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 125<br />
acts of fictional characters, readers are better able to absorb, reflect on, and comment<br />
upon their significance. This tool enabl<strong>in</strong>g the development of op<strong>in</strong>ion falls <strong>in</strong> l<strong>in</strong>e with<br />
McCloud's second purpose of art as a heroic act of self-assertion. With<strong>in</strong> the story, this<br />
purpose is wrapped up with the third function of purs<strong>in</strong>g discovery or truth and manifests<br />
jo<strong>in</strong>tly through Woodrue's perception of his research and application of its f<strong>in</strong>d<strong>in</strong>gs.<br />
On the fifth page of the issue Woodrue reveals that <strong>in</strong> this possible world,<br />
transformations which alter the basic genetic make-up of the body, like the one which<br />
Sunderland believes Alec has undergone, are <strong>in</strong>deed possible. The draw<strong>in</strong>gs which have<br />
represented him up to this po<strong>in</strong>t have been unable to convey a full sense of his true be<strong>in</strong>g;<br />
by this I mean that Woodrue is not simply a doctor or crim<strong>in</strong>al, but also a body who has<br />
been transformed by scientific experimentation as well. Yet this has been h<strong>in</strong>ted by the<br />
switch between his portrayal as a blue creature while speak<strong>in</strong>g directly to the audience<br />
and portrayal as a regular person while speak<strong>in</strong>g to Sunderland. Unlike the explosion<br />
which created Swamp Th<strong>in</strong>g, Woodrue's transfiguration is a result of his own action.<br />
Implicat<strong>in</strong>g the character as an agent of bodily change, he is depicted spray<strong>in</strong>g a red<br />
aerosol can which dissolves his artificial sk<strong>in</strong> <strong>in</strong> the fifth page's fourth and fifth panels<br />
(Saga 17). Woodrue's hand transforms <strong>in</strong>to a dripp<strong>in</strong>g mess of yellow l<strong>in</strong>es. By this time<br />
the reader has seen the character appear <strong>in</strong> three very different forms; this tactic illustrates<br />
that identity and physical appearance are not s<strong>in</strong>gular states but rather are features which<br />
can be concealed as well as changed. Consider<strong>in</strong>g that this story is based upon reveal<strong>in</strong>g<br />
misconceptions surround<strong>in</strong>g the relationships between physicality, identity, and<br />
<strong>in</strong>dividuality with<strong>in</strong> communities, see<strong>in</strong>g confusion manifest <strong>in</strong> numerous ways is<br />
valuable to the project of prompt<strong>in</strong>g skepticism about accepted norms. In this moment,