February 6-13, 1955: Square Balloons and Valentine's Day

We have a fairly uninteresting Sunday strip to lead off, so I included the following week with it. And then just to go that little bit farther, I included the next Sunday strip in with it.

Sunday, February 6

Well, they can't all be winners. Although the sight of a snowman with extremely long arms is kind of amusing. Next!

February 7

More of Linus' square balloons. This does make it a lot easier to store them. By the way, I like how the cartoon convention that blown-up balloons automatically float upward is ignored here. People don't typically exhale helium dammit.

February 8

I wonder if Charles Schulz drew this one in response to letters asking Violet's question.

February 9

This is a good example of something Schulz is good at, taking an absurd premise and elaborating upon it entertainingly. I believe it's not impossible to create a balloon that would blow up into a cube, but I don't know if you could do it with just latex.

February 10

We've seen Lucy at the piano before, and we've seen Schroeder cut her down, but this, I think, is the first time when the setting retreats into the background and it's really settled into the Schroeder/Lucy formula. This strip could just as well shown up ten years later.

February 11

Chagrimace. More willful ignorance from Lucy. I guess some skepticism is healthy, but what a thing to be skeptical of.

February 12

Every year, thousands ones of children accidentally construct cages around themselves using building sets. Won't you please give today to the cause of outlawing these horrible toys?

Particularly noteworthy: this is the first time Linus makes an utterance that isn't obviously either baby talk or an internal monologue. From here, it's only a matter of time before he starts quoting the Old Testament.

Sunday, February 13

That car in the first two panels is entirely a throwaway, but it helps to underscore just how much the world has changed in the years since 1955.

That's an uncharacteristically mocking attitude from Schroeder in panel 2.

This is the first strip that focuses on Charlie Brown's problems with Valentine's Day, I think. Although the object of his affections isn't the Little Red-Haired Girl, this is definitely the kind of silly mistake he'd make with her later.

Sunday, January 30, 1933: Tum De Tum Te Da Te Dum ♫

Read this strip at gocomics.com.

Put a crayon in Lucy's hand and the world is her kitty.  Comic characters are susceptible to manias that would get real people committed.  Can't you just imagine a Batman villain whose schtick was drawing lines between dots?  "The Connector."  It can't be any less silly than the Riddler, whose gimmick is providing clues by which he can be caught.

Every once in a while Schulz allows himself a metajoke.  The strips in which people make fun of the size and shape of Charlie Brown's head are among these ("Is that a beach ball?"), as are the ones where Charlie Brown can't hide behind a tree because his head is too wide.  One strip Schroeder even threatened to put in a transfer to a different comic strip.  The last panel here is another such joke.

Some time later, Lucy will ask Charlie Brown if he thinks she has beautiful eyes, and, perhaps risking a pounding, Charlie Brown says they look just like little dots of india ink.

The first frame here is one of Schulz's more abstract lead panel designs.

Sunday, January 23, 1955: Charlie Brown's deep attachment to an ephemeral thing

Read this strip at gocomics.com.

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.

Sunday, January 19, 1955: Nervous energy

Read this strip at gocomics.com.

Charlie Brown started out very slightly antisocial. Now he's moved into obsessive compulsive disorder. He's shown some signs of depression, but it hasn't really set in yet. The market isn't yet large enough to support five cent psychiatrist booths, but it's coming.

December 30, 1954-January 2, 1955: Once upon a time they lived happily ever after

gocomics' archives are missing the strips from December 27-29, 1954. Anyone have access to these strips? Perhaps it's just as well as, other than the Sunday strip, these aren't particularly inspiring, IMO.

December 30

The doggy tradition of eating anything offered to them has its pitfalls.

December 31

But the wool fibers are the best part!

January 1, 1955

Another of the surprisingly long-running series of strips involving Snoopy trying to watch television.

Sunday, January 2

This is a good one. The exchange in the lead panel, "Charlie Brown" in a sing-song voice delivered by Lucy followed by a weary "Good grief" from the other, was probably duplicated in at least one football strip. We've had one strip so far in which Lucy pulled away the football that Charlie Brown was trying to kick (twice), but it was accidental, and it hasn't become a yearly tradition yet. This strip brings us closer to the antagonistic relationship that is at the heart of the football strips.

It's also pretty witty. "Once upon a time they lived happily ever after. The end." That's what we call simplifying the equation right there.

Sunday, December 26, 1954: Schroeder's Mania

Read this strip at gocomics.com.

"You'll never believe this, but I was hoping you'd come over.." Gee thanks, kid.

