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Transmetropolitan (Collected Editions) #1-2
Transmetropolitan 1
In a future where consumerism, superficiality and corruption reign supreme, outlaw journalist Spider Jerusalem has decided to stop sitting by idly and watching the world crumble around him. Back in the saddle, no one in The City is safe.
After years of self-imposed 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 21st century surroundings.
Combining black humor, life-threatening situations and moral ambiguity, Warren Ellis' legendary series is the first look into the mind of an outlaw journalist and the world he seeks to destroy. This new trade paperback recut series
features behind-the-scenes material, variant covers and scripts from the graphic novel series run. Collects issues #1-12.
After years of self-imposed 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 21st century surroundings.
Combining black humor, life-threatening situations and moral ambiguity, Warren Ellis' legendary series is the first look into the mind of an outlaw journalist and the world he seeks to destroy. This new trade paperback recut series
features behind-the-scenes material, variant covers and scripts from the graphic novel series run. Collects issues #1-12.
320 pages, Paperback
First published February 26, 2019
103 people are currently reading
474 people want to read
About the author
Warren Ellis
1,943books5,762followersWarren Ellis is the award-winning writer of graphic novels like TRANSMETROPOLITAN, FELL, MINISTRY OF SPACE and PLANETARY, and the author of the NYT-bestselling GUN MACHINE and the “underground classic� novel CROOKED LITTLE VEIN, as well as the digital short-story single DEAD PIG COLLECTOR. His newest book is the novella NORMAL, from FSG Originals, listed as one of Amazon’s Best 100 Books Of 2016.
The movie RED is based on his graphic novel of the same name, its sequel having been released in summer 2013. IRON MAN 3 is based on his Marvel Comics graphic novel IRON MAN: EXTREMIS. He is currently developing his graphic novel sequence with Jason Howard, TREES, for television, in concert with HardySonBaker and NBCU, and continues to work as a screenwriter and producer in film and television, represented by Angela Cheng Caplan and Cheng Caplan Company. He is the creator, writer and co-producer of the Netflix series CASTLEVANIA, recently renewed for its third season, and of the recently-announced Netflix series HEAVEN’S FOREST.
He’s written extensively for VICE, WIRED UK and Reuters on technological and cultural matters, and given keynote speeches and lectures at events like dConstruct, ThingsCon, Improving Reality, SxSW, How The Light Gets In, Haunted Machines and Cognitive Cities.
Warren Ellis has recently developed and curated the revival of the Wildstorm creative library for DC Entertainment with the series THE WILD STORM, and is currently working on the serialising of new graphic novel works TREES: THREE FATES and INJECTION at Image Comics, and the serialised graphic novel THE BATMAN’S GRAVE for DC Comics, while working as a Consulting Producer on another television series.
A documentary about his work, CAPTURED GHOSTS, was released in 2012.
Recognitions include the NUIG Literary and Debating Society’s President’s Medal for service to freedom of speech, the EAGLE AWARDS Roll Of Honour for lifetime achievement in the field of comics & graphic novels, the Grand Prix de l’Imaginaire 2010, the Sidewise Award for Alternate History and the International Horror Guild Award for illustrated narrative. He is a Patron of Humanists UK. He holds an honorary doctorate from the University of Essex.
Warren Ellis lives outside London, on the south-east coast of England, in case he needs to make a quick getaway.
The movie RED is based on his graphic novel of the same name, its sequel having been released in summer 2013. IRON MAN 3 is based on his Marvel Comics graphic novel IRON MAN: EXTREMIS. He is currently developing his graphic novel sequence with Jason Howard, TREES, for television, in concert with HardySonBaker and NBCU, and continues to work as a screenwriter and producer in film and television, represented by Angela Cheng Caplan and Cheng Caplan Company. He is the creator, writer and co-producer of the Netflix series CASTLEVANIA, recently renewed for its third season, and of the recently-announced Netflix series HEAVEN’S FOREST.
He’s written extensively for VICE, WIRED UK and Reuters on technological and cultural matters, and given keynote speeches and lectures at events like dConstruct, ThingsCon, Improving Reality, SxSW, How The Light Gets In, Haunted Machines and Cognitive Cities.
