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Transmetropolitan (Collected Editions) #9-10
Transmetropolitan: Book Five
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.
The forces of darkness are closing in on outlaw journalist Spider Jerusalem and his merry, filthy band -- but now they've got their own rope around the neck of corrupt President Callahan, and it's time to start tightening the noose.
TRANSMETROPOLITAN: THE CURE is the ninth volume reprinting the acclaimed series written by Warren Ellis (PLANETARY, RED) with art by Darick Robertson (The Boys). Jerusalem and his cohorts step up their investigation into Callahan's misdeeds and turn up some startling evidence...not to mention a sole surviving witness to the President's depravity. The problem, as always, will be getting the word out before the massive forces of the Executive Branch black out everything -- and everyone -- involved.
Collects issues #49-60.
The forces of darkness are closing in on outlaw journalist Spider Jerusalem and his merry, filthy band -- but now they've got their own rope around the neck of corrupt President Callahan, and it's time to start tightening the noose.
TRANSMETROPOLITAN: THE CURE is the ninth volume reprinting the acclaimed series written by Warren Ellis (PLANETARY, RED) with art by Darick Robertson (The Boys). Jerusalem and his cohorts step up their investigation into Callahan's misdeeds and turn up some startling evidence...not to mention a sole surviving witness to the President's depravity. The problem, as always, will be getting the word out before the massive forces of the Executive Branch black out everything -- and everyone -- involved.
Collects issues #49-60.
294 pages, Kindle Edition
First published February 1, 2015
8 people are currently reading
135 people want to read
About the author
Warren Ellis
1,971 books5,768 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 - 20 of 20 reviews
September 12, 2023
So I’ve finished the series and I can say that it definitely ends on a high, felt like the book was just constant anarchy going on in the city with a nice ending to top it all off. The series as a whole I really enjoyed, I think it’s the great characters and the interesting world that make this a really good read and I enjoyed all 5 of these books!
April 3, 2024
Rewelacyjna seria komiksów. Jest to jedna z tych pozycji, po które warto sięgnąć, szczególnie jeśli nie znasz komiksów, a nie ciągnie Cię do świata DC czy marvel. Transmetropolitan pokazuje, że komiksy nie muszą być grzeczne, a potrafią być brutalne, krwawe, pełne przekleństw i najgorszych rzeczy.
May 1, 2021
(Zero spoiler review for the series as a whole) 4.5/5
I haven't read a lot of Warren Ellis, although I rather quite like what I have read so far. This was the first long running series that I finished earlier this year when my love affair with comic books started. My local library somehow had all ten TPB's on hand, and so I voraciously consumed them, and have since bought books 1,2,3 and am awaiting 4 and 5 upon release. That is about as big of an endorsement as I can provide, going out and purchasing a series of books that I have already read. The only downside is that DC comics is releasing them in softcover larger trades, rather than in a hardcover omnibus, which is of course what they should be doing. Although DC comics is a cesspool of apathy and illogical decisions of late, so I'm disappointed, although hardly surprised.
Transmetropolitan (don't let the name fool you, this is about as far from a modern PC tale as you could get). It tells the tale of Spider Jerusalem, which may just be one of the coolest character names ever. A former journalist who fled New York City years ago for a secluded life in the wilderness, is dragged back into the neon vibrance and soul shattering dystopia of his former life. Over the course of the 60 issues, we follow Spider's exploits as he tirelessly works to expose the embedded corruption within the political system, and indeed every aspect of life. Dozens pf pages could be filled, dissecting the hideous and hilarious world that Ellis created over the course of the run, although I'll endeavour not to tumble down that rabbit hole and keep things as brief as possible. Spider is a mixed bag of a character. one minute championing the plight of the forgotten and downtrodden as he tears down the establishment in his own, enigmatic style, yet the next minute, will be stomping on a puppy in the street, or cursing humanity as a whole, and wanting to damn the whole fetid lot of them into some dark abyss so he can finally have some peace. It should be noted here, that although the book deals with some very serious and relevant issues we still face nowadays, the entire story is done with tongue cemented firmly in cheek. so the idea of stomping dogs in the street (cause Spider Jerusalem is a cat person) is no reason at all to turn away from this title. This book tries ridiculously hard to upset every single person who picks it up, yet you are so busy being entertained by it, that you'll likely never be bothered by it. It is a sad indictment on the modern comic industry, and society as a whole, that this book would never get published these days. This makes it even more precious and important. Something that should be savoured. this is how artists used to be able to create. Freely and liberally.
