Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
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B<strong>in</strong>gham 104<br />
McCloud, art is <strong>in</strong>extricably l<strong>in</strong>ked to learn<strong>in</strong>g and self-development. He describes three<br />
ma<strong>in</strong> functions art performs: as provid<strong>in</strong>g “exercise for m<strong>in</strong>ds and bodies not receiv<strong>in</strong>g<br />
outside stimulus” (Understand<strong>in</strong>g 167, panel 1) as a game would, as provid<strong>in</strong>g “an outlet<br />
for emotional imbalances” (ibid. panel 2) or giv<strong>in</strong>g materiality to ideas, and “as<br />
discovery, as the pursuit of truth, as exploration” (ibid. panel 5).<br />
Though comics have condescend<strong>in</strong>gly been called art with an asterisk, or objects<br />
which lack the rarity or skill associated with their f<strong>in</strong>er counterparts, they are nevertheless<br />
artworks and are valuable precisely because of their expansive outreach. The form's low<br />
production cost and broad distribution make it the perfect medium for stimulat<strong>in</strong>g<br />
widespread discussion and transmitt<strong>in</strong>g messages with political import. Especially <strong>in</strong> the<br />
case of serially released comics like Saga of the Swamp Th<strong>in</strong>g, the mass reproduction of<br />
their content and their cont<strong>in</strong>ued <strong>in</strong>troduction to large audiences illustrate the magnitude<br />
of their status as effective educational tools. In 1984, the same year Moore's debut as the<br />
series' writer hit the stands, he was quoted say<strong>in</strong>g: “I don't want to get <strong>in</strong>to justify<strong>in</strong>g<br />
comics as art. That's just semantics. It is art, but it's not gallery art. It's cheaply available<br />
to a large number of people” (Lawley & Whitaker 34). Us<strong>in</strong>g the popularity of a series as<br />
an <strong>in</strong>dicator for closer <strong>in</strong>spection of its content, comics can convey multiple layers of<br />
historical <strong>in</strong>formation. As objects which enable ideas to be shared, comics can eventually<br />
become immortalized or fade <strong>in</strong>to forgotten artifacts through cont<strong>in</strong>ued <strong>in</strong>teraction,<br />
preservation, or lack thereof. Because comics place matters of concern which are<br />
typically removed from popular conversation or considered to be taboo, like violence or<br />
bodily experimentation, and write these topics <strong>in</strong>to an object of frequent economic<br />
consumption, the otherwise unaddressed social content becomes more visible and