This strip neatly encapsulates much of Schroeder's character. I remember seeing it in a compilation when I was maybe eight or so. Even then I had trouble believing in the existence of 12-volume biographies of Ludwig van Beethoven in comic book form, Beethoven ballpoint pens and Beethoven bubble-gum, but maybe there's some Beethoven subculture out there I've had no contact with. Is that Beethoven brand bubblegum, or is it bubblegum with Beethoven trading cards? Anyway, "Very scowly."

I imagine one of Schroeder's parents getting him the train in a desperate attempt to broaden the kid's interests outside his overpowering obsession. Because idolization is one thing, but this is bizarre.

Sunday, December 19, 1954: That kids really likes that rubber band

Read this strip at gocomics.com.

When Lucy gives you rubber, Linus makes rubber-ade. And this is full-bore Lucy here, in full Hate Mode. The funniest thing about it I think is Linus' annoyed scribble of ire as Lucy addresses him with a serif'd "Hey!" He knows what's coming.

That's a weird look on Linus' face in the last panel.

Sunday, December 5, 1954: Large-format Pig-Pen

  

Read this strip at gocomics.com.

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.

November 28, 1954: CTHULHU COMMANDS IT

Read this strip at gocomics.com.

This is a momentous strip: it marks the first appearance of imposing, wrathful Lucy. While all the Peanuts characters are complex, I think it's safe to say that this aspect of Lucy's personality will grow and become the most prevalent. It's certainly the most memorable.

It is interesting, I think, that so many of Lucy's most memorable attributes have arisen so rapidly, and over consecutive Sunday strips. Last week we saw a particularly extreme example of her fussiness. The week before saw the first really empathic treatment of her affection for Schroeder. Schulz and Peanuts puts forth the theory that Lucy's character (other than some early bits inspired by their young daughter) was adapted from Charles Schulz's wife Joyce. If we accepted that, then these strips might suggest some marital strife at the time.

It is my own theory that, when forced to create a lot of material over a long period, that it's impossible to avoid revealing and using aspects of your inner self, that eventually it comes out onto the page one way or another. However, I don't think it's necessarily the case that we can draw a direct line from Joyce to Lucy. I think a canny creator will obfuscate matters, and end up combining aspects from different people to write his characters. Still, the rapidity with which Lucy is approaching her mature form suggests (but certainly doesn't prove) Schulz had some kind of breakthrough or epiphany as he was drawing these strips.

Some meta stuff:
Sorry the blog has been slow lately. I've been trying to catch up with old projects (especially In Profundis), and it's left me a little bereft of energy. Am plugging away at them though.

Sunday, November 21, 1954: The Most Aggravating Person In The World

Read this strip at gocomics.com.

This is a wonderful strip overall. Although the punchline (or punch panel) is kind of flat and could have been done in a daily strip, the buildup to it is marvelous. Charlie Brown and Lucy's argument is wonderful and energetic, especially panels six and seven, where the characters lean into the other as they express their anger. Although most of the strip is just talking, it's far from static talking heads, Charlie Brown really acts out his frustrations.

The first two panels make the strip, for that feeling of dread Charlie Brown suffers through knowing what's about to happen while powerless to stop it. (It also gives us another use of thought balloons, which are far from a standard part of Peanuts at this point.) Lucy, as is often the case, argues from a misguided position, but she still believes in it and defends it.

I'm not sure I've seen a strip yet with this much shouting and anger. That recent Lucy and Schroeder strip had Schroeder quite angry, but it was a single burst of emotion, not a sustained assault. This seems like a breakthrough strip to me, in terms of Schulz's depiction of conversation and anger, and just the energy he infuses into it.

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.

November 7, 1954: Linus Van Pelt: Master of Card Houses and the Slow Burn

Read this strip at gocomics.com.

Lucy is such a caring and supportive sister. Her laughter consists of the serif'd letters of malice.

I love how Linus carefully puts all the cards back in the pack before throwing it at Lucy.

Sunday, October 31, 1954: Have you tried changing providers?

There's another missing week in gocomics' archive, from October 25-30. It picks back up the following Sunday, Halloween, although it's not a Halloween strip.

Read this strip on gocomics.com.

Not the most complicated gag in the world. This is basically what people here in Georgia have to do to get a connection with AT&T.

Sunday, October 25, 1954: Schroeder's shameful secret

And we're back!

Remember, one week before this Charlie Brown was heaping ridicule on Linus' blanket. At least the kid is open-minded! The thing that makes this strip for me is Schroeder's look of despair in the last panel. Oh no, I've been discovered!

October 17, 1954: Outing Flannel

Read this strip at gocomics.com.

