CAT LOVEPURR

Felix the Cat

Felix’s origins remain disputed. Australian cartoonist/film entrepreneur Pat Sullivan, owner of the Felix character, claimed during his lifetime to be its creator as well. American animator Otto Messmer, Sullivan’s lead animator, has more commonly been assigned credit in recent decades. Some historians argue that Messmer ghosted for Sullivan. What is certain is that Felix emerged from Sullivan’s studio, and cartoons featuring the character enjoyed success and popularity in the 1920s.

In the early 1920s Felix enjoyed enormous popularity in popular culture. He got his own comic strip (drawn by Messmer) beginning in 1923, and his image soon adorned all sorts of merchandise such as ceramics, toys and postcards. Several manufacturers made stuffed Felix toys. Jazz bands such as Paul Whiteman’s played songs about him (1923′s “Felix Kept On Walking” and others).

By the late 1920s with the arrival of sound cartoons Felix’s success was fading. The new Disney shorts of Mickey Mouse, made the silent offerings of Sullivan and Messmer, who were then unwilling to move to sound production, seem outdated. In 1929, Sullivan decided to make the transition and began distributing Felix sound cartoons through Copley Pictures. The sound Felix shorts proved to be a failure and the operation ended in 1930. Sullivan died in 1933. Felix saw a brief three cartoon resurrection in 1936 by the Van Beuren Studios.

Felix cartoons began airing on American TV in 1953. Meanwhile, Joe Oriolo, who was now directing the Felix comic strips, introduced a redesigned, “long-legged” Felix in a new animated series for TV. Oriolo also added new characters, and gave Felix a “Magic Bag of Tricks”, which could assume an infinite variety of shapes at Felix’s behest. The cat has since starred in other television programs and in two feature films. Felix is still featured on a wide variety of merchandise from clothing to toys. Oriolo’s son, Don Oriolo, now controls creative work on Felix movies.

Creation

Feline Follies by Pat Sullivan, silent, 1919. Length 4min44s, 501kbps

A scene of Felix “laffing” from “Felix in Hollywood” (1923).

Pat Sullivan’s work

Felix and Charlie Chaplin share the screen in a memorable moment from “Felix in Hollywood” (1923).

The famous “Felix pace” as seen in “Oceantics” (1930)

On November 9, 1919, Master Tom, a prototype of Felix, debuted in a Paramount Pictures short entitled Feline Follies. Produced by the New York City-based animation studio owned by Pat Sullivan, the cartoon was directed by cartoonist and animator Otto Messmer. It was a success, and the Sullivan studio quickly set to work on producing another film featuring Master Tom, the Felix the Cat prototype in The Musical Mews (released 16 November 1919). It too proved to be successful with audiences. Otto Messmer gave two different versions of how Felix got his name, the one on his official site ejoining Sullivan with a great idea for a new character named Felix the Cat, and the second that r. (John) King of Paramount Magazine suggested the name “Felix”, after the Latin words felis (cat) and felix (lucky), which was used for the third film, The Adventures of Felix (released on 14 December 1919). Pat Sullivan said he named Felix after Australia Felix from Australian history and literature. In 1924, animator Bill Nolan redesigned the fledgling feline, making him both rounder and cuter. Felix’s new looks, coupled with Messmer’s character animation, brought Felix to fame.

The question of who exactly created Felix remains a matter of dispute. Sullivan stated in numerous newspaper interviews that he created Felix and did the key drawings for the character. On a visit to Australia in 1925, Sullivan told The Argus newspaper that “The idea was given to me by the sight of a cat which my wife brought to the studio one day.” On other occasions, he claimed that Felix had been inspired by Rudyard Kipling’s “The Cat that Walked by Himself” or by his wife’s love for strays. Members of the Australian Cartoonist Association have demonstrated that lettering used in Feline Follies matches Sullivan’s handwriting. Pat Sullivan also lettered within his drawings which was a major contradiction to Messmer’s claims. Sullivan’s claim is also supported by his 18 March 1917, release of a cartoon short entitled The Tail of Thomas Kat, more than two years prior to Feline Follies. Both an Australian ABC-TV documentary screened in 2004 and the curators of an exhibition at the State Library of New South Wales, in 2005, suggested that Thomas Kat was a prototype or precursor of Felix. However, few details of Thomas have survived. His fur color has not been definitively established, and the surviving copyright synopsis for the short suggests significant differences between Thomas and the later Felix. For example, whereas the later Felix magically transforms his tail into tools and other objects, Thomas is a non-anthropomorphized cat who loses his tail in a fight with a rooster, never to recover it.

