THE SHOW SO FAR

The old growth forests of Vancouver Island are almost gone. The overwhelming majority have already been cut down and in many cases what has grown back has been whacked back several times over, leaving us with a landscape which, while wooded and at times even beautiful, is basically a ravaged, stunted version of something that was once truly glorious.

On Cortes Island, British Columbia where I live, the forest is an unusual ‘dry rainforest’ known as the (the very dry eastern variant of the Coastal Hemlock zone), which has less than 1% its original forest cover remaining. Some of the finer groves are about to be razed, put on container ships and shipped overseas by a company called Island Timberlands, itself set to be partially bought out by the $480 billion China Investment Corporation (CIC). Under the rules of globalized, neo-liberal economics this is all perfectly legal and in fact encouraged by a compliant provincial government who have been major recipients of forest industry campaign donations during the last election. To reward their benefactors, the BC government further gutted the already weak legislation governing the protection of the environment on private forest lands to the point where it has essentially been left to regulate itself.

The destruction of Cortes’ forests might have started any day now, were it not for outraged citizens physically putting themselves on the line to prevent Island Timberlands from starting its logging operations. This is truly a last ditch effort, noble but doomed to failure unless someone in political power steps up to the plate and comes up with a way of saving this piece of a vanishing ecological heritage.

Yet in a bizarre mirroring effect, as the real world’s ancient forests disappear before our eyes, they proliferate like never before in the simulacrum world of video games and fantasy films.  From The Hobbit to World of Warcraft the old growth archetype lives on as a majestic and mysterious backdrop for the exploits of our avatars and fictional heroes. We are drawn to the these places in our imagination, yet can’t prevent ourselves from destroying the last examples of the real thing. Perhaps we will come to prefer them pixellated. Perhaps we already do.