What that small smile and the upturned gaze suggest to me, Mary, is that Calvin’s dad is humbled and grateful—for Calvin’s love, for being Calvin’s dad, for having the opportunity to create a lasting memory giving a relatively short time on a weekend afternoon, and for the inspiration that moved him to do it. I think he wishes their relationship could be like this more often, and maybe he feels a little bad that it isn’t, and would like to do more to make moments like these more frequent.
Nicely done. This particular one has always been one of my favorites.
Also of note: a possible subtle nod to the WB Road Runner cartoons. That appears to be a small statue of a road runner on the table in the first frame, and the puff of “smoke” Calvin leaves behind is a gimmick often used when characters dash off in those great WB toons.
If memory serves, the three-tier format wasn't just a three-tier format, where the top tier could be eliminated and the other two tiers left as-is; it was also designed to be converted to a four-tier format, which required that there be panel breaks at specific points within the three tiers. That's why, in the three-tier format's top tier, you usually saw one wide panel with the cartoon's title and a more square-ish panel next to it: when the strip was laid out in a four-tier format, that square-ish panel would be the first panel on the second tier.
Correct, hence “among other things.” There were also mandatory panel breaks at specific points in the second and third tiers. This meant it might wind up as a three-tier strip *without* the title tier.
Thank you for all the work you put into this post. One of my favorite things is reading Calvin and Hobbes, first on my own, then to my children, and later to my granddaughter. A lot of laughter, and I could also see their minds working from the sophistication in the material.
Panel 11 and 12: the image of mom holding Calvin kissing dad is the same form of the silhouette of dad standing behind Calvin and the snowman. The two images reciprocate one another. In the end, though, Calvin and his world are "bigger" than the small adult world.
It may not be as deep as the one you just analyzed, but I’m very pleased with my recent purchase (from gocomics.com): Calvin’s dad explains how the world was black and white until the mid-20th century. Substack doesn’t permit an attached photo, apparently.
I know that one well! There’s also a fun Sunday strip that Watterson colored in complementary colors, the conceit being that Calvin is somehow in the world of a photographic negative.
I like how full the last panel feels - Dad the protagonist has permanently expanded what's in his worldview. The window doesn't drift in and out of mind, it's *there*, as is Mom, the wall picture, and of course Calvin.
This is one of the many Calvin and Hobbes strips that I think about quite often, more so now that I have become a father. Watterson says so much in this strip without any dialogue, just a masterclass in showing and not telling the audience. Also think this is one of the only times a strip involved Calvin and his dad having fun together like a typical father and son.
Which is why I’m glad that it comes when it does, midway through Watterson’s run! Too early, and it could be written off as Watterson finding his voice (like early strips with Susie where the element of attraction between Calvin and Susie is too overt). Too late, and it might seem like softening or revisionism.
This was AMAZING. As an owner of the full and quite handsome C&H collection on my shelf (and of course much of the previous books too), and who read them in the papers daily as a young one, I love it when someone praises Watterson's work--but this deep dive was far more than I ever expected! so well done!
Thanks so much David! I discovered Calvin around 1986, early in Watterson’s run. That year I started art school as a cartooning major, so Watterson was a huge influence on me. I love writing about comics, good or bad, but when they’re as good as this, it’s a special joy!
Just today I was speaking to my wife about the importance of playing with your kids. It is not about being their friend, it’s about capturing their hearts so you can speak to them about the important things of life. This comic speaks to that warmly.
In the last panel I think that subtle, half-smile on Dad's face is a large part of the heart-warming feel of this strip.
What that small smile and the upturned gaze suggest to me, Mary, is that Calvin’s dad is humbled and grateful—for Calvin’s love, for being Calvin’s dad, for having the opportunity to create a lasting memory giving a relatively short time on a weekend afternoon, and for the inspiration that moved him to do it. I think he wishes their relationship could be like this more often, and maybe he feels a little bad that it isn’t, and would like to do more to make moments like these more frequent.
Nicely done. This particular one has always been one of my favorites.
