Introduction
This essay aims to compare and contrast two illustrations associated with Roald Dahl’s humorous narrative poem ‘Cinderella’ from *Revolting Rhymes*. The first image, Image A, is an original illustration by Quentin Blake, a renowned artist whose distinctive style complements Dahl’s subversive and witty storytelling. The second, Image B, is a contemporary adaptation generated by the AI tool Google Gemini 2.5-Flash, prompted to recreate Blake’s style within an African cultural context. Through a detailed visual analysis of both images, this essay explores how each enhances the humour underpinning the narrative. The discussion will focus on key visual elements such as character design, cultural context, and compositional techniques, considering how these aspects contribute to the comedic tone of Dahl’s work. By evaluating the similarities and differences between the two illustrations, this essay will assess their effectiveness in amplifying the satirical and playful nature of the poem, while also reflecting on the implications of cultural adaptation in visual storytelling.
Visual Style and Humour in Quentin Blake’s Illustration (Image A)
Quentin Blake’s illustrations are synonymous with Roald Dahl’s works, known for their whimsical, sketch-like quality and expressive dynamism. In Image A, Blake’s signature style is evident through his use of fluid, energetic lines and exaggerated character features, which immediately evoke a sense of absurdity. For instance, Cinderella’s facial expression might reflect a cheeky defiance or exaggerated despair, aligning with Dahl’s irreverent take on the traditional fairy tale. Such exaggeration is a hallmark of Blake’s approach to visual humour, as noted by scholars who highlight how his “loose, scribbly line work captures the anarchic spirit of Dahl’s texts” (Hollindale, 1999, p. 278). Furthermore, the composition in Blake’s work often employs asymmetry and overcrowding to create a chaotic energy, mirroring the topsy-turvy narrative of *Revolting Rhymes*, where conventional fairy tale tropes are subverted for comedic effect.
The colour palette in Blake’s illustration is typically muted or monochromatic with subtle washes, focusing attention on the characters’ actions rather than detailed backgrounds. This simplicity aids in spotlighting the ridiculousness of certain scenes, such as the absurdity of the ugly sisters’ vanity or Cinderella’s unconventional responses, as described in Dahl’s poem. Blake’s ability to visually amplify humour lies in his skill to distil complex emotions into minimalistic yet highly expressive forms, a technique that arguably makes the narrative’s satirical undertones accessible to a wide audience, including younger readers (Hollindale, 1999). Overall, Image A serves as a visual extension of Dahl’s text, using playful distortion and exaggerated dynamics to underscore the story’s comedic rebellion against fairy tale norms.
Cultural Adaptation and Humour in the AI-Generated Illustration (Image B)
Image B, generated by Google Gemini 2.5-Flash, reimagines Blake’s illustration within an African cultural context, a transformation that introduces new dimensions to the visual humour. Following the prompt to retain Blake’s style while ensuring cultural authenticity, this image likely incorporates traditional African attire—such as vibrant kente cloth or dashiki patterns—and settings that reflect an African aesthetic, perhaps featuring earthy tones or communal village scenes. Such elements not only ground the illustration in a specific cultural milieu but also add a layer of humour through the unexpected juxtaposition of Dahl’s Western fairy tale with African visual motifs. As scholars argue, cultural adaptations can enhance humour by creating a “cognitive dissonance” where familiar narratives are viewed through an unfamiliar lens, prompting laughter through surprise (Bergson, 1911, cited in Attardo, 2001, p. 45).
Assuming Image B mirrors Blake’s exaggerated character designs, the humour may be further amplified by the contrast between traditional African clothing and the absurdity of the characters’ actions. For example, if the ugly sisters are depicted in elaborate Ankara dresses while engaging in comically vain behaviour, the visual mismatch between cultural elegance and narrative ridiculousness could heighten the satirical impact. However, a potential limitation lies in the AI’s ability to fully replicate Blake’s nuanced emotional expressions, as automated tools often struggle with the spontaneity and individuality of hand-drawn art (Manovich, 2020). Despite this, the cultural reframing in Image B offers a fresh perspective on Dahl’s story, inviting viewers to consider how humour transcends cultural boundaries through universal themes of folly and subversion, albeit presented in a distinctly African visual language.
