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304:, McCay's backgrounds were heavily detailed, and he drew monotonous, repetitive images with great accuracy; McCay later applied these skills to his animation work. The backgrounds remain the same from panel to panel, while passersby unwittingly pass Sammy during his buildup. During the buildup McCay presents people going about their lives; to comics historian Thierry Smolderen: "The reading of these pages is most enjoyable not in the repetitive buildup of the sneeze itself, but in the beautifully varied and fleshed out description of the human activities that are so violently interrupted by the explosion."
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447:, the havoc Sammy wreaked was unintentional. To Roeder, the humor at the expense of both the adults and the child likely appealed to a broad range of readers, and may have broadened the appeal of comic strips to conservative middle-class audiences. These audiences may have seen the inevitable consequences for Sammy as a restoration of a natural social order, one that was left rent asunder in other comic strips.
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Sammy was inarticulate, making little more than mouth noises; the adults around him conversed, but in a monotonous manner that did not invite careful reading. Neither did he learn from his foibles nor grow as a character. Sammy and McCay's other child protagonists differ from those of
Outcault and
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from 1891, where he drew posters and advertisements. His ability to draw quickly with great accuracy drew crowds when he painted advertisements in public. He began working as a newspaper cartoonist full-time in 1898, and also freelanced for humor magazines. McCay moved to New York City in 1903 to
450:
Sammy is given an unappealing character design and personality, with dull features and expression that do not invite the reader's sympathy; his character is never developed. Similar to Buster Brown, Sammy dresses in a dress shirt, lace collar, and cravat. This style associated with middle-class
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had begun the style was a subject of ridicule; in an age when respectable society went to great lengths to avoid drawing attention to bodily functions, it emphasized the humorous contortions of Sammy's face as he built up toward his sneeze. His sneeze could also tear down other symbols of the
297:. Sammy takes no pleasure in the trouble he causes; rather, as the strip's header declares: "He just simply couldn't stop it". On occasion his sneezes have positive consequences, as when he frightens a stubborn mule to move out of the way of an oncoming train, or foils a group of kidnappers.
465:
The strip's header declared to each side of the title "He just simply couldn't stop" and "He never knew when it was coming", and never strayed from the basic formula of build-up, release, and consequence. McCay was to make use of such framing devices throughout his career, as in
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The strip was almost always laid out in a rigid grid: Sammy's sneeze builds in the first four panels to a release in the fifth and consequences for Sammy in the sixth. This is in contrast to the great variety of panel sizes and layouts displayed in McCay's earlier strip
122:
was confined to a rigid grid and followed a strict formula: Sammy's sneeze would build frame by frame, contorting the protagonist's face until it erupted in the second-to-last panel. In the closing panel he suffered the consequences—often a kick in the rear.
628:. It has since mostly been remembered as a precursor to McCay's better-known strips, receiving little attention itself outside of a few key strips. The strip's concept was later picked up by the creators of characters such as
369:, a well-known example of which is the September 24, 1905, episode: the gag unfolds according to formula, culminating in the destruction of the very panel borders of the comic strip itself. The strip may pay homage to
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and even the strip's panel borders. The panel-by-panel buildup displayed McCay's concern with depicting motion, a concern that was to culminate in his pioneering animated films of the 1910s, such as
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ran much longer than comic researchers believed up until now. Thanks to the support of an extensive collection in
Switzerland, evidence has been found of episodes dating up to May 26, 1907.
144:
The strip follows a simple concept: in each weekly instalment, Sammy sneezes with such power that it wreaks havoc with his surroundings. His sneeze builds until its release with the
511:, where McCay had joined the staff in 1903. It ran in color until partway through 1905, and ccontinued afterwards in black and white until at least May 26, 1907. McCay joined
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365:"tested the limits of visual representation and demonstrated the comic strip's potential as a vehicle for modernist experimentation". McCay was fond of breaking the
148:"Chow!" in the second-to-last panel. In the last panel he suffers the consequences—being driven away by one of his victims, or often receiving a kick in the rear.
