After looking at a few comics with sequences intended to mimic
dreams or the subconscious, I found Zborowsky’s dream sequence to be really
interesting. The shift from the really detailed and realistic backgrounds of
the rest of the story to the sparse and monochromatic backgrounds of the panels
in the dream helped set the scene - in trying to remember my dreams, I always
find that the backgrounds all seem flat and abstract. The background is more of
a vibe or an idea, like a set composed of quickly sketched cardboard cutouts, just to set the
mood for the events that will unfold. With such an indistinct background, the
brightly colored and detailed characters become the clear focus for the reader.
The jump back to reality as Zborowsky wakes up is also all the more jarring, as
we jump from warm, deep shades of red and yellow to dark, dull grays and blues.
Looking back to Little Nemo, much of Winsor McCay’s style seems to be in play in Pterror over Paris’ dream scene; the idea of the panel shape and size mimicking the movement of the dream is apparent in the more playful panel shape and layout that Tardi uses. The confusion and stress created by the attack of the dinosaurs and Zborowsky’s fall from the cliff is really similar to Little Nemo’s nightmares as well, with a hectic chase culminating in some kind of fall or slip-up on the protagonist’s part. Because this is part of a story, and not a stand-alone page, the dream sequence gave more information than Little Nemo’s comics usually gave us, showing us Zborowsky’s mental dilemma and the stress that it is causing him.
Looking back to Little Nemo, much of Winsor McCay’s style seems to be in play in Pterror over Paris’ dream scene; the idea of the panel shape and size mimicking the movement of the dream is apparent in the more playful panel shape and layout that Tardi uses. The confusion and stress created by the attack of the dinosaurs and Zborowsky’s fall from the cliff is really similar to Little Nemo’s nightmares as well, with a hectic chase culminating in some kind of fall or slip-up on the protagonist’s part. Because this is part of a story, and not a stand-alone page, the dream sequence gave more information than Little Nemo’s comics usually gave us, showing us Zborowsky’s mental dilemma and the stress that it is causing him.
Kelsey,
ReplyDeleteI found the dream sequence fascinating too. Strangely enough, I felt like the dream was on of the most tangible scene of the entire story. Let's be honest, Ptertor Over Paris's plot could be confusing... So many characters, so much dialogue etc. but the dream, although nightmarish, felt settling. Like you mentioned, maybe it was the change in colors. Everything is brighter and I didn't feel like I had to squint through the shadows in order to see something important. I also think the lack of dialogue in the dream sequence helped too. It's is the clarity of the dream sequence that helped me feel aligned with Zborowsky, more so than with any other character.