AUARD
OT
-FlfTV
DoLiAlRE,
AllP
26
TiRST
PRiie
OkI
VqdR
VAR
MASkll'FlQLie.
STATlIE
OP
ART
MODERJE
/
—
ZE
JURV
'PROCLAIM
VOUR
STATUE
AS BEST
WAkI
OV
ALL
E^HiBiT
weeTH
MilChl
MERlT
'-I
SALUTE
MeVL
what
AT?e V'gOkJJA
pa^
him
off.
\k1,—
cash,'
KISSES?
®
NEA Service.
Inc
.
1929
/ SloD SCREEcMiiJg,
Stoil BiS
•' Sig;;
f
BflPkJ
OlOL
/
_
CtRTAlljLV
1 l
l^y
\
Took
«35.'oijT
OF
*oo
TtocKer/.^
'
://
—
TMAT'5
a
Wirt's P0101LE6E
/
I SlklCE
TilE
DAVS
OF
THE
CAWEMeJ,
\
ulHEki
Wn/ES
Ficsr
sEuJED
pocxers
/•
OJ
CtJlJMP
HUSBaOd'S
TiGER-SKiJs ',
I
XWRlkiG
VotJI?
jJaP
SATURDAY
1
Ev/etJifciG,
ibd
Talked
ikl
v^joR
V
Sleep
about
<seTTiKjG
$85. Top
(^^
A
STaTuE,
_~
y(J|,
v/oj
hem-mw-p
wiTh
sJopes,
twat
I
SMouirij'T
TiiJd
out
about
iT'r
*u'eE
luckV
I
DiDkj'T
TAk-E
AUTWE
MoJeV,
AlJD
SET
A
;
MOUSE
-IfeAP
;,/
(
,
s
Ikl
youH
, V
'•
W^
//-
TilTeRiJg
I
A
MALI'S
WHILE
'
HE
SLUMBERS,
IS
llJPEEP
THE
SlU <*
SiklS',
lb
MW WAW
OF
ThiiJkiJg.'
—
AvJd
were
I
A
JJDGE,
With
a
Wife
ARRAieoED
BEfoRE ME Okl
TMAT
MOkJSTeoUS
TELOklV,
—
E6AD,
I
WOULD
IMPOSE
A
SEllTEklCE
OF SilEllTV
WEARS //
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Barnaby
Crockett
Johnson
1943
N«//o,
Bomoby.
Hwett
again
tonight Thai light*
I
saw ft
01 /
fitwwf hfm
^Oo»h,Mr.O'Mall9y
I
Nobody
ffvti in
fhot
aki
ruined
hovt«.
Intriguing
. . .
Gloomy old
mantton
.
Dork
night
.
. .
i»tl»
lightt
fiathing
in th9 window
.
.
.
Wind howling
.
.
.
Jtj$t tht sort
o'
thing
your
fairy
Godlalhtr
findi
itfuttibh
...til
hav to
tolvt
lhi$ mysttry,
m'boy.
[505]
5
Field
Publicationv
1943
Mom
...U
it
all
right
for
me
fo
kind oi look
around
in
that
hauntod
house vp
the
road?
II
v^
ss:
The
Joeksoft
p^oce? If$
nof
hounfed,
Bornoby.
Peop/e
soy
fhor
obout
of/
o/d
deserted
bvtfding*.
^
Svf
yov
stoy
owtry
from it .
.
.
ffs too
far,
for one
thing, ond H you
prowl
around in a
ramthackh
building
by
yourtoH.
you'll
tall
and
got
hurl
.
.
.
II \\
Thof
«
right
. .
.
ff you're
curious obout
if
yov
con invettigato
H
when
some
o/der, responsible
person
it with
you.
is:
1
[506]
Olmy.Mr.O'MaHcy.
Mom
tayt
I con
90
wrfh
yov.
H^lloJai-.
My
f
oiir
eedfarlwi
I
or*
<Mi
ovr
way to a
hauntud
fiovM'
>rand
M
lovte'
^^
Of
course / don't wort of fraunting
houses, littlo girl
. . .
f
don't work
of
onything.
Fm,
or.
rotirod.
Not
thof
ail
my
humanitarian
ond
scienffAc
infereefs don't heep
me occupied
.
.
.
And at
present
I am engoged
in
o
mission fraughtwith
danger—
an
irrvestigotion
of
a curious psychic
phenomenon
in
a
haunted
house.
Mr. CMalley is
aduatly
going
right
up
to the
front door
and
gain...
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f
m torrf
I
<oul<in'l
ptnvode
Mom
to
fix up
th«
9u«lt
room
tor
you
. .
.
Did
yov
^—p
wcfJ
h«re
in
rh«
ce/lor?
V#iy
wtH,
»/»onii
yo«
And
(
hod
fh«
iov«(i*sf
dfoami.
Do yo«
ntod
onyf
hing? Pop'i
foofhbfusli.
Of
No.
And I
won't
have
you
going
toalolot
froub/e.
Your
Foiry
Godfothtr
is
geffing
my bag
from
tho
hauntod
hous*.
Ihavt
ovo/ything
in
H
fU
n«od
—
chains,
c/*an
sheers
O'Moffey
Air
f
xpress
Compony.'
Here's
your
bog, Gus
. .
.
'Morning,
Sornoby.
r
Field
Publi
Ah.'
Af
/osf o
break
in
fhi$
baling
COM
of
rhe
havntod
house.'
A
cfew.'
[
This b*g
bog o<
coWee?
IX
1
Certainty,
Bornoby.
Now
we
know
ihe
fype o*
evi(
creofure
your
old
fairy
Godfather
hoi
pitied
his
w'rtt
agamsf
.
A
diabolicai
opponenf.'
But I
ahalt
vanquiih
rhe
Ihnd . .
.
This
communiry
will
fee/
secure
once
more.
. . .
Chifdren
will
go
peace*u//y
fo fheir
/ittiebeds
. . AndGus
wi/f beobfefogo
bock fo
his
haunted house,
vnairaid . .
.
ShouMn'f
wt
»•(/ Itn
copi
oboirt
rfiof
Co*m
H»n6
in
rt.
<Jd
(lountW
txwim,
Mi.
CXMoMty?
rll b*
glod to
inok>
Q
formo/
cortiploinf
onrf—
MTtiof? CoW
In
tfit poDo?
TfioM
burtfhnlt
When /ovr
f
oiry
Codtof»«f
Uonlhm tom7
Hon—n—,
toinabyl
My
^alhlkt, baM<< on
my
9xhovsthf
ttudy ol trlm»
/fforofuro,
show
rfiof rh«
mystoWM Miv«d b)r
coppora can
b*
cminrod
pra<ficaffy on
fovr
fjfno flngor
. .
.
H
Gvt
is
very
onidoui
for you
to
anafy>*
what
the
fiend
il
doing
in hit
hauntod
house,
Mr.
aMof/ey
...
Did
yov
find out?
J_
OhgosK'ooA
...Hele/ios^eepogoin.
rve thought of a hidJrtg p/oce
for that
important
eviderKe f
unearthed
. .
.
fn
cose
the
Fiend
in
desperotion, attempts
to rogain H...
brittg the bag
upstotrt
. .
.
White
we're
fn
the
Aifthen,
omofcy,
/ t/iink
o
bit
of bodi/y
nourishweni
mighf
aid
my
ar>alyti<ai
thinUng
on
that
hounfed
hovae
myifeof
•
•
Whot
Ivckl
TufM
nthi Iralii
feorff
^
^^^Ir
AiSfcorfocANofmeeof
fmtt
Fairy God
father,
'Allmentory,
ory
dear
WotMn' . . . Get H.
m'boy?
A
devef
pun
. .
.
Ho/met
said,
AUmentary,
my
—
^^
C»»,.f»
l»«3>.»M^itli
n
Obviously,m'boy.
A
coffee
fiend
J
^c)
Field
Publicotions.
If
(ve ore fo
flr*d out what tha fiend
h
vptawe can't have
any cfumsy
pofJcemon
vnwHtingty
Informing
him
of our intent.
. . . No, m'boy. A
problem like this
caffs
for
the
brilliant
anafyticat
brain
of
on
Augusfe Dx/pin,
an Hercule Poirot,
o
Doctor
Ihorndyke,
a Nero Wolle, or
o
fhifo
VorKO . . . iucUcy I'm
here,
aren't we?
Field
Publicafion?,
ff he
searches the
house
for
H,
naturally
he'll
rip down all
the
woodwork
firti,
looking
far
secret
panels
. .
.
Then
he'll
s/osh
rhe
upholstered chairs
artd
pry
-jp
rhe
Aoor
boards . .
.
So
I
shall put il where he'll
never
expect
ir
ro
be
hidden.
Who
would expect
ro
find
a
twenty-pound bag
of
Coffee
on
a
pantry theW?
^
Field
Publlcaiions.
w9e
tttavght tt wrot
itty Aome,
o*
course
.
«
He
dedwcod
ft ...
If
was dork
in the (order
at hh
Baker
Stroet flot. Tou see
mv
good
frfertd
Professor Moriority, who
ofwoys
ota
there,
forgot his fontern
tfiat night
arid
oitfy
the
light of my
Arte Havaf*a wond
Mr.
(y/MoOeyf
I
know how
yov
con
fir>d
out whor
the fiend
Is
doing in
the haunted
houtet
hold
Publicolioni.
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Yt.
d
eouf«»,
my
faiiy
Godfath*/*
Handy
Pocfcaf
GuM*
tWf*
how to
VQnqulth
fiundt
...rll
look In thm
ind9X
. .
. anqviMhing
of:
Demons;
tvil
Spirit* —
tfs
an
o/p/»ab«f
Jcof
IhHng
.
. .
H»n —''fi*ndt, pag*
2$.
Th*n
you
tan
90
righf Info
ffw
haunted hou$m and find
out
what rh* fitnd it doing
th^fl
Jvtt
wova
yout magk won</
of
him
and
mofc* him
CONFfSS.'
.
. .
And
C«or9«'i
insurants
company and
rh«
po/ic«
think
if* vry
probob/*
fhot
thoM
gongiferi
who hav« b««n
ho/ding
vp
fh«
coffe*
tiueks
hove
headquorfsn
tight
in
this
vicinity
.
.
.
And that fh»M
ton*
of
stolen
coff«e
may
b«
stored
in a
house
right
in this very
neighborhood .
.
.
Cif,.l»lil
IMl rmU •^•bic«fkwM
Yot/ro,
mr.
conHdent,
aron't you,
O'Malley,
that
nothing
can
powbfy
go
awry? Doarmo
.
.
.
What
a
thing
to think of now,
bvf
I
keop
focallirtg
yovr sura fhJng of
BWnfonf
whan
^
h, THAT . . .
Stop worrying,
Gus .
.
.1
have
my fine Hovono
warni in
roadiness
and my thumb
at
the
page
of
my Good
fairy
Godfather's
HarKiy Pocket Guidebook
on which
ora
rha magic words for
vanquishing
alt
type*
of
fiends
.
.
--JP
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Ws a vBPf
good
thtng Mr.
0'A1o//ey, my
Foiiy
Godfafher,couM
grvt
such
a ffn«
dneriptlon
of
o
Fiend
.
. .
Green,
wrf
o
fong
foi/ with o
hooic on
it and red
fining eye*
. . .
Otherwise
/
wouldn't
Juiow
whot
fo
focJi for
in
this
house.
fm
looking
for o
Wend
He's
goto
long
tail
and
my
Foiry
Codfother
it
going
to
vanquish
him
wifh
his mogic
wand.
.
.
What
will
w do
with
Ihit
Krewy
brot.
Boss?
He
$*0n
all
them bag*.
M
M
Field
Pi.'blicQiions, 194
See,
fcJd. IVe
got
to
fceep you
down
here
in
the
cellar 'til
tomorrow
when
we
move
all the
coffee we got
hid in this
spooky
old
joint ...
So you
won't
tell the cops.
1
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[535]
[536]
[537]
[538]
[539]
®
Field Publicolions. 1943
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The
Bungle
Family
Harry
Tuthill
1936
^
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[541]
®
McNouohl Syndicote, Inc.,
NY.,
1934
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Mickey
Mouse Floyd Gottfredson for
Walt
Disney 1935
©
Wolt
Disney
Enterprlsei,
935
^
VtS,
INDEED, Miss
COW,
^^
^sO^ERE
AlNTA
aAL
MERE
\
Wy
^
pi
CAN
TDUCM
VEl
ONLV
J
/
,^
JV
WlSHT
I
WAS
M3LJNG
^
//^'
y\
ENOUtSM
TO
STEP
/
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{0UINCH5
lONSTD
SOT
WMOLB
-TOWN
FRIENDS
TMCREiS
CATCH
IN
IT
THEV
CONVINCE
10U
SHOULD H*iVft
KNOWN
BETTER
THAN
TO
TELU
CLARABELI.E THAT
SOUINCH
IS
CROOKECl^
IP
ONLY
\t)U
KNEW
ANVTMINa
ABOUT
women
[548]
[549]
[550]
[551]
[552]
CAN'T
vfe
\^BLn:
ELI
T
rr^ .such
a
>
[553]
(ty
Wolt
Disney
Enterprises.
1935
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ICKBV
TWcT
S«(jiNC«
o^ vAiAjm
AMOHa
XKE
RBUCS
OP
c.An^aeu.b
e«ANOm<TMER.
WHEN
e^lNCH
WOnV
OPKN
IN
MlCKmV%
He I*
auvs
OP IT
I
BUTT>.I ?e\
COULO
BE
soMe<>V< IN
TH«T
-nnjNK
/
-THAT
ttouV
>VOUlONY
KNOW
HAD
ANY
VALUE,
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SOU
INCH
INSISTS
ME
UOOK
HER
TMINSS,
[560]
(
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J
I
tMOOSKT
WE
BentR
TALK
OVW?
SOMfc
WAY
IbSET HOLD
OF VDUR
SRAN'DAOS
solo
OM,
MERCIFUL
SOODNeSS
.
, ,
MERC MS
VBS,
ITS
MSUF?
MOirtBAaE
—
I
OOUfiHT
IT F??UM
,
TM«
bank
now
WILL
Va
TALK
.TURKEY?/
^
Wolt Disney
Enterprises,
1935
@g
QUINCH
HAS
aoucvfr
uc>
CLAKABELLlk
MorraAsi
ANO
THRCATEN*
HBK
wiTM
UNUBSft
SHE
MARRIES
HIMl
HAVBItJU
rhally
sen-
PL
AN?
^^
I'm
ooiN'visn'
TO oia
ui»
iwin
aRAN'ChAIJ's
OOLOl
WHEN
I
SET
BACK
V CAN
USB
rr-ro
Pixt'
OFPTHAT
wsaobl
>t'
Wolf Disney
Enterprises.
1935
TrtJlCKBY
TWUL.S
HORACa.
ABOLTT
60UtNCH
ouvit^ta
CLARAOELLES
MORTisAae
IN OROERTO
K>RCH
HBR
-TO
atvk
MlM
TME
treasure
map
''what
1
^
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[572]
[573]
[574]
[575]
[576]
[577]
Uisnev
Enterpriiei,
1935
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IT
LU
TAKE
A
COUP-wE
O' DATs
TO
Put THAT CAN
<?UNNiM'OROEl?.'
Y
HAD
AN
^
lyA>CVDENT?i
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AND
AND
OUT
V^HAT
A
THB
S'
1
Several
HOURS
LATER
^HAVE V
Y^
SEEN
An K
. AIRPLANE
/
2P\
OVER
'
fY\^ERE?|;
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)ICKBV
AMO
HORACm
ARKPORCED
TO
USE
me
STOLEN
POU&E.
MOTORCVCLE,
AJSTEH
PHTt AND
QPUINCM
«o
oft: in
HORACe'S
car
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the
fRUM
THE
PO
LEECH
T
YDU
ainT TME
FBLLER5
WHAT
i
TME
MOTOR-
,
CYCLE
?
