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

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1 During an interview with Daily Dead's Jonathan James, Kirkman discussed his portrayal of Rick. In the interview, which was released on July 17 th , 2012, Kirkman reveals his strategy of character development: “In life I think that sometimes you’re the hero or villain, depending on perspective. In telling Rick’s story realistically, you’re not always going to like him. When you deal with human interaction, people make mistakes or decisions without thinking and it’s certainly something I’m trying to portray. There will be times when you hate Rick and times when you love Rick. This is much in the same way that the story has very slow and quiet periods that make the explosive, violent, and terrifying periods seem that much more powerful. There will be periods where you absolutely hate Rick and don’t identify with him, but that will make the later period where you are completely behind the guy that more interesting.” 2 “By mixing any two of our emotional primaries [anger, disgust, fear, joy, sadness, surprise] we can produce a third expression which is often distinct and recognizable enough to earn its own name.” (McCloud Making Comics 85) 3 As Scott McCloud writes, “Backgrounds can be another valuable tool for indicating invisible ideas...Particularly the world of emotions” (Understanding 132). In this tense and charged moment, the absence of a background highlights the importance of text and draws viewer attention onto the characters portrayed. Minimizing artistic detail outside of bodily renderings, the creators have focused these frames upon the intensely personal relationship between the individual enacting violence and the individual subjected to it.
Bingham 74 Works Cited Berger, Arthur Asa. The Comic-Stripped American: What Dick Tracy, Blondie, Daddy Warbucks, and Charlie Brown Tell Us About Ourselves. New York: Walker and Company, 1973. Cavarero, Adriana. Horrorism: Naming Contemporary Violence. Trans. William McCuaig. New York: Columbia University Press, 2009. 1-146. Elkins, James. The Object Stares Back: On the Nature of Seeing. New York: Simon & Schuster, 1996. − Pictures of the Body: Pain and Metamorphosis . Stanford: Stanford University Press, 1999. Kirkman, Robert, Charles Adlard, Tony Moore, and Cliff Rathburn. The Walking Dead Compendium 1. Berkeley: Image Comics, 2009. – Interview by Michael Patrick Sullivan. “Week of the Dead I: With Robert Kirkman.” Comic Book Resources. 19 May 2008. Web. . – Interview by Alex Pappademus. “Dead Reckoning: Robert Kirkman Brings Zombies to Don Draper's Backyard.” GQ: The Q. 2 Aug. 2010. Web. . – Interview by Johnathan James. “Exclusive: Robert Kirkman talks Issue #100 and the Future of The Walking Dead.” Daily Dead. 17 July 2012. Web. . – Interview with Joseph Lord. “'Walking Dead' author OK with AMC's creative liberties.” Salon. 2 Dec. 2012. Web. – Interview. “The Walking Dead Won't Flash Back To Zombie Origins.” UPI News Service. 11 Dec. 2012. Web. . Ledbetter, Mark. Victims and the Postmodern Narrative, Or, Doing Violence to the Body: An Ethic of Reading and Writing. Houndsmill, Basingstoke, Hampshire: Macmillan, 1996. Lewis, David K. On The Plurality Of Worlds . Oxford: Blackwell Publishing Ltd, 1986. 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.
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Walking Corpses & Conscious Plants:
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Bingham 3 I owe an extreme debt of
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Bingham 5 Introduction My project e
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Bingham 7 personal growth through t
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Bingham 9 beliefs. Seeing a possibl
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Bingham 11 zombie exceeds death as
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Bingham 13 the validity of singular
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Bingham 15 Chapter I: The History o
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Bingham 17 Swamp Thing. According t
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Bingham 19 instructional profession
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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 and 34: Bingham 33 what is or isn't a graph
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
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Page 71 and 72: Bingham 71 sentences Thomas to hang
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Page 77 and 78: Bingham 76 APPENDIX A Fig. 1. Openi
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Page 101 and 102: Bingham 101 Chapter III: Speaking o
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Page 107 and 108: Bingham 107 Wrightson only drew the
Page 109 and 110: Bingham 109 by the inexorable progr
Page 111 and 112: Bingham 111 appeared. Though the tw
Page 113 and 114: Bingham 113 General Avery Carlton S
Page 115 and 116: Bingham 115 dismembered body which
Page 117 and 118: Bingham 117 sheltered from or not e
Page 119 and 120: Bingham 119 authority. This subtle,
Page 121 and 122: Bingham 121 the center of the page
Page 123 and 124: 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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