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Transmetropolitan (Collected Editions) #6
Transmetropolitan, Vol. 6: Gouge Away
Despite -- or perhaps with the aid of -- drugs, drinking, and paranoia, Spider Jerusalem and his filthy assistants are hot on the trail of the horrifying truth behind the newly-elected President's campaign. Features three stand-alone stories: "Nobody Loves me, "The Walk" and "Dancing in the Here and Now," and also includes the three-part "Gouge Away" storyline.
144 pages, Paperback
First published February 1, 2002
37 people are currently reading
1960 people want to read
About the author
Warren Ellis
1,972 books5,772 followersWarren 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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Displaying 1 - 30 of 197 reviews
April 5, 2018
Witness.
Spider is having a bad time in his city. His column was silenced by the government once and they are threatening to do so again at the first sign of trouble. On the top of that, Spider is now a well-known celebrity which is not a good thing in this city.
But Mr. President forgot one thing: you can never bottle up a tornado. Because sooner or later, that goddamn tornado will eat up everything and start throwing it back in full fury.
And it will be most magnificent shit you will ever see in your life!
Waren Ellis delivers one of the sharpest volumes of Transmetropolitan with a lot of journalistic action, razor-sharp writing and a beautiful plot. Seriously, I've never read anything like this in my life! Warren Ellis cashed in many earlier bits of story and characters in this arc to deliver something unique. Something wholesome!
I devoured this volume faster than any other installments of Transmetropolitan. Granted, the concept of investigative journalism is a lot different in Jerusalem's book. But it doesn't matter in his city.
Only the story matters!
Here I am: Spider Jerusalem, media element, TV celebrity, quotable, that wild and crazy guy who does that controversial muckraking column that no one really reads... lost in mix.
Another face in the crowd.
Spider is having a bad time in his city. His column was silenced by the government once and they are threatening to do so again at the first sign of trouble. On the top of that, Spider is now a well-known celebrity which is not a good thing in this city.
But Mr. President forgot one thing: you can never bottle up a tornado. Because sooner or later, that goddamn tornado will eat up everything and start throwing it back in full fury.
And it will be most magnificent shit you will ever see in your life!
Waren Ellis delivers one of the sharpest volumes of Transmetropolitan with a lot of journalistic action, razor-sharp writing and a beautiful plot. Seriously, I've never read anything like this in my life! Warren Ellis cashed in many earlier bits of story and characters in this arc to deliver something unique. Something wholesome!
I devoured this volume faster than any other installments of Transmetropolitan. Granted, the concept of investigative journalism is a lot different in Jerusalem's book. But it doesn't matter in his city.
Only the story matters!
March 11, 2023
I think it's starting to dawn on me why I think Transmetropolitan is one of my favourite comics, while Planetary, by the same author, didn't grab me at all.
Both comics set out to create this magnificent scifi/fantasy setting, filled to the brim with weird shit, and with a highly capable and often borderline invincible protagonist. But in one, the setting is used to its full capability - we get to dive deep into its functions and mechanics and how it's changed the society by this time - and the hero has the occasional moment of weakness and defeat, and is counterbalanced by a villain that is just as heinous and evil as the hero is noble, and has the contacts and resources needed to make a lot of trouble. Whereas in the other, the setting may be deep and vast and amazing, but the comic barely dips its toes in it - while the villains never get around to actually do anything and prove they're as bad as it's said, in fact barely showing up at all until they're taken down easily and almost without a fuss. One shows, the other tells.
This volume follows the previous one's lows with some truly amazing highs. The rollercoaster is up in the sky once again. But there is a time when it has to come down.
Also, Ellis hates Charlie Brown. And Snoopy.
Both comics set out to create this magnificent scifi/fantasy setting, filled to the brim with weird shit, and with a highly capable and often borderline invincible protagonist. But in one, the setting is used to its full capability - we get to dive deep into its functions and mechanics and how it's changed the society by this time - and the hero has the occasional moment of weakness and defeat, and is counterbalanced by a villain that is just as heinous and evil as the hero is noble, and has the contacts and resources needed to make a lot of trouble. Whereas in the other, the setting may be deep and vast and amazing, but the comic barely dips its toes in it - while the villains never get around to actually do anything and prove they're as bad as it's said, in fact barely showing up at all until they're taken down easily and almost without a fuss. One shows, the other tells.
This volume follows the previous one's lows with some truly amazing highs. The rollercoaster is up in the sky once again. But there is a time when it has to come down.
Also, Ellis hates Charlie Brown. And Snoopy.
March 24, 2012
Spider Jerusalem steps up his campaign of showing the world the truth about President Callahan aka the Smiler, and vindicating the death of Vita Severn. But as he builds his case by going through the list of people involved with Callahan’s election, each of the witnesses is killed off. Worse still, he’s about to lose his job at the Word and become a true outlaw journalist, hitting the road and dodging bullets and the President sets his sights on a bald headed drug addict and his filthy assistants.
“Gouge Away” continues the increasingly more dramatic storyline of the battle between Spider and the President with the stakes being raised more and more. I liked that Warren Ellis saw fit to get Spider out of the ivory tower that was the luxury apartment he was ensconced in and set him free in the City, it’s made for a far more interesting story.
Also included is a one shot tale of the Filthy Assistants, Yellena and Channon, breaking free of Spider for a day and going wild in the City, as well as a look at the celebrity Spider’s become due to his columns. Ellis enlists the help of artists like Bryan Hitch, Frank Quitely and Eduardo Risso to draw the TV movie/cartoon/porno versions of Spider following the success of “I Hate It Here”.
As always the balance between serious and farcical is walked perfectly by Ellis and Darick Robertson, both of whom seem to be getting better and better with each passing book. “Gouge Away” is an excellent book and only makes the series that much more addictive and interesting to read. “Transmetropolitan” is highly recommended reading.