^^^^r
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P^BTB
AND
SQUlNCH X
ARC
aOlNTO
&e
AWFUL
DISAPPOINTED
TMAT
DIDN^
FALL
FOR/
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MICKEt'
AND
HORACe
TRV
TO
t=lNO
THEIR. v*\-l'
OUT
OT=
A
MAZE
OF
TORTUOUS
CAMVbNS^
PETE
ANO
SQUINCH
ARRIVE
AT
THE.
PUACE
THE
BURIED
GOLD
IS
suPPoseo
Tt>
BE
,
uocated;
''
HURR^
Uf»'
WHERE DO
WE
J
Dl©?^
rTME
MAP
S/Vr-STHERElS \
'
A
SMALLEI* TREE
'
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and
HUMORCq
S&CAuSE.
-TMSIR
FAILURE
FINP
BURIED
SOLD.
AND
SPUINCH
START
A
BATTLE
MICKEY
HORACE
PETB
AT bat;
MICKEV
-TRIES
-TD
as-r
HIH
Woll Diincy Enli'.prno-.,
1935
*\1 [621]
[620]
®
Walt
DisneY
Enterprises,
1935
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[632]
[633]
[634]
[635]
[636]
[637]
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'NOWTHEN, MISS HIGH^/
OH V
AND
Mier&Y,
I
w^NT
J
INDEED')
My
MONEY
-mAT
THIS
YVl ^
MERE.
MOfTTSASE
jy
// vT^
»
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Little
Orphan Annie
Harold Cray 1938
HM-M--GUC>CES
PLACE SURE
LOOKS
DESERTED
-
BL\NDS
ALL
DRAWN-
CRASS
IN
THE
YARD
A FOOT
HIGH--
FUNNY
WHERE
HE
COOLD HAVE
GONE
OR
WHY-
^Jhree
weeks
have supped bv
j
since
tvwt
fateful
hight oh
which
uriah cudge,
the
town's
citizen.
put
on
his
hat.
a
loaded
pistol.
and
out
for a
little walk'-
out
sight.
out
of
mind:
thevsaf
true-
already
pubuc interest
his
whereabouts
is
almost nil
[644]
Chicago Tribune-New York
Newi Syndicor©,
Int.,
1938
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[645]
AND. 'CEPT
FOR
HIM.
GUOGE
MOULOK BURNED
DOWN
TK
HOUSE
WTTH
US
IN rr TH/rr -hme-
HE1S SURE
A REAL FRIEND-
ANO ALWIWS DOW SOMETWIK
I
THAT
NEEDS
DOIN-
LIKE
RLLIN'
THAT
OCO
WELL.
FORE SOME KID
Fax
INTO
rr
-
too hard
WORK
FOR
ANYBOOV
ELSE
-
BUT
NOT FOR SHANGHAI
-
WORKED
AS
IF
HIS LIFE
DEPENDED
ON
fT-
f
/fsrtri
-
J
Chicago
Tnbune-New
York
News
Syndicole,
Inc.,
1938
[646]
WELL.
DRAG
MY
KEEL
FER
A
SCUPPER-
SUJPP1N'
SON
OF
A SEA-WTTCH
SHANGHA\
I
^
-SHARK . IVE
GOT
A CARGO OF RKXT
PRIVATE
BUSINESS
-
I
WONDER
COULD
WE
HfJS
A
UTTLE
BUSINESS
SESSION
OUST YOU AND ME
-
'
I
SHANGHAI.
I
WE GOTT
I
PLACES
I
HERE
OUST
I
MADE
FBJ
I
SECH-COME
•
WHERE
DID ^TXJ
LEM/E
SHANGHW?
I*
GOT OFF DOWN
T
AT
THE
WATERFRONT
1
AND
HEADED
INTO
)
TW
TOUGHEST.
MOST I
ORNERTV
DIVE 1
\
EVER
StEN- HOPE I
HE KMEW
WHAT
HE WAS
t>0»*'-
HAt
HAI 1
GUESS
1
WE
D
ONT
HO/B TD
i)
WORBY
ABOUT
THAT
OLD
iEA-
GOING
',
WILD-<AT- HE^
DOE
-
FOR
A
VACATION
AND
MEANS
TO
HAVE
ONE.
IMAGINE-
t£
Chicogo Tnbwne-Ne/^
York
News
Syndicate, Inc., 1938
1647]
f.
%.
/ VES-HTS
THE
CEE.
I
V
SORT
OF
VITAL
SURE
MISS
PERSONALITY
HMnN'
WHO
MAKES
HIS
SHAHQHAt
PRESENCE
FELT-
AROOND- YV
WQJ..
HE'LL
SOON
OOKT
VOU?kl
BE
BACK-
FRIOAV.
HE
SAIO-
HES
EARNED A
\*«:AT10N
MY,
MY-
ALL THE
THINGS
HE'S
DONE-- HE
SEEMED
SO
CHEERFUL
L«TEi:<-
HE'S
BEEN
SO
SORT OF TAOTURH.
UP UNTIL
OUST
THE
PAST THREE
WEEKS
OR
SO-
V
E'S
^H
TURH.^H
BUT
LATEL-Y HE'S
ACTED
AS
THOUGH
HET>
FINISHED
SOME BIG
OOB-
IN
FACT HE
SAID THE
OTHER
DAY
HE
FELT
UKE
A
MAN
WHO'D
DONE
HIS
BIG
TASK
AND COOLO
RETIRE
-f
HMM
'WHOrO
DONE
HIS BIG
TASK AND CCXXJJ
RETIRE
THATS
SC3RT
OF A
FUNNV REMARK
TO
COME FROM HIM,
ALL
THINGS
I
C0NSI06REO
-
THAT COULD
MEAN---HM-MM--
[648]
[649]
[650]
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MIDNIGHT-
UITTLE
ANN\E,
BLESS
HER
HEART.
SLEEPING
AS ONLY TVTOSE
WITH
THE
CLEAR
CONSOENCE
OF
A
CHILD
CAM
SLEEP- BRAVE.
LCrtAL LITTLE
SOUL-
,
1
HOPE
sHen.L
Ntrr
think too
lu.
I
OF
ME
GOOD-BYE.
MY
CHIUD--
'OUR
WEEKS
HAVE ROLLED
BY
USTLESSLV
STNCE
OUR DEIAR
FTirErND.
URIAH
GUDGE,
PUT
ON
total
obscurity.
OR
WHAT-
ErVER
HE DID TO
DISAPPEAR- ALREADY
HE
IS
UTTLE
MORE
THAN A
MEMORY
MOST-
WHERE
DID HE
GO?
WHY?
HOW?
NOBODY
KhWWS
AHU
AFTER
OKE
NOBODY SEEMS
TO
CARE— SH-H-H—
[651]
©
Chicago
Tribune-Now
Vofl:
N«ws
Syndicols,
Inc.. 1938
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[652]
«fE.
rro
BE
RX<
-TO ST»C
ft
BTT-
BUT I
NEVER WAS Or« TO
TARRY
W»«^
MY
*Joe WAS
CX)NE
-
CAP>*
ALDB1.
SUEEP1NG
ON T>C
HIU.-
HA',
j
HEX)
ENJOY
THK-
HE
WAS ALWm^
ONE FOR
A
GOOD
JOKE
-
PERHAPS
j
SOMEWHERE,
SOMEHOW,
HE
KNOWS-]
A
JOB WELL
DONE
-
AS
POR
MIS
MISSUS. FOR
ROSE
AND
JACK,
OR
LTTTLE
ANMIE--THEY
CX3N~T
NEED
OLD SHANGHAI
-
NO
-
PTS
TIME
TO
GO.
AND
I'M OFF
WHO
CARES
WHB«E?
ffT LAST
I'M
FRffi
AiGAlN
AND
OFF
TO
SEA-
•ROU.
DOWN- ROLL
OOWH TO
RIO-^
i
ROLL
REALLY
DOWN
TO
RlOl
*»
OH.
I'D
LCWE
TO ROLL TO R»
J^
SOME
OM BEFORE
I'M
0LD1' ^S
AHOy,
THE'f^'
SCHOONER*
[653]
_
1
TK
PUCE
GOT A W
LOOK IN
NOMYMOOS
lETTtH- I
THE
BorTOM
rr
SAID -LOOK
IN
I
OF
THE
TME
BOTTOM
OF
THE
I
OLD WELL?
OLD
WEU---
GEE.
A
WHY.
HOW
rrs
GOT
EM
QOIN'
n
CAN
THEY?
ABOUT
CRAZY-
/
1
SHANGHAI
ha Ha( I'LL
SAY
HE
DID-
WTTM
ROCKS
AND
OLD IRON
AND
A FEW
BAGS
O' CEMENT
WHEN NO
ONE WAS
LOOKIN , AND
TONS
TONS
O' DIRT-
CLEAR
. TO TH'
TOP
KS ^
lENT
I
ANO
f
:ar
f I
©
Chicago
Tribune-New
York
News
Syndicole,
Inc.,
1938
YES.
AND
HE
EVEN
SODDED
IT
ir
YEAH
-
SAID THAT 1
WAS
SO
FOLKS
WOULD
FORGET
IT. -STEAD
1
O
REMEMBERIN
IT-
(
OH.
BOY'
THEYT?e
I
MEMBERIN LOTS O'
TKJ
THINGS
SHANGHAI
SAID
NOW-
BLTT
WHY
LOOK
IN THE
BOTTOM OF
THE
OLD
WELL? WHAT
COOLD
BE
THERE ?
ir
EH? HWE
VOL)
FORGOTTEN?
I
rr
WAS THPT
Niorr
when
ACE GOT
KILLED,
TK
NIGHT
,
JOST BEFORE
TM'
MORNIN'
,''
„
Tl-WT
SHANGHAI STARTED
{
EH
'.
FILLIN
THAT
WELL,
THAT
1
MR.
FOLKS
SAW
THEIR
LAST i
GUOGE?
I
O'
MR.
GUDGE
-
[654]
Ji Chicago
Tribune-Nev.
[655]
WE
BROADCAST
•THE ALARM
ALL
OWER
TVC
COUNTRY
WITH
THAT
PEG LEG
HE
CANT
GET
FAR
BEFORE
HE'S
PICKED UP
\ THEORY
RY-
I
IS RIGHT
M
FG
I
lAlF-l 1 I
IP
MY
THEORY
IS RIGHT
WTLL
HA»/E
HIM
I
THE
NEXT
TEN
MINUTES
THIS
IS
THKT
WATERFRONT
DIVE
THE
TRUCK L
DRIVER
TOLD
OS
TOUGM
LOOKING PLACE
ALL RIGHT-
WE'VE
BEEN
SEEN- COME
SHANGHAI? SHANGHAI
,
PEG?
ONE-LEGGED
BIRC
I
NOPE.
NEVER HEARD O'
NO SUCH SWAa- BUT
LOOK
AROUND
-
YOO
DONT
NEED
NO
SEARCH
I
WARRANT- MY
BUSINESS
1
IS A
OPEN
BOOK-
1
HEY—
STINGER-
SHOW THESE
^M
aye
this
HERE
GENTS
^
WAtY-
WATCH
AROUND.STINGER-' YER STEP- GOT
AND BE
SURE
I A MITE
O
DEEP
THEY
OQnT Wirz\ WATER
UNDER
NO
ACCIDENT
^
HERE
-
HATTE T
HAVE
YE
STEP
ON
A
LOOSE
BOARD
MEeee-
t£
Chicago
Tribune-New YofW Newi
Syndicote.
Inc., 1938
[656]
WELL.
WELL- BEEN
ALL
Ov/ER EVERY INCH
C
MY
PLACE.
EH?
M4D
VOU AINT
FOUND
HIDE
NER
HAIR O'
TH'
SCOL»«>REL YER
LOOKIN'
I
A WEEK
FER?
CHKl CHK
I
,A
^
BUT
1
>4
H
WE
I
9 KNOW
I
ND
S
HE WAS
I
•H'
I
HERE
r
iKIN'
I
A WEEK
*'
HO' ho
YOO
COOLO BE
RIGKT, FRIEND- I
GCTT
A
SHORT MEM'RY-
FERGIT
ME
OWN NAME.
ONLY
IT'S
TATTOOED
ON ME
STUMM»CK
WHAT
WAS TH'
SWAB'S
NAME
AGAIN?
PEKING
7
COME
ON-
WE'RE NOT
GET-TING
ANY.
\
WHERE HERE-
SHANGHAI'S
NOT HERE OR
|
WE'D HAN^
FOUND
HIM-
WELL.
SO
LONG. MATES-
SORRY YOO
GOTTA PUSH OFF-
1
DROP
IN AGAIN
ANY
TIME
-
IT
AINT
ALW«YS
OUtl.-HEftE-;
whew
I'M
SWEATIN' ICE
WOTER-THAT
PLACE
GAVE
ME THE
CREEPS-
)
WHY,
A MAy
COULD
DISAPPEAR
IN
THERE
AND
/
YES-
RIGHT
YOO
ARE-BLrr
LET'S
GET
BACK
AND
ea
HOW
THE
DIGGING IS
COM*NG ON-
[657]
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[658]
Maw
Green
Chicago
Tribune-New
York
Newj Syndicate, Inc..
1936
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[659]
EH?
VOO
SPTf
YOO DONX
BELIEVE
GUCGE
IS IM
THE
BcrrroM of
that
OLD
WELL-TVe<
WHSiE
IS
HE?
[660]
[661]
[662]
[663]
[664]
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[665]
Maw
Green
Chicago
Tribune-h4ew Vofk
News Syndicate. Inc..
1938
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[666]
BOTTOM
OF
THEWELL.m
UiST AND
THi3 E---ONLY A
MET?1. CftH. SEALED,
AECRESSED
TO JUDCE SILAS BUTTON
-
VEAH-
•KXTRE JUST
TYPeT>«rl
WOULD
BE
FOR
f
THAt
e»iqTVB?
-
[667]
YES-
I AM
FAIRLY
FAMILIAR
WTTM
THE
CASE
,
AS
EVERYONE
KCREABOUTS
IS. I
BEUEVE--HA\
HA'.
NO
CORPUS
OB.ICT1-
QOITE
A
DSAPPOINTMBfT
TO
THE
MORBID
DARE SAY
BUT WE
I
FOOND
I
FOR
YOO.
I
JUDGE 8
BUTTOM-
EH''
THAT
METAL
COMTAIMER?
MMM-M---
MY NAME, ALL
RIGHT—
COO
OOO INDEED-
/
SHANGHAI.THE
OLD PEG-LEG
PRINTED THAT
ADDRESS
-WETJE
CERTAIN
O'
THAT--
I'D
BE
CAREFUL
WHEN
rrS
OPENED
?1
nonsense
rrS
NOT
HEAVY
1
AT
AU.---HERE-
I SEE
YOU
HAVE
\
TOOLS THERE
READY---OPEN
rr
UP AND WEU.
I
HAVE
1^
LOOK-
O.K.--Y0U
HOLD
IT.
CHIEF
WHILE 1
CUT
THROUGH THIS
TOP
END-
AH-H-H--
I
THOUGHT
SO-
PAPERS-
-DEEDS
TmjES
-
-
HM-M-M'
AND
WHAT-S
THIS?
WHAT--?
GREAT
GOSHEN .
THIS IS
SOMETHING-
y
[668]
[669]
r
[670]
[671]
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HERE IT
IS.
PRINTED
IN
RX.LIN THE
PAPER
'•
I, URIAH
GUDOe, OF
MY
OWN
FREE WILL.
CONFESS
THPrr
1 PLANNet)
AND
DIRECTED THE MURDER
OF
CAPTAIN
CALEB
ALDEN-
HE
GOES
ON
TO
CONFESS
HOW
HE
THEN
GOT
HOLD
OF
NEARLY
ALL
OF CA
PTAIN
ALDEN'S
PROPeirrY--HE
EVEN
TELLS
HOW
HE
HAD
HIS MEN
KILL THREE
OF
JACKS
TROCK
DRIVERS
[672]
VNTI-CUMAX?
