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The Best July 4 Links Post EVER

2012 July 4

Someone go check: is the corn knee-high yet? You’d better hope so because it’s the Fourth of July already. Happy Independence Day. I’ve got a bevy of things to link. None of them are really themed, but that’s okay. You’ll enjoy them.

First, and probably my favorite, this NPR.org item suggesting that the potential for doom was evident in the Euro’s design right from the very beginning, which many have argued except in this case they mean actual visual design of the notes. It’s funny. Laugh.

Next, two from Slate. First, why Green Cards aren’t green. Second, what aspects of 1990s adventure game design made them most special? I would agree with most of these, although I don’t particularly recall “ability to get stuck for an extended period” as a real winning feature in my opinion. If that was fun for some, great; I just kind of thought “this sucks; I paid for a whole game but I’m locked out of accessing the other half of it.”

Forward to the past: gallery of Marvel Comics covers from summer 1977. I’ve got to say, most of these really have a leap-out-at-you POW factor, even those not drawn by Jack Kirby. Maybe it’s me but it seems like comics of the past 15 years or so have really lost this. Something to think about.

Backward to tomorrow: gallery “of design looking forward to 2010” produced by students in 2005. Oddly, the samples in this blog post don’t really show much forward-thinking design at all; these are instead traditional print publications used to give legitimacy to speculative news-story making-up. It does reinforce a point I’ve suspected for a while, which is that giving up on this trope is going to be difficult and probably won’t really happen until the extinction of print newspapers is so thorough as to force an update to our visual language.

Finally, back to comics, an interview with artist Darryl Banks, conducted by his decade-ago Green Lantern collaborator Ron Marz. The comments on how he basically “fell out of” the comic book world and has mostly been working on commercial art since, and about how that compares, make very interesting reading.

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