A comic strip is a sequence of drawings that tells a story.
Currently in the Western world, most comic strips are written and drawn by a comics artist or cartoonist, and many such strips are published on a recurring basis (usually daily or weekly) in newspapers and on the Internet.
In the UK and the rest of Europe comic strips are also serialized in Comic book magazines, with a strip's story sometimes continuing over three pages or more. Comic strips have also appeared in US magazines such as Boys' Life. Storytelling using a sequence of pictures has existed at least since the ancient Egyptians. One medieval European example in textile form is the Bayeaux Tapestry. Examples in print form exist in 19th century Germany, and in 18th century England, where some of the first satirical or humorous sequential narrative drawings were produced, see William Hogarth.
The American comic strip developed this format into the 20th century. It introduced such devices as the word balloon for speech, the hat flying off to indicate surprise, and specific typographical symbols to represent cursing. The first comic books were anthologies of newspaper comic strips.
As the name implies, comic strips can be humorous (for example, "gag-a-day" strips such as Blondie, Bringing Up Father and Pearls Before Swine). Starting in the early 1930s, comic strips began to include adventure stories. Buck Rogers, Tarzan and The Adventures of Tintin were some of the first. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s. All are called, generically, "comic strips", though cartoonist Will Eisner has suggested that "sequential art" would be a better name for them.
In the USA, a daily strip appears in newspapers on weekdays, Monday through Saturday, as contrasted with a Sunday strip, some of which only appear on Sundays. Daily strips are usually in black and white, though a few newspapers, beginning in the later part of the 20th century, published them in color. The major formats are strips, which are wider than they are tall, and panels, which are square, circular, or taller than they are wide. Strips usually, but not always, are broken up into several smaller panels, with continuity from panel to panel. Panels usually, but not always, are not broken up and lack continuity. The daily Peanuts is a strip, and the daily Dennis the Menace is a panel.
Early daily strips were large, often running the entire width of the newspaper, and were sometimes three or more inches in height. At first, one newspaper page only included one daily strip, usually either at the top or the bottom of the page. By the 1920s, many newspapers had a comics page on which many strips were collected together. Over decades, the size of daily strips became smaller and smaller, until by the year 2000, four standard daily strips could fit in an area once occupied by a single daily strip.
NEA Syndicate experimented briefly with a two-tier daily strip, Star Hawks, but after a few years, Star Hawks dropped down to a single tier.
In Flanders, the two-tier strip is the standard publication style of most daily strips like Spike and Suzy and Nero. They appear Monday through Saturday, as until recently there were no Sunday papers in Flanders. In the last decades, they have switched from black and white to color.
Early proto-comic strips exist from the time of ancient Egypt, and include medieval manuscript illumination, the medieval Bayeaux Tapestry which is a visual narrative embroidered on a 70 meter (230 feet) cloth strip with captions in Latin, and William Hogarth's English cartoons from the 18th century, which include both "single panel" work and also narrative sequences such as The Rake's Progress.
The Biblia pauperum ("Paupers' Bible"), a tradition of picture Bibles beginning in the later Middle Ages, sometimes depicted Biblical events with words spoken by the figures in the miniatures written on scrolls coming out of their mouths - which makes them to some extent ancestors of the modern cartoon strips.
The Swiss teacher, author and caricature artist Rodolphe Toepffer (Geneva, 1799-1846) is consider the father of the modern comic strips. His illustrated stories such as Histoire de M. Vieux Bois (1827), first published in the USA in 1842 as "The Adventures of Obadiah Oldbuck", or "Histoire de Monsieur Jabot" (1831) are believed to have inspired subsequent generations of German and American comic artists. In 1865, the German painter, author and caricaturist Wilhelm Busch created the strip Max and Moritz, about two trouble-making boys, which had a direct influence on the American comic strip. Max and Moritz was a series of severely moralistic tales in the vein of German children's stories such as Struwwelpeter ("Shockheaded Peter"); in one, the boys, after perpetrating some mischief, are tossed into a sack of grain, run through a mill, and consumed by a flock of geese. Max and Moritz provided an inspiration for German immigrant Rudolph Dirks, who created the Katzenjammer Kids in 1897. Familiar comic-strip iconography such as stars for pain, speech and thought balloons, and sawing logs for snoring originated in Dirks' strip.
Hugely popular, Katzenjammer Kids was responsible for one of the first comic-strip copyright ownership suits in the history of the medium. When Dirks left Hearst for the promise of a better salary under Pulitzer (unusual, since cartoonists regularly deserted Pulitzer for Hearst) Hearst, in a highly unusual court decision, retained the rights to the name "Katzenjammer Kids", while creator Dirks retained the rights to the characters. Hearst promptly hired a cartoonist named Harold Knerr to draw his own version of the strip. Dirks renamed his version Hans and Fritz (later, The Captain and The Kids). Thus, two versions distributed by rival syndicates graced the comics pages for decades. Dirks' version, eventually distributed by United Feature Syndicate, ran until 1979.
In America, the great popularity of comics sprang from the newspaper war between Joseph Pulitzer and William Randolph Hearst. The Little Bears was the first American comic with recurring characters, while the first color comic supplement was published by the Chicago Inter-Ocean sometime in the latter half of 1892; Mutt and Jeff was the first successful daily comic strip, first appearing in 1907.
Hundreds of comic strips followed, with many running for decades.
The history of comic strips also includes series that are not humorous, but tell an ongoing dramatic story. Examples include The Phantom, Prince Valiant, Dick Tracy, Mary Worth, Modesty Blaise and Tarzan. Sometimes these are spin-offs from comic books, for example Superman, Batman, and The Amazing Spider-Man.