Also of note: a possible subtle nod to the WB Road Runner cartoons. That appears to be a small statue of a road runner on the table in the first frame, and the puff of “smoke” Calvin leaves behind is a gimmick often used when characters dash off in those great WB toons.
VERY sharply observed, Mark! Thank you!
If memory serves, the three-tier format wasn't just a three-tier format, where the top tier could be eliminated and the other two tiers left as-is; it was also designed to be converted to a four-tier format, which required that there be panel breaks at specific points within the three tiers. That's why, in the three-tier format's top tier, you usually saw one wide panel with the cartoon's title and a more square-ish panel next to it: when the strip was laid out in a four-tier format, that square-ish panel would be the first panel on the second tier.
Correct, hence “among other things.” There were also mandatory panel breaks at specific points in the second and third tiers. This meant it might wind up as a three-tier strip *without* the title tier.
Exactly.
Thank you for all the work you put into this post. One of my favorite things is reading Calvin and Hobbes, first on my own, then to my children, and later to my granddaughter. A lot of laughter, and I could also see their minds working from the sophistication in the material.
Panel 11 and 12: the image of mom holding Calvin kissing dad is the same form of the silhouette of dad standing behind Calvin and the snowman. The two images reciprocate one another. In the end, though, Calvin and his world are "bigger" than the small adult world.
Great observations . Waterson was a genius.
Thanks, Eli!
I’m presuming Watterson is still a genius, although these days he mostly keeps it to himself. :-)
Great critique of an amazing subject. Doesn't get any better than C&H.
Thanks so much, Jason! So glad you enjoyed it!
Thanks for sharing this very touching cartoon. I thought I had seen all his stuff, but this doesn’t seem like one I could forget.
It’s cool that you can write about cartoons, movies, and theology with equal ease and fluency! My Renaissance man!
❤️
Man — this is really lovely. Thanks for sharing this.
Thank you, Scott! My pleasure!
Masterful strip. Masterful read! I’d only (humbly) add that the possible POV of the long shot is the mom’s as she looks out the window
I love that, Sebastian! It would be a rare POV shot in “Calvin & Hobbes,” but nothing prevents us from supposing this to be true.
It may not be as deep as the one you just analyzed, but I’m very pleased with my recent purchase (from gocomics.com): Calvin’s dad explains how the world was black and white until the mid-20th century. Substack doesn’t permit an attached photo, apparently.
I know that one well! There’s also a fun Sunday strip that Watterson colored in complementary colors, the conceit being that Calvin is somehow in the world of a photographic negative.
CALVIN AND HOBBES!!!!!!!!!! My very favorite ❤️
I like how full the last panel feels - Dad the protagonist has permanently expanded what's in his worldview. The window doesn't drift in and out of mind, it's *there*, as is Mom, the wall picture, and of course Calvin.
Well put!
This is one of the many Calvin and Hobbes strips that I think about quite often, more so now that I have become a father. Watterson says so much in this strip without any dialogue, just a masterclass in showing and not telling the audience. Also think this is one of the only times a strip involved Calvin and his dad having fun together like a typical father and son.
Which is why I’m glad that it comes when it does, midway through Watterson’s run! Too early, and it could be written off as Watterson finding his voice (like early strips with Susie where the element of attraction between Calvin and Susie is too overt). Too late, and it might seem like softening or revisionism.
This was AMAZING. As an owner of the full and quite handsome C&H collection on my shelf (and of course much of the previous books too), and who read them in the papers daily as a young one, I love it when someone praises Watterson's work--but this deep dive was far more than I ever expected! so well done!
Thanks so much David! I discovered Calvin around 1986, early in Watterson’s run. That year I started art school as a cartooning major, so Watterson was a huge influence on me. I love writing about comics, good or bad, but when they’re as good as this, it’s a special joy!
Just today I was speaking to my wife about the importance of playing with your kids. It is not about being their friend, it’s about capturing their hearts so you can speak to them about the important things of life. This comic speaks to that warmly.