"A comic strip, to me is a story." "It could be a brief story." "It's like having the opportunity to get a peek into people, characters, lives." "And they can make you laugh, they can make you cry, just have an impact on you." "For that time that you read it, it's a world unto itself." "My mom was always trying to get me to read." "And I wasn't really into books with words, so to speak." "My dad brought home a couple of Calvin and Hobbes books." "And he showed me some comic strips of Calvin and Hobbes." "And I was like, whoa." " And I can remember opening it up." "I turn the page and -- Hobbes wanted me to have this, and from that point on, it's been me, Calvin, and Hobbes." "I met Calvin and Hobbes in the paper, I think, the way most people did." "Looking through the comics and Calvin and Hobbes was always one that stood out." "My grandmother is a huge fan of Calvin and Hobbes." "My first and only crime, I shoplifted this book." " And I found this book of Complete Calvin and Hobbes." "It was in English, but I said, I don't care." "I'm going to learn this language just to understand this book." "I was babysitting, and a couple of the kids that I babysat, they had some books." "All the books got passed to me, and ended up in my room for a while, and we would be trading them back and forth." "I hadn't seen a strip before, but I saw the book in a bookstore." "And it was on sale." "It was like $3 or something like that." "So I was like, alright, I'll look at it." "Fold it open, and the first thing I saw was the snowmen." "And I burst out laughing and proceeded to get trouble in English class." "I remember just reading that thing over and over and over." "Even now, as I re-read them and I continue to re-read them," "I discover so many layers now." "And it's never boring or old." "It's just like a living thing, and I just discover it and appreciate it more." "Calvin is like the kid you want to be, you know." "Even if you're a 300-pound black kid, I mean, you still want to be Calvin." " I did want to be Calvin." "I felt like I was Calvin." "We were both six years old in 1985." "We liked tigers, space, playing in the snow, had fathers who loved building character." "And I took pride in the fact that my first hairstyle was quite Calvin-esque." "But the truth is that I don't really remember when I first met Calvin and Hobbes." "I'd like to think I was a reader from day one, but I know that isn't possible." "My hometown newspaper didn't even start carrying the strip until spring of 1988." "The earliest memory that I can stamp with a date would be third grade in Mrs. Smith's classroom, when I saw a Calvin and Hobbes collection in the Scholastic book catalog." "But if I examine my books, I find that the only one with a Scholastic logo is Scientific Progress Goes Boink, with a copyright of 1991." "If I didn't discover Calvin and Hobbes until that late in life," "I'm secretly embarrassed." "And I would also blame my parents." "That little boy seemed kind of naughty, and I didn't know if I wanted my son interested in a naughty comic character." " Apparently, no thanks to my mom," "Calvin and Hobbes were just always there." "And I don't really remember life without them." "I may have fallen in love with Calvin and Hobbes as a kid, but it's one of those rare things that still holds great significance to me as an adult." "I really can't think of anything else from my childhood that has retained so much value." "I don't claim to be an expert on comics." "I'm not even close." "I never read comic books." "I haven't read the newspaper comics regularly for years." "And I've only recently started to reacquaint myself with what the comics have to offer now." "But for years I've read and re-read my Calvin and Hobbes books, which always put a smile on my face." "And the strip still holds meaning for so many other readers around the world." "I know, because I've heard from them, and they've sent me their stories." "Many people have tried to track down Bill Watterson over the years." "But I'm not so interested in the man himself, but why his simple comic strip about a boy and his tiger could somehow have such meaning and have had such a personal impact on so many people." "Just as people often find it a challenge to describe the strip itself," "I think anybody would have a hard time distilling the ingredients that made it what it is." "But we can be sure of one thing:" "On November 18, 1985, Bill Watterson's creation debuted in just a few dozen newspapers, and it left an enormous imprint on countless readers from across the globe." "The very first Calvin and Hobbes strip," "Calvin is off to check his tiger trap that he rigged up with a tuna fish sandwich, and sure enough, in the last frame we see that Hobbes has fallen for the bait, and he has his very own tiger friend for life." "And that is our intro to Calvin and Hobbes." "I've never met anyone who doesn't like Calvin and Hobbes, so I can't say that about any other strip." "And there are other strips that are very, very popular, very successful, most people love them, but invariably I'll run into someone that says I just don't get that strip, or I really don't like that strip." "With Calvin and Hobbes, it's different." "It just seems to appeal to all different audiences:" "young and old and men and women and people in the country, people in the city." "I mean, really, just all demographics, it seems to speak to people." "Everyone is united by their love for this strip, but everyone has a specific thing that they love about it or specific things that they love about it, and it's not always the same thing." "I grew up in a Mexican neighborhood." "I went to a white school, and I was like 300 pounds." "So I didn't really fit in, but neither did Calvin." "And it wasn't really a problem." "He was just, I'm weird, and this is the way I am, and this is who I'm going to be." "And I think that's one of the things that really kind of attracted me to the character." "What really resonated to me was the whole imagination aspect of it, and how he just created it in his head." "And he didn't even see his teacher or his principal, he just saw aliens, and he was Spaceman Spiff." " It's a very deep, very philosophical experience reading a Calvin and Hobbes book." "Even though on the surface they're just cartoons." " He's really created characters that I think have a lot of depth and are interesting to read about." "Calvin and Hobbes is such a subversive comic." "But it has a purity to it that most comics don't, because it is so joyful and very much in the imagination of this kid." "And yet he is hyper-aware of world events and pop culture and ironies and social concepts." "And I just found that really, really exciting." "My mom died about 11 years ago of a heart attack." "And my husband is a huge fan of Calvin and Hobbes, so he had a lot of the paperback collections laying around the house." "And I would just sit at night and look through those." "And that's how I came to know Calvin and Hobbes is through those first three or four months after she passed." "It's just finding a place to laugh again." "So I moved out here to this brand new state, this brand new house, brand new neighborhood, and I knew nobody." "So I was looking for something to gravitate towards or associate with, and Calvin and Hobbes became something I could bond with on a daily basis when the newspaper would come." "I didn't understand, sometimes, the significance of his statements." "But that really pushed me into research, and going to the dictionary or looking for meaning." "It's one of those things that you just, when you find it, you want to share it." "And as soon as he could start reading," "I wanted to give him the books." "And just like I thought it would, I mean, there's times now where he'll be reading it in his bedroom, and I'll just hear him laughing." "And just that simple act of hearing him laugh, as I know what he's reading, it's like, there you go." "That's what I was hoping for." "I don't know if you know how Israel was in 2001-2002." "It was pretty crazy." "Open the newspaper and you saw another bombing everyday." "It was really intense." "So I looked forward to the Sunday paper because they would run the strip." "And I cut them out and would hang them up on my wall." "Even if there was something horrible in the paper," "I would still get my smile and a good feeling from just reading that." "It relieves the stress of living in that kind of a world." "When you need something to smile about you just pull out one of the old comics and just read it, and it brings you back." "And I think that's the beauty of comics, especially Calvin." "For those of you who don't know him, Calvin is a 6 year old who some might call a bit of a troublemaker." "But he's also extremely intelligent with an endless imagination and an incredible lust for life." "Hobbes is his ballast, his voice of reason, his co-conspirator and loyal companion." "There's Mom and Dad, Susie, Rosalyn, Moe, Mrs. Wormwood, and a few other