Noveber 29, 1951: Comic books!

The kids' love of comic books is a staple of the early years of the strip. Part of this may be due to the fact that Universal Features Syndicate published comic books in those days, in which many of their newspaper strip characters, including the kids of Peanuts, would feature. I saw an issue of their classic title Tip Top on a dealer's shelf while at DragonCon a couple of weeks ago. It was selling for around $200 dollars, if I remember correctly.

Noteworthy is the fact that, as the decades rolled by and comic books lost their prominent place in kid culture, that nothing really moved in to replace them, except perhaps television. (As we've seen, in the earliest Peanuts strips the kids listened to radio instead of sitting watching TV.) Since then there's been rock music, action movies and video games, but the kids never really caught on to those things. One can only speculate what Schulz thought about those strange advents.

November 26, 1951: Some Advice: Before Hiding, Make Sure You're Playing

How do mistakes like this even happen?

Check out the halftone in the second panel. You don't see that a whole lot in Peanuts.

November 25, 1951: Let Play the Fanfare

It's the first appearance of Schroeder's famous bust of Beethoven! Also, the first time he's said "Beethoven." It's fun to say Beethoven. Beethoven!

Technically that bust breaks the rules about depicting adult figures, but it is just a knickknack, and it's nice to see that Charles Schulz could render realistic faces too. There's so much character in that face. I think half the humor in this one comes from the different art style used to render that bust.

It seems to me that, over time, the characters get bigger. I think it comes from the slightly more mature proportions and the decreasing thickness of the lines. There's usually nothing to compare scale with other than the other characters, but Schroeder's piano and Beethoven bust give us something to judge scale by. Here the bust is bigger than the piano, and juts out over the top. Lucy wouldn't have any room to lean here. Later on the bust fits entirely on the piano, implying that either the bust is smaller or the piano is bigger.

November 24, 1951: Cute, Too

Rather a strange thing for Charlie Brown to be jealous about. The exclamation point over Snoop's head is a nice touch.

November 23, 1951: Patty & Violet Team Up

Violet's status as younger than Charlie Brown and Patty seems to have been abandoned. The two are starting to double-team him as well.

Can you believe that, at just over thirteen months of the strip in, we're over halfway through Peanuts' early period already? If you don't believe me, take a sneak peak at the strip that appears one year after this one. In the next year are introduced Lucy and LinuxLinus, and Snoopy starts getting thought balloons.

EDIT: Fixed the link. Thanks Zachary!

November 22, 1951: Starring Patty as the Queen of Hearts

It's the Scribble of RAGE! Grrar!

This seems very much like a Lucy maneuver. This seems a somewhat misogynistic strip, doesn't it? How would we feel about this if it was, say, Shermy who was his opponent?

November 21, 1951: Snoopy likes parties

Does this mean Charlie Brown now definitely owns Snoopy? I'm not sure, because he seems to be treating Snoopy as more of a colleague, an equal, than a pet. He says Snoopy has the biggest appetite of "anyone I know."

Check out Charlie Brown's jacket. It's like a suit version of Patty's dress! That pattern of lines, that continues through the fabric of clothing regardless of body contours or perspective, is not uncommon in comics and probably deserves a post off its own. This one isn't it, though.

Also, look at Patty's cross-legged pose while at the phone. It seems like an ungirlish pose, sure, but it's especially weird because Schulz doesn't cheat on the size of her foot there, and so it comes up to the length of her lower leg. It's a pose that's pretty much impossible in real life.

November 20, 1951: And They Disapprove of Baby Bottles In The Orchestra Pit

Speaking of Schroeder....

Many strips these days aspire to just the crazy stuff from Peanuts, without copying the normal strips in-between. Those strips reset the norm, regrounding the strip's world in reality, which makes it more effective when the strip takes another flight of fancy a few weeks later.

November 19, 1951: Does He Watch the Dog Whisperer?

This marks the point where Snoopy begins to progress beyond just being a generic dog to being something strange and wonderful but, somehow, other. Like when Schroeder turned out to be a musical prodigy and Schulz could make jokes about an infant playing in a concert hall, now we have Snoopy with a TV antenna.

Those jokes are funny because the characters, up to that point, have been represented pretty realistically. Snoopy has always been a dog foremost and Schroeder was a baby before he became a musician. More locally, in the strips immediately preceding this one (and the last one, which also focused on Snoopy's intelligence) we had several strips which were about CB and the girls, depicting fairly normal happenings that could conceivably happen in real life.

As readers became used to the characters in their new roles, to continue to get laughs from them Schulz will have to vary his approach. In Schroeder's case he reins in the unreality a bit and has him play off other characters. In Snoopy's case he goes all-out, making him weirder and weirder. And weirder.

By the way, that third panel is just marvelous. Look at it, the whole joke is contained just in that one panel. It's an excellent sight gag. The panel could really stand on its own, Far Side-like; the other panels serve to accentuate it, but they aren't really needed. (Although Patty's looking back in the fourth panel, eyebrow raised, is pretty cool.)

November 17, 1951: The Smartest Dog Alive

Snoopy hasn't been appearing for a bit lately. His design is subtly different here; he's wider, his body is thicker, he's less puppy-like, and his ears are rounder. His personality also continues to develop.

The problem, or the continuing battle I should say, of drawing a comic strip for years and years is coming up with new expressive ways to draw the characters. If you don't continue to find new ways to have them express themselves then you might as well be using clip-art. The change in the way Snoopy is drawn between the second and third panels is important, to illustrate his increasing pleasure as being complimented. His uplifted tail, his eyebrows and that aura around his head increase the perception of happiness, so the effect is so much greater in the last panel when it comes crashing down.