Martin Handford’s beloved series, Where’s Waldo? (known as Where’s Wally? outside the US), has captivated readers for decades with its intricate scenes and the challenge of finding the titular character. Celebrating its 30th anniversary, the release of Where’s Waldo? Destination Everywhere! invites a fresh look at these classic books. However, a recent observation by Dr. Debbie Reese on Twitter brings a critical perspective to the forefront, questioning the portrayal of certain where’s waldo characters within these bustling illustrations.
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Stereotypical Native American characters in Where's Waldo book |
Reese’s tweet highlighted an image from Where’s Waldo? featuring stereotypical depictions of First Nations/Native people. The scene shows typical where’s waldo characters, including Waldo himself in his striped attire, amidst a crowd where two individuals are lounging outside a tipi. These characters are presented with stereotypical “Indian” headdresses, and one is smoking a peace pipe, accompanied by a dog also adorned with a feathered headband. This discovery prompted a re-examination of the Where’s Waldo? series, revealing uncomfortable patterns in the representation of diverse where’s waldo characters.
Opening a Where’s Waldo? book is an exercise in visual overload. The densely packed pages are designed to be overwhelming, a core part of the search-and-find experience. Each spread is teeming with details, encouraging readers to spend considerable time exploring the myriad where’s waldo characters, settings, and scenarios. This complexity, while engaging, can also obscure problematic elements within the illustrations.
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Chaotic sea scene with stereotypical Native American characters in a canoe from Where's Waldo |
Beyond the initial stereotypical image, further inspection reveals more instances of questionable portrayals. Another scene depicts a group of “Native” where’s waldo characters in a canoe amidst a chaotic sea. Here, they are not lounging but presented in a battle-like stance, reinforcing stereotypical and outdated representations. Reese’s earlier analysis of the series sheds light on why these feathered headdresses and generalized “Native” depictions are deeply problematic, reducing diverse cultures to simplistic and offensive caricatures.
| Introduction page of “Trouble in Old Japan” from Where’s Waldo book showcasing stereotypical Japanese characters. |
The issue extends beyond Native representations. In Where’s Waldo Now?, as Waldo travels globally, the depiction of various cultures often falls into the trap of using real-world settings and people as mere “props” or exotic backgrounds. The “Trouble in Old Japan” scene, featuring sumo wrestlers and samurai, exemplifies this. These where’s waldo characters are presented through a lens of stereotypical imagery, reducing rich cultures to a collection of clichés.
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Stereotypical Japanese characters sumo wrestlers and samurai in Where's Waldo |
Furthermore, many of the fantasy worlds in Where’s Waldo? The Fantastic Journey books present a noticeable lack of racial diversity. The crowds of where’s waldo characters are predominantly White, subtly conveying a message that whiteness is the default, especially in imaginative settings. This absence of diverse where’s waldo characters can be exclusionary, suggesting to children of color that they are not central to these narratives.
| Fantasy scene in Where’s Waldo book featuring a predominantly White crowd. |
 Predominantly white characters in fantasy setting of Where's Waldo book |
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| Another fantasy scene from Where’s Waldo book illustrating lack of racial diversity among characters. |
While some may argue that isolated images shouldn’t condemn the entire series, or that these details are easily missed amidst the visual chaos, the cumulative effect of these representations is undeniable. Even if not consciously registered at every reading, these images contribute to a child’s understanding of the world and their place in it. The fact that these scenes might not be immediately remembered from childhood doesn’t negate their subtle but impactful role in socialization. It highlights the importance of critical engagement with even seemingly innocuous children’s media.
The publisher’s promise of “12 classic scenes as you’ve never seen them before” for the 30th-anniversary edition raises questions about what changes, if any, have been made to address these issues of representation. While there’s nostalgia and genuine appreciation for the visual complexity of Where’s Waldo?, it’s crucial to acknowledge and critically examine its shortcomings. Educators and caregivers have an opportunity to use these books not just for fun searches but as tools for “anti-bias” discussions. Turning the search-and-find exercise inward, to identify and discuss the “-isms and -ias” embedded within these pages, can transform Where’s Waldo? into a valuable, albeit complex, learning experience.