Darick Robertson, who does the art for the majority of the run was the first artist that I fell in love with since picking up a comic book. His detailed yet deranged style suits the series down to the ground, and is perhaps even more a part of the series than Ellis' writing, which is mostly very strong throughout. Ellis manages to blend the continuous, irreverent humour of the series with some at times, very meaningful revelations and character twists. Whilst the fairly simple premise and narrative can become a tad jumbled or repetitive at times, for the most part, Ellis has created an amazingly detailed world, that will have you shaking your head and smiling all at once.
Spider is followed by a small yet wonderful cast of characters, the stars of which is his two 'filthy' assistants. Two complex, engaging and attractive (Oh no!) women, whom admire and despise Spider in equal measure. Several slimy political figures feature as the main antagonists throughout the run, which were obviously needed as something to ground the story and give Spider something to work towards, though Transmetropolitan for me, was at its strongest when Spider was simply opining the world he sees around him. Looking at it all through his grimy rose tinted glasses, and wondering where it all went wrong.
In closing, you definitely should read Transmetropolitan. You really should. Not only is it a fantastically written and drawn comic book, but it is also a signpost for what the medium used to be. When content creators were given free reign, without fear or reproach or reprisal from any minority source, which Ellis recently became the unfortunate victim of himself. Seriously, go out there and read this book and reminisce at the former beauty of this medium. 4.5/5
OmniBen.
I haven't read a lot of Warren Ellis, although I rather quite like what I have read so far. This was the first long running series that I finished earlier this year when my love affair with comic books started. My local library somehow had all ten TPB's on hand, and so I voraciously consumed them, and have since bought books 1,2,3 and am awaiting 4 and 5 upon release. That is about as big of an endorsement as I can provide, going out and purchasing a series of books that I have already read. The only downside is that DC comics is releasing them in softcover larger trades, rather than in a hardcover omnibus, which is of course what they should be doing. Although DC comics is a cesspool of apathy and illogical decisions of late, so I'm disappointed, although hardly surprised.
Transmetropolitan (don't let the name fool you, this is about as far from a modern PC tale as you could get). It tells the tale of Spider Jerusalem, which may just be one of the coolest character names ever. A former journalist who fled New York City years ago for a secluded life in the wilderness, is dragged back into the neon vibrance and soul shattering dystopia of his former life. Over the course of the 60 issues, we follow Spider's exploits as he tirelessly works to expose the embedded corruption within the political system, and indeed every aspect of life. Dozens pf pages could be filled, dissecting the hideous and hilarious world that Ellis created over the course of the run, although I'll endeavour not to tumble down that rabbit hole and keep things as brief as possible. Spider is a mixed bag of a character. one minute championing the plight of the forgotten and downtrodden as he tears down the establishment in his own, enigmatic style, yet the next minute, will be stomping on a puppy in the street, or cursing humanity as a whole, and wanting to damn the whole fetid lot of them into some dark abyss so he can finally have some peace. It should be noted here, that although the book deals with some very serious and relevant issues we still face nowadays, the entire story is done with tongue cemented firmly in cheek. so the idea of stomping dogs in the street (cause Spider Jerusalem is a cat person) is no reason at all to turn away from this title. This book tries ridiculously hard to upset every single person who picks it up, yet you are so busy being entertained by it, that you'll likely never be bothered by it. It is a sad indictment on the modern comic industry, and society as a whole, that this book would never get published these days. This makes it even more precious and important. Something that should be savoured. this is how artists used to be able to create. Freely and liberally.