“Gouge Away” continues the increasingly more dramatic storyline of the battle between Spider and the President with the stakes being raised more and more. I liked that Warren Ellis saw fit to get Spider out of the ivory tower that was the luxury apartment he was ensconced in and set him free in the City, it’s made for a far more interesting story.
Also included is a one shot tale of the Filthy Assistants, Yellena and Channon, breaking free of Spider for a day and going wild in the City, as well as a look at the celebrity Spider’s become due to his columns. Ellis enlists the help of artists like Bryan Hitch, Frank Quitely and Eduardo Risso to draw the TV movie/cartoon/porno versions of Spider following the success of “I Hate It Here”.
As always the balance between serious and farcical is walked perfectly by Ellis and Darick Robertson, both of whom seem to be getting better and better with each passing book. “Gouge Away” is an excellent book and only makes the series that much more addictive and interesting to read. “Transmetropolitan” is highly recommended reading.
February 14, 2020
Another volume, another set of tales in Transmetropolitan city. In this volume, Spider Jerusalem has his column silenced. He dwells, once again, in drugs and alcohol while he sees a parody of himself in the TV. Meanwhile, the volume brings some interesting "filler" chapters such as "The Walk". In this chapter, Jerusalem's filthy assistants escape from his "master's" apartment and roam around the city for some shopping and entertainment. It was not a relevant chapter for the Plot, but it was amusing to see the two filthy assistants mocking Spider Jerusalem behind his back. As the story goes on, the gonzo-like journalist finds some hot facts behind the newly-elected President's campaign.
Warren Ellis addresses the city's poverty reality in his own manner. Once again, the oppression towards the feeble is very well portrayed, as well as the police brutality against citizens.
The story draws, in a later part of the volume, the typical ruthlessness of Spider Jerusalem when it comes to street investigation.
Overall, the volume brings, in my opinion, a different pace to the general plot of the series. Furthermore, it also brings interesting and amusing filler chapters, perhaps, to give additional depth to the main characters.
Warren Ellis addresses the city's poverty reality in his own manner. Once again, the oppression towards the feeble is very well portrayed, as well as the police brutality against citizens.
The story draws, in a later part of the volume, the typical ruthlessness of Spider Jerusalem when it comes to street investigation.
Overall, the volume brings, in my opinion, a different pace to the general plot of the series. Furthermore, it also brings interesting and amusing filler chapters, perhaps, to give additional depth to the main characters.
November 4, 2019
Didn't enjoy this one as much as others. The childishness of the bowel-disrupter ray, and the ability of Spider to get away with anything he wants started bugging me. That stuff has always been there, but it kept me more interested in the early issues when this world was new to me. I'll keep going, though!
December 31, 2016
Sexto tomo que incluye del 31 al 36. Primeras tres historias unitarias, comenzando con una que trata de distintas versiones que circulan en televisión de Spider, ya toda una figura, dibujada por varios artistas muy buenos que le dan al universo Transmetropolitan aire fresco en cuanto a vista. El segundo es más introspectivo y a modo de agenda se relata una caminata por la ciudad. El tercer unitario son las asistentas de Spider se van de gira mientras éste permanece totalmente drogado e ido como tantas otras veces. Quizás de lo más flojo en los treintitantos números pero no importa nada porque los últimos tres números la rompen, se vuelve con todo a la trama principal, las elecciones, el nuevo presidente. Todo sigue subiendo el tono de brutalidad, a Spider ya no le importa que lo censuren que lo amenacen de muerte, agarrarse a trompadas con quien sea. Se enfrenta a todo y a sabiendas de ser echado y perseguido desmantela todos los crímenes que rodean al electo presidente. Quedan cuatro tomos y no puede estar en mejor punto la historia.
January 9, 2015
Things are starting to get really interesting here. Spider goes on the attack, and it costs him his job. Funny thing is, it looks like he couldn't be happier. Watching him go on the attack is pretty satisfying, actually, and seeing the hammer come down doesn't ruin the effect. I sort of feel like the best is yet to come.
September 20, 2016
Gouge Away! Spider Jerusalem makes his comeback and starts his revenge path against the highest authority in the country, The Smiler, Callahan. I hate Spider Jerusalem (who does not), but he is doing all the right things in all the wrong ways, so I'm happy for him that he manages to sucker-punch those who have wronged him and especially, Vita Severn.
Just a little reminder though, the dosage of sacrilege in this volume is higher than the previous ones. So I am warning you, Ellis goes almost all the way with his anti-church and religion views.
The thing I didn't like about this volume (and I love the way the story is executed by the way) is that the "truth" is so convenient and the scandal trail is just laid-out for Spider Jerusalem to sniff like a nasty investigative journalist mongrel armed with dirty facts on a quest to uncover even dirtier skeletons. He is neither intimidated nor scared. He is one step ahead of his enemies. And I say, he is into exposing wilder and crazier truths. Now I'm in.
Oh yeah, the Bowel Disruptor. I want to see more from you.
Just a little reminder though, the dosage of sacrilege in this volume is higher than the previous ones. So I am warning you, Ellis goes almost all the way with his anti-church and religion views.
The thing I didn't like about this volume (and I love the way the story is executed by the way) is that the "truth" is so convenient and the scandal trail is just laid-out for Spider Jerusalem to sniff like a nasty investigative journalist mongrel armed with dirty facts on a quest to uncover even dirtier skeletons. He is neither intimidated nor scared. He is one step ahead of his enemies. And I say, he is into exposing wilder and crazier truths. Now I'm in.
Oh yeah, the Bowel Disruptor. I want to see more from you.
