This strip is a solid point of development towards Snoopy's status as a foil to Charlie Brown. There's a lot of other classic elements in this strip: Charlie Brown's failures as a ball player, Schroeder's role as catcher, Snoopy kind of playing a role as a fielder and his playfulness, and CB's impotent reaction to it at the end.
Notice:
* The short distance between the pitcher's "mound" and home plate, and how Charlie Brown has to throw the ball in an arc to avoid the strip's title.
* Snoopy's cloud of "R"s in panel five.
* The tiny Patty off the field in panel six. There's another tiny figure in the background, but I can't tell who it is.
* Panel nine: "Oh good grief!"
* The vigor and looseness of the entire sequence. I think this is Peanuts art at its height right here.
* Snoopy's smug expression in the last panel. That dog!
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And that's 1,000 posts, I think! (Blogger's numbering might be counting some future posts I have scheduled that haven't appeared yet.) Posts have been slow as of late, and for that I apologize, but it's been some weird times out here. We've got some interesting strips coming up though so it should pick up for a while, hopefully I can keep up the energy through the next thousand.
Snoopy is back to using thought balloons here, though just one, and he's thinking in lower-case and serif letters.
The content of this strip is pretty light. This could just as easily been a daily strip. The art is worth a little examination though.
Snoopy is still getting longer and more cartoony. We get six drawings of his head in three-quarter perspective here, and like many comic characters when you view them at an angle the cartoonist has to cheat to keep the character recognizable and expressive. This is really one of the black arts of cartooning -- how to distort heavily-stylized characters so they still read as the character when viewed from angles other than straight ahead of the side. The "weirdsnoopy" image I use as my Google portrait, and the hand puppet-like drawings we saw in the very early strips, show what happened when Schulz was still working on getting Snoopy to look good at an angle.
I can only assume it took him a lot of work to find a good three-quarters look for Snoopy, because it doesn't look like an intuitive solution to me. Snoopy's nose is wider when viewed from an angle, his snout seems shorter, and his mouth, instead of wrapping around his snout as a real dog's would, is drawn on as if his face was a flat surface.
I think this is a place where the progression of the art indirectly influenced Snoopy's character development. Drawing him this way is necessary to keep Snoopy's expressions readable, which is especially important here since Snoopy still doesn't use thought balloons very much. These expressions would not work on an anatomically canine head, because a real dog's mouth wraps around his snout. So, to keep Snoopy more relatable and more of a full character, Schulz has to draw him a bit more like he was a human, distancing him from his doggy roots.
As a proportion of Peanuts' 49-year run, Snoopy takes his more recent "bloated" form much more than this look. But that's a bit of a shame I think; I like this look for Snoopy, and I like it when he behaves like more of an everyday dog, although I think the more recent versions of Snoopy have their charms too. They're just different, incompatible charms.
A running theme in Peanuts in the early days is Charlie Brown being dismayed at some obviously false notion one of his friends has come up with, and their refusal to see sense regardless of all other matters. Up until now it's been Lucy who's been Chuck's opponent in this, but sometimes Schroeder sneaks in there as well in his uncritical idolization of Ludwig Van Beethoven. Later on a variety of other characters fill this role, and their notions take on differing levels of actuality. The most-remembered example of this, of course, is Linus' fixation on the Great Pumpkin, which became one of the trademarks of the strip.
June 7
The humor in this sequence comes not just from Charlie Brown's reaction, but the incongruity of seeing a fur hat on the head of Schroeder's bust.
June 8
Sometimes Peanuts' comedy is kind of like a mathematical formula that could be solved for a number of different variables. Character personalities, and cultural signifiers like Beethoven and Davy Crockett, are what realize the jokes.
Schroeder is singing the refrain from the famous song "The Ballad of Davy Crockett," written by George Bruns and Thomas W. Blackburn, written to publicize the Disney movie Davy Crockett: King of the Wild Frontier. The song made the Billboard charts on March 26, 1955 and the strip was published June 6, so it was floating around the cultural mindspace at the time. Come to think of it, this explains some of the other Davy Crockett references in the strip. Here you go:
Incidentally, there is another, more recent, alternate-reality version of that song, written by They Might Be Giants:
June 9
Charles Schulz was from Minnesota, and although he moved around a bit (to Colorado and later to California), it typically expresses a midwestern kind of humor, self-deprecating and wry. For more, turn on A Prairie Home Companion on your local NPR station, or alternatively go get some Mystery Science Theater 3000 DVDs. Go on, I'll wait. (No I won't.)
June 10
Lucy's brand of evil is currently directly only towards her brother. It takes some time to fester and flower into the true breadth of its malevolence.
