The first recurrent British comic characters, after Ally Sloper appeared in the 1870s, were those in Jack Yeats’s Conan Doyle burlesque The Adventures of Chubblock Homes (published in Comic Cuts, begun 1893) as well as Tom Browne’s tramps Weary Willie and Tired Tim. The latter strip was sponsored in 1896 by the publisher Alfred Harmsworth and was originally intended for the newly literate and semiliterate masses, but it developed into children’s fare.

Distinctive British contributions were the magazine of strips designed for preliterate children, such as Tiger Tim’s Weekly, which carried Tiger Tim (1904–80), the oldest and longest-lived of British comic heroes and the first British newspaper strip (in the Daily Mirror); the picture paper based on film comedy (Film Fun, Kinema Comic); and the multitude of children’s magazines containing both articles and comic strips. The first strip for young children to appear in an adult newspaper was Rupert, the Adventures of a Little Lost Teddy Bear (begun 1921), created by Mary Tourtel for the Daily Express. The text was fitted in below the balloonless pictures in order to facilitate reading aloud by adults.

In the juvenile market the outstanding British successes in the 1950s were Dandy (begun 1937), with characters Desperate Dan and Keyhole Kate being perennial favourites, and the aforementioned The Beano, both of which offered innocent fun for younger children. For older children there was The Eagle (1950–69), with Dan Dare (begun 1950; strip killed and relaunched a number of times, last in 2007) by Frank Hampson and the Rev. Marcus Morris, based on “healthy” Christian principles and directed against the American horror comic. At its peak Dan Dare reached a circulation of about one million weekly, but that figure had fallen to 20,000 by 1993.

The cultural shift that occurred in the 1980s can be measured by the success of an entirely different kind of comic, such as Viz (begun 1979), which, in a crude Beano-like style and in Beano parody, offered story lines complete with juvenile sex, profanity, and scatology to a market composed chiefly of males ages 18–25. Viz reached a peak audience of 1.25 million a month in 1990, but in the 21st century its circulation was much diminished as its audience aged.

The first British adult newspaper strip—and, after Krazy Kat, the first daily strip anywhere designed exclusively for adults—was the witty Pop (1921–60), by John Millar Watt. Pop, together with Reginald Smythe’s Andy Capp (begun 1957), were among the very few European strips to be exported to the United States. For all its satire on the working class, Andy Capp, with its work-shy title character, surprisingly also ran in the Russian daily newspaper Izvestiya. A notably original strip was Norman Pett’s Jane (1932–59), published in the Daily Mirror. It used an artful striptease theme and had great popularity with servicemen during World War II. The mildly satirical strip was pioneered in the Daily Express by Flook (begun 1949), a continuing narrative of various kinds of adventure (drawn by Wally Fawkes and written from 1958 by George Melly), and by Frank Dickens’s Bristow (begun 1960; books published beginning in 1966), a daily gag strip set in a business office. The outright satirical and political strip flowered in the new satirical magazines such as Private Eye (begun 1961).

In France Jean-Pierre Pinchon’s Bécassine (1905–60, with a six-year gap), modeled on Christophe (see above The 19th century), depicted the humorous adventures of a none-too-intelligent but well-intentioned Breton servant; Louis Forton’s Les Pieds-Nickelés (begun 1908; The Nickel-Plated-Feet Gang), although ostensibly for children, had political touches and a mocking tone that appealed to adults as well. Les Pieds-Nickelés, with its gang of swindlers, constitutes the oldest still-existing European strip and the second oldest in the world (after the Katzenjammer Kids); it has also been the subject of several plays and movies. The first European strip to be fully developed in the American sense (notably as regards the use of balloons) was Alain de Saint-Ogan’s Zig et Puce (1925–late 1960s). France had no daily comic strip until 1934. There and in Italy, even more than in England, the market was smothered in the 1930s and ’40s by American imports and imitations.

An outstanding and hardy domestic product was Tintin (1929–83), created by the Belgian Hergé (Georges Rémi), a realistically conceived and relatively didactic adventure strip with a kind of Boy Scout hero. Immaculately designed and researched (with the help of a studio of assistants) and the model of what became known as the ligne claire (“clear line”), the strip narrating Tintin’s adventures took him all over the world into all kinds of social and geographical milieux, accompanied by a cast of comic and satirical characters that have become part of French folklore. The moral opposite of Carl Barks’s avaricious arch-capitalist Uncle Scrooge McDuck, the selfless and righteous Tintin often found himself in exotic foreign lands engaged, like Scrooge, in what modern readers might regard as imperialist negotiations. Hergé had 23 Tintin albums in print at his death in 1983. His work had been translated into all major languages and extensively merchandised. Into the 21st century Tintin products flourished, especially on the Internet. Tintin’s immense popularity was challenged (and no more) from the 1960s on by a warrior of ancient Gaul called Astérix (begun 1959), the work of the writer (and comic strip theorist) René Goscinny and the artist Albert Uderzo. Astérix, besides being simply humorous and adventurous, indulges in sophisticated puns, witty anachronisms, and satirical flashes. Astérix also has been heavily merchandised and is the subject of a theme park near Paris.