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.

October 2, 1951: Year 2

He doesn't get that the adult piano is so big Schroeder's tiny arms couldn't possibly stretch to the end of the keyboard from his seat?

---

This strip marks the beginning of Peanuts' second year of publication. During that time:

The characters of Charlie Brown, Shermy, Patty, Snoopy, Violet and Schroeder were introduced, and all are still in rotation, although sights of Shermy are already kind of infrequent.  We've also seen an anonymous bird (chased by Snoopy) and an unknown dog (seen chasing a car).  We've heard Charlie Brown talk about his dad, and characters have also with an unseen druggist.

Charlie Brown's already begun to settle into his eternally-pessimistic personality.  Patty is his main antagonist, and sometimes shows signs of malevolence, but not quite up to Lucy's later volcanic standards.  Violet is more girlish in general.  Shermy's pretty much a non-entity.  Snoopy is very doglike, although he sometimes gains human attributes when it suits a joke.  Schroeder was first the strip baby, but very soon became the strip musician, although he's still obviously younger than the other characters.

We've seen a fence a couple of times that CB's seen things drawn on, and he's drawn on it himself.  The characters have spoken of school, but no school scenes have appeared yet.  

Let's have another look at the first strip for comparison purposes:



Eye ovals have become thicker, characters are overall cuter, heads (except for Charlie Brown's) are less ovoid, and, although it's hard to tell with Schroeder's still ill-defined hair, its shape plays a bigger role in defining a character's head.

October 1, 1951: Visual Splendor

I like this one, mostly, because of the quality of the background art. Usually Peanuts didn't lavish that much attention to it (rightfully focusing on the characters), but earlier on there were some nice scenes. Scenes like these.

While we're here, let's take a moment to look at how the characters post in the frames. One of the things about cartooning is that there's really not a huge number of ways to draw each character, and in Peanuts this is often exacerbated by the extreme stylization of the characters.

There are only three poses in this whole strip: walking, standing, and arms-outspread. What's more, three of the panels the characters do nothing more than walk, and two of them would be identical in graphic content if it weren't for the backgrounds, and the fact that they're at the opposite point in their stride (check panels 2 and 4). Later in Peanuts' history the characters would lose some of this flexibility, so Schulz will provide the visual interest in other ways, like zooming in on one character as they sit beneath the Tree, or by having walking characters visit the Wall for a panel.

The stride is an oft-used cartooning trick to show walking: the character at side-view, slightly in the air, one leg out front and the other behind, the arms positioned opposite. But in panel 1, Schulz uses a three-quarters stride, which is rather uncommon.

The explanatory arms-outstretched post in panel 3 I like. Why does this pose seem natural to us?

October 1, 1951: Visual Splendor

I like this one, mostly, because of the quality of the background art. Usually Peanuts didn't lavish that much attention to it (rightfully focusing on the characters), but earlier on there were some nice scenes. Scenes like these.

While we're here, let's take a moment to look at how the characters post in the frames. One of the things about cartooning is that there's really not a huge number of ways to draw each character, and in Peanuts this is often exacerbated by the extreme stylization of the characters.

There are only three poses in this whole strip: walking, standing, and arms-outspread. What's more, three of the panels the characters do nothing more than walk, and two of them would be identical in graphic content if it weren't for the backgrounds, and the fact that they're at the opposite point in their stride (check panels 2 and 4). Later in Peanuts' history the characters would lose some of this flexibility, so Schulz will provide the visual interest in other ways, like zooming in on one character as they sit beneath the Tree, or by having walking characters visit the Wall for a panel.

The stride is an oft-used cartooning trick to show walking: the character at side-view, slightly in the air, one leg out front and the other behind, the arms positioned opposite. But in panel 1, Schulz uses a three-quarters stride, which is rather uncommon.

The explanatory arms-outstretched post in panel 3 I like. Why does this pose seem natural to us?

September 29, 1951: Shermy's dog?

In this strip, it seems that Shermy is Snoopy's owner.

I like this one for the cross-hatching work on the rain in the second and third panels. It's just a really cool effect!

September 28, 1951: Can I have two tens for a five?

This is another of my favorite early strips. It's enough to make me wonder if Charlie Brown has a touch of dyslexia.

The root of this joke, alluded to in the title, is the same as in the old vaudeville routine where a sharp asks a rube for incorrect change. We take more notice that all the necessary things are in the proposition than of whether they're in the correct places.

September 27, 1951: Cigar-Box Banjo

Schroeder actually doesn't do much in the past three strips other than play the piano. The humor comes mostly from the other characters reacting to it. A tremendously silly thing is not as funny as people dealing with it.

As the strip gets older, the characters eventually kind of become creatures of their settings. Schroeder eventually becomes seen in few places other than before his piano, which also means that Lucy, the other resident of their little two-kid pocket universe, becomes his main contact with the rest of the Peanuts world.

September 26, 1951: Yeah, That'd Probably Be Asking Too Much

Another in the Schroeder-as-musical-prodigy series. There is also a first in this strip: it's the first time a character is represented as participating in a real-world organization or event, long before Snoopy's games at Wimbledon.

Let's note the progression of the joke:
Strip 1: Charlie Brown introduces Schroeder to the Piano. The gag: he takes to it immediately, and brilliantly. The punch comes from the suddenness of the ludicrous situation.

Strip 2: Strip beings with the ludicrous situation, set up by the past strip. The gag comes from examining its consequences. Punch is added by making it even more ludicrous, by taking the already-amazing event of a baby playing piano extremely well and making him a composer, one who's even titled his work despite being barely verbal.

Strip 3: Begins again with the ludicrous situation, but now takes it for granted. The punch comes from putting a lampshade on it; Schroeder is talented enough to tackle Braham's First Concerto but not the second because he's "only a baby," even though no baby (except maybe Mozart) could do any of these things. This also subtly normalizes the situation.

In tomorrow's strip it'll be completely normalized, and the humor will come from another character interacting with the bizarre sitation.

September 25, 1951: More Schroeder at the Keys

Look at the piano score in the first panel. Intense. Schulz had been quoted as saying he took time to make the scores accurate and loved how they looked on the page. Keep in mind, at this point Schroeder has only said a couple of words, yet he's already titling his compositions.

Another subtle innovation in these strips is a recurring gag template for Peanuts, the blatantly bizarre thing that is somehow real that the other characters can react to. Snoopy is a particular focus for these kinds of shenanigans later (I remember the "whirlidog" sequence, coincidentally also featuring Schroeder), but Lucy gets into some of it too. It works best if the bizarre character possesses an elemental, "force of nature" style of personality for it's a good way to illustrate their strength of will, by presenting it as triumphing over reality itself.

September 24, 1951: The Ceremonial Changing of the Archetypes

AH, it's Schroeder's first time in front of a toy piano, cementing his long-term role in the strip. We even get a good blush out of Charlie Brown while we're at it.

For purpose of winning trivia quizzes later, note: it is Charlie Brown who introduces Schroeder to the piano.