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Perhaps as a reaction, there was a parallel postwar development in newspaper strips devoted to sentimental soap-opera-like domestic drama—such as Walt Kelly, was the most cerebral, socially pointed, and self-reflective of all strips in the mid-20th century, without sacrificing humour.
Disneyish in style, the Pogo social menagerie transcended Disney’s moral simplism, presenting a highly nuanced world populated with an almost Dickensian multitude of characters, all depicted as swamp animals.
(1950–2000) featured a small band of young children, a beagle, and a small yellow bird and dispensed entirely with the usual adult foil.
Feiffer created scenes in the manner of absurdist or “noir” drama; indeed, a play based on his strip was mounted in 1961..Arguably the most successful and most translated gag strip ever, 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.Schulz never used help in drawing, inking, or lettering a single design, as was the custom.The most important gag strip was , which started in 1918.It strove for realism rather than farcical effects and had a strict continuity (as opposed to the daily gag), during which, moreover, characters actually grew older.
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.