With the DNA of aliens - kind of like interstellar Botox. No matter what.” ThatĪttitude makes him an attractive target for those who rule the squalid City, where tough-guy police dogs talk, smiley faces unnervingly have three eyes instead of two, and people called Transients infuse their bodies Thompson-looking investigative reporter for the newspaper (how quaint) The Word, whose motto is: “The truth. The hero in this cyberpunk maelstrom is Spider Jerusalem, a Hunter S. Soundtrack for these 544 pages of comics would be music by the Clash and Joy Division. Ellis, theīook’s writer, came of age, and the grungy gray and beige of “Transmetropolitan’s” “Blade Runner”-like urban decay feels lived through rather than imagined. “Transmetropolitan” made its debut in 1997, but its bitter and profane satire is fueled by the class anger that festered in Thatcher-era Britain in the 1980s. That topic is the insistent subtext in two new reprint collections, “Absolute Transmetropolitan: Volume 1” by Warren Ellis and Darick Robertson (DC/Vertigo) and “Melody: Story of a Nude Dancer” Social injustice isn’t the usual battleground for comic books, which tend to be most comfortable with masked vigilantes squaring off against supervillains or saving the solar system from galactic menaces. Spider Jerusalem, from "Absolute Transmetropolitan: Volume 1." Credit
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