OLD DOC YAK TAKES HIS SPACE
COMIC EXPERIMENT. American comics of the early 1900s were rich with experimenters and experimentation. Within a decade or so, and certainly by the close of World War I, if not before, this experimentation had given way to a formula, based on strong characters and what-came-to-be-called sequentialism.
Here’s how Sidney Smith began Old Doc Yak in The Chicago Tribune in February 1912, with Yak’s kicking his way through a miniaturized front page:
In my recollection of my first encounter with this strip, it
was somewhat different: A single panel on the paper’s actual front page. The
historical record does not seem to bear out this memory; this first installment
seems to have been on an interior page.
Chicago Examiner, August 9, 1908
The Buck Nix dailies in Blackbeard’s
Smithsonian newspaper comics collection remain a highlight of that book. On my
one visit to Blackbeard’s San Francisco Academy of Comic Art, seeing more Buck
Nix was a top request: the Smithsonian seems to have presented the most
interesting episodes, however.
Smith’s goat predated his Examiner run: The goat had been a comic commentator in Smith’s editorial work for The Toledo News-Bee as early as 1907, some of which are collected in Yankee Boodle Army [HERE], published in that year and reprinted in 1928. Like so many other comic characters, Nix/Yak just grew.
The Toledo News-Bee, September 30, 1907
In the 1912 Chicago Tribune, during his first week, Old Doc Yak used the tools and plans that Smith had drawn for him to expand his space, but an even more powerful tool, one specific to comics, balloons, enabled Yak to act seemingly independently of creator Smith. Balloons opened the words and thoughts of comics characters to direct reader observation, free of a creator’s traditional literary tools, like narration or explanation; balloons freed comic characters, at least seemingly , of a creator’s control. [Read HERE at Barnacle Press]
Chicago Tribune, April 24, 1912
Chicago Tribune, unknown month and day, 1918 |
.
Chicago Tribune, April 13, 1918
Film Daily, Nov 26, 1923
Chicago Tribune, April 9, 1933
Bud Fisher had begun the first daily comic strip, A. Mutt, in 1907, only five years before Smith’s inaugural Old Doc Yak stunt. Smith’s stunt might have seemed incomprehensible to that earlier audience. That Smith dared, and apparently gathered and kept his audience, shows how quickly those 1912 comics readers had developed expectations of what a comic is (or can or should be): One or more recurring characters performing in a series of panels, separated by borders, and “speaking” through balloons.Strong characters had been instrumental in popularizing and sustaining comics features since the Yellow Kid, a diminutive waif who addressed the audience through “speech” scrawled on his nightshirt, made the overcrowded Hogan’s Alley, a full-page single panel, a popular weekly destination, and his creator, Richard F. Outcault, thanks largely to merchandising the Kid’s image outside the Alley, wealthy.
Audience expectations about a comics’ content and form, already in 1912, were also understood by publishers and creators, eager to attract the most readers and fans and perhaps partake in the success that Outcault and his papers had enjoyed. In the 1910s, daily strips would depend on the popularity of such recurring, recognizable figures. Daily features in the 1920s and 1930s would develop more insistent hooks: continuing stories that required a reader’s daily attention.
Smith’s 1912 self-conscious playfulness about his medium, equating a physical space on a newspaper page with a comic character’s home, was revisited in 1917, five years later: Yak’s bear landlord evicts Yak and son Yutch to ready the space for The Gumps.
The editor, of course, ruled every space on every page, though he was seemingly invisible (or hiding?) and, unlike a paper’s comic characters, faceless
Chicago Tribune, Mar 9, 1912
With Old Doc Yak’s 1912 debut in The Chicago Tribune, Smith plays off his readers’ expectations of sequentiality, then a novelty, but rapidly establishing its dominance within the American comics medium. Hogan’s Alley had debuted only 17 years before and the regular use of balloons, begun by Opper or Dirks, was only a decade or so old. Captions under comics panels had persisted for much of the 20th century’s first decade; The New Yorker sophisticates have still not given up this holdover from 19th century illustrated humor.
Chicago Tribune, June 6, 1912
This formula yielded the formulaic, a bad enough outcome, but, worse, as comics became equated with sequentialism, the understanding of comics, past and present, became hobbled, let us hope not permanently.
Today’s lesson: Comics take up space
UNDERSTANDING COMIC SCIENCE:
A BRIEF INTRODUCTION
Non-sequential tendencies, despite being ignored, unnamed, or glossed over, persist within comics. Some early American comics more boldly exhibit such non-sequential tendencies and a few comics from this experimental era seem wholly non-sequential.
Comic Science considers the visible, not the invisible. These early American non-sequential comics will be examined in subsequent essays: They will not be dismissed as “non-comics.”
Comic Science asserts that the better comics of tomorrow will be built upon non-sequential principles, and with non-sequential practices. Subsequent Comic Science investigations into early American comic strips and pages will elucidate these principles and practices.
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