THE POL.

ITICAL PHILSOPHY OF BILL WATERSON’S CALVIN AND HOBBES IN THE

LIGHT OF THOMAS HOBBES AND JOHN LOCKE’S VIEW ON THE STATE OF NATURE

By

Augustine Mary F. Abellana

2021
 Abstract

The study will find correlation between Bill Waterson’s comic strip Calvin and

Hobbes to the Political philosophies of Thomas Hobbes’s and John Locke’s

view on the state of nature. This study will prove the coherence of the comic

strip in bringing out their philosophical views. This study will also prove the

effectiveness of a comic strip in addressing philosophical ideas.

Keywords: Calvin and Hobbes, Bill Watterson, comic strip, John Locke,

Thomas Hobbes, State of Nature, correlation, societal issues, cartooning

 Table of Contents

I. Chapter 1

Background of the Study……………………………………………………… 1

Statement of the Problem ……………………………………………………… 2

Significance of the Study……………………………………………………… 2

Thesis Design ………………………………………………………………….. 3

Concept Map…………………………………………………………………… 4

II. Chapter 2

Bill Watterson’s Calvin……………………………………………………………. 5

Bill Watterson’s Hobbes…………………………………………………………....9

III. Chapter 3

Thomas Hobbes’s view on the state of nature……………………………………..15

John Locke’s view on the state of nature………………………………………….18

IV. Chapter 4

Watterson’s Calvin as a ‘John Locke persona’…………………………………..20

Watterson’s Hobbes as a Thomas Hobbes persona…………………………..…..23

V. Conclusion

Summary…………………………………………………………………........ .24

References ……………………………………………………….………………………27

Appendices…………………………………………………….……………………… .29
 1

Chapter 1

Background of the Study

Calvin and Hobbes is a daily comic strip written and illustrated by American cartoonist Bill

Watterson. A comic strip is a sequence of drawings in boxes that tell an amusing story, typically

printed in a newspaper or comic book. The strip was syndicated from November 18, 1985 to

December 31, 1995, and popular collections can still be found in bookstores today. Bill

Watterson, the creator of the comic, drew 3,160 strips over ten years and notably refused to

license his characters for commercial purposes (Price-Waldman 2016). At the height of its

popularity, Calvin and Hobbes could be found in 2,400 newspapers worldwide and is read by an

audience of hundreds of millions of people (Campanelli, 2010). The strip follows the adventures

of, a 6-year-old spiky-haired boy named Calvin, and his stuffed tiger, Hobbes. To Calvin,

Hobbes is very much alive — he looks, talks, and moves freely. To the rest of the characters,

however, Hobbes is merely an inanimate stuffed tiger, Calvin’s plaything.

Together, the duo explores the world around them; usually getting in the way of anyone

they met. Bill Watterson used the comic strip to explore themes such as environmentalism,

public education, and philosophy. That being said, the name Calvin and Hobbes was not a

coincidence. Watterson specifically modeled the two titular characters on 16th century

theologian, John Calvin and 17th century philosopher, Thomas Hobbes. As a result, the universe

that Bill Waterson created was one that invited the reader to consider what constituted reality and

what does not

 2

Statement of the Problem

This paper will rediscover the political philosophy embedded in Bill Watterson’s Calvin

and Hobbes and how these philosophical ideas in cohere with the comic strip and the society. I

will suggest that comic strip political philosophy cartooning could be an effective way of

addressing issues in society. This study aims to answer the following questions:

1. What is Bill Watterson’s comic strip Calvin and Hobbes?

1.1 Who is Bill Watterson?

1.2 Who is Watterson’s Calvin?

1.3 Who is Watterson’s Hobbes?

2. What are the political philosophies embedded in the comic strip?

2.1 What is Thomas Hobbes view on the state of nature?

2.2 What is John Locke’s view on the state of nature?

3. Is there a correlation between Bill Waterson’s Calvin and Hobbes to the philosophies of

John Locke and Thomas Hobbes’s view on the state of nature?

Significance of the Study

This study contributes to the body of knowledge which deals with the political-philosophical

views of Thomas Hobbes and John Locke and how they are reincarnated in order to

communicate to people their views on human nature and society. This study aims to enable

young minds to step into another level of understanding; and not just by laughing at comic jokes
 3

but take into consideration, the context of how the comic book came to be, the author’s

influences and how can it influence the readers and the society around it.

Thesis and Design

The researcher will identify the philosophical view of Thomas Hobbes and John Locke’s

state of nature that are embedded in Watterson's Calvin and Hobbes. The researcher will find

correlation and demonstrate the coherence of the political philosophical views of Watterson's

Calvin and Hobbes to Thomas Hobbes and John Locke's view on the state of nature and how it

portrays civil society The researcher will argue the effectiveness of Watterson's Calvin and

Hobbes as a comic strip reincarnation of Thomas Hobbes and John Locke's view on state of

nature and how it addresses society the researcher will also include The effectiveness of Comic

strips in addressing political opinions in Philippine society in social media and newspapers

A. Concept map
Input
Bill Watterson's Calvin and Hobbes
Thomas Hobbe's State of nature
John Locke's State of Nature
Procedure
The researcher will analyze Thomas
Hobbes and John Locke's view on the
State of nature
The researcher will identify the
salient political philosphies of Thomas
Hobbes and John Locke that are
embedded in Watterson's Calvin and
Hobbes.
The researcher will find a correlation
and demonstrate the coherence of
the political philosophical views of
Watterson's Calvin and Hobbes to
Thomas Hobbes and John Locke's
view on the state of nature and how
it portrays civil society
4
Output
The correlation between Bill
Waterson’s Calvin and Hobbes to
John Locke and Thomas Hobbes’s
view on the state of nature in
addressing modern-day societal
issues
The effectiveness of Watterson's
Calvin and Hobbes as a comic strip
reincarnation of Thomas Hobbes and
John Locke's view on state of nature
and how it addresses society
Inculcating Thomas and Hobbes to
the local news papers.
 5

Chapter 2

Bill Watterson

Bill Watterson is an American former cartoonist. While attending Kenyon College,

Watterson drew cartoons for the college paper, leading to a position at the Cincinnati Post.

