Max und Moritz — Conclusion

This closing plate contains no pictures at all — only verse — and that absence is itself historically significant. Wilhelm Busch's *Max und Moritz* (1865) is among the foundational works of sequential picture-storytelling: across its seven 'tricks,' drawn panels carry narrative momentum the way cinema would decades later, with figures caught mid-gesture and cause-and-effect logic moving the eye panel to panel. Here, at the end, Busch lets the illustrated story dissolve into pure text: the village reacts to the boys' fate with collective indifference. The deadpan moral — 'God be praised! the town is free / From this great rascality!' — confirmed Busch's influence on every satirical comic strip that followed, from *The Katzenjammer Kids* onward.