Word: comic-strip
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TIME cover stories have been concerned with the comic-strip world twice before; in 1947, we presented Milton Caniff, who was then about to launch Steve Canyon, and in 1950 we ventured into Dogpatch with Al Capp. Since those days, the comics have gone through a slump as well as a renaissance. For some time now, the editors have been considering the comics' new style. More and more the strips are offering political satire, psychology, and comments of varying subtlety on the rages and outrages of everyday life...
TIME'S reporters talked to comic-strip artists, psychologists, educators and others who take the comics fairly seriously, seeking to find out what was afoot in the land of the funnies. The final choice for cover treatment fell to Charles Schulz's Peanuts, which stands out among the newer strips as probably the funniest and certainly the most existential...
Religion, psychiatry, education-indeed all the complexities of the modern world-seem more amusing than menacing when they are seen through the clear, uncompromising eyes of the comic-strip kids from Peanuts. The wry and wistful characters created by Cartoonist Charles M. Schulz have all but come to life for readers in the U.S. and abroad as they demonstrate daily and Sunday an engaging wisdom beyond their years, a simplistic yet somehow impressive understanding of the assorted problems that perplex their elders...
...whole affair was a heady experience for the American comic-strip writers, who have long taken for granted that they are part of the American subculture. Said Al Capp: "At home, nobody has ever asked me for an autograph for himself. It's always for a demented brother who reads my junk, or his idiot nephew. Writers don't take you seriously because you draw. Artists don't take you seriously because you write. Now we come to Europe to find out that it's deep stuff, and if I stay around these guys much longer...
Life is pop ballet, a modern parable that mocks contemporary values. To the stabbing atonal music of Charles Ives, the dancers move through four stages of life against a background of giant flats of pop art-IBM cards, an ice-cream cone, green stamps, comic-strip characters. By contrast, Lucifer is classical ballet, eschewing pantomime and narrative for a more abstract visualization of Hindemith's austere Concert Music for Strings and Brass. After the angels assemble for "a typical day in heaven," Lucifer appears, defiant and strutting, and engages in graceful combat with Archangel Michael, only to be felled...