A number of strips have featured animals as main characters. Some are non-verbal (Marmaduke, The Angriest Dog in the World), some have verbal thoughts but aren't understood by humans, (Garfield, Snoopy in Peanuts), and some can converse with humans (Bloom County, Calvin and Hobbes, Mutts, Citizen Dog, Buckles, Get Fuzzy, Pearls Before Swine, and Pooch Cafe). Other strips are centered entirely on animals, as in Pogo and Donald Duck. Gary Larson's The Far Side was unusual, as there were no central characters. Instead The Far Side used a wide variety of characters including humans, monsters, aliens, chickens, cows, worms, amoebas and more. John McPherson's Close to Home also uses this theme, though the characters are mostly restricted to humans and real-life situations. Wiley Miller not only mixes human, animal and fantasy characters, he does several different comic strip continuities under one umbrella title, Non Sequitur. Bob Thaves's Frank & Ernest began in 1972 and paved the way for some of these strips as its human characters were manifest in diverse forms — as animals, vegetables, and minerals.
Bill Watterson has written extensively on the issue, claiming that size reduction and dropped panels reduce both the potential and freedom of a cartoonist. When Watterson's Calvin and Hobbes grew to fame, he insisted that his Sunday strip be published without cropping and at a half-page size, a move criticized by newspaper editors and a few cartoonists, including Family Circus cartoonist, Bil Keane.
This act is commonly criticised by, primarily modern, cartoonists including Bill Watterson and Pearls Before Swine's Stephan Pastis. The issue was in fact addressed in six consecutive Pearls strips. Charles Schulz, of Peanuts fame, requested that the strip not be continued by another cartoonist upon his retirement. Schulz also rejected the idea of hiring an inker or letterer, comparing it to a golfer hiring a man to make his putts.
The problems cited with attaining a second cartoonist state that the second cartoonist is generally less funny or compelling than the creator, and also the cartoonist is not as familiar with the characters. Also, many have said that continuing retired strips stops newer cartoonists from breaking through.
Stephan Pastis has said that the "unwritten" censorship code is still "stuck somewhere in the 1950s." Generally, comics are not allowed to include such words as "damn", "sucks", "screwed", and "hell", although there have been a few exceptions. In addition, many images, such as naked backsides and shooting guns, cannot be shown, according to Dilbert cartoonist, Scott Adams.
Many issues such as sex, drugs, and terrorism cannot, or can very rarely, be openly discussed in strips, although there are exceptions, usually for satire, as in the case of Bloom County. This has led many cartoonists to resort to double entendre and, as in the case of Luann cartoonist Greg Evans on several occasions, speak in a manner so that young children will not understand.
Many of these words, images, and issues are common in every day life, and many young cartoonists have claimed they should be allowed in the comics. Many of the censored words and topics are mentioned daily on television, as well as in other forms of visual media. Web comics, and comics distributed primarily to college newspapers, are much freer in this respect.
Kelly also defended the medium against possible government regulation in the McCarthy era. At a time when comic books were coming under fire for supposed sexual, violent, and subversive content, Kelly feared the same would happen to comic strips. Going before the congressional subcommittee, he proceeded to charm the members with his drawings and the force of his personality. The comic strip was safe for satire.
Some comic strips, such as Doonesbury and The Boondocks, are often printed on the editorial or op-ed page rather than the comics page because of their regular political commentary. For example, the August 12th 1974 Doonesbury strip was awarded the Pulitzer Prize in 1974 for its depiction of the Watergate scandal. Dilbert is sometimes found in the business section of a newspaper instead of the comics page because of the strip's commentary about office politics, and Tank McNamara often appears on the sports page because of its subject matter.
Today's strip artists, with the help of the NCS, enthusiastically promote the medium, which is considered to be in decline due to fewer markets and ever-shrinking newspaper space. One particularly humorous example of such promotional efforts is the Great Comic Strip Switcheroonie, held in 1997 on April Fool's Day, an event in which dozens of prominent artists took over each other's strips. Garfield’s Jim Davis, for example, switched with Blondie’s Stan Drake, while Scott Adams (Dilbert) traded strips with Bil Keane (The Family Circus). Even the United States Postal Service got into the act, issuing a series of commemorative stamps marking the comic-strip centennial in 1996.
While the Switcheroonie was a one-time publicity stunt, for one artist to take over a feature from its originator is an old tradition in newspaper cartooning (as it is in the comic book industry). In fact, the practice has made possible the longevity of the genre's more popular strips. Examples include Little Orphan Annie (drawn and plotted by Harold Gray from 1924-44 and thereafter by a succession of artists including Leonard Starr and Andrew Pepoy), and Terry and The Pirates, started by Milton Caniff in 1934 and picked up by a string of successors, notably George Wunder.
A business-driven variation has sometimes led to the same feature continuing under a different name. In one case, in the early 1940s, Don Flowers' Modest Maidens was so admired by William Randolph Hearst that he lured Flowers away from the Associated Press and to King Features Syndicate by doubling the cartoonist's salary, and renamed the feature Glamor Girls to avoid legal action by the AP. The latter continued to publish Modest Maidens, drawn by Jay Allen in Flowers' style.
The majority of traditional newspaper comic strips have some Internet presence. King Features Syndicate and other syndicates often provide archives of recent strips on their websites. Scott Adams, creator of Dilbert, started a trend by including his email address in each strip.