Sullivan was the studio proprietor and as is the case with almost all film entrepreneurs he owned the copyright of any creative work by his employees. In common with many animators at the time, Messmer was not credited. After Sullivan’s death in 1933, his estate in Australia took ownership of the character.

It was not until many years after Sullivan’s death that Sullivan staffers such as Hal Walker, Al Eugster, and Sullivan’s lawyer, Harry Kopp, credited Messmer with Felix’s creation. They claimed that Felix was based on an animated Charlie Chaplin that Messmer had animated for Sullivan’s studio earlier on. The down-and-out personality and movements of the cat in Feline Follies reflect key attributes of Chaplin’s, and, although blockier than the later Felix, the familiar black body is already there (Messmer found solid shapes easier to animate). Messmer himself recalled his version of the cat’s creation in an interview with animation historian John Canemaker:

Sullivan’s studio was very busy, and Paramount, they were falling behind their schedule and they needed one extra to fill in. And Sullivan, being very busy, said, “If you want to do it on the side, you can do any little thing to satisfy them.” So I figured a cat would be about the simplest. Make him all black, you know you wouldn’t need to worry about outlines. And one gag after the other, you know? Cute. And they all got laughs. So Paramount liked it so they ordered a series.

Many animation historians (most of them American and English) back Messmer’s claims. Among them are Michael Barrier, Jerry Beck, Colin and Timothy Cowles, Donald Crafton, David Gerstein, Milt Gray, Mark Kausler, Leonard Maltin, and Charles Solomon.

Regardless of who created Felix, Sullivan marketed the cat relentlessly, while the Messmer continued to produce a prodigious volume of Felix cartoons. Messmer did the animation directly on white paper with inkers tracing the drawings directly. The animators drew backgrounds onto pieces of celluloid, which were then laid atop the drawings to be photographed. Any perspective work had to be animated by hand, as the studio cameras were unable to perform pans or trucks. Messmer began a comic strip in 1923, distributed by King Features Syndicate.

Popularity and distribution

The Felix the Cat comic strip debuted in England’s Daily Sketch on 1 August 1923 and entered syndication in the United States on 19 August that same year. This particular strip was the second to appear (on 26 August). Although this was Messmer’s work, he was required to sign Sullivan’s name to it. The strip includes a notable amount of 1920s slang, such as “buzz this guy for a job” and “if you want a swell feed just foller me”.

Click to enlarge.

Paramount Pictures distributed the earliest films from 1919 to 1921. Margaret J. Winkler distributed the shorts from 1922 to 1925, the year when Educational Pictures took over the distribution of the shorts. Sullivan promised them one new Felix short every two weeks. The combination of solid animation, skillful promotion, and widespread distribution brought Felix’s popularity to new heights.

References to alcoholism and Prohibition were also commonplace in many of the Felix shorts, particularly Felix Finds Out (1924), Whys and Other Whys (1927), Felix Woos Whoopee (1930) to name a few. In Felix Dopes It Out (1924), Felix tries to help his hobo friend who is plagued with a red nose. By the end of the short, the cat finds the cure for the condition: “Keep drinking, and it’ll turn blue.”

In addition, Felix was one of the first images ever broadcast by television when RCA chose a papier-mch Felix doll for a 1928 experiment via W2XBS New York in Van Cortlandt Park. The doll was chosen for its tonal contrast and its ability to withstand the intense lights needed. It was placed on a rotating phonograph turntable and photographed for approximately two hours each day. After a one-time payoff to Sullivan, the doll remained on the turntable for nearly a decade as RCA fine-tuned the picture’s definition.