Watterson wanted to draw comic strips and began trying to syndicate his original creation,

"Calvin and Hobbes," a cartoon about a rambunctious boy and his imaginary toy tiger friend that

went on to garner wide fame. (The Biography 2014)

Watterson was born William Boyd Watterson II on July 5, 1958, in Washington, D.C.

When he was six years old, Watterson moved with his father James, a patent attorney, and his

mother, Kathryn, to Chagrin Falls, Ohio. After the family settled in, Kathryn soon won a seat on

the city council. James would also serve on the Chagrin Falls city council, but not until some 30

years later.

As a child, Watterson—unlike his creation Calvin—"never had imaginary animal

friends," he later remembered. "I generally stayed out of trouble, I did fairly well in school." He

developed an early interest in drawing and was inspired by classic cartoonists like "Peanuts"

creator Charles Schulz and "Pogo" illustrator Walt Kelly.

In 1976, Watterson enrolled at Ohio's Kenyon College, where he spent four years

drawing political cartoons for the Collegian campus newspaper (and a few weeks during his
 6

sophomore year painting a copy of Michelangelo's "Creation of Adam" on his dorm room

ceiling). Following his 1980 graduation, Watterson was immediately offered a job as an editorial

cartoonist at the Cincinnati Post.

His editors were unimpressed with his work, however, and less than a year later

Watterson found himself unemployed and living back home with his parents. He decided to

abandon political cartoons (he was not particularly interested in politics anyway) and return to

his first love: comic strips.

The next few years proved mostly discouraging. Watterson sent his strips to countless

newspapers and received nothing but rejection slips. For a time, he took an unhappy job

designing advertisements for car dealerships and grocery stores. This period in his life was

important, he later said, because it proved to him that the substance of his work mattered more

than money. "To endure five years of rejection to get a job requires either a faith in oneself that

borders on delusion, or a love of the work," he told the 1990 graduates of his alma mater in a

commencement speech. "I loved the work."

Calvin and Hobbes

After experimenting with several different characters, Watterson developed a strip called

"Calvin and Hobbes." It starred Calvin, a rambunctious first-grader who sounded "like a 6-year-

old psychotic on Ritalin one day and a Yale lit grad the next," as one journalist put it, and

Hobbes, a stuffed tiger who came to life only when alone with Calvin. Universal Press Syndicate

bought the strip in 1985, giving Watterson, then just 27 years old, a national audience.
 7

Readers loved "Calvin and Hobbes"—Calvin's flights of wild imagination, often

undertaken while clad in rocket-ship underpants; Hobbes's wry observations; and the sensitive,

wise, literary voice of the strip itself (the main characters were named after theologian John

Calvin and philosopher Thomas Hobbes). In 1986, Watterson became the youngest cartoonist

ever to receive the National Cartoonists Society's Reuben Award—the industry's highest honor.

With the strip's popularity exploding, Universal Press Syndicate was eager to produce

and sell "Calvin and Hobbes" merchandise. Watterson refused. Merchandising, he said, "would

turn my characters into television hucksters and T-shirt sloganeers and deprive me of characters

that actually expressed my own thoughts." That's why there are no official "Calvin and Hobbes"

toys or t-shirts, though unauthorized reproductions of the characters still abound. "I clearly

miscalculated how popular it would be to show Calvin urinating on a Ford logo," Watterson once

quipped, referring to the popular bootleg car window decals.

Throughout Watterson‟s comic, no specific dates, locations, or events are identified.

Instead, he offers subjects that all readers can easily relate to. The television does not show a

popular program, such as Sesame Street, nor is a recognizable name given to the newspaper,

such as The New York Times or The Wall Street Journal. Appropriating these specifics would

narrow the audience Watterson reached by requiring readers to be familiar with these aspects.

Instead, Watterson leaves the television and newspaper as simply those objects — without

illustrating a specific program or newspaper, readers feel more familiar with the characters and

their situation. Considering that Calvin and Hobbes was syndicated during the period just before

the Internet boom, Watterson’s audience would have been intimately familiar with these media.

Naturally, the fathers of many families might often be found reading the newspaper like Calvin’s

father, while the children of the household could often be found watching television like Calvin.
 8

After 10 years of writing delighting readers, Watterson announced in 1995, to the

heartbreak of fans, that he was ending the strip, saying that he had done all he could with "Calvin

and Hobbes." The final "Calvin and Hobbes" piece ran on December 31, 1995. In 2014, in an

effort to raise money to fight Parkinson’s disease, it was revealed that Watterson collaborated

with cartoonist Stephan Pastis on Pearls before Swine. The pair teamed-up to create the comic

strip in support of Team Cul de Sac and the Michael J. Fox foundation. Watterson also

contributed poster art for the documentary Stripped. The artist Bill Watterson decided to stop

drawing Calvin and Hobbes after a while. Calvin and Hobbes was ended by Watterson for a very

good reason, if somewhat peculiar. The Washington Post reports that the artist simply decided to

leave his creations at the height of their power so he could focus on other projects.

