Archive - The History of King Features Syndicate, Part One

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Host Introduction

1:52Hello again, your friend and neighborhood host, J.T. Wheatley, back for another episode of the History of Comic Books podcast. This time, we'll be delving into the history of King Features Syndicate, the king of comic strips. There would be no comic books without comic strips, since the very first ones were just a collection of the many classic strips in comic book form, similar to how modern-day trades collect comic books. Of the many companies that made strips, King Features was one of the most significant, not only for producing numerous classic strips, but pushing the medium in important directions,

2:23notably with the invention of the comic superhero with Mandrake the Magician and the Phantom, whilst producing other classic characters like Popeye and Beetle Bailey. Often, such stories started with humble beginnings, but not King Features, as its founder was no less than the legendary media tycoon, William Randolph Hearst.

William Randolph Hearst Biography

2:40William Randolph Hearst was born on April 29, 1863, in San Francisco, California, the son of millionaire miner George Hearst and his much younger wife, Phoebe Appleton. As a boy, Hearst took many tours in Europe in the 1870s, where he discovered William Bosch's Max and Moretz about gleeful pranksters in the comics. Later, when Hearst attended Harvard, he worked on his legendary Harvard Lampoon paper until he was expelled for pulling too many pranks. He began his newspaper career in 1887 when he transformed the San Francisco Examiner into a premier paper,

3:12which his father, George Hearst, had won in 1880 as a payment for a gambling debt. It was here that Hearst started his method for business, buying the best equipment and hiring the best talent for his newspaper, which included writers like Mark Twain and Jack London, along with political cartoonist Homer Davenport. Dreaming of starting a newspaper empire, Hearst used his fortune his father earned from his mining interval prizes after his death in 1891 to start his media one. On October 10, 1895, Hearst purchased the New York Journal

3:42to compete with Joseph Poetzer's New York World, dropping the price of each issue to one penny and forcing Poetzer to do the same. To further the competition, Hearst hired away the World Sunday paper staff, such as Mauro Gurud, the editor of Poetzer's Sunday World, and Richard F. Alcott, Poetzer's top cartoonist, who would go on to help create the modern comic strip. William Randolph Hearst realized early that comic strips helped sell newspapers, so he tasked Alcott with creating the American Humorist, an eight-page color comic strip supplement.

4:14On October 18, 1896, for Hearst's Sunday Journal, and featured the Yellow Kid as a star attraction, about a tenement-dwelling kid who wore a yellow nightshirt, thus inspiring his name. He previously appeared in Poetzer's New York World from 1895 to 1898, and would continue to appear since World would claim the copyright. Due to the nature of the Yellow Kid essentially advertising for the New York World and New York Journal, and how they often made up stories to promote their papers, it would also give lies to the term Yellow Journalism.

4:46With this, the New York Journal sold 375,000 copies, despite increasing its price from three to five cents. With the success of comic strips, they were heavily merchandised for extra profit, with songs, buttons, magazines, and so forth. Alcott would later create Buster Brown for the New York Herald on May 4, 1902, about a well-to-do boy and his pet pit-boo, Taggy. With this strip, Alcott began to innovate the use of war balloons in multiple panels,

5:16and though he wasn't the first to do so, Alcott made it to the standard that all strips would follow afterwards, thus setting up what is now considered the modern comic strip. He eventually got lured back by Hearst, where Buster and his dog Tig premiered in the New York American on January 14, 1906. While Alcott would never own his characters outright due to copyright law, he did make what was then a fortune off the merchandising, reportedly $75,000 a year at the time, along with the legacy of setting up the standard for the modern comic strip

5:47before his death on September 25, 1928. In 2008, he was post-hombrously inducted into the Will Eisner Hall of Fame.

Comic Strip Evolution

5:54Other papers started to take notice of the success of comic strips, with many starting Sunday cartoon sections as well. This, Hearst also found a way to capitalize on, as he had the American humorists syndicated to sell the papers across the country, leading to national celebrity for many of the artists involved in the characters they created. Hearst himself continued to expand his own newspaper empire, buying the Chicago American in 1900, the Los Angeles Examiner in 1903, and the Boston American in 1904, all of which, of course, had nice comic sections.