Felix’s great success also spawned a host of imitators. The appearances and personalities of other 1920s feline stars such as Julius of Walt Disney’s Alice Comedies, Waffles of Paul Terry’s Aesop’s Film Fables, and especially Bill Nolan’s 1925 adaptation of Krazy Kat (distributed by the eschewed Winkler) all seem to have been directly patterned after Felix.

Felix’s cartoons were also popular among critics. They have been cited as imaginative examples of surrealism in filmmaking.

Felix in the colored cartoon The Goose That Laid the Golden Egg (1936)

Felix has been said to represent a child’s sense of wonder, creating the fantastic when it is not there, and taking it in stride when it is. His famous paceands behind his back, head down, deep in thoughtecame a trademark that has been analyzed by critics around the world. Felix’s expressive tail, which could be a shovel one moment, an exclamation mark or pencil the next, serves to emphasize that anything can happen in his world. Aldous Huxley wrote that the Felix shorts proved that “What the cinema can do better than literature or the spoken drama is to be fantastic.”

By 1923, the character was at the peak of his film career. Felix in Hollywood, a short released during this year, plays upon Felix’s popularity, as he becomes acquainted with such fellow celebrities as Douglas Fairbanks, Cecil B. DeMille, Charlie Chaplin, Ben Turpin, and even censor Will H. Hays. His image could be seen on clocks, Christmas ornaments, and as the first giant balloon ever made for Macy’s Thanksgiving Day Parade. Felix also became the subject of several popular songs of the day, such as “Felix Kept Walking” by Paul Whiteman. Sullivan made an estimated $100,000 a year from toy licensing alone. With the character’s success also emerged a handful of new costars. These included Felix’s master Willie Brown, a foil named Skiddoo the Mouse, Felix’s nephews Inky, Dinky, and Winky, and his girlfriend Kitty.

Most of the early Felix cartoons mirrored American attitudes of the “roaring twenties”. Ethnic stereotypes appeared in such shorts as Felix Goes Hungry (1924). Recent events such as the Russian Civil War were depicted in shorts like Felix All Puzzled (1924). Flappers were caricatured in Felix Strikes It Rich (also 1924). He also became involved in union organizing with Felix Revolts (1923). In some shorts, Felix even performed a rendition of the Charleston.

In 1928, Educational ceased releasing the Felix cartoons and several were reissued by First National Pictures. Copley Pictures distributed them from 1929 to 1930. He saw a brief three-cartoon resurrection in 1936 by the Van Beuren Studios (The Goose That Laid the Golden Egg, Neptune Nonsense and Bold King Cole). Sullivan did most of the marketing for the character in the 1920s, in these shorts he spoke in a high pitched child like voice who was provided by Mae Questel, the voice of Betty Boop and Olive Oyl.

Felix as mascot

The U.S. Navy insignia for the VF-31 squadron from 1948

Given the character’s unprecedented popularity and the fact that his name was partially derived from the Latin word for “lucky”, some rather notable individuals and organizations adopted Felix as a mascot. The first of these was a Los Angeles Chevrolet dealer and friend of Pat Sullivan named Winslow B. Felix who first opened his showroom in 1921. The three-sided neon sign of Felix Chevrolet, with its giant, smiling images of the character, is today one of LA’s best-known landmarks, standing watch over both Figueroa Street and the Harbor Freeway. Others who adopted Felix included the 1922 New York Yankees and aviator Charles Lindbergh, who took a Felix doll with him on his historic flight across the Atlantic Ocean.

