Walking Corpses & Conscious Plants: Possibilist Ecologies in ...

Bingham 121
the center of the page but also by the fact that multiple panels are used to construct a
portrait of a portion of his face whereas the face belonging to the old man has been
represented in full three times in individual panels. Moreover, the inclusion of the title
upon a dismembered torso surrounded by separated appendages stresses that homicide is
a crime which prompts a concern for identification. Victims must be identified and their
causes of death must be determined as well. This entry point suggests that there is a
macabre element of immorality which exists even in individuals who purport to be
healers.
According to Giuseppe Pili, “We might define Moore's stories as 'lucid
interactions' Calling them 'games' would be reductive: they are complex and refined
challenges, which gradually screen the players” (33). This statement indicates that there
are multiple levels which structure the stories told by Moore and his collaborators.
Furthermore, it implies that engaging these works is an experience atypical of other types
of reading. Rather, Pili argues the material is experienced at the level of the
subconscious; and working through it is a process which a reader is not entirely aware of
until he or she has reached the narrative's conclusion. In ways, the activity seems to echo
the trajectory of dreams; before we even become aware we are experiencing an altered
state of consciousness, we are already completely immersed within it. For this reason,
the subtlety of the work's larger universally applicable themes may be missed by those
not open to or unwilling to seek out their existence and the evidence supporting it. Yet an
intellectual unraveling of information is still prompted by the work's educational
foundation.
The second page furthers the unsettling of the illusions of power and safety by