"Little Nemo in Slumberland" dated July 21, 1907:
Transcript of Tweets by @LittleNemo1905 (AUGUST 28, 2020):
I'm happy that we've completed the Candy Island strips. For me, this one marks a truly new starting point and I'm eager to see not only where the narrative takes us from here, but also to explore some exciting new readings! - 1/28
Though we do still have to grapple with Impy's joining the group (so we really will never be completely rid of the implications that the Candy Island's introduced to the strip), we've much more to discuss beyond the uncomfortable racial implications. - 2/28
For starters, how about that summer home? The scenery of the island was nice, and (as you all know by now) I love McCay's water, but his architecture is, of course, out of this world. - 3/28
After not seeing it since Jack Frost's palace, the beauty of the architectural design just grabs you here. The detail in the distance astounds me. It really brings the entire place to life. - 4/28
This strip also excels at depicting the relationship between distance and motion. While our perspective doesn't shift at all throughout the entire strip, we never doubt that the boat is moving. - 5/28
We inch closer and closer to the shores of the summer home panel by panel. I know it's meant to be a background effect, but I almost enjoy it more than I enjoy the primary gag (Flip and Impy's disagreement). - 6/28
With each panel, the detail and structure of the summer home becomes clearer; the Art Nouveau stylings more detailed and refined. We move from the intricately defined exterior walls to the equally impressive interior(ish) sections. - 7/28
It is an amazing reintroduction to what McCay can do with architectural design in his work. If anyone forgot after being kidnapped by pirates and exploring the Candy Islands, here's your reminder. - 8/28
I'm also quite pleased to see the Candy Kid re-joining the strip here! Though we only get a momentary glimpse of him from a distance, his presence at the summer home (and back in the strip) is a welcome one! - 9/28
Now, the gag of this strip uses Impy as the primary catalyst and, unfortunately, the implications are quite unbecoming (part of the legacy of the Candy Islands series). - 10/28
While everyone seems quite excited to see life in Slumberland return to some form of normalcy, Impy is the "odd man out". - 11/28
He has been forcefully taken from his normal and inserted into an unfamiliar environment. This is made plain when he snatches Flip's hat only for Flip to comment, "I see I have to teach you how to behave." - 12/28
Obviously, the insinuation here is quite problematic. As we've noted before, the depictions of Black people as "savages" who were unable to acclimate themselves to "white culture" was a prominent racial stereotype of the late 19th and early 20th Centuries. - 13/28
The idea that Flip (who, we should recall, is also an underprivileged member of Slumberland) must teach Impy to behave or be civilized reinforces the harmful stereotype that they were unfit for white society. - 14/28
At the very best, it suggests that White folks must train Black folks to be civilized; that they are not so on their own. - 15/28
This is part of the legacy that carries forward from the Candy Island series. I will do my best to continue to challenge these notions when Impy is used in this way, but I know I will not catch them all. I hope we work on this together! - 16/28
Another defining feature of Impy is his wordlessness. As someone who enjoys discussing how the gestural mode is used within comics, he is a fascinating case study. - 17/28
Take for instance, panel 1. Immediately, almost the first thing we see (if we aren't blinded by the stunning architecture) is Impy pointing to Flip's hat. McCay sets up the gag of the strip in the very first panel. - 18/28
One might be forgiven for not paying too much attention to it here because Impy is new to the strip and a reader would be unfamiliar with his characteristics and mannerisms. - 19/28
Since Impy can't (or doesn’t) communicate verbally, he communicates extra noticeably with his body; his body language is quite exaggerated throughout. - 20/28
This ultimately culminates in what seems to be an early experimental "fight cloud"! Maybe a pre-fight cloud, fight cloud; though we get the faces and limbs emphasized it's less of a cloud and more of a… wheel? - 21/28
It's pretty interesting to see this early example of what has become a very common comics trope. I tried searching for information about the history of "fight clouds" (see also "Big Balls of Violence" or "Smoke-Veiled Fights"), but couldn't find anything. - 22/28 [INSERT IMAGE]
One place I've been unable to look (because despite my best efforts I don't own it) is Mort Walker's #LexiconOfComicana. I'm sure something about it is in there… if anyone owns it and can pitch in that'd be great! And, yes, the example comic was chosen for a reason... - 23/28 [INSERT IMAGE]
Finally, I'll end by discussing a very strange moment at the end in panel 5. The CSL version of the strip seems to have two tails coming from the speech balloon; one to Nemo and one to the Princess. - 24/28
The balloon seems to indicate that the Princess is speaking, because it implores Nemo's assistance in stopping the fight. So, what gives? - 25/28
Well, this is simply an odd case of poor restoration it seems. The Taschen edition makes the moment significantly more clear: - 26/28 [INSERT IMAGE]
Now, the real question is… what is American flag doing there? - 27/28
This is my reading of "Little Nemo in Slumberland" #93. What's yours? - 28/28
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