characters." "But nobody else sees and understands Hobbes the way Calvin does." "And it seems the reverse is probably true as well." "If I actually met someone who had never read Calvin and Hobbes, which does occasionally happen, I would probably immediately just go to my desk, pull a book off, and say, here, take this." "This will change your life." "It's so hard to just sum it up, other than to say this is every one of us." "Certainly it's a family strip." "It's a kid's strip." "In some senses, it's a gag-a-day kind of strip." "There's always a punch line, some kind of gag at the end." "But in other ways, I think it transcends all of those things because there is a little bit of philosophy in it." "There's a little bit of commentary about society." "Certainly there's a lot of humor." "It's a very funny strip." "So it really, I think, defies categorization." "There have been a lot of strips out there about younger people," "Dennis the Menace, a whole school of strips that try to recall youth and make it relevant to readers across different ages." "But Bill's take was so fresh and so simple." "Here he just took this idea and just blew it up into this wonderful relationship." "It's the only strip we've ever launched that we had editors who hadn't seen it yet calling us saying," ""Hey, we've heard about this thing called Calvin and Hobbes." "We want to be sure we get to see it."" "I was just blown away immediately." "It was one of those things that was so much fun to read." "It drew me in right then." "And I remember getting to the end of the set and thinking, where's the rest of it?" "I want more." "I want more." "Here was a strip that was much better drawn than anything in the papers, that had a really fresh perspective, and it just took off." "Within less than a year, Calvin was taunting Susie." "He was playing at being Spaceman Spiff." "I think it was within the first year that he started G.R.0.S.S., the Get Rid Of Slimy girlS club in his tree fort." "And when you look at other strips, it generally takes an artist much longer to reach that kind of maturity and that kind of understanding of who his characters are, what their strengths are, what their potential is for humor" "and for interaction." "And Watterson just had the pen and ink equivalent of hitting the ground running." "This was my bedroom when I was a kid." "When I was 10 years old, my brother moved to another room in the house, and this became my room." "And my dad put in this corkboard wall, and I had it plastered with things that sort of represented who I was." "And the main thing was Calvin and Hobbes Sunday strips." "I'd get the Sunday paper, dailies too, but mostly the Sunday, and I'd go and get it right away and cut out Calvin and Hobbes and it would go right on the wall." "And even at the end, the ceiling, all along here, this was all comic strips the whole way, and even on the other side, just plastered, plastered with Calvin and Hobbes." "Calvin's world is just huge." "It doesn't stop." "There was Spaceman Spiff." "There was Susie." "There were the snowmen." " I love the snowmen stuff." "I love the dinosaur stuff, totally." " He turns into the T-Rex at recess a lot, and he's going "AAARRRGGGGHHH!"." " There were the snowballs as well as the snowmen." " And there are the mutant killer monster snow goons, and that just cracks me up." " Oh, and then there is the infamous red wagon." " And there was getting jumped by Hobbes." " Monsters under the bed." " Tracer Bullet." " And you see him in black and white with the hat on and the dame walked in, she was hysterical." " He'd go on a space adventure." " And the time machine parts." " Stupendous Man, Safari Al, I believe." " And then you have the Transmogrifier, when he duplicates himself." " There was G.R.O.S.S." " Get Rid Of Slimy girlS." " Calvin going with his parents on vacation, going camping." " The soap opera-esque ones." " He would draw like Mary Worth or Rex Morgan, M.D., or some ultra-realistic comic." " One of my favorites with the teacher is he's in the classroom, and he's doing whatever." "The teacher calls on him, and he's imagining that he's being sentenced to death." "And he runs out of the classroom and hides in a cave." "And you see just his eyes and black screen, and he says, what's that smell, or what's that noise?" "And all of a sudden you see the lights go on, and there are ten monsters -- like hideous monsters behind him." "And he runs out." "Then it cuts back to reality, and he's snuck into the teacher's lounge, which he thought was a cave." "And there's just a little bubble that says, "Who was that?"" "That stuff cracks me up because it's so dramatic." "Everything is so dramatic in Calvin's mind, and to everyone outside, it's just like, what's that little kid doing?" "That little kid is kind of weird." "So many of Calvin's adventures take place in far away worlds." "But his everyday reality looks so familiar to me." "His backyard and the woods he explored probably looked just like home to a lot of readers." "And they looked a lot like the small town that Bill Watterson grew up in near Cleveland, Ohio." "We're just outside of Chagrin Falls." "And we're about to head to the Fireside Book Shop where we are going to meet up with Nevin Martell, who recently wrote a book about Bill Watterson." "And if you look around, this is the type of scenery that you see in Calvin and Hobbes." "The landscapes, the trees, the colors, the hills, these are the landscapes as you see Calvin and Hobbes sledding or wagoneering in their backyard." "You look around and it's like this is the strip in real life." "It's great." "When I first drove into Chagrin Falls, it was like walking into a Calvin and Hobbes strip, because the road in which I happened to come in on happened to be from the same perspective of the image of Calvin rampaging through the triangle at the center of town," "while holding the Popcorn Shop above him like he's a giant Godzilla." "So when I drove into town, I knew exactly where I was because I'd seen that before, except I'd seen it as one of Watterson's watercolors." "The view is from above the clock tower here, at the south end of town, looking north." "Bandstand..." "Fireside is roughly right here." "And Popcorn Shop, which is just around the corner, on the same side as Fireside." "And is usual per Bill, he has almost completely done the architectural details exactly as they are." "I'm not sure what's on fire back here, but this is probably the most popular book we sell simply because of the local drawing on the back." " You came to Chagrin Falls, the hometown of Bill Watterson, as a part of your journey." "What was that like?" " When I pitched the book, I'd always pitched it with the trip to Chagrin Falls." "And I always knew that I wanted to come." "When I had pitched it, it was just kind of like, and in a dream world, we'll go to Chagrin Falls and we'll knock on doors and we'll talk to people and we'll see things that have never been seen." "And so I didn't really know what I was going to get." "And it turned into a minor bonanza." "I mean, it was a major bonanza in terms of insight and material." "The book would have been thinner without it." " I started at the library here about three years ago." "And I walked into my office, and it turns out I've got an original Calvin and Hobbes about Calvin going to the library and having an overdue book." "I was very excited by it." "And as you can tell, by looking at it really close, you can actually even see Wite-Out on it." " This is the first original I've ever seen." "It's like the movement." "He decided that he didn't want you to see that." "The size is so much bigger than how they're printed in the newspapers." "You have no idea when you're reading them in the paper." "And there are papers that would have printed them smaller than this." " And there's some pretty cool stuff on the back, too." " Bill Watterson grew up in Chagrin Falls." "His otherwise civic-minded parents encouraged Bill's slothful habits until the youth was fit for no respectable work and had to go into cartooning." "Calvin and Hobbes was syndicated a year ago this month, and now appears in newspapers across the world wherever better comic strips are read." "Value $200, and now it says $500." " We have the Chagrin Herald." "They're bound newspapers from the 70s and earlier." "In the 70s you'll find some of Bill Watterson's earlier work." "We'll go back here and see what we can pull off the shelf for you." "So down here in the catacombs of the library." " 1976." "That's a very early one, Thursday, August 26." " The kids are going back to school." " So, going back to school." ""Coming straight from vacation, squealing into school."" "I gotcha." "Calvin would be headed the other direction." "So this is January." " 1978." " Through December of '78." "There we go." " Look at that." " "Watterson on Watterson."" ""The Herald Sun's award-winning cartoonist, Bill Watterson, turns his satiric pen on himself."" "Much longer hair then, ink all over," "Peanuts, and