If you're saying what I think you're saying, you're going to get the gold star. I wondered if I wasn't saying too much too soon. Perhaps not. What sharp little eyes you have! And thanks!
I've been vaguely wondering if the correct parsing of the title is "Tamino the Cat and his Dreams About The City" or "The City sleeps, and dreams of a cat named Tamino" since early on; the blue captions have always been coming from a character involved in the story, not an omniscient narrator speaking from outside. Captions like this one felt like the City narrating its cat-dream to itself; this set of four really feels like it's confirming that, what with Tamino wondering at his lack of backstory.
Although now that I look at it I also notice that the light from above is accompanied by a hanging mike. Playing up the deliberate staginess of this, perhaps setting up for a pull back out of the story so far to a wider reality in which everyone seen so far is just a fictional character?
You're going somewhere clever, and I guess I'll find out where with the next posting.
(also, panel 62: 'his back to the real wall he cannot cross' as we see Tamino in silhouette, facing away from the plane of the panel; the fourth wall.)
Yup, gold star. I suppose I should be happy that I've been able to keep 'the secret' this long, as the 'secret' is right there in the title. It was SO hard coming up with a title I not only liked but which had a double meaning. The next comic will not have this big twist... well, ok, it will, but it won't be... yes it will. Sigh. It would be so much easier not to do these things!
There is a pull back coming. A big one. And likely it will just seem confusing though really, you've hit the nail on the head. I don't know how much more 'clever' I'm going to get, now that this speed bump has been traversed. I just hope the ending feels right.
And you know, I had NOT staged the second page with the idea of him facing away from the 'fourth wall,' and yet it works out just fine. Whew!
Thanks for paying such close attention, Peggy. I really appreciate it.
This is an interesting progression. It almost reminds me of the line/point/value studies you do in an Art Foundations class, learning how each mode works and what sorts of expression it lends a piece. I'm almost entirely sure that wasn't intended, but I kind of get a crowded, busy "line-y" in-the-thick-of-it sense in the first panel, then a much more removed, distant "point-y" feel, and then the two value-driven ones are more introspective and questioning.
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this is a lovely passage of panels :)
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Although now that I look at it I also notice that the light from above is accompanied by a hanging mike. Playing up the deliberate staginess of this, perhaps setting up for a pull back out of the story so far to a wider reality in which everyone seen so far is just a fictional character?
You're going somewhere clever, and I guess I'll find out where with the next posting.
(also, panel 62: 'his back to the real wall he cannot cross' as we see Tamino in silhouette, facing away from the plane of the panel; the fourth wall.)
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There is a pull back coming. A big one. And likely it will just seem confusing though really, you've hit the nail on the head. I don't know how much more 'clever' I'm going to get, now that this speed bump has been traversed. I just hope the ending feels right.
And you know, I had NOT staged the second page with the idea of him facing away from the 'fourth wall,' and yet it works out just fine. Whew!
Thanks for paying such close attention, Peggy. I really appreciate it.
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This is all really random and subjective.
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