"Little Nemo in Slumberland" dated April 22, 1906:
Transcript of Tweets by @LittleNemo1905 (JUNE 24, 2020):
Probably one of the most unique strips that we've come across so far, this one is driven purely by the larger narrative framing (Flip vs. Nemo for the Princess) and really does a fabulous job with it. - 1/12
We see the Eggshell and rabbit carriage from the previous week's Easter strip remain as Nemo and Candy progress towards the next gate of Slumberland, known as the Blind Gate (because it has no actually entryway; only a wall that must be passed over). - 2/12
What I love most about this strip is the way that Flip is underestimated by Candy only to show them all that he is far better equipped than they may believe to want to give him credit for. - 3/12
The goose carriage, gifted to him by the Stars back in strip #23 (March 18, 1906) seems far more capable of the challenge than Candy initially believes. - 4/12
I think this strip really stands out because it demonstrates Flip's perseverance. He's given every disadvantage possible, and yet still finds a way to make the chase thrilling. -5/12
Candy is confident that Flip will be unable to progress beyond the gate because the Condors will never take him any further and his Geese aren't up to the task. But, they manage to shock everyone in the penultimate panel by doing "the impossible" while Nemo is slowed down. - 6/12
Of note is the fact that our friend the moon is back, and looking downright shocked at what Flip has managed, which is, I think, meant to mirror the reader's shock at seeing the rule we'd only just been told by Candy broken so quickly. - 7/12
I also find this strip fascinating because it is the first time that my reading has been primarily plot based… there is very little of aesthetic interest here. - 8/12
To clarify, I don't mean the strip isn't aesthetically pleasing (it is, as always, gorgeous), but I find it difficult to approach the strip with the same aesthetic stance that I have with previous ones (with a focus primarily on how the form functions to communicate). - 9/12
It's a very basic strip whose purpose is really only to progress the narrative. McCay doesn't experiment with the form, introduce any unfamiliar/innovative spatial design elements. Or bring in any previously unknown characters. It's purely about character building. - 10/12
This strip is an ode to Flip and I appreciate it not for it's experimentation or demonstration of authorial prowess, but because it represents a moment where McCay put aside those things in order to build and expand his world through character. - 11/12
This is my reading of "Little Nemo in Slumberland" #28. What's yours? - 12/12
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