then his signature." "That almost looks gothic in a way, or something." "Do you have any 1982?" " Yeah." "Oh, there we go." "They pop out to you." ""He knew the risks when he put the garbage out early, ma'am."" "This actually reminds me of the Sunday strip, when the deer pop in with rifles and shoot Bill or Phil or some guy." "His signature here is a lot more like his signature with Calvin and Hobbes." "In the early '80s, Watterson did have a few opportunities to showcase his drawing skills for various publications while he endured repeated rejection from the syndicates." "But while he worked hard to make a living as a cartoonist, his talents were often wasted on laying out advertising in order to pay the bills." "Within months, however, of quitting that job," "Watterson was becoming one of the cartoonists who other professional and aspiring cartoonists were looking up to." "It's probably hard to name an artist who came along in the 1990s onward, a comic strip artist, who wasn't influenced in some way by Calvin and Hobbes." "You can definitely see his impact in comics today." "And it's not that anyone is copying his comics, specifically, or trying to do exactly what he did." "But you can clearly see that the creators who are younger and who are introducing new comic strips, you can clearly see that they've read Calvin and Hobbes and are influenced by that." "I can tell you when I saw Calvin, I saw the very first day in the L.A. Times, I liked it." "And you don't like strips very often from the first day." "I remember looking at comics in the newspaper and thinking, you know, I could probably write and draw as well as these guys." "I should give a comic strip a shot." "After Calvin and Hobbes came out, I sort of modified it to, well, I could probably write and draw as well as most of these guys." "I had sort of written off the comic strips at that point." "And when Calvin and Hobbes came fresh on the scene, it was brand new and it was funny." "It captivated me right off the bat." "I knew that was a good strip, I said I knew it was a funny strip." "I couldn't wait to read that strip every single day." " There was a unique perspective, a unique voice to it." "That it wasn't generic, formula gag stuff, which permeates most of the comic page." "In every way, shape, and form, and on every level it was like comic strip perfection." "And it still is." " One of my favorite lines came from Lynn Johnston who was doing For Better or For Worse, and she said," ""He inspires all of us to do a little bit better."" "And I think that, on the one side was a beneficial impact that he had, not only among artists who were working at the time, but on younger people who were reading comics, that there was this opportunity to do different things for the art" "and try to push the boundaries a little bit." "My initial impression when I saw them was the guy is making it harder for the rest of us." "Because he's setting this ridiculous standard of excellence that hadn't been seen since the Pogo years in drawing." " Most of the time I was just trying to meet my deadline." "For Bill, it wasn't enough to just meet the deadline, you had to sort of move the bar a little bit over what you had done previously." "It was a completely different approach to the traditional four-panel strip." "There was just something about it that was very magical." "The way he drew trees, the way he drew water." "The way he drew movement." "The brushwork just continues to amaze me and his writing, which is so concise and yet so deep and philosophical." "His approach at philosophy and sort of representing the human condition was something that was always bigger than just a little comic strip." "The conversations had so many layers of meaning." "And if I could even come close to that," "I would be absolutely thrilled." "Bill Watterson showed me that a great, amazing comic is great writing that can stand on its own and great drawing that can stand on its own." "You take out either one of those from a Calvin and Hobbes strip and it's still great to look at." "It's still funny to read." "Put them together, and you have one of the greatest comic strips of all time." "Calvin and Hobbes was, as far as a comic strip goes, was such a huge influence on me wanting to become a cartoonist." "It was everything a comic strip should be." "It's very dynamic." "It's funny." "It's got a strong voice." "The artwork was fabulous." "There wasn't anything not to like about it." "If he's not the most cited influence, he's certainly the second behind Schultz and Peanuts." "But he's up there." "And we get so many submissions that say," "I've always been a big fan of Calvin and Hobbes, so I wanted to try and do this." "I think you can see an influence of Calvin and Hobbes to a degree in Zits, a strip I like very much." "There's a kind of Calvin-esque feel to the way that Jim Borgman and Jerry Scott will play Jeremy Duncan's fantasies against the reality." "As a professional cartoonist, I read it now and you just see a master at his craft." "Someone that puts you to shame, as far as what you're able to do in comparison." "I actually have a comic that I had to do for a class in college at the School of Visual Arts." "So we had to do a comic about our biggest influence." "Of course, what else would I pick but Calvin and Hobbes." "One of the things that I feel that I've gained the most as a cartoonist from reading this strip is learning how to do such wild and crazy expressions." "Sometimes it's not just the writing, it's just the simplest crazy drawing that will make you laugh or smile and really influence you." "So I was very happy to get my inner Calvin on while working on this strip." "I got a lot of attention for a resemblance to Calvin and Hobbes." "And some of it was very, very flattering, and some of it was less flattering." "And some of it was flat-out mean." "I tried not to take it personally." "I mean, the people who were outraged that my strip might bear any resemblance to Calvin and Hobbes," "I think that was done mostly out of a passionate love for Calvin and Hobbes." "And anything that you write is going to be autobiographical at its heart." "Same with Frazz." "Frazz is me." "He's cooler than I am because I can make him that way, but he's me." "And likewise, ifl learned a whole bunch from Calvin and Hobbes, from Bill Watterson, I'm not going to cover that up." "Honestly, I think it would be rude to try and say," ""Oh no, I did this all on my own." "This is all me." "I didn't learn this from anybody."" "No, we're all standing on the shoulders of giants." "Watterson certainly left us a legacy of great ideas, great drawing, great, great comics." "But he was last in a long line of really amazing cartoonists from the 20th century, since the real blooming of the comic strip art form." "And he very much valued the work of Walt Kelly, one of the cartoonists that I loved to read when I was a kid." "If you look at Pogo, you can see that he very strongly influenced not only Bill Watterson, but also Jeff Smith who does Bone." "Pogo was this world similar to what Watterson created where there were these animals and these characters, and they spoke about things much bigger than the swamp that they lived in." "They were possums and alligators and chicks and all these things, but they were politicians and philosophers and they commented heavily on society." "So I can imagine why Watterson found Pogo fascinating to look at, and it's beautifully drawn." "And Walt Kelly, just no end of genius in how he created Pogo." " Schultz is of course such an important cartoonist and such a great one, that I think pretty much any comic strip that began after the early '50s was influenced by it." "The scale of the stories he would tell, the intimacy of the strip and of the settings, the observations of children's lives, all I think, again, can be seen as influences on Calvin and Hobbes." "Just the notion of the world from a child's point of view was something that Schultz took, and while other artists had done things with it before," "Schultz did it so much better and had so much influence that, once again, you can see it flowing into Calvin and Hobbes." "Well, I don't know Bill Watterson, so I don't want to speak to his motives, but it appears to me in reading his essays and seeing some of his interviews about Krazy Kat, that Krazy Kat set a bar that he judged his own work by" "and would not be satisfied with his own work if it wasn't as idiosyncratic, as imaginative, as personal, as Krazy Kat was." "Watterson said in his first hiatus he started to pay more attention to what Herriman was doing on those full pages when the newspaper page was a blank canvas and he could have form be dictated by content instead of the other way around, instead of saying," ""You've got eight panels here." "That's gonna be your narrative."" "Instead, he could blow it wide open and have the panels not be panels, have the adventure, the narrative flow, follow whatever course artistically he wanted to take." "All