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Rating: 
Summary: Winsor McCay, an artist for all times
Review: A beautiful book!YOU open the book and go to a worldlike no other you have ever seen before!!!Journey to slumber land with Nemo and all his friends!!places have never gone before!!Little Nemo is truly the most fantastic adventure in the world of litature you will ever take!!In this book you are receiving EVERY issue from 1904-1914!So get this book,sit back and realax and go on the journey of your life!!
Rating: 
Summary: A pleasant (and economical) surprise.
Review: After balking at the beautiful but costly and somewhat unwieldy format of the complete Little Nemo series from Fantagraphics Books (and watching the first few volumes go out of print), I decided to give the much less costly Tashcen complete edition a try. I was fully prepared to send it back, but instead I was quite pleasantly surprised!The strips are presented on a higher-quality white gloss paper. Colors, for the most part, are bright and clear. It's true some strips look a bit faded but I have no idea if it is just due to natural aging or production cost-cutting. However, these are thankfully relatively few in number, and even the worst of them is far from unreadable. The binding seems a tad fragile. Bill Blackbeard's introduction, although insightful, is very brief and provides little info on Windsor McKay. Still, to have all of the Little Nemo strips in an more economical and user-friendly format is a revelation. With few exceptions, McKay's imagination is consistently fresh and inventive. He also includes some unfortunate portrayals of racial sterotypes -- but given the period in which these strips originally appeared, this was hardly unique to Windsor McKay. Still, to be able to hold all of McKay's Little Nemo strips in your lap and browse through them at your leisure makes you realize he does deserve the reputation of being a master of the graphic story form. Like all of the great comic strip artists, he really does take you into another world. Breathtakingly rendered, these strips represent a level of execution that we may never see in the "Sunday Funnies" again. Buy it before it goes out of print!
Rating:
Summary: Nemo for all
Review: If you know of Little Nemo, but do not have this collection, go for it. Anyone that appreciates well drawn and written Sunday comics should try LN. Come on gang, become a Nemoite!!
Rating:
Summary: Nemo for all
Review: If you know of Little Nemo, but do not have this collection, go for it. Anyone that appreciates well drawn and written Sunday comics should try LN. Come on gang, become a Nemoite!!
Rating:
Summary: La mejor edicion posible
Review: No entiendo por que le han dado solo 4 estrellas. Dejando de lado la calidad de la obra, esta edicion completa, de tapa dura y a tan bajo precio no creo que pueda ser superada. Tal vez alguien prefiera esas largas introducciones o estudios sobre la obra, pero es algo que abunda en infinidad de libros. Ojala la editorial siga eidtando otros libros de este estilo.
Rating:
Summary: A Great Bargain
Review: One of the all time classic comic strips is reprinted here in a hardback color edition that publishes every Sunday strip from 1905-14. While the reproduction of some of the pages is slightly blurry and faded which takes away some from McKay's very detailed artwork, the sheer amount of material one gets here for such an inexpensive price makes this a must have if you are at all interested in comic strips. Get this and discover why McKay is regarded as one of the masters.
Rating:
Summary: Winsor McCay, an artist for all times
Review: Paging through this book is a completely humbling experience. Today, anyone with even a modicum of Photoshop chops can wow the folks back home with glitzy effects or totally synthesized environments and interfaces. (--Not that that is entirely a bad thing.) But long before computers, Winsor McCay was making vivid, fevered, fully realized jaw-dropping dreams with india ink, brush and a scratch pen. (Leave it to the psychedelic 60s to rediscover this trippy gem of the comics.) And it isn't just the narrative content, as singular as that is, that begs our attention: Even in an age of artists like J. C. Coll, Franklin Booth, Willy Pogany, Charles Dana Gibson, Rose O'Neill and other masters of illustration, Winsor McCay was a titanic genius. The obsessive level of McCay's detail cries out for a larger sized reproduction of these great Sunday Pages. But for the price, this collection is unbeatable.
Rating:
Summary: Nice Reproductions of McCay's Seminal Strip
Review: This Taschen book adequately reprints the first run of Winsor McCay's seminal comic strip, Little Nemo in Slumberland. Little Nemo is a 9-year old who drifts off to sleep each night only to be transported to Slumberland, a hallucinogenic world of circus performers, royal court attendants, exotic personages of all stripe, and animals both tame and wild. I loved looking at these strips as a child, but I didn't understand them until much later. McCay worked on an epic scale. Each strip ran to dozens of dialog baloons and hundreds of clearly rendered people and things, and often involved a half dozen characters or more. The most notable denizen of Slumberland other than Nemo is Flip, Nemo's arch-nemesis, who is set on nothing more than casting Nemo out of Slumberland by tricking him into waking up. The stories are scary in the amorphous manner of dreams -- characters grow large and walk over cities, or so small they are dwarfed by raspberries, inducing a dreamlike sence of vertigo and plasticity. Another recurring dream-like theme is flight, effected by baloons, stars, giant dragonflies or even Nemo's own out-of-control bed. The strips, originally filling a 15x23 inch newspaper page, are perhaps the most intricate and well rendered comics ever to be produced. At just over 12 inches tall, these reproductions are disappointingly small. And although the text is clear, it is tiny. Each panel is exquisitely composed and could stand on its own as a compelling work of graphic art, drawn with a beautiful art nouveau line and a rainbow pastel palette that makes one wonder what they knew about printing comics in 1905 that's been since forgotten. Although numbered for readers at the time, McKay's control of flow leaves no doubt as to the order of panels in the mind of the modern comic entusiast; he would routinely stretch time and space, and think nothing of propelling action from one panel to the next -- tricks in the bag of every modern comic artist. (As an aside, Scott McCloud's book "Understanding Comics" is a most excellent treatise on comic book art in general and page flow in particular.)
Rating:
Summary: Nice Reproductions of McCay's Seminal Strip
Review: This Taschen book adequately reprints the first run of Winsor McCay's seminal comic strip, Little Nemo in Slumberland. Little Nemo is a 9-year old who drifts off to sleep each night only to be transported to Slumberland, a hallucinogenic world of circus performers, royal court attendants, exotic personages of all stripe, and animals both tame and wild. I loved looking at these strips as a child, but I didn't understand them until much later. McCay worked on an epic scale. Each strip ran to dozens of dialog baloons and hundreds of clearly rendered people and things, and often involved a half dozen characters or more. The most notable denizen of Slumberland other than Nemo is Flip, Nemo's arch-nemesis, who is set on nothing more than casting Nemo out of Slumberland by tricking him into waking up. The stories are scary in the amorphous manner of dreams -- characters grow large and walk over cities, or so small they are dwarfed by raspberries, inducing a dreamlike sence of vertigo and plasticity. Another recurring dream-like theme is flight, effected by baloons, stars, giant dragonflies or even Nemo's own out-of-control bed. The strips, originally filling a 15x23 inch newspaper page, are perhaps the most intricate and well rendered comics ever to be produced. At just over 12 inches tall, these reproductions are disappointingly small. And although the text is clear, it is tiny. Each panel is exquisitely composed and could stand on its own as a compelling work of graphic art, drawn with a beautiful art nouveau line and a rainbow pastel palette that makes one wonder what they knew about printing comics in 1905 that's been since forgotten. Although numbered for readers at the time, McKay's control of flow leaves no doubt as to the order of panels in the mind of the modern comic entusiast; he would routinely stretch time and space, and think nothing of propelling action from one panel to the next -- tricks in the bag of every modern comic artist. (As an aside, Scott McCloud's book "Understanding Comics" is a most excellent treatise on comic book art in general and page flow in particular.)
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