This isn't Linus' first time with the security blanket, but it's the first time it's presented in terms of providing security. It's not called a "security blanket" yet, but it's almost there, it just needs to connect those two nouns with nothing else in-between. This is a term that entered our language largely because of Peanuts, so this is a momentous strip.

I like Lucy's loud "INSANELY happy!!" I can't picture that coming out of Nancy or Sluggo. Here Lucy is generally in favor of Linus' blanket. Her attitude later on wavers between for and against, with their blanket-hating grandmother pushing her against I think. Charlie Brown, contrary to his general opinion later, seems to be against it on principle, but willing to give it a try. Isn't a blanket more than just a swath of material, though?

Linus' expression in the first panel is interesting, an expression that doesn't read easily. The sequence from panels 6-8 are interesting for how unconcerned Charlie Brown and Lucy are about Linus' feelings throughout their conversation; his reactions to them are pretty funny.

Sunday, October 10, 1954: Snoopy vs. The Yard: Another Leaf

Read this strip at gocomics.com.

Snoopy shows a lot of the passion of his younger years here. Later he's a much more sedate dog, maybe because his late-era character design is incapable of much motion.

Panel two is rather cute, I think anyway. Panel four is a transition between compact, sitting-down Snoopy and stretchy, loose running-around Snoopy.

September 25-26, 1954: That other round-headed kid

Sorry this one's been a few days in coming, I've been trying to get some extra work done on the game project this past week, and yet it's still not coming along real well. Updates will probably be sporadic until after Labor Day weekend -- I'll be at DragonCon again this year, if any of you happen to be there and want to say hello.

gocomics' archive has another hole in it at this point. September 20-24 are all missing. Does anyone know what the missing strips here, or from last week, are?

September 25

This one is odd if you think about it. The only real reason Linus would have to move forward, assuming those being him don't have vision problems, would be so everyone watching TV could fit in the panel at once.

Sunday, September 26

Violet, holding out the chance for affection isn't nearly as useful for behavior modification as a guarantee. We have some more drawings of a clean Pig-Pen here. Other than the hair and clothes, he's actually fairly similar to Charlie Brown in design; he has a similar head shape.

Sunday, September 19, 1954: It's no fun if you just give it to him

The week of September 13-18 is missing from gocomics.com. It's just completely gone; the strip browse sequence goes directly from the Sunday strip of September 12 to the following Sunday.

Read this strip at gocomics.com.

This is a good strip to contemplate how Snoopy's design has changed so far.

He began as a very puppyish dog, much smaller than any of the other characters. While very cute, he looked almost like a piece of clip-art. Many strips these days use images of their characters in various stock poses, but not Peanuts. Schulz gradually began loosening up the design of the characters. Snoopy is the character that would develop into the loosest, and although he's not there yet, he's a lot more flexible here than he was in those first comics.

Snoopy becomes quite thin (especially when standing upright) before expanding into the "balloon animal" shape of later strips. The drawings of him in the first panels are particularly engaging. The wide smile is a distinctive mark of classic Snoopy. I notice in panels six and eight, where you can't see his mouth at all, his snout looks a little thicker than in the other strips.

Sunday, September 12, 1954: Smart alecky kids

Read this strip at gocomics.com

Linus has strange and mysterious stacking powers. Charlie Brown has ordinary and understandable smart aleck perceiving powers.

It's not just that Charlie Brown is bad at making card houses, or that Linus is good at them. It's that the baby character is so much better at it than the older kid. This is kind of a repeat of Schroeder musical genius, and, to a lesser extent, Lucy's ability to beat Charlie Brown at checkers. This stops when Sally is introduced, who appears to have picked up the same gene of mediocrity Charlie Brown got.

Sunday, September 5, 1954: Lucy, Patty and Violet

The beginning of this strip demonstrates how Patty and Violet are slowly becoming a double-act, reinforcing each other's opinions and building up the will to confront Lucy. Lucy is also true to form here, fussing and throwing a tantrum about "not playing her way." (That generic reason for the confrontation and tantrum seems kind of weak, but it serves to keep the focus on the characters and their reactions, and not whatever game it is they're playing.)

This strip also demonstrates that Lucy's behavior is, to some extent, an act she puts on to attempt to get her way. When it's evident that her ruckus is to no avail she comes around quickly.

The drawings of her tantrum are very energetic. Panels five through ten show particularly varied reactions. Schulz must have put some thought into how to illustrate characters pitching fits or otherwise expressing anger/dismay. Note, Charlie Brown hit his own head against a tree not long ago, and now Lucy is doing it too.