6:25All the while, the Spanish-American War came along, which greatly expanded the role and popularity of the American newspapers, as they essentially promoted the war, with many even blaming us for getting into it, and gave further rise to the term yellow journalism.

6:40Hearst continued to expand comic strips to fill his newspapers, such as commissioning the creation of the Cats and Gemma Kids by Rudolph Dix on December 12, 1897, for the American humorist, becoming another standout feature, along with the first comic strip to feature regular use of word balloons for character speech. Cats and Jammer, which means cats yowling in German, was a popular term for a hangover at the time, featuring the adventures of pranksters Hans and Fritz, and soon their long-sustering mama, the rotund mariner der Kapten in 1902, and his sidekick Der Inspector in 1905.

7:12The series was so popular it was made into a series of live-action shorts in 1898 and the cartoons in 1910s and 1930s.

7:21Frederick Opper joined in 1899, and he debuted Happy Hooligan on March 11, 1900, about an Irish hobo with a tin can for a hat, and would run until 1932. Opper used word balloons from the beginning while creating other features for Hearst's Sunday Journal and the American humorist, such as the R. N. DeVillan Ancestors, January of 1900, Apollosia and Gaston on November 24th of 1901, and Her Name Was Maude on June of 24th of 1904, and Hoss and Lott on April 25th of 1909.

7:54Opper was also a noted political cartoonist, supporting Hearst's campaigns along against Trust, while also making an early use of what is now the infamous term, fake news. But Fisher, who previously introduced the successful strip Mud and Jeff about two mismatched tin horns, appeared in the San Francisco Chronicle on November 15th of 1907, and was signed on with Hearst in 1909. Mud and Jeff is commonly believed to be the first successful daily strip. While the horse racing strip A. Piker Clerk by Clark Briggs

8:25holds the official title of first strip to feature a recurring character in multiple panels six days a week, it only lasted from 1903 to June 7th of 1904 in the Chicago American, of course, a Hearst paper. Thus, it was Mud and Jeff, which was inspired by A. Piker Clark, latter success, that set the standard for daily black and white strips, as it lasted in 1983, and it would also inspire cartoons, films, and comic books along the way. Of note, when Fisher left for Hearst, he was able to retain the copyright for Mud and Jeff,

8:56thus bringing the strip with him, and through his syndicate exposing it to millions more readers. Fisher eventually handed over the strip to Al Smith in 1932, and upon Fisher's death in 1954, Smith was allowed to actually sign his own name, continuing the strip to 1980, when he handed it over to George Brusher, who continued it to his final years. Today, Mud and Jeff remains a permanent part of pop culture, even if many have forgotten the original comic. Mismatched characters in good cop-bad cop routines are still called Mud and Jeff.

9:27Jimmy Swinnington drew the comic Little Bears for the San Francisco Examiner, having joined the paper in 1892 as a staff cartoonist when he was a teenager. He was soon assigned the children's section of comics page, where Little Bears evolved from, and some even debating this was the original comic strip, predating the Yellow Kid by three years. While debatable, considering what many consider a comic strip today, Swinnington was producing multiple panels with word balloons in 1900. In 1896, Swinnington moved to New York to work on the Journal of American,

9:58where he produced Mr. Jack about a philandering anthropomorphic tiger until 1904, and then Little Jimmy about a scatterbrained boy, which ran until 1958, and even appeared in a cartoon with Betty Boop. However, Swinnington was diagnosed with tuberculosis, forcing him to move to Arizona for the dry climate, and paid for by Hearst, as he considered Swinnington one of his favorite employees. He would recover but stay there, commuting between Arizona and California while working as a landscape painter. But he didn't forget cartoons,

10:29as he provided 50 backgrounds for Chuck Jones' Merry Melodies at Wonder Brothers, of course, the cartoons which were Bugs Bunny and Porky Pig appeared in. Soon, Alcott, Dirks, and Opper were being imitated by cartoonists nationwide, using the same mix of occurring characters, word balloons, sequential panels, and bright colors to attract readers. All this led to the creation of the Sunday Funnies, which would be featured in 75% of U.S. papers in 1908. To serve all these papers, syndicates were formed with Hearst,