This popularity persisted. In the late 1920s, the U.S. Navy’s Bombing Squadron Two (VB-2B) adopted a unit insignia consisting of Felix happily carrying a bomb with a burning fuse. They retained the insignia through the 1930s when they became a fighter squadron under the designations VF-6B and, later, VF-3, whose members Edward O’Hare and John Thach became famous Naval Aviators in World War II. After the world war a US Navy fighter squadron currently designated VFA-31 replaced its winged meat-cleaver logo with the same insignia, after the original Felix squadron had been disbanded. The carrier-based night-fighter squadron, nicknamed the “Tomcatters,” remained active under various designations continuing through the present day and Felix still appears on both the squadron’s cloth jacket patches and aircraft, carrying his bomb with its fuse burning.

Felix is also the oldest high school mascot in the state of Indiana, chosen in 1926 after a Logansport High School player brought his plush Felix to a basketball game. When the team came from behind and won that night, Felix became the mascot of all the Logansport High School sports teams.

The pop punk band The Queers also use Felix as a mascot, often drawn to reflect punk sensibilities and attributes such as scowling, smoking, or playing the guitar. Felix adorns the covers of both the Surf Goddess EP and the Move Back Home album. Felix also appears in the music video for the single “Don’t Back Down”. Besides appearing on the covers and liner notes of various albums the iconic cat also appears in merchandise such as t-shirts and buttons. In an interview with bassist B-Face, he asserts that Lookout! Records is responsible for the use of Felix as a mascot.

Felix appeared in a Japanese commercial for the 1991 Daihatsu Mira as “Felix the Mira”.

From silent to sound

Felix and Inky and Winky in “April Maze” (1930)

With the advent of The Jazz Singer in 1927, Educational Pictures, who distributed the Felix shorts at the time, urged Pat Sullivan to make the leap to “talkie” cartoons, but Sullivan refused. Further disputes led to a break between Educational and Sullivan. Only when Walt Disney’s Steamboat Willie made cinematic history as the first talking cartoon with a synchronized soundtrack did Sullivan see the possibilities of sound. He managed to secure a contract with First National Pictures in 1928. However, for reasons unknown, this did not last, so Sullivan sought out Jacques Kopfstein and Copley Pictures to distribute his new sound Felix cartoons. On 16 October 1929, an advertisement appeared in Film Daily with Felix announcing, Jolson-like, “You ain’t heard nothin’ yet!”

Unfortunately, nothing good was heard from Felix’s transition to sound. Sullivan did not carefully prepare for Felix’s transition to sound, and added sound effects into the sound cartoons as a post-animation process . The results were disastrous. More than ever, it seemed as though Disney’s mouse was drawing audiences away from Sullivan’s silent star. Not even entries such as the off-beat “Felix Woos Whoopee” or the Silly Symphony-esque April Maze (both 1930) could regain the franchise’s audience. Kopfstein finally canceled Sullivan’s contract. Subsequently, he announced plans to start a new studio in California, but such ideas never materialized. Things went from bad to worse when Sullivan’s wife, Marjorie, died in March 1932. After this, Sullivan completely fell apart. He slumped into an alcoholic depression, his health rapidly declined, and his memory began to fade. He could not even cash checks to Messmer because his signature was reduced to a mere scribble. He died in 1933. Messmer recalled,

He left everything a mess, no books, no nothing. So when he died the place had to close down, at the height of popularity, when everybody, RKO and all of them, for years they tried to get hold of Felix . . . . I didn’t have that permission [to continue the character] ’cause I didn’t have legal ownership of it.

In 1935, Amadee J. Van Beuren of the Van Beuren Studios called Messmer and asked him if he could return Felix to the screen. Van Beuren even stated that Messmer would be equipped with a full staff and all of the necessary utilities. However, Messmer declined his offer and instead recommended Burt Gillett, a former Sullivan staffer who was now heading the Van Beuren staff. So, in 1936, Van Beuren obtained approval from Sullivan’s brother to license Felix to his studio with the intention of producing new shorts both in color and with sound. With Gillett at the helm, now with a heavy Disney influence, he did away with Felix’s established personality and made him just another funny-animal character of the type popular in the day. The new shorts were unsuccessful, and after only three outings Van Beuren discontinued the series.