According to Bill Watterson, “A comic strip, like anything else, has a natural life span,”

says Watterson, like a man ever-cognizant of at what stage and state his strip was at.

“Art has to keep moving and discovering to stay alive,” adds the cartoonist, emphasizing

that “the last few years of the strip, and especially the Sundays, are the work I am the most proud

of. This was as close as I could get to my vision of what a comic strip should be.”

Watterson also weighs in on the crumbling of newspaper syndication as both business

model and assurance of huge audience share. He offers thoughts on webcomics as both more

democratic and less lucrative:

On reading online comics vs. pre-curated newspaper comics he says, “I like comics more

than most people, but I don’t want to personally scavenge for them.”
 9

Bill Watterson’s Calvin

Calvin's name is inspired by 16th century Protestant reformer John Calvin. Bill Watterson,

who was a political-science major at Kenyon College, has explained, "It's an inside joke for

political-science majors." (Carlton, 2021) But the joke goes deeper than a shared name. John

Calvin was a strong proponent of predestination, the idea that God had already judged each

individual as saved or damned before their birth. While the concept sparked religious wars in the

16th century, the six-year-old main character of Calvin and Hobbes sees predestination as a "get

out of jail free" card. Just like Protestant reformer John Calvin, the six-year-old Calvin is curious

about the concept of predestination. Calvin asks Hobbes about fate and predestination in one of

the earliest strips from November 30, 1985 (see Appendix 1.1). For Calvin, the idea that his

actions are inevitable would ease his conscience, especially around Christmas time. But Hobbes

declares predestination a "scary thought," since it would eliminate any notion of responsibility.

Calvin's world is based on a Thomas Hobbes resembling view of human nature. Watterson’s

Calvin is an imaginative silly kid who views the world disdainfully and tries to plow authority

whenever possible.

“Miss Wormwood?” asked Calvin “Yes, Calvin?” she replied. “If ignorance is bliss, this lesson would
appear to be a deliberate attempt on your part to deprive me of happiness, the pursuit of which is my
unalienable right according to the Declaration of Independence. I therefore assert my patriotic prerogative not to
know this material. I'll be out on the playground.” Said Calvin (Miss Wormwood drags Calvin back to the
classroom) “Helllpp! Monarchists! Exclaimed Calvin.” (Calvin and Hobbes by Bill Watterson for October 14,
1992). See Appendix 1.1

Calvin is represented as being imaginative, creative, and intelligent in the comics. He is also

shown as have a resentment toward adulthood, especially education. Although this is often
 10

represented by him being bad at school or not wanting to do homework (something any kid

would want to skip), he is also shown as having a more subtle reasoning for not liking school: he

doesn’t respect the model of education we use in schools. But ultimately, however the societal

authority always puts him in his place.

Making Calvin sa child is an interesting choice from the standpoint that Calvin and clearly is

intelligent when he wants to be and as has a firm grasp of philosophical concepts.

“How are you doing on your new year's resolutions?” asked Hobbes. “I didn't make any see, in order to
improve oneself one must have some idea of what's good that implies certain values. But as we all know
values are relative every system of belief is equally valid and we need to tolerate diversity. Virtue isn't
better than vice its just different” replied Calvin. “I don't know if I can tolerate that much tolerance” said
Hobbes. “I refused to be victimized by notions of virtuous behavior” demanded Calvin Bill Watterson,
January 3, 1988). See Appendix 1.2

Because we see the world from Calvin’s perspective, we see that everything and everyone is

out to get him while he tries to be as nonconformist as possible as a means of keeping his

individuality much like Watterson did in his own life.

“Do you think there's a god?” asked Hobbes. “Well somebody's out to get me” replied Calvin (Bill
Watterson, 1986). See Appendix 1.3

Watterson uses Calvin as an alias to question and poke fun at different aspects of society in

ways that others couldn't.

“I've been good all day so far” said Calvin. “Christmas is getting near, huh?” Hobbes added. “You got it.
I've been wondering, though. Is it truly being good if the only reason I behave well is so I can get more loot
at Christmas? I mean, really, all I'm doing is saying I can be bribed. Is that good enough, or do I have to be
good in my heart and spirit? In other words, do I really have to be good or do I just have to act Good?”
Calvin wondered. “I suppose in your case, Santa will have to take what he can get.” Said Hobbes . “Ok...so
exactly how good do you think I have to act? Really good, or just pretty good?” Calvin added . (Bill
Watterson, 1988). See Appendix 1.4
 11

Calvin is a boy who is focused on power, riches, and world domination. He seems to be a

very egotistical young boy whose main goal is to have as much authority as possible. This sort of

ideology is very similar to John Calvin, whose main works center around the relationship

between power figures and their inferiors, who must obey their superiors. This means that people

of power are given more, whereas everyone else.

“I refuse to take out the garbage! I have the right to do whatever I want, all the time! Said Calvin “No you
don’t” said Calvin’s father “I don’t?” Calvin asked “Well it sure OUGHT to be a right” Calvin mumbled
while taking the trash. (Bill Watterson, 1988). See Appendix1.5

Because Calvin is a child, we can understand his scornful authority in his desire for

freedom but we can also sympathize for everyone that has to put up with him. Watterson is able

to while Calvin's intentions are noble (most of the time) the world still needs an authority to

establish rules and maintain order.

