December 13-18, 1954: Obsessing over Santa

December 13

I think this is second time a character has written things that are depicted as hanging over his head. (I forgot exactly when the first was, unfortunately -- it's possible I'm getting confused and this is the first, this post has been a few days in coming.)

The convention is odd, and I think originates with Peanuts. It is hard to come up with new conventions that are still at-a-glance comprehensible to the reader. This one is helped by the fact that Charlie Brown is obvious writing, and the words hanging in the air are hand-written. Thought balloons had to have been a harder sell.

December 14

A hint that Charlie Brown doesn't get much for Christmas. This could be taken as another hint that his family is working-class; the first such hints were from Violet snobbishly lording it over him, and Shermy's huge train set contrasted with CB's tiny loop.

December 15

Once again, an early Peanuts strip presents a scene that wouldn't have been out of place in Calvin and Hobbes.

December 16

If you ever find a discarded calendar with December 17 circled in red, you'll have a pretty good idea who owned it. Schroeder's affection for the composer is alternatingly touching and worrying. I am reminded, for some reason, of that guy who left roses and cognac on Edgar Allen Poe's grave all those years.

December 17

To reveal that Santa travels around the world on a flying sleigh pulled by reindeer would be a let down.

December 18

That's a pretty harsh response, heh. I wonder if we can consider that it's Charlie Brown's parents who sent him that rejection slip, in order to manage their son's expectations for Christmas presents?

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The blog has been updating sporadically lately because the blogging client I usually use, Blogsy (basically the only worthwhile iOS blogging client I've seen), was broken first by Apple and iOS 5, second by Google and WebAUTH 2.0, which hangs if you try to upload more than three images within a limited time. I hadn't noticed how slow the Blogger web interface workflow was until I was forced to go back to it for a while. Blogsy still isn't completely fixed yet, but at least it's useable again.

In more relevant news, the writer of Sally Forth (rather an underrated strip if you ask me) keeps a webcomic called Medium Large that referenced the Great Pumpkin yesterday. (Warning: language, NSFW)

November 22-27, 1954: Phooey to you, Charlie Brown!

November 22, 1954

People haven't really given apples to teachers, that I'm aware of, in the years since 1954, where as Charlie Brown remarks was already an outdated notion. And yet, we get this joke, the lore of teacher-apple-giving still lives. (My guess, which could easily be wrong, is that the custom arose as a way of helping to support teachers, who were traditionally spinsters.)

November 23, 1954

Oh, how I love this strip. It's awesome. I love it so much that, over on Metafilter, I've started using "phooey" as a general term of disdain, usually against people who are trolling or spouting incredibly stupid opinions. (Them: "I don't vote, and I don't see why anyone should!" Me: "Phooey to you. Phooey all over you.")

I think why I love this, more than how funny and yet satisfying it is to read "Phooey to you Charlie Brown," is that Schroeder says it twice. The first time we don't know why he's angry; the second time reminds us of his anger. It is perfectly constructed, it reads great, the sentence has a great rhythm, just, wow. This is one of my favorite strips to date.

November 24, 1954

This is either the beginning, or close to the beginning, of Lucy's obsession with bugs, which drives a good number of strips to come.

November 25, 1954

In case you hadn't noticed, Charlie Brown embarrasses easily.

November 26, 1954

A strip like this reminds us of how relatively recent casual sexism was. I'm not sure many comic characters could get away with Charlie Brown's rude summation, although to Schulz's credit it is rare that a male character gets away with declaring superiority to females without some form of rejection, refutation or comeuppance. Calvin might declare how much better boys are than girls, but he certainly wouldn't be allowed to get away with it.

November 27, 1954

The animated adaptions of Peanuts, in addition to not showing adults, also replaced speech with muted trumpet noises. I think the later days of the comic tried to get away with not printing adult words, but in the early days at least Schulz was not above the occasional adult speech balloon.

Sunday, November 14, 1954: C'mon, forget about Beethoven for awhile

November 8-13, 1954 are missing from gocomics' archive.

