An Eco-conscious Study of Rohan Chakravarty’s Green Humour for a Greying Planet and Pugmarks and Carbon Footprints

Abstract

We are surrounded by a world that is continually and literally on fire. The Earth’s temperature is expected to rise by at least 1.5 degrees Celsius between 2021 and 2040, according to the Intergovernmental Panel on Climate Change (IPCC). It also indicates that sea levels are rising faster than anticipated. In the absence of drastic and immediate action, our trajectory toward an ominous future is predetermined. As long as greenhouse gases continue to be released into the atmosphere, the consequences of global warming caused by humans are imminent, irreversible for the current generation, and will continue to deteriorate the planet further. Depletion of natural resources and effects on other species characterize the Anthropocene, the present geological epoch, brought about by human activity on a global scale. Humans now view non-humans as separate from themselves, which has weakened the ideas of ‘symbiosis’ and ‘coexistence.’ The present paper endeavours to analyze the relevance and effectivity of Rohan Chakravarty’s eco-comics - Green Humour for a Greying Planet and Pugmarks and Carbon Footprint in an attempt to explore the relationship between humans and non-humans with the goal of achieving ecological equilibrium. It seeks to analyze the ecological argument of a world model in which people and animals have interchangeable functions by drawing on anthropomorphism and anthrozoology studies.

The study focuses on demonstrating how animals have assimilated human culture to address environmental issues. Rohan Chakravarty gives the human–wildlife conflict a visual and edutaining twist in his works. These literary works skillfully explore complex topics such as wildlife conservation, climate change, and environmental governance, thereby contributing to the environmental comics genre, which is colloquially referred to as “eco-comics.” By skillfully combining satirical wit with incisive critiques of anthropocentric social norms, Chakravarty’s works distinguish themselves by shedding light on harmful ecological shifts. In doing so, they facilitate the implementation of more substantial measures to tackle these pressing issues. A relatively recent field within ecocritical studies is known as “Deep Ecology.” With the intention of fostering ecological awareness and cultivating a sense of kinship between humanity and the biosphere, the term was originally proposed by the Norwegian philosopher Arne Naess. According to Deep Ecology, the human being is merely one of many species in nature and not the preeminent one; the notion that humanity is exceptional is hastening the depletion of the environment caused by human activities. The ecocomics being examined herein integrate significant characteristics of the Deep Ecology concept. As a result, the current study conducts an ecological analysis of these comics, examining the author’s endeavors to foster eco-consciousness among the audience.