The American 1920’s and 30’s not only brought the comic
strip to a widespread of American homes, but also opened up a multitude of ideas
within the capabilities of the comic strip. Many comics that are still
recognized today were first seen within these two significant decades. Like the
opening of the century was a period of experimentation [1], the next
two decades were a period of adjustment [3] and exploration.
The growing popularity of comics in the 1910s allowed for more interest and possibilities in the medium. As the comic strip was seen more often, now a daily appearance, popularity in the medium rose. Artists like George Herriman got to work on developing more, (Herriman himself developed three daily comic strips) and between 1908 and 1910, competition grew (as we saw). Between 1910-1915, many comics strips were available on newspapers six days a week. This new consistent nature made comics more reliable, rather than the inconsistent rate of previous titles [2].
The growing popularity of comics in the 1910s allowed for more interest and possibilities in the medium. As the comic strip was seen more often, now a daily appearance, popularity in the medium rose. Artists like George Herriman got to work on developing more, (Herriman himself developed three daily comic strips) and between 1908 and 1910, competition grew (as we saw). Between 1910-1915, many comics strips were available on newspapers six days a week. This new consistent nature made comics more reliable, rather than the inconsistent rate of previous titles [2].
 |
| "Krazy Kat" strip; notice the development with panel shapes |
Popular strips around this time included “Us Boys”, an
adventure title, “Desperate Desmond”, “Family Upstairs”, “Sherlocko the Monk”, and
“The Hall-Room Boys”, which was the first bachelor-buddies strip [2].
George Harriman’s character Krazy Kat, who made appearances in Harriman’s other
comic(s) [4], starred in “Krazy Kat and Ignatz” in 1911 (shortened
to “Krazy Kat” in 1913). The comic follows a simple story of Krazy, in love
with a mouse, Ignatz, and the repeated antics that occur. Reviews range in
opinions of this comic, from it developing into an “anticipated” spectacle [2]
to a “stunning roster of imaginative and graphic accomplishment, an apogee of
an art, both in quality and quantity [3].” The comic would continue
for decades, finally ending upon Harriman’s death in 1944 [2].
In 1912, the syndicate system came into play and The
International News Service, the first true syndicate service, was established.
The syndicate system held control with distributing publishing agencies,
allowing one corporation to control various publications and for them to reach
a wider audience. King Features syndicate followed in 1914, and the Chicago
Tribune-Daily News Syndicate, the United Features Syndicate, and more, came
about years later. With the help of the syndicate system to reach further
audiences, American comics would hit a spike in exposure it had never seen
before [3].
The effects of the syndicate system were felt as more than extended exposure. The greater breadth of readership led comic strip authors to self censor the storylines and themes, leading to a wave of “family strips” like “Polly and Her Pals” (1912), “The Grumps” (1917), and “Willie Winkle” (1920). Another notable comic, introduced in 1919, is “Gasoline Alley”. This comic made history as the first strip with characters and events that that conveyed time, allowing them to grow up along with the readers [3]!
The effects of the syndicate system were felt as more than extended exposure. The greater breadth of readership led comic strip authors to self censor the storylines and themes, leading to a wave of “family strips” like “Polly and Her Pals” (1912), “The Grumps” (1917), and “Willie Winkle” (1920). Another notable comic, introduced in 1919, is “Gasoline Alley”. This comic made history as the first strip with characters and events that that conveyed time, allowing them to grow up along with the readers [3]!
 |
| "Bringing Up Father" strip |
1913’s “Bringing Up Father”, the “most outstanding comic
strip of the period”, was the first comic strip to achieve international
fame (Including Japan's own "Bringing up Daddy"). Following a small
family, husband Jiggs and wife Maggie as/after they win the sweepstakes and
rise to the life of the rich and fabulous from their previous jobs as a mason
and washwoman, respectively. While Maggie completely absorbs the new lifestyle,
enjoying days of shopping and haughty demeanor, Jiggs still finds his biggest
thrill of the week his time meeting with his friends at the saloon. Through the strip, McManus expressed his
views of a society by showing off the “absurdities, fads, and eccentricities of
American society with a cheerful briskness and good-natured humor [3].”