PROBABLY--
CERTAIKLY
IT
'
WAS
A
TERRIBLE
DISAPPOINTMEHT
TO
MORBID ONES WHEN
DEAR
MR. GUDGE
NOT
DISCOVERED
RECUNING
AT
THE
OF
THE
OLD
WELL-
ONLY
Aw
METAL
CAN FULL OF PAPERS
FOUMD
THERE— BUT WHATT
PAPERS
Maw Green
Chicogo
Trtbvne-New
York
News Syndicol*,
Inc., 1938
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TerT>-
and
the Pirates
Milton
Canilt
1940
-
ajjgg_
^X...
T
r^a^.A^'
T
HPAPn
^^S
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C676]
[677]
[678]
[679]
©
News
Syndicote Company, Inc., 1940
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5
News
Syndicote Company.
Inc., 1940
WE
SHOT
POWN
THE
CAIC
SICINMED
ONE,
VOU
ALLOWED
A
WO/MAN TO RUSH
OUT
OP
THE
HOUSE
AMP CARKV
HIM
AWAV IN
A CAR.'
HE 15
HERE.'
TXE
HANPSOME
ONE^
WAS
ABOUT
TO
POLLOW
HU SHEE.TD HELP
'
HIS
Y0UNi5
PEIENP
. . .
BUT TWO
6JCH
,
MAP
CASHES
COULP
NOT BE
60
U^JKy.'
HE
IS
TOO
SAUUABLE
TD
THE PEA60N
LAPV TO
BE
WA6T6P
THU6...
SO
I
STeuCC
HliM
ON
THE
HEAD
—
JUST
^HARP
ENOUSH
TO
SAVE
HIAA PDR
PirrWE
REPERENCe.'
I?
Newi Syndicate Company. Inc.. 1940
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[683]
[684]
[685]
[686]
©
Newj
Syndicate Company,
Inc.,
1940
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l
avs;-
© News Syndicot0 Compony, Inc., 1940
In their
early days
[the
comic
strips
had an
importajit
function
as
a
form
of crude
but
vigorous
satire
at
a
time
when American
literature
in
general
was
saccharine
and
imitative.
The
meaner and
littler
aspects
of
American life
amd
character
were
lampooned
in
the
funnies
long
before
Sinclair
Lewis discovered
Main
Street
or
Babbitt
.
And
strip pictures
caricatured U.S. manners
and
mores
at a time
when
the motion
picture
had
Mary Pickford,
America's
sweetheart,
as
its
fairest
flower. Corrupted
by
neither
a literary
training
nor
a
literary
tradition,
taking
their
material
from
the
life
they observed
around
them,
the
comic-strip artists
presented
a
series of
extremely
pointed (and
fundamentally ill-natured)
comments
on
the American
public,
which promptly
roared
with lau^ter
and
came eagerly back for
more,
The
Funny
Papers,
Fortune
.
April
1933
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Dick
Tracy
Chester
Gould
1935
[688]
CO
AM£AvD, AR'30M-SMA>P
C3UR. PICTURE ST*^^^1D1MC
HERE
Llt4E
TWlS. U.BZP THAT
CiCAJJ.
IM
-touR.
MOUTI-t.TORA. I'LL
S>EMD
SOME
TO
THE
PAPERS
ME>a
TIME I'M
IM
TCrv^M.
I
Uk.&
POR 'EM
TO
PRIMT
COOP
PICTURES
OP
ME
AS
LOkJC
*>.<=>
TMEW'RE
PRiwtimG
TMEM.
^ Ti «i\
^
\^JHtKJ-
DO
Sou
TMIM^C
OP-
OUR
CWAMCES.
TRACS?
THIS
COUkirRWS
CETTIMC
VJILDER
\MITH
EVERW
r^lLE
THIS
IS
OME
JOB
^
WERE
GOIMC
TO
SEE
THROUCM
.
RC^T
-
THERe
WtU.
BE
t40
TURKIIKIC BACK
TILU
THE
^RSON
OOO
IS
CAUGHT.*
Chicago
Tribune-New
York
Newi
Syndico'e,
Inc.,
1935
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[689]
I
cof^&
oar
wEAE
awd
SWOOT
TWROUGM
7W6 SWviE
BULX£T
MOL£
JuST
FOR
PRACTICE'
I'Vt
OJUV
kOsiocxED
rr
oe*
tvu^t
POST owce
iNj
FOUR
VEAJ?S»
[690]
[691]
[692]
[693]
[694]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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[695]
®
Chicogo
Tribune-New
York News
Syndicare, Inc.,
1735
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[696]
guioeo
BV
VH.IOW>OHV,
OtCK
TRACV,
P«
PATTOM
.
AJJO
TH6
INOl^U
,
HAN'S
OSMe
TO THE
VERV
DOOR
OP
••CL)TI6
DiAjvtoNDX Hiosioe
c*>/e.»
[697]
[698]
[699]
[700]
[701]
7/17/2019 The Smithsonian Collection of Newspaper Comics
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CJPeKJIMC
TUB PIRST
CA.VE
DOOR, DO<
TR^CV OBSERVES
TMfc
TWO
WIUDCKTS
CuAROiKlG
TME
REA-R
ROOM
OC TME
C*.s/E WW6i:?E
BORIS A^kJD
TORA AJISOM
AJJO
CLITIE
DlAJ^lOMD
AJI.E:
IM
MOIMG
-
BUT BBPORE
WE CftJsl
PLAJO
A*JS ACTOM/CUTIE
SPRIMGS
TO
TM6
IMMER,
DOOR OP Tl-te C*«VE AMD
CIRBS
k. MAO-IIME
CUM
*kT
TMB lp&TEC-nV&
.
[702]
BW
MURLISJC
MIMSSLP SUDDiMLV B^CuC-
A,RO
AJJD PulLIMC TVIE
C300R
CLOSED,
DOES
TSAC-^
AtJOID
DEAT)-I, CuTiE
CXJMTWUES TO
TMROUCM
TME
OUTER
DOOR .
MOWEVER
R6CUL^R
iWTERVAiS
SO
THAT
TRAOV
AWD
MEW
D^RE
NOT
ATTEMPT
6MTRAMC6
TO
CfcVE
BUT
AT
LAST
A
PLAW
HAS
BEENJ
UP TO DRiVt
THE
CRIMIMALS
OUT.
.
Ov<1W
-
QulET
MOW
.'
~
'CUTI6 f
BOR\S.»
WB'Re
GOIMC
TO
R3RC&
YOU
TO
COME
OUT.
.Wt'RE
COIMG
TO
DRIVE VOU
our
WITH
CARBON
t*OHOXlDE CAS/
rTH^VET
1
WANT
^
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[703]
iijONOXIDE
CPS
FROM THE
EXKAOjrr
OF THE
potice
c*kR
\s
oaNC
ITS
vwoRx 'iirne''
D(A>«N3.'ZORA.AND
BORIS
ARSOM, W £
FORCED
TO
WOTE
THE
O.VE.»
[704]
[705]
[706]
[707]
(£)
Chicago
Tribune-New York
News
Syndicote,
Inc.,
1W5
[708]
S'fc«s
TO
Tv.e
sec<:»jo
cusoa
l~^<5WTN
'CLmt'
CMJ^ONO
StN^eS
TMt
OOAMNG OC
Tve
CHEAT
BLACK
CUtTA»J CatX
BEH>MO
g6Xuttj~iS
Am
ok*
last
c668Le ea:oRT
TO
v.jfcHD OCC 4E-ViTA8L.e
CAtnuRE.
WE
£kjtE«=.
TWfc
BOOM
«JllT>«9T
DOUWI
TH6
MAU.
AWO
POBTIPCS
WIKOSB-C
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[709]
©
ChicoQo
Tribune-New
York
Newj Syndicote,
Iac,
1935
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[710]
Atrrsa ewtERimS TWE
WOUS6
,
AjX>
PMOlKXa
'CUTIE'
DIAMOND
SENOJO
ML>.^AjsJ Ua.P,
DCii
TRACW n»a«ES
aioc
-ra
t^je
CA-PaJHE
80RS
iiRSOW.
W-O >S
ST.-L
UO
l-o
TWE S6CO»JO
V^
WILL,
'^
IC
I
CAJs)
CSET
OC
THESE
BARS
C'GLiaEO
OUT
^
I
MA'
THERE
w£
ARE
IVEGOTTWE
[711]
[712]
[713]
[714]
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11
Cats,
Dogs,
Possums,
Counts,
and
Others
A
Comics Miscellany,
1928-1950
This
section offers a selection
of
Sunday
pages
from some
memorable
strips.
The
pre-
ponderance
of half-page
and
tabloid-page
layouts rather cheerlessly indicates
the
en-
croaching
reduction
of space allowed comic-strip artists
toward the
close
of
the
strip's
first half
century.
But
the
ample
and
colorful use of
this
halved
area
by
cartoonists
is
sometimes admirable.
on
strips
in
this
section
The
first
three
selections
in this
section
are all
by
one
of
the
great original
and
in-
imitably
individual
talents
in the strip
field, Milt Gross,
whose Nize
Baby,
Count
Screwloose,
and
Dave's
Delicatessen are
among
the most
consistendy
and irrepres-
sibly
daffy of strips. Flowing
from one
into
the
other,
with some
of
the
same
char-
acters traipsing into one
feature and out of the
other,
Gross's
strips
use names only
as
tags
of convenience.
They are
all
slices
of the great Gross
comic cheesecake from
which two dozen
delectable books
and films
were
pared
in his
lifetime
[716-718].
The
comic
strip Felix
the
Cat
was
drawn
by Otto
Mesmer,
although
it
was signed
by
Pat Sullivan until
the
latter's death.
Felix,
a feisty,
inventive, restless,
yet
some-
how
delicate
adventurer in
his
glass
menagerie
world,
never attained the wide
strip
following
that the
charming
enchantment
of
his weekly and daily activities
might
have
earned
him
[719].
Al
Capp's
irreverent and
crudely hilarious Li'l
Abner,
the veritable
yawp of
the
newspaper comic
strip,
was
at a creative
peak from
1934 to
1944;
the examples here
are
from
three of
those
Abner
years
[720-722].
Hejfi
was begun when
the
Hearst
chain raised
its
Simday comic
section
from
six-
teen
to thirt>'-two
pages
in
1935,
and
it
provides
this
wonderful
example
of
what hap-
pened
when
Dr. Seusss
gorgeous
lunacy
moved
briefly
into
comics
[723].
Abie
the
Agent,
Harry
Hershfield's
nervy
and pioneering development of
the
first
definitively
Jewish
strip
hero,
from 1914
through
the
thirties,
was a
subtle, adult work
of
humor
and
unspoken compassion, which
deserves
more analysis
and
discussion
than
it has received. Here are
two
examples
in the
relaxed
mood
which the strip
ac-
quired
in
Hershfield's
later
years [724-725].
This final selection
of
Herriman's Sunday Krazij Kat pages [726-733] are from the
great
color tabloid period
of
1934-44,
eight
examples
of
the
rare work
which,
during
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the
artist's last
decade,
appeared consistendy in
only
two
United
States newspapers,
the
Saturday New
York
Journal and the
Saturday
Chicago American.
Herriman's
comic work, a
national
treasure
comparable to
Daumier's in France,
deserves
the
per-
manence
of
a
definitive and complete collection in boards,
and
the dignity of
repub-
lication
in
the
original
size and color from
beginning
to
end.
(
Meanwhile,
Nostalgia
Press
has
provided
an
anthology,
now available
in softcover.
^^'alt
Kelly's insouciant Pogo
[734-737]
was
a
brilliant newspaper
adaption, in
daily
and
Sunday
format, of
a
major
strip
which
was
originated and essentially
per-
fected
in
comic-book
format
—
the
only
instance
of
a
comic-book
creation
moving
wholly
and
permanently
into
the
newspaper strip medium.
Pogo became
the
first
comic strip
to
have
its
daily
episodes
reprinted
virtually complete
in book form,
se-
quentially,
year after
year.
Gus
Arriola's
Gordo,
with
a
cast
of human and
animal characters,
remains
a daily
delight
in
today's
papers, with
Sunday
pages of e.xceptionally
individual
graphic
de-
sign
[738-7,39].
Casey Ruggles
[741],
Warren
Tufts's
somber,
adult
^^'estem
adventure
strip, lasted
from
May
1949 until late
1954
(
and was
ghosted
in
its later months
)
.
Its
strong
nar-
rative and
brutal
point-of-view clearly anticipated the
Italian
Westerns
of
Sergio
Leone (A
Fistful
of
Dollars, among others)
and
their
imitations
on both sides
of
the
Atlantic.
Krazy
Kat,
the daily comic strip
of George
Herriman, is, to me, the
most
amusing and fantastic ajid
satisfactory work of art
produced in
America
today.
With
those
who
hold that a
comic
strip
cajinot
be a work
of
art I shall not traffic,
. .
.
Such is the
work
which America can
pride itself
on
having
produced,
sind
can
hastily
set
about
to
appreciate.
...
It is
wise with pitying irony
j
it
has delicacy,
sensitiveness,
and
an
unearthly
beauty.
The strange, unnerving,
distorted
trees,
the
language
inhuman,
unanimal,
the
events
so
logical,
so
wild,
are all magic carpets
and faery
foajn
—
all
charged
with unreality.
Throu^
them
meauiders
Krazy, the
most
tender and
the most foolish
of
creatures,
a
gentle
monster
of
our new mythology.
Gilbert
Seldes
The
Krazy
Kat That Walks
By Himself,
The
Seven
Lively
Arts
.
192^4-
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Nizc
Baby
Milt Cross
1928
(716]
BABY
lUa
U
>
Fi.
o*
By
Milt
Gross
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Count
Screw-loose
Milt
Gross
1929
r
OIL .
COUNT
SCREWLOOSE
OF
TOOLOOSE
By
Milt
Gross
rrr
(B
Pr«»>
Publlthins Co.
(N.w
Ywkl.
I9»
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Dave's
Delicatessen
Milt
Gross
1932
[718]
Dave's
Delicatessen
1
CC»-^&.MUKXr
C«,A^.'
>OU'RE A Pl-A-y-pRCCXiCERS
vvn=E.
^4C?W
/
vVE.
V\U£T
TO
TV(e
-meA-nirE. ora
n^^E.
PCJR
Tvie.
K.ng
Fea'ures
Syndcafe,
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Felix the Cat
Pat
Sullivan (
Otto
Mesmer )
1931
Nawtpopsr Feotur* S«rvict,
Inc., 1931
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Li Abner
Al
Capp
(
Alfred
Caplin
)
1938
/
1940
/ 1942
^^c^^^:^^^^^
jLIX
by
AL CAPP
AdYicre ^o'
ChillLiT^
SEE
THAT
LI'L
KID
-
I
PASTED HIM
ONE
YfiTIDCflf'-FOR
NUTMIN
MY
KID
.
BROTHCR.'J
HAS
BEIEN
TRYING
TO
HELP
HER
SPINSTER
COUSINS
MAY AND
JUNE.
HUNKS CATCH
A couple:
of
HUSBANW.
UNFORTUNATELY
THE VICTIMS
SELECTED, HAIR-
LESS
JOC
ANP
LONESOME.
POLECAT
FAIL
TO
CO-OPERATE-
^^HOW
KIN
A
GAL
^m
G.IT
A
YOUNG
^^MANI
ROMANTICAL
^F^
'BOUT
HER
WHEN
HE.
THREATENi>
*
T'
BASH
HER
V;F
7^
A
CLUB
efshe:
-fCOME5
NEAR
HIM?
t
CARCTUL
WHEN
YOU'RE
SPEAKlNft
TO OC
H*i)cuN€PC)L^T.cwKLANC>.Ha»imi-^mrrnoim?
[720]
t.
United
Feolu^e
S/ndtcole.
Inc.. 1938
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LIL
AL
CAPP
AayJcTc f o'
ChiUcm
Chiixuh which holos back
each
shoulder
dont get nolmd ome5
when
they-re
older-
sevr^tayGeoffSf
TAKsry*.
s^ff^ h^ula.
cmih
MOTHER,
OLD
THIf«3
,
PREPARE
YOOR'SCLF
FOR
A
BIT
OF
A
SfOCK.'-YOUR
CEMUC
IS
IM
MATTER or
FACT,
MOTHER, OLD
BEAN-
i MAVE^f
r
ASKE^
HER
ABOlTTHER
TAMILY
YET.'-BUT
FROM
HER
REGAL
MANNER,
IM
IF
HER
FAMILY
IS
REAUY
ARISTOCRATIC
.
