![]() ![]() ![]() ![]() Quickly, the bed reaches its full height and starts running and bucking wildly. In the case of the bed, we see a remarkably detailed exit from the house: the bed’s legs grow, it takes a few tentative steps, and gingerly walks out the door.įrom frame 7 onward, both McCay and the bed really get to *ahem* stretch their legs. These comics read like what we know today as storyboards. Unlike those comics, the arrangement of frames is less inventive, but it’s clear that McCay isn’t experimenting with the comic as he was in 1905, he’s experimenting with showing motion now. This hearkens back to the beginning of the comic when Nemo was trying to reach Slumberland. Starting from the July 12 episode where Flip destroyed Slumberland, McCay uses higher frame counts to show motion and action heavy sequences. McCay employs 15 frames, in 3 rows of 5, for this comic. ![]() This comic feels as though it’s part of a soft reboot of Little Nemo. That the bed gets up and starts walking is not itself remarkable here, but the way that McCay masterfully renders the bed’s journey is. We begin with a familiar motif: Nemo is awoken by a Slumberlandian (Flip, in the bed!) and the bed sweeps him off to another adventure. Hi there! Happy to have you for multi-part discussion of the Jepisode of Little Nemo in Slumberland, the famous Walking Bed comic! In this entry, I’ll discuss this comic’s animated legacy, my own efforts to animate the walking bed itself for my upcoming game, Little Nemo and the Nightmare Fiends, and what that experience has shown me about this comic. ![]()
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