Book review: a Perfect psychological in Adbåges images

Last year's August-barnbokspris went to Emma Adbåge, fourth time lucky, it was about ”the Pit”, one of her over to a dozen their own picture books in a single verkkatalog of over forty titles since his debut in 2001. This signaled the Adbåge a new fresh style: a geometrical coherent painting in akvarellteknik, pictorial genomkomponerat, quiet and magnificent, a lot of nature and earth, and the gråton – rather than hilarious people and fun detaljströsslade environments that been one of her earlier characteristics.

the picture book ”the Castle” a return to the past a little bit broken fast and blonde tecknarstilen. But this is nothing to pull for the big switch on – turns out to have lived a pretty long life as one of godnattsagorna in UR's digital ”Tripp trapp tree”program (since 2015).

In this context, applies to a strict format: the story should stay within a 250-ordsmodul and disposed on a half-dozen suggestions, in easy animation and effektljudsättning, to be able to read up on about three minutes of an actor (here, Reine Brynolfsson).

The psychological plot shows a boy sitting under the press – that he is in a nascent självständighetsprocess embodied right in the kalasbilderna.

to now be the analogue picture book, it has undergone a reverse transmediering to bläddrad paper book – provided with double the number of lookups to reach the picture-book's standardomfång and of course an extra bildtilldelning through the cover and for - and eftersättsuppslag. Interestingly enough, it does (almost) not changed their ordomfång; this feels like a perfect module also for högläsningsåldrarnas picture books.

of the little vuxenutklädde the boy, three years on the fourth, which will go on fyraårskalas of the friend Frej at three o'clock. It's going pretty well – for a while. Omslagsbildens focus on the red and green castle clarifies a very timely conflict within this three-year-old: he turns out just to have been in love with the red castle, which he soon shall give away and proposes desperate that he would be able to give away his old green instead.

While the animated OUT-the story goes straight on the presentproblematiken at home in the kitchen, based Adbåge out bilderboksberättelsen with a prologue that portrays the boy's agonizing wait in the a number of short, liquid (oramade) images, to reveal his febrile pursuit of happiness (up and down in chair) and write in the next page enter him in a etableringsbild of the mother and the environment during the gold watch in the living room while mom is doing fine inside at night a waiting that is deepened in a fast backward-looking ideas in which kalasets long prelude depicted in comically messy hair and omklädningsbilder. First, in the fourth stage the lands we have in the Tripp trapp trees-the story's opening image, where köksklockan shows five in three. In the book preparing Adbåge now the conflict through some new pictures where the operation of persuasion in progress – and mental suffering.

shows a boy sitting under the press – that he is in a nascent självständighetsprocess embodied right in the kalasbilderna: here he is the only one that retains the uteskorna on – he refuses strumpläst until he ends up in the armchair and never takes on kalashatten. When Frej during the sensitive presentöppningen loudly hoping for a leksaksslott reinforces Adbåge the main character's nervousness by spilling down. In the pictures is Adbåge clear as a bell in their psychology! So this can be really a three year-old in the fourth set to it.

But when Frej and screaming out his disappointment over a red castle – he wanted to be green – so it will be interesting in the main character: imagine that I have something that Frej want. The green castle is perhaps not so stupid? In the whole of the boy's verbal thought process, however, loses Adbåge their children and their jagberättares psychological and developmental credibility: in konfliktscenerna with the mother ends up both vocabulary and thinking ability, and miles away from a three-fyraårings.

To think in terms of ”rather have”, ”it was before I got tired” or ”I should rather have chosen” ports seamlessly within the moral kausalitetens ”I have myself to blame-culture”, which rather belong in a bleak but interesting corners of the adult world.