Warren Ellis has recently developed and curated the revival of the Wildstorm creative library for DC Entertainment with the series THE WILD STORM, and is currently working on the serialising of new graphic novel works TREES: THREE FATES and INJECTION at Image Comics, and the serialised graphic novel THE BATMAN’S GRAVE for DC Comics, while working as a Consulting Producer on another television series.
A documentary about his work, CAPTURED GHOSTS, was released in 2012.
Recognitions include the NUIG Literary and Debating Society’s President’s Medal for service to freedom of speech, the EAGLE AWARDS Roll Of Honour for lifetime achievement in the field of comics & graphic novels, the Grand Prix de l’Imaginaire 2010, the Sidewise Award for Alternate History and the International Horror Guild Award for illustrated narrative. He is a Patron of Humanists UK. He holds an honorary doctorate from the University of Essex.
Warren Ellis lives outside London, on the south-east coast of England, in case he needs to make a quick getaway.
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November 24, 2021
ТРАНСМЕТРОПОЛІТАН � НОВИЙ ВАВИЛОН
«Трансметрополітен» � місто-гротеск, калейдоскоп найогидніших людських пороків і слабкостей. Це клоака, яку визначає споживацтво, безконтрольні біотехнології, наркотичний гедонізм і бездумне гаяння життя.
Трешова зовнішність городян, вовкулаки в ролі "домашніх вихованців", шалений рекламний спам, що проникає в мізки через усі можливі отвори людського тіла, і все це під постійним і безперервним наглядом "великого брата". Основні аспекти соціуму понівечено, суспільні інститути перманентно деградують, усе разом сплітається у фантасмагоричний безум.
«Трансметрополітен»� не просто комікс. Це медіум, що по вінця сповнений перифраз та алюзій. Місто надихається новинними стрічками, блогами й авторськими каналами. Інфлюенсери визначають думки, емоції та стиль життя людей. Судити призваний ґонзо-колумніст Спайдер Єрусалим, до речі, абсолютно розкішний образ журналіста, радикальний і злоєбучий, та це саме те, що потрібно Місту в епоху Падіння. Він упивається саркастичними і ядучими, як токсин жаби-аги, коментарями щодо всього, що зустрічає на своєму шляху. На противагу головний герой обтяжений дивними і архаїчними принципами та вірою в Правду.
“Н� час виходу «Трансметрополітену» до заснування Фейсбуку залишається ще 6 років.�
«Трансметрополітен» � це відсутність будь-яких суспільних обмежень чи правил. Читача посилають нахуй одразу з порога, прямісінько в передмові, тож якщо ви людина високоморальна, з тонкою душевною структурою, що не терпить лайки і непристойностей � проходьте повз.
Залишишся � узриш, як автори плетуть складну кіберпанкову канву, в контексті якої конкретизують власну позицію щодо сучасної повістки: політики, релігії, медіа, маніпулювання громадською думкою, розвитку технологій та ін. Спочатку треш, сатира, гумор і іронія превалюватимуть, та з часом, серед всього цього абсурду, ви розгледите дно сучасного світу. Расизм, корупція, екологічний похуїзм, політична імпотенція, нетерпимість. З часів створення коміксу нічого кардинально не змінилося, просто змінило форму, замаскувалося, затаїлося.
Художник Дерік Робертсон надзвичайно влучно візуалізував і втілив все це яскраве, їдке, волаюче пекло, фантастичну, пульсуючу оргію, що живиться тваринними інстинктами та хіттю. Так, можливо Дерік не аж такий збоченець, у плані деталізації, як Дерроу чи Стокоу, та те, що він псих � безперечний факт. Бо так талановито зобразити головного героя, діючих осіб і фонове середовище може тільки бог або надзвичайно талановитий псих.
Я обожнюю твори, автори яких не бояться говорити правду, якби гівняно вона не виглядала. Не бояться називати речі своїми іменами, якби лайливо та бридко вони не звучали. Живучи в 2021 році, говорити правду стало дещо простіше, але не менш небезпечно, аніж наприкінці 90-х. Воррена Елліса і Деріка Робертсона це надихнуло на створення «Трансметрополітена», мене � на цей відгук, а тебе � можливо, на щось більше.
