When Bill Watterson walked away from Calvin and Hobbes in 1995, he was exhausted. The comic strip had consumed ten years of his life, the latter half of which were spent fighting his syndicate for creative control and warring with himself as he fitfully came to realize that he had nothing left to say about a six-year-old boy and his stuffed tiger. And the decision couldn’t have come at a worse time: Calvin and Hobbes was at the height of its popularity. To quit then seemed like career suicide.
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