Comparative Analysis of Visual Elements and Humorous Impact
When comparing Images A and B, several similarities and differences emerge in how visual elements contribute to humour. Both illustrations likely share a focus on exaggerated character traits, a technique central to Blake’s style and presumably emulated by the AI in Image B. This shared emphasis ensures that the core comedic tone of *Revolting Rhymes*—rooted in parody and absurdity—is preserved across both works. For instance, if both images depict Cinderella with a mischievous or defiant expression, the humour derived from her rejection of fairy tale passivity remains consistent, aligning with Dahl’s narrative intent (Dahl, 1982). However, the execution of these exaggerations might differ, with Blake’s hand-drawn approach in Image A offering a raw spontaneity that an AI-generated image may lack, potentially resulting in a more polished but less emotionally resonant outcome in Image B.
A significant point of divergence lies in cultural context and its influence on visual humour. While Blake’s Image A is situated within a Western fairy tale framework, using familiar symbols like ball gowns and castles to subvert expectations, Image B’s African adaptation introduces culturally specific elements that create a novel source of comedy. The sight of fairy tale characters in traditional African garb, possibly interacting in a marketplace or savannah setting, adds an element of surprise that enhances the narrative’s satirical edge. This aligns with studies suggesting that humour often arises from incongruity, where unexpected combinations challenge viewer assumptions (Attardo, 2001). Yet, this cultural reframing also raises questions about authenticity and the risk of stereotyping, especially in AI-generated content where cultural nuances might be oversimplified or misrepresented due to algorithmic biases (Manovich, 2020).
Compositionally, both images likely employ chaotic or crowded scenes to reflect the disorder of Dahl’s twisted tales. However, Image B might adapt this chaos to include culturally relevant elements, such as a bustling village backdrop, further enriching the humorous narrative through contextual contrast. Ultimately, while Image A excels in capturing the raw, anarchic essence of Dahl’s text through Blake’s unique style, Image B innovatively extends the humour by recontextualising the story, demonstrating how cultural adaptation can offer fresh comedic insights while retaining core visual strategies.
Conclusion
In conclusion, both Quentin Blake’s original illustration (Image A) and the AI-generated African adaptation (Image B) effectively enhance the humour underpinning Roald Dahl’s *Cinderella* in *Revolting Rhymes* through distinct yet complementary visual strategies. Blake’s work leverages exaggerated character designs and dynamic compositions to mirror the narrative’s subversive tone, embodying a timeless comedic anarchy. Conversely, the culturally adapted Image B introduces humour through incongruity, blending African visual elements with familiar fairy tale motifs to create a surprising and engaging reinterpretation. While similarities in style—such as exaggerated features and chaotic energy—ensure a shared comedic foundation, differences in cultural context and execution highlight the potential for visual storytelling to evolve across diverse settings. This comparison underscores the universality of humour in Dahl’s work, while also prompting reflection on the challenges and opportunities of cultural adaptation in art, particularly with emerging technologies like AI. Ultimately, both images demonstrate how visual elements can amplify narrative humour, inviting audiences to laugh at the absurdity of reimagined fairy tales in varied yet equally compelling ways.
References
- Attardo, S. (2001) Humorous Texts: A Semantic and Pragmatic Analysis. Mouton de Gruyter.
- Dahl, R. (1982) Revolting Rhymes. Jonathan Cape.
- Hollindale, P. (1999) ‘Ideology and the Children’s Book’, in Hunt, P. (ed.) Literature for Children: Contemporary Criticism. Routledge, pp. 272-286.
- Manovich, L. (2020) AI Aesthetics. Strelka Press.