93:. In each episode the titular Sammy sneezed himself into an awkward or disastrous predicament. The strip ran from July 24, 1904 until at least May 26, 1907 in the
404:. McCay emphasizes the lack of order and irrational unpredictability of the human body. McCay's concern was to culminate in his pioneering animated films such as
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Though the story of mischievous children and the trouble they caused was typical of comic strips of the day, in contrast to such other popular strips as
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515:'s newspapers in 1911, and Sammy made a reappearance in them on February 4, 1912, in a one-off strip titled "All at Once—Kerchoo!—He Sneezed".
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McCay's artwork was finely detailed and highly accurate in its persistent repetition. He delved into modernist experimentation, shattering
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as an attempt by McCay at parody—one that, in
Smolderen's words, "chuckles at the absurdity of ... doing the same thing ad nauseam".
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McCay was concerned with depicting the seldom-perceived minutiae of movement, though his was not the scientific curiosity found in the
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strip, the
September 24 episode has a closeup of the sneezer against a blank background, and Sammy's gestures echo those of Ott.
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had become a standard comic-strip trope—one comics historian
Thierry Smolderen suggests McCay may have deliberately parodied.
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released a deluxe 11 in Ă— 16 in (28 cm Ă— 41 cm) landscape-format hardcover volume called
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strip that ran in 1905. One crossover strip ends with
Henrietta eating candy that Sammy has sneezed onto the floor.
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In 1906, a compilation volume of the strips appeared—not only in the United States, but in France where the
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draws the greatest share of attention among McCay's works, Katherine Roeder finds the formally lower-key
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that July. In addition to his editorial cartooning, in 1905 he was producing five regular comic strips:
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1433:"My Life is Choked with Comics #15 – Little Sammy Sneeze: The Complete Color Sunday Comics 1904–1905"
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aspirations and popularized toward the end of the 19th century in the wake of the success of
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Wide Awake in
Slumberland: Fantasy, Mass Culture, and Modernism in the Art of Winsor McCay
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where the reader could rely on the protagonist awakening in the closing panel each week.
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middle-class, such as an expansive department store display of goods at
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After a three-year run, McCay dropped the strip, while continuing to work on
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Smolderen, Thierry (2007). "What's in a Sneeze?". In
Maresca, Peter (ed.).
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Kannenberg, Gene Jr. (2007). "Oh No, Not Again!". In
Maresca, Peter (ed.).
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Maresca, Peter (2007). "A Word from the Editor". In Maresca, Peter (ed.).
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Alexander Braun: The Complete Little Nemo 1905 - 1927, Taschen 2014, p. 27
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Projections: Comics and the History of Twenty-First-Century Storytelling
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The Poetics of Slumberland: Animated Spirits and the Animating Spirit
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in 1884 and were well known. As in the film, and unusual for the
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Little Sammy Sneeze: The Complete Color Sunday Comics 1904–1905
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The Upside-Downs of Little Lady Lovekins and Old Man Muffaroo
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was one of the earliest American strips to appear in Europe.
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The Origins of Comics: From William Hogarth to Winsor McCay
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McCay took the visual ideas he experimented with in
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35:Sammy disrupts the work of a clockmaker in the
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597:. These bonus strips appear in monochrome to
1348:The Art of the Funnies: An Aesthetic History
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1793:Comics characters introduced in 1904
1431:McCulloch, Joe (December 28, 2007).
300:Though not to the degree applied to
1531:Barnacle Press: Little Sammy Sneeze
287:other popular cartoonists, such as
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1248:. University of California Press.
573:strip—the complete run of McCay's
14:
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498:book collection appeared in 1906.
410:(1914). Comic strips as early as
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1220:Berlatsky, Noah (October 2008).
