Chapter 27 Soil in Comic Strips and Cartoons Anne Richer de Forges, Frank Verheijen, Dominique Arrouays, Eric Blanchart, and Martial Bernoux 27.1 Introduction Soil is a part of our daily lives by virtue of the role it plays in our environment, and by its position at the interface between the atmosphere, hydrosphere, biosphere and lithosphere. Consequently, soil appears in all the artistic fields, including comic strips and cartoons. Comic strips are scripted stories told in images. A comic strip is a means of communication that lies at the interface of graphic art, cinematographic art, and literature. From graphic art, it borrows the composition of the images, and the variations of shading and light, perspective and color. From cinematographic art, it borrows the script, the framing or the angles of sight, and the sequence of the images. From literature, it borrows the texts and the dialogues. Such stories in images appeared in Europe in the first half of the 19th century. Among the pioneers were "Histoire de M. Jabot" (Topffer 1833), "Max und Morizt" (Busch 1865) and "La famille Fenouillard" (Colomb 1889; pseudonym: "Christophe"). Primarily humorous, the comic strip became more serious in the United States, with "The Yellow Kid" (Outcault 1896) and "The Katzenjammer Kids" (Dirks 1897). Later, it moved to include fantasy themes, e.g., "Little Nemo in Slumberland" (McCay 1905). During the 1930s, American comic strips grew in popularity as daily features in newspapers, and Superman and Mickey Mouse (1934) became household names. The comic strip remained focused on the child audience for a long time. Its mission was to divert them. Since its birth, the comic strip has been evolving from its early, narrow focus on entertaining children with tales of humour and adventure, to more adult themes in the 1970s and 1980s. By the end of the 1990s, almost all literary styles had been explored (detective story, thriller, fiction, history, humour, heroic fantasy, etc.). D. Arrouays (~) INRA, US 1106, InfoSo1 Unit, Research Centre of Orleans, 2163 av. de la Pomme de Pin, CS 40001, Ardon, 45075, Orleans cedex 2, France e-mail: [email protected] E.R. Landa and C. Feller (eds.), Soil and Culture, 439 DOl 10.1007/978-90-481-2960-7_27, © Springer Science-Business Media B.V. 2010 440 A. Richer de Forges et al. In modem print media, a cartoon is a piece of art, usually humorous in intent. This usage dates from 1843 when Punch magazine applied the term to satirical drawings in its pages, particularly sketches by John Leech (Mayhew and Landells 1843). Modem gag cartoons, found in magazines and newspapers, generally consist of a single drawing with a caption immediately below or as a speech balloon. Because of the stylistic similarities between comic strips and early, animated movies, "cartoon" came to refer to animation, and this is the sense in which "cartoon" is most commonly used today. These are usually shown on television or in cinemas, and are created by showing illustrated images in rapid succession to give the impression of movement. Comic strips and cartoons progressively became a respected art form, providing powerful imagery, expression of universal themes, and timely commentary on society. Thus, it is quite natural that the soil appears in comic strips and cartoons. In this chapter, we will review the various representations of the soil in comic strips and cartoons, structured around the soil functions scheme. 27.2 Soil Functions Scheme From an anthropocentric viewpoint, soil functions can be defined as "the capacity of soil processes and components to provide goods and services that satisfy human needs, directly or indirectly" (after De Groot et al. 2002). A number of authors have identified, or categorised, soil function schemes (De Groot et al. 2002; Blum 1993; Blum 2005; Brady and Weil 1990; CEC 2006; Nikitin 2005; Sombroek and Sims 1995). Despite the use of different terminologies, and to a lesser extent, different emphases and subdivisions, these authors agree largely on the main, or primary, soil functions. Table 27.1 shows a harmonised soil function scheme, including its main components. In the following section, we will investigate how the individual soil Thble 27.1 Harmonised soil function scheme (HIPER). After De Groot (2002), Blum (1993 and 2005), Brady and Weil (200 I), CEC (2006), Nikitin (2005), and Sombroek and Sims (1995) Primary Soil Functions Components Habitat Refugium function; nursery function; medicinal resources; gene pool; seed bank Information Cultural information (archaeological & palaeontological); science and education; spiritual and historic; recreation; aesthetic information rroduction Food; fodder; fibre; raw materials; renewable energy Engineering Technical, industrial and socio-economic structures Regulation Gas regulation; climate regulation; disturbance resistance; disturbance resilience; water supply; water filtering; pH buffering; biotransformation of organic carbon; soil retention; soil formation; nutrient regulation; biological control; waste and pollution control 27 Soil in Comic Strips and Cartoons 441 functions are portrayed in comic strips and cartoons, before discussing general themes and relative importance. 