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 117<br />
sheltered from or not exposed to <strong>in</strong> other educational forums. Besides these advantages,<br />
this direct l<strong>in</strong>k between the medium and its anticipated audience opens up the capacity for<br />
creators to experiment with various techniques. Comics can appeal to large numbers of<br />
people because of their ability to present aspects of especially complex concepts whose<br />
accurate presentation h<strong>in</strong>ges upon layers of <strong>in</strong>formation. Moore expla<strong>in</strong>s the appeal of<br />
the form: “It allows for layers of ambiguity and mean<strong>in</strong>g, for multitrack<strong>in</strong>gs of narrative<br />
that other media can't approximate. When a writer has recourse to pictures as a form of<br />
narrative, it frees the text for other th<strong>in</strong>gs” (Erickson Bookforum 28). Understandably,<br />
when basic <strong>in</strong>formation regard<strong>in</strong>g sett<strong>in</strong>g or action can be supplied through image,<br />
language can be aimed at achiev<strong>in</strong>g more specific goals. Pair<strong>in</strong>g comb<strong>in</strong>ations of these<br />
narrative elements could convey more <strong>in</strong>formation than either could alone.<br />
Literary critic L<strong>in</strong>k Yaco identifies Moore as a Post-Modernist whose work aims<br />
to use the medium to perform deconstructive moves which reveal connection between<br />
seem<strong>in</strong>gly divided forces. Implicitly tied to this goal is a prompt for the read<strong>in</strong>g public to<br />
face challenges which stress the ever press<strong>in</strong>g questions of the validity and value of<br />
particular viewpo<strong>in</strong>ts and actions. When describ<strong>in</strong>g how he perceived Moore's artistry,<br />
Yaco writes: “In short, he PLAYS with the form. But a sense of play is not childish—it<br />
is the basis for any serious <strong>in</strong>tellectual endeavor. And, <strong>in</strong> po<strong>in</strong>t of fact, the purpose of<br />
play behavior is not aimless activity, but exploration of an environment. That is how we<br />
learn” (250-251). This type of play is structured through these strategies: the placement<br />
of surreal comics characters with<strong>in</strong> realistic sett<strong>in</strong>gs, the blend<strong>in</strong>g of styles rem<strong>in</strong>iscent of<br />
early cartoons alongside those <strong>in</strong>dicative of contemporary realism, and the juxtaposition<br />
of the classical aga<strong>in</strong>st the abstract (Yaco 250). These moves prompt readers to consider