By Rene Goscinny, Visit Amazon's Albert Uderzo Page, search results, Learn about Author Central, Albert Uderzo,
Getafix has damaged his golden sickle, so Asterix and Obelix stopover at Lutetia to shop for a brand new one for him. however the sicklesmith—a cousin of Obelix—has vanished and not using a hint. the place may perhaps he have long gone? and will Asterix clear up the secret and convey Getafix what he wishes?
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Extra info for Asterix and the Golden Sickle (Asterix)
The poster’s design leads the eye to an inescapable conclusion: a portrait of two street urchins “produced” by the conditions described (though instead of anticipation, this work conjures up a sense of inexorability and disgrace). This short excursus through the early Soviet poster has given the reader some idea of the medium’s versatility, made possible in part by its affinity to comics techniques such as sequentiality, cross-gutter contrast, and the variation of panel shape. Though this study concerns itself mostly with issues of aesthetics, the popular reception of these 1920s and 1930s plakaty certainly meant a good deal to the fledging state.
They also drew Lenin and other leaders. In the 1930s the exemplary “shock worker” Alexei Stakhanov became a staple of posters, as well as several other media. Viktor Deni, responsible for popularizing many of these types, captured the appeal of this strategy in his celebrated 1920 Comrade Lenin Cleanses the Earth of Scum. , which depicts the named (and labeled) parties, along with a “Loafer,” being swept out a window by a titanic pair of red hands. The stylized, allegorical economy of these works clearly derives from the satirical press.
Zdanevich’s anti-book 1918 (1917) employs a full-fledged hieroglyphic style in their so-called ferro-concrete poems. Here the words swerve and twist along textual landscapes, unfolding in quasi-plots. Kamensky’s “Sun (a lubok)” from the same album, explicitly harkens back to its predecessors in Russian printmaking, while boldly pushing their compositional and narrative capacities to the edge of abstraction—and beyond. “The urge to restore to the word and the image their lost primordial purity” (Petrova and Markade: 136) led the Futurists to provocative creations, to a new language that was both ancient, “primordial,” and thoroughly modern, groundbreaking.