that stuff that Herriman gave himself license to do is right there on the page." "So I think, for a cartoonist, it represented freedom." "It represented personal, artistic, visionary freedom." "I think he saw that and saw this was what he could do too." "There's something else deep in the basement of the library in Chagrin Falls." "Watterson lent his photography skills to his high school yearbook and his cartoons are scattered throughout." "One of his drawings is a depiction of the four photographers on staff." "As the caption reads, Watterson is the one on the far right, "blinking."" "Perhaps this drawing foreshadows Watterson's future reputation for being a man who shied away from the spotlight and very much desired his privacy." "I think initially, he was pleased that so many papers were signing on." "He started getting a lot of fan mail." "He got a lot of press attention and he realized," "I think pretty quickly on, that he had done something special and I think it didn't take him long to become a little unnerved and taken aback by it." "Even with a tiny amount of success it's a little daunting how much feedback and comment and request you get from the general public." "So, I can only imagine if I'm Bill Watterson and I have millions and millions and millions of adoring fans." "Nobody knows Bill Watterson." "There's like three people on the planet who have ever seen him." "He won't talk to anybody." "He's the Sasquatch of cartoonists." "People have seen his footprint, but nobody's ever gotten a picture of him." "He just wanted to draw his comic strip." "He didn't really want to be famous." "He didn't want all the trappings that went with it." "He just wanted to do a good job drawing a comic strip." " Cartooning attracts solitary people, quiet people, insular people, because if you are gonna spend time at your drawing desk you weren't the kind of person that dated well in high school." "You know what I mean?" "You weren't the kind of person that was the captain of the football team." "For the most part, it's people that used their art to make their voice to the world." "So, it doesn't surprise me that he errs on the shier side, the introverted side, the reclusive side, because that's probably what his life framed him as." "He was probably always shy and introverted and reclusive or else he wouldn't have spent the decades crafting his abilities as an artist." "He would have been out socializing and became a regional sales manager for Midas car parts." "It would have been a different path in life." "Luckily, Watterson didn't end up selling car parts and he did create Calvin and Hobbes." "By the end of its decade-long syndication, it was in over 2,400 newspapers worldwide with a daily readership of millions." "Watterson won the Reuben Award for Cartoonist of the Year in 1986 and 1988, the Harvey Award for Best Syndicated Comic Strip" "SGVGH years in a TOW, and Calvin and Hobbes was loved by readers and critics alike." "Eighteen Calvin and Hobbes book collections have been published in the US;" "selling 45 million copies." "And dozens more have been published internationally in at least two dozen languages." "There are frequent homages and spoofs on the comics pages and the strip has been referenced in numerous American TV shows;" "including Family Guy, The Big Bang Theory," "Parks and Recreation, Portlandia and Robot Chicken." "But, Bill Watterson doesn't seem to care too much about the numbers or the awards or the accolades." "His focus was on the comic strip itself, which, despite being something that Watterson has said he did for himself, had become very important to readers worldwide." "Bill Watterson saved almost all of the original art from Calvin and Hobbes, both the dailies and the Sundays and all of the book art that he did and he put it on deposit here at the Billy Ireland Cartoon  Library Museum." "So we are the caretakers and we make sure that it's preserved and kept safe and also that it's accessible to researchers and scholars." "So if somebody wants to come and actually see the original art they can come to our reading room and request it and we'll bring it out and they can look at it." "So, this is what we call the stacks and this is obviously where we keep all of our collection." "We operate like a rare books room, so nothing circulates, nothing actually leaves the cartoon library." "If anybody wants to use something they have to actually come here and request it and then we bring it out and you can look at it." "So we have over 400,000 original cartoons including, of course, the Bill Watterson deposit collection." "We have many, many books about cartoons, periodicals, we have comic books, we also have archival material;" "so we collect the papers and letters of cartoonists and other people related to the business." "This is gonna be all of your books about cartoons, anthologies, reprint books, "How-To" books, journals like Puck or Judge that have a lot of cartoons in them." "Then, over here we have our flat files, which is all of the original art." "So, this is one of my favorite drawers." "This is our Little Nemos by Winsor McCay and these are just absolutely spectacular." " That is massive." " Yes, of course the newspaper pages were bigger themselves at the time, but it would have been smaller than he did it as the original." "Little Nemo, of course, is a wonderful comic strip about a little boy who goes to sleep every night and he goes to Slumberland and has all these amazing adventures and then, always in the last panel, he wakes up and is back in his bed" "and is back into reality, and so you can see how this influenced" "Bill Watterson with Calvin and Hobbes." "There were a lot of strips that were like that where he's in kind of a fantasy world and then, in the last panel, he wakes up or comes back to reality." "If you had the chance to view a selection of Calvin and Hobbes originals, how would you pick which strips to see?" "Would you pick specific examples of panel layout or use of black and white or line techniques?" "Maybe a daily and a Sunday from each year?" "Or would you just narrow it down to your absolute favorites?" "No matter what you finally decide, once you put on the white gloves and sit down with the strips," "I don't really think you could go wrong." "It's admittedly a strange experience." "You can examine each line and letter and mistake and alteration and you can compare the originals to the printed newspaper or book version." "The dailies look much as you might expect, but the Sunday strips are another story." "You can explore Watterson's lush watercolor art, but the Sunday originals are black and white." "They're incredible to see despite the missing color, but the experience got me thinking about the art of the comic strip." "Comics are a bit of a unique medium in that it can be difficult to define exactly what the final piece of art actually is." "Watterson's originals are probably worth tens of thousands of dollars a piece." "But, it isn't until the Sunday strips are printed in the paper or in books that they reach their final intended state." "If you think for just a moment about how prevalent comics are and how many millions of prints of each daily strip are distributed across the planet, it might be easy to understand how comics might be often categorized as low art." "But it's hard to deny their high impact." "I think he very quickly grew from "let me get a package together that a syndicate will pick up,"" "to "gosh, I got picked up and I'm gonna be syndicated,"" "to, "now I have this opportunity to kind of explore these different artistic options."" "But I think he quickly picked up the opportunities with color on Sundays, the ability to push out the boundaries on that piece of canvas on the Sundays and also, in the dailies, he tried so many different things in the dailies" "as just from the perspective of an artist." " Cartoon art and comic art is something that was originally seen as kind of trashy, populist stuff, almost very childish." "Then, as the years have gone on people have started to see the worth in it and that's because comic strips have tackled heavier subjects, the artwork has been elevated to a massive degree in some cases." "I don't understand the distinction that people make." "You can have fine art, you can have these amazing images that people acknowledge can speak about any topic and say great things and reflect what the artist is trying to do." "You can have literature that does that too, you can have a great novel that people respect and they understand." "But, somehow if you combine the words and the images all of a sudden all you get is something for kids, and why is that?" "If you read through all of Calvin and Hobbes you'll see that he really has very interesting things to say about society, about humanity, about relationships, about the world, and there's no reason why he can't do that in a comic strip." "That's a perfectly valid form and I'm thrilled that he chose that form because I think he could have