Revival

In 1953, Official Films purchased the Sullivan-Messmer shorts, added soundtracks to them, and distributed to the home movie and television markets. Messmer himself pursued the Sunday Felix comic strips until their discontinuance in 1943, when he began eleven years of writing and drawing monthly Felix comic books for Dell Comics. In 1954, Messmer retired from the Felix daily newspaper strips, and his assistant Joe Oriolo (the creator of Casper the Friendly Ghost) took over. Oriolo struck a deal with Felix’s new owner, Pat Sullivan’s nephew, to begin a new series of Felix cartoons on television. Oriolo went on to star Felix in 260 television cartoons distributed by Trans-Lux beginning in 1958. Like the Van Beuren studio before, Oriolo gave Felix a more domesticated and pedestrian personality, geared more toward children, and introduced now-familiar elements such as Felix’s Magic Bag of Tricks, a satchel that could assume the shape and characteristics of anything Felix wanted. The program is also remembered for its distinctive theme song, written by Winston Sharples and performed by 1950′s big band singer Ann Bennett:

Felix the Cat,

The wonderful, wonderful cat!

Whenever he gets in a fix,

He reaches into his bag of tricks!

Felix the Cat

The wonderful, wonderful cat

You’ll laugh so much your sides will ache

Your heart will go pitter pat

Watching Felix, the wonderful cat!

Felix the Cat

The wonderful, wonderful cat

You’ll never know what he’ll do next

So don’t even try to take a guess

Felix the Cat

The wonderful, wonderful cat

He’s so much fun for everyone

No one can question that

Cause he’s Felix, the wonderful cat!

The show did away with Felix’s previous supporting cast and introduced many new characters, all of which were performed by voice actor Jack Mercer:

Professor, a sinister, mustachioed villain who was Felix’s chief foil

Poindexter, the Professor’s intelligent yet bookish nephew (having an IQ of 222) who would sometimes work with his uncle against Felix, yet often would be portrayed as Felix’s friend and work against his uncle

Rock Bottom, the Professor’s bulldog-faced, bumbling sidekick

The Master Cylinder, an evil, cylindrical robot and self-proclaimed “King of the Moon”

Vavoom, a small, unassuming and friendly Inuit whose only vocalization is a (literally) earth-shattering shout of his own name (but who was powerless if his mouth was taped shut).

Oriolo’s plots revolve around the unsuccessful attempts of the antagonists to steal Felix’s Magic Bag, though in an unusual twist, these antagonists are occasionally depicted as Felix’s friends as well. The cartoons proved popular, but critics have dismissed them as paling in comparison to the earlier Sullivan-Messmer works, especially since Oriolo aimed the cartoons at children. Limited animation (required due to budgetary restraints) and simplistic story lines did nothing to diminish the series’ popularity.

Today, Oriolo’s son, Don, continues to market the cat. In 1988, Felix starred in his first feature film, Felix the Cat: The Movie, in which he, the Professor and Poindexter visit an alternate reality. The film was a box-office failure. Additionally, it was not even released until 1991. In 1995, Felix appeared on television again, in an off-beat series called The Twisted Tales of Felix the Cat. Baby Felix followed in 2000 for the Japanese market, the direct-to-video Felix the Cat Saves Christmas. Felix also co-starred with Betty Boop in the “Betty Boop and Felix” comic strip (1984-1987). Oriolo has also brought about a new wave of Felix merchandising, everything from Wendy’s Kids Meal toys to a video game for the Nintendo Entertainment System.

Felix in his very first screen appearance “Feline Follies” (1919)

Since the publication of John Canemaker’s Felix: The Twisted Tale of the World’s Most Famous Cat in 1991, there has been a renewed interest in the early Sullivan-Messmer shorts. In recent years, the films have seen lots of VHS and DVD exposure, most notably on the Presenting Felix the Cat compilations from Bosko Video, Felix! from Lumivision, Felix the Cat: The Collector’s Edition from Delta Entertainment, Before Mickey from Inkwell Images Ink, the recent Felix the Cat and 1920s Rarities from Thunderbean Animation. Messmer Felix comic compilations have also begun to emerge including Nine Lives to Live: A Classic Felix Celebration by David Gerstein and more recently The Comic Adventures of Felix the Cat from Determined Productions.