«Трансметрополітен» � місто-гротеск, калейдоскоп найогидніших людських пороків і слабкостей. Це клоака, яку визначає споживацтво, безконтрольні біотехнології, наркотичний гедонізм і бездумне гаяння життя.
Трешова зовнішність городян, вовкулаки в ролі "домашніх вихованців", шалений рекламний спам, що проникає в мізки через усі можливі отвори людського тіла, і все це під постійним і безперервним наглядом "великого брата". Основні аспекти соціуму понівечено, суспільні інститути перманентно деградують, усе разом сплітається у фантасмагоричний безум.
«Трансметрополітен»� не просто комікс. Це медіум, що по вінця сповнений перифраз та алюзій. Місто надихається новинними стрічками, блогами й авторськими каналами. Інфлюенсери визначають думки, емоції та стиль життя людей. Судити призваний ґонзо-колумніст Спайдер Єрусалим, до речі, абсолютно розкішний образ журналіста, радикальний і злоєбучий, та це саме те, що потрібно Місту в епоху Падіння. Він упивається саркастичними і ядучими, як токсин жаби-аги, коментарями щодо всього, що зустрічає на своєму шляху. На противагу головний герой обтяжений дивними і архаїчними принципами та вірою в Правду.
“Н� час виходу «Трансметрополітену» до заснування Фейсбуку залишається ще 6 років.�
«Трансметрополітен» � це відсутність будь-яких суспільних обмежень чи правил. Читача посилають нахуй одразу з порога, прямісінько в передмові, тож якщо ви людина високоморальна, з тонкою душевною структурою, що не терпить лайки і непристойностей � проходьте повз.
Залишишся � узриш, як автори плетуть складну кіберпанкову канву, в контексті якої конкретизують власну позицію щодо сучасної повістки: політики, релігії, медіа, маніпулювання громадською думкою, розвитку технологій та ін. Спочатку треш, сатира, гумор і іронія превалюватимуть, та з часом, серед всього цього абсурду, ви розгледите дно сучасного світу. Расизм, корупція, екологічний похуїзм, політична імпотенція, нетерпимість. З часів створення коміксу нічого кардинально не змінилося, просто змінило форму, замаскувалося, затаїлося.
Художник Дерік Робертсон надзвичайно влучно візуалізував і втілив все це яскраве, їдке, волаюче пекло, фантастичну, пульсуючу оргію, що живиться тваринними інстинктами та хіттю. Так, можливо Дерік не аж такий збоченець, у плані деталізації, як Дерроу чи Стокоу, та те, що він псих � безперечний факт. Бо так талановито зобразити головного героя, діючих осіб і фонове середовище може тільки бог або надзвичайно талановитий псих.
Я обожнюю твори, автори яких не бояться говорити правду, якби гівняно вона не виглядала. Не бояться називати речі своїми іменами, якби лайливо та бридко вони не звучали. Живучи в 2021 році, говорити правду стало дещо простіше, але не менш небезпечно, аніж наприкінці 90-х. Воррена Елліса і Деріка Робертсона це надихнуло на створення «Трансметрополітена», мене � на цей відгук, а тебе � можливо, на щось більше.
September 17, 2023
В одному з сюжетів кіберпанкового коміксу«Трансметрополітан» Франція програла конфлікт, який ЗМІ охрестили «вербальною війною» � не вберегла верховенства французької мови у Франції під натиском англійської.
«Секс-ляльки говорять англійською, платоспроможне населення чхало на «Знедолених»», � коментує герой коміксу Спайдер Єрусалим результат «вербальної війни».
Автор коміксу Воррен Елліс, американський письменник, розуміє важливість мови у щоденному вжитку і пише про це ще далекого 1997 року.
Хотілось би, щоби й усі українці, а надто в 2023 році, розуміли хибність твердження «какая разніца».
«Малеча дивиться в ютубі Смешарики» � це недопустима поведінка для батьків-українців, якщо ми не хочемо програти війну росії, в тому числі «вербальну».
І так, комікс хороший, хоч і жорсткий, далеко не дитячий.
«Секс-ляльки говорять англійською, платоспроможне населення чхало на «Знедолених»», � коментує герой коміксу Спайдер Єрусалим результат «вербальної війни».
Автор коміксу Воррен Елліс, американський письменник, розуміє важливість мови у щоденному вжитку і пише про це ще далекого 1997 року.