done probably anything." "He could have been just a fine artist, he could have written books, but he actually chose to do it as a comic strip and I'm grateful to him for that because he did it so well and he showed how it could really be done." "My favorite strip, which probably doesn't surprise you, is the one where Calvin and Hobbes are looking at art and they're talking about comics versus art and how you can have high art, like a painting," "and then you have low art, which is the comic strip and it's commercial and it's hack work." "And then he kind of shows how absurd that is by saying" ""a painting of a comic strip panel, that's sophisticated irony, philosophically challenging, that's high art."" "And so then Hobbes says, "Well, suppose I draw a cartoon of a painting of a comic strip?"" "At that point it's just absurd, but Calvin says, "Nope!" "That's sophomoric, it's intellectually sterile, it's low art."" "So he's commenting here exactly on this debate." "What's high art?" "What's low art?" "And why just because it's printed in a newspaper and it's a comic strip is it automatically low art?" "I don't think anybody would look at Calvin and Hobbes and say that it's not art or say that it's low art." "But that seems to be a distinction that comic strip art has been stuck with." "Comics are self-expression." "Self-expression is art." "I don't give a --- about what an art critic might say art is because I know that I'm creating something." "Art is about creating something." "The end." "If you actually still have a subscription you can probably tell newspapers are hurting simply by stepping out on your porch to get yours." "Nearly 100% of the time, it isn't the front page that greets me, but a full page ad for a sports equipment retailer." "Then, the state of the perceived value of the comics is clear when you try to find the comics section." "When I was growing up, depending on how your paperboy put together your paper, the Sunday comics section was often the front page of the Sunday newspaper when it arrived at your door." "It was the first thing you saw." "Now, it takes me a couple minutes just to locate it." "And looking back at comic sections of the past in comparison, it's clear just how much the comics are being trimmed." "A typical Calvin and Hobbes from the 1990's wouldn't even fit in today's Sunday Funnies." "Watterson had more space on the page than Stone Soup," "In the Bleachers, Canderville, Frazz, and half of Non-Sequitur combined." "The comics page was shrinking in the 1980s." "It was getting smaller and smaller and smaller and cartoonists were rebelling." "It was getting tougher and tougher to fit really quality content into the strips." " I typically avoided looking at comic pages because I so hated how mine looked on the page." "Your strips look so beautiful as they head out." "You draw them this big, and they're gorgeous and you see them, especially 25-30 years ago, reproduced this big on bad newsprint often out of alignment." "It was depressing." "It was like, why am I in this business?" "The smaller and smaller reproductions meant there was less chance for the visuals, less chance to draw well, less chance for the audience to appreciate good drawing and imaginative visuals." "If you are working to create a graphic entity, a pictorial representation of something, you don't want to see it shrunk down to a postage stamp." "Some of the first comic strips in America in the early 1900s, some of those were like full page comics, and like, those artists had just like huge palettes to work with." "And the art was really, really important, whereas now, you know, some people are working with, like, this, and it's black and white, and everything is about the simplicity of it." "Clearly his focus was on the Sundays." "So he approached the Sundays as an opportunity to do some dynamite art, which in the comics has been a dying thing for decades." "You almost cry a little when you look at the old comics, when they had a full page to do whatever they wanted." "You know, again, the Nemo in Slumberland." "I mean, good heavens, it was just unreal." " When you look at the great strips of the past, not only McCay and Herriman and Milt Caniff and Walt Kelly, the general standard of draftsmanship used to be much higher." "You couldn't have Terry and the Pirates the same way you did in the 30s and 40s." "The biggest, most popular strips were the story strips." "They needed that space to move the story along." "Well, as they shrunk the comic, there wasn't that space anymore for both the art and the dialogue." "Bill's particular problem was that with the Sunday format, it could be chopped up to fit different sizes, either a half page or a third of a page or a quarter of a page." "And he felt trying to configure it so that it fit into all those sizes was really an obstruction for him." "So he came back with one size proposal, and that was it." " Once the Sundays were totally in Watterson's control, they didn't get moved around or chopped up, or they wouldn't lose the top bar." "That really opened up a whole new world in the sense that the artwork could go to another level because he was working with a really huge palette, where it was uninterrupted, unbreakable half pages." "That was amazing to watch because it really allowed him to work in a way that just freed up his creativity." " Every three years at Ohio State University, the Cartoon Library  Museum hosts the Festival of Cartoon Art, which brings together scholars, cartoonists, fans, and industry professionals from around the world to celebrate comic creators and their work." "In 1989, Bill Watterson was a featured speaker at the festival, and he took the opportunity to talk about the power and possibilities of comics and how the current climate for cartoonists was failing the art form." "He gave a speech titled "The Cheapening of the Comics,"" "which was really his way of drawing a line in the sand and saying, if we are to take this art form seriously, if we are to serve it best, these are the things that we should do." "And it was sort of a series of seven or eight or nine points that says, look, you cheapen the comics when you commercialize it." "You cheapen the comics when you take the artist out of the equation." "You cheapen the comics when you let it go on a life beyond what it was intended to do." "You cheapen the comics when you give the syndicate, which is sort of the publisher and the distributor, too much power." "And if we are to truly serve this art form, the artist has to come first." "Their voice has to come first." "And the art before commerce has to come first." "He was essentially throwing down the gauntlet and said, look, we've lost something from the early part of the 20th century, where the art was beautifully displayed, the artists were given this truly unique voice," "and we need to go back to a different time, to a different way of cartooning." " I think he took a very lofty, at times even philosophical, look at the art form." "There's nothing wrong with that because he held himself to those own standards, and I have a lot of respect for him for doing that." " I think it was kind of a brave speech because Mort Walker took it very personally, you know, of Beatle Bailey fame, and a few other bigger names in cartooning took it personally because they viewed it as a shot" "across the bow of the way they handled their business, the way they handled their cartooning." "Within the crowd, my recollection was that there was a strong split among those who were, "yeah, go get them, go tell them the way it is," and the other side which was," ""who is this kid to tell me how to do my art and do what I want with my life and my business?"" " Watterson was coming more out of the artistic tradition of, look, we can raise this art up." "And others were coming from, look, it has always been this intersection of art and commerce, so you cannot deny that." "You know, I've talked to Jeff Smith of Bone about it." "And he said he literally walked out of that hall and said," ""l realize that Bone cannot be what I want it to be in a comic strip form." "I have to forge my own path." "I have to take Bone elsewhere."" "My relationship with Bill was one of letters, and it's not unique to cartoonists that we draw in our letters to each other." "But it's unique that he would spend as much time as he did on his drawings, which is just like him." "He didn't do anything like I did, which is by the seat of the pants, extremely quickly." "The source of much of the energy with the letters and the drawings, to me, was at my expense." "He and I were the yin and the yang of the comic strips in the 80s because I was making these and he was not." "And as he would draw me, I was taking the money and buying gasoline with it, pumping it into my speed boat, which he used to put on the bottom almost of each of the letters he wrote me." "And the person handing me the money was the syndicate boss who he had no appreciation for." "So that's how he saw me, and that's