10:59McClure, and World Color Companies serving three-quarters of the market. From 1910 to 1915, daily black-and-white strips also became a regular feature in newspapers as well. Newspaper Enterprise Association, NEA, was formed to distribute E.W. Scripps chain of comics in 1902, while Poetser lots the Press Publishing Syndicate in 1905, followed by Newspaper Feature Service, NFS, by Hearst in 1913. Founded by Moses Konigsberg, the NFSS would be the first

11:31to provide budget features to newspapers for seven days a week. Plus, comics started to change as well from more urban fare to family-friendly, going with what newspaper readers were doing.

11:41With the growing sets of comic strips, cartoonists started to earn huge salaries thanks to the royalties from their strips selling nationwide, usually around 50%. Syndicates received the other half and handled the distribution of financial issues, thus allowing the artists to focus just on the strip itself. This showed that syndicates actually fostered the creativity of many of these cartoons and their comic strips and allowed them just to focus on writing the stories while they took out all the money and financial dealings. By November 16, 1915,

12:12Moses Konigsberg consolidated all of Hearst's operations under a single umbrella entity in the King Features Syndicate during the peak of newspapers, with 2,262 separate papers and a circulation of 28 million. The name of the company was inspired by his own name, Konigsberg's King in German, and thus King Features Syndicate was officially born. It didn't transform the entity at first, but now it was under one roof and it would soon become a force to be reckoned with. On February 2, 1915,

12:44Harry Hirschfeld created Abby the Agent, which featured the first Jewish protagonist in a comic strip of all car salesmen, having previously done Desperate Desmond and Dauntless Durham of the USA. George McManus would introduce Irish immigrants with Bringing Up Father, also known as Jigs and Maggie, a strip that ran until May 28, 2000, about Jigs, an Irish hood carrier turned millionaire and his short-tempered wife, Maggie. The strip became so popular inspired plays, radio shows, animated shorts, and short films.

13:14George Harriman launched the Dingbat family and then Crazy Cat began on October 28, 1913, originally a filler feature in the Dingbat family, with his Sunday feature starting in 1916. The strip was about a guileless cat, whose actual name is K-A-T, and his relationship with a mouse, Ignaz, who would often hit cat over the head with a brick. While never a bestseller in syndication, William Randolph Hearst loved it, thus continuing his publication until Harriman's death in 1944.

13:44Reportedly, Harriman ate $750 a week from the strip, which he felt was more than it was worth and even offered to reduce his salary to Hearst, but Hearst objected as he loved the comics so much. Despite his modest success, Crazy Cat would be a major influence on many cartoonists and comic artists for decades later, from Will Eisner to Charles Schultz, along with he rated the number one comic strip of the 20th century by the Comics Journal. Harriman would later make Baron Bean a social class slapstick that ran from January of 1916 to January of 1918. Of note,

14:15being a private person, it was revealed decades later that Harriman was in fact of mulatto race, being of Cuban and Native American descent, further submitting his uniqueness in the comic industry as being one of the few minorities to have such success at the time. The 1920s was the golden age of comic strips, with Cliff Serrett's Polly and her pals about a flapper in her adventures and Harriman's Crazy Cats being two of the most popular strips. In 1924, Gilbert Sillis published The Seven Lively Arts, which celebrated comments like Crazy Cat, Bringing Up Father, and Happy Hooligan.

14:47Flappers continued to be popular with John Held's Merely Margie in 1921, which pushed to modernist style while Chick Young created Dumb Dora and later Blondie, which would later become the prototype for the family strip. Blondie was originally a flapper, but that strip would later change when decades came on. One pioneering female cartoonist of note was Nell Brinkley, whose Brinkley Girls became a fixture in Hearst's American Weekly Sunday Magazine supplement, beginning in 1913.

15:19The look of the Brinkley Girls would evolve in the 1920s, becoming more outgoing and adventurous, while still maintaining the glamour and the romance that made them so popular.