According to the Don Oriolo’s Felix the Cat blog, as of September 2008 there are plans in development for a new television series. Don’s biography page also mentions a 52-episode cartoon series in the works.

Filmography

Main article: List of Felix the Cat cartoons

Voice actors

Mae Questel (1936)

Jack Mercer (1958-1961)

Chris Phillips (1988)

Carlos Alazraqui (current)

Thom Adcox-Hernandez & Charlie Adler (1995-1997)

Grey DeLisle (2000-2001)

Wayne Allwine (2004)

Cultural legacy

Felix makes a cameo appearance in Disney and Amblin Entertainment film Who Framed Roger Rabbit in the final film with the Toons. First, he appears as the picture in hand with R.K. Maroon in R.K. Maroon’s Office and after he appears as the masks of tragedy and comedy on the keystone of the entrance to Toontown.

Felix the cat was featured on the NHL goalie Felix Potvin’s helmet while he played for the Boston Bruins

It is believed that Naoto shima looked to Felix the Cat as inspiration for the design of Sonic the Hedgehog.

In Japan, two commercials for the 1991 Daihatsu Mira featured Felix. There was a special trim-package called “Felix the Mira” offered at the time.

The cartoon My Life As a Teenage Robot features a diner called “Mezmer’s” (named after Otto Messmer), and the doorway to the restaurant is a giant Felix the Cat head.

In an episode of The Simpsons, Dean Scungio quotes from “The Encyclopaedia of Animated Cartoons” on the history of Felix: “A Felix doll became Charles Lindbergh’s companion on his famed flight across the Atlantic.” In another episode of The Simpsons, in which the origins of the cartoon characters Itchy & Scratchy are explored, parallels some of the disputed history Felix’s creation set forth above, and includes a spoof film entitled Manhattan Madness, presented as the first Itchy & Scratchy cartoon, supposedly from 1919, that is similar in style to “Felix in Hollywood” and other early Felix animations.

Felix the Cat appeared in the 1927 Macy’s Thanksgiving Day Parade, making him the first balloon to float in the parade.

Felix appeared in opening credits of Futurama episodes How Hermes Requisitioned His Groove Back, The Lesser of Two Evils and War Is the H-Word

See also

Animation in the United States during the silent era

Kit-Cat Klock

Winsor McCay

Dan Voiculescu

Golden Age of American animation

Baby Felix

Notes

^ goldenagecartoons.com

^ Solomon, 34, says that the character was “the as yet unnamed Felix”.

^ http://www.ottomessmer.com/

^ a b c d e Solomon 34.

^ [dead link]

^ a b “All Media and legends…A thumbnail dipped in tar”. Vixenmagazine.com. Archived from the original on 2008-09-28. http://www.webcitation.org/query?url=http://www.vixenmagazine.com/News.html&date=2008-09-28. Retrieved 2008-09-14. 

^ Barrier 29 and Solomon 34.

^ Barrier 30.

^ a b c Solomon 37.

^ For example, Solomon, 34, quotes Marcel Brion on these points.

^ Solomon 36.

^ Quoted in Solomon 34.

^ “the Queers – Interviews”. Thequeersrock.com. Archived from the original on 2008-09-28. http://www.webcitation.org/query?url=http://www.thequeersrock.com/interviewsbface.html&date=2008-09-28. Retrieved 2008-09-14. 

^ http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419100434

^ Quoted in Solomon 37.

^ http://www.donsfelixblog.com/

^ http://www.donsfelixblog.com/bio.html

References

Barrier, Michael (1999): Hollywood Cartoons. Oxford University Press.

Beck, Jerry (1998): The 50 Greatest Cartoons. JG Press.

