errors are made during engraving. Destiny was the first wordless novel to employ lead engraving. Nückel made 190 prints in black and white for the book. The images range in size from to and were originally printed on pages of thin Japanese handmade paper when the book was published in Germany in 1926. Editions Das Schicksal: eine Geschichte in Bildern (1926). Munich: Delphin-Verlag Destiny: A Novel in Pictures (1930). New York: Farrar & Rinehart Schicksal eine Geschichte in Bildern (1984). Zürich: Destin (2005). Paris: Destiny: A Novel in Pictures (2007). New York: Dover Publications Style and analysis Nückel engraved his plates with a multiple tool (also called a lining tool), a sort of chisel that cuts multiple parallel lines at once, which gives a mechanical hatching texture to the print. The images vary not only in dimensions but in focus, from close-ups of faces to panoramas of crowds. In contrast to the earlier works of Masereel, Destiny focuses on an individualized woman instead of the plight of a man as cipher for humankind. Lynd Ward found Nückel's book had greater psychological depth in its characters and plot development, and more skilled technical achievement in the artwork. Canadian artist George Walker believed that Masereel's plots were more original. Reception and legacy American artist Lynd Ward discovered a copy of Nückel's book in New York in 1929 and was inspired by it to create wordless novels of his own, beginning with the same year. The success of both Gods' Man and the subsequent Madman's Drum (1930) led to a number of American publishers bringing other wordless novels into print, including Destiny in 1930, which sold well in the US. Literary scholar Martin S. Cohen called Destiny "perhaps the most pathetic ... and one of the most memorable" examples of the wordless novel genre. Wordless novel scholar David Beronä judged the book "a pioneering work in the development of the contemporary graphic novel" for the complexity of its plot, its social consciousness, and its focus on an individual character. Reviewer Christian Gasser commended the book's "narrative pull", which he credited as creating a "haunting, edgy narrative rhythm" of a story of persecution, satire, and Expressionist art. The story, he suggests, may be allegory of the Weimar Republic in which it arose. Notes References Works cited Further reading External links Wordless novels 1926 novels 1926 comics debuts Drama comics Pantomime comics Comics set in