By Mark Crilley
Akiko and her crew–Spuckler Boach, Mr. Beeba, Poog, and Gax–are competing in an intergalactic race from one part of the universe to the opposite. alongside the way in which they must make it throughout the slender passages of the Labyrinth of Lulla-ma-Waygo, the infamous nearly Black gap of Luzbert-7, and the lethal Jaws of McVluddapuck. All Akiko desires to do is make it again to Earth in a single piece!
But while Spuckler discovers that his outdated rival Bluggamin Streed can be within the race, profitable turns into an important factor. And Akiko speedy unearths herself stuck up within the festival. Who will pass domestic with the distinguished Centauri Cup?
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Extra resources for Akiko and the Alpha Centauri 5000
The relationship between theory and creative practice is at the heart of this debate, and is a key concern of this book in the context of the making and meaning of children’s picturebooks. …there is always the possibility that art may be utterly stifled within the university atmosphere, that the creative impulse may be wholly obliterated by the pre-eminence of criticism and scholarship. Nor is there perfect unanimity on the part of the university itself as to whether the presence of artists will be salutary within its community, or whether indeed art itself is a good solid intellectual pursuit and therefore a proper university study.
This is perhaps where the unique nature of the picturebook as a medium really began to assert itself. Now, words became fewer as an understanding of the potential of the page as a multimodal visual stage grew. And the English language picturebook benefited from the influence of a number of authorial artists of European or Latin origin who had been displaced by the war, or had arrived in the United States as immigrants. Among these were Antonio Frasconi, Roger Duvoisin, Leo Lionni and Miroslav Sasek.
André François was born in Hungary, in an area that became part of Romania after World War I. But it was as a French citizen that he spent his working life as a graphic artist, spanning visual satire, advertising and poster design, theatre set design, sculpture and book illustration. François’ work exhibited a childlike awkwardness that belied a highly sophisticated, biting eye. The first outlets he found for his work were British satirical magazines such as Lilliput and Punch. In children’s books, François developed a successful partnership with the writer John Symonds, producing books such as The Magic Currant Bun (Faber, 1953) and Tom et Tabby (Delpire, 1963).
Akiko and the Alpha Centauri 5000 by Mark Crilley