565:in 2007. On the reverse of each
336:Sammy destroys his panel borders
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1506:University Press of Mississippi
1460:University Press of Mississippi
1435:. Savage Critic. Archived from
1354:University Press of Mississippi
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505:began on July 24, 1904, in the
291:and his rambunctious, pranking
39:episode for September 18, 1904.
1270:Winsor McCay: His Life and Art
1230:(292): 196–199. Archived from
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242:was one of three strips (with
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1723:Little Nemo: The Dream Master
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668:episode for February 12, 1905
577:, as well as selections from
575:The Story of Hungry Henrietta
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1798:Comic strips by Winsor McCay
1672:The Sinking of the Lusitania
595:The Terrors of the Tiny Tads
7:
622:, and his best-known work,
16:Comic strip by Winsor McCay
10:
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1783:Child characters in comics
1773:American comics characters
1612:Dream of the Rarebit Fiend
1452:Roeder, Katherine (2013).
1417:Don Markstein's Toonopedia
615:Dream of the Rarebit Fiend
350:Dream of the Rarebit Fiend
227:Little Nemo in Slumberland
221:Dream of the Rarebit Fiend
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108:Little Nemo in Slumberland
102:Dream of the Rarebit Fiend
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1324:Stanford University Press
712:Alexander Braun states: "
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1691:Dream of a Rarebit Fiend
655:episode for July 2, 1905
639:
549:James Gordon Bennett Jr.
252:Richard F. Outcault
1656:How a Mosquito Operates
1411:Markstein, Don (2005).
1316:Gardner, Jared (2012).
681:episode for May 7, 1905
513:William Randolph Hearst
1481:. Sunday Press Books.
1395:. Sunday Press Books.
1375:. Sunday Press Books.
1300:. Sunday Press Books.
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454:Little Lord Fauntleroy
432:
425:McCay had likely seen
1808:Comics about children
1778:American comic strips
1413:"Little Sammy Sneeze"
1234:on November 13, 2012.
493:
438:The Katzenjammer Kids
424:
1813:Public domain comics
1439:on September 6, 2015
1274:(Revised ed.).
690:The French title is
579:John Prentiss Benson
478:saw the monotony of
236:A Pilgrim's Progress
1768:1906 comics endings
1664:Gertie the Dinosaur
1604:Little Sammy Sneeze
1479:Little Sammy Sneeze
1393:Little Sammy Sneeze
1373:Little Sammy Sneeze
1298:Little Sammy Sneeze
714:Little Sammy Sneeze
692:Petit Sammy Éternue
679:Little Sammy Sneeze
666:Little Sammy Sneeze
653:Little Sammy Sneeze
569:page appears a non-
503:Little Sammy Sneeze
496:Little Sammy Sneeze
407:Gertie the Dinosaur
398:Étienne-Jules Marey
345:Little Sammy Sneeze
310:Little Sammy Sneeze
240:Little Sammy Sneeze
216:Little Sammy Sneeze
154:Little Sammy Sneeze
133:Gertie the Dinosaur
86:Little Sammy Sneeze
37:Little Sammy Sneeze
24:Little Sammy Sneeze
1763:1904 comics debuts
1498:Smolderen, Thierry
1493:(pages unnumbered)
1407:(pages unnumbered)
1387:(pages unnumbered)
1312:(pages unnumbered)
1227:The Comics Journal
1222:"Eternal Appetite"
847:, pp. 43–44;
620:Pilgrim's Progress
559:Sunday Press Books
533:, including every
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394:Eadweard Muybridge
338:September 24, 1905
270:Style and analysis
166:September 11, 1904
1750:
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1515:978-1-61703-149-6
1488:978-0-9768885-4-3
1469:978-1-61703-960-7
1402:978-0-9768885-4-3
1382:978-0-9768885-4-3
1363:978-0-87805-674-3
1342:Harvey, Robert C.
