Dawn O’Day in Hollywood was a semi-precious gem of a strip that, unfortunately, was rarely seen by anyone except the readers of the Chicago Tribune. After the end of World War II, the Tribune tried out quite a few rather interesting series in their Sunday sections, some of which they ran for years. However, they seemed to have no luck in selling them to other client papers. Why? I dunno. They certainly had no trouble selling the old guard (Gasoline Alley, Little Orphan Annie, Dick Tracy et al).
Dawn O’Day debuted in the Sunday Tribune on October 2 1949. It was a light-hearted strip, tap dancing around the genres of soap opera and adventure, but always with lots of levity. Starlet Dawn O’Day and her manager Wally Crackle romp through tinseltown hijinks, getting into hot water with crazy old faded stars, murderous directors … you know the drill. Dawn sometimes exhibits dumb blonde tendencies, but generally she’s a gamer with a good head on her shoulders and witty repartee always at the ready.
If you took the art styles of George Wunder and Frank Robbins and mashed them together, you’d end up with the style of creator Val Heinz. His art is quite stylized, yet more attractive and inviting than either of his influences, both of whom can take a little bit of getting used to, if you don’t mind me saying. There are probably art swipes involved, but I definitely think Heinz creates something that is quite a bit greater than the sum of its parts. With only a third page at his disposal (EDIT — it appears that Heinz was drawing these to a full tabloid format according to the E&P yearbooks. The Trib apparently just cut them down to thirds after a brief period as halves in the first months of the run. Did anyone ever run the full tab strips? Unknown at this time.), he makes every square inch work for effect. Great character design, ever-changing camera angles, interesting backgrounds, you name it, he does it well. According to a Tribune article, Heinz learned cartooning as an assistant to Frank King; that may be so, but the influence of King is nowhere to be seen here.
The strip must have appealed to someone at the Tribune, because in spite of the scarcity of client papers (did it have any other than perhaps a few in the Tribune chain?), the strip was granted the addition of a daily strip on September 18 1950. Evidently it was on a one-year contract, as it disappeared from the Tribune on Saturday September 15 1951.
The Sunday, though, ambled along, seemingly getting the approval of Tribune folks if no one else. Finally, though, in 1954 several of these no-client strips were led to the chopping block. On May 30 1954, the strip came to the end of a storyline, promised a new one, but did not appear next week. Oddly, though, it reappeared one last time on June 27, already well into the middle of the next story. Maybe there was at least one other paper still running the strip, because Ohio State’s Bill Blackbeard Collection lists Sundays for August 29 and September 22 in their collection. Only problem is that September 22 is a Wednesday, so I don’t know how well we can trust their records. Anyone know of a client paper that ran it to the bitter end?