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Comics, also known as comic strips, funnies, printed cartoon art, or comic(s) art, have been a key element of the newspaper business since the end of the nineteenth century. They are an important reason for the economic success of many newspapers entering the modern age, a socialization device for both newspaper reading and social mores, an economic and cultural force outside of the newspaper industry, and currently viewed as a way to attract and maintain a youth readership. The future of the comics, similar to the future of the newspaper medium, is unclear.

Comics have long been part of the fabric of American culture and everyday life. Newspaper editors face a serious dilemma when dropping or adding a strip, given the loyalty readers may feel—and express—toward particular comics. Many Sunday family rituals involve reading the color comics section, and the continuing exposure to daily comics characters have touched successive generations of fans to a more enduring degree than virtually any other medium. Major character and plot developments, including character deaths (Mary Gold in The Gumps or the family dog Farley in For Better or For Worse), weddings (Dick Tracy to Tess Trueheart), or trauma (B.D.'s loss of a leg in the Iraq war in Doonesbury) often spark deep emotional reactions in readers. Comic-strip characters and phrases have transcended the medium to the point where their comic-strip origin is not universally known. Characters such as Buster Brown, Little Orphan Annie, and Popeye, although beginning as comic strips, are perhaps better known for their cultural presence in other forms (in the above cases, as a shoe brand, Broadway musical, and film/TV character, respectively). Moreover, comic strips have popularized, if not wholly created, familiar words and phrases in the American lexicon such as “keeping up with the Joneses,” jeep, Sadie Hawkins Day, security blanket, hot dog, and baloney.

Origins

No single creator invented the newspaper comic strip. The use of illustrations combined with words, sequential panels, color, and regularly appearing characters appeared in European and U.S. publications through much of the 1800s. Nevertheless, many attribute at least the popularization and commercial viability of such trends to Hogan's Alley (later featuring and known as The Yellow Kid), created by Richard F. Outcault and first appearing in Joseph Pulitzer's New York World in 1895. Later also published in William Randolph Hearst's New York Journal, the character became a national sensation through heavy licensing activity (including appearances in advertising and on Broadway) and through the national distribution of Hearst's Sunday humor section. Other developments soon followed as comics grew, including daily publication and national syndication. The latter allowed newspapers that could not afford their own printing technology or artistic talent to offer comics to their readers as well as give comics characters and trademarks national exposure.

The Yellow Kid and other early examples of ground-breaking comics (The Katzenjammer Kids, Happy Hooligan, Mutt and Jeff, The Gumps) developed and illustrated the symbiotic relationship between comics and newspapers. As a part of the newspaper that overtly emphasized entertainment rather than hard-news journalism, comic strips became an important booster of newspaper circulation and one way that children were first exposed to the medium. On the other hand, newspapers served not only as the primary revenue source for comics, at least at first, but also as a popularizer and promoter for character licensing and merchandising, a trend that would become dominant in modern times.

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