1333:978-0-8047-8178-7
1307:978-0-9768885-4-3
1285:978-0-8109-5941-5
1255:978-0-520-26571-4
1104:, pp. 34–35.
1092:, pp. 24–26.
1068:, pp. 26–27.
1032:, pp. 32–33.
1004:, pp. 28–29.
795:, pp. 47–48.
783:, pp. 43–44.
771:, p. 38, 43.
476:Thierry Smolderen
428:Fred Ott's Sneeze
412:A. B. Frost
390:chronophotography
378:Harper's Magazine
372:Fred Ott's Sneeze
294:Katzenjammer Kids
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1127:
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857:
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837:
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58:July 24, 1904
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1726:(video game)
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1610:
1603:
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1596:Comic strips
1589:Winsor McCay
1501:
1478:
1454:
1441:. Retrieved
1437:the original
1420:. Retrieved
1392:
1372:
1347:
1318:
1297:
1276:Abrams Books
1269:
1244:
1232:the original
1225:
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1172:
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634:Li'l Sneezer
630:Sneezly Seal
623:
619:
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599:Sammy Sneeze
598:
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582:
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570:
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566:
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541:
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479:
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415:
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211:
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193:dime museums
189:Winsor McCay
187:
153:
152:Examples of
146:onomatopoeia
143:
131:
128:fourth walls
125:
120:Sammy Sneeze
119:
115:
113:
106:
100:
94:
91:Winsor McCay
85:
84:
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71:Publisher(s)
66:May 26, 1907
49:Winsor McCay
36:
18:
1707:Slumberland
1683:Adaptations
1648:Little Nemo
1620:Little Nemo
1213:Works cited
1189:Roeder 2013
1114:Roeder 2013
1102:Roeder 2013
1090:Roeder 2013
1078:Roeder 2013
1066:Roeder 2013
1054:Roeder 2013
1030:Roeder 2013
1014:Roeder 2013
1002:Roeder 2013
990:Roeder 2013
978:Roeder 2013
966:Harvey 1994
934:Harvey 1994
849:Roeder 2013
757:Roeder 2013
734:Harvey 1994
625:Little Nemo
551:was based.
486:Publication
468:Little Nemo
367:fourth wall
359:Little Nemo
355:Little Nemo
302:Little Nemo
281:Little Nemo
254:'s popular
244:Little Nemo
116:Little Nemo
55:Launch date
1757:Categories
701:References
494:The first
257:Yellow Kid
197:Cincinnati
191:worked in
184:Background
1741:Bob McCay
535:Henrietta
111:in 1905.
45:Author(s)
1500:(2014).
1443:June 27,
1422:June 28,
1344:(1994).
1266:(2005).
1242:(2012).
266:strips.
136:(1914).
63:End date
1734:Related
518:During
431:(1894).
140:Premise
1710:(film)
1702:(film)
1694:(film)
1675:(1918)
1667:(1914)
1659:(1912)
1651:(1911)
1623:(1905)
1615:(1904)
1607:(1904)
1552:Comics
1538:Portal
1512:
1485:
1466:
1399:
1379:
1360:
1330:
1304:
1282:
1252:
608:Legacy
585:, and
542:Herald
400:, and
234:, and
1743:(son)
1640:Films
640:Notes
602:'
553:Sammy
545:'
523:'
520:Sammy
1715:Nemo
1510:ISBN
1483:ISBN
1464:ISBN
1445:2012
1424:2012
1397:ISBN
1377:ISBN
1358:ISBN
1328:ISBN
1302:ISBN
1280:ISBN
1250:ISBN
677:The
664:The
651:The
632:and
593:and
474:and
441:and
347:and
260:and
246:and
589:'s
581:'s
392:of
195:in
1759::
1508:.
1504:.
1462:.
1458:.
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1356:.
1352:.
1326:.
1322:.
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1224:.
1196:^
1145:^
958:^
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636:.
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118:,
1581:e
1574:t
1567:v
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694:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
