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The animated cartoons depend mostly on action, sound and voice characterizations for their impact. Donald Duck , whose popularity had begun to eclipse Mickey's, got his own daily strip in written by Bob Karp and drawn by Al Taliaferro. From , Al Kilgore wrote and illustrated a Rocky and Bullwinkle comicstrip that captured the wackiness of its animated counterpart with satirical storylines including Boris and Natasha trying to sabotage the O-Bomb project. Released in theaters by Vitagraph on April 8, , and later used by McCay in his own vaudeville act, Little Nemo showed the artist sketching the characters of Little Nemo, Flip, Impie and the Princess and these characters magically moving and interacting as if they were real. This now forgotten animated series was supervised by George Herriman, the creator of the much beloved comicstrip. Betty Boop Meets Popeye the Sailor introduced Popeye, Olive Oyl and Bluto to movie audiences whose enthusiasm for these exaggerated icons resulted in many decades of animated exploits. Al Stoffel who wrote the strip for many years stated that, "Although I've seen several hundred animated Bugs Bunny cartoons over the years, that work is quite different from ours. Yet even the most diligent animation buff may have missed some of the more obscure animation related comicstrips like Pete Alvarado's artwork on the mid-sixties Mr. It was rumored that a Mutt and Jeff animation project would have appeared on the screen even earlier but that animator Paul Terry was unable to get Fisher away from the racetrack long enough to work on the project. The Sunday page was so popular that a daily version was added in

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Description: Winsor McCay was the first artist to bring the techniques and characters of newspaper comicstrips to the screen in animation. This short film was primarily a showcase for movement and metamorphosis with no apparent storyplot. Even more serious newspaper strips like Dick Tracy , Flash Gordon and The Phantom found themselves with animated television series. Huey, Dewey and Louie. The history of both animation and comicstrips have been enriched by their cross polinization. By himself, he created close to 4, animation drawings on rice paper in a highly successful attempt to bring his popular Sunday comicstrip Little Nemo in Slumberland to animated life. Soon, others decided to capitalize on the obvious connection between comicstrips and the new medium of animation. That half-hour special spawned four decades of animated television specials, animated movies and a Saturday morning animated television series. The strip never captured the darker tones from the animated series but concentrated on Betty's adventures in Hollywood as she battled directors, agents and similar perils. Donald Duck , whose popularity had begun to eclipse Mickey's, got his own daily strip in written by Bob Karp and drawn by Al Taliaferro. Over the decades, many animated stars continued to invade the realm of newspaper comicstrips. However, even in the earliest days, animation studios soon discovered that the most popular newspaper strip characters were often unavailable because they were the property of other studios, that the royalties were too expensive or that the rights to the characters were an issue of controversy. One of the attempts that was almost as successful as Charles Schulz's Peanuts franchise was Jim Davis's Garfield who made his animated debut in the television special, Here Comes Garfield , and had a long career not only in more animated specials but several seasons on Saturday morning. A Sunday Song of the South page ran from to

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