Most people remember Phalanx for its cover: an old man playing a banjo next to his dog while a spaceship flies by in the night sky overhead. What the banjo player and his hound had to do with a fairly typical space shooter has left laymen and scholars alike arguing for the past fourteen years. The hypothesis that most people work under: it was a clever ad campaign to get people talking about an otherwise unremarkable game. We’re still talking about it almost a decade and a half later, aren’t we?
The first time I fell in love, I remember having a lot of dreams. Some were the tame fantasies of boyhood, but for the most part, they were fairy tale inspired epics, a twist on the narratives of classic fairy tales, with us standing in for the leading players. Disney had done a good job on me, I guess. But falling in love is very much like a fantasy quest. There is a call to adventure, when you first meet your beloved, there is a pursuit, and complications, and then victory and jubilation (or defeat and self-improvement and reflection).
Bill Watterson is akin to a cartooning god for many people of my generation. His comic strip, Calvin & Hobbes, is justifiably considered one of the greatest achievements in his medium. It had wit, a deft touch of whimsy, and social commentary that still rings true to this day. It also mechanically changed how a Sunday comic strip could be drawn/displayed. The hermit-like artist, through his comic strip, sparked the imaginations of a generation of kids while indirectly making himself an anchor for Generation Y’s youth.
He was also wrong about a lot of things. Comic books can be stupid, but that doesn’t mean he’s not hypocritical for disparaging an entire medium (which is more a less a brother to his own) by blaming the content for the delivery mechanism. It’s also naive to want one’s art to reach as broad an audience as possible while remaining anonymous. This is no knock against his creation, of course, but rather a reminder to my fellows that Watterson was a man rather than a prophet