Sunday comics
[2] Jimmy Swinnerton's The Little Bears introduced sequential art and recurring characters in William Randolph Hearst's San Francisco Examiner.
Famous American full-page Sunday strips include Alley Oop, Barney Google and Snuffy Smith, Blondie, Bringing Up Father, Buck Rogers, Captain Easy, Flash Gordon, and Thimble Theatre.
On the other hand, numerous strips such as Bob Gustafson's Specs and Virgil Partch's The Captain's Gig are almost completely forgotten today, other than a brief display in the Stripper's Guide site run by comics historian Allan Holtz.
In 2021, Pipoca e Nanquim released a library collecting his Horácio full-color Sunday comics, originally published in the children's supplement of Folha de S.Paulo between 1963 and 1992.
The following month, Pulitzer's New York World printed cartoonist Walt McDougall's "The Possibilities of the Broadway Cable Car" as a color page on May 21, 1893.
Stephen Becker, in Comic Art in America, noted that Little Nemo in Slumberland was "probably the first strip to exploit color for purely aesthetic purposes; it was the first in which the dialogue, occasionally polysyllabic, flirted with adult irony.
[6] By 1906, the weekly Sunday comics supplement was commonplace, with a half-dozen competitive syndicates circulating strips to newspapers in every major American city.
In 1923, The Commercial Appeal in Memphis, Tennessee, became among the first in the nation to acquire its own radio station, and it was the first Southern newspaper to publish a Sunday comic section.
They were read by millions and produced famous fictional characters in such strips as Flash Gordon, Little Orphan Annie, Prince Valiant, Dick Tracy and Terry and the Pirates.
Leading the lists of classic humor strips are Bringing Up Father, Gasoline Alley, Li'l Abner, Pogo, Peanuts and Smokey Stover.
The World Museum gave readers instructions for cutting pictures apart and assembling them into a diorama, often with a subject from nature, such as The Grand Canyon or Buffalo Hunt.
These sixteen-page (later eight-page) standalone Sunday supplements of Will Eisner's character (distributed by the Register and Tribune Syndicate) were included with newspapers from 1940 through 1952.
[10] Another big-size comic section is that of The Washington Post which carries 41 strips in eight broadsheet pages although it also contains a sudoku and a Jumble puzzle.
Shortly after the full-page Prince Valiant was discontinued, Hal Foster retired from drawing the strip, though he continued to write it for several more years.
Examples such as Lance by Warren Tufts and Frank Giacoia's Johnny Reb and Billy Yank proved artistic, though not commercial, successes.
The King Features, the Creators' and the Chicago Tribune syndicates use nine panels (with only one used for the title), while United Features and Universal Press' half-page Sunday strips (most of them use a third-page format instead) use two panels for the title (except for Jim Davis' U.S. Acres—which used the nine-panel format- during the 1980s, when most UFS strips -particularly Davis' more successful Garfield—would have a throwaway gag).
