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Little Nemo: Return To Slumberland #3
Little Nemo Return to Slumberland #3
IDW Comic Book, 2014
- GenresGraphic Novels
Unknown Binding
First published December 10, 2014
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Displaying 1 of 1 review
March 17, 2015
Three issues in, the modern take on Winsor Mccay’s classic strip is proving itself almost as much of a joy to behold as the original. The beauty of the concept of ‘Little Nemo’ lies in the ease with which it evokes a distinct combination of the innocence of childhood imagination, and the endless possibilities of the strange and exotic self-created worlds we inhabit after we fall asleep.
Before reading Alan Moore’s ‘Promethea’, I had only heard of ‘Little Nemo’ in passing, but the analogue of Nemo, ‘Little Margie’,created by Moore intrigued me enough to seek out the source material. Like all long ago comics and cartoon strips, it was unencumbered by the need to appeal to any particular demographic, and was certainly free of the danger of flame wars and campaigns of negative intent by internet trolls. Winsor McCay, much like fellow legends Dudley D. Watkins, Charles Addams and Bill Watterson after him, simply used his immense talent and imagination to entertain readers.
I should mention the fact I was working on this review at my Grandmother’s house, which led to an hour-long discussion of the original, as well as the nature of dreams. We then pondered on whether or not the Glaswegian surrealist comedian Chic Murray had been influenced by ‘Little Nemo’, but that’s for another article. The point is, that conversation could not have happened if had the subject been ‘Hawkeye Vs Deadpool’ or ‘All New Suicide Squad’, which, to me, illustrates the magic and impact of the original as well as the potential for universal appeal in the very concept.
Issue 3 of ‘Return To Slumberland’ sees Jimmy Nemo taken under the wing of the impish ‘Flip’, who seems to delight in causing trouble to his fellow inhabitants of Slumberland as he takes Nemo through an MC Escher-esque ‘tessellated tower’, then shrinking down to the size of dormice much like ‘Alice In Wonderland’ to venture through the habitats of the rodent population of Slumberland.
I found this issue to be far more physically surreal in its depictions of Jimmy Nemo’s night time escapades. Where the dream-like qualities in previous issues were reflected in the nature of the journey and the appearance of the characters, in this issue impossible angles, shifting gravity and distortion of perceptions bring a fresh approach to the story. Also, there was a slightly more threatening feel to some of the scenarios presented, as well as the promise of a closer look at how the characters of Slumberland relate to each other.
Gabriel Rodriguez’ art is holding up admirably, both reflecting the original but allowing for his own personal flourish. The scenes in the ‘tessellated tower’ in particular were eyecatching and allowed for a good few minutes viewing to fully appreciate the content. Nelson Daniels’ colours, too, were good, especially on the covers, both of which paid homage to one of two of Escher’s most famous techniques.
Before reading Alan Moore’s ‘Promethea’, I had only heard of ‘Little Nemo’ in passing, but the analogue of Nemo, ‘Little Margie’,created by Moore intrigued me enough to seek out the source material. Like all long ago comics and cartoon strips, it was unencumbered by the need to appeal to any particular demographic, and was certainly free of the danger of flame wars and campaigns of negative intent by internet trolls. Winsor McCay, much like fellow legends Dudley D. Watkins, Charles Addams and Bill Watterson after him, simply used his immense talent and imagination to entertain readers.
I should mention the fact I was working on this review at my Grandmother’s house, which led to an hour-long discussion of the original, as well as the nature of dreams. We then pondered on whether or not the Glaswegian surrealist comedian Chic Murray had been influenced by ‘Little Nemo’, but that’s for another article. The point is, that conversation could not have happened if had the subject been ‘Hawkeye Vs Deadpool’ or ‘All New Suicide Squad’, which, to me, illustrates the magic and impact of the original as well as the potential for universal appeal in the very concept.
Issue 3 of ‘Return To Slumberland’ sees Jimmy Nemo taken under the wing of the impish ‘Flip’, who seems to delight in causing trouble to his fellow inhabitants of Slumberland as he takes Nemo through an MC Escher-esque ‘tessellated tower’, then shrinking down to the size of dormice much like ‘Alice In Wonderland’ to venture through the habitats of the rodent population of Slumberland.
I found this issue to be far more physically surreal in its depictions of Jimmy Nemo’s night time escapades. Where the dream-like qualities in previous issues were reflected in the nature of the journey and the appearance of the characters, in this issue impossible angles, shifting gravity and distortion of perceptions bring a fresh approach to the story. Also, there was a slightly more threatening feel to some of the scenarios presented, as well as the promise of a closer look at how the characters of Slumberland relate to each other.
Gabriel Rodriguez’ art is holding up admirably, both reflecting the original but allowing for his own personal flourish. The scenes in the ‘tessellated tower’ in particular were eyecatching and allowed for a good few minutes viewing to fully appreciate the content. Nelson Daniels’ colours, too, were good, especially on the covers, both of which paid homage to one of two of Escher’s most famous techniques.
Displaying 1 of 1 review