I
MAY
CONSENT
TO YOUR
MARRlAGEr-IF
HC.
YOU MUST
FORGET
HERr-MAKE
CERTAIN
<0
Unil«d
F«otura
Syndicote. Inc..
1940
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AL
CAPP
SISEJ
ILIUN.
DO YOua SCHOOCWORK ON TIME.
,
OR
SOMEDAY VOU
rWh'
BEG
A
DIME
SENT
IN
EST
RKHAAO
A/£LSOK
SIOUX
fAlLS.
j.q
[722]
TH-
FO'TEEN
CENTS,
.
SAM
.'/
)
THANK
VO'.'.'
TSKr-WAS
AH
SHOCKED WHEN
AH SAW
VO'
TRVIN'T'SNEAK
OFF
WIFOUT
PAVIN' ME.AFTER
,
AH
MADE VO'
/
INVISIBLE.'/
si.
Unit«<l
r«ijiwre
Sv^orcoi*. Irx.,
1942
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Hejji
Dr. Seuss
( Theodor
Geisel
)
1935
WATOQF
has
STRANXSE
WAVS
IN)
TV-\E MOOMTAIMS
OF
BAAKO.
IM
LAKES
ON) OLD
\<XX:ANa
TOPS,
WWALES
SPLASH AND SPOUT.
.
.
»0,000 LEAGUES FROM THE
WEAREST
sea/
tmis
land
COMES
MEJJI
A
SnZANGER
\
It^^^L
1.
WHAT
A
COUMTCy/^
TURTLES
THAT
WHEW.'two
cjOAts
that
WEAR
ONE.
BETWEEK)
r
/•
;C.
AND
MERE'S
y
</-
«^
SOME
snjNT,
^
^^
A
*^
A
FLOWEK
^-~>y•'-
BROAOCASTING
MUSIC
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Abie
the Agent
Hairy
Herslificlcl
1938
[724]
';
SA^AE
v;oLUME
inJ
WouR
Bookcase
,
MEs.
This
owe is> from
The
Public
uBRARy
=
\
l^tK^
SHOOLb
1
RUIN)
'
hKi
FiKie
EbiTioros?
y
c.
King
Fco'yres
Sy
T^
ft
FtLU^R
MWASO
Minsk li
COMlM<i
HB»E
TO BORBOUJ
A
HUN^BEC
OOLIARS
-
:
CuAflT
^OU 1UX>
Ai
VJlTWESiES.THAT
I
(5A\m
IT
TO
[725]
AMb
WllMSV:
MBJER.
REPAIb
ME
I Fx
QOT
SBJEM
lAllTMEStE^ '
THE
»OMt>REB
*OLV>Rl
-
'
'^^ WHO
SAW
ME
RETURM
I
TUlO
WITNESSES
UJHO
SAUJ
ME
LOAN
HIM THE
AAONEy
THE
MOkJEv TO ABE.
k
A
WEEK
LATER
VOUR
HOWOR.TC
SMOul
VOO
WHAT A
LIAR
THIS
MlHStC
\«>-I'M TELLIMQ
VOU
NOW
T>*AT
I
NEVER
LENT HIM
,jrVIE
MOMEy
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Krazy
Kat
George
Heriiman
1936-1939
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[727]
~\r
'
m^.
LE.
TT^Xfe'S
(?e/Mpe<s
—
rut
4^
Ji^c?
^Ji'
^e.
'^>'
'^fex
'WV
f*'^
>^
^^
—
^'^^
,
CouCr
CCHG,
A(yo
[y
iw^s-A
^/^ppy
Dw<H^-
[D06e
fOftTJVfe
P0iePU6.
Pb&/B
ALL
IN
F«VC>^,
t>AV
/^y^
/
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[729J
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[731]
\
•^4>
._^-.:;.5S)/S.v^v
-**^^^^'*««V»^-
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[7331
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Pogo
Walt
KeUy
1950
©IMVe THE
BORKy OF
VO' BAIT
P060
WHILST
I FEEDS
THESE BIRD
CHuO-UN'
AN'r
TELLS
>OU
HOW COME
1 D1?ESC-
UP LllCe
A
JACK
KAB6it |
®
Poil-Holl
Syndicate,
Inc.. I9S0
'
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[735]
(V
Post-Hall
Syndlcoie,
Inc..
I9S0
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[736]
PoitHoll
Srndicai*.
Inc.,
1950
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[737]
(ij
Posi-Holl Syndtcoto,
Inc., 1950
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Gordo
Gus
Arriola
1948
/
1949
[738]
]
Unired F«oture
Svndicoi«. Inc.. 1948
f*A
°4
i
^
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Texas Slim and
Dirty
Dalton
Ferd
Johnson 1943
[740]
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Casey
Ruggles
Warren
Tufts
1951
KIT
CO)(...P0N'T
»E
COOUISH/
IT.
.IT
WA'S
A
J
7UEL
YOU
«££...
YOUe PEIENP
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mm
Little
People,
Wise
Guys,
and
Witches
The
Return
o£
the
Funnies
What
follows
is
a
frankly
subjecHve,
perhaps
even
cursory,
selection
of comics,
picked
to
represent
the
dominant
event
on
the
comic
pages
during
the
recent
past.
And
much
of
the
recent
history
of
the
comics
centers
on the
arrival, success,
and
influence
of
Charles
Schulz's
Peanuts.
The
old
family
strip
formula
has
been
turned
completely
around,
for what
we have
is
not
a
bunch
of
adults
behaving
like
children
but
a
group
of
children
behaving
like
neurotic
adults.
And
the
traditional
American bound
to
win
has
quite often
become
bom
to
loose.
More
than
that,
the
influence
of
the tiny,
sparse
panels
of Schulz's
strip,
plus the
increasing
cost
of
paper
and
printing,
have
shrunk
the
size
of all
comics.
So that
we
not
only
see
graphics
clearly
derivative of
Schulz's
style,
but
a
general
shrinkage
in
comics
in width
and
depth.
Indeed,
the
venerable
Dick
Tracy
is
but
one
example
of a
strip
drawn
so
that its
bottom
quarter
can
be
cropped off
entirely,
leaving
it Schulz-
size.
And
some
papers
have
been knowm
to shrink
all
comics
back
to a
mere
two-col-
umn
width.
Suffering
the most,
perhaps,
is
the
Sunday
color
comic
section,
with
most
comics
now
available
in either
a
third-page
or
a
quarter-page
format,
with
panels
either
shrunk
or
cropped
off
or
dropped
out.
Comics
have
long
had a
flexible
format.
In
the
1930s King
Features
cartoonists
were
instructed
to
provide
three
expendable
panels.
A
full
page
of
Blondie,
for
example,
could
become
a half-page
by
dropping
its
companion
top
features,
Colonel
Potterby
and the
Duchess,
and omitting
three of
its Blondie
panels.
Currently,
the different
syndicates
use different
methods
for
possible
squeezing,
but
the alert
reader
will
notice herein
several
examples
of
the
expendable
(or
expended)
top,
whereby
a comic could
be
easily
condensed
by dropping
its
top Hne
of
panels,
leaving it two
deep
Another
result
of smaller
panels is
a static
quality
to some
strips.
Very
good
gags
may
be
delivered,
and
often
are, in
a
three-panel
format
which
virtually
repeats
itself
except
for
the
dialogue
balloons,
an approach
observable
in the
otherwise
keenly
caricatured
Tumbleweeds
sequence
reproduced
here.
Fewer
papers
using
fewer
strips
also
means
fewer
outlets for
cartoonists,
with
the
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result
that
one
cartoonist
finds
himself
producing two (and
sometimes more)
strips
in
order to keep up. But
more on
that
matter
later.
For now,
enough of
complaints
and
abnost
enough of
history.
What
is
left
is
humor.
Humor, and a gradual
moving
away
from the
soap opera
strips that
have
dominated
the
comics
pages for
three
decades. But humor of
that
sort
has
been
called
adult,
sophisticated, and the
rest.
If
it
contains
less out-and-out slapstick,
knock-
about, and tumble, however, it
is
still probably
no
more
or less adult
on
the
whole
than
was
comics
humor
in the past.
It
is only different
—
and
it
reflects the
way
a
United
States with more
citizens,
more of
whom have
gone
to
college,
sees itself
in
the
1950s,
1960s,
and 1970s.
In
a major
aspect.
Broom
Hilda is,
after
all,
the
man-
chasing
spinster stereotype
we
all
know
from
traditional
popular
drama of all
kinds.
Notes on
strips
in
this
section A
short-lived
strip, but one much
loved
by
devotees
of
comics.
Jack
Kent's
King
Aroo
[744-749] took much the same
sophisticated approach
to
the naif
materials
of
the
fairy tale
as
Krazy
Kat had done to the
animal fable
or
Bamaby
had done
to
a
child's
fantasy.
The
choice
of
King
Aroo strips
here
is
Jack
Kent's own,
by
the
way.
The influence of Peanuts
[742-743]
on both
Mell
Lazarus's
Miss Peach
[756]
and
on
Johnny
Hart's
B.C.
[755]
will
be
obvious,
and
is
acknowledged.
But
Lazarus
has
also now
given us
Momma
[759],
a comics
manifestation
of
the
general
consciousness
of the
manipulative, possessive
mother,
be she
Jewish
or
gentile. And
Hart
is also
half
the team, with Brant
Parker,
of the
quasi-medieval
farce The
Wizard
of
Id
[757].
What
has
been called
the
Mort Walker
factory,
with
Dik
Browne and
Jerry
Dumas,
produces
(
or has
produced
)
Beetle
Bailey,
Hi
and Lois,
Hdgar
the
Horrible,
Boners Ark,
and Sam's Strip. The first
three
fit
into dramatic-comic
and strip tradi-
tions and the fourth
is about
those
traditions.
Bailey
is
service
comedy,
tellingly
up-
dated
[752].
Hi and Lois
is a suburban
family
strip, but with a
not always
obvious
element
of distaste and even
dislike
[758].
Hagar,
when
he is
not looting,
is
as
glori-
ously
henpecked
as
were
Jiggs
and
Dagwood
[753].
And
Sam's Strip was about strips,
their
characters
and
conventions, themselves.
It is
therefore
a
fitting
way
to
end
our
volume
[761-763].
Meanwhile,
there
has
been
Doonesbury
[754],
which
began
as
a
student's strip at
Yale,
and
was inspired,
in its
early
days,
probably equally
by
Peanuts
and
by
Jules
Feiffer's
rhetorically conceived panel cartoons.
For
our
omissions
in
this
final
survey
we
apologize.
For
our
brief
overview of a de-
cade
and
a
half,
we hope
to
incur your
enfightenment and your pleasure.
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Peanuts
Charles
Schuiz 1972
(imS
©11
2j,z(zeia)
Two
Cities
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King Aroo
Jack Kent 1956
-me
picTUKEi),
MK.EUEPHAKVT?
(£)
McClure
Newipopvr
Syndicol*.
1956
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[748]
[749]
©
McClure
Newspoper
Syndicate,
1956
Tumbleweeds Tom K. Ryan
1971
lOi
WHAT'S
PIS?i
A LILLIPUTAN
FRAIL
WIT'CIN
PA
WOIRSO'PA
IMMORAU
PARP)
*P16
ROUN'
TEARS
COURSlU'
ONE
ANUPPER
POWN
CAT
INNVCENT
SNOOT,
IN
mVOUS
CHASE
WHAT,
6IVES,
ME
CHILE?
9,28
[750]
Lit
0NE,1LDW/
ME
T'
INTERPUCE
ME PA^V
CRUPPER
^SNOOKlE'YA&e
12)i...SN0OKlE,
PEAR,
MEET
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WEE
0ROAP WHAT
GOES
PV
PA NOM
PEPLOOMO'
«ECHO i
]M--
Jkl
HE'S
ONLY
12?
VEH...SN00K1E'5
A
MITE
URGE
FER
HIS
AGE ...
A
1
PHENOMYNON
PRUNfrAWUT
PY A
ALTERATION
r
HIS
P'TUITAR/
aANP WHILST
HE WAS
A
PAPEi
ii
ca
©
The
Register
&
Tribune
Syndicote.
1971
...AT
PA
WY'S
CHRISTENIN,
OUR
OIL
MAN,
IN
HIS EXUP'RANCE,EMPLOY'P
A
MAGNUM
0' CHAMPAGNE
INSItAP
C
PA
USUAL CHIANTl
POTTLE
1751)
©
The
Rttgiiter &
Tribune
Syndicot*.
1971
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Beetle Bailey Mort
Walker
1953
[752]
[753]
®
King
Feoturei
Syndicote,
Inc.,
1953
Hagar the
Horrible
Dik
Browne
1974
Yoj'pB
iM
A
Very
SPECIAL-
PLACE ...
FULL
OF AG'S. AMD
MYsTeCY..
(^
King
Feoturci
Syndtcole.
Inc..
1974
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Doonesbury
C. B.
Trudeau
1971
^
^Dooqesbur
y
^(5^^^
ruMKS
FCHK
PICKING
t^e
UP...
NO
PROBLEM,
AiACK.
I
YVU
KNOU),lve
ACWAYi>
kJfiiNTED
TO
FtNO
our
mAT
A
TRUC^
PI?lU£R.
/S
Uke..
OH,
Lue'/zer
pperrr
much
THC
sp^e AS
ANYBODY
ei5t
ReALCr?
AfiE
WOL,
BA5ICALLX,
YOUR
GOfidJ>
THE
r
6U€SS I'M
SAMe?
k/HAr
LOOI^Ne
FOfi
eKf>UT~Y
ARE
yvU
AMORICA...
COOfaN6
FOfi.
IN
uFeZi
FINDING
AMOilCA
HAS
3ecoMe
KiNP
OF A
ouesr
FOR
MF.
.
Z
/refi^
THlNfclNe>
it's
eoiNe TO
bf
akovnd
rue
NEXT
BeND..
but
XU-
F/A/P
IT,
T
frNOU)
IT.
FA/^TASTIC
PCEASe
TAkS
MF
WITH
YOU,
MR
mua^
pRiveR.
X,
TOO,
hJANT
TO
FINP
AMFRlCA'
our.,
you
CAN
JOIN
MF
IN
MY
SFARCH
FOR^
TRUTH.
I
/
WFLLFHANKie
BOY,
YOUVB
DONE
IT
again
[754]
£
1971, G.
B.
Tfudeou
Distributed
bv
Unlversol
Preii
Syndicate.
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B.C.
Johnny
Hart
1965
©
Publiiheri
New»pop«r
Syndlcote, I9AS
B.C.
by
p«rmitsion o<
Johnny
Hon
ond Fi«ld
Enterprisei.
I
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Miss
Peach
Meli
Lazarus
1965
[756]
®
Publiihefs Newjpop«' Synd'COte,
1965
Miss
Peach
by MeM
Lozorus.
Covrlesy
of M«ll Lozorus and Fiald
N«wspap«r Syndicoie
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The
Wizard of
Id
Johnny
Hart 1976
[757]
S>>
f\6WT\
i
[758]
>
/
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Broom
Hilda
Russ
Myers
1974
mmmm
[760]
The
Chicago
Tribune. 1974
Sam's Strip
Jerry
Dumas
1962
SAM,
yi>
-iOO
PeowiSE To ^UT
UP
AlOV
I
AwyotJE
CACTCOO
GHA2ACTEK
lOHO
SHOUDEO
UP
F02
TWe
[761]
King
Feoiurej
Syndicote,
Inc.,
1962
WHILE
All
TUE^E
\
(
S^^\..)
OLD
CDfA\C
dWAEAJTEK
\
V^
^
A2E W£(2£,
I'D
SUKE
*'
Lik^E
TO
JSE
ThEU
IM
W
STS\P
IT'LL
TAKE
SOME
THilOKIlOa-,
BUT
I
CM PROBABLY
iOOEK
THEM
ItJ
SOMEHOuJ
SAM...
b
A
PECSOIO
UOITW
MV
lUTELLl&EOCE.
