As it happens, I recently reread the Abrams-verse mini-comic "When Worlds Collide" and ended up writing the following, really, really long (and somewhat academic) piece on its merits. So, if you are inclined to bear with my considerations, please proceed:
For me, the comic book vignette WHEN WORLDS COLLIDE (WWC) represents the most intriguing narrational extension of the nascent New Verse yet, because, in my opinion, it works exceptionally well on many different levels of examination (i. ex. format-wise, with regard to its internal, narrative construction, textually, inter-textually and even para/extra-textually)
A) Format / Structural Aspects:
On a structural level, I would call WWC a prime example for an excellent fit between narrative content and format of delivery. The choice to render a story motive revolving solely around Spock Prime´s inner emotional and mental state at a crucial juncture in the character´s New Verse story arc through a six-page mini-comic, tackles several narrative challenges quite effectively.
For instance, taking into account ST09´s very rapid audio-visual mode of story-telling and its highly compressed narrative style, the insertion of a fully fleshed out, live-action movie scene, covering the exact same content as the comic book vignette, could have considerably changed or even disrupted the intended effects of these carefully calculated filmic choices.
Furthermore, the decision to rely on the very short delivery format of a mini-comic allows for the specific story motive to be presented solely through the narrative mode of the inner monologue. This method of storytelling eliminates any need to burden the narrative with the often just clumsily disguised introduction of otherwise unnecessary sounding board characters, such as the unnamed Saurian trader and travel companion in the SPOCK: REFLECTIONS comic book series. In the particular case, the exclusive reliance on inner monologue rather than on external verbalization also perfectly captures and reflects Spock Prime´s previously established character traits and behavioral patterns.
B)Textual Aspects:
Given WWC´s rather limited, immediate narrational space, I personally do find it interesting to note, that the vignette´s mini-narrative in effect transcends its primary function as a presentational platform for its own main story motive, namely Spock Prime´s self-reflective ruminations, by also exerting a certain impact on both the story worlds of TOS and of ST09.
With regard to the Prime Verse, the mini-comic introduces a specific new piece of background information concerning various previously established behavioral practices carried out by Spock Prime. His playing of the Vulcan lyre, application of the nerve pinch during hand to hand combat and picked up human habit of playing chess are being connected explicitly to the character´s long running efforts to curb and eventually master his emotions, thereby endowing these relatively minor and previously unconnected character traits with a deeper meaning.
Looking at the New Verse, the vignette´s mini-theme of mastering the Vulcan nerve pinch as a symbol for the transition from adolescence into emotionally controlled adulthood can be understood, in my opinion at least, as an interpretational clue regarding New Spock´s behavior in ST09.
In the course of the film´s narrative, the character demonstrates the successful application of this grip in order to incapacitate an insubordinate New Kirk, an action that allows the viewer to better evaluate New Spock´s generally somewhat more emotionally tinged behavior throughout the whole progression of the picture. For instance, the above mentioned scene stands in stark contrast with a later, pivotal narrational moment, constituted by a second physical confrontation between the two rivals, where New Spock loses all emotional control and his will and ability to employ the nerve pinch. This dichotomy seems to mark the character´s actions (including his relationship with New Uhura) before his breakdown as the behavior of a still rather controlled and poised Vulcan adult, shaped by the alternate universe´s different set of circumstances, rather than as an expression of any lingering, adolescent immaturity.
For me, the comic book vignette WHEN WORLDS COLLIDE (WWC) represents the most intriguing narrational extension of the nascent New Verse yet, because, in my opinion, it works exceptionally well on many different levels of examination (i. ex. format-wise, with regard to its internal, narrative construction, textually, inter-textually and even para/extra-textually)
A) Format / Structural Aspects:
On a structural level, I would call WWC a prime example for an excellent fit between narrative content and format of delivery. The choice to render a story motive revolving solely around Spock Prime´s inner emotional and mental state at a crucial juncture in the character´s New Verse story arc through a six-page mini-comic, tackles several narrative challenges quite effectively.
For instance, taking into account ST09´s very rapid audio-visual mode of story-telling and its highly compressed narrative style, the insertion of a fully fleshed out, live-action movie scene, covering the exact same content as the comic book vignette, could have considerably changed or even disrupted the intended effects of these carefully calculated filmic choices.
Furthermore, the decision to rely on the very short delivery format of a mini-comic allows for the specific story motive to be presented solely through the narrative mode of the inner monologue. This method of storytelling eliminates any need to burden the narrative with the often just clumsily disguised introduction of otherwise unnecessary sounding board characters, such as the unnamed Saurian trader and travel companion in the SPOCK: REFLECTIONS comic book series. In the particular case, the exclusive reliance on inner monologue rather than on external verbalization also perfectly captures and reflects Spock Prime´s previously established character traits and behavioral patterns.
B)Textual Aspects:
Given WWC´s rather limited, immediate narrational space, I personally do find it interesting to note, that the vignette´s mini-narrative in effect transcends its primary function as a presentational platform for its own main story motive, namely Spock Prime´s self-reflective ruminations, by also exerting a certain impact on both the story worlds of TOS and of ST09.
With regard to the Prime Verse, the mini-comic introduces a specific new piece of background information concerning various previously established behavioral practices carried out by Spock Prime. His playing of the Vulcan lyre, application of the nerve pinch during hand to hand combat and picked up human habit of playing chess are being connected explicitly to the character´s long running efforts to curb and eventually master his emotions, thereby endowing these relatively minor and previously unconnected character traits with a deeper meaning.
Looking at the New Verse, the vignette´s mini-theme of mastering the Vulcan nerve pinch as a symbol for the transition from adolescence into emotionally controlled adulthood can be understood, in my opinion at least, as an interpretational clue regarding New Spock´s behavior in ST09.
In the course of the film´s narrative, the character demonstrates the successful application of this grip in order to incapacitate an insubordinate New Kirk, an action that allows the viewer to better evaluate New Spock´s generally somewhat more emotionally tinged behavior throughout the whole progression of the picture. For instance, the above mentioned scene stands in stark contrast with a later, pivotal narrational moment, constituted by a second physical confrontation between the two rivals, where New Spock loses all emotional control and his will and ability to employ the nerve pinch. This dichotomy seems to mark the character´s actions (including his relationship with New Uhura) before his breakdown as the behavior of a still rather controlled and poised Vulcan adult, shaped by the alternate universe´s different set of circumstances, rather than as an expression of any lingering, adolescent immaturity.
