Why I’m ambivalent about Nancy and Sluggo

Nancy and Sluggo

Nancy the comic strip is going through some changes.

You remember Nancy, don’t you? Well, it has been in production all this time.

The Ernie Bushmiller comic, started in 1925, went on until 1982, when he passed away. Mr. Bushmiller wrote and drew the comic. It started out as Fritzi Ritz, who is Nancy’s aunt and then morphed into Nancy when she was introduced in 1933. So yes, it goes way back.

 From 1982 to 2018, after Bushmiller’s death, the strip was written and drawn by various people.

Mr. Bushmiller took Fritzi Ritz over from a cartoonist named Larry Whittington, who started it in 1922. I only mention it because it’s been in quite a few hands over the years. For the last seven, it’s been written and drawn by the mysterious Olivia Jaimes, but currently it’s in reruns.

Another change. And therein lies the rub.

I remember reading Nancy when I was a kid. I mostly remember it at my grandmother’s house, so maybe it wasn’t in the newspapers we got at home and was in something she subscribed to.

Since 2018, there was a “new” Nancy. It was the same old Nancy and Sluggo, but in a new way. As I mentioned, cartoonist Olivia Jaimes wrote and drew the strip, now she is retiring from that and Caroline Cash is taking over. New strips will appear in the new year. Currently old Ernie Bushmiller strips are running.

When Olivia first took over, I tried to interview her for my 10 With Tom column, but I received no response. Olivia Jaimes is a pseudonym and she, or is it a he? likes to remain unknown.

Ernie Bushmiller’s work.

I find it quite careless to just take on a well-known strip, make it your own for a few years and just “retire.” But I guess that was the case from 1982 to 2018 when the strip was run by others, sort of passing it around until Olivia took it over in 2018. And now she is passing it on. And who knows, perhaps she needs to leave for personal or health reasons.

I know that if I was given a legacy strip, I would guard it and cherish it like so many other cartoonists do.

I was reading comments on The Daily Cartoonist blog, where I found out about this Nancy change and there are those for it, and those against it.

One commentor feels as I do, saying, “I find it highly insulting that Andrews McMeel just passes this classic comic strip over to others willy nilly. And Olivia had a plum position that people would kill for. She just went through the motions. Didn’t she take off a long period of time last year, having others fill in for her?” He went on to call her “blasé” about it.

Andrews McMeel runs GoComics.com – they syndicate the strip along with so many others.

But again, since we don’t know who Olivia is, perhaps she was ill in the summer and needed the break and maybe that’s the case now.

One guy says in the comments at The Daily Cartoonist that it isn’t a “plum” assignment. But I beg to differ. As a cartoonist myself, I think having a nationally syndicated comic strip is a “plum” assignment. He called it a “zombie strip,” but it was alive when Olivia produced it. And thousands, if not millions of people read it over the past seven years.

Another comment on the Daily Cartoonist: “I miss the original Bushmiller style Nancy. I shudder to think what would have happened if Peanuts had been continued after Schulz’s death. I guess, however, things change and time marches on. And maybe I’m a little envious of a working cartoonist.”

Other strips have changed hands and changed the look and feel, which sort of makes it the cartoonists’ own. In the beginning, Ernie Bushmiller took Fritzi Ritz over from Larry Whittington, so there right there it shows that a person can take over a feature and really put their stamp on it.

Anyway, the new Nancy starts in January, we’ll have to check it out.

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Why I love single panel cartoons

I was watching this video by artist Mika Song about comic panels. She had a lot of good things to say about the panel. A lot of it was about restrictions. Which I like.

Even though I can do anything with my Tomversation cartoon, since it is distributed online, and there are no parameters, I enjoy the parameters. The image can be made larger, longer, a multi-panel strip and be changed from day to day, where in the newspapers, I would be limited to the same daily allotted space, I enjoy the single panel imitations and the same daily allotted space.

I’ve always been drawn to single panel comics. Oh sure, I read all the comic strips growing up, but I enjoyed the single panel stuff – Hazel, The Addams Family, Ziggy, The Far Side, Our Boarding House, Dennis the Menace, Marmaduke, etc. I liked having the whole story told in one box, usually with one short sentence or text.

It’s interesting setting up the story because I have to figure out how to fit the characters and the text to make sense in the small 5″ x 5″ space.

In recent years I’ve done away with the speech balloon, although I do use it once in awhile, but I like have the letters just floating above and having one single drawn line showing who is speaking. I’m not sure where I got that from, but I know it’s from cartoons I’ve seen in the past.

I also went digital some years back. I use a Surface Pro, to draw, which I love. It has a keyboard so I can use it as a laptop computer when I’m traveling. It’s compact and easy to use and has everything I need.