Calvin acts also as a larger child persona. His ridiculous ideas, exaggerations, and crisp

facial expressions make Calvin and Hobbes appealing to children. After his plan fails, however,

Calvin’s disappointment is exhibited in the last frame with a hunched over stance and furrowed,

single-line eyebrows. While children may not consciously ponder Calvin’s specific facial

expressions, most young children are undergoing a real-life socialization process that helps them

to recognize and emulate these expressions, much as they might imitate 10 behaviors. Calvin’s

facial expressions mold him into a more dynamic, intriguing character, thus making him more

appealing from one comic strip character to another real-life child. Calvin’s extravagant ideas of

“the dim outline of a whale” and “a giant eel slithering up from the bottom” (Watterson, 1988)

echo the imagination of many young children. His serious, awestruck facial expressions in

frames one and three also reflect the seriousness that young children often possess when
 12

inventing their own ideas. Although adults may consider such ideas preposterous and impossible,

children may genuinely believe their ideas to be perfectly valid and exciting, as reflected here in

Calvin’s facial expressions. Calvin’s facial expressions convey agony and frustration. As young

children, being required to write an entire paragraph may indeed be a long, laborious task. Adult

readers may merely chuckle at Calvin’s behavior, but young readers recognize Calvin’s

frustration and empathize with his feelings of being unable to write more than a single sentence.

The Narrative Paradigm

As actual characters in the stories lived and told, humans appreciate and are drawn to

stories possessing narrative probability and narrative fidelity, two qualities that Fisher defines as

necessary for acceptable and cherished stories. Narrative probability, or coherence, means that a

story should make sense within itself: Events should have a logical progression, characters

should have acceptable limits and powers, and other sense-making factors such as these.

Narrative fidelity is the construct of whether the stories people interact with “ring true” with their

own stories and experiences.. Emphasis, which clues readers into verbal fluctuation, also creates

narrative fidelity by creating dialogue comparable to real-life situations. Failure provides both

narrative probability and fidelity. Readers recognize when a situation has potential for going

awry, such as when Calvin parachutes out of his bedroom window, creating narrative probability.

Because failure is such a common aspect of real-life, regardless of how minor or severe,

Watterson establishes narrative fidelity. Finally, both Hobbes as an adult persona and Calvin as a

child persona create both narrative probability and narrative fidelity. By establishing characters

that reflect two large subgroups of people throughout the world — that is, adults and children —

Watterson expands his reachable audience. Hobbes casually referencing his insurance policy

deductible in strip #6, Calvin’s disbelief in asking his mother questions he already knows the
 13

answers to in strip #5, and the contrast between Calvin’s and Hobbes‟ perceptions in strip #4 all

reflect the larger subgroups of adults and children. Whether Watterson intentionally included 12

these aspects is irrelevant, for they certainly exist throughout these selected strips and numerous

other Calvin and Hobbes adventures. Even despite the fantastical world in which an impossible

stuffed tiger can fully interact with a 6-year-old boy, Calvin and Hobbes still thrives. Although

Watterson may have intentionally shaped the characters in some ways, as any author, he

ultimately leaves the reader with the responsibility of deciding the plausibility of Calvin and

Hobbes. In an interview with Watterson, he comments: …one thing I have fun with is the rarity

of things being shown from an adult's perspective. When Hobbes is a stuffed toy in one panel

and alive in the next, I'm juxtaposing the "grown-up" version of reality with Calvin's version, and

inviting the reader to decide which is truer. Most of the time, the strip is drawn simply from

Calvin's perspective, and Hobbes is as real as anyone. […] I'm not making the strip revolve

around the transformation. The viewpoint of the strip fluctuates, and this allows Hobbes to be a

"real" character. (Christie, 1987) By providing readers with this choice, Watterson’s prominent

themes establish Calvin and Hobbes as the cherished comic that still circulates today.

Bill Watterson’s Hobbes

Hobbes, as previously mentioned, is an anthropomorphic stuffed tiger based off of the

philosopher Thomas Hobbes. When designing the character, Watterson chose a stuffed tiger

because it represents the antithesis to man's controlling nature. A tiger is wild and free but also

slowly disappearing and so Hobbes provides the perfect commentary to man's brutish nature.

Hobbes's role in the comic strip is strictly limited to influencing Calvin since only he can see

him. As such, Hobbes takes on multiple roles sometimes serving is the voice of reason,
 14

sometimes playing the cohort and Calvin's schemes. He seems to understand the world around

him much better than Calvin does but his advice often falls on deaf ears.

“What do you think is the best way to get what you want? Is it better to hold fast and never back down? Or
to compromise?” Calvin asked “I suppose it’s best to hold fast when you can, and compromise when you
need to.” Hobbes replied “That’s a lot more mature than I think care to be.” Calvin said. (Bill Watterson,
1989). See Appendix 1.6.
Thomas Hobbes talks about a structured society and government as being required for

human civilization to survive, on the other hand, Hobbes the tiger often expresses an urge to

return to the anarchy of nature, but also (contradicting his nature) tends to be the voice of reason

when Calvin wants to descend into reckless rule breaking.

