Download PDF The Complete Peanuts Vol. 4: 1957-1958 By Charles Schulz
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Ebook About As the 1950s close down, Peanuts definitively enters its golden age. Linus, who had just learned to speak in the previous volume, becomes downright eloquent and even begins to fend off Lucy's bullying; even so, his security neurosis becomes more pronounced, including a harrowing two-week "Lost Weekend" sequence of blanketlessness. Charlie Brown cascades further down the hill to loserdom, with spectacularly lost kites, humiliating baseball losses (including one where he becomes "the Goat" and is driven from the field in a chorus of BAAAAHs); at least his newly acquired "pencil pal" affords him some comfort. Pig-Pen, Shermy, Violet, and Patty are also around, as is an increasingly Beethoven-fixated Schroeder. But the rising star is undoubtedly Snoopy. He's at the center of the most graphically dynamic and action-packed episodes (the ones in which he attempts to grab Linus's blanket at a dead run). He even tentatively tries to sleep on the crest of his doghouse roof once or twice, with mixed results. And his imitations continue apace, including penguins, anteaters, sea monsters, vultures and (much to her chagrin) Lucy. No wonder the beagle is the cover star of this volume.Book The Complete Peanuts Vol. 4: 1957-1958 Review :
There was a time when the newspaper comic strip was HUGE. In the early 1900s, the success of a newspaper was in part due to the comics it featured. That era has long since disappeared, and it often seems that the comic strip is a neglected relic. There are still some good comics out there, but they are getting rarer and the newspapers treat them with less and less respect, cramming many onto a single page that used to hold just a few.Where does Peanuts fit into all this? Well, it is the most popular comic strip of all time. Does any other strip have anything close to its legacy of movies, TV shows, plays, books and merchandise? And happily, it is deserving of its success; it is arguably the best comic strip ever, and certainly one of the top ten or so. As a result, it is not hard to see why the newspapers continue to publish old strips years after its creator, Charles Schulz had died. They don't stop printing it or allow another artist to take it over. The comic strips overall are a pale shadow of what they once were, so repeats of Peanuts can prosper because nothing new can replace them.Volume 4 of the Complete Peanuts is where the characters are really beginning to show their full development. We have Lucy, the champion fussbudget and Linus, her philosophical brother with a dependence on his security blanket. Schroeder is the budding musical genius. Patty, Violet and Shermy are mostly supporting characters at this point; they will be eventually replaced by other characters (but not in this volume).The two key roles, however, are those of Charlie Brown and Snoopy. Snoopy is up to his usual antics, pretending to be a vulture, grabbing at Linus's blanket and relaxing in his water bowl. He also starts his practice of lying on top of his dog house, although his first attempts are not all that successful. Charlie Brown is, well, Charlie Brown, the ultimate loser who the Fates themselves conspire against. Kites won't fly for him, pens constantly smear and if, by some remote chance, his baseball team is doing okay, they heavens themselves will open up and rain out the game. His "friends" are often cruel to him (with the exception of the benevolent Linus and the aloof Schroeder). In a way, the main theme of Peanuts is defined in the very first strip (in volume 1) when Shermy says, "Good old Charlie Brown...How I hate him." This seems to be the way the whole world thinks of this hapless character.Peanuts may seem to some to be just an overrated strip, but I don't think that's so. It may be overly merchandised, but the comic itself is a cornerstone of the genre and one of the most influential strips out there. This volume again shows why Peanuts is one of the all-time greats. This fourth volume shows Peanuts keeping the stride it slowly established over the first six years of its existence. Here the characters pretty much look as they will look for decades to come. The cast also becomes more solidified with Charlie Brown, Lucy, Linus, Schroeder, Pig Pen, and of course Snoopy. Shermy, Violet, and Patty show up far less frequently than earlier. Schulz would add more characters later (most notably Woodstock, Peppermint Patty, and Marcie), but here he established his core cast.Snoopy completely comes into his own here, and his image on the cover couldn't be more appropriate. He appears with startingly more frequency throughout 1957 and 1958. By the end of this volume his top spot gets nearly set in stone. And it's not hard to see why. Here the long transformation from the "real" pet dog of the early 1950s to an almost surreal fantasm of a dog nears fruition (he still hasn't put on his WWI goggles or quaffed root beer yet, though). The imitations that began in the last volume continue inexorably here. He becomes a polar bear, a pouncing wild animal, a sea monster, he imitates Lucy, he gets called "ol' Dime a Dozen" and "Fuzzy Face", he imitates a penguin, and, best of all, a vulture. He also begins to really appreciate classical music (he even accompanies Schroeder on violin), sleeps with his head in his dog dish, and violently whips Linus around by his blanket. The extent of his transformation shows on the January 7th, 1958 strip where Charlie Brown says "The teacher told us to make a drawing of a real dog." Snoopy has truly come into his own. And later on, he became the most recognizable character of the Twentieth Century apart from Mickey Mouse.Charlie Brown continues his quest for something meaningful and positive. But, as usual, some snags occur. He singlehandedly loses the baseball championship, is absent for his team's first win, gets tangled up in a truss of kite strings, and says "rats!" an awful lot. The strip on September 4th, 1957 shows Charlie Brown acquiesing in the very depths of his misery. Linus asks him "Doesn't looking at all these stars make you feel sort of insignificant, Charlie Brown?" He answers, "No, I'm so insignificant already it doesn't bother me." Like most of Peanuts, Schulz brilliantly mixes the sad with the funny.Some of Schulz's legacy also shows in this volume. At least two cartoons appear here that must have provided some inspiration for Bill Watterson, creator of the incredible "Calvin And Hobbes". A Sunday strip from Jaunary 26, 1958 shows Linus vengefully sculpting a hideous snow monster to devour Lucy's "snow bunnies".And, on January 18th, 1958 Linus and Charlie Brown wax historical while wiping out on a snowsled. These remind us that Schulz had great influence on more or less all late twentieth century comic strip art. No one yet has emerged from the enormous shadow that "Peanuts" cast on the medium.One of the volume's absolute highlights is the Feburary 23rd, 1959 Sunday strip. Charlie Brown walks through the neighborhood while the other children scorn, mock, and laugh at him. when he finally arrives home he switches on a radio to hear "...and what, in this world, is more delightful than the gay wonderful laughter of little children?" He gives the radio a good boot. This masterpiece of a strip encapsulates the entire story of Charlie Brown. And this volume helps encapsulate the legacy left by one of the greatest comic strips ever created. Not only that, "Peanuts" not only influenced its own medium, but in the 1960s it influenced television, music, Broadway, and humor in general (especially of the self-deprecating sort). As each volume of this great series by Fantagraphics appears, that influence becomes easier and easier to appreciate. 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