Cheers, babies! It’s me, Miss Hannah Hart, ghostdame of the Hotel del Coronado and it’s June! You know what that means? Summer is mere days away and San Diego Comic-Con is a mere month away!
No one is more excited than yours truly … well, okay. I imagine there are some nibbling their fingernails a tad more than I. After all, part of the appeal of our Comic-Con is that it’s in glorious San Diego. I get to live here year round, kids, haunting my dilly of a Hotel Del. If you’re zinging your way here for the Con and it’s your first time in San Diego, we welcome you, one and all! Need some priceless, insider tips on all the SDCC how-tos? Check the SDCC Expert for Baby’s First Comic-Con.
Yep, ’tis no place in Cali quite like San Diego. Even the dearly departed Godfather of Comic Books, Richard Alf, knew that! Sunnier than San Francisco, cheaper than Santa Barbara, friendlier than L.A. and cleaner than Anaheim, why wouldn’t we welcome the world? Whilst you’re in town, may I heartily suggest Nerdcore Night at famed The Ruby Room in Hillcrest?
If you’re still looking for a hotel, I feel true pity, ya mooks. Whilst an average $560.00-$730.00/night seems lofty at my Hotel del Coronado, it’s a regal steal compared to some of the fleabag dumps near the airport: real slimy, 1-star m-m-m-motels charging upwards of $569.00/night during the week of SDCC!!! That should be criminal. It’s easily extortion and trust me, I lived in Beantown during Prohibition. I know all about mob behavior. If you have a room at all, huzzah for you!
Costume update, by the by: Dr. Lucy and I are pretty much all set. We’ve decided on a steampunk theme; she twisted my fragile ghost arms. She shall be the lovely and vivacious Lucy Westenra of Coppola’s Dracula. Moi? Lady Euphemia Greystoke of Stonington: traveller and archaeologist extraordinaire. I’ve found my 1920s, Cleopatra, chainmail headpiece and Lucy has been mending and modernizing some of her fine Victorian skirts. We are both in grave need of goggles, though. A very serious issue.
In celebration of the upcoming convention, I thought it would be fun to share an article from the 2010 Comic-Con Souvenir Book. Written by my pally Jennifer Susannah Devore, it’s a contemplative and philosophical look at Charles Schulz and the then-60th anniversary of Peanuts. (As a side note, Jenny’s just learned she’s being published once again in this year’s 2012 Souvenir Book with an retrospective of 100 years of Tarzan, Edgar Rice Burroughs and a nod to Dr. Jane Goodall … zowie, does that gorilla girl hold a grudge!
The First Beagle on the Moon
by Jennifer Susannah Devore
(Reprinted from the 2010 official Comic-Con Souvenir Book)
I think I could learn to love you, Judy, if your batting average was a little higher.
-“Just Keep Laughing”, pre-Peanuts Charles M. Schulz
Charles M. Schulz did not create a mere comic strip, a cast of characters to be listed on high school drama department playbills for eons to come; like all sustainable strips, the Writer-Artist-Creator gave us a neighborhood: a safe place where loyalty, security, friendship and a comfortable sense of continuity and familiarity are still unfailingly there for us. The Peanuts gang has been that other group of our friends, always ready to hang with us at a moment’s notice and at regularly scheduled mornings, especially Sundays. Similar to Shakespearean figures, the Peanuts gang has also been, as any psychologist with an ounce of humor and levity will tell you, a microcosm of humanity. A bevy of neuroses, borderline personalities, leaders and followers, Schulz, like the good Bard, nailed it all straight on the round-headed noggin. The psychology of Peanuts, not to drain the comic pool only to replace it with academia, pervades each and every “illustrated laughing square”.
No doubt, the young Schulz did not set out to create a controlled study of freckled subjects and lab beagles with sunglasses and tennis rackets; nevertheless, he did and you’d be hard-pressed to find a Psych 101 textbook without some reference to Charlie Brown’s martyrdom syndrome or Lucy’s narcissism. Blah, blah, blah, the kind reader may mock, but it is real humanity that is inherent in these characters. It is the nucleus of its success. The psychological endgame matters because in the beginning, and eventually that end, all creators start from the premises of what is known and, more importantly, what is felt.
If writer-artists give us some clue as to their failings, fears and fantasies within their oeuvres, then sports (baseball in particular) girls (darned, elusive redheads), loyalty and honor (Snoopy always comes through despite his egotism) were clearly on Sparky’s short-list. Charlie Brown’s undying dedication to his ball team, his tenacity and faith amidst rained-out games, Lucy’s “The sun was in my eyes”-excuses and dozing beagles-at-bat is a fortitude so many desire, yet oft do not posses.