Hobbes the tiger is Calvin's guide to this world even if Calvin would rather try to prove

that his own views on human nature are correct. Hobbes is pictured as more than an already

larger-than-life stuffed tiger; additionally, he performs the role of an adult persona, perhaps as

Calvin’s subconscious adult conscience. Since Hobbes is real only to Calvin, Hobbes‟ character

must be a projection of Calvin’s own experiences. Throughout Calvin’s life, he is still actively

observes and imitates adults around him; he is in a very absorbent stage of the socialization

process. Calvin may have seen his father use cologne at some point in time, and thus uses

Hobbes to reflect that behavior. However, Hobbes reflects more than adult-like behaviors. His

comments also reflect an adult mentality. Although Calvin may not consciously generate this

adult persona, it exists regardless. Hobbes serves as a point of relevance to adult readers,

allowing them to empathize with his questions and comments as ideas they have experienced in

their own lives.

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Chapter 3

Thomas Hobbes’s view on the state of nature

In Hobbes state of nature, if any two men desire the same thing, which they cannot both

enjoy, they become enemies; and in the way to their goal, they endeavor to destroy or subdue

one another. And from this, it comes to pass that where an invader has no more to fear than

another man's single power, if one plant, sow, build, or possess a convenient seat, others may

probably be expected to come prepared with forces united to dispossess and deprive him, not

only of the fruit of his labor, but also of his life or liberty. And the invader again is in the like

danger of another.

It is manifest that during the time men live without a common power to keep them all in

awe, they are in that condition which is called war; and such a war as is of every man against

every man… the nature of war consists not in actual fighting, but in the known disposition

thereto during all the time there is no assurance to the contrary. All other time is peace.

In Bill Watterson’s comic strip for September 11, 1989 Moe steals Calvin's toy truck

from him. Calvin is unable to get the truck back, and grudgingly has to let Moe keep it.

“I want that truck, Twinky” demanded Moe. “It's mine, Moe. I brought it from home.” exclaimed Calvin “I
said gimme the truck” Moe insisted. “Moe, you can't just take things from people because you're bigger”
Said Calvin (Moe picks up Calvin, threatening to punch him) “I'm not taking it. You're giving it to me
because we'll both be so much happier that way” Said Moe (next panel shows Calvin; truck gone along
with Moe) “How touching” Calvin sighed. (Bill Watterson, 1989). See Appendix 1.7

One of Hobbes's contributions was to provide a comprehensive account of grand-scale

socio-political phenomenon that began with consideration of the incentive structure facing
 16

individuals in a pre-political situation. In plain English, he showed how why people would create

governments. He wanted to understand government, and, to do so, he began by asking what

things would look like before you had government. The approach fit hand in glove with the spirit

of Enlightenment scientific thinking. To understand something complex, break it down into its

constituent parts and see if you can identify laws to explain how they behave.

So he imagined what individuals would be like in the absence of government and tried to

show why they would be motivated to create government. His famous description of the "state of

nature" as violent and permeated with danger was crucial to his whole theory, because it helped

to explain why people would do just about anything they could to create a situation in which they

could go to bed at night without being afraid someone would kill them in their sleep.

Our physical needs and sensations drive us to do what we do. He does claim that humans

have the free will to direct these drives, but this compatibilist view is not without controversy.

Ultimately, these conflicting drives in individual humans lead to conflicts between

humans themselves. Thus, the state of war in nature is born. He believes that the only way to

manage this state of war is for individuals to alienate their freedom to a sovereign, the Leviathan,

who will curtail the state of war. Hobbes saw humans as a competitive species that are more

inclined to violence that they are to co-operation. The state of nature is the existence of humans

without any superior authority to regulate their actions. This according to him would have led to

chaos. People, in such chaos, are no better than the animals in a jungle with a single exception

that they would have equal powers to inflict harm on each other.

This state of nature, however, ends when all beings stipulate an orizontal contract. They

do that only for safety reason, to create a superior power that defends their lives from the state of

war and survival of the fittest.

 17

People give up some personal rights to be safe. They want to end uncertainty about their

lives. The result is the Leviathan. Leviathan is also the name of Hobbes main paper. In Hobbes,

Leviathan is the State that is created after the contract. It must be a monarchy, because there

must not be any conflicts like they might be in a democracy or in an oligarchy. Monarch has

absolute power on men, and he does that for humanity’s protection.

There won’t be wars between Leviathans across the world according to Hobbes, only

functional relationships between them. Anyway, conflict will be preserved in a safe form with

the contract and the Leviathan. For example, with the economic competition in the market. His

view about state of nature differs with the one of Rousseau or John Locke, both being more

optimistic.

Briefly: in Rousseau’s view, man in state of nature, which never existed in his philosophy

and he took it as a metaphor, had the desire to preserve his person but not at the expense of

others. In fact, man had also the desire to not make others being suffer. Conflict is still present,

but a very mild one, and only if necessary. What corrupted society was private property, which

came after work division, which came after agriculture and metallurgy.

Many tribes around the world had lived through negotiation, there was competition

among them and also they had wars from time to time but there were no chair as high as the

sovereign described by Hobbes. The chaos, if you ask me, started with when they had been

colonized.

The meaning he attributed to human nature without a sovereign; is a complete state of

chaos, it is acceptable that not to rely upon human nature all the time, identifying it as: ‘nasty,

brutish and short’ may be relevant, though not effective when we consider the establishment of

the institutions by the government including officers; who are once defined as chaotic by Hobbes
 18

himself. It sounds a bit hypocritical, not trusting the human nature itself but establishing

institutions with their help and also being ruled by a human. The power without control is the

critical point here.

