Top o' the Mornin'

W. D. Nesbit's Sunday page demonstrates the sophisticated layout vocabulary emerging in newspaper comics. Multiple independent strips populate the page—"Good Salesman," "Sure," "Incomplete," and others—each using sequential panels, speech balloons, and sight gags to advance narrative. Characters recur across stories; human and animal figures inhabit domestic and urban settings rendered in crosshatched pen line. The dense, multi-tier format maximizes advertising and entertainment value while establishing visual conventions—gutters, panel progression, expressive figuration—that would define the medium. By 1904, Sunday comics had become a staple of metropolitan papers, their serialized humor and formal innovation attracting both readers and commercial sponsors.