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| Big Nemo. Story: Alan Moore. Art: Colleen Doran. Colours: José Villarrubia. |
Electricomics is out there (for more info and details visit the official site here) and Alan Moore contributed with a story titled Big Nemo (art by Colleen Doran and colours by José Villarrubia) which is a clear homage to the legendary Winsor McCay's creation.
In an interview published on BleedingCool, Moore says:
"[...] With “Big Nemo”, the whole pitch is basically within the two word title. I was thinking, “What would have happened to Little Nemo if he had grown up? Would he still have the same relationship with dreams? The America around him, how would that have changed?” Of course, if he had grown up at any kind of realistic rate, he would have grown up into a Depression.
I’m a huge fan of McCay and Little Nemo, in particular. I’ve probably been toying with pastiches of it since I was a teenager. I thought that actually, with this new technology, there were possibilities. Not to outdo McCay, because I don’t think that anybody ever will. The fact that he was doing this with paper and ink alone puts us to shame. But that said, there were opportunities. I was thinking, “How would McCay have used this if he was alive?” These elements of movement which are very subdued animation. Because the last thing you’d want these comics to be is unsuccessful animation.
[...] It’s a very fine line. If you give them too much “enhancement”, they are on the verge of being a low-rent animated film and that’s not what you want. You have to really think through the processes that you’re using. I was trying to use each of the pages in mine to feature a different type of storytelling. I’m very pleased with the result. I think that, although it’s kind of depressing, it does look delightful." [Alan Moore]
Read the complete interview here.
I’m a huge fan of McCay and Little Nemo, in particular. I’ve probably been toying with pastiches of it since I was a teenager. I thought that actually, with this new technology, there were possibilities. Not to outdo McCay, because I don’t think that anybody ever will. The fact that he was doing this with paper and ink alone puts us to shame. But that said, there were opportunities. I was thinking, “How would McCay have used this if he was alive?” These elements of movement which are very subdued animation. Because the last thing you’d want these comics to be is unsuccessful animation.
[...] It’s a very fine line. If you give them too much “enhancement”, they are on the verge of being a low-rent animated film and that’s not what you want. You have to really think through the processes that you’re using. I was trying to use each of the pages in mine to feature a different type of storytelling. I’m very pleased with the result. I think that, although it’s kind of depressing, it does look delightful." [Alan Moore]
Read the complete interview here.
I started reading it last night. It's a fun little program and I can see how they made a conscious choice to not cross the line into animation. It does feel like another step forward to figuring out what the web can bring to comics.
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