"Little Nemo in Slumberland" dated September 01, 1907:
Transcript of Tweets by @LittleNemo1905 (SEPTEMBER 3, 2020):
I really quite enjoy this strip. It demonstrates a group dynamic between the three boys who will soon become the primary focus of the strip, and by extension our discussions. - 1/19
Right off the bat, the Slumberlandian guard declares that Impy is not allowed into the "smoking pavilion" where King Morpheus is waiting for the children. - 2/19
This obviously brings to mind the insinuation of racial segregation; a practice that was sadly commonplace in 1907. Impy is from a different culture, prone to mischief, and becomes overtly "Othered" by the guard, as a result. - 3/19
Flip defends his new friend though, saying that he will not go if Impy is not allowed in. Obviously, with Flip's tenuous position on the border between privileged and non-privileged status, the guard is all-too happy to leave him outside, as well. - 4/19
Had Nemo (a privileged member of Slumberlandian society by his association as the Princess' playmate) not stepped in, causing the Princess to command their entry, the two of them may have been left outside. - 5/19
This solidarity between these three characters is really nice to see. I personally take enjoyment out of both Flip acting like a decent person again, and Nemo standing up for something he believes in. - 6/19
I really adore panels 5 and 6. McCay does a fabulous job representing the distance between the group and the King (and adds some nice architectural detail to boot). - 7/19
In contrast to the past (Nemo trying to get to the Princess), it is now the Princess trying to get to the King. She is continually *so close* but yet also so far… - 8/19
The spatial effect that is created by the group's position at the bottom of the stairs, and the King's position at the top, is this really wonderful juxtaposition between pictorially represented closeness and storyworld physical closeness. - 9/19
They're actually really close within the panel (they share the panel's diegetic space, which is the closest she's gotten to her father yet), but the real storyworld distance is substantial, separated as they are between that long, steep staircase. - 10/19
I love the mental dichotomy that it creates. It's a wonderful use of spatio-pictorial communication and really creates an affective reading experience for me. I continue to feel for the Princess. - 11/19
Obviously, these panels are also where the strip's gag reveals itself; as Impy sees the guard turn the electric light on, his curiosity gets the better of him and he flips it off, casting the group into darkness. - 12/19
That said, the gag… doesn't really work all that well. - 13/19
In panels 1-4, the pair are standing just slightly to the left of the light switch, but are clearly bathed in light; there is no discernable difference between the lighting of panels 1-6. - 14/19
But, when Impy turns the light off, they are suddenly shrouded in darkness. What gives? Why did the guard have to turn the light on in the first place… if it was already on? Had he not touched it, Impy wouldn't have either. - 15/19
Also, though I accept it as dream logic within the surreal landscape that is Slumberland, the choice of what is and is not cloaked in darkness (panel 7) is also quite illogical… - 16/19
Candy Kid's red hat is still visible in the dark, but not his clothes? Flip's green face is visible, but not Nemo's similarly coloured clothes? - 17/19
One might argue that it's clothes that "disappear" in the dark, but then why is the Princess' gown completely visible? Again, this isn't a criticism (I actually kind of enjoy it), but it's worth mentioning. - 18/19
This is my reading of "Little Nemo in Slumberland" #99. What's yours? - 19/19
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