AfOD
IMASlMATIOtJ
SMOULD BE
ABLE
TO
TWifOk:
OF
SOME WAV/
[762]
[763]
€
Ktnj
^cMum
S)ndxHt. Iih
I'^r.J
IB
«M f.|fM
(S)
King F«alures Syndicate,
Inc.,
1962
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A
Selected, Introductory
Bibliography
of
Books
and Articles on
Newspaper
Comics
Note:
The
editors
do not
recom-
mend
all
of the
titles listed
as
equally
informative
and
factual.
A
number
are
perfunctor\'
and
sketch-
ily
researched, and
the data
given
are often
contradictory.
But
these
are
the
best
known
and
most
readily
available
titles
in
a
shallowly
covered field.
'
Donald
Phelps, one of
(he
most
perceptive
critics
of
the comics,
is
listed
here
for
onl) the
most readily
oi>tainahle
of his
inaf^a/ine
pieces.
Mis other
essa\s
on
the
comics
ha\'e
l)ei*n pnl>hshe<l
largeU in obscure,
ephemeral,
sometimes
mimeo-
);raplied
little
niu^a/ines
like
Giwxis
or
Till'
Mi/nlfriinis
Barri-
tildes. His work
on
the
.American
comic strip cries out for
anlliol-
ogizing.
Abel,
Robert
H.,
and David Manning
White, eds.
The
Funnies:
An
American
Idiom.
New
York:
The
Free
Press
of
Glencoe,
1963.
Aldridge,
Alan,
and George Perry.
The
Penguin
Book
of
Comics.
Harmondsworth,
England: Penguin
Books,
1967.
Becker,
Stephen.
Comic Art
in America.
New
York:
Simon
and
Shuster,
1959.
Blackbeard,
Bill.
The First (Arf, Arf ) Superhero
of
Them
All
(on
Popeye). In
All
in
Color For
a
Dime,
ed.
Dick Lupoff
and
Don
Thompson.
New
Rochelle,
N.Y.:
Arlington
House,
1970.
.
Mickey
Mouse and
the
Phantom Artist.
In
The
Comic
Book
Book,
ed.
LupofiE
and Thompson. New
Rochelle, N.Y.: Arlington House, 1973.
.
Comics.
Boston:
Houghton
Mifflin,
1973.
(with Thomas
Inge). American Comic
Art.
In A
Nation
of
Nations,
ed.
Peter
C.
Marzio. New
York: Harper
&
Row,
1976.
.
The
Endless
Art:
The Literature
of
the
Comic Strip. New
York: Oxford
Uni-
versity Press. Forthcoming.
,
ed. Series
of classic
comics
reprints. Westport,
Conn.
:
Hyperion Press. Forth-
coming.
Couperie, Pierre,
and
Maurice Horn. A
History
of
the Comic
Strip. New
York:
Crown
Pubhshers,
1968.
Craven,
Thomas. Cartoon Cavalcade.
New
York: Simon and
Shuster,
1943.
Goulart,
Ron. The Adventurous Decade. New Rochelle, N.Y.:
Arlington
House,
1975.
Horn,
Maurice,
ed.
The World
Encyclopedia
of
Comics.
New York:
Chelsea
House,
1976.
Murrel,
\\'illiam A. A
History
of
American
Graphic Humor.
New
York:
Macmillan,
for
Whitney Museum
of
American
Art
(2
vols.
),
1933 and 1938 (o.p.
Phelps,
Donald.
Rogues
Gallery/Freak Show.
In
Prose (no.
4),
New
York,
1972.°
Robinson,
Jerr\
.
The
Comics:
An
Illustrated
History
of
Comic Strip Art.
New
York:
G.
P. Putnam's
Sons,
1974.
Sheridan,
Martin. Comics and Their
Creators.
Boston:
Hale,
Cushman
and
Flint,
1942
(paperback edition:
Luna
Press,
1971).
Waugh,
Coulton.
The Comics. New
York:
Macmillan,
1947
(paperback
edition:
Lima
Press,
1974).
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An
Annotated
Index
of the Comics
Abbie
an' Slats
began
in
1937, its
eccentric
characters
and
its
somewhat
amorphous
locale
created by
[485-496]
Al
Capp,
who
also
wrote the strip
for its
first nine
years and
persuaded
magazine
il-
lustrator
Raeburn
\'an
Buren
to
draw
it.
Capp
was
succeeded
as
the
writer by
his
brother,
Elliott
Caplin,
who later
became a
prolific
plotter
of
strips
of
all kinds.
Caplin
continued
to
write
Abbie
an
Slats until
the
strip's
demise
in
1971.
Abie the
Agent was first
introduced
by
Harry
Hershfield as
a minor
character in
his burlesque
melo-
[724-725] drama
Desperate
Desmond.
Abe Mendel
Kabibble appeared in his
own strip in
1914
as
a sympathetically
conceived ethnic
type,
a
perpetually worried, fiercely
active,
lower
middle-class
New
York businessman.
Hershfield
himself
was bom in
Cedar
Rapids,
Iowa,
and had been
a
journeyman cartoonist since the age
of fourteen
in
Chicago
and
San
Francisco.
Abies
success,
and
his
creator's
own
subsequent career
as
a writer
and
speaker
and raconteur,
took
Hershfield
to
New
York.
Abie
ceased his
life
as
a
Hearst
feature in
1940.
Alley
Oop by
V. T.
Hamlin
began
his life
as a
Newspaper Enterprise
Association
feature
in 1933
[432-434]
and
lived
it as
a
comic caveman.
Then in
1933,
Hamlin
introduced
Professor
Wonmug
and
his
time-machine,
and
that device
carried
Alley forward
to
the
twentieth century
and
then
backward
again
to
any era
where the
possibilities for
a
comic
adventure
and
for strong graphic design
and
(on
Sundays)
the
fanciful
use
of
color—
seemed
promising. Hamlin,
a
native
of
Perry,
Iowa,
retired
from
the
strip in
1971.
A. Mutt by Bud Fisher
began as a
sports page
feature
in 1907.
He
was joined
by
Jeff
within
[41-46]
five months. See Mutt
and
Jeff.
A. Piker
Clerk
appeared
in
the
Chicago
American
in
1904,
a
pioneer
cross-page
daily
strip,
with
a
[47]
horse-racing background,
and
the direct
progenitor
of A.
Mutt,
above.
Its author,
Clare
Briggs,
was
bom in
Redsburg,
^^'isconsin,
in
1875.
Briggs
was later better
known for
his
daily
panel
feature,
which
was variously called
When
a
Feller Needs a
Friend, There's
One
in
Every
Office,
and
other
titles,
and
Mr.
and
Mrs.,
his
Sunday
page. Briggs
died
in 1930.
Barnaby, Crockett Johnson's
(David
Leisk's)
delightful,
somewhat
literary
fantasy
of a
boy
[505-539]
and his
cigar-chomping
fairy
godfather.
Mister O'Malley, began
in PM in .\pril
1942.
The
author turned the
feature
over
to others
between
late 1946
and
1952,
when
Bamaby
was dropped, to
be
briefly
revived
in 1962.
Johnson,
bom
in
1906
in New
York,
had
begun
as
a
magazine
cartoonist. He
turned to
children's books
in
the
1950s
{Harold and
his
Purple
Crayon
and its
sequels).
In
his
later years
(he
died
in
1975)
he
devoted
himself
to
nonobjective
painting.
Barney
and
Spark Plug began as
a
harassed
husband,
an offshoot
of its
author Billy De
Beck's
previous
car-
[149-150;
278-319] toon work,
but
reappeared
as a
sports-oriented
strip in the
San
Francisco
Herald-
Examiner in
June
1919.
Barney developed
into
a
widely
popular,
picaresque
rogue of
the big city
during
the 1920s
and
the
Great
Depression era.
After
a
wistful, knock-
kneed
race
horse.
Spark
Plug, appeared
in 1922,
the strip
changed its
name,
as
it
did
again soon
after
Barney
encountered
the
hillbilly Snuffy
Smith in 1934.
De Beck,
bom
of
middle-class
parents in Chicago
in 1890,
attended
that
city's
Academy of
Fine Arts
and went
immediately
into
cartoon
work in 1910.
He
died
in 1942.
Barney
and
Snuffy
Smith
continues today
in
Fred
Lasswell's
version.
Baron
Bean
was one of
George
Herriman's early
strips.
See
Krazy Kat.
[54-77]
B.C.
first appeared
as
a
comic strip
through
the
New York
Herald
Tribune
Syndicate in
[755]
1958.
Its
author,
Johnny
Hart,
bom
in
Endicott,
New
York,
in
1931,
had
tried
out
a
similar
idea
of
a
caveman
community
in
earlier
magazine cartoons.
Hart began as
a
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cartoonist
in the Pacific
Stars
and
Stripes
when he was
in the
Air
Force during
the
Korean
conflict. See also
The
Wizard
of
Id.
•
Bear
Creek
Folks
was
an
early
strip
by
C. M. Payne, better known for
his
S'Matter Pop?
[24-25]
Beetle
Bailey was the first
(1950)
of
the strip
successes of
Mort
Walker,
who had already
estab-
[752]
lished himself
as
a
gag
and
panel cartoonist
in such
publications
as
The Saturday
Evening
Post
—
indeed Beetle,
as
Spider,
first appeared
there.
\\'alker was
bom
in
El
Dorado, Kansas,
in
1923
and
raised in Kansas
City.
He
received
only
a
few
casual
art
lessons,
served
in
the
infantry in World
^^'a^ II,
and
worked
as
an
editor
for
Dell
Publications
in
New York while cartooning
in his
spare
time.
Walker is also founder
and
guiding
force
behind
the
Museum
of
Cartoon
Art
in Greenwich,
Connecticut.
See also
Hi
and
Lois,
Sara's Strip,
and
Hagar the Horrible.
Blondie
was begun in
1930
by
cartoonist Murat Chic
Young
of Chicago as
a
girlie
strip. It
[173]
concerned
a
gold
digger who pursued a
naive
but rich
playboy,
Dagwood
Bumstead.
The
strip was
soon
converted
into
the
most
popular
matriarchal family
series. Young
died
in
1973.
The strip is
continued
by
son
Dean and
John
Raymond.
Bobby
Thatcher,
George
Storm's second boys'
adventure strip,
set
standards
for
graphic
style,
char-
[179-190]
acterizations, and narrative invention
and
pace
between 1927 and
1937,
after which
Storm decided to
discontinue
his
tale.
Storm
was
earlier
responsible for
Phil
Hardy,
which began in 1925 and has
been called the first
boys'
adventure
strip.
Boob
McNutt,
Rube
Goldberg's
Sunday-only strip,
lasted
from 1915
to
1934.
Begun
as
a
low-comedy
[157-158]
gag
strip,
it was converted
to
comic
adventure
with
the addition
of
Boob's
girlfriend.
Pearl,
a
rival
named
Major Gumbo, the twins
Mike
and
Ike
(they
look alike), and
Bertha
the
Siberian
Cheesehound. Goldberg,
bom
in
1883,
began
as a
cartoonist
with
the campus magazine
of the University of
California
at
Berkeley,
and was
a
major
contributor
to the
development
of
the
comics.
Best
remembered for his
zany
cartoon
inventions,
he
created and drew
many other
comic and sports page
and
even
editorial
cartoons
before he died in
1970.
Braggo the
Monk
was one of several alternating titles given to Gus Mager's
Monk
strips.
See
Sher-
[34]
locko the Monk
and
Hawkshaw
the
Detective.
Bringing Up Father, George
McManus's
low-comic saga of
Jiggs,
an
Irish-American
bricklayer
made sud-
[144-145; 479-484]
denly
wealthy
by
the
Irish
Sweepstakes, and
Maggie,
his
socially ambitious wife,
began as a daily strip for the
Hearst papers
in 1913.
McManus,
born
in
St.
Louis in
1884,
had
been a
cartoonist
for that
city's
Republic, beginning
at age
sixteen.
Bringing
Up Father
juxtaposed
his
broad caricatures
with
his
fine draftsmanship and
sense of
space and depth.
The
strip
has
been
continued beyond
McManus's death
in
1954
(al-
though it
had
sometimes been
ghosted
meanwhile
)
.
See
The Newlyweds
and
Nibsy
the
Newsboy.
Broom Hilda,
Russ
Myers's
cigar-chomping,
beer-guzzling
witch
(who
claims once to
have been
[760]
married to Attila
the
Hun), first
appeared on the comics
pages
in
1970. Myers
was
bom in
Pittsburg, Kansas, in
1938 and
spent his
apprenticeship
conceiving
humor-
ous
greeting
cards
for
the
Hallmark
Company.
Buck
Nix,
Sidney
Smith's early
humanized
animal
strip,
began
in
the
Chicago
Examiner in
[92-95]
1908.
See
Old Doc
Yak
and
The Gumps.
Buck Rogers concerned
a
twentieth-century American
who
awakes
after a
sleep
of
five centuries.
[427-428]
It
began as pulp fiction,
Armaggedon
2415
by
Phil Nowlan, and
in
1929
became
the
first
science-fiction comic
strip, as
plotted by
Nowlan
and
drawn
by
Dick
Calkins.
The
feature
continued
until
1967,
the
work of
a
number of
writers and
illustrators
after 1947.
The
Bungle
Family, Harry Tuthill's penetrating burlesque of
the compulsive and harassed
big-city
lives
[163-169;
540-541]
of
George
and
Jo
Bungle, has
been
called
one
of
the
most
inventive and
artistic
of
all
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comic
strips.
It
began
in the
New
York
Evening
in
1918 as Home
Sweet Home.
Tuthill,
born
in the
Chicago
slums in
1886,
led
the
life
of an
itinerant salesman from
the
age
of
nine, offering
everything
from
newspapers
to fake patent
medicines,
while
trying
to
teach himself
a
drawing
style
that
would
carry his
wryly
comical sense
of
human
character
and relationships.
He
landed
his
first
newspaper
job
in St.
Louis on
the
Post-Dispatch
in
the art department
in
1910
and
took
some
night-school
art
courses
with
the
income.
He folded the
successful
Bungles in
mid-
1942,
apparently
because
of syndicate
pressure
to
make it
a
more cheerful family
strip,
but
revived
it
eight
months
later
and
distributed
it
himself.
He
retired
in
1945
and died in
St Louis
in
1957.
Buster Brown
was
R.
F.
Outcault's
second
important
strip,
the
adventures of a likable,
upper-class
[3-5]
brat,
in
contrast
to
his
lower-class Yellow Kid
(see
Hogan's
Alley).
Outcault
was
bom
in
1863
in Lancaster,
Ohio,
and
had
established
himself
with
gag cartoons
in
the
old
Life
and
Judge
magazines before introducing
his
hearty urchins
and the
Yellow
Kid
to
the
New
York World.
Buster's adventures
began
in 1902
in the
New York
Herald,
and,
although
they were discontinued
in 1920, Buster and his
grinning
dog
Tige
remained
familiar
figures
in
American
popular
culture,
even after
Outcault's
death in
1928.
Captain
Easy
was
(also
as
Washington
Tubhs
II
and
Wash
Tubbs)
the
premier
comic
adventure
[435-437] strip.
It
began
in 1924
as a
humor
strip
but soon
began its journeys to the
far
comers
of the
real and imaginary
world.
Roy
Crane,
whose
inventive
and
innovative
graphics
carried
the strip as much
as
did his
narrative
fancy and
sense
of
pace,
was
bom
in
Abi-
lene, Texas,
in 1901.
In
1943
Crane
began
Buzz
Sawyer, while Easy and Tubbs
were
taken
over
by
his former
assistant, Leslie Turner.
See
Wash
Tubbs.
Casey Ruggles was
the
work
of ex-actor
and radio and
television
scripter
Warren
Tufts,
bom
in
[741]
Fresno,
Calif
omia,
in 1925. Tufts
had
little formal
art
training,
but
his strip
work was
thoroughly
professional from the start. He did the short-lived
science
fiction
strip The
Lone
Spacenmn, as well
as
Lance,
a
full-page
art feature
with
highly sophisticated
color
treatment. Casey Ruggles
began
in May
1949.