Хотілось би, щоби й усі українці, а надто в 2023 році, розуміли хибність твердження «какая разніца».
«Малеча дивиться в ютубі Смешарики» � це недопустима поведінка для батьків-українців, якщо ми не хочемо програти війну росії, в тому числі «вербальну».
І так, комікс хороший, хоч і жорсткий, далеко не дитячий.
May 26, 2021
I know this is a significant title that had an impact on comics when it was published, but I didn't enjoy this for many of the same reasons that I didn't enjoy .
I would have really enjoyed this as a younger person who didn't pick up on the fact that these types of books always have One Hero White Guy Who Tells It Like It Is and A Lot of Marginalized People Who Are The Butt Of His Brilliant Jokes/Cultural Commentary.
Once you see it, you can't unsee it, and I'm just so tired of seeing it.
I would have really enjoyed this as a younger person who didn't pick up on the fact that these types of books always have One Hero White Guy Who Tells It Like It Is and A Lot of Marginalized People Who Are The Butt Of His Brilliant Jokes/Cultural Commentary.
Once you see it, you can't unsee it, and I'm just so tired of seeing it.
December 3, 2020
I liked this well enough. It was recommended to me by the co-owner of my local comic book store. At the end of the day, though, it's trite and cliched.
Spider Jerusalem is what author Warren Ellis imagines Hunter S. Thompson would be like in a fucked-up future. Therip-off of similarities to Thompson are obvious and pretty facile. It's as if Ellis read Fear and Loathing on the Campaign Trail, all of the Doonesbury comics featuring the character Duke, and ended his background research on Hunter there. Jerusalem is a drug-taking gonzo j0urnalist (like Thompson) who inserts himself into every story (like Thompson) so that he can write about more than a dispassionate, observational story (like Thompson). The more insane the situation, the more Spider immerses himself in it, and the better the story (Again, in my opinion, like Thompson).
Ellis takes aim at easy targets. In the future, there are thousands of religions, tailored to very narrow interests. And they're all bad for you, which Spider exposes during a sort of religion trade show in the City. Entertainment is thrown at people in every conceivable fashion. But Spider is a print journalist, because print is pure and the information overload is bad for you, which Spider bemoans and exposes. The police are corrupt, and they instigate violence among protesters so that they have a reason to go in and bust the protesters' heads. It's savage and horrible (and all too real these days) but Spider exposes it and shows the citizens that authoritarianism is bad for you.
All of that said, it's enjoyable. Spider's rants are... evocative. The art is good, with nods to Watchmen and Star Wars in the background. Not the most original piece, but entertaining nonetheless.
Spider Jerusalem is what author Warren Ellis imagines Hunter S. Thompson would be like in a fucked-up future. The
Ellis takes aim at easy targets. In the future, there are thousands of religions, tailored to very narrow interests. And they're all bad for you, which Spider exposes during a sort of religion trade show in the City. Entertainment is thrown at people in every conceivable fashion. But Spider is a print journalist, because print is pure and the information overload is bad for you, which Spider bemoans and exposes. The police are corrupt, and they instigate violence among protesters so that they have a reason to go in and bust the protesters' heads. It's savage and horrible (and all too real these days) but Spider exposes it and shows the citizens that authoritarianism is bad for you.
All of that said, it's enjoyable. Spider's rants are... evocative. The art is good, with nods to Watchmen and Star Wars in the background. Not the most original piece, but entertaining nonetheless.
December 1, 2021
Transmetropolitan is not subtle. That's my overriding impression of this comic: not subtle. It might be odd, and a little unfair, to say that its defining feature is the absence of a trait, rather than the presence of one, but I really can't find any other description that so succinctly captures so many aspects of this work, both positive and negative.
The setting: a futuristic dystopia where everyone and everything is morally depraved, egocentric, hyper-capitalist, corrupt, hyperactive, crazy, wild, extreme, weird. It's the real world dialled up to 1000. It's absolutely bursting with interesting ideas and amusing details. It's fleshed out, intriguing, and sometimes sharply satirical, but it's not subtle.