March 18, 2016
At this point, I'm not going to bother you with the plot. If you've made it to Vol.6 you're probably very aware of what Transmetropolitan is about and where it's going. I'm just wondering how Warren Ellis came up with such a pertinent vision for his project. Was our society that bad twenty years ago? It is now, but has it always been? Transmetropolitan has become some kind of ultimate educational tool to me. It is a meaningful object of consumerism, something you naturally gravitate towards, yet that that feeds you a healthy ideology. I don't love graphic novels, but I love this series to death.
January 17, 2019
actual rating: 3.5
I'm not sure if I liked the whole '3 one shots + one 3-part story' format of these past few volumes. I mean the one shots are related to the main story, but it still means that it takes me a while to actually get into the volume. Still, we get a fun one shot with Channon and Yelena and then shit really goes down in the last three issues. I'm definitely excited to see what happens next.
I'm not sure if I liked the whole '3 one shots + one 3-part story' format of these past few volumes. I mean the one shots are related to the main story, but it still means that it takes me a while to actually get into the volume. Still, we get a fun one shot with Channon and Yelena and then shit really goes down in the last three issues. I'm definitely excited to see what happens next.
June 21, 2015
Payback! Yeahhhh. It was really satisfying seeing all the assholes get what they deserved. Another great volume.
March 16, 2023
A lot of one shots this time around. Some better than others. The best being the two girls free of Spider and living life. I did enjoy the 3 parter at the end, but I'm starting to get to the point of where do we go from here and are we repeating very similar storylines now? Let's see how the last 4 volumes do.
February 2, 2020
Where is our Spider? Surely there are a few more people in this country that are willing to step up and risk it all for the sake of uncovering and displaying such blatant corruption.
I wish Spider was real. He is one crude dude but if that is how our hero enters, so be it.
I wish Spider was real. He is one crude dude but if that is how our hero enters, so be it.
September 13, 2017
Qué gozada de historia. Tal vez la palabra "gozada" no sea lo más adecuado ya que hay descripciones con las que se me ha revuelto el estómago. Pero vamos, que es una historia de 10.
June 22, 2018
I have a hard time judging the extent of Transmetropolitan's self-awareness. It idolizes Hunter S. Thompson as the epitome of journalistic prowess; it relegates its female characters to the role of sidekick and/or inamorata; it contains a surprising number of good old fashioned gore-heavy fight scenes for a comic that is ostensibly about political reporting.
The present volume, for instance, finds the series' two least facile female characters, Yelena Rossini and Channon Yarrow (together known as Spider Jerusalem's "Filthy Assistants"), stealing a well-deserved afternoon away from their "bastard" boss. What do they do? They proceed to fill three pages talking about Spider's cum and scrotal sweat. Has the Bechdel test ever been so spectacularly flunked?
But then the following exchange takes place:
Or consider another example. Earlier in the volume, Spider happens to watch an action movie based upon his own life—all mayhem, melodrama and busty bimbos. The point, apparently, is to emphasize the depth of Transmetropolitan, to contrast it with and elevate it above its pulp fiction peers. But apart from the superior musculature, the action-movie version doesn't look terribly different from the original... But maybe, just maybe, could Transmetropolitan be poking fun at itself?
In any event, I persist in my belief that Transmetropolitan is either smartest dumb comic or the dumbest smart comic I've ever read. But at least this volume is a step up from the last two.
The present volume, for instance, finds the series' two least facile female characters, Yelena Rossini and Channon Yarrow (together known as Spider Jerusalem's "Filthy Assistants"), stealing a well-deserved afternoon away from their "bastard" boss. What do they do? They proceed to fill three pages talking about Spider's cum and scrotal sweat. Has the Bechdel test ever been so spectacularly flunked?
But then the following exchange takes place:
CHANNON: First time we get away from the bastard in what seems like months, and what do we do?
YELENA: We sit around talking about him.
CHANNON: We have no lives whatsoever.
Or consider another example. Earlier in the volume, Spider happens to watch an action movie based upon his own life—all mayhem, melodrama and busty bimbos. The point, apparently, is to emphasize the depth of Transmetropolitan, to contrast it with and elevate it above its pulp fiction peers. But apart from the superior musculature, the action-movie version doesn't look terribly different from the original... But maybe, just maybe, could Transmetropolitan be poking fun at itself?
In any event, I persist in my belief that Transmetropolitan is either smartest dumb comic or the dumbest smart comic I've ever read. But at least this volume is a step up from the last two.
May 20, 2011
It took a while for me to get into this series. It was a bit all over the place, and it took a while for the real plot to go into motion. But when it did- wow! I really love it. It's a very gritty novel, but it reflects society in that way. Society isn't nice or friendly, and while day-to-day life may not be as sordid and bleak as it is in Transmetropolitan, but there are circles that are similar. And society is reflected in this piece.
I can't exactly pinpoint what it is about this edition of Transmetropolitan that grabbed me. Maybe it was the city's view of Spider- cute, cuddly, 'defanged' as he said it. Or the way previous characters emerged once again. I do like that- Ellis has good continuity going on here. Or the final few pages, as the world starts to react to Spider's huge revelation.
Now I just need to poke my partner to go and buy #7.
Final conclusion? Futurama cranked up to 11.
I can't exactly pinpoint what it is about this edition of Transmetropolitan that grabbed me. Maybe it was the city's view of Spider- cute, cuddly, 'defanged' as he said it. Or the way previous characters emerged once again. I do like that- Ellis has good continuity going on here. Or the final few pages, as the world starts to react to Spider's huge revelation.
Now I just need to poke my partner to go and buy #7.
Final conclusion? Futurama cranked up to 11.
October 19, 2016
"I have a cunning plan!"
The sixth Transmetropolitan collection, like the previous volume, is a mixed bag. The main story, "Gouge Away," is a strong investigative reporting tale and nicely ties together the Transmetropolitan, Vol. 5: Lonely City and Transmetropolitan, Vol. 4: The New Scum stories. Spider Jerusalem's talents really get to shine and his articles make a huge impact after the media attempted to defang him with popularity. The other three issues have some highlights but for the most part feel like a bit of good filler.
