The second volume in the most eagerly-anticipated publishing project in the history of the American comic strip: the complete reprinting of Charles M. Schulz's 50-year American classic, Peanuts .
Our second volume begins with Peanuts ' third full year and a cast of eight: Charlie Brown, Shermy, Patty, Violet, Schroeder, Lucy, the recently born Linus, and Snoopy. By the end of 1954, this will have expanded to nine. Linus still doesn't speak (except, on a few occasions, to himself, à la Snoopy), but Schulz begins laying the foundation for his emergence as the most complex and arguably most endearing character in the strip: garrulous and inquisitive, yet gentle and tolerant. And he evens acquires his "security blanket" in this volume!
Meanwhile, Lucy, an infant just a year ago, has forcefully elbowed herself to the front of the cast, proudly wearing her banner as a troublemaker or, in Schulz's memorable phrase, "fuss-budget." The strong, specific relationships she sets up with each character further contributes to making her central to the strip. (She has earned her cover status on this volume.)
Charlie Brown is clearly in transition. Although his eventual, best-known persona (the lovable, perpetually humiliated round-headed loser) is in evidence in many strips, his brasher, more prankish side as seen in the previous volume (foreshadowing Bill Watterson's future Calvin) shows up, too.
This period's significant new character is Pig-Pen, who would remain one of the main cast members throughout the decade. And then there's Snoopy. To readers unfamiliar with the early days of the strip, Snoopy's appearances here will no doubt come as the biggest surprise. Although Snoopy has started talking/thinking to himself, he does no imitations (except for one brief shark impression), he doesn't sleep atop his doghouse (much less type or fly a Sopwith Camel), and has no fantasy life—in fact, he doesn't even walk upright! But as we know, he is merely biding his time, and his evolution continues its fascinating course within these pages.
This book collects 730 daily and Sunday comic strips, the vast majority of which are not currently available in any in-print Peanuts collection, and over 400 (well over half) of which have never been reprinted since their initial appearance in papers over 50 years ago. The Complete Peanuts is produced in full cooperation with United Media, Charles M. Schulz Creative Associates, and Mr. Schulz's widow, Jean Schulz. Each volume in the series presents two years of strips along with supplementary material in a three-tier page format that accommodates three dailies or one Sunday strip per page. Award-winning graphic novelist Seth is designing the series so that each individual book is sharply recognizable and yet clearly part of a consistent series. Using archival-quality syndicate proofs for virtually every strip in its history, the series boasts the best-looking, crispest reproduction for a classic comic strip ever achieved. The volume's introduction is by revered news journalist Walter Cronkite.
Peanuts is the most successful comic strip in the history of the medium as well as one of the most acclaimed strips ever published. Charles Schulz's characters have become American icons. A Charlie Brown Christmas is as much an annual holiday ritual for families as It's A Wonderful Life . A United Media poll in 2002 found Peanuts to be one of the most recognizable cartoon properties in the world, recognized by 94 percent of the total US consumer market and a close second only to Mickey Mouse (96 percent), and higher than other familiar cartoon properties like Spider-Man (75 percent) or the Simpsons (87 percent). In TV Guide 's "Top 50 Greatest Cartoon Characters of All-Time" list, Charlie Brown and Snoopy ranked #8.
Charles Monroe Schulz (November 26, 1922 – February 12, 2000), nicknamed Sparky, was an American cartoonist, best known for the comic strip Peanuts (which featured the characters Snoopy and Charlie Brown, among others). He is widely regarded as one of the most influential cartoonists of all time, cited as a major influence by many later cartoonists. Calvin and Hobbes creator Bill Watterson wrote in 2007: "Peanuts pretty much defines the modern comic strip, so even now it's hard to see it with fresh eyes. The clean, minimalist drawings, the sarcastic humor, the unflinching emotional honesty, the inner thoughts of a household pet, the serious treatment of children, the wild fantasies, the merchandising on an enormous scale—in countless ways, Schulz blazed the wide trail that most every cartoonist since has tried to follow."
