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exuded a tender, nostalgic air, perpetually ruffled by the breezes of sociopolitical allusion and rendered stormy with the caricature of Sen. Kelly’s dialogue, both bizarre and poetic, was admired for its contrast with the generality of strips, which were criticized for their verbal poverty.The literate strip with philosophical, psychological, and sociological overtones was the principal innovation of the later 1950s.(1950–2000) featured a small band of young children, a beagle, and a small yellow bird and dispensed entirely with the usual adult foil.The characters’ interactions and passions, which were of course easily readable as adult concerns, offered a broad psychological range without ever impinging on the political or controversial.No less concerned with classic aesthetic effects was Alex Raymond, first master of the exotic space strip ( (begun 1931), the detective strip par excellence, which is laced with science-fiction gadgetry and bizarre eroticism.

An estimated 400 million record albums had been sold by the time of Schulz’s death in 2000, and into the 21st century Schulz’s estate continued to earn tens of millions of dollars a year in syndication and merchandising fees.

Feiffer created scenes in the manner of absurdist or “noir” drama; indeed, a play based on his strip was mounted in 1961..

The latter strip was sponsored in 1896 by the publisher Alfred Harmsworth and was originally intended for the newly literate and semiliterate masses, but it developed into children’s fare.

By 1935 such titles as Joe Shuster (art); it was soon syndicated and transposed to other media.

The Superman formula of the hero who transcends all physical and social laws to punish the wicked was widely imitated.