Drawing

The board shows a sequence of the German column's passage through the forest. In the frames – views of the forest at sunrise. The board is a counterpoint to another board from the album, similarly composed, but at night at the beginning of the sequence of driving through the forest (MPOLIN-M4).

The script for the comic book, written by Krzysztof Rosiński, was relatively short, as Krzysztof Gawronkiewicz signaled in one of the interviews: it would have been enough’ for about twenty boards or so. Too little for a separate publishing. Hence, so much work to bring it to a fifty-page album – I had to develop it impressionisticly (Zelig's episode 1, Midrasz 2019, No. 4 [210], p. 67). The presented board, extensively thematising the time of the day, is an example of such an impressionistic development of the original script entries. Apart from the technical aspect (as it can be called) from the quoted statement, such parts of the comic book obviously have primarily important compositional functions – rhythmizing the story – and symbolic, in this case referring to the image of forests in Polish culture.