"Little Nemo in Slumberland" dated May 27, 1906:
Transcript of Tweets by @LittleNemo1905 (JUNE 29, 2020):
While this is another straightforward, formally uninteresting, traditional set-up type strip, it features some of the best dialogue we've yet seen in #LittleNemo! - 1/24
From the very beginning (which still features a bare-bones summary of the strip through the voice of a Slumberlandian reporting to the Princess), dialogue is set up as meaningful. - 2/24
Previously, whenever a character provides a report/update to the King and Princess, they do not reply. Here though, the Princess is permitted to "pshaw!!" at the messenger's insistence that Nemo can't get used to Slumberland and declares his insinuation to be "mean". - 3/24
In the background, the moon weeps because the Slumberlandian is suggesting that Nemo isn't fit to be the Princesses playmate after all if he hasn't yet taken to Slumberland. Surely anyone who has seen what he's seen and knows what he knows would be acclimated by now… - 4/24
It would be awful to see Nemo's journey end so unceremoniously… but the Princess will have none of it. - 5/24
In what is her defining moment (so far), she shuts down this suggestion swiftly. Up until now, the Princess has seemed a somewhat lonely and mopey character; begging her father to bring Nemo to her posthaste or extolling how excited she is for him to finally reach her. - 6/24
Yet, in this moment, she is powerful, strong, and assertive. She does not passively receive the message, but actively rejects it. Indeed, these three simple words go a long way to evolving her character. - 7/24
The second and third tiers also feature a wonderful conversation between Nemo and Candy. - 8/24
Clearly, Mysto has softened over the week and transformed Nemo back into his GIANT form. As he and Candy prepare for their journey to the Fourth Gate, they discuss his size and what it means for him and where they are going. - 9/24
I love the way this strip plays with the reader expectation of Nemo's fearfulness. As we discussed yesterday, Nemo has traditionally been portrayed as afraid of Slumberland and it's denizens… - 10/24
…so when the first question Nemo asks is about if he'll need to fight someone/something, the reader's first instinct (or at least mine) is to roll their eyes and prepare for the return of a less brave Nemo than we had last stirp. - 11/24
The conversation really starts in earnest on tier 3. Candy asks, "Are you afraid?" to which Nemo provides a very firm answer about how he feels like he could "lick a hundred giants". - 12/24
Candy then reveals that the bravery presented is a result of his being made into a Giant… and it immediately all makes sense! - 13/24
Last strip, Nemo's disobedience was out of character for him and now we know why; his brash move to rescue Flip was an unintentional side effect of his Giant-sized bravery booster shot! - 14/24
But now, Nemo is on the right path and his bravery is pointed in the appropriate direction! … or is it? - 15/24
When Nemo stands in front of the Giants, he does so leaning forward; almost as though he is gesturally provoking/challenging the Giants at the gate. But if he is, in fact, so brave, why does Candy speak for him? - 16/24
The miniscule Candy "commands" that they rise… Why should they listen to one so small? Surely, they'd have listened to Nemo had he been the one to demand their moving. - 17/24
Instead, they challenge Candy's authority by questioning the seemingly oxymoronic diminutive used to describe the Princesses playmate: "You mean Big Nemo, don't you?" - 18/24
It's at this point that Nemo awakens with no warning. He's just… up and being chastised by an off-panel parent. What gives? - 19/24
My reading of this moment suggests that he is awoken by the return of his fear. - 20/24
Though attempting to be iconically brave and gesturally provoking, I believe the push back from the Giant's causes Nemo to fear an impending fight… and I don't think that he is quite as ready as he'd previously indicated for it to happen. - 21/24
Waking up then is his escape mechanism from a potential battle; his mind unconsciously hitting the big red "escape" button. Personally, I can read no other reason for his waking up. - 22/24
All in all, that McCay's dialogue shines in this strip is, I really believe, an impact of his backing away from captions and external synoptic captions. I know that dialogue isn't what McCay is remembered for, but it's nice to see it used impressively from time to time. - 23/24
This is my reading of "Little Nemo in Slumberland" #33. What's yours? - 24/24