Tracer, similar to the spy genre, has a negative attitude towards women. Watterson demonstrates the idea of male superiority present in this genre through questionable remarks about the female characters. The two different women mentioned in this strip, Miss Wormwood and Susie Derkins, were both referred to as “dames.” This in itself shows a lack of respect for the opposite sex. Tracer/Calvin makes Miss Wormwood and Susie seem conniving, untruthful, and corrupt. Tracer says, “…the dame who brought it was persuasive. Most dames are, somehow” (1, panel 2). Miss Wormwood is made to appear as though she unfairly persuaded Tracer into taking on the case. Susie is described to appear as though she is withholding information from Tracer. Tracer believed that “Someone had gotten to her first and shut her up good,” (1, panel 5) and that is why she would not help him. In actuality, Susie is an intelligent girl and refuses to aid Calvin in cheating. These women are far from pleasantly described. Susie is said to have a big mouth, and Miss Wormwood is illustrated to appear grumpy and cruel. However, both of these characters are present to demonstrate opposing values to Tracer. These women represent a more stable system of values--ones that emphasize learning, honesty, and true leadership.

Tracer Bullet, the ultimate tough guy and bad-boy, emerges when Calvin is in trouble. Tracer Bullet appears in two examples. The first appearance of Tracer is during Calvin’s math quiz, when he is unable to decipher the math problem. The second strip with role-playing was when his mom comes across a mess in the living room, obviously deeming Calvin the culprit. Calvin, in both situations, escapes to the safety and security of Tracer. Calvin lacks the power and confidence to solve problems in his own life. Calvin seeks control. However, the chaotic environment of the real world intimidates Calvin. So he escapes through his alter-ego—Tracer Bullet. Tracer is a private eye. He is confident, always cool, and extremely blunt. Tracer fulfills Calvin’s desire for power. Calvin’s imagination allows him to feel empowered through Tracer’s confidence and control. As Tracer, Calvin can decide his own fate. This was exemplified when Calvin decided to change the direction of the story when Tracer was about to be shot. While Calvin is left blank minded from the math question, Tracer takes it in stride and boasts, “It was another baffling case. But you don’t hire a private eye for the easy ones” (1, panel 1). Calvin tackles life’s “dilemmas” through the confidence only acquired in his fantasy land with Tracer. When Tracer finally solves Calvin’s problem, Calvin is then free to happily return to reality. Calvin turns to his imagination for confidence. Unfortunately, his imagination has become completely controlled by mass culture art.

The use of role-playing is an extremely effective literary method. Watterson uses role-playing to convey his opinions on society and our dominant culture. In the strips with role-playing, it is the key ingredient for humor and effective commentary by Watterson. One can read Calvin & Hobbes on two different levels. The first is the literal, surface level. Meaning that the strip is funny because of what Calvin says or does. Calvin’s behavior is completely unexpected by readers. It is funny because he acts like an adult, but he is only a child. This irony is what makes Calvin & Hobbes funny. Given similar circumstances, the strip would not be as effective with an adult character. The second level one can read Watterson’s comics is to look deeper into them, and readers should analyze what Watterson, not Calvin, is trying to say. Watterson uses role-playing as his tool to comment on our culture. When one analytically reads into Calvin’s role-playing it becomes clear that the humor is in the parody of mass culture. Watterson uses this idea of ne

Some topics in this essay:
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