On Little Nemo in Slumberland

Little Nemo in Slumberland

Of the three comic lines we were given at the end of the last class session, I liked Little Nemo in Slumberland most. Krazy Kat was fun, but I found it difficult to get into the written accents, especially considering the fact that I was finding something to read before going to bed. Dream of the Rarebit fiend was great, but of McCay’s works, I still preferred Little Nemo in Slumberland.

I’ve only really read a few pages in the past, having seen one or two pages at an exhibition, and a theatrical performance of the strip, so it was a real treat to finally dive into more of Little Nemo’s adventures. I found Nemo an easy character to delve into. The true magic, at least on a personal level, lies in the appearance of Nemo. His features are universally cute. The keyword here is universally, because to describe Nemo, is like trying to describe plain bread; there is nothing to Nemo that makes him uniquely him. It is almost safe to say, Nemo is so plain, that apart from his occasional display of interest in other girls, he looks somewhat androgynous. This is not to say that he has a weak design, on the contrary, this allows the reader to put him or herself in his shoes, or bed in the case, as he travels to Slumberland every night.

McCay also employs and experiments different techniques of frame play. The frames of the panels are irregular, and help ease the readers into the comic’s world. By doing so, instead of utilizing thought bubbles or a cut, the readers are able to experience what Nemo is experiencing first hand, making the comic more immersive as an experience.

From the these aspects, and the emphasis on child-like imagination, McCay’s Little Nemo in Slumberland is appeals to young children of the time, and now, to interested parties of all ages. I believe that even in today’s light, Little Nemo in Slumberland will still hold up perfectly as a classic comic strip, a testament to the strength of McCay’s mastery over the comic medium.