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Comic strips and single-panel comics occupy a unique space in the history of visual storytelling.

They are concise, rhythmic, and deceptively simple forms that blend art and narrative into compact units, often humorous, but sometimes philosophical and occasionally profound.

A comic strip is a sequence of illustrated panels arranged to convey a short narrative or gag. Traditionally published in newspapers, comic strips rely on recurring characters, consistent settings, and a rhythm that unfolds over daily or weekly installments.

A single-panel comic consists of one image accompanied by a caption or dialogue. Unlike strips, single-panel comics do not depend on sequential storytelling, but deliver a complete idea, often a joke or observation, in a single visual moment.

Producing a comic strip or single-panel comic involves several stages. These include concept development (cartoonists generate ideas, often drawing from daily life, satire, or absurdity), writing (even visual humor requires tight scripting; dialogue must be concise, and pacing must be exact), penciling and inking (artists sketch the layout, refine the drawings, and ink the final lines), lettering (text is added, either by hand or digitally, with attention to readability and tone), coloring (while optional, many modern strips are colored digitally, although historically most were in black-and-white), and syndication and distribution (syndicates historically served as intermediaries between cartoonists and newspapers, although digital platforms now allow direct publication).

Comic strips and single-panel comics appear in several standard formats, such as daily strips (usually three or four panels in a horizontal layout), Sunday Pages (larger, full-color spreads with more panels and elaborate compositions), single-panel gags (one image with a caption, such as The Far Side), webcomics (digital-native formats that may mimic traditional layouts or experiment with infinite canvases), and graphic story strips (serialized narratives that blue the line between strips and graphic novels).

Historically, comic strips were tied to newspapers, which used them to attract and retain readers. They can be found in daily or Sunday editions of newspapers, magazines, newspaper inserts, books and collected editions, websites and webcomic platforms, social media, mobile applications, and digital subscriptions. The shift from print to digital has allowed independent creators to reach global audiences without syndication, although there is still a place for syndicated comic strips and single-panel comics.

The earliest comic strips emerged in the late 19th and early 20th centuries, shaped by the rise of mass-circulation newspapers. Key milestones include The Yellow Kid (1895) by Richard F. Outcault, often cited as the first modern comic strip; The Katzenjammer Kids (1897) by Rudolph Dirks, one of the first strips with recurring characters and speech balloons; Winsor McCay's Little Nemo in Slumberland (1905), a masterpiece of early comic art that is known for its surreal visuals and innovative layouts; George Harriman's Krazy Kat (1913), celebrated for its poetic language and experimental design. These early works established the conventions of sequential art, character-driven humor, and serialized storytelling that continue to define the tradition.

While popularity is subjective and varies by era, the following comic strips often appear in rankings, retrospectives, and cultural memory: Calvin and Hobbes by Bill Watterson, Peanuts by Charles M. Schulz, Garfield by Jim Davis, The Far Side by Gary Larson, Dilbert by Scott Adams, Doonesbury by Garry Trudeau, The Adventures of Tintin by Hergé, Little Nemo in Slumberland by Winsor McCay, Krazy Kat by George Herriman, Pogo by Walt Kelly, Blondie by Chic Young, The Katzenjammer Kids by Rudolph Dirks, Beetle Bailey by Mort Walker, Hagar the Horrible by Dik Browne, Dennis the Menace by Hank Ketcham, For Better or For Worse by Lynn Johnston, The Phantom by Lee Falk, Dick Tracy by Chester Gould, Prince Valiant by Hal Foster, Mutts by Patrick McDonnell, Zits by Jerry Scott and Jim Borgman, Foxtrot by Bill Amend, Bloom Country by Berkeley Breathed, B.C. by Johnny Hart, and Family Circus by Bil Keane. These strips represent a century of artistic comic innovation, cultural commentary, and enduring humor.

Online resources specific to comic strips or single-panel comics that appear in print are appropriate for this part of our guide. While many of these can also be accessed online, they could still be listed here.

 

 

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