Post by poordonald on Oct 9, 2023 3:24:13 GMT
I've stumbled upon an intriguing phenomenon on Inducks - 3-row pocketbook stories are evidently more popular and well-received than non-Barks and Rosa 4-row stories. In the top 100 stories, there’s a significant presence of Scarpa and Carpi’s pocketbook tales, yet not a single 4-row story by Vicar, Rota, or Van Horn. In terms of 4-row, it’s all dominated by the “canonical” works of Barks and Rosa.
I must admit, it’s a bit disheartening to see pocketbook stories, no matter how mundane, boasting some decent lengthy reviews and around 20 votes, while many iconic 4-row works from the 90s, not by Barks and Rosa, are left with a mere 6.8 rating and 5 votes. I firmly believe that many of these latter stories are masterpieces in their own right, equally deserving of the spotlight as their 3-row counterparts.
So, it begs the question: Is this trend representative of the entire community’s attitude? I’ve also been lurking around German fan forums using AI translation tool. A plethora of Italian and Egmont stories have been translated into German, they are vying for attention on an equal footing. It seems a similar pattern emerges - both 3-row and 4-row stories have their fan base, but Lustiges Taschenbuch, featuring 3-row stories, often takes center stage, relegating the more everyday 4-row narratives to a more whimsical, sidekick role.
I’m curious - what’s the scene like in other communities? In Scandinavia and the Netherlands, is there a heightened appreciation for 4-row stories? Does the trend on Inducks more so reflect the perspectives of the English and Italian worlds?
And on a personal note, where do your preferences lie between the 3-row and 4-row narratives? I find that the long nature of 3-row stories often lends them to be easily canonized. However, when it comes to depth, 4-row stories can delve deeper, like some by Rota and Van Horn, which imbued with potent socio-cultural metaphors. 3-row stories, while extensive, often boil down to their adventurous essence.
I’m eager to hear your thoughts and insights on this!
I must admit, it’s a bit disheartening to see pocketbook stories, no matter how mundane, boasting some decent lengthy reviews and around 20 votes, while many iconic 4-row works from the 90s, not by Barks and Rosa, are left with a mere 6.8 rating and 5 votes. I firmly believe that many of these latter stories are masterpieces in their own right, equally deserving of the spotlight as their 3-row counterparts.
So, it begs the question: Is this trend representative of the entire community’s attitude? I’ve also been lurking around German fan forums using AI translation tool. A plethora of Italian and Egmont stories have been translated into German, they are vying for attention on an equal footing. It seems a similar pattern emerges - both 3-row and 4-row stories have their fan base, but Lustiges Taschenbuch, featuring 3-row stories, often takes center stage, relegating the more everyday 4-row narratives to a more whimsical, sidekick role.
I’m curious - what’s the scene like in other communities? In Scandinavia and the Netherlands, is there a heightened appreciation for 4-row stories? Does the trend on Inducks more so reflect the perspectives of the English and Italian worlds?
And on a personal note, where do your preferences lie between the 3-row and 4-row narratives? I find that the long nature of 3-row stories often lends them to be easily canonized. However, when it comes to depth, 4-row stories can delve deeper, like some by Rota and Van Horn, which imbued with potent socio-cultural metaphors. 3-row stories, while extensive, often boil down to their adventurous essence.
I’m eager to hear your thoughts and insights on this!