One of the arguments I put is; Hobbes is kind of distracting us: The critical point of his

theory would still remain as the state of the nature and humans being unreliable, but instead, he

contradicted with himself when he had defined the sovereign as a person above all, while

eliminating the features that came along with just being a human which Hobbes himself not in

favor of. Hobbes’s solution to the problem of the state of nature is for the populace to alienate

(give up) their liberty to the absolute power of the Leviathan, or the state. It is only when we

submit ourselves to the power of the state, with its ability to resolve the conflicts of the state of

nature, that we will be free from the war of all against all.

John Locke’s view on the state of nature

Speaking about Locke, on opposite of Rousseau, he sustained that an economic system

with private property was already present in the state of nature, and that Horizontal contract was

stipulated to ensure all humans to take advantage of it safely.

“If man in the state of nature be so free, as has been said; if he be absolute lord of his own person
and possessions, equal to the greatest, and subject to no body, why will he part with his freedom?

Why will he give up this empire, and subject himself to the dominion and control of any other

power? To which it is obvious to answer, that though in the state of nature he hath such a right, yet

the enjoyment of it is very uncertain, and constantly exposed to the invasion of others: for all

being kings as much as he, every man his equal, and the greater part no strict observers of equity

and justice, the enjoyment of the property he has in this state is very unsafe, very unsecure. This
 19

makes him willing to quit a condition, which, however free, is full of fears and continual dangers:

and it is not without reason, that he seeks out, and is willing to join in society with others, who are

already united, or have a mind to unite, for the mutual preservation of their lives, liberties and

estates, which I call by the general name, property.”

In transgressing the law of nature, the offender declares himself to live by another rule

than that of reason and common equity, which is that measure God has set to the actions of men,

for their mutual security; and so he becomes dangerous to mankind, which is to secure them

from injury and violence, being slighted and broken by him. Which being a trespass against the

whole species, and the peace and safety of it, provided for by the law of nature, every man upon

this score, by the right he hath to preserve mankind in general, may restrain, or where it is

necessary, destroy things noxious to them, and so may bring such evil on any one, who hath

transgressed that law, as may make him repent the doing of it, and thereby deter him, and by his

example others, from doing the like mischief. And in the case, and upon this ground, every many

hath a right to punish the offender, and be executioner of the law of nature.

Locke believed reason is capable of discovering the natural law basis for deciding how to

conduct men’s affairs. “There is nothing more evident than that creatures of the same species and

rank, promiscuously born with the same advantages of nature and use of the same faculties

should be equal one amongst another without subordination or subjection.”(Huyler, 2021)

Thus, “the state of nature has a law of nature to govern it, and reason which is that law

teaches all of mankind who will but consult it that being all equal, no one ought to harm another

in his life, health, liberty or possessions.” So natural law spins out a set of natural rights that men

possess and which it is government’s role to protect and not violate. And it’s all because there is

a natural law  that men can discover and by which they can conduct their lives.
 20

Jefferson simply said “all men are created equal and endowed with certain unalienable

rights.”

John Locke wants us to believe the opposite was true. There was no Norman conquest or

any conquest before that. People simply got together to form societies on their own for the

benefit of the community. And whenever their personal benefits are no longer being protected by

the community. Then the people have the right to over throw their govts to form a new one that

would better serve the benefits of the people.

But the later part of what John Locke said is true. If there are any grievances against the

govt. Then the people can conquer their oppressors just like their oppressors had conquered

them. Assuming they can pull it off of course. (Yang, 2018)

Chapter 4

Watterson’s Calvin as a ‘John Locke persona’

Now that I have established Calvin’s world to be a Hobbes view of Human nature. I like to

examine Calvin's own views of human nature. Unlike everyone around him, Calvin is steadfastly

Lockean in nature demanding that authority be created out of reasoning and morality; not the

“because I said so” attitude that enforces the rules he loathes

“Why can't I stay up late? You guys can! It’s not fair!” exclaimed Calvin “The world isn't fair, Calvin”
Calvin’s father said “I know, but why isn't it ever unfair in my favor?” cried Calvin. (Bill Watterson, 1991).
See Appendix 1.8

His self to find Authority which he creates him, his flawed reasoning and morality, is usually

the source of conflict between himself and others which is exactly what Locke says happens in
 21

the state of nature. Ironically Locke would also argue that because Calvin is still a child, he has

no capacity to reason and thus, has no authority to himself.

Calvin has several authorities throughout his life including his parents, his teacher, and his

peers. His relationship with his parents is one of the grudging woven strict rules, at least

according to Calvin. Despite Calvin's love of imagination and freedom, his parents are always

there to bring him back to reality and lay down the law. Calvin often has fantasies of running

away or ruling over other people and his imagination often gets him into trouble. He refuses to

acknowledge any authority besides himself and that is why he indulges himself in such fantasies

in the first place. Hobbes the tiger also attempts to be the voice of reason but because he is part

of Calvin's imagination it has no effect.

The comic strip provides more insight to the universe through Calvin's interactions with

others. In one instance, Calvin decides to be a tiger just like Hobbes but going society in favor of

what he thinks is a free and natural life what he discovers however is very different, instead of

cooperating with his Tiger friend, he ends up setting boundaries and fighting with him over the

arbitrariness of the boundaries. In the end, no one is better off and Calvin simply decides to

rejoin society where he can be better off.

