Calvin and Hobbes

Calvin and Hobbes is a widely well regarded comic that is liked by the young and old alike. While the comic has much to say about art and philosophy, it can also be noted for it’s deliberate usage or occasional abandonment of a standard layout of it’s panels. While a good deal of the strips adhere to a more rigid and standard layout and let their content shine through, as the comic went on Watterson began to explore more novel layouts, allowing the interweaving of Calvin’s fantastic imagination his mundane world together in new and compelling ways, or creating strips that exist in a much more dynamic fashion with very few actual panels at all.

An article could discuss how these panels and strips make use of both the traditional and the irregular to better serve the comic’s storytelling and narrative capabilities.

Watterson’s strategic use of nomenclature when it came to naming his famous comic (and its two central characters) is well known, as its evocation of two historically significant philosophers guides the reader to look beyond the comic’s perceived childishness to discover deep-seated philosophical themes. However, might there be a special reasoning as to why he chose these two specific thinkers? Does the character of Calvin in any way represent post-Lutheran Christian reformational dogmatism? Does Hobbes illustrate the necessity of Social Contract theory to maintain civilized order in light of mankind’s inherently brutish nature? In what ways might these philosophical outlooks be reflected in the young boy’s imaginative adventures with his stuffed tiger?