Chantecler
Peck. Beyond
the
fact that it appeared on
March
11, 1911,
in
Joseph
Pulitzer's
New
York
[38]
World,
we can
offer
no further information
on this
feature
or its artist. The popular
concept
of
the
rooster,
and his
name,
go
back
to
a
whole
series
of
medieval
tales,
of
course,
one of
which Chaucer
retold.
Count
Screwloose
( of Tooloose ) was one of
several zany
strips
by Milt Gross. He
began
it
in
1929
and
[717]
continued
it
either
as
the
bottom
or
top Sunday
feature
until
1934,
when the
Count
joined the
company
of
clowns
at
Dave's
Delicatessen.
Gross
(
1895-1953) was
a
native
of New York
Cit>'
who began
drawing
at
age
twelve,
and
created
a variety
of strip
characters
{That's My Pop,
Nize
Baby)
and
books
of
humorous
doggerel
verse,
fre-
quently in
Yiddish dialect
{Hiawatta Witt No
Odder
Poems)
.
Dave's
Delicatessen
began
as
a
1931
daily
and Sunday
feature
by
Milt
Gross.
In
early
1935,
it
was
joined
[718]
by Gross's other
favorite.
Count Screwloose ( see preceding )
.
Desperate Desmond
was
Harry Hershfield's first strip for
the
Hearst papers
and
a direct
imitation
of C.
W.
[37]
Kahles's Hairbreadth Harry.
See
Abie
the
Agent.
Dick
Tracy was
created
by
Chester
Gould in
1931.
Gould,
bom
in
Pawnee, Oklahoma,
in
1900,
[688-715]
the
son of
a
newspaper
publisher,
had been a
sports cartoonist
and
had done a
movie-
burlesque strip, Fillum
Fables. With
his
plainclothes
detective,
he
discovered an
ex-
ceptional
talent for strip
narrative and
a
bizarre,
sometimes
bmtal,
sense
of
character-
ization
and atmosphere.
Dok's Dippy
Duck
by
John
Dok
Hager
appeared
locally
in
the Seattle Times
in 1917.
Hager had
been
[84-91] a dental
surgeon
(hence
the
Dok )
with an
interest in
caricature
until
he
moved
from Terre Haute,
Indiana,
to
Seattle
in
1889
and
went
to
work
for
the
Times.
He re-
tired
in
1925
because
of
blindness,
and
died in
1932
at
seventy-four.
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Doonesbury began as
Bull
Tales in
the
Yale Record
in
1968,
moved
to
the
Yale Daily News
the
[754]
following
year, and
(named
for
one of its
protagonists)
moved
into national
news-
paper
syndication
in late
1970.
It
is the work
of
Garry
Trudeau, who
was bom in New
York
City
in 1948 and
is
a
graduate
of the
Yale School
of .\rt and Architecture.
His
strip has occasionally
been censored
by
having daily
episodes
dropped
by subscrib-
ing
papers for
his satiric but candid treatment
of
politics,
drugs, and sex.
The
Family
Upstairs.
This
was The Dingbat
Family,
George
Herriman's
early strip,
in
whose
basement
[48-53]
Krazy
Kat first
appeared.
Felix
the
Cat
began as
an animated
cartoon, the work of
Australian-bom
Pat
Sullivan,
and
moved
[719]
to the
comics
in
1923.
The
strip was
ghosted
by
several hands.
Otto
Mesmer
being
the
most
frequently
mentioned and talented candidate.
Flash Gordon was
the work
of magazine and
comics
illustrator
Alex
Raymond
(
although
he
did not
[430]
plot
the strip),
born in
1909 in New
Rochelle, New York.
Ra>'mond
had previously
worked
with
Russ Westover
on
Tillie
the
Toiler
and Lyman
Young
on Tim Tylers
Luck.
Raymond's
best work was a unique combination
of
physiological realism
and
graphic
fantasy.
During
the
Second World War,
when Raymond
served in the Marine
Corps,
the
strip
was taken
over by
others.
When
Raymond
retmned
to
civilian
life,
he
began the
detective strip
Rip
Kirby, and
continued
it until
he
was
killed
in an
automobile
accident
in
1956.
Gasoline
Alley began
(at
first,
as
a
single
panel) in
1918,
and
was
devoted to
the
country's
then-new
[151-156]
fascination
with
automobiles. It
became
a
family
strip
in
which the characters
aged
in
real time
(
as
opposed to dramatic
or,
one
might
say, strip time
) with the
in-
troduction
of the
foundling
Skeezix
on
Uncle Walt
Wallet's
doorstep
in
1921 and
Walt's
subsequent
marriage
to
Phyllis
Blossom.
The
strip's author-illustrator,
Frank
King,
was
bom
in
Cashton, Wisconsin,
in
1883 and
began
as a
professional cartoon-
ist
on
the
Minneapolis
Times in
1901.
Moving
to
Chicago,
he
tried
several
unsuccess-
ful
strips
until
Bobby
Make-Believe
( in
1915
)
and
then Gasoline
Alley.
King's
gen-
tle continuity reached
its narrative best
in the
1930s
and
1940s.
King
died in
1969
but his
strip
has continued and is today
done,
daily
and
Sunday,
by
Dick
Moores, who
carries
on its
tradition of
graphic resourcefulness
and interest.
Gordo,
Gus
Arriola's
brilliant
graphic fantasy on
the life
of
a
contemporary
Mexican bache-
[738-739]
lor,
began
in
1941 and featured
strong
characterizations
and attractive
graphics from
the
start.
Arriola,
bom
in
1917 in
Arizona,
grew
up
in Los Angeles
and worked
as
an
animator
on MGM cartoons.
He was
also
the
only
artist
to
suspend
his
daily strip
during his
service in World
War II
and
resume
it
after
his
discharge.
The Gumps,
Sidney
Smith's
enormously
popular
serial
drama
of
lower middle-class family Hfe,
[96-102;
128-129]
began in
1917, conceived
by
Chicago
Tribune
publisher
Joseph
Patterson
and
exe-
cuted
by Smith (and sometimes
ghosted by
others,
even
in its
early years). Smith
was
bom
in
Bloomington, Illinois,
in
1877 and had been responsible
for
the
humanized
animal
strips.
Buck Nix
and Old Doc
Yak, in
both
the
Examiner
and Tribune.
When
Smith
was killed
in
1935,
The
Gumps
was
continued
by
his
assistant, Gus
Edson.
Hagar the
Horrible
was
begun
by
Dik
Browne
in 1973 and became
an almost
instant success.
The
title
[753]
character,
who looks
remarkably like
Browne
himself,
is a sort
of cross between an
ancient Viking
plunderer
and
the traditional
henpecked
husband and father. See
Hi
and Lois.
Hairbreadth Harry
was the
work of C. W.
Kahles, bom in Germany in 1878 and raised
in
Brooklyn
after
[143]
the
age of
six.
Kahles
had already been
a
cartoonist
for
several
years when he
first
drew Harry
in 1906. Harry
began
as a
boy
hero,
but
around
1916
had
reached
young
manhood.
On Kahles's
death in
1931,
the
strip
was continued for
eight
more
years
by
F.
O. Alexander.
The Hall-Room
Boys
was
the
work of illustrator-cartoonist
H.
A.
(Harold
Arthur)
McGill
and began
in the
[35]
New
York American
in
1906.
It was
at first
a
three-column,
upright
panel, usually
di-
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vided
into
six
frames, and presented the
adventures of
two
of
Mrs.
Pruyn's
ambitious
boarders. McGill
later continued
the
strip
as
Percy ami
Ferdtj,
distributed
by
the
Sun-Herald's
syndicate.
McGill
died
in
1952
at
age
seventy-six.
Hans
und
Fritz. See Katzenjammer
Kids.
[7]
Happy
Hooligan was
the
classic Irish-American
tramp.
Fred Opper's
strip
began
in
Hearst's
Sunday
[9;
159]
comic
sections in
both
New York and
San
Francisco
in
1900.
Opper
was
born
in
Mad-
ison,
Ohio,
the
son
of
Austrian
immigrant
parents,
in
1857.
Opper
also
introduced
Maud
the Mule and
Alphon^e
and
Gaston, and
became
a
Hearst
political
cartoonist
as well.
Failing eyesight forced him to
discontinue
Hooligan
and
most
of his other
work
in
1932.
He died
in
1938.
Hawkshaw
the
Detective was born
out
of
Gus
Mager's
Sherlocko
the
Monk
in
1913
when
the
American
repre-
[31]
sentatives
of
A. Conan
Doyle, author of
the
Sherlock
Holmes
stories,
threatened
a
lawsuit.
Sherlocko
was
quickly humanized along
with his
assistant,
now
called
the
Colonel.
Mager
discontinued
Hawkshaw
in
mid-1922,
but he
was
later
revived
as
a
companion
feature
to
Rudolph Dirks's
The
Captain
and
the
Kids.
Mager
sometimes
did
the strip on
this
revival,
but
during
other
periods it was
ghosted
(as
was
The
Captain)
by
the
gifted
Bernard Dibble.
Hawkshaw retired
with
Mager
in the
later
1940s.
See
Braggo
the
Monk.
Hejji
was
a
Hearst-King
Features Sunday
page
of
comic
fantasy
by
Dr.
Seuss
that
appeared
[723]
briefly
in 1935.
Seuss
(Theodor
Geisel)
had
previously
done
magazine
cartoons
(a
well-remembered
series in
Liberty)
and
advertising
drawings
( Quick,
Henry, the
Flit
was his
)
.
He
later, of course,
became
famous for
his
children's
books
(
The
Cat
in
the
Hat, Horton
Hears
a
Hoo,
et
al.
),
and he was a
master
of
comic
doggerel
verse.
Hi
and
Lois by
Mort
Walker
(scripts)
and
Dik
Browne
(drawing) is
a
suburbanite
family
strip
[758]
which
first
appeared in 1954, and
which
frequently
reverses the
attitudes
and
char-
acterizations
of
older
strips
in its
genre.
Browne
was bom
in
1918
in
New York
City
and
worked
his way up
from
newsboy
to
cartoonist
on
the
old
New
York Journal.
Be-
fore joining
the
Walker
group,
he
had
done
advertising
art. See
also
Beetle
Bailey
and
Hagar the
Horrible.
Hogan's
Alley was
one
of
several
slum
place-names
given to
R. F.
Outcault's
Sunday
feature
page
in
[1]
the
New York
World.
It
was
also
the
name which
stuck.
Hogan's
Alley
featured
a
bald child
in
a
yellow
nightshirt
who
quickly
became
known as
The
Yellow Kid,
and
Outcault's
page
was
renamed
again.
See
Buster
Brown.
Jimmy,
later
Little
Jimmy,
was
James
Swinnerton's
most
famous
strip, begun
in
1904
(but
[10]
appearing
sporadically
at
first)
and
continuing
until
1958,
except
for
a
break in
the
1940s
when
Swinnerton switched
to
Rocky
Mason.
Swinnerton was
bom in
Eureka,
California,
in 1875,
and
raised
in
Stockton,
where his
father was a
newspaper
pub-
lisher
and
politician. The
younger
Swinnerton
began
a
series of
weekly
bear
draw-
ings.
Little
Bears,
on
the
San
Francisco
Examiner
children's
page,
the
first
contin-
uously
presented
graphic
character
feature
in
a
newspaper.
Swinnerton also
did
Mr.
Jack,
the
well-remembered,
female-chasing,
humanized
tiger.
He
retired
in
1958,
turned
to
landscape
painting, and
died
in
Arizona
in
1974.
Johnny
Wise,
by
Thomas
Aloysius
Tad
Dorgan,
was
a
short-lived,
weekly 1902
color-page
effort
[2]
by a
man
who
was
later and
better known
for
his slangy sports
cartoons
and
Indoor
Sports
panel
feature.
Dorgan
was
born
to laborer
parents
in San
Francisco
in
1877
and
had
been
urged
to
develop
his
drawing
talents
while
recuperating
from a
fac-
tory
accident at
age
thirteen.
His
drawing
style
and
comic
attitudes
had
an
effect on
early
cartoonists
and
readers
alike.
He
died
unexpectedly on
Long
Island in
1929.
Katzenjammer
Kids
(
in
German
slang
of the
time
the
hangover
kids
)
was begun
in
1897
by
Rudolph
[6;
146-148]
Dirks when
Rudolph Block
of
Hearst's
Neic
York
Journal
suggested
he
model
a
comics feature
on
the
captioned
German
cartoon
series
of
Wilhelm
Busch
depicting
the
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destructive
brats Max
und
Moritz. In
the
result. Dirks
combined strip
continuity
and
talk
balloons
for
the
first
time in comics history. Dirks was
bom
in Germany in
1877,
and
emigrated to Chicago
at
age seven
with
his
parents.
At
twenty
he
was
selling
cartoons to
Life
and
Judge,
popular
humor magazines
of the
time.
In
one
of
the
most
interesting
events
in
early
comics history.
Dirks
went off
on
a
European vacation
in
1912 and
Hearst had
his feature
continued.
Dirks
sued, and after much litigation
he
was awarded
the rights
to use his
characters,
but Hearst retained
tide
to
the
strip.
Thus
Dirks began
Haas und
Fritz,
later
The
Captain and the Kids, and Harold
Knerr
(1883-1949), of Bryn
Mawr
and
Philadelphia,
took
over
Katzenjammer Kids
and
continued
their
adventures
in
sometimes
superbly conceived
destruction. Dirks
died
in
1968. Both strips,
however,
continued
into the 1970s.
The Kin-der-Kids
was
created
by
painter and illustrator Lyonel
Feininger for
the Chicago Tribune
in
[16-18]
1906
at the suggestion
of
James
Keeley.
Keeley
undoubtedly
had
the
Katzenjammers
in
mind,
but
Feininger
wrought
a motley
crew of
kids
and adults and
put
them
into
uniquely
ludicrous
adventures. Feininger, bom
in
New
York
in 1871, had
been
given
a
musical
education
in Germany
by his
parents. In
1894
he
began
a
career
as
an
illustrator
for
magazines
there
and
in
France
and the
United
States. He quit the Kids
after
a
few months after
a
contractual
dispute
with
his publishers
and
pursued
a
suc-
cessful career
in
painting
until
his
death
in
1956.
King
Aroo
is one
of the
most
celebrated
strips
of the recent
past
in
the comics,
but
celebrated
[744-749]
largely
among
devotees
of
comics,
and appealing largely
to
members of the reader-
ship
that loved
Krazy
Kat,
Bamabij,
Togo, and Little
Nemo.
The
King
was the crea-
tion of
Jack
Kent,
bom
in
Burlington,
Iowa,
in
1920.
It
was
probably
Kent's lack
of
formal
art training that
led him
to
a
loose-lined
art st\'le,
with panels full of
characters
and activity.
It
was
surely
his
innate artistic
ability
that
kept those panels from
look-
ing
cluttered.
The strip
began
in
1950
in
national syndication
but was
discontinued
after
a
few years. It was kept on in
limited
syndication
until
1965
by
Stanleigh
Arnold's small
Golden Gate Features.
Today Kent devotes most of his time
to
chil-
dren's book illustration.
Krazy
Kat,
the
most
highly praised
of all
comic
strips,
was
begun
by
George Herriman
as
a cat-
[170-172; 726-733]
and-mouse
chase,
a part of
his
Dingbat
Family
strip. Krazy got
his
own strip
in
Octo-
ber
1913, and thus
the
imaginative
fantasy
life
of
Krazy and
Ignatz Mouse and
the
other
inhabitants
of Kokonino County
began. It
was
continued,
often
solely
because
William
Randolph
Hearst
liked
it although a mass
public did
not,
until
Herriman
died in
Los
Angeles
in
1944.
Herriman
had
been
bom
in
1880
in
New
Orleans but
was
raised in
Los
Angeles.
Estranged
from his family,
he
was drawing
cartoons
and
working
as an
office
boy at the
Los
Angeles
Herald
before
he
was
t\venty. He rode the
rails
to New
York and finally
landed
a
staff
cartoonist
job
at
the
World in
1901,
even-
tually
ending
up with
Hearst
for
whom
he did several
strips
before
settling
down to
Krazy
Kat alone.
