June 14-19, 1954: Let's play H-Bomb Test!

June 14

No cutting and pasting here. Charles Schulz draw out every "BANG" in this strip, or I don't see any at duplicates at least.
June 15

A simple Murphy's Law type of premise. It's another look at the famous doghouse too, which implies that Snoopy must have an owner, whoever it is.
June 16
gocomics.com's image for this strip is a duplicate of June 14th's. Can anyone with access to the Fantagraphics collection fill us in as to what's supposed to be here?
June 17

The drawing of Snoopy eating the ice cream scoop is rather charming.
June 18

History: Wikipedia notes "The first fusion bomb was tested by the United States in Operation Ivy on November 1, 1952, on Elugelab Island in the Enewetak (or Eniwetok) Atoll of the Marshall Islands, code-named 'Mike.'"
This is one of my favorite early strips, it really sticks out in my memory. Lucy is extremely, panel-fillingly loud for the first time, an ominous development from the young girl. The seriousness with which Charlie Brown pushes down the plunger and Patty holds her ears is great. And of course it's a reference to the biggest damn firecrackers the human race ever made, which were new developments at the time.
As a purely random aside, the comparison, however slight, between a child and a piece of nuclear weaponry unavoidably reminded me of this.
June 19

When you have two characters talking to each other in a comic strip, and their words are the point of the strip, it becomes necessary to have them do something with their bodies during that time. Unlike as with mere text, here a comic strip's graphic nature provides extraneous information, and could actually be distracting if not handled well, but if not considered could lead to the infamous "talking heads" effect. It happens enough, in most humor strips, that a cartoonist must make plans for it. (In dramatic strips, the quality of the drawing and the "camera angles" might be enough to sustain interest.) It is a fundamental problem for most cartoonists who hope to have careers longer than a couple of years. Bill Watterson of Calvin and Hobbes would sometimes approach talky, philosophical strips by putting the two in a wagon and sending them over a cliff; this is one of the many reasons we love Calvin and Hobbes.
Throughout Peanuts' run, characters do various things when there's a talky strip, such as walking across a field, sitting beneath a tree of standing behind The Brick Wall. There are probably thousands of such strips, and this is one of them. It is probably not the case that Schulz obsessively planned these out, but in this one at least the art serves to accentuate the conversation: the balancing in the first panel illustrates the carefree nature of the conversation, Charlie Brown hiding behind the tree shows he's anxious about his upcoming revelation, and having the characters sit at a curb in the four panel lets Schulz draw CB in an appropriately slouched pose.
One thing about this strips that has always subtly bothered me is how rapidly the characters change poses. They go from playing on the curb, to walking across a field, to a small tree, then back to a curb, over the course of a three-sentence exchange in a single conversation. Peanuts characters are not generally shown as being hyperactive, but there is a certain restlessness here.

Sunday, September 6, 1953: MAYBE

This one's awesome for that last panel, and that note of concern you can hear in Charlie Brown's voice. Yes I said hear. I know they're just words on the page, that doesn't mean I can't hear it.

This does put the uncertainty back into just who is Snoopy's owner. It still has not been conclusively said at any point, it's just been implied from time to time.

Sunday, August 16, 1953: Full Frontal Snoopy

More three-quarters' drawings of ol' Snoops. We also get more of his thoughts, again delivered as speech balloons. Here it is obvious that none of the kids can hear his thoughts. I think we're approaching the point soon where Schulz abandons the speech balloons for the dog's thoughts and switches over fully to thought bubbles.

August 1, 1953: Plaid Ice Cream

Y'know, I think this is a common attitude with kids. I know when I was little I thought chocolate was just better, generally, than vanilla, which seemed like plain, or "default," ice cream.

Plaid, however, is not one of your more common flavors. Funny thing is, Schulz has used this joke before. I do think it's common for kids to confuse flavors and colors, a state of affairs that is not, I'd say, helped by modern kiddie marketing.

July 15,1953: A trapeze?

Lucy's gym set sounds hardcore. Overlooking the parallel bars and trapeze, does it really need a siren?

June 27, 1953: He who hesitates is lost (or at least gets no ice cream)

Lucy is what we might call an expert drinker of other peoples' milkshakes.

Chagrimace!

June 18, 1953: Lucy in a chase strip

Charlie Brown is enjoying that ice cream a little too ostentatiously, isn't he? That's why this strip is funny.

Although Lucy certainly becomes the most rancorous Peanuts character, this kind of harassment is not really what we think of as her "style," I think.

Sunday, August 3, 1952: I can taste that ice cream now coursing through my veins!

I love the second panel for this one. Simultaneously delicious and disturbing.

Lucy's confused copying of Patty and Violet, to me, are an unexpectedly important part of this strip. It's a mocking echo of Charlie Brown's torment! She is become Nyarlathotep, the Crawling Chaos! Ia! Ia! ...

Oops, sorry about that. I should probably tone down the Lovecraft references, heh.

In the next-to-last panel, it is weird to see the girls hiding from CB's wrath. There isn't even any lead up to it; the girls are suddenly in the background behind those trees. Then in the last panel they're instantly back.

Oh, and how about that look on Lucy's face in the first panel? She really seems to be into that wagon.

Sunday, June 1, 1952: Don't let him bluff you!

This is one of my favorite Peanuts strips of all. It's just really funny. I've related this one from memory to people on several occasions. Artistically it's pretty good too, the characters don't look like disassociated images that don't relate to each other except by proximity here, which I think is a problem sometimes with Peanuts. Look at Snoopy jumping up on Charlie Brown, and the two running around the tree. I think this is Peanut's first really great Sunday strip. It all works extremely well here. Schulz must have been pleased with it himself, I think, and yet in the cartooning biz there is no time to bask in the glow of a well-made strip; it's always, immediately, on to the next one.

Notice Snoopy gets a thought balloon here containing English words (his second ever), but it isn't the traditional style. It has a tail here. Snoopy's reaction is priceless. "Can this be true?"

And in terms of construction this is also an excellent strip. It's one of the first Sunday strips which tells a complete story instead of a collage of related jokes. Notice how Charlie Brown and Snoopy's positions have become Patty and Charlie Brown's, respectively, in the last panel.

October 3, 1951: Guess I'll go eat some worms

Charlie Brown takes a big step towards his familiar personality with this strip, in which Snoopy rejects him in order to beg for Patty's ice cream cone. The falling leaf in the last panel is a nice touch.

May 16, 1951: Beware of dog

Snoopy's a nice touch here, although is it just me or does he look like was added as an afterthought?  It has to do with his mouth overlapping the ice cream in the last panel.

One of the more pernicious influences of Peanuts is a number of cartoonists who think it's acceptable to make clip art of their characters in all their poses and just paste them into the document. Schulz was far too much of a craftsman to resort to this, but he did admit that he had a number of stock poses he'd most often draw the characters in.

Snoopy's appearance in the last panel here looks like it was just overlaid upon the frame, but I think it's more likely that Charles Schulz just lightly inked the overlaying portion of the cone. If the cone were drawn to the point where Snoopy's snout directly overlaid it it'd be harder to read. You can occasionally see the light inking idea in other strips in the early era, when a character is standing in front of another, for example.