"We've never listened to a word you've said."
The first issue, "Nobody Loves Me," is a sequence of television shows based on Spider. As Spider's fame and popularity grow the media feels driven to commodify his persona. Of course, to an extent Spider is already a caricature of gonzo investigative reporters like Hunter S. Thompson; how else to explain his outbursts for "Waiter! Fresh underwear, seven blankets and a bucket of moist towelettes!" The result is thus a caricature of a caricature. The three examples presented cover a wide range of genres. "Magical Truthsaying Bastard Spidey" is a risqué anime, "From the Mountain to the City: The Life and Work of Spider Jerusalem" is an amfeed fiction akin to a dirty soap opera, and "I Hump It Here" is the inevitable porn parody. The common theme through all these is Spider's character is transformed into pure hedonistic entertainment.
The issue ends with two dreams while Spider is passed out on drugs. The first dream is fantasy where Spider gets to literally stomp out his perceived detractors. This sequence is a bloody power trip revenge fantasy that highlights Spider's frustrations with his editor, women, and audience. This dream changes into a nightmare about the New Scum, who attempt to drag Spider down into a monstrous orgy. Spider laments "I wanted you to hear me" which gets the response "We did. We just didn't listen." This illustrates the tendency of audiences to physically take in media but ignore (sometimes willfully) the message conveyed by that media, especially any undertones in the material. The New Scum idolize Spider and follow him without realizing how much he hates them for electing Gary Callahan president. Similarly, many "talking heads," especially political pundits, shout their opinions all over television and radio, with their supporters blindly following along and detractors blindly dismissing everything.
"Get the City under my feet. Feel alive again."
The second issue, "The Walk," is composed entirely of two panel pages with Spider's narration under each horizontal panel. This gives the pictures a slightly letterbox feel, fitting for a writer who helped originate the "widescreen comics" style. The story follows Spider as he wanders the City after bumping into a lady on the street who calls him "Spider boy." This slight combined with the television shows from the previous issue force Spider to re-examine the impact his work can have on the people. He eventually stumbles upon a new outlet for his work that circumvents Callahan's D-notice. It is no coincidence that this scene unfolds in a diner straight out of the famous painting Nighthawks, with its "symbols of human isolation and urban emptiness" and Edward Hopper's acknowledgement that "unconsciously, probably, I was painting the loneliness of a large city" (notice the callback to the previous Transmet collection's title, Lonely City). This issue is similar to the earlier issue "21 Days in the City." The narration directly from Spider coupled with a minimal number of powerful images create a simple and direct view of the City and Spider's place in it. Once again Spider's physical interaction with people on the street proves the key in a world ruled by technology.
"The Walk" ends with a December 1919 quote from H.L. Mencken, another clear influence on the character of Spider Jerusalem. Much like Spider's association with the City, Mencken was strongly associated with Baltimore, known as the "Sage of Baltimore." Mencken's satiric cynicism strongly resembles the best of Jerusalem's work. Just prior to the quote, Spider lays out his philosophy about politicians like Callahan in true Mencken fashion.
In the real world, the 2016 presidential campaign has largely been a debate about fear mongering and lying. Hillary Clinton is the prototypical politician, with many people viewing everything she says as a lie. Donald Trump routinely invokes xenophobia and claims everything is a disaster without offering any feasible policies to fix the problems. One can only imagine the field day Spider Jerusalem (or Mencken) would have with these two candidates.
"What he's doing: it's the right thing."
The third issue, "Dancing in the Here and Now," follows Yelena and Channon on a day off from work and away from Spider. Of course, neither woman can help talking about Jerusalem and the effect he has on their lives. As Yelena contemplates why she continues to work for Spider even though her job sucks she tells Channon "What he's doing is right, and has made a difference, and can make a difference. And I really wasn't ready for that." Channon asks Yelena why she doesn't just quit like "normal" people would. Yelena replies, "Because I'm alive," echoing Spider's need to walk the streets of the City; small wonder Yelena strikes a similar pose while walking and smoking earlier in the issue. Yelena's response and Channon's concurrence might seem odd after a day of debauchery including drinking, clothes shopping, firearms shopping, a shooting range, and more drinks. Shouldn't all those untamed antics qualify as being alive? No. Because as the women discover, life needs meaning. Without a cause, all your actions are hollow, meaningless, dull. Behind all the Dionysian behavior, Spider has a higher purpose and a greater impact on society than the multitude of people milling about the City. Taken in that perspective, this issue serves a purpose in the series, although on the whole it feels like mostly filler. Also, the mysterious woman in black Channon confronts remains unexplained, hopefully to be resolved at a later time after the events of "Gouge Away."
"Did you think I was lying when I warned you? Did you think the truth was not in me?"
The "Gouge Away" three part story is a tour de force of Spider Jerusalem's investigative reporting prowess. He eschews his Filthy Assistants to take down Gary Callahan by himself. His investigations take him to his old contact Kristin, a Right Love cell, the alien love messiah Fred Christ, Mrs. Callahan in California, one of Rory Flanagan's killers, and a hotel pimp. This trail nicely ties together many characters and plot threads built up over the course of the series. Many questions are finally answered when Spider's column is published. All of this legwork proves yet again Spider's propensity for leveraging human interaction to best an opponent. As usual, though, Spider makes full use of the technology at his disposal, such as his transportation method to California that avoids detection of his passage. Technology is pervasive in science fiction, especially in Transmet, but it still takes human intelligence and intuition to utilize that technology.
Interestingly, the word "gouge" has two meanings in North America. The first, traditional meaning is "cut or force something out roughly or brutally." Spider's tactics certainly fit this definition. The second, informal meaning is "overcharge; swindle." This definition befits the other side of the equation, the politicians and police who trick the public using fear and believe "Fear will keep everyone distracted from what's really going on."