Li'I
Abner
began with
almost
instant
success
in August
1934. Cartoonist
Al
Capp
(
Alfred
Cap-
[720-722]
lin),
whether
he
was
really aware of
it
or not, was
offering
his
own
feisty
variation
of
the favorite
American
story of
the
yokel
(or,
in
this
case, Yokum) who
exposes
the
foibles and
corruptions
of
the
city
slickers
simply
by
maintaining his
own
naivet^.
Capp, who
still
manages
to people his strip
with
memorably lampooned
characters
and
events
after
more than
forty
years,
was born
in
1909
in
New Haven, Connecticut,
to
a father who
wrote
and drew
his
own comics for
the
amusement
of his
family.
Capp attended a
number
of
art
schools
and did some work
at
the
Associated Press be-
fore he
became an assistant
of
Ham Fisher,
creator
oijoe Palooka.
Little
Joe
was
a
Sunday
feature
by Ed
Leffingwell, Harold Gray's
cousin,
assistant,
and
letterer
[438-439]
on
Little Orphan
Annie.
The story concerned a
thirteen-year-old
on
a
modem
cattle
ranch
owned
by
his
widowed
mother
and
managed
by
Utah,
a
cowhand
with a shady
past.
Gray
himself
wrote and
drew
much of
the strip. When Ed Leffingwell
died
his
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brother,
Robert,
who
also
assisted
Gray,
took
over
as
Joe's
nominal
author.
The
strip
continued
into the late
1950s
in
both
the
Chicago
Tribune
and
New
York
Sunday
News comic
sections.
Little
Nemo
undoubtedly
grew out
of
Winsor McCay's
earlier
Dreams
of
a
Rarebit
Fiend
(
1904),
[11-14;
140-142] which
showed
the
nightmarish
results
of his
protagonist's
overeating.
Nemo
first
ap-
peared
as
Little Nemo in
Slumberland the
following year
in
the
New
York
Herald,
and
represented pictorially the
feelings
and
transformations
experienced in the
dreams
of
McCay's
boy
protagonist. When McCay
moved
to
Hearst's
papers
in
1911,
he
sim-
ply
retitled his feature
In
The
Land
of
Wonderful
Dreams
and
continued
Nemo's
nocturnal
adventures
until
1914. Nemo
reappeared
in 1924,
this
time
back in
the
Herald
(and,
of
course,
its
syndicate)
until 1927. McCay
was
born
in Spring
Lake,
Michigan,
in
1869
and
received
basic
art
instruction
from
a
teacher
in
Ypsilanti.
When
he
was
seventeen
he
was
in Chicago
seeking
more
instruction
but
working pro-
fessionally
on posters as
well.
He
began
as
a
cartoonist
on
the
Cincinnati
Enquirer
in
1903. McCay was
also
a
pioneer
in film
animation,
beginning
in 1909.
His
best-known
movie cartoon
is
Gertie the
Trained
Dinosaur,
but
he had
also
earher
filmed a
Nemo
fantasy.
Next
to
George
Herriman's,
McCay's comics
work has
probably received
the
widest
recognition
and
praise.
He died
in
1934.
Little
Orphan
Annie
reputedly
began
as
a
boy
in
Harold
Gray's
original conception,
and
was
changed
to
a
[644-672]
redheaded
orphan
girl
by
Joseph
Patterson
of
the
New
York News.
In
any
case,
her
narrative
began
in
1924 and lasted
beyond her
creator's
death
in
1968
in
contin-
uations
of
ever-decreasing
interest until
reprints of
Gray's
earlier
strips
replaced
them.
Gray
was born
in
Kankakee, Illinois,
in 1894 and
served
his
apprenticeship
assisting Sidney Smith
on
The
Gumps.
With
Annie
he
established
a
feature
of excep-
tional
narrative
interest
and pace.
Although,
of
course. Gray
did
use
assistants, he
hired
no ghosts
either
to
draw
or
plot
Annie,
and
maintained
his
personal interest
in
his
work
for
forty-five
years.
Mama's
Angel
Child,
Esther,
was
the
work of
Penny
Ross
of whom
little
is
known except
that
he was a
man,
[23]
and
that
he had
assisted
Outcault on
Buster
Brown
and
possibly
ghosted
that strip
on
occasion.
Maud
was established
as
And
Her
Name
Was
Maud as
a
topper
strip
to
Fred
Opper's
[8]
Happy Hooligan
in 1926. But the
character
of
the
grinning,
stubborn,
kicking
mule,
Maud,
had
been
used
by
Opper in his
earlier
strips. See
Happy
Hooligan.
Merely
Margy
began
as
Oh
Margy
in the
late
1920s and
was a
comics effort by
John
Held,
Jr.,
who
[161]
was and
is
best
known
for his
depiction
of
leggy, flat-chested
1920s
flappers. Bom
in 1889,
Held
was
from
Salt Lake City.
He
had
begun
as a
cartoonist
when
barely six-
teen, and had
also
been a
sports
page
and,
later,
magazine
illustrator on
Vanity
Fair
and
The New
Yorker.
Margy lasted
until 1935.
Held died in 1958,
having
long
since
turned
to
sculptiire.
Mickey
Mouse
was
not
the
first
star
of
animated
cartoons
to
gain a
strip
of
his
own,
but
he
had
one
[542-643]
by
January
1930.
Three
months
later,
when the
Walt
Disney studios
turned the
project
over
to
Floyd
Gottfredson,
and he
introduced
broadly
burlesqued
adventure
and
melodrama
as
its
basis,
the
strip
began to
thrive.
By the early
1950s,
however,
King
Features,
which
distributed
the
feature,
had
urged the
elimination of all
action-adven-
ture from
humor
strips,
and
Mickey
returned to
a
domestic
gag-a-day.
Gottfredson,
bom
in
1907
in
Kaysville, Utah,
was
delighted
with
the
comics
as
a
young
man, and
took
correspondence
courses
in
cartooning.
He
moved
to
Hollywood,
applied at Dis-
ney's,
and
was put
on
as
an
apprentice
animator.
Until
1938,
he
also did the
frequendy
charming
Mickey
Mouse
Sunday
color
strip.
Midsummer Day Dreams by
Winsor
McCay. See
Little Nemo.
[40]
Minute
Movies,
the
creation of
Edgar
Wheelan, began
as
Midget
Movies in
1918. It
not only
parodied
[191-196]
movie serials,
it also
helped
establish
the idea
of
continuity
in
the
daily
strip.
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Wheelan
created his
own imaginary
studio and
stable
of
stereotypical
stars and
con-
tract players
(
Ralph
McSneer,
Hazel Deare). He
cast them
in
mysteries,
adventm-es,
love
stories,
and (later)
the
classics. The
strip lasted on the
comics pages
until
the
mid-1930s
(but
later
appeared
in
new
episodes
in
the Flash Comics
book).
Wheelan
was bom
in
San Francisco
in
1888,
and graduated
from Cornell.
His
mother
had
been
a
comic-strip
cartoonist,
and
he began with
the Hearst
papers
as
an
editorial
and
sports cartoonist. He died
in Florida in 1966.
Miss
Peach first
appeared
to
instant
success in 1957. Admittedly and obviously
inspired
in
part
by
[756]
Peanuts,
the feature
was
the
work
of
Mell
Lazarus,
bom
in
Brooklyn,
New
York,
in
1927,
where,
as
he
has
said, he hated
school
and even
flunked
art
in high
school.
See
Momma.
Momma
was
Mell
Lazarus's
second
successful strip,
introduced
in late
1970. A
comic-strip
ver-
[759]
sion
of
the
possessive,
manipulative
Jewish
mother,
if the temi is
taken to
mean
a
generic
and
descriptive
and not necessarily
ethnic
type. See
Miss Peach.
Moon
Mullins, Frank Willard's
winning
rogue,
put in
his
first
appearance
in the
Chicago
Tribune
in
[138-139;
221-277]
1923,
partly
as
an
answer
to Hearst's
success with Barney Google.
As the strip
accu-
mulated
characters
of
its
own
(
Kayo, Emmie
Schmaltz,
Lord Plushbottom, Mamie,
Uncle
^^'illie)
and a
narrative
pace of
its
own,
it became one of the classics of
the
comics page.
Willard
was
bom
in the
Chicago
area
in 1893,
the
son of a
physician,
and
he
early determined
to
become
a
cartoonist.
He
died
suddenly
in
1958.
His assist-
ant
(and sometime
ghost)
Ferd
Johnson
continued Moon, but
today
the
continui-
ties
of
its past
are
gone
and
it
is
a
gag
strip.
Mr. E.
Z.
Mark was
the
work of
F.
M. Howarth
(
1870 ?-1908),
whose
strip
drawing in
Puck
in
the
[32]
1890s
probably helped pave the
way
for
the
comic
strip.
In 1903
he
was
approached
by
William Randolph
Hearst
and the result
was the
Luhi
and Leander pages.
Howarth
never
employed
talk
balloons, even in the
Hearst
section.
Mr.
Jack,
James
Svvinnerton's humanized,
pop-eyed,
skirt-chasing tiger, first
appeared as a sep-
[33]
arate
feature in
late 1902 and
ran
almost
weekly
until
early
1904.
It was
revived
as
an
occasional
daily from 1912
to
1919,
only
to
be
revived
again
as
a
top
feature above
Little
Jimmy
in
the
1930s.
See
Jimmy.
Mr,
Twee Deedle
was
a Sunday
feature,
a
fantasy-fairy tale
for
small
children
by
Johnny
Gmelle,
crea-
[20]
tor
of
Raggedy
Ann. The
strip replaced
Little
Nemo in the
New
York Herald
when
Winsor
McCay moved
his feature
over
to
Hearst.
Gruelle, born
in
Illinois
but
raised
in
Indianapolis,
was
the
son of
a
landscape
painter,
and
was
a
cartoonist
with the
Indianapolis
Star
and
Cleveland
Press
when
still
in his
late teens.
He contributed
illustrations,
cartoons, and
children's
stories
to a number of
magazines,
and wrote the
Raggedy
books and others. Gruelle lived in
Connecticut
after 1910. He returned
to
the
comics with
the
Sunday
strip Brutus in
the
late
1930s. He
died in
Miami
in
1938.
Mutt
and
Jeff
began
as
A. Mutt,
when
H. C.
Bud Fisher
established
the
first continually
published
[28-29;
108-125; 136-137] six-days-a-week
strip
on the San Francisco
Chronicle
sports
page
on November
15,
1907.
Fisher,
born
in
Chicago in
1885,
left
for
a job at
the
Chronicle during his
third
year
at
the University
of Chicago.
His
unique
drawing
style and
comic
point of view
developed
quickly
during
the early years
when he did the strip
himself, moving
it
from
syndicate to syndicate
as the value
of
his services rose. Fisher
died
in 1954,
but
the strip
had by then been ghosted
for years.
And, of course, it
continues today.
Naps
of
Polly
Sleepyhead
was Peter Newell's
contribution
to
the
early
comics page. Newell,
better
known
for
[21]
his fanciful children's
books (Topsys and
Turvys,
The Hole Book, The
Slant
Book),
was
bom
in
Bashnell,
Illinois,
in
1862
and
was
largely self-taught,
although
he
did
some work
at
the
Art Students
League
in
New
York.
He
died
in
1927.
Naughty
Pete
was the
work of
Charles
Forbell,
who
was
best
known
for
his
cityscape and
architec-
[22]
tural
perspective drawings
in
Puck,
Life,
and
Judge.
It
appeared
in
Judge
from
after
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1910
until
its demise
in
the late 1930s. The
&
A.C.
appended
to
Forbell's
name
(and
that
of other
cartoonists)
was for Arthur
Crawford,
a
cartoonist's
agent
and
gagman.
The
Newlyweds (or The
Newhjueds
and
Their
Baby)
was
the feature
which
George
McManus did
[19]
for Pulitzer's
VV'orW
between
1904
and
1912.
When
he
moved
over to
Hearst in
that
latter
year, McManus
renamed
the feature
Their Onhj Child.
When
his Bringing
Up
Father
had
established itself
by
1918,
he
discontinued Their
Only
Child. But in the
1930s, he
brought
it
back on Sundays
as
Snookutns,
a
cofeature
to
Maggie and
Jiggs.
See
Bringing
Up
Father.
Nibsy
the
Newsboy,
another
early George McManus feature,
appeared
in
the
New York
World between
[15]
April 1905 and
late
Jul\'
1906.
Nibsy's
imagination could turn any
New York street
into
'Funny
Fairyland
and a kind
of
lower-class
takeoff
on
Little
Nemo.
See
Bringing
Up
Father.
Nize
Baby,
by Milt
Gross
(his first
Sunday
color page),
appeared
in
the
New
York World (and
[716]
its syndicate
)
between
1927
and 1929.
However,
the
wild
adventures
of
the
nefarious
infant
and
Looy Dot
Dope
were
abandoned by
the
restlessly
inventive
Gross for
Count Screwloose.
Old
Doc
Yak
was
Sidney
Smith's
very
successful
transformation
of
his
Buck
Nix when
he
moved
[
103-107]
from
the
Chicago Examiner
to
the
Chicago Tribune.
See The Gumps
and
Buck Nix.
Our Boarding House,
with the
braggart
Major Hoople,
began
in
1923
as
a
single
daily
panel in
comics
form
[497-504]
for Newspaper
Enterprise Association.
On his
Sunday
page, the
Major
(in
true
strip
form
)
was
joined
by
the
top-of-the-page
Nut
Brothers
(
Ches
and
Wall
)
in
a
surreal
comic
fantasy.
The
strips
were
the
creation
of
Gene
Ahem, born
on
Chicago's
South
Side
in 1895.
He
attended the
Chicago
Art
Institute
for
three
years,
hoping
simply
to
acquire enough technique
to
become
a
funny
cartoonist. Ahem
moved
to
King
Fea-
tures in
1936,
doing
a variant
of
the
same
Boarding
House strip
as
Room and
Board,
while
his former syndicate continued
Our
Boarding
House,
and
does still.
Ahem
died
in 1960.
Out
Our
Way
began national distribution
in
November
1921
as
a
single-panel,
daily
feature
and
[175-178]
soon
developed
a
set
of
memorable
recurring characters
and
a
unique comic
view-
point.
The
author was
J.
R.
\MUiams,
born
in
Nova
Scotia
in 1888
of
American par-
ents, and raised in
Detroit. He
left
home
to
shift
for
himself
in
his
mid-teens,
worked
the railroads, and
did
a
hitch in the
cavalry
before
settling into a
factory job,
where
he did
his
first
cartooning for
the
company's
catalog. After
Williams's
death
in
1957
his
drawings
were
frequently
reissued
by
his
syndicate, NEA,
while his
former
assis-
tant,
Ned
Cochran, contributed
new ones
to
the
series.
Peanuts, introduced
on October
2,
1950,
by
Charles
Schulz,
revived interest
in
the
humor strip,
[742-743]
recast the
size
and
shape
of strips
and the
format
of
the
comics
page,
and
became
one
of
the
great
success stories of
the
comics.
Schulz
was
bom
in
Minneapolis
in 1922
and studied
art
by
a
correspondence
course
before he
graduated
from high
school. He
had
placed
a
few
gag
panel
cartoons
in
newspapers
and
the
Saturday
Evening
Post
before
finally
placing
his
strip,
which
he
originally
wanted
to
call
L'il
Folks,
with
United
Features
Syndicate.
Pogo,
by
ex-Disney
animator
Walt Kelly,
actually
began as
a
feature in
Animal
Comics
in
[734-737]
1943 under the
title
Bumbazine
and
Albert
the
Alligator.
In
it,
Pogo the
Possum was
initially
a
minor
character
at
best.
