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), 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, "fussbudget," 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 Pigpen, 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 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 walkupright 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 one hundred 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, lean 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. "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 U.S. 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 "T.V. Guide's "Top 50 GreatestCartoon Characters of All-Time" list, Charlie Brown and Snoopy ranked #8.
评分
评分
评分
评分
这套精装的收藏版,无论是纸张的质感还是装帧的考究,都体现了出版方对早期漫画的尊重。不过,抛开外在的精美,内容本身才是这场时空旅行的核心。早期的《花生》的黑色幽默感,与后来的那种带有哲学深度的自嘲是不同的。它更接近于“命运的嘲弄”——一种外部力量对个体努力的无情碾压。你看到查理·布朗一次又一次地被生活绊倒,但奇怪的是,这种重复并没有让人感到厌倦,反而产生了一种类似宗教仪式的庄重感。这种重复性,是舒尔茨对人类行为模式的一种洞察:我们明知会失败,却依然会一次又一次地重复尝试。对比一下后期的作品,后期的叙事更侧重于角色的内心独白和心理分析,而这五年的篇章,更像是一部默剧,动作和场景的调度承担了大部分的情感传达任务。那时的对话简洁到近乎残酷,每一句话都像是从喉咙里挤出来的真话,没有任何多余的修饰。这对于习惯了现代漫画快节奏对白的人来说,无疑是一种挑战,但也是一种享受——强迫你放慢阅读速度,去倾听沉默的力量。
评分如果把这五年的作品视为一个连续的叙事长廊,那么最引人注目的就是角色之间关系的微妙演变。比如,查理·布朗和莱纳斯之间的互动,早期更多是一种相互依存的陪伴,莱纳斯那条小毯子,与其说是他安全感的来源,不如说是他向世界展示自己脆弱性的标志。而他早期对《圣经》故事的引用,带着一种孩子气的虔诚和对成人世界复杂概念的模仿,非常可爱。还有萨莉,她还没完全成长为一个“小大人”,她的那些关于金钱和占有的执念,在这个阶段显得格外单纯和直率。这套合集让人深思的是,漫画是如何成为一种“记录媒介”的。它不仅仅是娱乐,更像是舒尔茨给自己做的一个私人日记,记录着他对童年、对人际关系、对人性的观察和反思。我发现,很多后来被反复提及的经典桥段,比如查理·布朗试图和那个红头发的女孩(虽然那时还没有名字)搭话,都以一种更原始、更笨拙的方式呈现出来。这种未经打磨的质感,恰恰是后期成熟作品所无法复刻的宝贵资产。
评分这套早期的《花生漫画》合集,简直是打开了一扇通往查尔斯·舒尔茨内心世界的时光之门。我们得以窥见这个后世家喻户晓的漫画宇宙最初的模样,那种带着稚嫩、却又精准捕捉到人类普遍焦虑与温情的笔触,是如此的引人入胜。每一页都充满了实验性,你能感受到舒尔茨正在摸索人物的声线和情感的深度。查理·布朗那时还只是个稍微有点倒霉的普通小男孩,还没有完全被塑造成那个我们熟悉的,永远在棒球场上挣扎的哲学象征。而露西,她的专横和那股子小小的权力欲,已经初露端倪,但尚未发展成后来那种尖锐的心理分析师形象。斯努比——我的天,他那时候还只是个依偎在查理·布朗脚边,更像一只“狗”的伙伴,而不是那位在屋顶上冥想、驰骋想象战场的世界级作家和飞行员。阅读这五年的作品,就像是听一首乐队早期的Demo带,你能察觉到旋律的雏形,感受到那种原始的创造力。那些关于学校、关于友谊、关于夏日午后无所事事的片段,虽然简单,却有着一股震撼人心的纯粹力量。它不是后期那种高度复杂的社会隐喻,而是更贴近生活本身,更专注于捕捉孩子世界里最细微的、却也最真实的失落和喜悦。
评分对我来说,这套1950到1954年的作品集,像是一份需要耐心解读的古老文献。它提醒着我们,伟大的艺术往往诞生于资源有限、构思初创的阶段。那时还没有明确的商业压力去迎合特定的市场口味,舒尔茨可以完全沉浸在他自己的小世界里,搭建他的规则,试验他的角色原型。你能清晰地看到,斯努比是如何从一个背景中的“装饰品”,一步步挣脱出来,获得了独立的灵魂和行动逻辑的。比如他早期那些与查理·布朗的互动,充满了“主人与宠物”的传统模式,但很快,那种眼神的交流和微妙的身体语言,就开始预示着一个更宏大、更荒诞的角色的诞生。这套书的魅力,不在于它包含了哪些后世的经典场景,而在于它没有那些经典场景,它让我们看到的是“成为经典之前的挣扎与孕育”。这是一种非常纯粹的阅读体验,没有先入为主的期待去干扰你对当下故事的感受。你只是在观察一群早期的卡通人物,在最简单的世界里,努力地进行着最复杂的人类情感的实践。
评分翻开这箱子里的漫画卷轴,一股怀旧的气息扑面而来,那种感觉就像是挖出了一箱被遗忘在阁楼里的老照片。1950年代初期的美国文化背景,深深地烙印在了这些方格之内。当时的世界观、孩子们看待生活的视角,都与现在有着天壤之别,但有趣的是,他们对“被排斥感”的理解,对“想要被认可”的渴望,却是跨越时代的。我特别留意了那些关于宗教、关于存在的早期探讨,虽然笔触尚显粗糙,但那份对生命意义的追问,已经悄然埋下了伏笔。这套早期的选集,最大的价值或许在于它提供了一个“去魅”的过程。我们太习惯于后来的《花生》所承载的文化重量,以至于忘记了它最初的起点是如此的谦卑。这里的对白更直白,人物的动作更少夸张,更依赖于场景的设定和对话的张力来推动叙事。看着这些小人儿,你不得不佩服舒尔茨,他总能在最狭小的空间里,挤出最广阔的情感。它不追求大事件,而是聚焦于那些“微小的失败”——踢不到的足球、写不完的作业、以及那些永远得不到回应的期待。这是一种安静的、内敛的幽默,需要你放慢速度去品味,去感受那份潜藏在日常之下的淡淡的忧伤。
评分居然还有个Charlotte 是Fredda的前身么?
评分居然还有个Charlotte 是Fredda的前身么?
评分居然还有个Charlotte 是Fredda的前身么?
评分居然还有个Charlotte 是Fredda的前身么?
评分居然还有个Charlotte 是Fredda的前身么?
本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2026 book.wenda123.org All Rights Reserved. 图书目录大全 版权所有