Exploring Calvin and Hobbes revisits the beloved comic strip created by Bill Watterson from 1985-1995. The goal was to reach a common understanding of what the characters were about and where the strip might be going. As we revisit this wonderful strip, or discover it for the first time in this excellent book, all eyes and ears will be focused on these two lifelong friends. Similarly, Watterson paints the physical truths of such near-monastic commitment: He was in his mid-20s when the strip began, and in his mid-30s when he walked away. Columbus, OH 43210. Now it’s a subdivision, of course. ), Watterson’s path to syndication, littered with rejection notes, is still a great object lesson in persistence and self-conviction (no selling-out of his vision in order to draw suggested robot characters), and in wise recognition of smart syndicate advice (the bangs over Calvin’s eyes were removed at the last minute before launch) and the ability to capitalize creatively when, lo and behold, you suddenly discover your character has his own “voice.”. Please enable JavaScript and reload this page. I think my dad was the one who told me Pogo was probably drawn with a brush. Copyright © So it may be that Bill returns to the drawing board with results the public can enjoy. Take it. Very Normal Rockwell – all white, very Republican. As this legendary comic celebrates its 30th anniversary, Lee shares his reflections regarding his professional and personal relationship with cartoonist Bill Watterson, and the legacy of Calvin and Hobbes. Check your inbox or spam folder now to confirm your subscription. See sample pages from this book at Wink. While providing an opportunity to study Watterson’s mastery of the comic strip art form through engaging characters, thoughtful writing, and … There’s the one about … And the one with … Oh, and don’t forget the Sunday in which … I won’t take that route. It exploded in popularity in its second year after his first book collection, “[w]ith zero promotion on my end,” became an instant hit. JR: It’s been a pleasure working with you on the exhibit Exploring Calvin and Hobbes, and I’m delighted to have this opportunity to sit down with you to ask you some questions about your life, your career, and comics. The true worth of this interview is that it’s as multifaceted as a jewel. The bulk of the book is original art collected into themes such as seasons, devices, storytelling, etc. A heavy glossy paper in a glued softcover binding. Watterson is also honest about the true challenges of a syndicated life, especially when you set such an exceedingly high bar for yourself: * Providing a peek inside the driven mind, Watterson says: “The intensity of pushing the writing and drawing as far as my skills allowed was the whole point of doing it.”, * Of coping with the realities of syndication: “The strip deadlines are so relentless that simplicity and speed become great virtues.”, * And of being ascribed great philosophic depth within his inky panels: “If you draw anything more subtle than a pie in the face [in comics], you’re considered a philosopher.”. To my mind, that is Bill’s great legacy, a challenge to readers to keep looking for the most talented and creative cartoonists and a challenge to cartoonists to keep trying to reach that goal. Most of it was genuine fan mail and we generally handled it from the office. This was before email had really caught on and it took effort for the many fans – both children and adults – to actually write and send a letter. Bill also publicly embraced the work of Richard Thompson, whose Cul de Sac is akin in spirit, artistic quality and understanding of children to Calvin and Hobbes. Lee Salem, former Universal Uclick president and editor, was instrumental in the discovery and development of Calvin and Hobbes, one of the most remarkable comic strips of all time. I never let him think otherwise). It’s so great to have Watterson’s voice, both on the page and off, re-engaged in the comics conversation. 8. That's the only second exhibition devoted to Calvin and Hobbes since the comic strip ended in 1995. It’s one of these quintessentially American towns that dot Ohio. We didn’t own the woods, but it extended all the way to the river, and you couldn’t see an end to it. Here are a few areas that I really enjoyed: * the role of … In this way, we also glimpse some of the truths that often come with being the partner of an artist. Having something a bit wild and mysterious and beautiful at the end of the yard was a memorable thing. Bill Watterson's modern masterpiece about a wildly imaginative six-year boy, Calvin, and his faithful companion Hobbes, an anthropomorphic stuffed tiger, ran from 1985-1995. Even a Sunday with faded inks but strong margins and lettering. It was so breathtakingly simple, fresh and professional that I had to set it aside with the thought, “This can’t be as good as I think it is.” On a second look, and subsequent looks, it was. It was negotiating the snake pit of school kids that I found difficult. Our yard dropped continuously from the back door to the woods, so it was a truly fabulous sledding hill.


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