The seminal Peanuts comic strip by Charles M. Schulz ran for 50 wonderful years (1950-2000). The characters have lived on in new TV specials, a graphic novel, reruns of timeless TV specials like A Charlie Brown Christmas and It’s the Great Pumpkin, Charlie Brown, the Charles M. Schulz Museum, and a reprinting project of every Peanuts comic strip ever in chronological order. There’s even a campaign to get a Snoopy license plate in California. The strip’s uncanny ability to tap into a childlike perspective has resonated with generations of fans. And as fans have grown up, it’s only natural to wonder how Charlie Brown grew up.
Director/writer Brandon Ford Green had the same thoughts, and is putting his theories into film with an independent feature currently in development. Good Grief is a dramatic comedy about eight friends who return to their home town to attend the funeral of the one person that was the bridge between them. Growing up tends to change people, so this actually gives Brandon a lot of freedom in crafting his own characters and stories that end up being very loosely based on Peanuts. But it’s still fun for those familiar with the strip to imagine “what if”.
Prequel shorts spotlighting each character have been getting previewed online but only for a brief time before they’re taken down again. This weekend, from Friday, July 1st at 10 AM to Monday, July 4th at 10 PM Pacific, you’ll get to see the video for Penn.
To follow the film’s progress and get the link for the Penn video, be sure to check out the Good Grief Facebook page.
Los Angeles comics publisher Boom! Studios has been releasing info on their re-branded Boom! Kids imprint this and last week, and the big news is the March release of the first Peanuts original graphic novel Happiness is a Warm Blanket, Charlie Brown as the debut title of kaboom! (formerly teased as Boom! Kids 2.0). (Click on the image to the right for a preview, which immediately sold me on the previously unthinkable idea of buying something Peanuts-related that wasn’t directly written and illustrated by the late Charles Schulz.)
Not to be confused with the Mexican comic book studio ¡Ka-Boom! Estudio or the short-lived 1990s comic book series by Jeph Loeb and Jeff Matsuda called Kaboom or the Texas comic book store KABOOM Comics or the Virginia Beach comic book store Kaboom Collectibles or the Australian comic book store Kaboom! Comics, Boom’s kaboom! will also include Snarked! by Roger Langridge, who recently wrapped up an excellent run creating The Muppet Show Comic Book, as well as a licensed comic based on the PBS Kids animated series Word Girl, and a French Star Wars parody imported as Space Warped. The line will also retain their classic Disney comics Walt Disney’s Comics and Stories, Mickey Mouse and Friends, Donald Duck and Friends, and Uncle Scrooge as well as the Disney Afternoon comics DuckTales, Darkwing Duck, and Chip ‘n Dale’s Rescue Rangers. (Disney has decided to pull the comics based on Pixar movies such as The Incredibles, Cars and Toy Story in-house where Marvel Comics will publish Disney•Pixar Presents, a magazine currently slated to reprint the Boom!-produced stories.)
Boom! publisher Ross Richie spoke with Comic Book Resources about kaboom! and the Peanuts graphic novel, and I was struck by his explanation for why the re-named Boom! Kids. From that interview:
“We had theorized for a while that we need to change it up for two reasons: one, we were seeing adults apologizing at conventions for buying the kids’ comics for themselves, and we wanted to remove this barrier. Seeing women in their 20s at Emerald City Comicon say, ‘I know the Incredibles comic book is made for kids, but it looks awesome and I love the art and I’m buying it anyway’ — that ain’t right. Let’s remove the perceived barrier,” Richie explained.
“We also knew on the other end that kids that can buy with their own dollars — let’s say 8 year olds for instance — didn’t consider themselves kids, so they were not sparking to the name,” he continued. “A lot of our content is great for this age group, so let’s get rid of that barrier.
“And through the process, what we ended up seeing was that our organic desire as a publisher hewed more towards being ‘all ages’ than a strict ‘kids’ publisher. So why not reflect that? Why not show everyone that our focus is shifting and changing?
I think that realization and change is significant, and it’s smart of them to listen to this and act on it. Many of the strongest material for young readers is in fact enjoyable for a wider cross section of people. It’s why Pixar movies are so successful. It’s why many of the classic Warner Brothers/Looney Tunes cartoons are so timeless. They don’t just speak to a narrow demographic. (As an aside, DC Comics has been publishing Looney Tunes comics for years.)
It kind of ties in with part of a new interview conducted by colorist Chris Sotomayor (Captain America, Hulk) with comics writer Kurt Busiek (JLA/Avengers, Astro City) (via The Beat). In talking about what’s lacking in the comics industry, Busiek said, “What we’re doing wrong is that we’re putting so much of our energy trying to make comics that will keep the existing audience on board, by concentrating the thrills, the hype and the excitement in ways that make the work forbidding to newcomers. And at the same time, not doing enough outreach to new audiences.” He goes on to break down how to bring in new audiences:
The four-part mantra of how to reach a new target audience remains true: 1. Publish material they will like. 2. Publish it in a form they’ll be willing to pick up. 3. Distribute it to places they will see it. 4. Tell them it exists.
When we reach out to new audiences, we often do only one of the four — and sometimes none, and then complain that it’s not possible.
Fortunately Boom! is doing it differently (and there are others too). They get that speaking to the same narrow audience is death in the long term. There’s nothing wrong with being a cult hit or making a product for a very specific audience, but when the majority of a publishing line is developed with that approach, there can only be finite interest.
Those four steps should be plastered on every comics publishers walls.