Darick Robertson, who does the art for the majority of the run was the first artist that I fell in love with since picking up a comic book. His detailed yet deranged style suits the series down to the ground, and is perhaps even more a part of the series than Ellis' writing, which is mostly very strong throughout. Ellis manages to blend the continuous, irreverent humour of the series with some at times, very meaningful revelations and character twists. Whilst the fairly simple premise and narrative can become a tad jumbled or repetitive at times, for the most part, Ellis has created an amazingly detailed world, that will have you shaking your head and smiling all at once.
Spider is followed by a small yet wonderful cast of characters, the stars of which is his two 'filthy' assistants. Two complex, engaging and attractive (Oh no!) women, whom admire and despise Spider in equal measure. Several slimy political figures feature as the main antagonists throughout the run, which were obviously needed as something to ground the story and give Spider something to work towards, though Transmetropolitan for me, was at its strongest when Spider was simply opining the world he sees around him. Looking at it all through his grimy rose tinted glasses, and wondering where it all went wrong.
In closing, you definitely should read Transmetropolitan. You really should. Not only is it a fantastically written and drawn comic book, but it is also a signpost for what the medium used to be. When content creators were given free reign, without fear or reproach or reprisal from any minority source, which Ellis recently became the unfortunate victim of himself. Seriously, go out there and read this book and reminisce at the former beauty of this medium. 4.5/5
OmniBen.
August 8, 2022
!!Review for entire series!!
6.5/10
Disclaimer:
I could not pay too much attention due to mental issues, neither can I remember too much because of it.
Take everything I say with a grain of salt.
This is honestly very hit or miss to me.
It's just too rough, crude and edgy for my current tastes, honestly.
The amount of references to sex, violence and bodily fluids is just exhausting at some point, even
if there were some of these moments that made me laugh out loud. Moments that seemed like they were supposed to be badass just left me thinking ''Wow what assholes'' instead.
There's other issues, but I feel like it's more that this comic just isn't for me. I don't know shit about
Hunter S. Thompson either but hey some of the themes about journalism seemed pretty neat.
Overall this second half felt less good than the first, tbh. I liked this series the most when it had self contained stories that showed something about the world
and characters in a comedic way, and liked some aspects of the social commentary,
but I honestly didn't care too much for the writing style or political and social commentary on the whole
and found it a bit..Hypocritical? And not in a way that seems intentinal?
I dunno as fun as spider's ''lovable asshole''
antics can be at times, he can also just be too off putting and tiring to me.
I did like how it usually hard a dark comedy tone,
which then contrasted with serious issues without really feeling too out of place. My favorite was the one
where a woman wakes up in the future, it works perfectly fine on its own.
The plot was executed pretty well, but eehm, for one it feels like spider gets away with everything because...He's spider? Almost got Deus Ex Machina vibes. And well, the beast was more interesting than Calahan and it was
all about callahan. I feel like that whole brain damage thing went nowhere (It was interesting in concept though). I also felt like the whole
vita thing didn't work too well for me? The ending wrapped things up pretty well, no problems there.
Maybe certain parts could use more nuance, various characters could use work (The assistants really deserved development but everything somehow had to revolve around spider..Hell the comic even acknowledged that..),
the pacing of the overarching plot could be better, and I felt confused
about some aspects of the world building, but my favorite part was the overall world building
in both the detailed art and the writing,
as well as the interactions between spider and his filthy assistants. I also think that overall, it's just well written(if I ignore the style I'm not into) and has great art (the faces look a bit odd sometimes but I love the detailed backgrounds), and the series has a very distinct memorable identity. I don't think it deserves a low rating, and I quite enjoyed some of my time with it, but again, it's not really for me. I don't like it nearly as much as all these other people seem to, and maybe I would have liked it more had I read it when I was younger and had more of a preference for this kind of humor and dialogue.
6.5/10
Disclaimer:
I could not pay too much attention due to mental issues, neither can I remember too much because of it.
Take everything I say with a grain of salt.
This is honestly very hit or miss to me.
It's just too rough, crude and edgy for my current tastes, honestly.
