The Complete Peanuts Family Album. Andrew Farago

picking out a tie for Sully to go out for the

      evening. Mike fell into the role of the quick-tempered

      smart aleck; Sulley was more clear-headed and controlled.

      Each of the Peanuts characters had this—a clear personality

      type. But it is when Schulz puts them in contrast with other

      “side” characters that we get to see their depth. Linus’s

      religious zealotry is put to the test in the Great Pumpkin

      patch by Sally. The little red-haired girl, whom we never

      see (a little red herring), brings out the romantic side in

      Charlie Brown. Without her, we only see the insecure

      Charlie. And on and on . . . Schulz created a world of

      characters in which contrast of the side characters clarified

      the main characters.

      I am thankful every day that Schulz created this world

      and left a legacy of lessons for storytellers, and now I’m

      pondering next year’s costume.

      Most of us familiar with Charles M. Schulz’s artwork recog-

      nize it from the 17,897 Peanuts comic strips he wrote and

      drew over his fifty-year career. And much of that artwork has

      been used and modified in a variety of media for almost as

      long, filtered through animation, commercial design, print,

      and character licensing across the world. The artwork pre-

      sented in The Complete Peanuts Family Album comes from

      an array of sources and a diverse group of artists, including

      designers from Peanuts Worldwide (PW) and Charles M.

      Schulz Creative Associates (CSCA); some items come from

      the archives of the Charles M. Schulz Museum (CMSM)

      and some pieces have been specifically created for this book.

      Regardless of the source, all of the artwork presented here is

      lovingly inspired by Charles M. Schulz’s original work.

      PREFACE

      BY BOB PETERSON

      opposite: Style Guide art – CSCA

      11PREFACE

      13INTRODUCTION

      opposite: TIME® magazine cover, April 9, 1965 – CMSM

      W

      ho’s your favorite Peanuts character?

      Or, to put it another way, what’s wrong with you?

      Maybe you have autophobia, the fear of loneliness. In

      that case, you probably relate to Charlie Brown and his

      endless list of anxieties, his wishy-washy nature, and his

      complete inability to fly a kite. (Science has not yet named

      the fear of Kite-Eating Trees, sadly.)

      Do you have sedatephobia, the fear of silence? You’d

      probably get along well with Lucy, Miss Fussbudget of

      the Year since 1952, who has literally cursed the darkness

      rather than light a single candle.

      It’s possible you’ve got ailurophasia, the fear of cats,

      in which case you’d get along just fine with Snoopy and

      Woodstock—just don’t tell Frieda.

      And if you suffer from arithmophobia, the fear of

      numbers, you’d best avoid 555 95472 and his sisters, 3 and

      4, altogether.

      Whatever your affliction, rest assured that there’s at least

      one Peanuts character who can sympathize with you over

      jelly-bread sandwiches and a frosty mug of root beer.

      But what about problems more complex than the fear

      of cats, numbers, or numbers of cats? If that’s the case,

      you may identify with some of these Peanuts characters

      that have never actually appeared in the strip (although

      none of them seem to actually have scopophobia, the fear

      of being seen).

      Do you have a fear of sports? Perhaps you and Charlie

      Brown’s unfortunate baseball idol Joe Shlabotnik suffer

      from athlimataphobia.

      What about the fear of eggs? We’ll never know why

      Linus was supposed to bring discarded eggshells to Miss

      Othmar’s classroom, but that sounds like a classic case of

      ovaphobia, doesn’t it?

      And what if the Little Red-Haired Girl wasn’t

      avoiding Charlie Brown at all, but was simply frozen by

      chorophobia, the fear of dancing? Or even more tragic,

      philophobia, the fear of love itself? A single therapy session

      at Lucy’s psychiatric booth could have completely changed

      her perspective on life.

      There are a number of memorable unseen locales in

      Peanuts, too, including the interior of Snoopy’s doghouse.

      A combination of the fear of houses, domatophobia, and

      the fear of dogs, cynophobia, may keep you from learning

      just how Snoopy has managed to fit a recreation room, a

      den, a cedar closet, a guest room, a whirlpool bath, and an

      Andrew Wyeth painting inside a standard-issue doghouse.

      When Peanuts debuted in seven newspapers on

      October 2, 1950, its world was a little simpler. Charles

      Schulz’s initial cast of characters consisted of Charlie

      Brown, his dog, Snoopy, and his friends Patty and Shermy.

      Their personalities weren’t clearly defined in the strip’s

      early days, but as new characters like Violet, Schroeder,

      Lucy, Linus, Pig-Pen, and Sally were introduced, everyone’s

      role came into focus. By the end of the strip’s first decade,

      Peanuts truly came into its own as the home of some of

      the most beloved characters in comic strip history.

      The additions of Peppermint Patty, Marcie, and

      Franklin in the second half of the 1960s expanded the

      Peanuts universe across town to the neighboring school

      district. The extended cast provided Charles Schulz

      with even greater storytelling possibilities, and more

      opportunities for self-expression, as he noted in a 1984

      interview. “I think anybody who is writing finds he puts

      a little bit of