Read this strip at gocomics.com.

We've seen Lucy and Schroeder fight over the piano before, but this one I think puts Lucy's case forth as sympathetically as we ever see. Panel seven in particular is surprisingly effective, almost pleading. The dramatic thrust of the strip seems to imply that it was the offer of hot chocolate in the next panel that caused Schroeder's rejection. How mundane! But what else could she offer -- er, that's suitable for a kid's strip, of course.

Schulz and Peanuts seems to suggest that Schulz got ideas and energy for the Lucy vs. Schroeder strips from his personal life with his first wife. Schulz's family disputes that he got as many ideas for strips from his relations with people that the book suggests. My own theory, which I've stated before, is that a cartoonist can't help but draw from his surroundings, that eventually the contents of your brain end up on the page whether you intend it or not, and that would seem to agree with the book's angle on Schulz's work.

This is also, I think, the first panel in which Lucy notes her own face as being pretty, a habit of hers that spreads to her dealings with other characters, especially Charlie Brown.

October 11-16, 1954: Charlie Brown's dog begins to drive him mad

October 11, 1954

There is a role-playing game out there called Call of Cthulhu, which involves players encountering horrible creatures from beyond time and space. That game gives players a statistic called "Sanity," or SAN, which is rated on a scale from 0 to 99. Whenever something happens to a character that tests his grasp on reality, he's told to make a sanity roll, rolling a couple of dice to generate a number from 1 to 100. If he rolls beneath his sanity, he loses no or a few points. If he rolls above, he loses more, sometimes a lot more.

That paragraph is just to explain the following statement: In the next year Charlie Brown will receive a ton of sanity rolls. A lot of things seem to drive the poor kid crazy.

This is another version of the strip for September 20, 1953, although much shorter.

October 12, 1954

Does it seem to any of you that, sometimes, Schroeder is a bit defensive about Beethoven?

October 13, 1954

Snoopy was very energetic as a young dog. Someone should drop a piece of candy just to give him a focus for all that nervous tension.

October 14, 1954

The lid may be on the pot for now... but the fire is lit, and the water boils.

October 15, 1954

Lucy has seen Snoopy's nose enough times that she should know it's not a handball. Snoopy's nose is a bit strange though, as dogs don't really have round noses like this, and this joke is as much a self-referential sequence about Schulz's art style as were all the jokes about the size and shape of Charlie Brown's head. Schulz had been known to say later on that it was difficult to get the size of Snoopy's nose exactly right.

October 16, 1954

Most of the time, when characters express annoyance or frustration at Charlie Brown, he internalizes their words and gets depressed. This looks at these exchanges from the other point of view; Violet really is overreacting.

October 4-9, 1954: Get back there

October 4

Back then, often movies would show first in big cities, and then move into suburb theaters if they were popular enough. It's a sly and effective joke.

Good grief!

October 5

This kind of personal devaluation from both Violet and Patty will only get more common in the future.

October 6

Charlie Brown is becoming more of a straightman, someone who reacts in funny ways to the foibles and antics of the other characters. Given Schroeder's past reactions to more modern forms of music, his willingness to (I think we're supposed to assume) adapt Beethoven into a mambo seems kind of sacrilegious of him.

October 7

Actually, I think Lucy has given Charlie Brown far more than half of that piece of bread. She still calls it "bread an' butter," I notice.

October 8

You can tell what people are eating by how many decibels their chewing noises rate, although in Charlie Brown's case we might have to move up to the Richter scale.

October 9

Lucy's power to impress with a quiet word is matched only by her ability to do so by shouting, although this hasn't really been established much yet. Notice that Schulz has drawn her words a little differently than usual; they're wider and the strokes are thicker, almost like block letters. She is obvious using some of her infernal power here.

September 28-October 3, 1954: Beethoven, Forget it, Serif hey, I'M NOT, Fancy signals, Fancy signals and Dog explosions

September 27

September 28

As someone who's often guilty of just the thing Charlie Brown is doing here, I have to say I find this hilarious.