The second issue of "Gouge Away" begins with a snippet of Spider's column.
This quote beautifully combines several contributors to the character of Spider Jerusalem. The phrase "short weird ride" evokes Hunter S. Thompson. The phrase "heart of darkness" is surely a reference to Joseph Conrad's famous novel Heart of Darkness, which interestingly ties into Spider's water motif (more on this in a bit). And the phrase "the President's Men" has to be a nod to the book All the President's Men written by Carl Bernstein and Bob Woodward, a pair of investigative reporters just like Spider. Woodward and Bernstein had Nixon to fight, Spider has Callahan. Nixon's Watergate scandal is dwarfed by the crimes committed by Callahan and Alan Schact. Nixon's disregard for laws and proper presidential behavior ("when the president does it, that means that it is not illegal") were mirrored by The Beast ("If the President of the United States does it, it can't be a crime").
And in an eerie instance of prescience, Warren Ellis predicted the eventual (potential) presidency of Hillary Rodham Clinton with a news update in the aftermath of Spider's column revealing all of Callahan's skeletons in his closet. "Gary Callahan this morning registers the lowest ever approval rating for a sitting president since President Rodham was caught fisting kittens in the streets of Brooklyn." Yet another instance of Transmet unknowingly correctly predicting much of the lunacy occurring in 2016.
"I died on the cross for your sins! And I've shat myself!"
The motif of water continues in this collection, emphasizing Spider's remark "The older I get, the more I like it out here by the water." Spider rests by a river at end of "The Walk." His world wanderwindow shows dawn over the beach on the Kirabati Islands. And he rests on a bridge over water upon returning from visiting Mrs. Callahan in California. He appears to take solace being near water. The only time we really see Spider calm is in these scenes. Warren Ellis begins his current weekly newsletter, "Orbital Operations," with the opening "Hello from out here on the Thames Delta." So the water references are something personal to Ellis; or he has subsumed them into himself, the author being influenced by his own creation. The reference to Joseph Conrad ("heart of darkness") indirectly brings to mind the river voyage into the jungle to find the mad Kurtz. There could also be a hint of a religious aspect, since most religions consider water a purifier. Although knowing Spider's spiteful opinion of religion (particularly in a culture that spawns a new religion every hour) this one might be a stretch, but there's definitely a connection between Spider and water.
"I'm noboby's fucking cartoon."
One aspect of Tranmset I hardly comment on is the artwork by Darick Robertson. Tranmset is much more famous and regarded for the words written by Warren Ellis, but a comic book is 50% pictures. Robertson's work is outstanding throughout the series and so it's easy to take it for granted. Having the same illustrator for the entire series helps maintain a consistency that other series can lack, an advantage many of these Vertigo imprint series ( Preacher, Vol. 1: Gone to Texas , Y: The Last Man, Vol. 1: Unmanned ) have over other comic books. Robertson deftly handles everything thrown at him: bloody violence, overt sexuality, quiet moments, action sequences. While Transmet contains plenty of action and wide open sequences, much of it is people talking, yet the artwork never gets boring or remains static. It also contains some iconic images, such as Spider cupping his hand to light a cigarette or Spider hunched over a keyboard furiously typing out his latest truth seeking article. And don't forget the inestimable shades worn by Spider.
That said, the multiple guest artists in "Nobody Loves Me" portray vastly different versions of Spider. Obviously this is partly on purpose given each version isn't supposed to be the real Spider but instead an actor portraying Spider. But that issue feels disjointed due to the jumps in artwork, a problem endemic to all comic book issues that use different illustrators in a single issue. I'm not sure if this issue was used to give Robertson some breathing room in his drawing schedule, but it definitely winds up standing out among all the issues of the series.
"I haven't forgotten a thing."
Transmet returns to its roots in this volume with Spider's investigative reporting taking the lead. The issue of fame blunting his fangs is quickly put to bed. It's an excellent read that brings together much of the preceding story elements. The reader is left dangling at the end with what will happen to the intrepid trio of Spider, Channon, and Yelena, but that's just all the more reason to continue reading this excellent series.
The sixth Transmetropolitan collection, like the previous volume, is a mixed bag. The main story, "Gouge Away," is a strong investigative reporting tale and nicely ties together the Transmetropolitan, Vol. 5: Lonely City and Transmetropolitan, Vol. 4: The New Scum stories. Spider Jerusalem's talents really get to shine and his articles make a huge impact after the media attempted to defang him with popularity. The other three issues have some highlights but for the most part feel like a bit of good filler.
"We've never listened to a word you've said."
The first issue, "Nobody Loves Me," is a sequence of television shows based on Spider. As Spider's fame and popularity grow the media feels driven to commodify his persona. Of course, to an extent Spider is already a caricature of gonzo investigative reporters like Hunter S. Thompson; how else to explain his outbursts for "Waiter! Fresh underwear, seven blankets and a bucket of moist towelettes!" The result is thus a caricature of a caricature. The three examples presented cover a wide range of genres. "Magical Truthsaying Bastard Spidey" is a risqué anime, "From the Mountain to the City: The Life and Work of Spider Jerusalem" is an amfeed fiction akin to a dirty soap opera, and "I Hump It Here" is the inevitable porn parody. The common theme through all these is Spider's character is transformed into pure hedonistic entertainment.
The issue ends with two dreams while Spider is passed out on drugs. The first dream is fantasy where Spider gets to literally stomp out his perceived detractors. This sequence is a bloody power trip revenge fantasy that highlights Spider's frustrations with his editor, women, and audience. This dream changes into a nightmare about the New Scum, who attempt to drag Spider down into a monstrous orgy. Spider laments "I wanted you to hear me" which gets the response "We did. We just didn't listen." This illustrates the tendency of audiences to physically take in media but ignore (sometimes willfully) the message conveyed by that media, especially any undertones in the material. The New Scum idolize Spider and follow him without realizing how much he hates them for electing Gary Callahan president. Similarly, many "talking heads," especially political pundits, shout their opinions all over television and radio, with their supporters blindly following along and detractors blindly dismissing everything.
