Top o' the Mornin'

W.D. Nesbit's Sunday page exemplifies the newspaper comic strip at its formal peak: multiple independent gags arranged across a single large format, each told in 2–4 panels with speech balloons and captions. The page mixes social comedy, romantic situations, and visual humor—sight gags of pratfalls and exaggerated expressions. Recurring character types (young women, working men, authority figures) populate scenarios from domestic life and urban streets. By 1904, the Sunday supplement had become standard in major papers, establishing the visual conventions—panel borders, sequential narrative, integrated text and image—that would define American comics for decades. These pages trained readers in the grammar of sequential art while serving as a primary source of illustrated entertainment before radio or film.