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McCay has something new for a cartoonist. He has a moving picture of himself, sketching little figures, such as he made known to the readers of the New York Evening Telegram, and which were the basis of “Little Nemo.” Through the manipulation possible in moving pictures and trick photography, the outlines as sketched by the artist come to life on the sheet, and are called by McCay, "Pictures that will move." The opening of the picture is a sketch as the moving picture men saw it, which brings Mr. McCay into the foreground as the chief figure. He agrees to draw 1,000 pen and ink sketches within a month. Barrels of "ink" and bundles of "drawing paper" are carted into his studio. After the picture, the real work commences. He appears in person for the remaining 8 minutes for the “Ages of Life.”
The “Ages of Life” is so well known that McCay might as well stick near the doorstep and let the picture machine do its work. There is no reason why the cartoonist should not send the picture all over the country as an “act.” As a picture alone, the film is excellent. McCay’s reputation makes it that much better. Perhaps the managers will not settle for simply a picture, forcing McCay to appear and get chalk marks all over his evening clothes. Perhaps his appearance is also due to the fact that the market price for moving pictures is below that for cartoonists.
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Variety 22:6 (04/15/1911)