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, Drew and Shelby are discussing Trees 1, originally released May 28th, 2014.Drew: All stories have a narrator. This point was obvious enough to me in high school english classes, as we aimed to parse first person from close third person, or subjective from omniscient, but was utterly lost when I thought about the more visual storytelling of film and comics. Who is the narrator of Casablanca? Of TheGodfather? It’s easy enough for us to point to a first person narrator when there’s overbearing voiceover, but whose is the default point of view we take when watching a movie or reading a comic book without that kind of obvious diegetic narration? Some might argue that those narratives present some kind of objective accounting of the events in question, but subjectivity creeps in at every turn, with shot composition, lighting, costuming, pacing, editing, even music cues designed to illicit very specific emotional reactions (often those of the characters on the screen or page). With Trees 1, Warren Ellis and Jason Howard have shined a spotlight on those very details, starting threads that differ not only in their settings and characters, but in the perspective of their narrators, as well. Continue reading →