There is significant interaction between these three factors, and no one is better at leveraging reason 3 in the pursuit of reason 1 than Disney. (In fact, Sendak’s picture books are meant to be read at different developmental stages.) Three, affective ties: there is legitimate emotional attachment by children to little worlds that are presented in repetition with small variations, a fact with far-reaching pedagogic implications. Two, less nefariously, the targeted age for picture books is not generally considered to be invested in a series-long arc. One, capitalism: it’s efficient to sell what’s already sold well in a slightly different package. The reasons for this are likely three-fold. The most common type of sequel for picture books, though, are the simple “further adventure” texts which feature a popular character or character sans series-arc, as in Angelina Ballerina or Maisy. A more abstract version of this is the continuation of an arc external to the world of the individual texts included in the series, as in Sendak’s trilogy. The most common use of the term is for those texts which serve as building blocks in a larger narrative arc featuring the same world and/or protagonist, as in Harry Potter. Seuss’s The Cat in the Hat Comes Back is a strange kind of sequel.
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