September 29

September 30

Lucy seems to have the ability to exclaim, not just in serif lettering, but with lowercase letters too! This isn't even the fanciest writing we'll see this week.

Charlie Brown's spirit hasn't been beaten down quite so much yet.

October 1

How do the girls hear those fancy signals? Does Charlie Brown adapt a different tone of voice? Those typefaces are very well-rendered. Schulz was a true artist, but he was a great craftsman too. All of this done for a throwaway joke one Friday in 1954. I wonder if he worked from reference typefaces when he drew this one.

October 2

(This strip is a copy of the previous one in gocomics' browse order. I don't know what's supposed to go here.)

Sunday, October 3

Those are some great backgrounds in panels one and three. They must have taken Charles Schulz a long time to do! The juxtaposition of the deceptively simple characters and the elaborate, realistic backgrounds is one of the many little joys of classic Peanuts.

Week of July 5-10, 1954: Developing personalities

July 5

This strip has been some time in coming. I love it. Charlie Brown's look of disgust in the third panel, and Schroeder's of dismay in the fourth are what make it. But also making this strip funnier is that we know by now that Schroeder is a Beethoven freak. We have that reminder in the second panel for those just coming to the strip, but Schulz is more confident that Schroeder's character is established now. Schroeder has been the least tabula rasa of the characters since that day he started playing the piano. Charlie Brown, whose attitude has been becoming steadily more defeatist, comes in second. Some other characters exhibit personality quirks (Lucy's winning streak at checkers & skill with golf, Patty's with marbles, Violet's obsession with mud pies) but not much personality yet.

Snoopy and Linus/Lucy/Schroeder-as-baby don't count, since up to this point they're mostly used in their capacity of dog and baby. Remember, the Peanuts characters got their start as a series of New Yorker-style one-off strips for the Saturday Evening Post. That kind of humor (some would hesitate to call it funny, I understand) is mostly about universal types in funny situations. Peanuts started out solidly as that kind of thing, but now the characters have made for themselves ruts, and those ruts are becoming worn in the soul.

As time passes, characters either develop these kinds of ruts (Lucy's loudness, brashness and anger management issues, Linus' philosophy, etc.) or become bland enough that they fade right out of the strip (Shermy, but also Patty and Violet eventually). It is interesting, I think, that after his success with Schroeder, who was Schulz's first unique creation, that he didn't go and try to do that with all his characters. I think it shows that he still values them as general people rather than specific ones, and perhaps that he views Schroeder's personality as something he shouldn't try to force.

Two more things:

First, although people have criticized the book Schulz and Peanuts for relating everything in the strip to Schulz's life (I think the approach has some merit, but maybe not that much), I think it might have been right about the nature of Patty, that the later character of "Peppermint" Patty is kind of a revision/realization of the original. And "Peppermint" is very strongly typed compared to original-Patty's blandness.

Second, next week we have the introduction of Peanuts' many side characters, who tend to be introduced more for having specific traits than for being every men/women. He's also by the far the longest-lived of these characters, for although gaps may occur in his appearance rate he is never forgotten about like the others.

July 6

Snoopy vs. the Living Room. It's cute, but not much else.

July 7

A group of misfits? Is this a 50s counterculture thing?

Notice the completely unnecessary birds in the background in the second panel.

July 8

But Charlie Brown, no one says you have to give some of your ice cream to Snoopy. I think your tendency to be swayed by begging is more what trapped you than your shadow.

July 9

Charlie Brown here talks to Snoopy as if he were a human. This is not necessarily unusual; I've known a few people who, even if they would admit if you directly asked them that animals don't understand our crazy moon language, still act pretty much like animals are just kind of overcoming a difficult language barrier, speaking loudly and slowly to emphasize to them some thing they aren't supposed to do. Sometimes I think animals must consider us to be crazy at best, and Lovecraftian, unknowable entities at worse.

July 10

I like this one. Schulz is referring to his own tendency to draw serif-Zs that would look at home on a wooden alphabet block.

