Prince Valiant was something I looked forward to every Sunday for 3 decades. McKay was a visual genius. I'm very grateful for my giant edition of Little Nemo. My love of newspaper strips just goes hand-in-hand with my love of comic books. I HIGHLY recommend Pogo - Walt Kelly was the equivalent of a minor Rock Star in the 50s (and rightfully so )because of the popularity of the strip. The best current strip is Liō. Imagine the entire Addams family in one little boy. Highly recommend. ☮️
Nice video! Winsor McCay was a master. Along with George Herriman/Frank King they pretty much recoded something that wasn't even defined yet at the time. Panel disposition, movement flow, simultaneous storytelling, so much good stuff to discover. McCay was also an animation pioneer Always important to point that besides comic books being treated as disposable stuff like pulp fiction, sunday comic strips had a high regard. You mentioned how little Shuster/Siegel got from Superman in the other video but if you look everyone you mentioned from these strips they all had contracts, benefits, good salaries and huge national distribuition. Hal Foster got out of Tarzan strips cause he didn't had the rights on the char, then he created Prince Valiant, which still on publication to this day
I was wondering that myself. It does seem that newspaper strips lended themselves a lot easier to a more prestigious position. I wonder it if had anything to do with the whole seduction of the innocent crusade but I feel like the stigma goes back further than that. Excellent comment thank you
@@blackswampcomics5098For sure, a family could see what their kids were reading cause the strip was altrady inside the newspaper, they didnt bother to check a whole comic book. There's a pior backstage reason too. If you read Sean Howe's Secret story of Marvel you can see that most golden age comic book publishers were simply a money laundry scheme for Mafia, the ones that survived after the 40s were in fact saved by WW2 government war incentives to create stories and send it to troopes. That basically made most of these business not really legit and this goes from the way they treated artists (no contract, mostly freelancing) to even on an intellect property side. There's characters from that same time just a couple years older older than Superman already on Public Domain for years like Stardust or the O.G Blue Beetle Dan Garret
Prince Valiant was something I looked forward to every Sunday for 3 decades.
McKay was a visual genius. I'm very grateful for my giant edition of Little Nemo.
My love of newspaper strips just goes hand-in-hand with my love of comic books.
I HIGHLY recommend Pogo - Walt Kelly was the equivalent of a minor Rock Star in the 50s (and rightfully so )because of the popularity of the strip.
The best current strip is Liō. Imagine the entire Addams family in one little boy. Highly recommend. ☮️
Nice video! Winsor McCay was a master. Along with George Herriman/Frank King they pretty much recoded something that wasn't even defined yet at the time. Panel disposition, movement flow, simultaneous storytelling, so much good stuff to discover. McCay was also an animation pioneer
Always important to point that besides comic books being treated as disposable stuff like pulp fiction, sunday comic strips had a high regard. You mentioned how little Shuster/Siegel got from Superman in the other video but if you look everyone you mentioned from these strips they all had contracts, benefits, good salaries and huge national distribuition. Hal Foster got out of Tarzan strips cause he didn't had the rights on the char, then he created Prince Valiant, which still on publication to this day
I was wondering that myself. It does seem that newspaper strips lended themselves a lot easier to a more prestigious position. I wonder it if had anything to do with the whole seduction of the innocent crusade but I feel like the stigma goes back further than that. Excellent comment thank you
@@blackswampcomics5098For sure, a family could see what their kids were reading cause the strip was altrady inside the newspaper, they didnt bother to check a whole comic book.
There's a pior backstage reason too. If you read Sean Howe's Secret story of Marvel you can see that most golden age comic book publishers were simply a money laundry scheme for Mafia, the ones that survived after the 40s were in fact saved by WW2 government war incentives to create stories and send it to troopes. That basically made most of these business not really legit and this goes from the way they treated artists (no contract, mostly freelancing) to even on an intellect property side. There's characters from that same time just a couple years older older than Superman already on Public Domain for years like Stardust or the O.G Blue Beetle Dan Garret