January 30, 1954: Not a scale model

Read this strip at gocomics.com.
When I was in first grade, the library at the elementary school I attended had a number of Fawcett Peanuts collections.  Of course Peanuts is a lot more than just a kids' strip, and I think this may be why I gravitated towards it.  But because of this, some things about it were confusing, and one of the bigger things is illustrated well in this strip.

Notice Snoopy's reactions here.  They are played very far down.  He provides no dismissive thought bubbles signalling annoyance.  He develops no frown or gaping mouth of dismay.  The only clues to Snoopy's internal state here is how he looks at the camera in the second panel, and his overall actions.  He just leaves.  That's rather cold.

Charles Schulz would become a master at depicting the understated reaction.

Note: Argh, Blogger sometimes marks posts as draft when it's supposed to be publishing them.  This should have gone up yesterday.

October 27, 1953: Addressed to Abu Dhabi

The stamp pressed directly upon Lucy's head like that reminds me of the old Garfield strips where he'd attempt to ship someone he didn't like (usually Nermal) to Abu Dhabi.

This is another of the sequence of strips where Lucy demands something of Charlie Brown, but goes too far in her demands resulting in some act of sudden rebellion. Interestingly, the act is never depicted itself; you only ever see its results. I would term these strips turnabout strips; it doesn't necessarily mean a chase is involved.

This kind of understatement is everywhere in Peanuts, once you start looking for it. It's not that Schulz doesn't or can't show the violent act, just that A. as with the chase strips, it's often more effective/less upsetting if the result is left unshown, and B. it makes those moments where the violence is shown (Lucy pulling away the football, Snoopy grabbing the blanket, Lucy slugging someone, Charlie Brown hit by a line drive) more effective.