Beginnings: Comic Strips Part 10 Gasoline Alley

Gasoline Alley

Gasoline Alley is a comic strip created by Frank King and distributed by Tribune Content Agency. It centers on the lives of patriarch Walt Wallet, his family, and residents in the town of Gasoline Alley, with storylines reflecting traditional American values.

The strip debuted on November 24, 1918; as of 2022, it is the longest-running current strip in the United States, and the second-longest running strip of all time in the United States, after The Katzenjammer Kids (which ran for 109 years, 1897–2006). Gasoline Alley has received critical accolades for its influential innovations. In addition to new color and page design concepts, King introduced real-time continuity to comic strips by depicting his characters aging over generations.

Early years

The strip originated on the Chicago Tribune’s black-and-white Sunday page, The Rectangle, where staff artists contributed one-shot panels, continuing plots or themes. One corner of The Rectangle introduced King’s Gasoline Alley, where characters Walt, Doc, Avery, and Bill held weekly conversations about automobiles. This panel slowly gained recognition, and the daily comic strip began August 24, 1919, in the New York Daily News.

Some of the early characters were based on people Frank King knew. Skeezix was based on his son Robert Drew King. Walt was based on “jolly” overweight bachelor and Western Union traffic engineer Walter W. Drew, who had “a wisp of unruly hair”. Bill and Amy were based on locomotive engineer William D. Gannon and his wife Gertrude.

The early years were dominated by the character Walt Wallet. Tribune editor Joseph Patterson wanted to attract women to the strip by introducing a baby, but Walt was not married. That obstacle was avoided when Walt found a baby on his doorstep, as described by comics historian Don Markstein:

After a couple of years, the Tribune’s editor, Captain Joseph Patterson, whose influence would later have profound effects on such strips as Terry and the Pirates and Little Orphan Annie, decided the strip should have something to appeal to women, as well, and suggested King add a baby. Only problem was the main character, Walt Wallet, was a confirmed bachelor. On February 14, 1921, Walt found the necessary baby abandoned on his doorstep. That was the day Gasoline Alley entered history as the first comic strip in which the characters aged normally. (Hairbreadth Harry had grown up in his strip, but stopped aging in his early 20s.) The baby, named Skeezix (cowboy slang for a motherless calf), grew up, fought in World War II, and is now a retired grandfather. Walt married after all, and had more children, who had children of their own. More characters entered the storyline on the periphery and some grew to occupy center stage.

Skeezix called his adoptive father Uncle Walt. Unlike most comic strip children (like the Katzenjammer Kids or Little Orphan Annie), he did not remain a baby or even a little boy for long. He grew up to manhood, the first occasion where real time was shown continually elapsing in a major comic strip over generations. By the time the United States entered World War II, Skeezix was an adult, courting Nina Clock and enlisting in the armed forces in June 1942. He later married Nina and had children. In the late 1960s, he faced a typical midlife crisis. Walt Wallet himself married Phyllis Blossom on June 24, 1926 and had other children, who grew up and had kids of their own. During the 1970s and 1980s, under Dick Moores’ authorship, the characters stopped aging. When Jim Scancarelli took over, natural aging was restored.

Sunday Strip

The Sunday strip was launched October 24, 1920. The 1930s Sunday pages did not always employ traditional gags, but often offered a gentle view of nature, imaginary daydreaming with expressive art, or naturalistic views of small-town life. Reviewing Peter Maresca and Chris Ware’s Sundays with Walt and Skeezix (Sunday Press Books, 2007), comics critic Steve Duin quoted writer Jeet Heer:

Unlike the daily strips, which traced narratives that went on for many months, the Sunday pages almost always worked as discrete units,” Heer writes. “Whereas the dailies allowed events to unfold, Sunday was the day to savor experiences and ruminate on life. It is in his Sunday pages that we find King showing his visual storytelling skills at their most developed: with sequences beautifully testifying to his love of nature, his feeling for artistic form, and his deeply felt response to life.