"Get the City under my feet. Feel alive again."
The second issue, "The Walk," is composed entirely of two panel pages with Spider's narration under each horizontal panel. This gives the pictures a slightly letterbox feel, fitting for a writer who helped originate the "widescreen comics" style. The story follows Spider as he wanders the City after bumping into a lady on the street who calls him "Spider boy." This slight combined with the television shows from the previous issue force Spider to re-examine the impact his work can have on the people. He eventually stumbles upon a new outlet for his work that circumvents Callahan's D-notice. It is no coincidence that this scene unfolds in a diner straight out of the famous painting Nighthawks, with its "symbols of human isolation and urban emptiness" and Edward Hopper's acknowledgement that "unconsciously, probably, I was painting the loneliness of a large city" (notice the callback to the previous Transmet collection's title, Lonely City). This issue is similar to the earlier issue "21 Days in the City." The narration directly from Spider coupled with a minimal number of powerful images create a simple and direct view of the City and Spider's place in it. Once again Spider's physical interaction with people on the street proves the key in a world ruled by technology.
"The Walk" ends with a December 1919 quote from H.L. Mencken, another clear influence on the character of Spider Jerusalem. Much like Spider's association with the City, Mencken was strongly associated with Baltimore, known as the "Sage of Baltimore." Mencken's satiric cynicism strongly resembles the best of Jerusalem's work. Just prior to the quote, Spider lays out his philosophy about politicians like Callahan in true Mencken fashion.
"They assume, like most people, that fear will do the trick. Fear will keep everyone in place. Fear will keep everyone distracted from what's really going on.
Let him know we can beat him up, let him know we could have killed him, let him know we can destroy him, let the fear shrivel him up. Fuck that. I'm not afraid of them. They're afraid of me.
They're afraid of the truth."
In the real world, the 2016 presidential campaign has largely been a debate about fear mongering and lying. Hillary Clinton is the prototypical politician, with many people viewing everything she says as a lie. Donald Trump routinely invokes xenophobia and claims everything is a disaster without offering any feasible policies to fix the problems. One can only imagine the field day Spider Jerusalem (or Mencken) would have with these two candidates.
"What he's doing: it's the right thing."
The third issue, "Dancing in the Here and Now," follows Yelena and Channon on a day off from work and away from Spider. Of course, neither woman can help talking about Jerusalem and the effect he has on their lives. As Yelena contemplates why she continues to work for Spider even though her job sucks she tells Channon "What he's doing is right, and has made a difference, and can make a difference. And I really wasn't ready for that." Channon asks Yelena why she doesn't just quit like "normal" people would. Yelena replies, "Because I'm alive," echoing Spider's need to walk the streets of the City; small wonder Yelena strikes a similar pose while walking and smoking earlier in the issue. Yelena's response and Channon's concurrence might seem odd after a day of debauchery including drinking, clothes shopping, firearms shopping, a shooting range, and more drinks. Shouldn't all those untamed antics qualify as being alive? No. Because as the women discover, life needs meaning. Without a cause, all your actions are hollow, meaningless, dull. Behind all the Dionysian behavior, Spider has a higher purpose and a greater impact on society than the multitude of people milling about the City. Taken in that perspective, this issue serves a purpose in the series, although on the whole it feels like mostly filler. Also, the mysterious woman in black Channon confronts remains unexplained, hopefully to be resolved at a later time after the events of "Gouge Away."
"Did you think I was lying when I warned you? Did you think the truth was not in me?"
The "Gouge Away" three part story is a tour de force of Spider Jerusalem's investigative reporting prowess. He eschews his Filthy Assistants to take down Gary Callahan by himself. His investigations take him to his old contact Kristin, a Right Love cell, the alien love messiah Fred Christ, Mrs. Callahan in California, one of Rory Flanagan's killers, and a hotel pimp. This trail nicely ties together many characters and plot threads built up over the course of the series. Many questions are finally answered when Spider's column is published. All of this legwork proves yet again Spider's propensity for leveraging human interaction to best an opponent. As usual, though, Spider makes full use of the technology at his disposal, such as his transportation method to California that avoids detection of his passage. Technology is pervasive in science fiction, especially in Transmet, but it still takes human intelligence and intuition to utilize that technology.
Interestingly, the word "gouge" has two meanings in North America. The first, traditional meaning is "cut or force something out roughly or brutally." Spider's tactics certainly fit this definition. The second, informal meaning is "overcharge; swindle." This definition befits the other side of the equation, the politicians and police who trick the public using fear and believe "Fear will keep everyone distracted from what's really going on."
The second issue of "Gouge Away" begins with a snippet of Spider's column.
"A short weird ride to the heart of darkness. You and me, we're going into the White House. We're going into the Callahan team, the President's Men.
And we're going to see what they're really like down there in the dark."
This quote beautifully combines several contributors to the character of Spider Jerusalem. The phrase "short weird ride" evokes Hunter S. Thompson. The phrase "heart of darkness" is surely a reference to Joseph Conrad's famous novel Heart of Darkness, which interestingly ties into Spider's water motif (more on this in a bit). And the phrase "the President's Men" has to be a nod to the book All the President's Men written by Carl Bernstein and Bob Woodward, a pair of investigative reporters just like Spider. Woodward and Bernstein had Nixon to fight, Spider has Callahan. Nixon's Watergate scandal is dwarfed by the crimes committed by Callahan and Alan Schact. Nixon's disregard for laws and proper presidential behavior ("when the president does it, that means that it is not illegal") were mirrored by The Beast ("If the President of the United States does it, it can't be a crime").
