Moritz, gave Busch (around €200,000 or $270,000), which was donated to two hospitals in Hanover. Since then, on the anniversary dates of his birth and death, he has been celebrated frequently. During the 175th anniversary in 2007, there were numerous re-publications of Busch works. Deutsche Post issued stamps depicting the Busch character Hans Huckebein – itself the inspiration for the nickname of the never-built Focke-Wulf Ta 183 German jet fighter design of 1945 – and the German Republic minted a 10 Euro silver coin faced with his portrait. Hanover declared 2007 the "Wilhelm Busch Year", with images featuring Busch works erected within the city centre. The Wilhelm Busch Prize is awarded annually for satirical and humorous poetry. The Wilhelm Busch Society, active since 1930, aims to "(...) collect, scientifically revise, and promote Wilhelm Busch's works with the public". It supports the development of caricature and satirical artwork as a recognized branch of the visual arts. It is an advocate of the Wilhelm Busch Museum. Memorials are located in places he lived, including Wiedensahl, Ebergötzen, Lüthorst, Mechtshausen, and Hattorf am Harz. Influence on comics Andreas C. Knigge described Busch as the "first virtuoso" of illustrated stories. From the second half of the twentieth century he was considered the "Forefather of Comics". His early illustrations differ from those of the colleagues of Kaspar Braun. They show an increasing focus on protagonists, are less detailed in drawing and atmosphere, and develop from a dramatic understanding of the whole story. All Busch's illustrated tales have a plot that firstly describes the circumstance, then a resulting conflict, then solution. Plots are developed through consecutive scenes, similar to film storyboards. Busch conveys an impression of movement and action, at times strengthened through a change of perspective. According to Gert Ueding, his depiction of movement is unique. One of Busch's notable stories is Der Virtuos (1865), which describes the life of a pianist who plays privately for an excited listener. Satirizing the self-publicizing artist's attitude and his overblown adoration, it varies from Busch's other stories as each scene does not contain prose, but is defined with music terminology, such as "Introduzione", "Maestoso", and "Fortissimo vivacissimo". As the scenes increase in tempo, each part of his body and lappet run around. The penultimate scene again depicts the pianist's movements, with score sheets floating above the grand piano on which musical notes are dancing. Over the years graphic artists