The amount of references to sex, violence and bodily fluids is just exhausting at some point, even
if there were some of these moments that made me laugh out loud. Moments that seemed like they were supposed to be badass just left me thinking ''Wow what assholes'' instead.
There's other issues, but I feel like it's more that this comic just isn't for me. I don't know shit about
Hunter S. Thompson either but hey some of the themes about journalism seemed pretty neat.
Overall this second half felt less good than the first, tbh. I liked this series the most when it had self contained stories that showed something about the world
and characters in a comedic way, and liked some aspects of the social commentary,
but I honestly didn't care too much for the writing style or political and social commentary on the whole
and found it a bit..Hypocritical? And not in a way that seems intentinal?
I dunno as fun as spider's ''lovable asshole''
antics can be at times, he can also just be too off putting and tiring to me.
I did like how it usually hard a dark comedy tone,
which then contrasted with serious issues without really feeling too out of place. My favorite was the one
where a woman wakes up in the future, it works perfectly fine on its own.
The plot was executed pretty well, but eehm, for one it feels like spider gets away with everything because...He's spider? Almost got Deus Ex Machina vibes. And well, the beast was more interesting than Calahan and it was
all about callahan. I feel like that whole brain damage thing went nowhere (It was interesting in concept though). I also felt like the whole
vita thing didn't work too well for me? The ending wrapped things up pretty well, no problems there.
Maybe certain parts could use more nuance, various characters could use work (The assistants really deserved development but everything somehow had to revolve around spider..Hell the comic even acknowledged that..),
the pacing of the overarching plot could be better, and I felt confused
about some aspects of the world building, but my favorite part was the overall world building
in both the detailed art and the writing,
as well as the interactions between spider and his filthy assistants. I also think that overall, it's just well written(if I ignore the style I'm not into) and has great art (the faces look a bit odd sometimes but I love the detailed backgrounds), and the series has a very distinct memorable identity. I don't think it deserves a low rating, and I quite enjoyed some of my time with it, but again, it's not really for me. I don't like it nearly as much as all these other people seem to, and maybe I would have liked it more had I read it when I was younger and had more of a preference for this kind of humor and dialogue.
This entire review has been hidden because of spoilers.
November 2, 2021
Transmetropolitan is old news for some. It was new to me, and I thought the final "deluxe" volume was a fitting end to the series.
Some of the jokes just aren't funny, some of the sequences are drawn out in a manner that breeds suspicion of padding, but the vibe overall is still fresh, twenty years on.
God knows, we wouldn't put anything past our politicians, and there are journalists who expose the truth. They're on substack, of course; not mainstream "papers."
I liked it.
Some of the jokes just aren't funny, some of the sequences are drawn out in a manner that breeds suspicion of padding, but the vibe overall is still fresh, twenty years on.
God knows, we wouldn't put anything past our politicians, and there are journalists who expose the truth. They're on substack, of course; not mainstream "papers."
I liked it.
January 28, 2023
I’ve read and reread this series a number of times.
Lot of flaws, lot of stuff I really like and remember and that stick in my head for later.
Lot of flaws, lot of stuff I really like and remember and that stick in my head for later.
March 31, 2023
While I personally think this was the weakest volume of Transmetropolitan, I can't deny the ending was satisfying and as a whole, this might be one of my favorite longrunning comic series ever. Warren Ellis and Darick Robertson successfully craft a beautiful yet grotesque transhumanist cyperpunk comic where the main theme is about the power of a journalist. The satire is always strong and at times poignant. The ending focuses on Spider's focused attempts at taking out the Smiler, America's newly elected president who stinks of corruption. Spider is also fighting against the clock, since his brain is quickly deteriorating due to a sustained head injury from the previous volume. Armed with his photographic glasses and a real gun this time, he and his assistants Yelena and Channon chip away at the Smiler's popularity.
The final set of issues move a little too briskly (I honestly think this series could have gone on for years more) and at times this is a bit repetitive with the stuff from the previous volumes. Robertson also gets assistance on the pencils from Rodney Ramos, who does an admirable job keeping the book look just as great as it always has. And one last shoutout to Nathan Eyring, a colorist who does a remarkable job bringing vibrancy to the finished layouts.