I’ve done comic strips in the past and I have a few that I have done but am not publishing, but I don’t enjoy drawing the same characters over and over, not just in each pane for that day’s strip, but every day of the week. I like that I can have animals talking one day and ancient Egyptians the next.

Many single panel cartoons have the same characters. I enjoy reading the old Our Boarding House panels, where they tell a continuing story day after day, in a single panel, with the same characters. But for my own work, I enjoy using different characters each day.

Above there are six samples of my comic panel, Tomversation. You can see how I use speech and thought balloons and how sometimes I mix the two. Somethings they are not full balloons, but just part, indicating a border to separate the text from the art.

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Women and comics

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Courtesy AP

There’s a new exhibit at the Library of Congress called, “How Women Broke Into the Male-Dominated World of Cartoons and Illustrations.”  I would love to see this next time I’m up north.

This is Dale Messick, who created and wrote and drew the Brenda Starr comic strip. I never knew if Dale was a lady or man as I read the strip while growing up. It seems like it was geared toward women, but I think I read all the strips in the New York Daily News when I was a kid.

I love this photo, I always like to see cartoonists in their environment. It’s sort of like seeing behind the scenes of a movie set.

Smithsonian.com has the whole story of the women and cartooning here.

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The Sunday comics

The Sunday Comics is a new project – a  return to yesteryear – where the Sunday comics section was the focus of weekend mornings. Millions of people – grownups and kids – spread the comics pages out and spent quality time reading their favorite comic strips and panels. I can’t forget Dick Tracy being the front page of the New York Daily News. The color comics wrapped the whole newspaper. Dondi was the back page. Inside was Little Orphan Annie and Smokie Stover, Moon Mullins, and so many more.

Well, Golden Bell Entertainment announced recently that they will launch their first collaborative arts project called The Sunday Comics. The start of this project begins with “The Sunday Comics,” a monthly 15″ x 22″ inch newspaper publication reminiscent of the comics sections we grew up with. A nice large broad sheet you can lay out on the floor and enjoy, just like when you were a kid.

The Sunday Comics includes work from over 300 artists with hundreds of pages of full color content. This project officially launched on Kickstarter on November 24, 2015 with astounding success, the goal was surpassed by 300% on the first day.

Where The Sunday Comics truly shines is in its partnerships with creators throughout the entertainment industry. With writers of “LOST” and “Batman: The Animated Series” Paul Dini, Oscar Nominated animator and Cannes Grand Prize Winner Bill Plympton, Eisner Award Winner Bill Sienkiewicz, Glenn McCoy storyboard artist for “Minions,” Director of the Netflix series “Dragons” John Sanford, Storyboard artist of “Doctor Who” Mike Collins, and Director of “The Book of Life” Jorge Gutierrez, The Sunday Comics plans to empower creators through a unique, new platform to showcase innovative stories in a well known, timeless format.

Additionally, Golden Bell is working with The Billy Ireland Cartoon Library and Museum to bring original copies of comic strips such as Little Nemo in Slumberland, the Passing Show, and many more back to their original format. The Sunday Comics will also be collaborating with various syndicates to bring classic titles such as Garfield, Peanuts, Dennis the Menace, Archie, Tarzan, Dick Tracy, Prince Valiant, Rugrats, and many others back to their original publication platform, like this 1960 New York Daily News Sunday comics section.

The Sunday Comics sees itself as a hub for cutting-edge comic ideas and intends to honor the rich history of comic books by merging what’s become entirely separate industries back to one. It’s a great way to receive the comics delivered right to your home in a large style format.



Golden Bell Entertainment has received the rights from Jim Davis and Paws, Inc. to create original Garfield comics, which has never been done before. Additionally, Playtonic Games, creators of Banjo-Kazooie, has given Golden Bell Entertainment the rights to create the official companion to their game. The “Yooka-Laylee” comics will debut in The Sunday Comics.  The Sunday Comics plans to empower creators through a unique new platform to showcase innovative stories all under one publication. All of the amazing artists are working hand-in-hand with The Sunday Comics to express themselves in a way never seen before in the industry.

Marc Goldner, Founder of Golden Bell Entertainment has said that, “To create a renaissance in comics, you need to look outside of what’s being done today. You must not only go abroad, but look at other mediums and see the most creative and effective way to bring people together. Creating timeless masterpieces doesn’t come overnight, it’s something you must work for constantly. With every new idea, you need an equally creative way to execute a vision.” 

I am happy to say that my “Tomversation” comic panel is part of this project. To follow “The Sunday Comics” on their Kickstarter please visit them here