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 53<br />
Amy (Figure 10 & 11). This becomes a break<strong>in</strong>g po<strong>in</strong>t for Shane who punches Rick<br />
square <strong>in</strong> his jaw while a majority of the group, <strong>in</strong>clud<strong>in</strong>g Carl, watches the next morn<strong>in</strong>g<br />
(Figure 12 & 13). When Rick follows Shane <strong>in</strong>to the woods, th<strong>in</strong>gs take a turn for the<br />
worst. Lori falls to her knees as Rick runs after Shane. A four panel grid which takes up<br />
almost the whole width of the page reveals her pa<strong>in</strong>ful acquiescence to fate. As others<br />
crowd around her to offer support, Carl is shown watch<strong>in</strong>g his father run off and<br />
subsequently chases after him. In the second to last panel where we see Carl mid-spr<strong>in</strong>t,<br />
Lori hangs her head at her upturned palms and says: “It's never go<strong>in</strong>g to be the same<br />
aga<strong>in</strong>. We're never go<strong>in</strong>g to be normal...” The last panel shows her look<strong>in</strong>g up as tears<br />
stream down her cheeks toward her pouted lips: “Just look at us” (Figure 14). Artistry<br />
leads us to identify strongly with Rick's wife <strong>in</strong> this moment. Lori's expression is<br />
strik<strong>in</strong>gly similar to the universally recognized expression of sadness, which is just one of<br />
six identified by Paul Ekman (McCloud, Mak<strong>in</strong>g 83). Changes <strong>in</strong> her head position and<br />
gaze also amplify the emotional connection to the reader. Her plea to the group members<br />
dually rem<strong>in</strong>ds readers of how powerful the medium and story they are engag<strong>in</strong>g are;<br />
both will have a direct impact upon their future perceptions.<br />
Transition<strong>in</strong>g next to the action unfold<strong>in</strong>g between Rick and Shane, we see Rick<br />
attempt to stop his partner and reason with him (Figure 15). Shane then aims the barrel<br />
of his shotgun squarely at Rick's chest and beg<strong>in</strong>s to scream emotionally (Figure 16).<br />
This moment seems to harken back to the shootout between Rick, Shane, and the<br />
unnamed crim<strong>in</strong>al where the narrative began. Though the gun-wield<strong>in</strong>g madman is<br />
different, Rick is aga<strong>in</strong> fac<strong>in</strong>g the situation with his back to the reader as he had been <strong>in</strong><br />
the open<strong>in</strong>g shootout. Whereas Rick seems to have returned to his orig<strong>in</strong>al position<strong>in</strong>g,