By Rene Goscinny
Leader Vitalstatistix has rashly wager his brother-in-law, the infuriating show-off Homeopathix, that he can pay money for Caesar's laurel wreath to season a stew. in fact, now it truly is as much as Asterix and Obelix to visit Rome, locate the wreath, and convey it again for the promised dinner. Can they retailer Vitalstatistix's honor?
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Extra info for Asterix and the Laurel Wreath (Asterix)
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. , about a Socialist team competition to break the world record in cement mixing, offers at least a sense of that reception.
And so forth. The placards were generously decorated with symbolical drawings in garish colors. Here were: a smoking cigarette the size of a factory chimney; a hellish Comics during the Soviet Era 43 broom which was sweeping out the loafer; a three-story airplane of amazing construction, with the figures 7 and 8 on its wings; and a snub-nosed tramp in a checkered cap, with the propeller stuck into an altogether unfitting place. (23) When the Magnitogorsk team is upstaged by their rivals from Kharkov, Soldatova uses her posters to humiliate them through satire: Beside the tortoise, the nag and the bicycle, Shura Soldatova was nailing a new placard with a brick: by a rope, the Kharkovites were pulling a large galosh in which sat Khanumov with his tyubeteika [Uzbek cap], Yermakov with his necktie on, and the bare-footed Ishchenko.
Quoted in Waschik and Baburina: 87). We can see the variety of artists’ responses to such calls through a comparison of some well-known early posters. Viktor Deni’s 1920 Every Blow of the Hammer is a Blow Against the Enemy! depicts a proletariat smith hammering away at an anvil; instead of “sparks” this produces bullets showering an astonished, bewhiskered man in czarist general’s dress. 2. One Must Work with a Rifle Nearby, poster by Vladimir Lebedev, 1920. the satirical press, with its easily recognizable “types,” cartoony effects, and Manichaean worldview.