how he saw the syndicate, and that's how he saw the exploitation of one's characters in a comic strip, all nicely personified in one drawing." " We realized that Calvin and Hobbes was going to be huge in licensing." "We could just tell by the signs, the response from the public, but Bill made it clear that he was not going to do it." "Watterson obviously had very strong feelings about merchandising and the commerce side of comics." "He participated in a way, just being in the newspaper is part of that, but he clearly had very specific ideas about how merchandising can change the characters or change the art or change the creator and what their vision is." "The idea of, you know, a stuffed Hobbes sitting on a shelf somewhere would basically answer that question that's always hanging over the strip." "You know, is Hobbes real?" "Is he a stuffed toy?" "Well, there's a stuffed toy, you know." " We've seen many comic strip characters go from being, you know, figures you see in the paper that may give you a laugh to being kind of a national blight, in the case of something like Garfield that at one point was on," "I think, 5,000 different products, and the character becomes ubiquitous and begins to feel like a pest, or something you can't escape, rather than something you look forward to encountering." "In a society that is as media obsessed and money obsessed as ours is and was then, his decision seemed strange, if not almost un-American." "He walked away from literally tens of millions of dollars in merchandising because everything that Snoopy was on," "I'm sure he was offered for Hobbes." "Sparky did feel protective about being criticized for licensing because he said people don't realize, you know, how it all started, and that everything was somebody coming to me wanting to use the characters." "I drew it for them, and it had an aspect of kind of fun and entrepreneurialism about it that was not to do with business." "It was to do with extending your art, extending your sentiments." " When Sparky did what he did, Sparky had no template, and I'm talking about the licensing." "Like Percy Crosby had licensed Skippy, and Blondie had been licensed, but nobody had been licensed anywhere close before or since." "You know, you're talking $40 million a year empire." "Insofar as that includes a Snoopy plush that a kid can hold that looks like Snoopy and doesn't have sort of a bullshit smile that Snoopy doesn't have, it's great." "Insofar as the Peanuts characters speak for MetLife or any corporation," "I always cringe." "It just strikes me wrong." "I don't want to see Snoopy selling me insurance." "It's sort of like a cousin who got really close to you and you spent all this time together, and you think you really know them." "And then you're fishing with him one day, and he says, you know," ""l never said this to you before, but I sell life insurance."" "And your stomach would just drop because you'd say," ""God, has my whole relationship been based on that?" "Like, were you building to this point?" "Was it all B.S.?"" "Something strikes you as false, and you question the whole friendship." "And I think when a character advertises, sells you insurance," "I think that hurts your relationship to the character." "When Watterson did what he did and he said no licensing whatsoever, to the extent he meant I don't want my characters speaking for everybody," "I don't want my characters to be on every lunch box and every shirt," "I totally understand." "It makes a lot of sense because it lessens the character." "Insofar as he took a stand, there can't be a Hobbes doll," "I will never understand that." "If they made a Hobbes doll, and he had control over it, it looked exactly like he wanted it to look, every kid in the world would have loved it." "Has there ever been a character who was more built for licensing than Hobbes?" "It's a stuffed animal in the strip, and the kid's imagination can make it come alive, you know, the whole bit." "What would the harm have been in that?" "And I can't see it." "This leads to my theory of what it is that Watterson might be doing, and I suspect that some of it is about control." "Comic strips are all about control." "It's the one art form where you have full control." "It's not collaborative like a film." "It's not collaborative even like a book, where your editor changes things." "I really don't have an editor." "It's just me." "It's not collaborative like a TV show." "It's not collaborative like a record album." "It's you." "It's just you." "When you wander into licensing, it becomes a collaboration." "Somebody at your syndicate has to approve it." "Somebody at your syndicate gives suggestions." "Somebody at your syndicate says, "you know, that's nice, but it'd be better if he smiled on the package."" "Right?" "Smiling sells more." "Then it gets in the hands of the designer." "The designer has their own ideas how the character should look." "The designer knows what material sells." "The designer knows what materials are safe." "Then there's the designer's boss who may have different ideas because they give it to the salesman and it didn't sell well." "So I've just introduced seven people into my life that weren't in my life before." "I don't particularly like any of them." "They're not my kind of people." "They're commercial people, and they make your stomach hurt when you're with them." "So I've introduced an element into my life of a whole bunch of people" "I don't like." "I've got to overcome them all, even if it's so much as just saying" ""l don't think we should do this" and they say "yes."" "I still have to do that to seven different people." "And that's all a loss of control, a loss of control that I never had before." "Right?" "And imagine if he started licensing." "The first lunch box would've sold nine billion, right?" "The minute that happens, everybody's going to be on him for all the more, like this, that, and the other." "All represents a loss of control." "Then they all sit in your head, rather than go, as he probably did, and walk through the forest that day, he took six phone calls that he didn't want to take." "They interrupted his day." "They're floating around in his head." "That's all bad." "You know what I'm saying?" "And that's control." "That's not about artistic purity." "That's about control." "You know, contractually, we had the rights to license Calvin and Hobbes to anything and anyone in the world." "We had calls from people like Steven Spielberg and Disney Studios and George Lucas." "I can go right down the line." "The potential for products, worldwide, internationally, was again huge." "And we recognized that." "It certainly would have been up there with licensing revenues from Garfield and Peanuts." "That was not money just for us." "All the revenues would be split 50/50 with Bill, so the fact that we were turning down huge opportunities also meant that he was turning down huge opportunities too." "Everyone has a different opinion, but I think the number is all very, very high, depending on who you're talking to and what mood they're in." "I've heard many people say $300-400 million dollars." "I wouldn't be surprised if it was..." "Could be more depending on how far, you know, Bill was willing to go." "Our discussions were very involved and sometimes heated." "It weighed heavily on him, and I think it became apparent in some of the ways in which the strip was being worked out." "Some of the story lines that Bill employed and the question of commercialism versus art, and all this stuff, it was clear that Bill was sending some messages." "And we realized that we've got to make a decision as to are we going to try to accommodate him and his interests in a reasonable way within the context of running a business?" "Or are we going to, in essence, beat up the most important cartoonist of his generation?" "And we did what we could do to try to work out the business arrangement, and the good news was we got some more time." "But I do believe he did come close to just calling one day and saying that's it." "The cliché of building an entertainment franchise in any medium is that you have to merchandise it." "Since he wasn't going to do that, he had to confront the notion that people are going to be making their own merchandise." "My friends and I made a personal bootlegged Calvin shirt just for ourselves and then you started seeing that Calvin being used in both religious iconography on the back of gang vehicles, I guess, where it's Calvin," "like, mourning the cross, pouring some out for my dead homies or Calvin peeing on whatever import car the driver doesn't like." "Ijust thought, who has licensed this?" "Of course, no one had." "I remember when I was younger thinking I'm really kind of bummed that there aren't any Calvin and Hobbes toys that I can play with, you know." "And I remember thinking, "l'm a genius."" "That would be, people could actually make some money if they made Calvin and Hobbes action figures." "And I didn't, obviously, at the time