Transmetropolitan is a damned good read from start to finish, something only a small fraction of comic runs can claim.
The final set of issues move a little too briskly (I honestly think this series could have gone on for years more) and at times this is a bit repetitive with the stuff from the previous volumes. Robertson also gets assistance on the pencils from Rodney Ramos, who does an admirable job keeping the book look just as great as it always has. And one last shoutout to Nathan Eyring, a colorist who does a remarkable job bringing vibrancy to the finished layouts.
Transmetropolitan is a damned good read from start to finish, something only a small fraction of comic runs can claim.
April 30, 2021
Ок концовка для так себе комикса. Эллис заканчивает все основные арки и красиво завершает многоходовочку — и то спасибо.
Кровь из носа у Спайдера по-прежнему была ни к чему (это вообще слабый сюжетный ход). Погони рисовать Робертсон не умеет. Nazi midgets — это как-то не смешно и пошло на мой вкус. Зато арка Митчелла классная, хороший он журналист. И McX тоже прикольный.
А теперь давайте поговорим про всю серию целиком. Тут недавно бывшие Эллиса выкатили к нему коллективное обвинение, что он ими манипулировал. Мол, дарил подарки, делал комплименты и врал, что каждой что "она единственная такая", чтобы переспать с ними. На мой вкус, врать нехорошо, конечно. Но и обвинять человека в том, что он делал позитивные подкрепления — как-то странно. Интереснее другое. Из текста их обращения можно выделить несколько вещей. Во-первых, у Эллиса есть типаж: темноволосая девушка с готическими вкусами. Во-вторых, он выстраивал с ними отношения в духе 'гуру-ассистенка'. И в-третьих, он мутил с несколькими девчонками параллельно. Хм, уж больно это всё похоже на Спайдера Иерусалима.
Если вернуться к самому комиксу. То киберпанк из него получился слабый (мир не продуман, улицы все одинаковые, город просто называется The City), а сатира устарела еще в нулевые.
Кровь из носа у Спайдера по-прежнему была ни к чему (это вообще слабый сюжетный ход). Погони рисовать Робертсон не умеет. Nazi midgets — это как-то не смешно и пошло на мой вкус. Зато арка Митчелла классная, хороший он журналист. И McX тоже прикольный.
А теперь давайте поговорим про всю серию целиком. Тут недавно бывшие Эллиса выкатили к нему коллективное обвинение, что он ими манипулировал. Мол, дарил подарки, делал комплименты и врал, что каждой что "она единственная такая", чтобы переспать с ними. На мой вкус, врать нехорошо, конечно. Но и обвинять человека в том, что он делал позитивные подкрепления — как-то странно. Интереснее другое. Из текста их обращения можно выделить несколько вещей. Во-первых, у Эллиса есть типаж: темноволосая девушка с готическими вкусами. Во-вторых, он выстраивал с ними отношения в духе 'гуру-ассистенка'. И в-третьих, он мутил с несколькими девчонками параллельно. Хм, уж больно это всё похоже на Спайдера Иерусалима.
Если вернуться к самому комиксу. То киберпанк из него получился слабый (мир не продуман, улицы все одинаковые, город просто называется The City), а сатира устарела еще в нулевые.
December 11, 2021
I love all the subtle details of the dystopian society, whether it be the park benches the release viruses at night, or the way officers see things as a threat.
These pages have unfortunately proven to be too true in current times, from police abuse, to political corruption, to the way we treat our poor, to journalistic cowardice. This work really is what Colbert ranted about in the correspondent's dinner: A plucky journalist who roots out Washington corruption and exposes meaningfully it's misdeeds leading to the country changing. You know, fiction!
These pages have unfortunately proven to be too true in current times, from police abuse, to political corruption, to the way we treat our poor, to journalistic cowardice. This work really is what Colbert ranted about in the correspondent's dinner: A plucky journalist who roots out Washington corruption and exposes meaningfully it's misdeeds leading to the country changing. You know, fiction!
