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Transmetropolitan (Collected Editions) #7-8
Трансметрополитен. Книга 4. Мусор Спайдера. Заупокойная. Городские отбросы
Спайдер Иерусалим — это Хантер Томпсон грядущих дней, гонзо-журналист эпохи победившего киберпанка. Вернувшись в Город после пятилетнего отсутствия и немедленно снова прославившись прямым репортажем о подавлении полицией бунта генномодифицированных трансов, Спайдер принимается за то, что выходит у него лучше всего, — расшатывает вертикаль власти. Президент от «партии закона и порядка», которого с легкой руки Спайдера все называют Чудовищем, отправился в политическое забвение, и в Белом доме обосновался калифорнийский сенатор Гари Каллахан по прозванию Весельчак, незадолго до своей победы на выборах обещавший Спайдеру: «Никому не дано так меня унизить. И уйти безнаказанным. Я до тебя доберусь, Иерусалим. В порошок сотру. В самый неожиданный момент». Что же, момент настал. Одним махом Спайдер лишается работы, жилья и доступа к банковскому счету. Но, разумеется, «журналист вне закона» заранее подготовился к уходу в подполье. Теперь у Спайдера полностью развязаны руки. Его знаменитая колонка будет выходить на независимом новостном ресурсе «Дупло». Ну и сверхзадачи «скинуть президента» никто не отменял…
344 pages, Hardcover
First published February 1, 2015
14 people are currently reading
156 people want to read
About the author
Warren Ellis
1,972 books5,771 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.
Ratings & Reviews
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Displaying 1 - 12 of 12 reviews
September 11, 2023
Really enjoyable book, more world building than a big central plot for this one but the world it is building is weird and interesting which makes the book fun to read. It also felt like a big set up for the final book so I’m looking forward to the finale!
April 30, 2021
Опять тоска.
Противостояние Смайлера и Спайдера разворачивается, но следить за ним (пока) неинтересно. Да и общая многоходовочка слишком надуманная получается.
Особенно меня раздражал выпуск про уличную проституцию. Это сложная социальная тема, про которую можно и нужно делать хорошую журналистику. Но эмоциональные манипуляции Эллиса этой темой в вымышленном и сатиричном мире выглядят дешево и обесценивающе.
Из хорошего: есть немного экшена, чтобы разбавить немного тоску тома. И колонки Спайдера в конце (те, что про фантастику) — хороши.
Противостояние Смайлера и Спайдера разворачивается, но следить за ним (пока) неинтересно. Да и общая многоходовочка слишком надуманная получается.
Особенно меня раздражал выпуск про уличную проституцию. Это сложная социальная тема, про которую можно и нужно делать хорошую журналистику. Но эмоциональные манипуляции Эллиса этой темой в вымышленном и сатиричном мире выглядят дешево и обесценивающе.
Из хорошего: есть немного экшена, чтобы разбавить немного тоску тома. И колонки Спайдера в конце (те, что про фантастику) — хороши.
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.
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.
March 27, 2023
Year Four of Transmetropolitan begins with Spider Jerusalem seeking an underground outlet for publication following his dismissal by the Word. Spider's resolve to take down President Callahan/The Smiler has only continued to heat up, especially as the Smiler begins to enact greater authoritarian control. While the series maintains its signature transgressive humor, there are some subtantially darker and more serious stories in this collection. Issue #40 ("Business") stands out as an abjectly horrifying look at child prostitution in the city and how no resources provided can make up for the innate disregard adults have for the situation. The following issue ("There is a Reason") takes a look into the systematic negligence towards mental health issues. Transmetropolitan isn't a bastion of social commentary by any means, but for compressed stories spanning single issues, it's pretty compelling stuff.
The second half of this volume puts the spotlight on how Callahan's policies are further damaging the nation, and in particular, how his complete corruption has begun to escalate the erosion of systems (media, police, etc.). Spider takes this as a personal affront, and after a life threatening injury, vows to take down the Smiler. Helping him are his ever faithful (and filthy) assistants, Channon and Yelena, who balance out the roster of characters quite well.
Darick Robertson's artwork continues to be splendid, with more emphasis on action via splash pages in this set of issues. The colors & seps by Nathan Eyring are also unsung heroes, since so much of the worldbuilding comes from the vibrant backgrounds and cityscapes that make up Transmetropolitan. I'm kind of sad that I'm coming up on the end here, especially since the series seems like it could have sustained a substantially longer run based on the infinite storytelling possibilities.
The second half of this volume puts the spotlight on how Callahan's policies are further damaging the nation, and in particular, how his complete corruption has begun to escalate the erosion of systems (media, police, etc.). Spider takes this as a personal affront, and after a life threatening injury, vows to take down the Smiler. Helping him are his ever faithful (and filthy) assistants, Channon and Yelena, who balance out the roster of characters quite well.
Darick Robertson's artwork continues to be splendid, with more emphasis on action via splash pages in this set of issues. The colors & seps by Nathan Eyring are also unsung heroes, since so much of the worldbuilding comes from the vibrant backgrounds and cityscapes that make up Transmetropolitan. I'm kind of sad that I'm coming up on the end here, especially since the series seems like it could have sustained a substantially longer run based on the infinite storytelling possibilities.
December 27, 2020
Another great instalment!! If you've read the previous ones you'll either have read it and loved it and know what i mean
May 1, 2021
Probably great in the 2000s, pretty tame for the 2020s
April 24, 2024
Abide and regain squandered insight
Once again the pursuit of an addicts path through least resistance takes force and fury to the low and the high
Once again the pursuit of an addicts path through least resistance takes force and fury to the low and the high
September 21, 2025
Really good beginning to end. Tore through it.
April 20, 2025
4.75. Still an amazing read, though this time around, I found it more polarizing—and I think I know why.
The balls-to-the-wall satire that has defined this world takes a noticeable backseat here, making way for more direct, nail-on-the-head storytelling. Jerusalem’s exposés on child prostitution and the mental health crisis exemplify this shift, as does his own reckoning with mortality. It all felt too real for the narrative I’ve been immersed in up to this point. Then again—maybe that’s the intention now that we’re nearing the end.
Regardless of my misgivings, this series has been consistently fantastic, and that remains true here. On to the finale.
The balls-to-the-wall satire that has defined this world takes a noticeable backseat here, making way for more direct, nail-on-the-head storytelling. Jerusalem’s exposés on child prostitution and the mental health crisis exemplify this shift, as does his own reckoning with mortality. It all felt too real for the narrative I’ve been immersed in up to this point. Then again—maybe that’s the intention now that we’re nearing the end.
Regardless of my misgivings, this series has been consistently fantastic, and that remains true here. On to the finale.
July 2, 2025
Stars: 4.5 (rounded to 5 on Goodreads)
“This place just breaks your f*cking heart.”
“Paranoids are just people with all the facts.”
Crazy sh*t ensues!
It’s Spider vs the President and things come to a head. These issues are insane and I can’t really get into it without giving everything away. I loved the progression and can’t wait to see how this all ends.
“This place just breaks your f*cking heart.”
“Paranoids are just people with all the facts.”
Crazy sh*t ensues!
It’s Spider vs the President and things come to a head. These issues are insane and I can’t really get into it without giving everything away. I loved the progression and can’t wait to see how this all ends.
July 7, 2021
Sad and real. Includes commentary or themes on broken systems, child prostitution, mental healthcare and homelessness, law enforcement, and political doublespeak. Lacks the energy and pace of the previous books.
Displaying 1 - 12 of 12 reviews