Week of June 21-26, 1954: Self-love and baseball pictures

June 21

I like how the word "tickle" is drawn larger and darker to express how the force of Lucy's tickling is increasing. This is the first strip in a sequence actually; two more are coming next week.

June 22

The clever bit of this strip, I think, is how Snoopy is just sitting there up until the last panel, where it's suddenly revealed he's the umpire. A good strip I think.

June 23

1. It should be obvious that the intent of this strip is to express "Charlie Brown is a narcissist." This strip was drawn 47 years ago. So the implications of "Charlie Brown loves Charlie Brown," that is to say self-love, are rather different now, in the age of South Park, than back then.

2. Wait, Linus loves Violet? He's like one year old! We've barely seen him in a speaking role yet.

June 24

When you trade pictures with Schroeder, what do you expect you'd get?

There is something rather melancholy about this strip for me. Already we're seeing the age of baseball card collecting receding into the past. Here they're trading full-sized pictures of ballplayers, which I expect was never really popular but might have been a fad once. The day will come, and not too far from now, when this throwaway strip meant to be understood by kids and adults of 1954 will be one of the sole surviving records of baseball player picture trading. In fact, given both Peanuts' survivability and huge place in our culture, it may some day be the last record of a fad that may once have enthralled whole schoolyards.

Peanuts was not written to be a cultural artifact but to be comprehended to readers of the time. Comic strips are particularly ephemeral because of their nature, because it's too much to ask of a cartoonist tasked with producing new material daily to give thought to his work's long-term relevance. Yet so they remain, and will only increase being so in the future, vestiges of an age long dead.

But, you know, ha ha! He gave him a picture of Beethoven!

June 25

It may seem weird that Snoopy could hold so much water until you realize that he must be mostly sponge.

June 26

That's a damn frilly sandbox for Charlie Brown. And it's also a rare show of affluence for the kid. It's usually Violet who would have the frilly, expensive sandbox, and Charlie Brown who would be the observer, and it'd also be Violet who would be showing it off.

The attitude of Charlie Brown here is interesting. Who must have built this sandbox? I don't think his parents, and anyway I can't picture Charlie Brown speaking so badly of his folks. I think he must be talking about the workmen who installed it. But what could that mean, that he commissioned the thing?

April 12-17 1954: A week at once

Let's do a batch of six this time.

April 12, 1954:

This is the first strip of a new running gag, where Charlie Brown reads something about Beethoven aloud to Schroeder from a book, and he reacts loudly to it.  Like Snoopy vs. the Yard or Linus' surreal block-building skills, or indeed Charlie Brown drawing cartoons, this goes on for a bit.  Schulz must have found the idea interesting.

April 13, 1954:

More development of Charlie Brown's defeatist personality.  There is no hard dividing line between what I call "early" Peanuts and "classic" Peanuts, the strip's evolution isn't actually reducible to those terms, but if we accept them anyway I'd call this definitely a "classic" strip.

April 14, 1954:

This is the first time Snoopy has been shown digging.  It's a good pose for him.  The first panel shows Schulz's new, loosened style for drawing him.   Snoopy has already evolved quite far from the cute little puppy that walked beneath Patty's window.

The throwing of the golf clubs is slightly shocking, because they are presumably the result of an action performed by (gasp!) adults.  We should be coming up soon on that weird section soon with Lucy in the golf tournament, which actually has adult figures in it, although never their faces in detail.

April 15, 1954:

Next on his reading list: "Who's On First," by B. Abbot and L. Costello.

April 16, 1954:

This shows, a bit, how Peanuts kids differ from real kids.  What child in the world has ever said "Well!  What an insult!" in response to anything?  I assume from this that the fussing in question is a kind of unspoken, whiny kind of thing, which Schulz didn't attempt to depict visually like he did with the white noise from a few days ago.  He could have depicted the singing with a musical note, but it would have spoiled the joke.

April 17, 1954:

Oh I am so not making a "two girls one dish" joke.  I'm only mentioning it here to prevent any of you from bringing it up in comments.