June 11
At the time Schulz's first son Monte would have been about four. I don't know if this is the title of a real book or one that Schulz made up for the strip.
On gocomics.com's archive, this sequence begins here.
Sunday, May 29
I should certainly say Lucy drives Charlie Brown crazy. She has caused him to hallucinate his kite string turning into a heavy anchor chain! It's not like we can believe that was one of the "few things" Lucy had. The question remains how Charlie Brown was able to run that chain up high enough into the air so that it could ground the kite with such a resounding CLANK, not to mention how Lucy brought it to him in the-- you know what, skip it.
May 30
Pinky Lee was the star of a children's TV show in 1954 and 1955. His catchphrase was "You make me so mad!" The Wikipedia page on him notes that he collapsed on-air later in 1955, which the audience of children had assumed was part of his goofy act. This basically ended Pinky's role on the show, although contrary to rumors at the time he didn't die until 1993.
June 1
By my reckoning, this is the first time Linus has ever had an attack due to the absense of his blanket. Lucy's attitude towards her brother's flannel dependence varies from warmly supportive to fierce antagonism.
June 2
At least he didn't say Beethoven!
June 3
I spoke too soon. Good grief!
June 4
He still COULD have licket Crockett, he just had something else to do.
We could take a bad message away from here if we were to relate Lucy's silly concerns with those of the then-nascient environmental movement. Lucy's had enough weird notions in that head of hers from previous strips, however, that I find it possible to ignore that reading.
May 3
This is Peanuts' first "full" story, consuming every weekday strip for the week. The whole thing is her imposing her concerns upon her friends. I note that the only value judgement made by any of the cast members on her concerns is made here, by Charlie Brown. All of the other reacting characters wear Peanuts Expression #24, "blank observation." Her face in the first panel is vividly rendered. ("Good grief" sighting.)
May 4
It's easy not to notice that Pig-Pen is in this strip, but without his trademark dust cloud, perhaps because it would confuse the gag of the strip.
May 5
This strip and the previous this one are the same general joke, and they have exactly the same punchline. It feels like Schulz is padding out the story here.
May 6
It's not just that Lucy believes her friends are eroding the Earth, it's that she's vividly imagined it as becoming the size of a basketball, an image worthy of Antoine de Saint-Exupéry.
May 7
This isn't the first time Lucy has responded to a direct refutation of her beliefs with a non-sequitur counterattack. Lucy's not the sort to waste too much time on introspection.
Lucy is still flexible enough to be used with her earlier, naive personality. Innocent characters in Peanuts tend to be capable of amazing feats, abilities that they lose as they gain maturity. That explains Linus' various skills, Snoopy's occasional reality-defying flights of fancy, and Lucy's skill at shooting marbles here. Like a guardian angel, this ability protects the character from those who would take advantage.
This is one of those strip concepts Schulz returns to later. I remember there being a similar strip involving Snoopy, who befriends a snowman, and is heartbroken when it melts away. Cut to Charlie Brown and Linus, who have been watching. Linus: "Poor Snoopy, he's too sensitive." CB: "I notice he's not too sensitive to eat the carrot." I'm paraphrasing, but it happened more or less like that. Even the carrot eating is here, which makes me wonder if that later strip weren't a conscious callback on the part of Schulz.
Anyway, this strip provides a good example of Charlie Brown's developing depression. He really takes this too seriously. I mean, going so far as to beg the sun to stop shining? Wow. A futile statement of man protesting against the universe! I smell a thesis coming on....
As the first panel indicates, snowman building is an artistic statement with Charlie Brown. He's a sculptor who works in the medium of snow, and he's at least got Schroeder's admiration for it.
I wonder if this isn't some kind of statement, conscious or not, by Charles Schulz about the ephemeralness of his own medium? Peanuts will probably be around much longer than other concluded strips, mind you. There are a lot of forgotten newspaper comics out there.
We had another strip like this not long ago, where Charlie Brown didn't seem to come out of it too badly, but poor Snoopy was overwhelmed. Like in that strip, the funniest thing to me is how effortlessly Charlotte Braun belts out her words. There's a good set of lungs on the girl.
Oh no. Oh, no no no no no. What character in comicdom can get something as willfully wrong as can Lucy Van Pelt? Other than Mallard Fillmore, of course. Lucy actually knows she's wrong unconsciously, I think, which is why she sets herself against Charlie Brown's disagreement before she even hears his opinion. She's so happy with her discovery.
Notice... both here and in the previous strip, Schulz draws forward-facing characters with neutral expressions without a mouth, possibly for parity with the way he draws his characters when they face the side. He experimented with this a time or two before. He abandons it eventually.
Another mouthless face. And Lucy called Charlie Brown's face funny-looking.