15:28Barney Google by Bill DeBeck premiered on June 17th of 1919 and even inspired a song in 1923. Originally appearing in the sports page, the series starred Barney Google, a ne'er-do-well involved in various sports from boxing to horse racing. It was in this strip that the horse Spark Plug was introduced in 1922, which later inspired the nickname Sparky for Charles Schultz, the future creator of Peanuts. DeBeck evolved this strip throughout its run, even changing Barney Google from a tall and lanky to shorter and stockier,

15:59and that character would eventually be ridden out of his own strip in 1954. To date, Barney Google still runs in syndication and is the third longest-running strip after the Capsing Jammer Kids and Frank O'Kings Gasoline Alley and the second still in syndication after Gasoline Alley. Percy Crosby launched Skippy in 1923 for Life magazine about a young boy living in the city. Crosby was one of the handful of cartoonists to retain his ownership of this strip and as a result he took it to Hearst and King features, who syndicated it in 1926

16:30for a Sunday feature followed by a daily strip in 1929. The strip soon became so popular he got a Frojo ice cream in 1929 and an Oscar-winning film in 1931 before the strip finally ended in 1945. It was this comic that would be another chief influence for Charles Schultz's Peanuts and Jerry Robinson, the co-creator of Joker and Batman, noted for how it was breakthrough in starring a kid but featuring sophisticated storytelling. Skippy ended up receiving a commemorative stamp from the U.S. Post Office in 1997

17:00and, yes, one of the merchandising brands was Skippy Peanut Butter which you can still find on store shelves today. To help capitalize on every bit of the Sunday page, King features introduced toppers in 1926 which featured a new strip at the top of every Sunday page. These would include such things as No Brains But and Dot and Dash along with Clatchet features like Abby the Agent and Homeless Hector. Other features provided by King features for the Sunday pages were paper dolls and crossword puzzles.

17:31While successful, these would end in 1963 as many papers prefer to use the top of the comic strip page for advertising.

17:38Tim Tyler's Luck launched on April 13th in 1928 about boy pilots Tim and Spud and was drawn by Lin Lim and Chick Young's younger brother. By 1930s, it was a full-on adventure strip set in Africa with Tim and Spud now a few years older and working for the Ivory Patrol. Among the artists that was working on this was Alex Raymond whose art was still evolving. Highly successful, it would inspire a film series that lasted until August 24th of 1996.

18:09One of the most successful characters launched by King features was Popeye the Sailor who debuted on January 17th, 1929 by Elder Crisler, E.C. Seeger in the Thimble Theater strip. He joined the cast at Thimble Theater which had appeared 10 years earlier on December 19th, 1919 not only replacing Castor Oil as the strip star but entrancing his sister, Olive Oil and eventually having the strip named after him. Straight up OG, Popeye.

18:39The character of Popeye would become one of the most recognizable characters in history and at the highest popularity, Popeye ranked next to Mickey Mouse's Superman. Soon, his supporting cast filled out with Giesel, Sweet Pea, that hamburger-loving Wimpy, and the nefarious Sea Hag. Seeger even managed to add to the English language with introductions of Eugene the Jeep and Alice the Goon. Upon Seeger's untimely death in 1938, artists Don Winner and Bella Zoboli took over until Seeger's former assistant Bud Zagendorf took over

19:10and led the character all the way into the 1990s when the Daily Strip ended on July 30th, 1994, though the Sunday strip still continues to this day. Popeye the Sailor remains one of the most popular characters ever invented, inspiring numerous cartoons, TV shows, and comic strips and no less than Charles Schultz, called the strip perfect in drawing and humor. As for his creator, E.C. Seeger, he would have an award named after him by the National Cartoonist Society for making unique and outstanding contributions to the art of cartooning. Recivenants of the E.C. Seeger award

19:41include Milton Kenneaf, Hal Foster, and Al Cap.

