"Little Nemo in Slumberland" dated November 05, 1905:
Transcripts of Tweets by @LittleNemo1905 (May 30, 2020):
This strip returns to a more traditional, formulaic page layout and includes some remixed ideas from the previous strips, but is also coupled with some interesting new features. - 1/24
First off, it is far less formally experimental; traditionally sized panels in a 3x5 spatial design. - 2/24
The fact that the panels within the triptych of tier 1 differ from the other panels in the strip is interesting; I read the round-edged panels as demarcating the unique surreal majesty of Slumberland from any other location seen within the strip. - 3/24
Again, tier 2 features Nemo's bed as the initial vehicle for this journey. The transition from the flooded bedroom in panel 6 to the wide open ocean in panel 7 is a sharp one, but, again, imitates the transitory nature of a dream's setting. - 4/24
This strip also continues to reveal McCay's iterative process; more single coloured backdrop in tier 3 (as in strips #1 and #3), another DotRF-style gag at the end. Maybe, he is leaning into the elements that he feels has worked thus far? - 5/24
I'm intrigued by Nemo's declaration in panel 7: "Hey you! I am afraid of this performance." His use of the word "performance" in particular is fascinating. - 6/24
The performative nature of McCay's work has been noted previously, but it takes on a particular structural meaning in this strip. - 7/24
With this in mind, I couldn't help but read this strip through the lens of a theatre performance where tier 1 acts as prologue, and each sequential tier a new act, culminating in a resolution in panel 15. - 8/24
While theatre is a different type of performance than McCay's experiences with vaudeville, it is difficult not to see the elements of theatricality embedded within this particular strip. - 9/24
It is even visually represented by the move from above to below water; tiers 2 and 3 feel markedly different than tiers 4 and 5. - 10/24
Nemo's nervousness is palpable almost from the get go here, but his fears are dramatically heightened when the underwater part of the journey begins. - 11/24
This is, of course, for good reason. The underwater moments are chaotic and filled with impossibly large sea creatures. The horizontal lines (can we call them motion lines?) representing the stormy ocean current greatly increase the affect . - 12/24
I read the terrible fish/crustaceans (nothing more than nightmarish copies of real-world sea life) as telling of something personal about Nemo, namely that he is scared of them in his waking life. - 13/24
It seems to me that dreams, particularly the unpleasant ones, exploit one's conscious/unconscious fears by replicating them in nightmarish way… thus, these "monsters" of the ocean that maybe make Nemo uncomfortable in the waking world become life-threatening in the dream world. - 14/24
A final word must be said about the break-out star of this comic: Magoozla. - 15/24
From the very first panel, Magoozla oozes excitement, dedication, and a willingness to do everything he can to support Slumberland and, more specifically, the kings wishes. - 16/24
That gigantic, wide-eyed smile demonstrates just this! Before we even know what or who it is, we know that Magoozla is friendly. Sure, he also gives off swamp monster vibes, but it is offset by that visual charisma! - 17/24
Throughout the strip, he does everything possible to help Nemo. He tries to calm him verbally and assuage his fears, he supports and instructs him on how to stay safe, and, when all else fails, he is even willing to bear the boy to Slumberland himself! - 18/24
And how does Nemo thank him? By screaming bloody murder, waking up, and preventing Magoozla from fulfilling the goal it so desperately wishes to accomplish. - 19/24
But, even in the face of Nemo's fear and distrust, panels 13 and 14 feature that wide-eyed smile once again as he begins to whisk Nemo away! I can't help but connect with the swampy lug. - 20/24
That said, I'm not really sure how to read this moment. It could be representative of Nemo's fear of stranger abduction, but also as a caution against fearing those who look/seem different than us? - 21/24
I want to believe the latter. This strip clearly positions Magoozla as a friendly, supportive character. Had Nemo trusted the loyalty of this misunderstood Slumberlandian, both the reader and Nemo would have reached our destination. - 22/24
For me, the fact that we didn't says much about Nemo's unwillingness to trust a creature that seemed, in the moment, so different from himself. - 23/24
This is my reading of "Little Nemo in Slumberland #4". What's yours ? - 24/24
Comments