#KINDLE ⛄ Transmetropolitan, Vol. 1: Back on the Street ⚸ eBook or E-pub free

Everyone seems to love this! Whether they are reviewing the series or just this first volume is sometimes unclear, but with this first installation I was mostly disappointed It's one of those comics series that you hear about here and there, so I decided to give it a go And to me it mainly seemed crude just for the hell of it, and with characters that you're not supposed to care about or relate with Spider is supposedly meant to be a moral character, and yet when the story starts it is made abundantly clear that he isn't he'd signed a contract, taken the money and ran He blows up a bar, for no discernible reason He then leaves his car in the middle of a traffic jam and wanders over everyone elses It also appears later on that he still has his car.It just seems to me that this could have all been thought out a bit better The writing seemed to be rushed, and, while the artwork is good, it rarely stays constant I shall try the second book in case there's something I'm clearly missing, but as a start to a series 'Back on the Street' leaves something to be desired Hunter S Thompson Spider Jerusalem reluctantly returns from his selfimposed exile to emerge anew as the premier gonzo journalist Anyway, you don't learn journalism in a school You learn it by WRITING FUCKING JOURNALISM You teach yourself to wire up your own brain and gut and reproductive organs into one frightening machine that you aim at the planet like a meat gun In addition to his mighty pen, his only other weapon is the truth, and something called a bowel disrupter set to prolapse Gulp You're miserable, edgy and tired You're in the perfect mood for journalism A kickass comic about writing? Mind blowing. #KINDLE é Transmetropolitan, Vol. 1: Back on the Street Û After years of selfimposed exile from a civilization rife with degradation and indecency, cynical journalist Spider Jerusalem is forced to return to a job that he hates and a city that he loathes Working as an investigative reporter for the newspaper The Word, Spider attacks the injustices of his surreal rd Century surroundings Combining black humor, lifethreatening situations, and moral ambiguity, this book is the first look into the mind of an outlaw journalist and the world he seeks to destroy The word 'unique' doesn't even start to describe our title character and the story From the moment I heard the name of our guy, I was hooked!Spider Jerusalem, (crazy) journalist: A man who sees through everyone's bullshit.if that's not enough to win you over, look at the character design!*It's like the combination of the two band members from System of down!* I Hate it here! Spider Jerusalem was one hell of a journalist But after years of Journalism, the man had enough of the city He has been living on top of a mountain for last five years like a very peaceful monk.on drugs.He is a junkie, paranoid and pretty sure he is crazy too He hates everything: His life before, his life now, the mountains he lives in, the people, religion, politics and the bureaucracy.But he can only function as a writer in his own personal inferno, his hunting ground, his city which also he hates.So Spider goes back into the underbelly of the city he loves to hate But the city is so not ready for him! The Broken City Transmetropolitan paints a disturbing futuristic city which subtly mimics our own world A world filled with hate, overthetop reality shows, bureaucracy, crazy sales executive, hypocrites and religious fanatics Just to make things crazier, there are machines on drugs, genetically engineered cats, and flying shoes.The first three chapters introduce our crazy character: His return to the city in all glory and his first live reporting which blew my mind I have never read anything like this It is a dark, gritty, vile, and an unforgiving story with a peculiar shade of ironic sense of humor.The rest of the three chapters areepisodic in nature In those chapters, Spider and his new assistant, Channon, tackle a new aspect of society These three chapters are basically rants of a junkie with a brutal sense of honesty, albeit a bit over the top at certain places.Overall, this is a great beginning to an unforgettable world and a title character! When these comics originally came out in the late 1990's, the comicbook industry lay in ashes The speculation bubble had just burst, hundreds of retail stores were going out of business, many publishers were downsizing or declaring bankruptcy It was a time when comic books had to reinvent themselves or fade into obscurity a time when something as unconventional and confrontational as Transmetropolitan felt like it might actually have a chance, when somebody as cocky and subversive and spectacular and capable as renegade gonzo journalist Spider