PEANUTS CARLITOS SNOOPY TODOS LO DOMINICALES SUNDAYS Peanuts Every Sunday: 1956-1960 en color

PEANUTS CARLITOS SNOOPY TODOS LO DOMINICALES SUNDAYS Peanuts Every Sunday: 1956-1960 en color

formato grande

tapa dura con sobrecubiertas

• Serie: Peanuts Every Sunday
• Hardcover: 288 páginas
• Editor: Fantagraphics Books; Edición: 1 (11 de noviembre de 2014)
• Idioma: English
• Dimensiones del producto: 24.1 x 3 x 33.8 cm

Since their original publication, Peanuts Sundays have almost always been collected and reprinted in black and white, and generations of Peanuts fans have grown up enjoying this iteration of these strips. But many who read Peanuts in their original Sunday papers remain fond of the striking coloring, which makes for a surprisingly different reading experience. It is for these fans (and for Peanuts fans in general who want to experience this alternate/original version) that we now present a series of larger, Sundays-only Peanuts reprints. As with most strips, Peanuts showed by far the quickest and richest development in its first decade, and Peanuts Every Sunday: 1952-1955, by compiling every strip from the first four years, offers a fascinating peek at Schulz's evolving creative process. Not only does the graphic side of the strips change drastically, from the strip's initial stiff, ultra-simple stylizations through a period of uncommonly lush, detailed drawings to something close to the final, elegant Peanuts style we've all come to know and love, but several main characters are gradually introduced oddly enough, usually as infants who would then grow up to full, articulate Peanut-hood! and then refined: Schroeder, Lucy, and Linus.

Although Fantagraphics’ ongoing project reprinting Peanuts’ entire 50-year run has been a welcome endeavor, something was missing: to match the daily strips, the Sunday episodes appeared in black and white at a much-reduced size. A new, complementary series from the publisher rectifies this by collecting the Sunday episodes in a full-color, coffee-table format. Over the course of the strip’s first four years, from 1952 through 1955, collected in this initial volume, we see the rapid development of the cast, as Charlie Brown evolves from a generally carefree tyke into a self-depreciating neurotic; Lucy—originally younger than the rest of the cast—becomes the bossy fussbudget fans recognize; and Snoopy begins his gradual process of anthropomorphization. These early strips also introduce such beloved tropes as Charlie Brown’s ongoing struggle with kites, Linus’ security blanket, and Schroeder’s affinity for Beethoven. By the end of the volume, Schulz has pared down his backgrounds to arrive at his distinctively economical visual style, but the enhancement of the collection’s larger size and restored color makes these simple drawings look positively sumptuous. --Gordon Flagg

“These are beautiful books. Full color dust jackets and numbered bindings make for books that look great next to each other on the shelf. But you’ll need a big shelf. [F]or the fan, they are a collection absolutely worth having.”

- Joel Neff, Boing Boing

About the Author

Charles M. Schulz was born November 25, 1922, in Minneapolis. His destiny was foreshadowed when an uncle gave him, at the age of two days, the nickname Sparky (after the racehorse Spark Plug in the newspaper strip Barney Google).In his senior year in high school, his mother noticed an ad in a local newspaper for a correspondence school, Federal Schools (later called Art Instruction Schools). Schulz passed the talent test, completed the course, and began trying, unsuccessfully, to sell gag cartoons to magazines. (His first published drawing was of his dog, Spike, and appeared in a 1937 Ripley's Believe It or Not! installment.) Between 1948 and 1950, he succeeded in selling 17 cartoons to the Saturday Evening Post―as well as, to the local St. Paul Pioneer Press, a weekly comic feature called Li'l Folks. It was run in the women's section and paid $10 a week. After writing and drawing the feature for two years, Schulz asked for a better location in the paper or for daily exposure, as well as a raise. When he was turned down on all three counts, he quit.He started submitting strips to the newspaper syndicates. In the spring of 1950, he received a letter from the United Feature Syndicate, announcing their interest in his submission, Li'l Folks. Schulz boarded a train in June for New York City; more interested in doing a strip than a panel, he also brought along the first installments of what would become Peanuts―and that was what sold. (The title, which Schulz loathed to his dying day, was imposed by the syndicate.) The first Peanuts daily appeared October 2, 1950; the first Sunday, January 6, 1952.Diagnosed with cancer, Schulz retired from Peanuts at the end of 1999. He died on February 13, 2000, the day before Valentine's Day―and the day before his last strip was published―having completed 17,897 daily and Sunday strips, each and every one fully written, drawn, and lettered entirely by his own hand―an unmatched achievement in comics.