Canemaker, John (1991): Felix: The Twisted Tale of the World’s Most Famous Cat. Pantheon, New York.

Crafton, Donald (1993): Before Mickey: The Animated Film, 18981928. University of Chicago Press.

Culhane, Shamus (1986): Talking Animals and Other People. St. Martin’s Press.

Gerstein, David (1996): Nine Lives to Live. Fantagraphics Books.

Gifford, Denis (1990): American Animated Films: The Silent Era, 18971929. McFarland and Company.

Maltin, Leonard (1987): Of Mice and Magic: A History of American Animated Cartoons. Penguin Books.

Solomon, Charles (1994): The History of Animation: Enchanted Drawings. Outlet Books Company.

Further reading

Patricia Vettel Tom (1996): Felix the Cat as Modern Trickster. American Art, Vol. 10, No. 1 (Spring, 1996), pp. 6487

External links

Wikiquote has a collection of quotations related to: Felix the Cat

Wikimedia Commons has media related to: Felix the Cat

The Official Felix the Cat Website

The Classic Felix the Cat Page at Golden Age Cartoons

Australian Broadcasting Corporation, 2004, Rewind “Felix the Cat” (Concerns the dispute over who created the character.)

State Library of New South Wales, 2005, “Reclaiming Felix the Cat”PDF (768 KiB). Exhibition guide, including many pictures.

v  d  e

Felix the Cat

Key People

Pat Sullivan  Otto Messmer  Joe Oriolo  Don Oriolo

Films and TV

Theatrical Cartoons (1919-1936)   Felix the Cat (TV series) (1958-1961)  Felix the Cat: The Movie (1991)   The Twisted Tales of Felix the Cat (1995-1997)  Baby Felix (2000-2001) Felix the Cat Saves Christmas (2004) 

Software

Felix the Cat (1992 video game)   Felix the Cat’s Cartoon Toolbox

v  d  e

King Features Syndicate comics

Current

The Amazing Spider-Man  Apartment 3-G  Baby Blues  Barney Google and Snuffy Smith  Beetle Bailey  The Better Half  Between Friends  Bizarro  Blondie  The Brilliant Mind of Edison Lee  Buckles  Crankshaft  Crock  Curtis  Deflocked  Dennis the Menace  Donald Duck  Dustin  Edge City  The Family Circus  Felix the Cat  Flash Gordon  Funky Winkerbean  Grin and Bear It  Hgar the Horrible  Hazel  Henry  Hi and Lois  Jos Carioca  Judge Parker  The Katzenjammer Kids  The Lockhorns  Mallard Fillmore  Mandrake the Magician  Mark Trail  Marvin  Mary Worth  Mickey Mouse  Mother Goose and Grimm  Mutts  My Cage  On the Fastrack  The Pajama Diaries  The Phantom  Piranha Club  Popeye  Prince Valiant  Pros & Cons  Retail  Rex Morgan, M.D.  Rhymes with Orange  Safe Havens  Sally Forth  Sam and Silo  Sherman’s Lagoon  Shoe  Six Chix  Slylock Fox and Comics for Kids  Tiger  Tina’s Groove  Todd the Dinosaur  Tundra  Zippy the Pinhead  Zits

Historical

Abie the Agent  Betty Boop  Betty Boop and Felix  Boner’s Ark  Bringing Up Father  Buz Sawyer  Etta Kett  Flapper Filosofy  Franklin Fibbs  Grandma  Hejji  Happy Hooligan  Jungle Jim  King of the Royal Mounted  Krazy Kat  Little Annie Rooney  Little Iodine  Little Jimmy  The Little King  Mister Breger  Norb  The Norm  Pete the Tramp  Radio Patrol  Red Barry  Redeye  Reg’lar Fellers  Rusty Riley  Rip Kirby  Sam’s Strip  Secret Agent X-9  Steve Roper and Mike Nomad  They’ll Do It Every Time  Tim Tyler’s Luck  Triple Take  Trudy  Tillie the Toiler  Toots and Casper  Tumbleweeds

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