Calvin frequently deals with Moe the bully. Much like Hobbes of state of nature, everyone is

at liberty to whatever they want and so the strongest win. Moe is a recurring character in Calvin

and Hobbes. He is a bully at Calvin's school and seems to beat up or threaten Calvin every time

he appears. Moe appeared early in the strip, and was immediately shown to be merciless and

have no capacity for kindness. Bill Watterson describes him as "every jerk I've ever known". (Go

Comics 1988). Although Moe had made many appearances in the strip, his character changed
 22

little over the years since his primary purpose in the comic is to threaten and bully Calvin, taking

his stuff

“Get off the swing Twinkie” demanded Moe. “Forget it, Moe. I just got on. You have to wait your turn
like everyone else” exclaimed Calvin. “I said OFF” (Punch!) shouted Moe then punches Calvin to get off
the swing. “I keep forgetting that rules are only for little nice people.” Cried Calvin (Bill Watterson, 1988)
See Appendix 1.9

Moe seems to be the only character capable of frustrating Calvin to the point of absolute

resignation and operates solely through brute force and physical coercion. Calvin's rare attempts

to retaliate have mainly consisted of mocking Moe with words the bully can't understand.

Calvin also tries to formulate his philosophy by refusing to accept the responsibility for his

actions; again, standing from the idea that the world is out to get him.

“I've decided to be a fatalist” said Calvin. “All events are preordained and unalterable. Whatever will be
will be. That way, if anything bad happens, it's not my fault, its fate” he added. (Hobbes trips Calvin)
“Waugh!” Calvin shouted. “Too bad you were fated to do that” Hobbes said. “That wasn't fate!” Calvin
exclaimed” (Bill Watterson, 1988) See Appendix 2.0

At several points in the comic strip he becomes a believer in predestination claiming that

if he can't have any freedom to do what he wants then he should not be held responsible for his

actions

“I don't believe in ethics anymore. As far as I'm concerned, the ends justify the means. Get what you can
while the getting's good --- that's what I say! Might makes right! The winners write the history books! It's a
dog-eat-dog world, so I’ll do whatever I have to, and let others argue about whether it's "right" or not” said
Calvin. (Hobbes pushes Calvin) “Heyy! Why'd you do that?!?” Calvin exclaimed. “You were in my way,
 23

now you’re not. The ends justify the means” Hobbes replied. “I didn't mean for everyone, you dolt! Just
me! Cried Calvin. “Ahh...” said Hobbes sarcastically. (Bill Watterson, 1989) See Appendix 2.1

It frequently equivocates on his morals particularly around Christmastime when he thinks

Santa is watching his every move

"This whole business of Santa rewarding GOOD kids and neglecting bad kids really bugs me...Not that I
have to worry about, of course" said Calvin. "A paragon of virtue, that's you" Hobbes added. "Right! But
see, there are certain things a good kid could do that might look BAD in a certain light, if one didn't
consider all the mitigating circumstances" explained Calvin. "Like keeping an incontinent toad in your
mom's sweater drawer?" asked Hobbes. "Exactly. If I was being raised in a better environment, I wouldn't
do things like that" replied Calvin. (Bill Watterson, 2014) 2.2

Above all, his ethics and morals are self-serving just as Thomas Hobbes claims. So even

though he tries to defy societal norms, he subconsciously continues to fulfill them. It's a little

wonder then that Calvin needs a friend like Hobbes the tiger to make sense of the Hobbes the

philosopher-like world that Bill Watterson has created for him.

Watterson’s Hobbes as a Thomas Hobbes persona

Hobbes is named after a 17th century philosopher with a "dim view of human nature."

Thomas Hobbes wrote an absolutist political treatise, The Leviathan, where he argued that in a

state of nature, human lives were “nasty, brutish and short." The problem of civil life is further

complicated by the presence in our nature the love of glory, or pride, or vanity. Thomas Hobbes

says, “Happiness or felicity, consists of continual progress of the desire from one object to

another. Since this is so, what men seek constantly is some means of securing the way to their

future desires. Men seek not only to procure, but also to be insured of a contented life for

themselves” (Strauss, Cropsey 2006)."

 24

Watterson’s Hobbes' personality does not exactly match with the philosopher's worldview.

Like his namesake, Hobbes isn't impressed with Calvin's philosophical dilemmas. But he's also a

much more energetic and friendly fellow than the historical Hobbes - which it is because the

character is also inspired by Bill Watterson's cat, Sprite (Carlton 2021) (See Appendix). Hobbes

is much more rational and aware of consequences than Calvin but seldom interferes with Calvin's

troublemaking beyond a few oblique warnings. After all, Calvin will be the one to get in trouble

for it, not Hobbes. Hobbes is more playful, loyal, and kind.

"Hobbes, do you think our morality is defined by our actions, or by what's in our hearts?" asked Calvin" I
think our actions SHOW what's in our hearts" replied Hobbes. "I RESENT THAT!" cried Calvin. (Bill
Watterson, 1990) See Appendix 2.3
. 

But even though Calvin cannot get the freedom he desires at least he has a friend like Hobbes

to make the brutish world around him a little less imposing.

