This month marks the 50th anniversary of the birth of cartoonist Ken Burns.
It’s a moment that should remind us of what’s so special about Ken’s work: the way he uses our minds to create, explore, and tell stories.
It reminds us how much we owe him for the quality of his work, and how important he was to the success of the medium.
Ken’s first cartoon, “The House of the Devil,” ran in the October 1962 issue of The New Yorker.
Ken used the premise of a haunted house and the story of a man who comes back from the dead to find a house full of demons.
He created a compelling story, but also an unusual medium that allowed for a wide range of images and shapes to be used in his cartoons.
Ken was able to explore ideas of humor, satire, fantasy, and even horror through this medium, creating a medium that was a mix of humor and art, which he would continue to experiment with and create for the rest of his career.
In a time when television was a niche form of entertainment, Ken was the guy who brought it to the masses, and his stories were filled with ideas and themes that were unique and innovative.
For instance, “Tales From the Crypt,” an episode of the TV series The X-Files, was based on a Ken Burns short story about a young man’s dream.
The idea was to put the young man into the body of a skeleton and give him a series of nightmares to try and get him to come to terms with his fears and the unknown.
But when it came time to tell the story, the young person couldn’t do it.
So the idea was dropped, and the idea of the skeleton was kept in the episode, because that’s what they’d come up with in the first place.
And the skeleton didn’t come back until the show aired.
Ken had an ability to create an interesting medium that would allow him to explore different ideas and concepts, but he also had an incredible ability to tell a compelling, well-told story.
Ken Burns, the creator of the “Tale From the Tomb,” is seen here in 1993.
(Courtesy of Ken Burns Foundation) Ken and his cartoonists were pioneers in creating a new medium.
By the time of the cartoonist’s death in 2012, he was famous for his use of the term “creative chaos,” which has become synonymous with his style.
His cartoons were so unique that many of his stories had no plot or character progression, instead being simply about the events that occur on screen.
They were the perfect way for the medium to evolve.
Ken and the other cartoonists that followed in his footsteps were the first to use visual language, with cartoons being created using pictures or drawings as their medium of expression.
When you create a cartoon, you’re making it up as you go along.
Ken could create a very good cartoon, but it wouldn’t necessarily be the best cartoon.
He would come up, draw something, and say, “Oh, this is a good idea, I think it could work,” and then he’d put it in a box or in a drawer and go to the next drawing, which is why he would say, when we’re doing the first drawing of a story, “this is a very beautiful, good idea.”
And then the next story, that’s a different story, and then you’re not going to make it until the next time.
That was Ken Burns’ method of storytelling.
His style, his way of expressing ideas, was different from any other medium, and it allowed him to create something very special.
The new medium also enabled him to use his artistic talents to tell more complex stories.
The cartoonist had a lot of ideas for the stories that he wanted to tell, but sometimes, the artist would not have enough imagination to get it all right, and he would stop.
And then, in the end, it would come to a halt.
Ken always wanted to show what would happen if we tried to do something else.
The same thing happened with his cartoons, where the story he wanted wouldn’t come together.
He wanted a story about his mother dying, and we would do something different, or we would go back to the beginning and do something better.
He did that in “The Ghost in the Cabinet.”
It’s an episode that Ken wrote as a way to explore a fear that his mother would eventually pass away, and for that he felt that he needed to make an episode about a dead man’s funeral.
But Ken was never going to be able to finish the story.
He never had enough imagination, and as soon as we started to get that imagination going, we were done.
We were not done.
That’s what happened with Ken’s “Tears from the Tomb.”
It was about a man in his 40s who had just had his stroke, and a little boy comes to visit him.
In the episode “T