The Joan Miró version of the classic Little Red Riding Hood story is extremely abstract in its imagery. Comparatively, the visuals of this particular version are highly stripped down, but it still contains the bare-bones elements of a comic, perhaps even more so than the other versions in some areas. I find that this was the only version that successfully depicted motion. Though they are quite different than what we are accustomed to, there are several examples of unique emanata lines depicting a path of motion. One example can be found in the wide green panel. We are able to see the paths of both Little Red and the wolf depicted through a series of dots as they move towards Red’s grandmother’s house. Not only does it show motion in the moment, but also conveys motion over time. Additionally, the chaotic nature of the abstractions establishes a larger sense of movement and creates tension. The other versions of the comic were visually very detailed, but appear frozen. Their panels are more portrait-like and separate, while the Miró panels seem to be more strongly intertwined and consistently in motion.
This is a really good point! I hadn’t noticed those trails of dots before. Since Ache was translating the style of several famous artists into comics, it makes sense that the comics would seem more still and portrait-like as a result. We can probably even turn your analysis around and say that Miro’s style allowed for more motion than other artists who were popular at the same time. In a way, he could have brought the craft of painting a little closer to the craft of comics, which is interesting to think about.