The stomach-churning inner diatribes and teeth-grinding insecurity is thankfully, cathartically played out on-stage, as it were, in Charlie Brown’s (and Charlie Schulz’) quest for the affection of a little red-haired girl, even going so far as addressing the very adult, very 3-D distrust and heartache of jealousy, that love has been taken by a best friend: Linus, to wit, in It’s Valentine’s Day, Charlie Brown. Charles Schulz’ real-life and nonreciprocal marriage proposal marks the launching pad of Charlie Brown’s everlasting expedition of unrequited and, despondently, un-returned love.
The fear of not being accepted, of not belonging is universally shared, regardless of what the aesthetics and sartorial effects may try to loudly declare. Searching the mailbox for that proverbial Halloween party invitation, learning it was a mistake, then going anyway is a Trick-or-Treat bag fraught with snakes and evil clowns: What if I’m not on The List? What if I am on The List? Who will talk to me? What if I’m left all alone? What if they make fun of my costume?
The fear of not receiving a single Valentine in class, and in front of everybody no less, the dread of an empty mailbox and heart at Christmastime, the cold, autumnal loneliness of being the only one whom truly believes in the Great Pumpkin; these comic worries are so real that the chest-pounding is audible, the butterflies are so visceral we can only cringe and endure, waiting nervously for the certain, happy ending. Sadly, it is not always so certain, though. The ending of Snoopy, Come Home is so gut-wrenchingly awful that it is suffered through only because of our own, Charlie Browniest belief that everything will be okay. It is not, in the case of said film. There is no good outcome, there cannot be; everybody loses, big time. To that end, everybody has heart and soul that trudges forth no matter what. This is why we continue to love, adore and cherish our Peanuts gang.
Be it Snoopy’s devotion to Lila, the dying girl, in Snoopy, Come Home, Snoopy’s devotion to his supper dish, Linus’ unrelenting conviction for the Great Pumpkin and, deeper still, Sally’s dedication to Linus and his mission, it is all so human, so carbon-based. Family or friends, it matters not with Peanuts. As is often the case in real-time, digital worlds or the land of ink-and-watercolor, friends are often family, and family, good friends. The Browns and the Van Pelts are core, bound by blood; but that is not pivotal, being bound by blood. Snoopy and Woodstock, Charlie Brown and Linus, Peppermint Patty and Marcie, Lucy and herself, Schroeder and his Piano, Sally and her Easter shoes and her Sweet Baboo: these are the real bonds, the vital relationships that keep Peanuts going year after sixty years.
In the vein of a youthful William Shakespeare, Matt Groening or Seth MacFarlane whom all wrote of the communities they knew, the people and their foibles they shouldered through life, good and bad, lovely and horrid, Charles M. Schulz presented us with pencil and ink versions of ourselves: our ids, egos, superegos and alter egos. He gave us characters and friends upon whom we knew we could count through any rained out game, school exam or major holiday, even when It’s Presidents’ Day, Charlie Brown.
Above all, there is honor. Consider that, akin to so much great “children’s” literature, young-adult fiction, superhero tales, classic fairy tales, adapted fairy tales, graphic novels, comic strips and animated series there exists no ethical enforcement, save one’s own internal gauge and moral compass. It is universal, from Cinderella and Snow White to Snoopy and Spongebob Squarepants, that parents are either handily out-of-frame or conveniently ineffective; adults of any walk and educators of every sort are primarily a concept and rarely given a name, a face or, in Peanuts’ case, even a voice. Law enforcement is a rare impression lest it appears in an almost supernatural state of purity and perfection, like Scully and Mulder or Police Commissioner Gordon. The heroes cannot get away from themselves and must answer to their own merit of principle. There are no citations, no court dates, no weekend restrictions or media groundings. There is no law, no order, only the inner voice and scruples of the very good and, where it relates to our Peanuts, the very, very admirable and steadfast fraternity of fast and eternal friendship. The lasting appeal of Charlie Brown and Charles Schulz is that they are us. As Lucy states so wisely, “Charlie Brown, of all the Charlie Browns in the world, you’re the Charlie Browniest!”
The Charlies and we are in the vital and primitive hunt for love, camaraderie and faithfulness. They and we are scared to death that nothing will happen and equally so that everything will. The round-headed kid, the barber’s son and we are all optimistic to a fault, likened to Spongebob in our unending and Bikini Bottom-deep belief that everything and everyone will be just fine. They and we are all flawed superheroes, or at the very least, we strive to be.
(A special thanks to Gary Sassaman, Director of Print and Publications Comic-Con International: San Diego)
Abyssinia on the Con floor, cats!