The art: bold and eye-catching, with thick inks and bright colours that really pop. Urban scenes crammed with unique background characters, each one with a brilliantly absurd design. Tonnes of small gags, pop-culture references and world-building details hidden in backgrounds. Frenetic action scenes that are sometimes hard to follow. Exaggerated, kind of goofy facial expressions. This comic is mostly a pleasure to look at, but its charms sure aren't subtle.
The protagonist: Hunter S. Thompson if the real world were as wild as an acid trip, and if Thompson were needlessly violent. He's usually furious, occasionally ecstatic, often irrational, and generally pretty mad. A lot of fun, but lacks depth, nuance or subtlety.
The humour: vulgar, crude, loud, violent, scatalogical, sexual. Angry satire, targeted at the world in general in a broad, nihilistic way. Sometimes great, never subtle.
The storytelling: relentlessly fast-paced, with so many plot points that none of them ever amount to much, meaning that everything feels a little superficial. Lots of exposition. It's here that the lack of subtlety is, to my mind, much more of a minus than a plus.
Overall, I do enjoy Transmetropolitan (or rather, the 12 issues that I've read so far), but I'm not sure whether I enjoy it enough to justify reading on. The setting is awesome, and Ellis comes up with great ideas left, right and centre, but he frequently doesn't seem to know what to do with them. Rather than setting proper stories in the world he creates, he just has his protagonist describe it, or at best rage against it. Transmetropolitan is interesting and it's fun, but it doesn't seem to be the masterpiece that many people make it out to be.
The setting: a futuristic dystopia where everyone and everything is morally depraved, egocentric, hyper-capitalist, corrupt, hyperactive, crazy, wild, extreme, weird. It's the real world dialled up to 1000. It's absolutely bursting with interesting ideas and amusing details. It's fleshed out, intriguing, and sometimes sharply satirical, but it's not subtle.
The art: bold and eye-catching, with thick inks and bright colours that really pop. Urban scenes crammed with unique background characters, each one with a brilliantly absurd design. Tonnes of small gags, pop-culture references and world-building details hidden in backgrounds. Frenetic action scenes that are sometimes hard to follow. Exaggerated, kind of goofy facial expressions. This comic is mostly a pleasure to look at, but its charms sure aren't subtle.
The protagonist: Hunter S. Thompson if the real world were as wild as an acid trip, and if Thompson were needlessly violent. He's usually furious, occasionally ecstatic, often irrational, and generally pretty mad. A lot of fun, but lacks depth, nuance or subtlety.
The humour: vulgar, crude, loud, violent, scatalogical, sexual. Angry satire, targeted at the world in general in a broad, nihilistic way. Sometimes great, never subtle.
The storytelling: relentlessly fast-paced, with so many plot points that none of them ever amount to much, meaning that everything feels a little superficial. Lots of exposition. It's here that the lack of subtlety is, to my mind, much more of a minus than a plus.
Overall, I do enjoy Transmetropolitan (or rather, the 12 issues that I've read so far), but I'm not sure whether I enjoy it enough to justify reading on. The setting is awesome, and Ellis comes up with great ideas left, right and centre, but he frequently doesn't seem to know what to do with them. Rather than setting proper stories in the world he creates, he just has his protagonist describe it, or at best rage against it. Transmetropolitan is interesting and it's fun, but it doesn't seem to be the masterpiece that many people make it out to be.
January 23, 2020
Спайдер буває смішним і розумним, і дуже намагається виглядати нігілістом (спойлер: він ідеаліст), але, скоріше за все, Вам часто буде огидно дивитися на сторінку. Це - ще одна історія про Ісуса, Бетмена і Шерлока в одному флаконі, де найцікавішим є не сюжет чи герої, а другий план кожної панелі - обличчя міста, побитого, ем, та всім підряд, від вірусного ідіотизму релігій-одноденок до техно-, біо- і хім-втручання у кожен механізм, орган, бактерію чи кота навколо. Утім, питання підняті скоріше "для затравки", а відповіді на них - строкаті, поверхові і неприємні, як і чортів перший том.
January 8, 2021
The story is Warren Ellis at his boundary pushing best. He seems to know that 2020 would be the world of Fake News and Trump and he parodies it incredibly. We accept the transmorphism, the cancer pills, the 24 hour news coverage, the lies, the deceit, the fluid genders and we follow Spider as he navigates it all with an ever burning cigarette and plenty of vitriol to go around.
