Today, Drew and Ryan are discussing Trees 12, originally released August 19th, 2015.
noun noun: hero; plural noun: heroes
a person, typically a man, who is admired or idealized for courage, outstanding achievements, or noble qualities.
the chief male character in a book, play, or movie, who is typically identified with good qualities, and with whom the reader is expected to sympathize.
Drew: I think I’ve always thought of those two definitions as functionally identical — we acknowledge heroes in real life for the same qualities we admire them in fiction — but a closer look reveals a rather profound difference in how much agency is required to satisfy these two definitions. That is, the first definition is about deeds performed by the would-be hero, whereas the second definition is more about the heroes place in the narrative; no agency is actually required. It’s no surprise to me that the morally grey characters of Warren Ellis and Jason Howard’s Trees don’t satisfy the “noble qualities” clause of the first definition, but I was a bit more surprised to discover how passive they all have been. The biggest turning points in this series find the characters completely passive, from Professor Bongiorno’s acceptance of his own murder to Marsh’s decision to not sound the alarm about the Svalbard poppies. Issue 12 still features plenty of characters boxed in by their circumstances, but also gives Creasy the opportunity to actually do something. Continue reading →
Today, Patrick and Ryan are discussing Trees 10, originally released June 17th, 2015.
Patrick: There’s a problem with most disaster narratives: there’s seldom an obvious antagonist. For as much as “Man vs. Nature” is one of those fundamental conflicts, it’s just harder for an audience to emotionally commit to a series of atrocities committed by a force or phenomenon with no willpower of its own. Think about every zombie movie you’ve ever seen – who are the real bad guys? The zombies? Nah: people pushed to desperate measures are far more dangerous. Twister, Titanic, Alien – all of these movies feature the deadly forces of nature, but there’s no sense of antagonism until we meet rival storm chasers, or understand how big of a dick Rose’ boyfriend is, or until Bishop reveals Weyland Yutani’s coroprate greed. Trees has done something similar in previous issues – focusing on the cultures of corruption, control, and ambition around the trees, ultimately casting man as his own worst enemy. Issue 10, however, reminds us just how terrifying the trees themselves actually are.
Today, Ryan and Drew are discussing Trees 9, originally released May 20th, 2015.
…Hurled headlong flaming from the ethereal sky
With hideous ruin and combustion down
To bottomless perdition, there to dwell
In adamantine chains and penal fire
John Milton, Paradise Lost
Ryan: The curtains rise in Trees 9 on three silent pages chronicling the Luciferian Fall of poor, poor Marsh. My favorite character in this series rests, undone by the very thing which drove him to the brink of madness:
The nefarious flowers bloom in his desiccated corpse as if in an elegy: Here Lie Marsh, Whose Name Was Writ Only in Alien Poppies. Thank you, Jason Howard, for the send-off which Dr. Marsh needed. Continue reading →
Today, Drew and Ryan are discussing Trees 8, originally released January 7th, 2015.
…like Psycho,it will now effectively recommence, shifting focus to characters who had seemed to be playing supporting roles…
Drew: As well-known and well-regarded as Psycho is, its form — where the focus of the movie abruptly shifts upon the death of what appeared to be the film’s protagonist — is as jarring today as it was in 1960. Killing the protagonist violates one of our most basic assumptions about a narrative, leaving us without an anchor as the story continues without its lead. Mike D’Angelo’s thought-provoking “How did one of 2014’s most striking scenes get confused with one of its worst?” (quoted above) details how director Zack Palmer negotiates this transition in Proxy, but I’d argue that the most important part of the transition is simply that the story isn’t complete.
If Psycho was truly about Janet Leigh’s thieving secretary, her death would be a totally satisfactory ending, but rather than resolving anything, her death only creates more tension. Who killed her? Why? Will this villain ever meet justice? That Psycho misleads us about those first two questions is inconsequential — Quentin Tarantino’s Death Proof is unequivocal about those, leaving only the third question to be resolved in its second half. The point is, while the protagonist’s life is over, the story sure as hell isn’t, which is enough to carry us through any number of unexpected deaths. At least, that’s the presumption Warren Ellis and Jason Howard are banking on as they carry us through their own outsized Psycho moment in Trees 8. Continue reading →