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Life After “Calvin and Hobbes” - The New Yorker   

"Nothing is permanent. Everything changes. That's the one thing we know for sure in this world," Calvin says to Hobbes in the first panel of a two-panel strip that ran in more than two thousand newspapers on Monday, July 17, 1995. The two friends are in a wagon, plummeting perilously forward into the unseen—a common pastime for them. Outside the world of the cartoon, it's less than half a year before Bill Watterson, thirty-seven at the time, will retire from producing his wildly beloved work. "Calvin and Hobbes," which débuted in 1985, centered on six-year-old Calvin and his best friend, Hobbes, a tiger who to everyone other than Calvin appears to be a stuffed animal. Six days a week, the strip appeared in short form, in black-and-white, and each Sunday it was longer and in color. The second panel of the July 17th strip is wide, with detailed trees in the foreground, the wagon airborne, and Calvin concluding his thought: "But I'm still going to gripe about it."

After retiring, Watterson assiduously avoided becoming a public figure. He turned his attention to painting, music, and family life. He kept the work he made to himself; he gave few, but not zero, interviews. (When asked in an e-mail interview that ran in 2013 in Mental Floss why he didn't share his paintings, he replied, "It's all catch and release—just tiny fish that aren't really worth the trouble to clean and cook.") Still, now and again his handiwork appeared. He wrote twice about CharlesM. Schulz, the creator of "Peanuts," whom he never met. For the charity of the cartoonist Richard Thompson, who had been given a diagnosis of Parkinson's, Watterson illustrated three strips for "Pearls Before Swine," by Stephan Pastis, and also donated a painting for auction. In other words, he came out for the team.

In 2014, he gave an extensive and chatty interview to Jenny Robb, the curator of the Billy Ireland Cartoon Library and Museum, on the occasion of his second show there. Robb asked if he was surprised that his strip was still so popular. "It seems the less I have to do with it, the higher the strip's reputation gets!" he said. In the interview, he comes across as levelheaded, not egotistical, not very pleased with electronic devices, the Internet, the diminished size of cartoons—and also quietly intense, like the dad figure in the strip, who enthusiastically sets out on a bike ride through heavy snow. As a college student at Kenyon, Watterson spent much of a school year painting his dorm-room ceiling like that of the Sistine Chapel, and then, at the end of the year, painted it back dorm-room drab.

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