And in an eerie instance of prescience, Warren Ellis predicted the eventual (potential) presidency of Hillary Rodham Clinton with a news update in the aftermath of Spider's column revealing all of Callahan's skeletons in his closet. "Gary Callahan this morning registers the lowest ever approval rating for a sitting president since President Rodham was caught fisting kittens in the streets of Brooklyn." Yet another instance of Transmet unknowingly correctly predicting much of the lunacy occurring in 2016.
"I died on the cross for your sins! And I've shat myself!"
The motif of water continues in this collection, emphasizing Spider's remark "The older I get, the more I like it out here by the water." Spider rests by a river at end of "The Walk." His world wanderwindow shows dawn over the beach on the Kirabati Islands. And he rests on a bridge over water upon returning from visiting Mrs. Callahan in California. He appears to take solace being near water. The only time we really see Spider calm is in these scenes. Warren Ellis begins his current weekly newsletter, "Orbital Operations," with the opening "Hello from out here on the Thames Delta." So the water references are something personal to Ellis; or he has subsumed them into himself, the author being influenced by his own creation. The reference to Joseph Conrad ("heart of darkness") indirectly brings to mind the river voyage into the jungle to find the mad Kurtz. There could also be a hint of a religious aspect, since most religions consider water a purifier. Although knowing Spider's spiteful opinion of religion (particularly in a culture that spawns a new religion every hour) this one might be a stretch, but there's definitely a connection between Spider and water.
"I'm noboby's fucking cartoon."
One aspect of Tranmset I hardly comment on is the artwork by Darick Robertson. Tranmset is much more famous and regarded for the words written by Warren Ellis, but a comic book is 50% pictures. Robertson's work is outstanding throughout the series and so it's easy to take it for granted. Having the same illustrator for the entire series helps maintain a consistency that other series can lack, an advantage many of these Vertigo imprint series ( Preacher, Vol. 1: Gone to Texas , Y: The Last Man, Vol. 1: Unmanned ) have over other comic books. Robertson deftly handles everything thrown at him: bloody violence, overt sexuality, quiet moments, action sequences. While Transmet contains plenty of action and wide open sequences, much of it is people talking, yet the artwork never gets boring or remains static. It also contains some iconic images, such as Spider cupping his hand to light a cigarette or Spider hunched over a keyboard furiously typing out his latest truth seeking article. And don't forget the inestimable shades worn by Spider.
That said, the multiple guest artists in "Nobody Loves Me" portray vastly different versions of Spider. Obviously this is partly on purpose given each version isn't supposed to be the real Spider but instead an actor portraying Spider. But that issue feels disjointed due to the jumps in artwork, a problem endemic to all comic book issues that use different illustrators in a single issue. I'm not sure if this issue was used to give Robertson some breathing room in his drawing schedule, but it definitely winds up standing out among all the issues of the series.
"I haven't forgotten a thing."
Transmet returns to its roots in this volume with Spider's investigative reporting taking the lead. The issue of fame blunting his fangs is quickly put to bed. It's an excellent read that brings together much of the preceding story elements. The reader is left dangling at the end with what will happen to the intrepid trio of Spider, Channon, and Yelena, but that's just all the more reason to continue reading this excellent series.
December 25, 2024
The volume starts with Spider under fire and takes it from there, the excellent writing and art continue and Spider is on the prowl of the story and I am not going to spoil anything, loved it as well and would continue loving it and reading it and then Keep on Reading.
I have always loved comics, and I have I can. I love comics to bits, may the comics never leave my side. I loved reading this and love reading more, you should also read what you love and hope always to love them. Even though I grew up reading local Indian comics like Raj Comics, Diamond Comics, or even Manoj Comics, now's the time to catch up on international and classic comics and Graphic novels. I am on my quest to read as many comics as I just want to Keep on Reading.
I have always loved comics, and I have I can. I love comics to bits, may the comics never leave my side. I loved reading this and love reading more, you should also read what you love and hope always to love them. Even though I grew up reading local Indian comics like Raj Comics, Diamond Comics, or even Manoj Comics, now's the time to catch up on international and classic comics and Graphic novels. I am on my quest to read as many comics as I just want to Keep on Reading.
January 1, 2018
Ellis captures something of the paranoia of a pre-9/11 late 90s and early aughts here where he really moves Spyder Jerusalem into the main political intrigue of the comic. Damaged from the death of the death of Vita Severn, Jerusalem launches into the President Callahan, "The Smiler." There are still bits of world building here, such as Yellena and Channon day away from Spyder, but mostly this moves the comic forward. Darick Robertson's art gets more madcap and someways richer for its grime.
September 1, 2023
"I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they've always worked for me." - Hunter S. Thompson
I find that the best pieces of science fiction are often worried. As Charlie Brooker pointed out, science fiction is often a good way to illustrate the worrying trends that we've accumulated. This is becoming more and more apparent since the future seems to be becoming more of a reality as the years move along. I should also add that science fiction often works best when it's angry.
Transmetropolitan is a very angry, contentious book. It's a good comic to read when you're feeling angry about the world that we find ourselves living in and feeling like there's nothing, you can do. Transmetropolitan is Ellis at his most angry, and most politically opinionated and while I don't agree with everything Ellis has to say in here, I do find myself in enthusiastic agreement with his main thesis with this series: this system is broken, and it needs to change immediately.
Ellis isn't subtle in this series, and there's plenty of targets that he takes shots at with this series. Much of the humor in this is often uproarious and madcap, and the characters and situations that our main cynical bastard Spider Jerusalem finds himself in often proves to be a romp. But unlike his friend Garth Ennis, Ellis doesn't get lost in the crude humor of his series, it is merely a means to an end.