By the 1920’s, daily strips filled the morning and evening editions of nearly every newspaper. Each edition also maintained their own themes, finding family-oriented strips in the morning, and crime, racy, or “lowbrow” strips in the evening. As comics developed, so did its graphic nature. While the decade in a mostly family-oriented design, by the end of the 20’s, artists were beginning to push forward in content, finding fans along the way. The 1930’s would be no different, and in time would find further content to express and expose [3].
Comics of this time that adapted to the growing audience included “Moon Mullins”. This was an anti-family strip/satire piece, noted as “one of the best of modern [dark] comedies [3]” in 1923. “Little Orphan Annie” opened comics into the sphere of political statements in 1934[3], to which Harold Gray released his own response of “Little Annie Rooney” in 1927[4]. “Minute Movies” changed the look of comics by utilizing a “camera viewpoint” (or ‘cinematography’) in its depiction of literature characters from Ivanhoe and Treasure Island (similar to another famed artist). [3]
By the 1920’s, daily strips filled the morning and evening editions of nearly every newspaper. Each edition also maintained their own themes, finding family-oriented strips in the morning, and crime, racy, or “lowbrow” strips in the evening. As comics developed, so did its graphic nature. While the decade in a mostly family-oriented design, by the end of the 20’s, artists were beginning to push forward in content, finding fans along the way. The 1930’s would be no different, and in time would find further content to express and expose [3].
Comics of this time that adapted to the growing audience included “Moon Mullins”. This was an anti-family strip/satire piece, noted as “one of the best of modern [dark] comedies [3]” in 1923. “Little Orphan Annie” opened comics into the sphere of political statements in 1934[3], to which Harold Gray released his own response of “Little Annie Rooney” in 1927[4]. “Minute Movies” changed the look of comics by utilizing a “camera viewpoint” (or ‘cinematography’) in its depiction of literature characters from Ivanhoe and Treasure Island (similar to another famed artist). [3]
“Then, on Friday,
October 29, 1929, the financial structure of the nation collapsed. Jokes
weren’t quite as funny...[2]”
As Americans dealt with the Great
Depression in the 1930’s, the adventure Strips took hold of comic pages. “In the wake of depression came a tidal wave of creativity [4].”
“Buck Rogers”, “Flash Gordan”, “Tarzan”, and even “Mickey Mouse” premiered
during this time, entertaining a wide array of readers through several
adventures and childhood tales [2].
The stock market crash of ’29 was at once horrible for American families and wonderful for American comic strips. With ever-tightening budgets, Americans looked to cheaper entertainment sources, finding some better than none in their dreary livelihoods. Forgoing movies and magazines, the Sunday paper fit the needs for those who could afford it. As such, newspapers focused more on their adult audiences in all entertainment purposes, including diversifying their comic strips [2].
With the Depression growing, newspapers put anything in their papers, including a growth in comic sections to maintain their paying subscriptions. By the 1930s, adults took the forefront audience spot for comics. While children were often still catered to by papers, it was their parents and other elders whom held on to read the paper front and back, from articles to comics [2].
The stock market crash of ’29 was at once horrible for American families and wonderful for American comic strips. With ever-tightening budgets, Americans looked to cheaper entertainment sources, finding some better than none in their dreary livelihoods. Forgoing movies and magazines, the Sunday paper fit the needs for those who could afford it. As such, newspapers focused more on their adult audiences in all entertainment purposes, including diversifying their comic strips [2].
With the Depression growing, newspapers put anything in their papers, including a growth in comic sections to maintain their paying subscriptions. By the 1930s, adults took the forefront audience spot for comics. While children were often still catered to by papers, it was their parents and other elders whom held on to read the paper front and back, from articles to comics [2].
 |
| "Tarzan" strip; even without knowing context, one can see the difference in viewpoint and angles. |
The 1930’s “witnessed an intense creative activity [3]”
described as “a renaissance; the comics’ second birth” introduced a “dominance
of continuity episodes and a variety of realistic styles [1].” 1929’s
“Tarzan” has been seen as the 1st genuinely modern strip, helping foster
the new adventures strips. It was visually different from other comics,
utilizing cinematography more so than that of previous “Minute Movies”, including
such details as close-ups and back lighting [3].