I didn't understand that Mr. Watterson had made a decision to not license and market Calvin and Hobbes." "And as I've grown up, I respected that, and I realized that it would probably cheapen it if Calvin and Hobbes's faces were on my toothpaste or whatever, because now, for me, it exists solely in my books" "and with me and my Hobbes in the backyard." "I think that's one of my favorite things, is that it's alive to me, like Hobbes is alive to Calvin." "He made a point of letting the comic stand on its own." "I know the colors." "I know the sounds." "I have that all in my head, and I do really appreciate that it's remained that." "It won't be in the public consciousness, particularly with younger people, as much as we older folks think it should, but it will be remembered in the proper way, which is based on the work and not because" "there are still Hobbes dolls for sale, you know, at Target." "I definitely think by him not allowing anyone to merchandise, the mystique of it grows and the desire for those kinds of things, or the care with which it's taken by people." "You know, people preserve the memory of Calvin and Hobbes as something very precious and personal." "And I think that has a lot to do directly with the fact that it wasn't exploited in stuffed toys or cartoons or post-it notes or sleeping bags or anything." "It's pure in its purest form." "It's his, just his lines and his words and not somebody else's interpretation of how it should look in plastic or plush or anything." " I think it strengthened the strip, and I think that the legacy of the strip wouldn't be as strong as it is if he hadn't focused everything he had on making that strip the absolute best strip" "that he could make." " The fact that there isn't Calvin and Hobbes stuff all over the place is really, I think that's the reason why the strip is still as popular as it is today." "There are two ways to look at Bill, and I try to keep it as objective as possible in the book." "There's the people that look at him as a curmudgeon and somebody they resent for not sharing himself when he was so famous, and somebody who did not give them what they wanted in terms of, that might be like the fact" "that he never made a Saturday morning cartoon special that they really wanted to see, or they didn't allow a Hobbes doll to be made, and they always wanted one as a kid." "There's that group of people, and then there's the group of people that look at him, and you know, they respect the choices that he made when it came to merchandising and licensing." "They love him as a writer." "They respect him as an artist." "And those are the two people that I was chasing at the same time." "You know, there was somebody who is incredibly principled, who stuck to it, and who also happened to be incredibly talented." "And then there was a guy that really turned his back on this whole public persona machine that we've come to expect as Americans." "So over the course of the journey, I was rooting for the guy that was so principled, and yet I was peeved at the guy that was like not giving me what I wanted." "It was frustrating, and yet at the same time," "I couldn't help but root for him." "I think that he made his decisions, and I totally respect them." "And any personal wants that I have from him are selfishly motivated, and so, that's up to him." "I would say my favorite strips are my arm." "I made sure I got some snowmen in there, making fun of girls, the silly ones, some of the imagination stuff where he think he's a crocodile here and he's swimming." "I tried to get a little bit of everything." "Stupendous Man." "I actually, when I was getting this tattoo, I knew a guy that could get phone numbers, and I got Bill Watterson's phone number." "I wanted to get permission to get the tattoo so I wouldn't be just as bad as the bootleggers." "But, he didn't return my phone calls." "I did get it anyway, but I feel like it's not a bootleg, it's just a labor of love." "People talk about kind of the death of cartooning because of the passing of newspapers." "But really we're in a time right now where it's not just newspapers, it's media." "Like media is changing and the way we make money from media is changing." "Newspaper comics are especially interesting, though, because they used to be unified." "Every day you would open up and your paper would have one or two pages devoted to newspaper comics." "And first of all, those pages are getting cut down and shrunk more and more as time goes on and as newspaper budgets keep getting cut." "So, you're not coming to the same collective space every day to experience the newspaper comics." "You can go online if you're interested and either find the strips that you already like or go discover new ones but it's not the kind of same thing." "You have to go to one page on GoComics for Calvin and Hobbes, and then you go to another independent artist's website for their webcomic and then you go to a website for another webcomic and then you're surfing, you know." "But you're never going to one place to get all those different perspectives." "That was the cool thing about comics." "Whether you liked Garfield or Family Circus or The Wizard of Id or Calvin and Hobbes, you could come to one page in the newspaper and experience them all." "And because that medium is disappearing or shrinking, that experience is disappearing as well." "There was sort of a high point for mass distributed arts, somewhere between the post-war era and probably somewhere in the mid-90s and it's been a diminishment for TV, for film, for albums, for cartooning, for novels ever since then." "Because the basic fact is as a culture the means of distribution have been so filtered out and the means of creation have been so filtered out that we're now getting tens of thousands of blogs, tens of thousands of webcomics," "tens of thousands of small bands that can distribute directly." "There simply is no way to concentrate people's attention." "And when it gets concentrated on something, it gets concentrated for a very short period of time." "Probably very intensely." "Everybody is tweeting about it and watching it on YouTube, and then it's gone because the next thing has come along." "You're getting all these incredible voices that you never would have gotten before, but you no longer have those water cooler pieces of art where everybody would know, everybody would gather around at work and say, ah yeah, that's the one." "There will no longer ever be a Rolling Stones, there won't be the Beatles, there won't be an Elvis Presley, for the same reason there won't be another Calvin and Hobbes." "The market is digitalizing and it's atomizing, so it's being spread over a far wider surface but in a much thinner layer." "If The Far Side started or if Calvin and Hobbes started today in newspapers, it would probably do well, but I don't think it would have the impact that it had in the late 80s." "If you could name me a cartoon character that's been invented since 1985, that's new from the comic page, not on television." "If you can name me a cartoon character that is a household term or name throughout this country, truly, that my mother would know and that I would know and that my kids would know, that anyone through Canada would know," "I would be very shocked." "And I don't think it's going to happen again." "I think Calvin and Hobbes is the last great cartoon characters." "So he nailed that." "It's great to be first, but it's also good to be last." "Calvin and Hobbes was of its age and you couldn't transplant it elsewhere." "And thankfully it was of its age, which is another way of looking at it." "Thank God it did appear when it appeared and thank God it did run when it ran and where it ran." "Because I don't think it would have been near the success artistically or financially for its worth creator had it run any other time." "Which is both sort of amazing and kind of sad in a way, you know?" "If you would have asked me the question, ten years ago, how would his lack of licensing affect the strip?" "I would have said, it's ridiculous, it's going to fail." "It's going to hurt the long term legacy." "People will forget the strip quickly." "Because part of Snoopy's enduring legacy is that your four year old can have a plush Snoopy and then learn about the cartoons and the strip." "They fall in love with merchandising first and then the characters and the content and the art." "So I'd say the strip is going to go, vanish, we'll never hear from it again and there will be people like me, 40 years from now, talking about it the same way we do about Krazy Kat and Pogo." "Brilliant, wonderful;" "the public has forgotten." "Not with Calvin and Hobbes." "It's universal." "It has maintained it's quality and integrity to the point that kids today, coming up, are still reading it." "How do they learn about it?" "It's in their school libraries." "That was one of the breakthroughs is that Calvin and Hobbes was encouraged by the teachers." "Teachers spotted the child who was