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对于一个长期的漫画迷来说,追溯这些“源头活水”是非常有价值的体验。我发现了很多后来被视为经典桥段的最初版本,那种未经雕琢的、更加原始的幽默感。比如,史努比那会儿的“狗窝哲学”还没有那么宏大,他更多的是在享受单纯的、身体性的快乐,比如追逐一只蝴蝶,或者只是舒服地躺在草地上发呆。而林纳斯,他对待那条安全毯的依恋,在早期看起来更像是一种单纯的、可以被说服放弃的习惯,而不是日后那种近乎一种身份认同的象征。这种‘演化’的过程本身就非常迷人,它记录了一个伟大的漫画形象是如何从一个简单的角色设定,逐渐吸纳了创作者和读者共同的情感投射,最终蜕变成一个文化符号的。
评分这张合集带来的不仅仅是怀旧,更是一种对“慢节奏”叙事的重新认识。在那个没有即时满足的年代,故事的推进是涓涓细流,充满了留白。读者需要自己去填补角色们沉默时的想法,去感受查理·布朗盯着天空时内心的翻腾。我尤其喜欢那些只有画面,没有对白的分镜,它们依赖于光影和人物肢体语言的细微变化来传达情绪。比如,一个角色笨拙地伸出手,想去拿一块掉在地上的饼干,那种犹豫和挣扎,在没有文字的情况下被放大了无数倍。这迫使你放慢呼吸,像品尝陈年威士忌一样去体会那种细微的酸楚与甜蜜交织的感觉,是对现代快餐式阅读习惯的一种温柔的反抗和矫正。
评分阅读这些早期的《花生漫画》片段,最让人感动的,是那种纯粹到近乎残酷的真实感。查理·布朗的每一次尝试和必然的失败,那种永恒的、带着一丝无奈的“好吧,也许下次会好点”的态度,简直是无数社恐人士和自我怀疑者的最佳写照。我记得有一组小小的四格漫画,讲的是他试图踢开那颗永远躲着他的美式橄榄球,那种预期——希望、紧张、蓄力——到最终的失落,短短几格,情绪的起伏却比很多长篇小说还要饱满。这不同于后来越来越成熟和圆滑的史努比带来的那种超现实的逃避,而是扎根于日常生活中的那种细微的、难以言喻的挫败感。它没有给出任何廉价的安慰或简单的解决方案,只是平静地展示了生活的常态:你努力了,但世界依然按照它自己的逻辑运行,而你,只能带着你的好心和不合时宜的善良继续前行。
评分这本书的装帧设计实在让人眼前一亮,那种复古的厚重感扑面而来,简直就像是从时光隧道里直接搬出来的老物件。我尤其喜欢封面上那种略带粗粝质感的纸张,摸上去有种踏实的温暖,而不是现在很多漫画书那种光溜溜的、缺乏个性的印刷品。内页的排版处理得非常巧妙,虽然是早期作品,线条还带着一丝稚嫩和未经雕琢的朴素,但编辑在版式上显然下了不少功夫,每一个小小的格子都像是精心布置的舞台,让查理·布朗那些欲言又止的独白和史努比那些天马行空的幻想有了足够的呼吸空间。看着这些黑白线条,我仿佛能听见那个年代特有的那种带着淡淡忧伤的爵士乐背景音。它不仅仅是漫画的合集,更像是一部精心策划的视觉艺术品,让人愿意花上更多时间去品味每一个细节,感受那个年代特有的幽默感和对成人世界复杂性的初探。
评分不得不说,这些创作于五〇年代初期的作品,其语言的精炼程度令人咋舌。每一句对话,每一个旁白,都像是一个被反复打磨过的句子,去掉了所有不必要的修饰,直击核心。不像现在很多连载作品,为了凑字数或增加情节复杂度而拖沓,这里边每一个气泡里的文字都具有重量。史努比刚出现那会儿,他更多的是一个安静的、带着一丝神秘感的角色,不像后来完全演变成一个行为艺术家和幻想家。而露西,她的那种“心理咨询摊位”的雏形也显得更加直接和尖锐,带着一种早期美国中产阶级家庭中女性对秩序和效率的苛求。你会发现,作者是如何通过极简的文字,构建起一个充满张力的社交场域,尤其是孩子们之间那种心照不宣的、略带残酷的等级关系,展现得淋漓尽致。
评分继续轻松可爱。开始涉及时事和人心。
评分继续轻松可爱。开始涉及时事和人心。
评分继续轻松可爱。开始涉及时事和人心。
评分继续轻松可爱。开始涉及时事和人心。
评分继续轻松可爱。开始涉及时事和人心。
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