Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
B<strong>in</strong>gham 44<br />
graphic narrative posits that the disappearance of state apparatuses we depend upon to<br />
ma<strong>in</strong>ta<strong>in</strong> order and normalcy is possible. The work imag<strong>in</strong>es how people would react to<br />
a mass pandemic and shows those who've hoped upon government <strong>in</strong>tervention either<br />
perish<strong>in</strong>g or be<strong>in</strong>g forced to adapt and develop a greater sense of self-sufficiency.<br />
S<strong>in</strong>ce the series is currently near<strong>in</strong>g the release of its 113 th issue, I've decided to<br />
reference the first compendium version released <strong>in</strong> 2009 for reasons of accessibility. This<br />
particular publication collects the first forty-eight issues of the series, although it does not<br />
have any of the orig<strong>in</strong>al cover art. It spans over a thousand pages which are not<br />
numbered, so any image discussed is reproduced <strong>in</strong> the appendix at the end of this<br />
chapter. The compendium is divided <strong>in</strong>to eight chapters which are the summation of six<br />
monthly issues each; they are labeled with three word titles which are taken from earlier<br />
trade paperback releases.<br />
The differentiation between the universes conta<strong>in</strong>ed <strong>in</strong> The <strong>Walk<strong>in</strong>g</strong> Dead and<br />
lived actuality make the concepts of bodily transformation and communal reconsideration<br />
<strong>in</strong>terest<strong>in</strong>g and manageable. Cop<strong>in</strong>g with mortality and loss is mitigated first and<br />
foremost through the gap between physical space and conceived space where the story<br />
occurs. Physical space is formed by grids of panels that make up each page of the text,<br />
whereas conceived space is the environment as perceived by the characters. This type of<br />
relationship engages the reader. Accord<strong>in</strong>g to Scott McCloud, “Comics panels fracture<br />
both time and space, offer<strong>in</strong>g a jagged staccato rhythm of unconnected moments. But<br />
closure allows us to connect these moments and mentally construct a cont<strong>in</strong>uous, unified<br />
reality” (Understand<strong>in</strong>g 67). Prompt<strong>in</strong>g readers to absorb visual <strong>in</strong>formation through<br />
pictures, the creators have implicated readers <strong>in</strong> br<strong>in</strong>g<strong>in</strong>g the events of the narrative to life