19:46A different kind of strip was Ripley's Believe It or Not by Robert Ripley, which detailed many extraordinary tales around the world. It originally launched on December 19th, 1918 in the New York Globe, produced by Robert Ripley, for which it was named after. Eventually, the feature moved The New York American, where King Features then syndicated internationally, where it would stay until 1989, when United Features took over the syndication to this day. Of note, of the many features in Ripley's, believe it or not,

20:16one was in 1937, being Charles Schultz's first public work, as he sent a story about his dog, Spike, and his crazy eating habits, as he ate everything from erasers to thumbtacks. Spike, of course, would be the source's inspiration for Snoopy, and while King Features would never syndicate Peanuts, they could claim they published the first Snoopy, at least an inspiration. In the 1930s, it would see the rise of the humor strip as Chick Young launched Blondie on September 8th,

20:471930. Despite the success of his flapper strip, Dumb Door, Young wanted to move on with a new strip, and he would own and even threaten to quit and leave for Europe. Finally, Joseph W. Connolly, King Features' general manager, offered him a new deal. The story focused on Blondie, a dim-lidded, gold-digging flapper, and Dagwood Bumstead, one of her suitors in the era of a railroad fortune. Young moved away from a gag-a-day format to an overarching story of Dagwood trying to get Blondie to marry him, resulting in him even rejecting his parents' fortune

21:17to get a job of his own. Dagwood and Blondie was eventually wed in February 17, 1933, with her first child, Baby Dumpling, being born on April 15, 1934. Soon, Blondie morphed from a flapper strip into a family domestic strip that set the standard for the genre and would have been the most popular one in the 1940s that still runs to this day, with Chick Young's son, Dean Young, continuing as writer as Chick would have died in 1973. Another significant contribution to Blondie and Chick Young gave to the comic strip was hiring a young

21:47Alex Raymond out of King Feature's bullpen as his assistant who helped draw the lavish wedding between Dagwood and Blondie. As for Lee Young's original strip, Dumb Door, Paul Fung would take over that. King Feature's syndicate also got into licensing property as well, providing comic strips, notably from Walt Disney, whose Mickey Mouse made his cartoon debut in 1928 and now legendary Steam Boy Willie short cartoon. Marking the start of the Disney Empire and would of course

22:17later feature in the Marvel Comics, Mickey Mouse got his own comic strip on January 13, 1930 drawn by Floyd Godestron in the New York Mirror. The strip had Mickey going on various adventures battling pirates and mad scientists. A Sunday strip was added on January of 1932 sharing a full page with another Disney strip, Silly Symphony, which for the first two years was the domain of Bucky Bug, the first original Disney character from a comic strip. The strip would later feature a rotating series of features starring six characters as Pluto,

22:49The Three Pigs, and Little Hiawatha. Silly Symphony would later feature adaptations of Snow White and Pinocchio by the 1930s and 1940s and starred Jose Corico and Panchinko from The Three Caballeros before ending on October 7, 1945. On February 7, 1938, Donald Duck got his own daily strip by Al Talaferro, who was the inker on the Mickey Mouse strip with Bob Karp as the writer followed by a Sunday strip on December 10, 1939. However, unlike Mickey

23:19and Donald, Donald Duck was a gag a day over being an adventure strip. Disney would add two more strips, Jose Corico in 1943 and later Pachito as a result of the Good Neighbor policy to win friends in Latin America based on the characters from the Saladus Amigos and the Three Caballeros films in 1943 and 1945, respectively. Another Disney comic strip was Uncle Remus and the Tales of Brer Rabbit inspired by the Disney film Song of the Stout which strangely can no longer be viewed anywhere including Disney Plus. And that premiered on October 14, 1945

23:50and lasted in 1972 while Scamp from The Lady and the Tramp received his own strip in 1955. Outside of these strips, Disney also produced Treasury Classic Tales from 1952 to 1987 which were adaptations of the Disney live action films in a series of Christmas specials from 1960 to 1987. Disney would close down its comic strip division in 1990 with Mickey Mouse and Donald Duck lasting for only a few years afterwards in 1995. Before it ended though, Disney also produced strips featuring Winnie the Pooh and the Adventures of the Gummy Bears all which were produced

24:20under King Syndicate.

