The second volume is a softcover edition examining McCay’s life and work. While there are occasional glimmers of literary prose and striking humor in the early strips, it’s almost nonexistent at the end. Alas, the dialogue in the weekly dreams tend to play a supporting role.
Nemo’s adventures with his regular companions, the green-skinned, cigar-toting clown Flip and the ever-silent Jungle Imp, are easy enough to follow. If there was one true weakness to McCay’s career, I’d say it was his writing style. Outcault, Lyonel Feininger), no other cartoonist of McCay’s era matched up to his artistic skill set. With only a few exceptions (Johnny Gruelle, R.F. His great precision to detail could be witnessed in every scene, building, animal or fantasy character and contraption he dreamed up for Slumberland. He had an imaginative Art Nouveau technique that enabled him to combine stunning images, architectural marvels and vivid colors. McCay was an exceedingly talented cartoonist. It was followed by the 1911-1914 period in the New York American-Examiner (retitled “In the Land of Wonderful Dreams” because of copyright issues), and an unsuccessful return to The Herald (with its original title) from 1924 to 1927. The original run of “Little Nemo in Slumberland” appeared in The New York Herald from 1905 to 1911. The first volume is a hardcover edition containing all 549 strips.
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