“…So Moe stole my truck, and when I tried to get it back, Moe wanted to fight me for it. I didn’t want to fight, so I
walked away and Moe kept my truck” Calvin said. “I don’t understand it, Hobbes. What makes some people greedy
and mean?” He added. “Why is it that some people don’t care what’s wrong and right? Why don’t people try to be
nice to each other?” Calvin also added “The problem with People is that they’re only human” Hobbes replied.
“Well, you’re lucky you don’t have to be one.” Calvin said to Hobbes “You know, sometimes the world seems like a
pretty mean place” He added “That’s why animals are soft and huggy” replied Hobbes. (Watterson 1989) See
Appendix 2.4

Chapter 5

Watterson’s Calvin and Hobbes is not like any other comic strip because it touches social

issues, the strips reflect the society we live in, the system of governance, education, and

especially how humans interact with each other. It is evident that like in Thomas Hobbes state of
 25

nature, men are brutish and desire things at the expense of other people’s lives. Watterson’s

Calvin and Hobbes would seem like a silly comic for entertainment but the material would be a

great tool not just entertaining but to stir the minds of the people in order to change for a better

society. Calvin is imaginative because he wants to envision a world just like any person would

want: freedom, tranquility, power, fortune, glory, self-esteem. We are like Calvin. We just want

these things. But sometimes, we just can’t because society puts us back to our place. We are also

like Hobbes the tiger. We want order in the society, we must adhere to what is right, set limits

and boundaries, etc.

Calvin and Hobbes is also a comical depiction of life, friends, wisdom, love and other

strands of life. The humor is appealing to both, children and adults. And it teaches us many life

lessons. Our travel through the journey of life is full of twists and turns. The interception of high

and low tides with periods of mundane calmness. Nature is a treasure trove exploited for its

commercial value. The richness of the raw, untamed and simple state of nature is overlooked.

The focus is on goals to attain and to move higher up in life. On reaching one goalpost we are

too busy watching out for the next. Sadly the joys of the present moment goes unnoticed. What

remains during our sunset years on earth, are the memories of a life well lived. All other

achievements are transient. Moments of dilemma in life - should we follow the right path that

leads to an uncertain outcome or the morally dubious route to success? With all good intentions

we strive to do all that is correct. Uncontrollable factors have a way of working sneakily against

us. Life can turn directionless. Clueless, we move through uncharted pathways not very clear

about our destination.

I think it’s the moments of pure childhood joy and friendship that make the strip

endearing. It’s always funny, but Calvin and Hobbes at play are often really touching too. When
 26

Calvin and Hobbes are by themselves in the woods, just hanging out together, playing and

enjoying themselves, Hobbes is real all the time, and he’s Calvin’s faithful wing man. Hobbes is

most child-like when he and Calvin are playing their “pretend” games, being pirates or

astronauts or whatever. And he’s a willing accomplice in any forbidden or dangerous thing that

pops into Calvin’s head.

Anyone who was lucky enough to be a kid in the days before helicopter parents, “play

dates” and constant adult scrutiny, recognizes those games, and the freedom of being where there

weren’t any adults. We remember how much fun it was to be free-range kids. And we remember

what having a “best friend forever” feels like for a child.

Watterson’s Calvin and Hobbes is a good tool not just for entertaining minds but also to

make them wonder. I recommend to promote Calvin and Hobbes in social media sites like

facebook, twitter, and Instagram as well as local newspaper in order to give people perspectives

and views on our society. And It’s good to make people realize how the message of Calvin and

Hobbes’s conforms to what we see and observe in reality.

Bill Watterson’s comic strip engages readers at every age, from every background. First

read it when you’re young for the relatability and the slapstick comedy, then read it again when

you’re older for the subtleties and sophisticated humor, at each level discovering hidden depths

you never realized existed in between the margins. The emotions and ideas Watterson explored

in Calvin and Hobbes expand to much larger than the panels they’re packed into, and there’s

something about this comic strip that makes it memorable for each individual person.
 27

References:

____________, “Moe.” The Calvin and Hobbes Wiki. Accessed October 7, 2021.

https://calvinandhobbes.fandom.com/wiki/Moe.

Hühne, Thomas. “‘The State of Nature’ in John Locke, Thomas Hobbes and Jean-Jacques

Rousseau.” GRIN. Accessed October 7, 2021. https://www.grin.com/document/209611.

Strauss, Leo, and Joseph Cropsey. History of Political Philosophy. Chicago: The University of

Chicago Press, 2006.

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for April 14, 1986.” GoComics, April 14,

1986. https://www.gocomics.com/calvinandhobbes/1986/04/14.

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for November 11, 1988.” GoComics,

November 11, 1988. https://www.gocomics.com/calvinandhobbes/1988/11/11.

 28

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for January 05, 1989.” GoComics,

January 5, 1989. https://www.gocomics.com/calvinandhobbes/1989/01/05.

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for September 11, 1989.” GoComics,

September 11, 1989. https://www.gocomics.com/calvinandhobbes/1989/09/11.

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for September 20, 1989.” GoComics,

September 20, 1989. https://www.gocomics.com/calvinandhobbes/1989/09/20.

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for October 14, 1992.” GoComics,

October 14, 1992. https://www.gocomics.com/calvinandhobbes/1992/10/14.

Watterson, Bill. “Calvin and Hobbes by Bill Watterson for July 19, 1995.” GoComics, July 19,

1995. https://www.gocomics.com/calvinandhobbes/1995/07/19.

Price-Waldman, Sam. “How Calvin and Hobbes Inspired a Generation.” The Atlantic. Atlantic

Media Company, February 18, 2016.

https://www.theatlantic.com/culture/archive/2013/10/how-i-calvin-and-hobbes-i-inspired-

a-generation/465474/.
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Appendices

1.1

1.2
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1.3
1.4
 31

1.5

1.6
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1.7

1.8

1.9
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2.0

2.1
 34

2.2

2.3

2.4
 35

2.5
36