October 21, 2025
Required Reading
Relevant and prescient. Transmetropolitan is both and more. Warren Ellis and Darick Robertson at their best tell tales of political intrigue and social commentary that are as relevant today as they were in the ‘90s. You don’t have to look hard to find parallels to the current regime, in fact it’s hard to miss them.
Do yourself a favor, and read the entire series
Relevant and prescient. Transmetropolitan is both and more. Warren Ellis and Darick Robertson at their best tell tales of political intrigue and social commentary that are as relevant today as they were in the ‘90s. You don’t have to look hard to find parallels to the current regime, in fact it’s hard to miss them.
Do yourself a favor, and read the entire series
Read
July 22, 2024Good series, clearly we didn’t learn anything from it as a society. Publishing it now would get it labeled as “too timely.” Not exactly the arc I expected from seeing a picture of Spider when I was 14, but what does that have to do with anything? Not much.
February 25, 2022
A really fantastic ending to the series.
July 26, 2022
Book 5 was definitely the highlight and a great end to the series. Surprised at how drawn in I was to Spider and his filthy assistants. Solid 4/5 / 8.5/10 for the whole run.
December 16, 2022
5/5 for the totality of it all. It's most definitely a product of its time and somewhat prescient, but an absolute burner on many levels.
September 2, 2023
Достойное завершение прекрасной серии.
December 23, 2024
the chair leg of truth motherfucker
October 14, 2025
A great and frightening ending to one of my favourite comic series of all time.
August 28, 2025
“It always works. I always get away with it. I always come back. You don’t get it. You’re all here for my amusement. That’s all. If the President does it, it’s not a crime.” - President Callahan aka The Smiler
Duuuuude. That was fan-f*cking-tastic. This series is up there with Sandman as one of the best of all time. Is it slow and strange at the start, especially if you don’t read political satire insanity? Sure. Are there serious cringe/edge-lordy moments? Absolutely.
But the writing is awesome. The art is crazy detailed and incredible. And don’t get me started on that ending. Perfection.
It’s an entertaining and thought-provoking read overall. I’ll definitely be adding the trades or whatever physical copies I can get my hands on to my shelf.
Duuuuude. That was fan-f*cking-tastic. This series is up there with Sandman as one of the best of all time. Is it slow and strange at the start, especially if you don’t read political satire insanity? Sure. Are there serious cringe/edge-lordy moments? Absolutely.
But the writing is awesome. The art is crazy detailed and incredible. And don’t get me started on that ending. Perfection.
It’s an entertaining and thought-provoking read overall. I’ll definitely be adding the trades or whatever physical copies I can get my hands on to my shelf.
April 20, 2025
This series closed out with far more elegance than expected. Given its crass, anarchistic nature, the fact that it didn’t lean into that chaotic energy is—somewhat disappointingly—surprising.
However, considering my previous review, where I noted the more grounded storytelling in the last book, it feels like Ellis’s foresight was indeed 20/20. The ‘noise’ of the City is stripped down here, revealing its true essence with striking clarity. As both the characters and the inhabitants of the City are left with nothing but the story—the truth—it creates a finale that is quiet yet deafening in its defense of simplicity.
An absolute banger of a series, and a testament to why graphic novels deserve to be praised and examined as the high-tier literature they are.
However, considering my previous review, where I noted the more grounded storytelling in the last book, it feels like Ellis’s foresight was indeed 20/20. The ‘noise’ of the City is stripped down here, revealing its true essence with striking clarity. As both the characters and the inhabitants of the City are left with nothing but the story—the truth—it creates a finale that is quiet yet deafening in its defense of simplicity.
An absolute banger of a series, and a testament to why graphic novels deserve to be praised and examined as the high-tier literature they are.
April 12, 2025
Still one of the greatest works of political satire of the last few decades. Smart, funny, weird as hell and not afraid to ask why you're not paying attention when politicians screw you over. Absolutely fantastic.
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