The best comics last forever. Transmetropolitan will be relevant long after 2020 has finished and I expect it will be relevant in 2040, 2060 and 2099. It's the pursuit of truth amidst change. It's navigating increasingly muddy waters and never losing sight of what's right.
Spider's story only starts in these first 12 issues. But like a good editorial, they welcome you. They lay the groundwork for the technology you see and the lunacy presented. I'm not sad I didn't read these when they came out. But I am glad I did eventually.
The best comics last forever. Transmetropolitan will be relevant long after 2020 has finished and I expect it will be relevant in 2040, 2060 and 2099. It's the pursuit of truth amidst change. It's navigating increasingly muddy waters and never losing sight of what's right.
Spider's story only starts in these first 12 issues. But like a good editorial, they welcome you. They lay the groundwork for the technology you see and the lunacy presented. I'm not sad I didn't read these when they came out. But I am glad I did eventually.
April 30, 2021
Спайдер � злой. В первой волюме это скорее мешает и делает его бессердечным убийцей. Во втором волюме Эллис находит баланс и читать становится интересно. Самый главный плюс для меня � после прочтения комикса мне захотелось больше писать самому.
Да, пока Спайдер � это калька с Хантера Томпсона. Это не обязательно плохо, но делает для меня комикс несколько вторичным. Посмотрим, что будет дальше. Пока читать печатный мат весело.
Местный ироничный киберпанк � скорее пародия, чем настоящая фантастика. Иногда получается смешно (например, в сцене с обдолбанным творцом Отец-101 или на детализированных изображениях города от Робертсона), но чаще вторично или нелогично (как и бывает обычно с пост-модернистскими отсылками).
Энергия Эллиса подкупает. Буду читать дальше.
Да, пока Спайдер � это калька с Хантера Томпсона. Это не обязательно плохо, но делает для меня комикс несколько вторичным. Посмотрим, что будет дальше. Пока читать печатный мат весело.
Местный ироничный киберпанк � скорее пародия, чем настоящая фантастика. Иногда получается смешно (например, в сцене с обдолбанным творцом Отец-101 или на детализированных изображениях города от Робертсона), но чаще вторично или нелогично (как и бывает обычно с пост-модернистскими отсылками).
Энергия Эллиса подкупает. Буду читать дальше.
September 8, 2023
I’ve been sitting on this book for ages and now I’ve finally got all 5 books and decided to give the series a go. This was a fun first book, I was expecting more stupid political commentary from what I’d heard which I didn’t think was up my alley. To my surprise I thought there was some interesting topics in this book mixed in with some jokey social commentary and made this an enjoyable book for me! Hoping for more of an overarching story over the next books�
May 9, 2023
Gonzo journalist Spider Jerusalem inhabits a weird, cyberpunk future common in media from the late 1990s. Only, with Ellis and Robertson at the helm, it is far superior. A cross between Hunter S. Thompson and Ian Mackay, Spider navigates a transhumanist Earth where anything is quite literally possible. Loosely following various columns Spider writes, this could easily have become meditations on speculative ideas with no connection to our own world. But somehow Ellis manages to make this far reaching comic instantly relatable. There’s little opaqueness or distractingly weird digressions. The stories are sharp, the insights are poignant, the characters are interesting, and it’s one of the greatest comic books of all time. So read it.
April 5, 2019
Pretty funny and doesn't take itself too seriously. It's a light-hearted satire and black comedy with elements of sci-fi. The cyberpunk future seems to exist wholly to give the author maximum freedom in creating strange situations and people for the journalist, Spider Jerusalem, to encounter. And boy does he unearth some strange shit. That's sort of the fun of it, his devil-may-care attitude and abrasive demeanor are pitted against the corrupt and rotten city which leads to interesting encounters.
March 21, 2019
Couldn't get into it personnally but, if you're looking for the cyberpunk version of "Fear and Loathing in Las Vegas", this is your jam.
