0294. Transmetropolitan #10, June 1998, written by Warren Ellis, penciled by Darick Robertson
My Score: 8.4
0286. Transmetropolitan #9, May 1998, written by Warren Ellis, penciled by Darick Robertson
My Score: 8.6
0285. Transmetropolitan #8, April 1998, written by Warren Ellis, penciled by Darick Robertson
Best issue of the series so far. Best issue because, again, this is science told from a realistic, human perspective. Stories sometimes romanticize the notion of getting your head frozen and unthawed at a future time, but not Transmet. This is the cold hard “truth,” which is what this series (and Spider) is all about. It didn’t even occur to me that the narration of the story was probably Spider. I just am used to narration for narration’s sake in other comics. The reveal that this was a story written by Spider was a nice touch at the end, and another example of a story not starring the main character still being about the main character. Spider’s quest to speak for the forgotten voices and unearth long ignored truths is what this issue is about.
My Score: 8.8
0284. Transmetropolitan #7, March 1998, written by Warren Ellis, penciled by Darick Robertson
Ellis writes an issue that ties his wacky future science to the emotions of a character, and thus succeeds. Very good.
My Score: 8.7
0219. Transmetropolitan #6, February 1998, written by Warren Ellis, penciled by Darick Robertson
I have to say that I like it when Warren Ellis focuses his attention on character over statement. In an issue filled with venomous rants against both traditional and whack-a-do organized and unorganized religion, taking each down like a no BS sharpshooter with truth bullets…the only thing that comes even close to captivating me is Channon’s admittance that the man she loves doesn’t love her back. And that probably makes me some sappy, overly sensitive guy who, admittedly, has very few radically anti-establishment thoughts. But reading a good character moment, a true one that redefines a character, that’s what comics are for. When you can push those in a way that makes a wider political point, sure that’s good too. I just feel that sometimes the “message” is getting in the way of story telling. And I’m not reading comics to read political and philosophical theories, I’m reading them for stories. Having Spider go to a religion convention just to beat up, yell at and deflate the ideas of the criminally insane zealots…that’s not a lot of plot. It does further establish his role as a fighter for ultimate truth, which we get more insight in in this issue, it’s just still not enough for me to really relate to or care about him as a character. And that’s fundamental to me enjoying a comic. I have to at least like, or like to hate, a character. Right now I feel like I’m reading Warren Ellis’ opinions on everything, drawn by Darick Robertson.
My Score: 8.3
0210. Transmetropolitan #5, January 1998, written by Warren Ellis, penciled by Darick Robertson
Some of Ellis’ work just borders on personal ranting, and this issue’s unrelentingly perverse take on late ’90s TV trends is pretty firmly in the personal ranting section. Which is okay, as it’s pretty entertaining and funny. Just nothing in the way of plot or advancing any ongoing story.
My Score: 8.4
0180. Transmetropolitan #4, December 1997, written by Warren Ellis, penciled by Darick Robertson
Glad to see that the cast is getting filled out and the status quo is shaping up. Still, too much poop humor.
My Score: 8.5
0175. Transmetropolitan #3, November 1997, written by Warren Ellis, penciled by Darick Robertson
My Score: 8.7
0174. Transmetropolitan #2, October 1997, written by Warren Ellis, penciled by Darick Robertson
My Score: 8.6
0173. Transmetropolitan #1, September 1997, written by Warren Ellis, penciled by Darick Robertson
Good. Ellis’ work always manages to be stuff I love even though it contains levels of dark pretentiousness that I cannot tolerate in other Grant Morrison-shaped writers. Ellis makes up for that by writing books that are genuinely fun and funny, and also taking the time to do extensive research on characters he didn’t create when he does freelance big superhero stuff. Those are two qualities I’ve found lacking from Morrison’s stuff (New X-Men).
This is nowhere close to being as amazing as Planetary…yet. Or The Authority. Yet. Good premise, good first issue. A raunchy noir tale set in the distant (?) future where…print still exists? I love that the 1997 version of the future includes a whole mess of techno-insanity and also newspapers. Print is disappearing more and more everyday and this is just ten years later, so this just sticks out to me. Of course we didn’t actually see any of this “print” so maybe it is all on computers in this future.
Anyway, good first issue. Interested in seeing where this goes.
My Score: 8.6