Jerusalem seemed like the man for the job.Rereading the series now, I see littlethan a cartoon version of the Hunter S Thompson persona competently done and entertaining enough, yes, but not exactly groundbreaking Still, I've always felt that pop culture belongs to the young, so I am not going to sneer at minime: five stars from my younger (and better looking) self, three from the current one (who is in the process of packing up) four sounds like a fair compromise. Written by one of my favorite comic writers, Warren Ellis This series is in the running for my top five favorite comics of all time That might seem like faint praise until you consider the fact that it's competing with comics like Sandman, Bone, Hellboy, Lucifer, and Girl Genius. DEVILISHLY FUN!Hunter S Thompson is alive and well done, shambling across the pages of Warren Ellis’ 1998 Transmetropolitan volume number one: Back on the Streets.First published in 1998, this only demonstrates the great vision Ellis had then, he was a canary in the coal mines as much of what he wrote 20 years ago could have been created today.Spider Jerusalem As great a character name as Velveeta Jones or Hiro Protagonist Spider is a journalist, an inflammatory writer, a brigand of the TRUTH! Drawn down from his mountain lair five years after leaving the city, he returns to see racism, sexism, corruption, drug addiction and crass commercialism – all the elements of civilization that drove him away before and that pulls him back in again.Warren Ellis and illustrator Darick Robertson collaborate to create a lightning rod, two fisted, hammer down monster truck rally of gonzoesque TRUTH HURTS The kind Carl “The Truth” Williams used to assault other boxers in the ring Spider’s journalism is the kind that damages, leaving psychological scorpion stings, and Ellis provides a suitable backdrop and setting for his particular kind of tuned in crazy.This has become something of a cult classic in the graphic novel universe and for good reason as it provides a tableau for much of what is best accomplished in this medium.Recommended. I found this comic pretty irritating It's the story of gonzo journalist Spider Jerusalem, who's pulled out of sylvan retirement when his publisher demands he deliver on his contractual obligations Impoverished and drugaddled, Jerusalem has no choice but to comply; he gets a job writing a column called I Hate It Here, a chronicle of his experiences in the scifi megalopolis known as The City.Throughout the comic, Jerusalem is portrayed as an underdog, fighting for the rights of the common man He takes on religion! He takes on TWO presidents! He even wrestles with a cult leader! The problem is that Jerusalem is not, in fact, the underdog; he achieves all of his goals through bullying and brute force, and he's never in any danger He even recovers from the neurological illness that almost humanizes him in the latter half of the series! Basically, he's a jerk But he's a jerk the author clearly wants you to empathize with.I'm not saying Spider's antics aren't endearing; I like it as much as the next guy when crazy religious leaders are threatened with violence But I find it a little disturbing that he is portrayed so sympathetically, and I think my chief problem with the series is that the audience is supposed to see him as a largely moral, ethical character He's an easy character to get behind, because of his aura of rebellion, but he isn't actually rebelling, and that's the problem Spider Jerusalem gets everything he wants He is the authority.The comic also fails to deliver on its sciencefictional premise Practically all of the futuristic elements are introduced in the first two volumes, despite the immensity of The City and the world, and some events seem a little too grounded in contemporary life People care that the President has sex with a prostitute? In a world where you can download computer viruses into your brain for pleasure? In a world where people change species when they feel like it? I don't buy it.Anyway, most people seem to like this comic, so odds are you will, too It's pretty funny, sometimes, and the art is generally good But don't come running to me when Spider Jerusalem beats the hell out of a pathetic halfalien with a busted chair leg, all the time yelling about truth and being an outlaw. Comics have been going through a very public struggle with maturity for some time now They were well on their way to catching up with other art forms until they were hit with the 'Comics Code' in the fifties The code was an outgrowth of reactionary postwar witchhunting a la McCarthyism, and succeeded in bowdlerizing and stultifying an entire medium for thirty years.For example, all crime had to be portrayed as sordid, and no criminals could be sympathetic There goes any comic book