Scott McCloud's idea of identification in children's comics:
"Little Nemo: Return to Slumberland" is my first time looking at the genre of comics within children's literature. After discussing and thinking about McCloud's idea of identification to an extent I cannot decide whether is beneficial or not in children's comics. I am split between whether it is better to present children with a simplified character that McCloud argues is easier to identify with or a more realistic character that might share some features with its readers.
From previous knowledge, children do have a need to identify with the characters they are presented with in order for it to be meaningful. When the interactions are meaningful the material resonates with the child. The story in "Little Nemo" is directed for a younger audience. There is princess in Slumberland that is in need of a playmate; meanwhile, Nemo keeps having dreams where different 'friends' of Slumberland keep coming to him and try to get him to go play with the Princess. Each dream ends by Nemo waking up and falling off his bed. The content of the comic is relatable to its audience. Both the princess and Nemo are characters that male and female readers can identify with(based on personality, needs, situation). Having a playmate is just as common and personal as having dreams at this time of our lives. In more detail, when Nemo refuses to play with a girl it is also something they can identify with. However, I am not sure where the art style falls under in McCloud's range from simple to realistic. Below are panels from the issue I wish to look at in more detail.
This panel is from the first scene where the princess goes to her father upset because they have not found her a playmate yet. This is the first time the character is presented, the panel size plays to set the tone. In this panel the princess is depicted alone in the center of the panel. The panel is rectangular in shape and differs from the regularized panels on the page. The distress can be clearly seen from on the face of the princess. The egocentric mind of a child would identify with the character. The word balloons coming into the panel from the right side also suggests she is at distance from other characters and the chaos. Now, the drawing style first came off as realistic but within cartooning. The characters are alike to our human figure. The size of the character and body shape can be identified with one of a child.
This panel, within the same scene, depicts the human and non-human characters in the story. The non-human characters are similar in physical tributes and character to those seen in Disney movies or books. Again, the princess's emotions are written on her face. The great depth of the panel also contributes to the isolation of the princess again. The princess is in this panel shown in the chaos; however, still isolated because she is drawn in the foreground and the other characters in the background.
The first appearance of Nemo is one I think many of the readers will relate to. Even through the character is drawn in a fantasy-like dream he is depicted as one would be when waking up. The little boy has messy hair, is in pajamas that are wrinkled and is bare foot. Nemo is a relatable character. Along with the facial expression, Nemo’s posture also gives the reader the sense that Nemo is a common guy. The other character in the long panel is one of the characters from Slumberland, like mentioned; he is like someone who would be seen in a Disney production. This character also may look like something out of a dream.
Nemo, here, is presented in his bed troubled by the thought of having to play with a girl. Again, the posture of the character supports the emotions the character is giving off. The rigid lines of Nemo’s eyebrows, forehead and cheeks show the distress the character is in. The smooth lines used in the folding of the sheets present the safe place Nemo is in.
Overall, the art style in this comic is one that suits both the fantasy situation the characters are in, but also aids in the sense of realness in the characters. Due to the fact that the lines support the emotions attempted to be conveyed this comic turns to be very effective. The egocentric mind of a child troubles with understanding how someone other than themselves may feel. The mix of harsh and smooth lines aids in the comprehension of the situation. The use of color is also part of the art style technique that helps with identification. The color scheme is realistic (ex. the sky is blue the clouds are white). Nevertheless, the scheme is very varied; the comic is very colorful, alike to the lives of its readers.The color palate is not only an aspect that may attract the readers but is an element in maintaining the reader's interest. To conclude, in the range from simple to realistic I think the story of Slumberland falls under a more realistic style of cartooning. I don’t know if McCloud would consider this simple enough, but I think the art style would be effective on its audience. I think a balance between simplistic and realistic will work best for identification with the characters. I will let you know how a Language Arts lesson goes on "Little Nemo: Return to Slumberland".
More on this children’s comic later this month…
No comments:
Post a Comment