Calvin and said," ""You're Calvin, I want you to read this."" "And it got them reading." "And parents encouraged it too." "So I think that made up for a lot of the merchandising that would have helped carry it on." "That made up for the animation that never happened, is that the comic was just that good that it could survive without it." "I don't know that there's a lot like that." "I've lost track of the number of six and seven year olds who list Calvin and Hobbes as their favorite comic strip and they know about the Transmogrifier and they know about the time machine and they know how to turn a cardboard box" "into absolutely anything." "I think there's even a generation of kids named Calvin because people my age are starting to become parents and all it takes really is seeing that dog-eared copy of Something Under the Bed is Drooling, or Yukon Ho!" "at your public library or on your school bookshelf." " You know people " " I've heard questions like why are people still reading that, why are the books so popular?" "He hasn't been in the newspapers in 15 years, why are people still talking about it?" "It's like, 'cause it's transcendent, that's the beauty of it." "And that's, I think why Calvin will be around 10 years from today, 25, because he talks to us on a deeper level than just punchline." "It's kind of reflective in the fact that people can go back to Calvin and Hobbes and read them over and over and over and over again and they're always joyful." "Even when you know what the punch line is gonna be it's still funny." "I feel inspired when I read a Calvin and Hobbes strip." "As a human being, Calvin is enjoying life so much," "I wanna go out and enjoy life that way." "It can't really be contained by print or panels." "It's a living, breathing thing and I think it always will be." "He used ink and brushes and some watercolors but he created life with that, which I think is what every cartoonist aspires to, but not many of us ever get to achieve that." "Calvin and Hobbes, there's not a single element in it that isn't kind of as current as it was when it came out." "It's all about being a kid." "It's all about imagination." "Every single thing that's referenced I don't have to explain the context to my kids." "They actually live it in the same way I did." "That's not changing and to read Doonesbury or to read Bloom County or the other, for me, the most important things growing up, you need to have a sense of the history." "You need to understand the pop culture of the time in a very specific way." "Calvin and Hobbes just kind of requires that you're alive, which is quite an achievement." "I've been fortunate to work with some wonderful cartoonists and certainly, at the top of that list has to be Bill because he was so different, so challenging." "He really caused us as a company and me as an individual to rethink the ways we dealt with cartoonists and what our role was in helping them get their work out into the public." "His creativity and the result of his efforts were up there with probably two or three or four of the greatest strips of all time." "I think Calvin is something that will last and, heaven forbid, if newspapers were to disappear tomorrow and books were not to be printed, there would be some way people would want to find his work and read it again" "because I think it's that strong and that enduring and that special." "Over the years, my favorite Calvin and Hobbes strip has changed." "When Watterson was still writing and drawing my favorite might change weekly, especially as he continued to put out some of his greatest work in the last few years." "I have my collection of Calvin and Hobbes strips that I love for one reason or another." "But, looking back at it all, as much as I love some of the strips for the humor or the adventure or the amazing art or the imaginative place that the strip took me, the strip that I can't really forget is one that nobody else" "has ever mentioned to me as a favorite or even a notable one." "When I've described it to other fans, I don't often get a look of recognition." "But, for me, it's unforgettable and it has a special meaning." "I'll never know exactly what Bill Watterson's intentions were with this strip." "I myself can see a few different possible interpretations." "But I can no longer look at it without feeling like I've glimpsed beyond the surface of a comic strip filled with imagination and magic and joy and adventure and friendship and seen instead a hint of tremendous disappointment and loss." "Watterson conceived of this strip, he wrote it, drew it and inked it using the simplest of tools;" "Bristol board, 2H pencils, a sable brush and India ink." "He handed it over to his syndicate for publication in newspapers worldwide and millions of readers discovered it in the paper or in one of his books where we all brought our individual experiences and perspectives into the equation." "And Bill Watterson has repeated this process 3,160 times." "Each of these strips holds the potential to touch someone, somewhere, in a unique and personal way." "Many of Watterson's strips mean something special to me." "Some bring a huge smile to my face." "Some challenge me to think." "And a few are more melancholy." "I see some strips differently now than I did as a kid." "And for me, looking back, this strip foreshadows the end of Calvin and Hobbes." "Ijust, I remember the announcement." "I remember reading the final comic." "I remember knowing that that was going to be it and it was a really poignant way to end it and true to everything he built up before it." "I certainly remembering opening the comic page that last Sunday in The Chicago Tribune and seeing it and being like," ""Wow, it's over."" "You just weren't used to comics ending." "They kept going." "That was part of the deal." "The final strip was the last hurrah." "All the elements that made the strip wonderful were there including the drawing that was so much a part of it." "There were very few words." " Everyone who was a Calvin and Hobbes fan remembers two strips." "One is that one that spoke to them individually and the last one," "Let's Go Exploring." "It was just a wonderful way for him to end it." " The way he handled it was so wonderful; with the toboggan ride which was very much a staple of the strip." "Going off into just wide open... it wasn't nothingness, as I saw it." "It was everythingness." "White is not the absence of color." "White is all colors, and you could make whatever you wanted out of that final episode." "Honestly, how else is a cartoonist going to see the world?" "It has to be a big, wide open world, because until you draw your very last strip you've got to come up with a brand new story out of that world every single day." "You know, it was an end posed as a beginning, basically." " There's just something magical about that particular strip where it really is just looking at the world afresh and I imagine that's what Bill Watterson must have felt like when he finished that last strip;" "it's a magical world and now I can move on." "What's next in my life?" "He's trying to show us all that there's more to life than a comic strip, I think, and trying to make us feel a little bit better, but it doesn't work." "It doesn't work at all." "It gave the impression that he was going to be exploring new things and he probably is exploring new things, but he's not sharing those publicly." "That's too bad." " The final strip, for me, is bittersweet in the sense that it was the end." "But, the thought that at the end of it you're being told" ""let's go exploring," which is something I think" "Watterson did throughout his time in the strip;" "whether it was making leaps in the artwork so you had to kind of think what was happening in the little white space between the panels, or whether it was the fact that an adventure didn't necessarily end succinctly at the end of a strip" "so you had to kind of imagine what might have happened afterwards." "He was always telling his readers to explore." "There's still magic in everyday life if you know where to look." "Maybe if we look in the right place there is something else as wonderful as Calvin and Hobbes or something that will give us that daily magic, but we have to find it." "It may well be out there as Calvin said." "It's up to us to look for it and to discover it." "There's that saying that all good things must come to an end, but I'm not sure I believe it." "As long as there are new readers being introduced to Calvin and Hobbes, Watterson's legacy will live on." "And with those final three words that almost every fan can recite, so many new adventures will begin." "So here's a question for you." "Have you guys or have you written a letter to Watterson?" "If so, what was the experience like?" " I never have." "Not when I was younger and not now." "I have a file, a Word file, on my computer and it's one line so far." "All it says is, "Dear Mr. Watterson..."" " Very fitting." " Nothing else." " Very fitting." " Not another word."