January 26, 2021
Pająk został stworzony, by przeginać i świetnie wypełnia swoją rolę. Miasto przyszłości w "Transmetropolitan" optymizmem nie napawa, ale jednocześnie jest ostrzeżeniem i w temacie dezinformacji, fejkowych newsów czy politycznych dążeń komiks Ellisa jest niestety proroczy. Oczywiście można to czytać również jak czystą cyberpunkową rozrywkę, bo w tej roli także sprawdza się świetnie, choć nie jest to rzecz dla estetów i wrażliwców. Bohater to w gruncie rzeczy dobry gość, tylko świat dookoła zwariował.
Ocena dotyczy całej serii
Ocena dotyczy całej serii
January 14, 2020
The initial trying-too-hard to be angsty and edgy makes Spider Jerusalem unrelatable and obnoxious. Don't stop! Once Ellis and Robertson slip into flow and give the hero an assistant to bounce his thoughts off, Transmetropolitan turns into a wonderfully creative, sarcastic, cynical and fun ride that leaves you craving for more.
January 5, 2024
В епоху постправди особливо приємно читати про журналіста який усіх посилає нахуй і каже правду в обличчя. На кожного покидька політика найдеться свій Спайдер Єрусалім який знайде і розкаже усю брудну правду. Як на комікс який написан в далеком 1997 усі висвітлені проблеми все ще дуже актуальні. На жаль, під кінець книги накал трошки зменшується і в цілому cheesiness комікса приїдається (хоча це мій перший комікс взагалі, може їх не можна багато читати як книгу одразу). 4 out 5 would recommend everybody.
August 26, 2020
ძალიან ძნელია, კომიქსმა კითხვი� დროს სენდმენი� პირველად წაკითხვი� შეგრძნებ� გაგიმეოროს. 5/5
ძალიან კარგია
ძალიან კარგია
October 30, 2021
Подобные комиксы нет смысл издавать подобными подборками. Здесь классные рисунки, провокационные темы и язвительные диалоги. Но здесь нет сюжета. Из номера в номер нас знакомят с миром с помощью главного героя, проклинающего всё вокруг. Это может быть занимательно на 30 стр, но утомительно на 300.
September 22, 2022
AMAZING ! First of a graphic novel that’s a about a journalist in the future ?! Sign me up the story follows a journalist named spider. He comes down from the mountains to kick start journalism again ( actually more forced) as you read you follow spider on his journeys and stories throughout the city it is hands down my favorite sci fi graphic novel the art and story is amazing ! Warren Ellis does a great job!
June 4, 2023
The story of a Gonzo journalist in the vain of Hunter S. Thompson set in a cyberpunk city? Hell. F-ing. Yes!!
March 17, 2024
To było dużo lepsze, niż się w ogóle spodziewałem! I zastanawiam się, dlaczego nie sięgnąłem po ten tytuł prędzej. Idę czytać kolejne tomy
January 8, 2025
Excellent graphics& art but truly sophomoric stories and characters. Something I would’ve thought was “really cool� as a 13-year-old
February 28, 2025
Перша п'ятірка року. Приготуйтеся, бо буде дуже брудно, буде дуже огидно, буде дуже правдиво
July 12, 2020
Cool graphic sci-fi.
April 15, 2019
It took me about two issues to really get into it, but once I did, I enjoyed it. It’s based in the future where the world and all of its cultures and religions has expanded to the point of ridiculousness. I’m sure this is intended as a critique on various things, but I’m the type that doesn’t want to have to analyze everything I read, so it just came across as over the top. I may still check out book 2.
August 1, 2021
Лысый старик кричит на облака и не только.
Лучшая арка - та, где Спайдер присутствует чисто символически.
Лучшая арка - та, где Спайдер присутствует чисто символически.
June 10, 2024
Spider Jerusalem is a Journalist with a capital J, searching out the Truth with a capital T. His column and mouth are unfiltered. His actions are violent. He does things you can imagine that people wish they could do. Many times it's abusive. And many times it's really funny.
I read this as it was first published. I can't say what inspired me to pick up this volume again, but I'm glad I did.
I read this as it was first published. I can't say what inspired me to pick up this volume again, but I'm glad I did.
February 21, 2025
This is my second time reading through these issues and I still love everything about this series.
Spider Jerusalem is a super interesting and crazy protagonist whose morals and values are very hard to pin down. One moment I’m agreeing with him and the next I’m horrified by him. But this is what makes him so interesting.