“Buck Rogers” was also introduced within this period, and was first to handle sci-fi themes “in an interesting manner” for a greater audience, making it ultimately viewed as one “destined to alter the content of the comics [3].” It’s inclusion of the subject makes it a marking point in comic history as an doorway to other future sci-fi comics, leading the way for an entire genre to take hold in the next decade.
In the 1920’s, Sunday pages would often included an 8-page comic section. In the 1930’s, sections expanded to 16 pages, 24 pages, and even 32 pages, depending on the paper. Daily comic pages doubled or even tripled from the previous decade. Even small town local papers would add a Saturday or Sunday comic section to entertain (and keep) their reading audiences [2].
“In these strips, and for the last time on a broad scale…”
SO many comic strips (explosion) by mid 1930s, ranging from “passably entertaining to downright dreadful[2].” Crime comics led with “Dick Tracy”, planes and aviation rose in interest in strips like “Tailspin Tommy” and “Flying to Fame”, even depression-realism and working girl strips like “Dixie Dugen”, “Winnie Winkle” rose in interest. Science fiction comics rose after “Buck Rogers” with “Flash Gordon”, “Jack Swift”, and “Sappo”.
Unfortunately… “we’ll never see its like again [2]”;
IN THE NEXT ISSUE…
“Buck Rogers” was also introduced within this period, and was first to handle sci-fi themes “in an interesting manner” for a greater audience, making it ultimately viewed as one “destined to alter the content of the comics [3].” It’s inclusion of the subject makes it a marking point in comic history as an doorway to other future sci-fi comics, leading the way for an entire genre to take hold in the next decade.
In the 1920’s, Sunday pages would often included an 8-page comic section. In the 1930’s, sections expanded to 16 pages, 24 pages, and even 32 pages, depending on the paper. Daily comic pages doubled or even tripled from the previous decade. Even small town local papers would add a Saturday or Sunday comic section to entertain (and keep) their reading audiences [2].
“In these strips, and for the last time on a broad scale…”
SO many comic strips (explosion) by mid 1930s, ranging from “passably entertaining to downright dreadful[2].” Crime comics led with “Dick Tracy”, planes and aviation rose in interest in strips like “Tailspin Tommy” and “Flying to Fame”, even depression-realism and working girl strips like “Dixie Dugen”, “Winnie Winkle” rose in interest. Science fiction comics rose after “Buck Rogers” with “Flash Gordon”, “Jack Swift”, and “Sappo”.
Unfortunately… “we’ll never see its like again [2]”;
IN THE NEXT ISSUE…
While America, as individuals and a nation, grappled with a changing world, so
did the comic pages. In the rise of science fiction, June 1938 is a pinned time
in many comic enthusiasts’ mental calendars, as it brought about one of the
most recognizable comic characters the world has seen to date. Comics were
about to hit a drastic shift, for better or for worse, and would never be the
same…
Wanna know as soon as new posts are uploaded? Follow me on Twitter and Facebook!
Wanna know more about a particular topic or title? Be a part of the conversation and leave your feedback in the comments!
Wanna know more about a particular topic or title? Be a part of the conversation and leave your feedback in the comments!
SEE YA NEXT TIME!
References/Sources:
[1] Marschall, Richard. America’s Great Comic-Strip Artists. New York, NY. 1989. Print.
[2] Blackbeard, Bill and Crain, Dale. The Comic Strip Century: Celebrating 100 Years of an American Art Form. Englewood Cliffs, NJ. 1995. Print.
[3] Couperie, Pierre, Maurice Horn, Proto Destefanis, Edouard François, Claude Moliterni, Gérald Gassiot-Talabot, and Eileen Hennessy. A History of the Comic Strip. New York: Crown, 1968. Print.
[4] Steranko, James. The Steranko History of Comics. Reading, PA. 1970.Print.
[2] Blackbeard, Bill and Crain, Dale. The Comic Strip Century: Celebrating 100 Years of an American Art Form. Englewood Cliffs, NJ. 1995. Print.
[3] Couperie, Pierre, Maurice Horn, Proto Destefanis, Edouard François, Claude Moliterni, Gérald Gassiot-Talabot, and Eileen Hennessy. A History of the Comic Strip. New York: Crown, 1968. Print.
[4] Steranko, James. The Steranko History of Comics. Reading, PA. 1970.Print.
