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The Dual Nature of Calvin and Hobbes |
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By Erik Smith |
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Bill Watterson's Calvin and Hobbes is one of the most superior entries into the much overlooked art medium called "cartooning". From its early beginnings, comic strips were lavishly drawn escapist fantasies. From Krazy Kat to Little Nemo, these worlds were wholly idealized and invited the reader to come into this world of fantasy and laugh. As time progressed, and respect for the business dwindled, comics were given small boxes, in which half rendered ideas were dumbed down to gags and one-liners. Rarely in this new era of comics, could realized characters evolve and connect with the world it was trying to entertain. In Charles Schultz's Peanuts, we were introduced to the melancholy world of Charlie Brown, the everyman who never got things to go his way. Peanuts gave both the real life world of the children, who faced the trials and tribulations of everyday life, and Snoopy, the Beagle who created his own world, filled with epic tales of heroism and a sense of belonging that everyone needs to feel at some point. The realism displayed in both aspects of this strip, rightfully drew love for the characters and a fidelity that could not be matched, until the tale of a six-year-old boy and his tiger came into our homes in 1985. |
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Calvin is named after John Calvin, a sixteenth century theologian who believed in predestination and humanism (Encarta, 1998). This is an appropriate moniker for a boy who often speaks of very humanistic ideals, the needs of self, and explores the aspects of fate on a near daily basis. His philosophical nature is the contemplative side of this obnoxious boy however. The meaning of his philosophy is often expressed, positively or negatively, by his actions in the panels. This is most commonly expressed while in his wagon. Calvin faces the daily troubles of any child his age, but the meaning reaches beyond that. His daily exploits can be attributed to any one of us. We not only faced his problems in our childhood, but in our present lives as well. Everyone can identify with some aspect of Calvin, even though they might not want to admit it. |
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His partner, the tiger named Hobbes is named after Thomas Hobbes, a philosopher with a negative view on human nature, and an influence on modern psychology (Encarta, 1998). Hobbes, the tiger, appropriately models this, as he often relishes in the fact that he is not human. His pride in this offers a subtle, yet effective contrast to Calvin's boisterousness. His reserved feline form makes him the perfect partner, giving the comic a good sense of harmony in duality. With conflicting attitudes and beliefs, they still get along as best friends. This is a wonderful sense of the Yin and Yang, and in the end, both can be seen as opposing sides of the same person. |
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Whether Hobbes is a stuffed tiger that comes to life for Calvin or not is a moot issue, because this strip goes beyond the needs of reality, rather an exploration of the human heart and spirit. The magic of these characters comes not only from the pen of Bill Watterson, but from the imagination of the reader as well. He is not just presenting one side of the story, rather showing multiple viewpoints and different perceptions of the entire cast. It is up to the readers to make their own perception into the reality of the story. This ingenious concept adds to the dual nature of Calvin and Hobbes, and the interaction of artist and viewer. Personally, I believe Hobbes is real. |
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The rest of the characters in Calvin's world represent more than their literal form. Calvin's parents are his unyielding authority and disciplinarians of life. His babysitter, Rosalyn, is the embodiment of everyday oppression of free will and the dictator who rules by fear. His teacher and classmates are the harsh society that demands conformity and stifles his imagination and perception to make him accept what is common and generic. And little Susie Derkins, who is not only Calvin's secret crush, but also the polar opposite of Calvin, his true Yang, for which he cannot get along. His taunts and gross outs are, just like in our childhood, an attempt to hide his true feelings, yet get closer. His tactics only push Susie away, which causes him to try even harder. The circular pattern of their relationship forms an infinite loop that adds harmony to chaos. |
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Many worlds inhabit this strip, dinosaurs, detectives, superheroes, and even the intrepid "Spaceman Spiff". These devices show two viewpoints of Calvin, both imaginative and real. These fantasies aren't just random daydreams, but are perceptions that parallel the other reality. Watterson shows this aspect, not only in staging and writing, but also in artistic style. The normal world has always been a cartoony, caricature representation, common for strips. However, over the years, Watterson has developed a more "realistic" style for the fantasy elements in Calvin and Hobbes. This shows that, to Calvin, his imagination is more real than reality, the underlying theme of the strip. It is an excellent metaphor, and definitely shows two sides to reality that the strip is so famous for. |
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Watterson's tools include a small sable brush, India ink, Strathmore Bristol board, Radiograph Fountain Pen, and a palette of 125 colors to bring us this unique story (Watterson, 1995). Such simple, low-tech instruments to make such a complex story that touch our hearts. He is a master of not only form, but the concept of simplification. His characterization is so true to form, that we ignore their cartoonish features, and accept them as real people. Truly, the final circle in its' duality is the relationship between the characters and the audience. These people, presented in two-dimensional form, are as real to me as my three-dimensional family. I don't just read Calvin and Hobbes; I visit my friends, and see what they are up to. No other strip in the funnies has captured my heart so much as Watterson's creation. The love that Bill Watterson puts into his work is shown, and repaid by the love we give back to our favorite little boy, and his tiger best friend. |
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Calvin and Hobbes has been a major inspiration in my life, not only as an artist, but a human as well. From the first time I picked up Calvin and Hobbes, I immediately connected to the strips imaginative protagonist, including his innocent yet self-centered view on life. It wasn't just fantasy, it was my life. As I grew, I could still read Calvin and Hobbes. Not only as a reminder of my childhood, but in new ways and meaning that went by me as a kid. The best part of the strip is it's wide appeal. You can always go back, and enjoy it for new reasons. Calvin and Hobbes will always have meaning in my life. Bill Watterson, the strip's creator is also an inspiration to me. His continual battle with the syndicate for licensing rights of Calvin and Hobbes (Watterson, 1995) has taught me to love my work, and appreciate its integrity. Calvin and Hobbes would lose so much, if it were on my t-shirt, coffee mug and television. Calvin and Hobbes is what it is, what it should be, and thankfully to Bill Watterson's respect and integrity, what it always will be, an innocent heartfelt story of the adventures of a boy and his tiger. |
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Bibliography |
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Back To Main |
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Encarta, (1998). Microsoft Encarta 98 Encyclopedia [CD-ROM]. Washington: |
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Microsoft. |
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Watterson, Bill (1995). The Calvin and Hobbes Tenth Anniversary Book Kansas |
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City: Andrews and McMeel. |
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