27.3 Soil Habitat Function in Comic Strips and Cartoons A handful of soil under grassland is known to contain up to 100 billion bacteria (10,000 species), 50 kilometers of fungal hyphae (500 species), 100,000 protozoa (hundreds of species), 10,000 nematodes (50 species), 5,000 insects, arachnids, molluscs and worms (hundreds of species), and about 500 metres of plant roots from dozens of species (Ritz et al. 2004). That soil as habitat is often recognised in comic strips; however, only a small part of this remarkable soil biodiversity appears in comic strips. Most of the characters are macrofauna (mainly earthworms), but other animals, partly dependent on soil for their habitat, also appear (e.g., rabbit, mole, badger, ant, platypus). In addition, numerous imaginary creatures populate the soils in comic strips. 27.3.1 "Real World" Habitat Function Nearly all the "real world" soil animal characters that are featured in comic strips are earthworms. Indeed, earthworms are well known by all of us; they are large enough to be drawn and recognizable, and they benefit from a good image. They even appear in books for children, e.g., "There's a hair in my dirt!: A Worm's Story" (Larson 1999); "Tribulations gastriques d'Eric le lombric" {"The gastric tribulations ofEric the worm"} (Dahan 1998). The adventure element was taken one step further by the creation of, first the video game, and later, the comic strip, "Earthworm Jim" (Perry and TenNapel 1994). Although the main character and action hero is an earthworm, his 'ultra­ high-tech-indestructible-super-space-cyber-suit' (or simply 'super suit') gives him such powers that the storyline provides little soil-related action. Some of the supporting characters appear to be based on soil organisms, but the fantasy element overrides. Earthworm Jim appears to have enjoyed a loyal and enthusiastic cult fan base in the United States. Other animals, living in burrows, often appear in comic strips. The most frequent one is the mole, who may be described as a sympathetic character, e.g., in "le vent dans les saules" (Plessix 1996), or as a pest, e.g., in "Amest Ringard et Augraphie" (Jannin et al. 2006), or as an earthworm predator (Donald Duck weekly - Wait Disney 2003). Another frequently nice character is the badger. In "le vent dans les sautes" (Piessix 1996), after the book "The Wind in the Willows" from Kenneth Grahame (1908), he organised a burrow visit for his friend the mole. Unexpected animals, such as the platypus in "Toto l'omithorinque" (Chivard and Omond 1999) 442 A. Richer de Forges et al. also appear in children's books, and innumerable rabbits, foxes, and even ants, populate comic strips and cartoons. Soil microfauna and microflora are sometimes present in comic strips. In "Ka ze no tani no Naushika" (Miyazaki 2000), soil fungi and other soil microorganisms constitute the heart of the story. Earthworms may simply appear in gardening activities, e.g. Boule et Bill "un ver fa vd' (Roba 200 I); Achille Talon "A bout (mal) portant" [Regnier (Greg) 1984]. They can also be bred or even hunted (Fig. 27.1). Such a feature story, called "The Worm King", is told in probably the most-read children comic strip in The Netherlands: the Donald Duck weekly. The story starts with Donald suddenly realising the commercial potential of harvesting and selling earthworms. His nephews are employed to collect the earthworms, but their stamping attracts vast numbers of moles. This leads to the destruction of the office of their business, which they one day find on top of an enormous mole mound-the moral of the story being that too much interference with a natural system will lead to unforeseen problems. Although this story is one of the more advanced examples of the dynamics and management of soil as an ecosystem that we encountered in comic strips, there is a scientific problem in the assumption that stamping will attract moles. Moles (Talpidae) are known to be extremely sensitive to vibrations, which they can sense with mechanosensory organs called "Eirner organs" (Catania 2000), because they locate their prey by the tiny vibrations of their movement through the soil. However, the much stronger vibration caused by stamping people, or indeed humanoid ducks, are more likely to repel moles . Despite the scientific flaw, or jump in logic, in this story, it remains an enlightened example of soil featured in a mainstream comic strip . It lifts soil from a static entity to a dynamic system-a habitat of multiple species (not just earthworms), showing prey-predator relationships, and highlighting the importance of understanding soil processes for soil management, i.e., to prevent unforeseen negative impacts. Considering the readership of this comic strip, it can be argued that this story also Fig.27.1 A technique for hunting earthworms in "La daIJe maudite" (Carpentier 1980).