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

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1 Gillray, James. John Bull's Progress. 3 June 1793. Hand-Colored Etching. 11 7/8 in. x 14 7/8 in. (303 mm x 379 mm) paper size. Published by Hannah Humphrey. Purchased, 1947 by National Portrait Gallery, London. 2 According to Scott McCloud, “Whenever an artist invents a new way to represent the invisible, there is always a chance that it will be picked up by other artists. If enough artists begin using the symbol, it will enter the language for good—as many have through the years” (Understanding 129). When visually constructing a story, elements of dialogue and conversation certainly classify as invisible. For example, timing and delivery are difficult to convey merely through captions especially in cases where words are spoken simultaneously. Variations in font style and size can also illustrate tone, emphasizing particular phrases to convey changes in volume or other manners of speech. As techniques like speech balloons became commonplace, it became more easy to convey narratives depicting the interplay between various characters rather than ones structured upon scenes which condensed multiple series of actions or summaries into single images. 3 According to Amy Kiste Nyberg, “The notion of harm is at the core of many of the ethical questions raised about the mass media, both historically and in contemporary times. In the controversy over comic books, this harm is defined at two levels. First is the harm done to individual children and critics of comic books relied on anecdotal evidence of children who modeled their own behavior after actions depicted in their comics. Second is the harm done to society, since comic books were implicated by some in the rise of juvenile delinquency in postwar America” (28).
Bingham 35 Works Cited Benton, Mike. The Comic Book in America: An Illustrated History. Dallas: Taylor Publishing, 1989. Cohn, Jesse. “Mise-en-Page: A Vocabulary for Page Layouts.” Teaching the Graphic Novel. ed. Stephen Tabachnick. New York: The Modern Language Association of America, 2009. 45- 57. Chute, Hillary. “Comics as Literature? Reading Graphic Narrative.” PMLA, Vol. 123, No. 2, March 2008, 452-465. Eisner, Will. "Keynote Address, Will Eisner Symposium." ImageTexT: Interdisciplinary Comics Studies. 1.1 (2004). Dept of English, University of Florida. 30 Jan 2013. . Feiffer, Jules, ed. The Great Comic Book Heroes. New York: Dial Press, 1965. “Graphic Novel.” Entry 7. OED Online. 1993. Oxford University Press. 4 February 2013. Harvey, Robert C. The Art of the Comic Book: An Aesthetic History. Jackson: University Press of Mississippi, 1996. –“Comedy at the Juncture of Word and Image: The Emergence of the Modern Magazine Gag Cartoon Reveals the Vital Blend.” The Language of Comics: Word and Image. Ed. Robin Varnum & Christina T. Gibbons. Jackson: University Press of Mississippi, 2001. 75-96. Howard, Robert E. Bloodstar. Illus. Richard Corben. Leawood: The Morning Star Press, 1976. Inge, Thomas M. Comics as Culture. Jackson: University Press of Mississippi, 1990. Jones, Gerard. Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book. New York: Basic Books, 11 Oct. 2005. Kaplan, Arie. Masters of the Comic Book Universe Revealed! Chicago: Chicago Review Press, 2006. Kyle, Richard. “The Future of 'Comics'?” Wonderworld 2. Capa Alpha—The Comics Amateur Press Association, Nov. 1964. Lyga, Allyson A. W, and Barry Lyga. Graphic Novels in Your Media Center: A Definitive Guide. Westport, CT: Libraries Unlimited, 2004. McCloud, Scott. Understanding Comics: The Invisible Art. Ed. Mark Martin. New York: Harper Perennial, 1993. –Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. eds. Kate Travers and John Williams. New York: Harper, 2006.
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 and 32: Bingham 31 “graphic novel” was
Page 33: Bingham 33 what is or isn't a graph
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
Page 73 and 74: Bingham 73
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.
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Bingham 84 Fig. 19. Fig. 20.
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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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