Unlike DeConnick or Andrews, who are content to blame the issues of society on an overarching evil bogeyman. Ellis is more interested in what creates a society that allows corruption to fester and infect the system that's supposed to be looking out for us. Much of his concern revolves around the complacency and disillusionment of average people, who are often led to believe that their votes and opinions don't matter, so why even try to engage. But Ellis seeks to beat the complacency and disillusionment out of his readers and get them to act to make true changes to our society.
We share Spider's frustration and hatred of the city, and his rage at the carelessness of the people around him. Spider isn't easily likable and in fact is a huge pain in the ass for anyone who is unfortunate to come across his path, for better or for worse. But the points that he makes are often right, and Ellis does just enough to make us sympathize with him, even as much of an ass he is to his 'filthy assistants' and everyone around him.
Much of the science fictional aspects of this series are often light, not focusing too much on how this stuff would work in the world but exploring how these technologies affect the people who live in the world. Like all great science fiction, it often questions how the future will affect the people who live in it and how it changes the world around us. I was reminded a lot of Philip K. Dick's work in how Ellis manages to combine the surreal and the mundane, where all these wacky sci-fi inventions are just another part of life, and Ellis never stoops to ogling over how cool everything is.
While being an entertaining, science fiction romp, it is also a great piece of journalism through fiction. Much like David Simon's The Wire, Transmetropolitan is a series that exposes the dark truths of the world we live in through a fictional lens, though unlike The Wire, it is much more of a madcap romp. Ellis isn't as committed to realism as Simon is, as Ellis takes more notes from Hunter S. Thompson's gonzo journalism. He sees that truth doesn't always have to be real to attain the intended effect.
Transmet has proven to be more poignant as we move into the post-Trump era of United States politics, particularly with his depiction of The Beast, who almost seems like a carbon copy of our previous president, though somehow, he's less sleazy. Transmet is one of those series that gives me fire as a journalist, I don't know if I want to be as confrontational or as bitter as Spider, but I would like to make a similar impact in my own work as a journalist.
But within its anger, I was surprised to find how compassionate and emotional this series proved to be. I often find that anger is a perversion of sadness, and Transmet is a prime example of that. Ellis' anger is masking the sadness that he has over the degradation of our society and the ideas of compassion and decency...and as this series has aged, I find that the message of Transmet to still ring true...and it shouldn't. The anger in Transmetropolitan often hides the vulnerability that is shown in its characters, and even reveals part of Ellis himself...even if he doesn't entirely mean to. For all the angry, puerile shit that Warren throws at us, there's an undeniable sense of humanity within Transmetropolitan, and that's what gives it charm after all.
At the end of the day, Ellis is a lot like Thompson. He surrounds himself with the ugliest parts of humanity to expose the ugly truth that surrounds us in our daily lives. Transmetropoltian is Warren Ellis off the leash, and I wouldn't have it any other way.
January 28, 2020
Don’t know this series so didn’t realize I was picking up volume 6. At first I didn’t mind jumping right in, because there were a number of fantasy sequences playing with issues of identity and image manipulation. Later chapters however made me long for more context and background.
May 20, 2024
The one shot stories weren’t amazing. I was a big fan of the Gouge Away story line though, I couldn’t put it down.
October 18, 2017
Spider attacks, gets some revenge and then some. I'd say this is a pretty good set up for the final acts.
May 1, 2012
One of the things I adore about this series is the pacing. What seemed to be stand-alone stories end up tying into the plots of later issues, there's a brief interlude and then a three part story that sets your heart racing. Warren Ellis strings his readers along the way that one imagines Spider Jerusalem's columns must - it's a rare gift, and a striking one.
The pace continues to pick up, but not so much that the ending is always a cliff-hanger. Characters don't suddenly change, the arcs are subtle, noticeable in the artwork as much as in the writing. Transmetropolitan is a magnum opus, a genius series that captivates as much as it amuses, that shocks as much as it saddens, and overall, that strikes the heart with the furor and desire for truth that drives Spider Jerusalem along.
This is a wild ride, and I am glad to be on it.
The pace continues to pick up, but not so much that the ending is always a cliff-hanger. Characters don't suddenly change, the arcs are subtle, noticeable in the artwork as much as in the writing. Transmetropolitan is a magnum opus, a genius series that captivates as much as it amuses, that shocks as much as it saddens, and overall, that strikes the heart with the furor and desire for truth that drives Spider Jerusalem along.
This is a wild ride, and I am glad to be on it.
March 4, 2025
While it is still an enjoyable wild ride in the life of Spider, the story is moving on a slower rate even more than book five, this volume spends about 80 pages on a joyride with spider being zonked out on drugs, and his assisstants getting to spend some quality time, that is in no way contributing to the story, and then a speedy three chapters in which Spider successfully does some 'Old fashioned journalism' that lands a motherload at the feet of the smiling president, effectively wipes the smile from his face...
MiM
MiM
November 25, 2012
Transmetropolitan volume 6 offers a couple of completely hilarious shorts as well as an entertaining and witty longer story in the excellent tradition of the series. Spider Jerusalem's role as a dissident and an unwilling political activist gets enforced further, deepening the strong allegories about modern society.
December 12, 2011
After Spider finds out the new running president is out to shit on the world. He only has one choice wipe him out. Callahan wins easily and Spider finds out hes part of Vita`s murder.
Second Issue was boring but the last one literally goes out with a BANG!
Next volumes 7-10 (revised)
Second Issue was boring but the last one literally goes out with a BANG!
Next volumes 7-10 (revised)
October 1, 2025
Comic americano muy ameno. Describe un futuro disruptivo en el que critica los comportamientos en nuestra sociedad con ejemplos de ese futuro. La carga a los políticos también cuenta y empapa toda la trama.
August 5, 2014
♫ you can gouge away
stay all day
if you want to... ♫
stay all day
if you want to... ♫
June 6, 2016
4 1/4 stars
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