The one great impression I have from this much-lauded film — which I just got around to watching — is how imperceptive, and even incurious, it is about what makes Calvin and Hobbes the best of its genre. There are a good many vague mumbles about its being well-drawn and well-told, and imaginative, and “intimate” (whatever that means), and so on and so forth.
The film doesn’t seem to know what it’s about: the history of cartooning? The death of newspapers? Chagrin Falls, Ohio? The promise and peril of marketing?
So let’s try to get a grip on the question of the strip’s greatness. Calvin and Hobbes is about finding freedom within structures of constraint, and being able to do so through the strength that comes from knowing that you are unconditionally loved and perfectly understood, even, or perhaps especially, when the one who understands you perfectly sees your flaws and foibles as well as your charms and virtues.
The strip is therefore concerned with the interaction of complex forces that are always in tension with one another, which requires a standard visual style that is highly energetic and the creation of multiple secondary visual styles in order to illuminate particular points at which those forces intersect.
That’s enough to get us started, I think.