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

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Bingham 32 Corben's, reads as follows: "BLOODSTAR is a new, revolutionary concept —a graphic novel which combines all the imagination and visual power of comic strip art with the richness of the traditional novel” (Howard). Besides Bloodstar, two other texts labeled themselves as graphic novels before Eisner's project. These were Chandler: Red Tide by Joe Steranko and Beyond Time and Again by George Metzger (Williams & Lyons xiv). Understandably, there is some confusion as to what exactly differentiates a graphic novel from a comic book. Allyson and Barry Lyga assert that the term is, “used to describe the specific format of a comic book that has greater production values and longer narrative” (162-3). Its use became widespread with the popularity of such works as Frank Miller's The Dark Knight Returns and Alan Moore and Dave Gibbon's Watchmen. Both of these works were published in 1986 and challenged the accepted superhero formula which had been perpetuated in graphic narratives since the Golden Age of Comics. According to the Oxford English Dictionary, a graphic novel is “a fulllength (esp. science fiction or fantasy) story published as a book in comic-strip format.” Often graphic novels are confused with trade paperbacks or compendiums that collect and reprint a story arc in a single edition after its previous episodic publication (Lyga & Lyga 165). These compendiums differ from graphic novels, which, according to the most precise definition, can only contain a completely self-contained story arc. This definition comes with an exception, though. As a result of colloquial indication, it's possible that graphic novels may name the often square-bound object illustrating a single story or series of related ones (ibid. 163). Metzjer's Beyond Time and Again was actually a compendium, whereas Bloodstar was a long story released as a limited edition hardbound luxury item. If we believe material construction plays significant role in determining
Bingham 33 what is or isn't a graphic novel, this distinction would name Howard and Corben as the premier creators of the literary canon's first true graphic novel. If the determining factor of what constitutes being a graphic novel is simply linked to presentation, Miller's Dark Knight and Moore and Gibbon's Watchmen are only really graphic novels if their readers are unfamiliar with origins of the narratives. However, each of these understandings of meaning are publicly recognized as accurate and accepted colloquially. In the future though, changing misconstrued ideas into certain knowledge can occur only when facts are confirmed and our future references to them continue to be correct. Otherwise, all other arguments will be inherently flawed. Hillary Chute elaborates: “In graphic narrative, the substantial length implied by novel remains intact, but the term shifts to accommodate modes other than fiction. A graphic narrative is a book-length work in the medium of comics” (453). Accounting for historically inspired or autobiographically constructed works, this definition more accurately describes works like Art Spiegelman's Maus or Emmanuel Guilbert's The Photographer, which is a graphic narrative that incorporates photographs as well as illustrations. Though the works I look at in detail within the remaining two chapters are not graphic novels according to these standards, the assembly and reprinting of multiple issues within collected volumes as well as their highly developed content make both The Walking Dead and Saga of the Swamp Thing conceivably worthy of the designation.
Page 1 and 2: Walking Corpses & Conscious Plants:
Page 3 and 4: Bingham 3 I owe an extreme debt of
Page 5 and 6: Bingham 5 Introduction My project e
Page 7 and 8: Bingham 7 personal growth through t
Page 9 and 10: Bingham 9 beliefs. Seeing a possibl
Page 11 and 12: Bingham 11 zombie exceeds death as
Page 13 and 14: Bingham 13 the validity of singular
Page 15 and 16: Bingham 15 Chapter I: The History o
Page 17 and 18: Bingham 17 Swamp Thing. According t
Page 19 and 20: Bingham 19 instructional profession
Page 21 and 22: Bingham 21 Another artist who worke
Page 23 and 24: Bingham 23 action into panels (Cohn
Page 25 and 26: Bingham 25 sponsorship. He designed
Page 27 and 28: Bingham 27 Charles Moulton. Marston
Page 29 and 30: Bingham 29 Frederick Wertham prompt
Page 31: Bingham 31 “graphic novel” was
Page 35 and 36: Bingham 35 Works Cited Benton, Mike
Page 37 and 38: Bingham 37 Chapter II: Transfusion
Page 39 and 40: Bingham 39 conflict or war. This ex
Page 41 and 42: Bingham 41 and dismember other bodi
Page 43 and 44: Bingham 43 bodies to pieces. (Cavar
Page 45 and 46: Bingham 45 thus creating an affecti
Page 47 and 48: Bingham 47 margins. Unlike the four
Page 49 and 50: Bingham 49 implicates the role of o
Page 51 and 52: Bingham 51 demonstrates that he is
Page 53 and 54: Bingham 53 Amy (Figure 10 & 11). Th
Page 55 and 56: Bingham 55 being who has done nothi
Page 57 and 58: Bingham 57 transgressions, this ima
Page 59 and 60: Bingham 59 Returning to the full pa
Page 61 and 62: Bingham 61 order” (200). The prem
Page 63 and 64: Bingham 63 possession, selling, ste
Page 65 and 66: Bingham 65 with yourself? Not me. I
Page 67 and 68: Bingham 67 immediate proximity of t
Page 69 and 70: Bingham 69 experience, or the human
Page 71 and 72: Bingham 71 sentences Thomas to hang
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Page 75 and 76: Bingham 74 Works Cited Berger, Arth
Page 77 and 78: Bingham 76 APPENDIX A Fig. 1. Openi
Page 79 and 80: Bingham 78 Fig. 7. Fig. 8.
Page 81 and 82: Bingham 80 Fig. 11. Fig. 12.
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Bingham 82 Fig. 15. Fig. 16.
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Fig. 38. Bingham 94
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Fig. 41. Bingham 96
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Bingham 101 Chapter III: Speaking o
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Bingham 103 preserved, yet not enti
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Bingham 105 increasingly more discu
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Bingham 107 Wrightson only drew the
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Bingham 109 by the inexorable progr
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Bingham 111 appeared. Though the tw
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Bingham 113 General Avery Carlton S
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Bingham 115 dismembered body which
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Bingham 117 sheltered from or not e
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Bingham 119 authority. This subtle,
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Bingham 121 the center of the page
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Bingham 123 affect. Apart from this
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Bingham 125 acts of fictional chara
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Bingham 127 resemblance, their comp
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Bingham 129 experience. The creator
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Bingham 131 justified. What follows
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Bingham 133 present to witness it t
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Bingham 135 If we read each charact
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Bingham 137 able to issue an urgent
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1 According to comics historian Rob
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Bingham 140 - Interview by David Ro
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