Charlie Brown has some standard ways of expressing displeasure, which are already beginning to get set in. 1. "Good grief." 2. "I can't stand it." 3. "My stomach hurts."
1. "Poor ol' Pig-Pen" indicates a certain amount of resignation from Charlie Brown concerning Pig-Pen's condition.
2.
The joke about raising a cloud of dust while running on a sidewalk
would be reused multiple times over Peanuts' run. This is the first
use.
3. This is a hilarious strip in how throughly it imagines the
intersection between those two ideas, "Pig-Pen" and "candy." "I can't
get it out of my pocket... IT'S STUCK!" Oh god.
4. Pig-Pen
is totally ignorant of Charlie Brown's discomfort. That kid must have
an amazing immune system. I'm reminded of a bit from James Herriot's All Creatures Great and Small
books where the Yorkshire country vet describes the amazing health of
the kids of the local knacker-man, who have been brought up all their
lives amid the end-products of the most amazingly deadly livestock
diseases.
5. Charlie Brown's concern for Snoopy's well-being is touching in a way. The dog helped him out, it's only right he return the favor. (If the candy had fallen on the ground, it might not have gotten any dirtier but Pig-Pen might not recognize it as being any more sullied. He may even have found it there.)
6. Good grief!
7. Scribble of... what, really?
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Sorry for the delay in this update. Foolishly, I went ahead and updated to iOS 5 only to discover my blogging client crashes when uploading images on it, so I'm going to have to use Blogger's web interface to post for a while.
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.
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.
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.
Good grief! Is this the first time this trademark phrase has been used by a Peanuts cast member? I don't see it in my previous tags.
Lucy's personality isn't just a festering ball of evil, she has some rather weird quirks. (Fuzz? Really?) This strip helps to solidify Charlie Brown's developing role as long-suffering straight man. Schulz doesn't let him off the hook completely though; his fear of bugs at the end serves to unify his and Lucy's perspectives, showing they really aren't different.
Three more strips that were presented glued together.
March 8, 1954: Linus and his blocks again. As we saw yesterday, the kid gets a lot of use out of them. For him, a pile of blocks is a protean meta-object, a thing that can become other things.
March 9, 1954: How does Lucy say the words "Pat him on the head"? Is it a suggestion? A request? Is she just narrating her own action?
Charlie Brown's a bit more familiar with Snoopy than the others, calling him "ol' pal." It's still some time before we have conclusive evidence Snoopy is his dog, though.
Snoopy's face on that second panel is a winner. In the last two panels he thinks again using word balloons. In the third he does so near humans, but none of them throughout the strip seem to recognize his discomfort so I think it's safe to say they can't understand him.
March 10, 1954: Give Linus a stack of blocks and a place on which to stand, and he will build the world.
February 4, 1954:
Linus: kid of impossibility! This is what I was talking about, some time back, about the Van Pelt children being kind of... uncanny. While Lucy grows into her powers and becomes a supervillainess, Linus, taking Jesus Christ as his model, chooses the role of teacher. Well, eventually.
February 5, 1954:
Poor ol' Charlie Brown. Poor ol' frustrated Charlie Brown.
February 6, 1954:
This is a great strip! I love the third panel especially:
We know these characters so well now that, even without the other three panels, we're pretty sure which of the two kids is saying YES and which was saying NO. But even by their postures, Violet seems just that much more adamant.
A points of note in the art:
In the zoomed-in panel, notice that the characters don't look as angry in the other panels; their emotion is diluted by the energy they're putting into shouting.
Surprisingly many of Peanuts characters have a special talent, one that overrides the limitations of real life. Snoopy has many such "powers." The force of Lucy's anger (later on) is terrifying to behold. Charlie Brown's ability to lose has already been been demonstrated while playing checkers. And Linus has a way of making or doing things that doesn't seem quite "right." Stacking the blocks like he does in the first strip is an example. He's also great at blowing up balloons halfway, and other unlikely feats of what I'm going to call, for lack of a better term, dexterity.
The second strip is the first time we get something akin to a stream of dialogue from Linus. Until now his words have been things like "dottie dottie" or loud laughs of derision in the face of Lucy's selfishness, but here are several full sentences. Noteworthy, however, is that although his words are in speech bubbles so generally are Snoopy's, and neither character has been shown using full sentences to communicate with the other characters.
I like how big kids are represented as running in herds that clean the floor of toys in their wake, like cattle devouring whole fields of grass.
Setting aside why CB (using "Good Grief" for the second time) feels he needs to obey Lucy's request for his milk.... is she drinking through her nose? Why doesn't the liquid spill out?
(Sorry this is a little late. Blogger likes to sometimes take posts I mark for "scheduled" and set them to "draft" without telling me.)
