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13, Rue the Barnacle is apparently a series of jokes almost always isolated and independent, with recurring characters, typecast in his role unchanged and only united by the building where they live. This allows the reader to read the page in any order, clearly not linear. But to say this would often simplify things. Often, a fact affects more than a bullet-neighbor or the entire page so that sometimes the reading is directed sequencing, increasing the comic effect and immersion because of the synergies in the characters of pure archetypal, just knowing and accepting one, just know that many residents of our large block of apartments by furtive but similar scenes, day by day, we are going to form a more or less accurate of them.
The ease of reading this comic, the endless repetition of the same problems with different details, establishing familiarity with the characters throughout the reading of each page spread even though, objectively, most of the jokes are very simple, and an absence of linear scan, have known it, would have delighted Marshall McLuhan makes this comic a unique and particularly attractive case at an unconscious level that few other comics can match.
But Francisco Ibanez eventually found it difficult to continue drawing this series: not stand the feeling of confinement that occurred. In his other stories are frequent travel, outdoor, urban or rural landscapes while at 13, Rue the Barnacle we have a fixed length field for each character fixed. However, in 1987, Ibanez created for the publisher Grijalbo, 7, Rebolling Street, a story that exploited the same formula but this time a double page with more characters.