retellings of Robin Hood Good always had to triumph over evil and seduction could never be shown or suggested In trying to write around these and other rules, it's not surprising that code era books got a little weird in their search for original plots 'Superman's Pal' Jimmy Olson was forced to marry a gorilla no fewer than three separate occasions.When they finally did shake off the yoke, following trailblazers like Steve Gerber and Alan Moore, authors were a bit overenthusiastic, full as they were of pentup stories and themes What followed is colloquially known as the 'Dark Age', where all heroes were bad dudes, everyone had guns, and Wolverine gueststarred in twelve comics a month.The release of all that pentup violence and sexuality hit the industry like a ton of bricks, and soon, anyone who was anyone was penning stories of decapitation and prostitution, until someone titled a comic Youngblood Bloodshot Deathmate Red: This Blood's For You! and everyone decided it was time to go home The authors seemed to assume that the inclusion of mature themes made for mature stories, when in reality, they were about as mature as a high schooler's marginalia.And this struggle is still going on, to one degree or another At the low end, Liefeld is still out there writing the same action plots, and somewhat better is Ennis, whose Preacher is a love letter to swearing, grossouts, and bromance Transmet (for brevity) also has its share of sex, violence, and puerile humor, but for Ellis, this isthan just an exploitation romp, it's a means to an end.Though underground comics were rife with subversion and political satire, mainstream comics have shown up rather late to the party Moore's comics are often political, especially his early works, Watchmen and V for Vendetta, but these were rather serious takes, coming from the school of postmodern realism.In Transmet, Ellis is coming at the issue from a later vantage, that of subversive culturejamming, most evident in his nods to Hunter S Thompson's 'Gonzo Journalism' In the sixties, writers of varying stripes adopted this style in rejection of the repressive fifties, but it took longer to spread to comics.We can see the same form in action in Transmet, in Ellis' protagonist, Spider Jerusalem, a postcyberpunk standin for Thompson Most of the time, Spider is following a spiral of madcap selfdestruction, doing ridiculous, violent, amoral, childish things in order to break people out of their daily ruts The first step of this kind of subversion is always to break through assumptions, refusing to play within the system because house rules favor the house.There is a good deal of humor and adventure in these romps, and their childish unsophistication is part of their charm, and their power He's an unpredictable, moving target, and though all his actions are focused on specific goals, he makes sure that he is dangerous and entertaining enough to make his mark.This is where the second step comes in Once you have grabbed their attention and torn down their expectations, your audience is primed to listen to you with fresh ears This is the whole point of bombast, wit, and humor Comedians and Court Jesters are funny because it command attention and allows them to approach issues obliquely, sidestepping the usual thoughtterminating cliches.When Ellis gets these moments, he doesn't put them to waste As a writer, he is capable of a biting vibrancy that few other authors can match, in comics or sci fi He hits some of the high points of his impressive career in this book, but then, perhaps that's not so surprising This book is relying on two very powerful writing traditions: Gonzo and Cyberpunk, which both use similar methods of witty, idiomatic information overload to communicate their message What saves this book from the cartoonish violence of a book like Preacher is what always saves cyberpunk: the pure strength of writing.Both styles share an obsession with synthesis: creating a complex mix of disparate social elements and theories without growing too focused on any particular element That is why the baroque highwater mark of revolutionary psychadelic writing shares the same location as the birthplace of cyberpunk: Philip K Dick and Illuminatus!Gibson really blew everything else out of the water with Neuromancer, and the attempt to pick up the pieces is called 'postcyberpunk' It's a collectio of disparate writings sharing a theme and a setting, but widely disagreeing on most everything else Gibson's book was so prescient (and still is), that everyone else is trying to prove themselves the next technological and social prophet.There have been a lot of people jumping on the bandwagon, but Neal Stephenson's Snow Crash stands out as one of the most interesting, complex, and purely enjoyable of the lot Consequently, I spent a lot of