Very soon
the
clownish
Albert
was
more
promi-
nently
featured,
Bumbazine (a
boy)
dropped
out, and
Pogo got
a
bigger
role. By the
time
that
Kelly
moved
the
feature
to
newspaper
format
in
the
short-lived
New
York
Star in 1948,
it
had
become
simply
Pogo,
and in
it
humanized
animals daily
drama-
tized
the
idiosyncrasies of
their
human
counterparts. The
political
spoofs for
which
the
strip
probably
became
best
known
in
the
mid-1950s
had
actually
been impUcit
somewhat
earlier. (
See
nos.
734-737)
Kelly
was
bom
in
Philadelphia
in
1913,
the
son
of
a
painter
of
theatrical
scenery.
He
had been a
reporter
and
cartoonist
for the
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Bridgeport
Post just
out
of
high school.
When Kelly
died in
1973, Pogo
was
briefly
continued by
others
but
was
soon
withdrawn
h\ Kelly's widow,
who
devotes
herself
to
editing books
which
collect his
work.
Polly and
Her Pals
(at first
Positive
Polly in
1912)
was begun
as one
of
several
daughter
strips
of
the
[130-135]
period. Its
author
was
Cliff
Sterrett,
bom
in
Fergus Falls,
Minnesota, in 1883.
He
at-
tended the
Chase Arts
School
in
New York for two
years, and
he
began
as
a staff
artist
for
the New
York
Herald in
1904,
moving
to
the Titnes
in
1908. However,
Sterrett
wanted
to
be a
cartoonist,
and
three
years
later
he
began
four different
strips
for
the
New
York
Evening
Telegram.
Settling
on
Pollij,
he
gradually
developed one
of
the
most
whimsically individual
graphic st\les
in
the comics
section,
particularly
on
his
Sunday
color work.
He
and
Polly
retired
in
1958 and
he
died December
28,
1964.
Popeye. See
Thimble Theatre.
Prince
Valiant
began
in
1937 as
a
carefully
researched,
meticulously
illustrated
Sunday
saga of imag-
[431
]
inary Arthurian
times.
It was
created
by
Harold
R.
Hal
Foster, bom
in Nova
Scotia
in
1892. In
1921 the
ambitious young
Foster
bicycled his
vva\'
to
Chicago,
to
the
Art
In-
stitute,
National
Academy
of Design,
and
Chicago
.Academy
of
Fine
Arts. He was
an
established
advertising
illustrator when the syndicators
of a
new
Tarzan
text-and-
illustration
strip
approached
him.
Foster
did
the first daily
Tarzan
sequence
in
early
1929 and later
did
the
Sunday
episodes
from
1931
until
he began
Prince Valiant.
He
retired
from the
drawing
of
Prince
Valiant in 1971
but continued to
plot
his
tale.
See
Tarzan.
Sam's
Strip, unsuccessful
with
the
public, was
a
well-remembered
effort to make
a
comic
strip
[761-763]
which
fondly
spoofed
the
conventions, characters,
and
histor>'
of
comic
strips.
Mort
\\'alker
conceived
the idea
with
Jerr\'
Dumas, who
did
the
art. Dumas,
bom
in
Detroit
in
1930, had
very
little
formal
training,
but
has
been
cartooning steadily
since
his school
days. He assists
on most of the
Walker
strips,
lettering, pencifing,
inking.
See
Beetle
Bailey and Hi
and Lois.
School
Days was
one of several
Sunday
and daily strips by
Clare
Victor Dwiggins (1874-1959)
[26-27; 197-208]
which
depicted
the
almost idyllic small
town life of
a
group of
school boys. One
of
his
strips was
an authorized version of Mark
Twain's
Tom Sawyer and Huck Finn. Dwig-
gins was
himself
bom
in
mral Ohio and attended country schools. He undertook
car-
tooning while
working
as an architectural draftsman. He drew
School
Days from 1917
to 1932. Between
1945
and his death, Dwiggins
worked
as a book
illustrator.
Secret Agent X-9 was
begun
by
Hearst's King
Features
Syndicate
in
1932 as one of several efforts to
[475-478]
answer
the
success of
the
Chicago Tribune-New
York
Daily News detective feature,
Dick
Tracy.
The
syndicate hired mystery
writer
Dashiell Hammett
to
plot
(he
did
the
first
four
sequences) and Ale.x
Raymond
to illustrate.
The
strip
has
been
through
numerous transmutations
since that time,
with
various
writers and illustrators
con-
tributing.
It
continues
today
as
Secret
Agent
Corrigan.
See
Flash
Cordon.
Sherlocko
the Monk was
Gus
Mager's
Holmes
burlesque,
later transformed
into
Hawkshaw
the
Detec-
[36]
five.
See the
latter
and also
Braggo
the
Monk.
Skippy
began
his cartoon
Hfe in
the pages of
the
old
humor magazine
Life
as
a
somewhat
sar-
[
174]
donic
ten-year-old
commentator
on the
passing
scene and the
world
adults had
made.
In
1928,
Skippy
became
a King
Features
comic
strip,
daily and Sunday,
and
contin-
ued
until
Percy Crosby
withdrew
the feature
in
1943,
in
protest
against its
unauthor-
ized
commercial
use.
Crosby,
whose
drawing
style
was
always closer
to
sketch-illus-
tration
than cartoon,
was born
in
Brooklyn, New York,
in
1891 and did
newspaper
and
strip
work
on the
New
York
World
and
for
the
McClure
Syndicate
before
Skippy
at-
tracted
the
attention of
King
Featiires.
He
died
in
1964.
Slim
Jim,
an
early
and all-but-forgotten
strip, was drawn
variously
by
several
cartoonists,
most
[30]
notably
by
its originator,
Charles Frink
(who
died
in
1912),
and
his
successor,
Ray-
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mond Ewer,
who contributed
our
fine
selection
here. Slim
Jim
began
as
Circus
Solly
in
1910, and
continued
until
1937,
mostly distributed to rural
papers.
S'Matter
Pop?
was
one of
several
similar
titles assigned
to the
best-known
strip
of
Charles
M.
Payne.
[39;
160]
Payne
was born
in
Queenstown, Pennsylvania, in
1873. He
hung
around the
offices
of
the
Pittsburgh
Post
and offered
cartoon
ideas while still
a
teenager;
later,
he
was
hired
by the
paper as a
staff
cartoonist.
S'Matter
Pop?,
notable for
Payne's
decorative
use
of
the
page
as
well
as
its humor,
began
in
the
New
York World
in
1919
and
con-
tinued
for thirty
years.
Payne died in poverty
and obscurity
in New
York
in
1964,
the
victim
of
a
mugging.
See
Bear Creek
Folks.
The
Smythes
was
a
Sunday feature in
the
New York
Herald
Tribune (and
its
syndicate) by
New
[126-127]
Yorker illustrator and art editor Rea
Irvin (1881-1972).
Irvin was
from San
Fran-
cisco
and was
an established
magazine
illustrator
and
cartoonist
both before
and
after
his
stylized
interlude
on the
comics page.
Somebody's
Stenog,
distributed
by the
Philadelphia
Public
Ledger's syndicate,
was one
of
the best
of
sev-
[162]
eral working
girl strips that
began in
the
late
1910s.
It
was
the
work
of
A.
H.
Hay-
ward,
who
was hired
away from
the
New
York
Herald
by
the
Ledger.
The
strip
lasted
into the
late 1940s.
Stumble
Inn was another of
George
Herriman's
early
strips.
See Krazy
Kat.
[78-83]
Tarzan,
Edgar
Rice
Burroughs's
jungle
lord—
a
titled
English heir
raised
from
infancy
by
a
[429]
tribe
of
African
great
apes
—
entered
the
comics
page
via
a
daily
illustration-and-text
strip rendered by
Hal
Foster
in
early
1928.
Foster also
did
the Sunday
version
be-
tween 1931
and
1937,
including
the
much
celebrated
Lost
Egyptians
sequence. See
Prince
Valiant.
Terry and
the
Pirates
began in late
1934,
the
work of
Milton
Caniff who
revitalized
the style
of
newspaper
[673-687]
adventure
strips
with his
effective use
of impressionist
graphic
techniques
and his
somewhat
exotic
adventure
narrative.
Caniff
was born
in
Hillsboro,
Ohio,
in 1907.
He
had
done
several
features,
most
notably
Dickie
Dare, before
approaching
Captain
Joseph
Patterson
of
the
New
York
News
with
Terry.
The
strip
was
his
answer
to
Patterson's
expressed
desire
for a
blood
and
thunder suspense
adventure
strip
with
a
juvenile
angle. Terry
was
taken over by
George
Wunder
when
Caniff began
Steve
Canyon
in
early
1947.
Texas
Slim and
Dirty Dalton,
a
Sunday-only slapstick
cowboy strip,
was
the
work
of
Ferd
Johnson,
who
otherwise
[740]
assisted
Frank
Willard
on
Moon Mullins
( and
continued that
latter
strip
after
Wil-
lard's
death )
.
Johnson
was bom
in
1905
in
Spring
Creek,
Pennsylvania,
and
was
draw-
ing
published
cartoons before
he
entered
high
school.
He
attended
the
Chicago
Aca-
demy of
Fine Arts
in 1923,
but
his first job
resulted
from
his
spending
most
of
his
time
hanging
around
the
cartoonist's
desk
at
the
Tribune,
where
he
attracted
Wil-
lard's sympathetic
attention.
Texas Slim
began
in
1925.
Thimble
Theatre,
by
E.
C.
Segar, is
one
of the
most
celebrated
comic-adventure
strips.
It began
as
Wil-
[443-474]
liam
Randolph
Hearst's
idea of
one
way
to
replace
his
recently
lost
Minute
Movies.
It
was
the
work of
Elzie
Crisler
Segar,
bom
in
Chester,
Illinois,
in
1894,
the
son
of a
house
painter. He
diligently
taught
himself
to
draw,
with
the
help
of
a
cor-
respondence
school
course,
and
presented
himself
at the
Chicago
Herald,
where he
got
his
first
work. Once
founded,
Thimble
Theatre
developed a set
of
mnning
char-
acters,
chiefly
the
spinsterish
Olive
Oyl
and
her
husthng
brother.
Castor.
Popeye
the
Sailor first
appeared
in
an
adventure
in
January
1929,
and
immediately
captivated
the
strip's
growing
audience, as
well as
its
author.
A
series
of
memorable
adventures
and
characters
(J.
Wellington
Wimpy,
the
Sea
Hag, Alice
the
Goon,
the
Jeep)
fol-
lowed. Segar
generally
kept
the
story
continuity
in
his daily
episodes
separate
and
used
his
Sunday
pages
for
self-contained
gags.
On
the
one
occasion
when
he
broke
with
that
practice,
he
produced the
masterly
Plunder
Island
adventure which is
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reproduced
here.
Segar
died
in late
1938.
His
feature has been
continued
since
by
others, but
usually
with
quite
different
intention
and
quality.
Toonerville
Folks,
Fontaine
Fox,
Jr.'s
daily
panel
and
Sunday
strip on
the
engaging
eccentrics who
in-
[209-220;
442]
habited his
imaginary,
then
still
semirural
suburbs,
was begun
in
early 1915. The
vignettes of the
trolley's
Skipper,
the tough
kid Mickey
Himself McGuire,
the
ter-
rible-tempered
Mr. Bang,
and the rest,
lasted until
1955. Fo.\, born in 1884
in
Louis-
ville,
Kentucky,
went
to work
for
the
Louisville
Courier
right
out
of
high
school, do-
ing reporting and
cartoon work. He
later
briefly attended
the
University of
Indiana,
but dropped
out
to
become a
full-time
cartoonist.
Toonerville
Folks
began in
the
Chicago
Post
before the
Wheeler
Syndicate
distributed it
nationally. Fox died
in
1964.
Tumbleweeds
is the
work of
Tom
K.
Ryan, born
in
Anderson,
Indiana,
in
1926,
who
always
wanted
[750-751]
to
be
a cartoonist.
He began
in
commercial
art, read
Western novels, and
eventually
did
a
burlesque
Western
comic
strip.
Tumbleweeds
began
modestly
in
1965 and
has
built
gradually
in
popularity
since.
Wash
Tubbs, b\'
Roy
Crane, began
as
Washington
Tubbs
II
in
1924.
See
Captain Easy.
[320-426]
White Boy
first
appeared as a
Sunday, half-page
strip
in
the Chicago
Tribune in 1933
and sub-
[440-441]
sequently
also
in
the
New
York
Daily
News.
The
strip,
initially
concerning
a
white
youngster
captured by
an
Indian tribe
in the
late
nineteenth century,
went
through
several
changes of focus,
format, and even
historical
time.
In them,
fantasy
narrative
switched
to
realism,
switched
to
gags, and
back
again,
possibly
in
efforts
to
appeal
to
juvenile
readers. The
feature
was the
work of Garrett Price, best
known for
his
illu-
strations for
magazine fiction
and his New
Yorker
cartoons.
White Boy became
SkuU
Valley toward the
end
and
disappeared
in
August
1936. Price,
bom
in
Bucyrus,
Kansas,
graduated
from the
University of
Wyoming and
the
Art
Institute
of
Chicago,
and
continued
art
studies
in
France.
The
Wizard
of
Id
is
the
collaborative
effort
of
Brant
Parker (ideas and
drawing) and
Johnny
Hart
[757]
(ideas).
Parker,
a
Californian born
in
Los
Angeles
in 1920,
was
a
Disney
cartoonist
and
later
an
illustrator for
International
Business
Machines.
He
judged
an
art
show
in Endicott,
New
York, that
included
the
work of
a
highschooier named
Johnny
Hart
in the
late
1940s
and a
friendship
developed.
The vaguely
medieval
Wizard first ap-
peared
in
1964.
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Bill
Blackbeard
is the
director
of
tlio Sail Fran-
cisco Academy
of
Comic
Art,
a
nonprofit
educa-
tional institution
devoted
to
the study
of popu-
lar
narrative arts. Tlie
strips reproduced in this
collection
were obtained from
its
archives.
Black-
beard
founded
the academy
in
1967
in
the
course of planning
a
book on the comic
strip,
after
discovering
to
his dismay
that there were
only
a
few
books,
superficial
and inadefjuatc,
existing
in
the
complex comic-strip field.
To
properly prepare
his
work,
he
was
forced
to
create his own public
research
and study center,
accumulating what is
now
a
vast
collection of
bound
newspaper
files,
popular fiction
and car-
toon
periodicals, books in all genres
of
fiction
and associated
background
data,
and literally
millions
of
comic-strip episodes.
Blackbeard
has written and edited
extensively
in
the narrative arts
fields, including
many ar-
ticles and
books.
He prepared a
sizable number
of
the
entries
in
the recent
World
Encyclopedia
of
Comics (Chelsea
House). Blackbeard
is now
editing
a
series
of
fifty
or
more
reprint volumes
of classic
comic
strips in
complete sequences,
starting
with the
earliest
daily strips
of
worth
(
Hyperion
Press
),
and
is
also
preparing a
factual
and critical
history of
the
comic
strips
(
Oxford
)
for
which
much of
the
contents
of
this
Smith-
sonian
volume
will
serve
as
illustration.
Martin
Williams
has
been
an
English
teacher
(Columbia
University)
aiKl book
editor (Mac-
millan),
but
most of
his
time has
been
spent
as
a
critic of
the popular
and
performing
arts. He
has written
on literature
(including children's),
theater,
films, radio,
television—
and
comic strips.
Chiefly,
his
work
has
been
in jazz.
As
editor, his
books include
Tlw
Art
of
Jazz
(Oxford) and
Jazz
Panorama
(Collier);
as author,
Where's
the
Melody? A Listener's
Introduction
to Jazz
(
Pantheon
)
;
Jazz
Masters
of
New Orleans
( Mac-
millan
)
;
The
Jazz
Tradition
(
Oxford
)
; and Jazz
in
Transition
(Macmillan). He has written on
jazz for
dozens
of
magazines
and
newspapers
and
was
for nine
years the
regular
jazz
critic
for
the
Saturday Review.
Since
1971
Williams
has been the
director of
the
Jazz
and
Popular Culture Program of
the
Division
of Performing Arts,
Smithsonian Institu-
tion,
where
he
produced the much
acclaimed
record
album
The
Smithsonian
Collection
of
Classic
Jazz.
Needless
to
say,
Williams is also a
comics
aficionado.