24:23They'll Do It Every Time premiered on February 5, 1929, a single or two panel gag strip created by Jimmy Haccio often mocking deceptive human behavior and ironies. It would last until February 3rd of 2008 with the title becoming a popular catchphrase despite many not knowing where it originally came from. They'll Do It Every Time with one of the many zany strips that became so popular at the time with artist Milk Gross being prominent among the cartoonists who produced them along with several strips such as Banana Oil, Count Screwloose or Too Loose and Knees Baby from his book.

24:54And Milk Gross even worked in movies. As part of his legacy as a cartoonist, the National Cartoonist Society supervises the Milk Ghost Front, a charitable organization for ignorant cartoonists and their families.

25:06In 1930, Professor George Gallop who taught at Drake, Columbia and Northwestern Universities released a study showing that the comics page was the most popular section of the newspaper even with adults. Thus, King Features decided to capitalize on this by crafting the strips meant to advertise various products in 1931. One of these first was General Foods Grape Nut Cereal which first ran on May 17, 1931 and with its success these features and advertising memories they generated the comic section expanded from

25:364 to 8 pages to 12 to 32 pages. On September of 1931 Puck, the comic weekly was distributed to 17 papers and 6 million readers with advertising that cost $16,000 a page. It was introduced in 1935 and included such comics as Betty Boop, Hajid by Dr. Seuss and the Q-Pies by Rose O'Neill. However, it only lasted for three months due to its small size ironic considering that the comic strip pages would eventually shrink in general.

26:06Rudy and Randolph Hearst would continue to have a personal hand in King Features and arrange the Henry by Carl Anderson to come to America on December 17, 1934 after two years in Germany and the Saturday Evening Post with a Sunday strip being added on March 10, 1935. Little Louie would replace Henry in the Post. A pantomized strip about a bald boy and his adventures, Anderson only started on when he was 67 years old and would continue with his strip until 1942 before various cartoonists would carry on until October 28,

26:372008. Of note, Henry is one of the few early comic strips to pick black characters in a positive light unlike the racial stereotypes many did at the time.

26:48Otto Segalo joined King Features in 1933 producing Little King on September 9, 1934 which ran until his death until 1975. Max Fleischer meanwhile produced Betty Boop a comic strip based on a popular animated character which ran from July 23, 1934 to November 28, 1937.

27:09And with King Features and comic strips reaching their heights we will conclude this for today but join me again next week when we conclude

Conclusion and Comic Recommendation

27:18this two-part episode of the History of King Features Syndicate as comics will expand either further going into crime, adventure, and of course the invention of the comic superhero.

27:41And now it is May 28, 2026 time for the favorite comic of the week. Corpse Night number one by Michael Chavez and Matthew Roberts which is a great new series from Image Publishing which takes place during the Hundred Years' War where a knight and his young daughter are just trying to live their life when he gets ambushed by marauders and his daughter ends up resurrecting him as kind of a zombie corpse who comes to defend her and they decide the only way to solve what's going on is to seek out Joan of Arc who of course is a big figure

28:11during the Hundred Years' War. This is a great introductory issue that Chavez really brings up the mixed in like the horror element for those that don't know Chavez is one of the screenwriters on the Conjuring movie franchise which is a very cool twist and he has a nice simple premise sets the ladies of the ground and he hits the ball running and you have these great characters and it's mapped by Matthew Roberts gorgeous art which really shows off one of the Hundred Year War setting in France which is where it takes place but also

28:41this is how grotesque with his resurrection as the corpse knight and also what he does to the people who are trying to attack his daughter very cool stuff just a neat original concept for comic books and that's a simple premise too you know the undead father to protect his daughter and they go on a mission together pretty simple but very well executed and can't wait to see what happens next because technically the second issue came out this week probably when it's now getting a couple of the series I don't know if you noticed but a lot of my favorite comic books are actually maybe are always the same

29:12week as a week or two afterwards because I can't read everything at once but hey that's a beautiful part of any great media it never gets old you always rediscover it and this even though it's a month old great read highly recommended so yeah and with that we'll conclude this first part of the archives edition of the King Feature Syndicate join me again next week for the second part and until then go ahead and enjoy your specific comic book and yeah definitely check out The Corpse Knight 1 and 2 because this is a great new comic book series hit the stands now when I found out

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