Part two of my blog where I explain the writing process for my Little Nemo comic, which I produced for the Dream Another Dream Kickstarter project (which, as of my writing this, has a week left to go).
In the previous part, I detailed the four criteria I needed to adhere to if I was going to make my comic stand comfortably next to the work of Winsor McCay.
1.) It had to feel like a dream.
2.) The layout needed to be carefully considered.
3.) I had to care about the characters.
4.) I had to be authentic to the period.
So, here’s how I did it.
1. MAKING IT FEEL LIKE A DREAM
So one of my observations about McCay’s ‘dream’ comics- Rarebit Fiend and Little Nemo- is that they don’t feel like dreams. They’re beautiful, but they don’t seem to capture the frustration and the weird structural logic that dreams have.
While I was writing the comic I’m currently working on for Image, I started reading writer Dan Harmon’s brilliant series of essays about story structure (click here, scroll down to “essays”). He distilled the teachings of mythologist Joseph Campbell down to a very simple formula, expressed in the diagram below. All good stories, Harmon writes, take the same basic form, a form dictated by our basic evolutionary programming-