As this series was written before 6 issue arcs were the norm in comics, the 12 issues covered in this volume are a mix of 3 issue arcs and 1-shot issues.
I’m actually a big fan of this format as the stories tend to be quick and succinct.
One thing that was interesting was the politics seem to be quite relevant to our current day issues. Also, I can’t say if the writers of Rick and Morty have read this comic but many of the 1-shot issues have stories and concepts reminiscent of R&M’s episodes. (Looking at you Interdimentional Cable)
All in all, this was a highly enjoyable start to a series with thought provoking storylines full of 90s edge and irreverence.
Spider Jerusalem is a super interesting and crazy protagonist whose morals and values are very hard to pin down. One moment I’m agreeing with him and the next I’m horrified by him. But this is what makes him so interesting.
As this series was written before 6 issue arcs were the norm in comics, the 12 issues covered in this volume are a mix of 3 issue arcs and 1-shot issues.
I’m actually a big fan of this format as the stories tend to be quick and succinct.
One thing that was interesting was the politics seem to be quite relevant to our current day issues. Also, I can’t say if the writers of Rick and Morty have read this comic but many of the 1-shot issues have stories and concepts reminiscent of R&M’s episodes. (Looking at you Interdimentional Cable)
All in all, this was a highly enjoyable start to a series with thought provoking storylines full of 90s edge and irreverence.
June 1, 2020
One of the best things I have ever read. A masterpiece by Warren Ellis and Darick Robertson that is so effortlessly interesting.
I really hesitated even reading this. The premise didn't grab me. And if you were to put Preacher and this in front of me before I even knew what either were, I'd have likely been more drawn to Preacher. (Which I love, but c'mon. This ain't even a contest).
What blew my mind (aside from the pitch black humor) was just how much this comic feels like it was written today instead of the late 90's. And more than that, just how intricately drawn it all is. I don't want to go so far as to say this is the best looking comic I have ever read. (It's up there. The colors alone put it in my top 5), but the real star (aside from the writing) is the pencil work. I have no problem saying Darick Robertson is my favorite penciler. (Please don't come at me Jim Lee. You're amazing too). Each panel is brimming with detail; they practically burst at the seam. It defies belief how good this comic looks.
Couple gorgeous art and writing and it ends up feeling more like magic than science fiction. It stands firmly next to Sandman and Saga as my favorite comic series.
Hell, some of my all time favorite single issue comics come directly from this volume. Issue #8 is an all timer and should be read by everyone.
I really hesitated even reading this. The premise didn't grab me. And if you were to put Preacher and this in front of me before I even knew what either were, I'd have likely been more drawn to Preacher. (Which I love, but c'mon. This ain't even a contest).
What blew my mind (aside from the pitch black humor) was just how much this comic feels like it was written today instead of the late 90's. And more than that, just how intricately drawn it all is. I don't want to go so far as to say this is the best looking comic I have ever read. (It's up there. The colors alone put it in my top 5), but the real star (aside from the writing) is the pencil work. I have no problem saying Darick Robertson is my favorite penciler. (Please don't come at me Jim Lee. You're amazing too). Each panel is brimming with detail; they practically burst at the seam. It defies belief how good this comic looks.
Couple gorgeous art and writing and it ends up feeling more like magic than science fiction. It stands firmly next to Sandman and Saga as my favorite comic series.
Hell, some of my all time favorite single issue comics come directly from this volume. Issue #8 is an all timer and should be read by everyone.
March 21, 2022
Good Book. I don't agree with all the things happening in the book, but who agrees anyway with Spider Jerusalem? Fun book.
It's actually just Warren Ellis' own anger personalized in Spider Jerusalem. The book is set in a future, created and molded in such a way, so Warren Ellis can use the setting to explain his ideas and frustrations.
Edit: Still one of the best sci-fi comics.
It's actually just Warren Ellis' own anger personalized in Spider Jerusalem. The book is set in a future, created and molded in such a way, so Warren Ellis can use the setting to explain his ideas and frustrations.
Edit: Still one of the best sci-fi comics.
January 8, 2021
Hyperkinetic writing, over-the-top situations, acid satire, cooler-than-thou protagonist... These characteristics all sound good in theory but combined they made me dread each page of this volume as I found it simply ridiculous. Just not my cup of tea.
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