time trying (and failing) to find another book that could match it, but with little luck Not even Stephenson's been able to live up to it.But there is a lot in Transmet that meets that desire for another Snow Crash, and maybe that shouldn't be so surprising, since Snow Crash was originally scripted to be a comic It's almost as full of ideas, it's as unpredictable and enjoyable, and the writing has that precise mixture of intellectual and pulp action.That being said, sci fi is not Ellis' strong suit This is a soft sci fi if there ever was one, and Ellis' society doesn't hold up to the originality and perverse plausibility of Stephenson's Ellis gives us sentient nanoclouds next to still frame cameras activated by button It's not as bad as Star Trek, where you can disintegrate and remotely reintegrate people but can't fix a broken back, but it's not a hard sci fi built around the changes technology brings Ellis isconcerned with his characters and his politics, but luckily, he tends to hit his mark with them Spider, like most of Ellis' protagonists, is a blackhearted, cynical bastard who lives by his own code and leaves a swathe of destruction behind, but as usual, he still manages to make him sympathetic At his best, Ellis manages to remember that Spider's flaws are flaws, though sometimes, and particularly as he wraps the story up, Spider gets to be too much 'crotchety hero' and too little 'amoral force of nature'.But it's a good comic, andthan that, it's a good piece of sci fi, thoughon the 'Speculative Fiction' end, since it'sconcerned with exploring the question of 'what makes us human?' rather than 'what makes travel above c possible?' It's sad and unfair that it never got an Eisner; it surely deserved it.In fact, it's a crime that this great sci fi series ended in 2002, and that same year, the Nebula and Clarke awards went to a rewrite of 'Flowers for Algernon' whose sci fi elements were superfluous to the story But then, it's usually too much to hope that a book will both be well written and get accolades.Robertson's art is also solid, though I'm hardpressed to think of any interior artist who could match Darrow's covers, but Robertson does admirably His vision of the future is amusingly detailed and unusual enough to transport us away, and his sense of pacing is strong.It's worth noting that it took the world twenty years to catch up with Neuromancer, with the premiere of the first Matrix, and that this series predates that landmark social event by several years As we move closer to The Singularity, and technologies are developedandquickly, predicting the future will becomeanddifficult Already, sci fi is shifting to predicting next year instead of next century But Transmet looks further than that, because like all great thinkers, Ellis recognizes that to look forward, we must look back His update of the dystopia to revolutionary politics post WWII is inspired, especially as it is twisted with Gonzo Journalism and PostCyberpunk The best ideas are never one idea, and though Spider's politics sometimes grow to dominate the series, Ellis still contrasts them with a multitude of concepts, leaving us with a pleasing depth of insight.I can only hope thatcomic authors will realize that sex and violenceeven at their most overthetopcan be vital, complex parts of a story, but only if they have a point There is no story element too outrageous for the arsenal of a talented, driven author.As usual, it's a joy to see Ellis' madcap style, as he plugs the dangling cords from the cyberpunk machine into the rusty dystopian engine until the whole thing lights up like a 500channel coldfission laserguided Christmas tree You could do worse My Suggested Readings in Comics Hunter S Thompson Uncle Duke Spider Jerusalem?Whether Ellis’ creation is an intentional ape of the Doonesbury character or not, it seems like a natural progression – putting Trudeau’s profane character in the future and turning him loose on social injustice and stuff.After a long, imposed exile, Spider’s back in the big city and in order to keep the creditor hounds at bay, he’s looking for work as a journalist.Armed with a bowel disruptor, righteousness, his wits and a mouth that would make your mama cringe (yay!), Ellis points him at a lot of easy targets ripe for a satirical beat down – politics, religion, discrimination, TV, the police state…The final issue with its New Testamentish tossing of the faux religious zealots out of the temple convention center was a little overthetop……but anyone who ingests caribou eyeballs can be overlooked a lapse of the obvious.Bottom line – Satire isn’t everyone’s comic book bag; however, this is some of Ellis’ best work – edgy (back in the day), funny and pointed, though, I don’t remember ever seeing the ads for a bowel disruptor on the back of my comics.