April 9, 1953: The Mystery of Schroeder's Piano

One thing about Peanuts is how it plays sometimes with the line between cartoonishness and reality. Between the two, it usually sticks pretty close to reality, at least in its physics, which makes the occasional launches into surreal logic, such as here, more effective. That's important. If crazy things happen all the time, the reader comes to expect them, and they have much less of an impact. Lots of webcomics get this wrong.

April 8, 1953: On the mound: Charlie Brown's pitching isn't that great

These are the strips that initially establish Charlie Brown's lack of playing skill. Not really a lot to say about them other than that.

April 6, 1953: On the mound: Charlie Brown dodges his first line drive

A notable series much later has Charlie Brown getting hit by a line drive and lamenting how his reflexes are going as he gets older.

Sunday, April 5, 1953: Charlie Brown's first breakdown

Remember when I said that a character's personality tends to become set the moment other characters refer to it? This is what I mean. Charlie Brown's exaggerated reaction could be taken as cartoonish hyperbole right up until Violet and Patty remark upon it. That proves that his hysterics are intended to be hysterical, and the relief the reader feels at having any first reaction to CB's weird behavior as weird justified lends extra comedic punch to the strip.

Roasted Peanuts: dedicated to over-analyzing each strip to the point where all humor is lost!

(P.S., Again I feel compelled to remind you: don't give your own dogs chocolate creams, or indeed chocolate anything. Chocolate is toxic for dogs.)

April 4, 1953: Of interest to trivia quizzers

Q: In the comic strip Peanuts, what is Violet's last name?



[In case the img source for this comic goes dark later: it is Gray.]

Characters with last names that we know:
Charlie (and Sally) Brown (of course)
Linus and Lucy (and Rerun) Van Pelt
and now: Violet Gray

There are a few other characters with known last names. "Peppermint" Patty has one, Reichardt.

April 3, 1953: Kid spite

So they asked Charlie Brown for his opinion specifically to go against it? That's not very friendly. The wide smile on Schroeder's face doesn't seem to bear much malice; they don't appear to be intending to pass judgement on Charlie Brown with their action. It's just the way they decided to pick a color.

After a few strips that appeared to fairly solidly clinch Snoopy's owner as Charlie Brown, this one throws the question back up in the air a bit. Why would they be painting Snoopy's house if he were exclusively CB's? Wouldn't they grant his opinion a bit more weight in that situation?

Chagrimace!

April 2, 1953: On the mound: I think they're scoring a little high

How does a team earn 89 runs in a game that's not even over yet?

One potential problem, avoided I think, with this strip is the use of the word "home" in the last panel, which is a baseball term. Schulz plants the idea of Schroeder's home life in the reader's mind in the third panel however, which allows CB's line in the last to be more cleanly read as referring to Schroeder's house instead of home plate, would would have confused the joke.

April 1, 1953: On the mound: Charlie Brown's fast ball

Between this strip and the previous one, we're establishing Charlie Brown's notable lack of skill as a pitcher.

There are a number of stages in establishing a trait for a character:

• First, the trait is exhibited in a joke, but isn't remarked upon. It just happens. The character is being used more as a stand-in for a kid rather than himself.
• Next, the character, after the trait has been exhibited a few times, becomes known for it. This stage comes when other characters begin remarking on the trait as being associated with the character. The remarking shows that Schulz is intent on taking the character in this direction, so he mentions it to it'll stick in the reader's mind.
• Later the character becomes so associated with the trait that Schulz can just use the character as a shorthand for the trait, without even having to explain it in the strip, relying on the reader's past knowledge of the character to supply the punchline. Schroeder is arguably in this state already with his distinctive musical ability, but the other characters are still gelling.
• Finally, the character may become so associated with the trait that the character's presence itself may become a punchline. I don't think we see this for quite a while, though.

March 31, 1953: On the mound: Schroeder the catcher

This is the very first of a staple strip-type of Peanuts throughout its history, Charlie Brown the pitcher interacts with a member of his team who has come up to talk to him during a lull in the game. It even has Charlie Brown's usual expression of annoyance at having to put up with one of his teammates. It is missing the pitcher's mound, but that's fairly minor.

This is also, to my memory, the first time Schroeder has been catcher, which pretty much becomes his set role on the team.

March 30, 1953: Lucy could take the circus or leave it

I didn't get this one as a kid, reading Peanuts compilations from the library of our elementary school. I didn't get the meaning of the phrase "holding it over my head". Just another demonstration that Peanuts isn't really made for children.

Circuses really aren't all that hot when you think about it. Too much forced joviality, too much seediness just off the sidelines. (Of course, the seedy atmosphere is why some people like it.)

Too many clowns.