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英文原版，特色珍藏精装版The Complete Calvin and Hobbes（卡尔文与跳跳虎全集），原价1187元，现团购价480元包邮！ 卡尔文与跳跳虎的书迷们，赶紧下手，数量有限，先到先得！

出版社： Andrews McMeel Publishing; Slp （2005年9月1日）

丛书名： Calvin & Hobbes

精装： 1440页

语种： 英语

ISBN: 0740748475

条形码： 9780740748479, 0050837231467

商品尺寸： 31.8 x 13.3 x 28.6 cm

商品重量： 10 Kg

An Excerpt from Bill Watterson's Introduction:

"I’ve loved comic strips as long as I can remember. As a kid, I knew I wanted to be either a cartoonist or an astronaut. The latter was never much of a possibility, as I don’t even like riding in elevators. I kept my options open until seventh grade, but when I stopped understanding math and science, my choice was made. There is great personal satisfaction in attending to detail and quality, and I remain very proud of the standards the strip met day after day. I also liked the responsibility of knowing that, succeed or fail, it was all my own doing. This approach kept the strip very honest and personal--everything having to do with Calvin and Hobbes expressed my own ideas, my own values, my own way. I wrote every word, drew every line, and painted every color. It’s a rare gift to find such fulfilling work and I tried to show my appreciation by giving the strip everything I had to offer."

比尔沃特森的介绍摘录：

“我只要我能记得爱连环画。作为一个孩子，我知道我想要么是漫画家或宇航员。后者是从来没有太多的可能性，因为我不骑在电梯甚至喜欢我遵守了我的选择余地，直到七年级，但是当我停下来理解数学和科学，我的选择是做。有极大的个人满足感出席细节和质量，我仍然很自豪的带会见日复一日的标准我也很喜欢知道，成功或失败的责任，这是所有我自己做的这种方法保持了条很诚实和个人 - 一切都不必做卡尔文与霍布斯表达了自己的想法，我自己的价值观，我自己的路。我写的每一个字，每一个画线，并涂上各种颜色，这是一个难得的礼物找到这样理想的工作，我试图通过给带的一切，我必须提供以示谢意。”

卡尔文与霍布斯无疑是有史以来最流行的漫画之一。一个男孩和他的真实只到他的老虎的想象力世界是在1985年首次联合并出演了2400多报纸的时候，比尔沃特森退休的1996年1月1日，他的卡尔文和霍布斯动画片的整个公布在一个真正的值得注意的敬意在完全卡尔文和霍布斯这个奇异的卡通。在一个坚固的书套由三个精装，四色卷，纽约时报最畅销的版本包括了曾经出现在企业联合组织所有卡尔文和霍布斯动画片。这是所有卡尔文和霍布斯的球迷寻求的宝藏。

卡尔文与霍布斯是为数不多的由其他漫画家人人称羡的“ --- 查尔斯·所罗门，洛杉矶时报书评

Starred Review. [Signature]Reviewed by Art SpiegelmanBy the 1980s the once glorious newspaper comics section had become a wasteland, ravaged by shrinking space, editorial timidity and other ills. The real excitement in my medium had moved to the fertile margins of the alternative press. Bill Watterson, as uninterested in underground comix as I was in the mass media's bland concoctions, marched directly into the wasteland and made the comatose syndicated strip form kick up its heels and dance.From 1985 until Watterson abandoned it at the height of its popularity 10 years later, Calvin and Hobbes echoed the classic strips the artist most admired. Stirring the richly conceived characters and efficient drawing of Peanuts with the visual virtuosity and linguistic playfulness of Pogo and Krazy Kat, he applied his intelligence and supple cartoon skills to come up with a creation beloved by the millions who still mourn its passing.Now, a decade after his demise, six-year-old Calvin has a fitting monument—a lavishly produced three-volume boxed collection of all the strips, which weighs as much as a tombstone. Following in the wake of Gary Larson's The Complete Far Side, and with a 250,000-copy "limited edition" first printing, the publisher realistically predicts that this book will be "the heaviest and most expensive book ever to hit the New York Times best seller list." While not as exquisitely wrought as Walt and Skeezix, the recently launched reprinting of Frank King's epic run of Gasoline Alley, or as intimate and dignified as Fantagraphics' ongoing republication of all 50 years of Peanuts, this luxurious set is dressed for success and deserves an honored spot on the happily expanding shelves of strip reprints.The Complete Calvin and Hobbes offers two intertwined narratives. One details the friendship between Calvin—the egotistical, feverishly imaginative, wised-up young tyke with the vocabulary of a Yale lit major—and his animal familiar, Hobbes. Hobbes is seen by Calvin's parents as a nondescript plush toy and by Calvin and the reader as a pouncing and amiable "real" tiger—Calvin's slightly-more-sensible better half. The crosscutting between private and shared reality gives the strip its vitality.The autobiographical introduction by the notoriously reclusive Watterson kicks off another tale about the collision of private and shared realities: the story of an ornery artist's battle to explore his craft within the claustrophobic confines of a few inches of newsprint space. The beleaguered Watterson fights the strictures of brutal daily deadlines, skirmishes with editors to win more space for his often graceful Sunday pages, slugs it out with his syndicate to keep his creation from being reduced to a stuffed doll. The later strips begin to dwell obsessively on the horrors of our dumbed-down commodity culture, and there's something poignant about the artist's hopeless struggle to work within the confines of mass culture while simultaneously critiquing it. These books offer a testament to Watterson's dedication and to the medium's ability to keep reinventing itself against all odds. (Oct.)Art Spiegelman is the Pulitzer Prize–winning author of Maus and In the Shadow of No Towers.