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- Une bande complémentaire (anglais : topper, « qui est au-dessus ») est, dans le vocabulaire du comic strip, une bande dessinée secondaire accompagnant une série plus connue dans les pages dominicales des journaux. Presque toujours située au-dessus de la série qu'il accompagne, le topper est parfois en dessous, malgré son nom. Les toppers ont connu leur apogée dans l'entre-deux-guerres avant de disparaître progressivement par la suite. Systématisé dans les années 1920 par le King Features Syndicate, ce procédé permettait aux journaux de proposer plus de séries sans augmenter le nombre de pages, d'introduire plus de publicités pour ceux qui ne voulaient pas diffuser le topper, ou pour les journaux publiés au format tabloïd de reformater plus facilement les histoires. Ainsi, en 1925, Elzie Crisler Segar fait de sa série Sappo le topper du Thimble Theatre. L'année suivante, Frederick Opper place au-dessus de Happy Hooligan sa bande And her Name was Maud, qu'il avait créée en 1904. D'autres créent des topper inédit, comme Harold Knerr qui adjoint à Pim, Pam et Poum, également en 1926, le strip Dinglehoofer und His Dog Adolph. Certains toppers deviennent plus importants que la série qu'ils accompagnent, comme Krazy Kat de George Herriman, d'abord associé à The Family Upstairs, ou Wash Tubbs de Roy Crane, qui a accompagné de J. R. Williams de 1927 à 1933 avant d'avoir sa propre page dominicale. Après 1935, la présence des toppers commence à décliner, et ils deviennent rares dès 1940, de nombreux journaux préférant surmonter les pages du dimanche de publicités. Certains comic strips ont eu des toppers jusqu'aux années 1970, comme Little Orphan Annie, longtemps accompagné de Maw Green. (fr)
- A topper in comic strip parlance is a small secondary strip seen along with a larger Sunday strip. In the 1920s and 1930s, leading cartoonists were given full pages in the Sunday comics sections, allowing them to add smaller strips and single-panel cartoons to their page. Toppers usually were drawn by the same artist as the larger strip. These strips usually were positioned at the top of the page (hence their name), but they sometimes ran beneath the main strip. Toppers were introduced by King Features Syndicate during the 1920s, enabling newspaper editors to claim more comic strips without adding more pages. The practice allowed newspapers to drop the topper and place another strip or an additional advertisement into the Sunday comics section. They also made it possible to reformat a strip from full-page size to tabloid size. In 1904, Frederick Opper drew his And Her Name Was Maud, about the kicking mule Maud, into comic strips, books and animation, but on May 23, 1926, Opper positioned And Her Name Was Maud as the topper to his Happy Hooligan, and it ran along with Happy Hooligan until both strips came to a conclusion on October 14, 1932. On May 16, 1926, Harold Knerr began , a topper to The Katzenjammer Kids, which ran until two years after his death. By 1936, to avoid any association with Hitler, the dog's name was changed from Adolph to Schnappsy (a.k.a. Schnapps). Knerr's strip was reformatted for reprints in Magic Comics in the early 1940s. Billy DeBeck's topper for Barney Google was Parlor Bedroom and Sink, which evolved into Parlor Bedroom and Sink Starring Bunky and eventually was titled simply Bunky. In the mid-1930s, DeBeck added alongside Bunky a single-panel topper, Knee-Hi-Knoodles, depictions of kids' funny remarks (contributed by readers). Bunky spawned the catchphrase, "Youse is a viper, Fagin." A big fan of Bunky was pulp author Robert E. Howard, who liked to quote from the strip, as noted by his friend Tevis Clyde Smith: His affection for Bunker Hill – "Youse is a viper, Fagin." Kept up with the strip, and retold it in a charming way. Liked to talk Brooklynese, and once entered a local dry goods store, and asked to see a shoitel. (en)
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- Une bande complémentaire (anglais : topper, « qui est au-dessus ») est, dans le vocabulaire du comic strip, une bande dessinée secondaire accompagnant une série plus connue dans les pages dominicales des journaux. Presque toujours située au-dessus de la série qu'il accompagne, le topper est parfois en dessous, malgré son nom. Les toppers ont connu leur apogée dans l'entre-deux-guerres avant de disparaître progressivement par la suite. (fr)
- A topper in comic strip parlance is a small secondary strip seen along with a larger Sunday strip. In the 1920s and 1930s, leading cartoonists were given full pages in the Sunday comics sections, allowing them to add smaller strips and single-panel cartoons to their page. Toppers usually were drawn by the same artist as the larger strip. These strips usually were positioned at the top of the page (hence their name), but they sometimes ran beneath the main strip. (en)
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