1950 Superman Poster Urged Kids to Defend All Americans, Regardless of Their Race, Religion or National Origin

superman-all-american

It makes sense that Super­man would take a tol­er­ant view of immi­grants and oth­er minori­ties, giv­en that he him­self arrived on Earth as a refugee from the plan­et Kryp­ton.

The Man of Steel may strike you as an unlike­ly mouth­piece for pro­gres­sive ideals, but 1950 found him on a book cov­er, above, engaged in con­ver­sa­tion with a small crowd of most­ly white boys:

“…and remem­ber, boys and girls, your school – like our coun­try – is made up of Amer­i­cans of many dif­fer­ent races, reli­gions and nation­al ori­gins, so … If YOU hear any­body talk against a school­mate or any­one else because of his reli­gion, race or nation­al ori­gin – don’t wait: tell him THAT KIND OF TALK IS UN-AMERICAN. HELP KEEP YOUR SCHOOL ALL-AMERICAN!”

In oth­er words, cit­i­zens must steel them­selves to take action, because you can’t always count on a super­hero to show up and make things right.

The cheap paper jack­et, above, was dis­trib­uted to school chil­dren by the Insti­tute For Amer­i­can Democ­ra­cy, an off­shoot of the New York-based Anti-Defama­tion League.

(Per­haps Pres­i­dent Elect was too young to receive a copy. The back of the cov­er includes a grid for fill­ing in one’s class sched­ule and he was but four years old at the time.)

Super­man could not sur­vive Dooms­day, but the Anti-Defama­tion League, plan­et Krp­ty­on to the illus­tra­tion’s orig­i­nal dis­trib­uter, con­tin­ues to uphold the val­ues he pro­motes above.

Jonathan Green­blatt, the ADL’s CEO issued a post-Elec­tion state­ment that reads in part:

Already there have been trou­bling signs of a spike in hate crimes in the days after the elec­tion. As we look ahead, ADL will be vig­i­lant against extrem­ism and relent­less­ly hold the new admin­is­tra­tion account­able. You can expect ADL to be unwa­ver­ing in its com­mit­ment to fight­ing anti-Semi­tism, racism and big­otry.  We will mon­i­tor devel­op­ments and speak out.

And wher­ev­er and when­ev­er Jews, minor­i­ty groups, immi­grants, and oth­ers are mar­gin­al­ized or our civ­il lib­er­ties are threat­ened, ADL vig­or­ous­ly will defend those rights … We will not shrink from the fight ahead regard­less of where it takes us.

In addi­tion to main­tain­ing a data­base of hate sym­bols and a form where cit­i­zens can report Anti-Semit­ic, racist, or big­ot­ed encoun­ters, the ADL has a robust list of edu­ca­tion­al resources for par­ents, teach­ers and youth.

Mean­while, a full col­or ver­sion of the 66-year-old illus­tra­tion has been mak­ing the rounds on social media. Let us con­sid­er it a place­hold­er. Even­tu­al­ly some­one will sure­ly take it back to the draw­ing board to add more girls, chil­dren with dis­abil­i­ties, and chil­dren of col­or.

superman-all-american-color

Relat­ed Con­tent:

High School Teacher & Holo­caust Expert Sus­pend­ed for Draw­ing Par­al­lels Between Trump & Hitler’s Rhetoric

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

Bat­man Stars in an Unusu­al Car­toon Adap­ta­tion of Dostoyevsky’s Crime and Pun­ish­ment

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

The Orig­i­nal 1940s Super­man Car­toon: Watch 17 Clas­sic Episodes Free Online

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

A Map of Chicago’s Gangland: A Cheeky, Cartographic Look at Al Capone’s World (1931)

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Mod­ern day Chicagoland gang activ­i­ty does not inspire quip­py car­toon “won­der maps.” Back when Al Capone ruled Chicago’s under­world, the pub­lic viewed gang­sters with movie mag­a­zine breath­less­ness. Their vio­lent crimes and glam­orous lifestyles sold news­pa­pers and movie tick­ets.

Today? Gangs­ta rap—a genre not known for its whimsy—glorifies the hard­core exis­tence of kids whom the sys­tem has failed, trapped in a cycle of pover­ty, com­pound­ing the social prob­lems that were heaped on them at birth. 

But back to 1931, the year Capone was sent to prison for tax eva­sion, and local firm Bruce-Roberts pub­lished Chicago’s Gang­land map, above, from “authen­tic sources.”

As any civic mind­ed reformer knows, the best way to “incul­cate the most impor­tant prin­ci­ples of piety and virtue in young per­sons” is to pack all “the evils and sin of large cities” into some­thing resem­bling a large-scale com­ic book. 

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If the 30 exe­cu­tion orders post­ed on Dead Man’s Tree doesn’t scare ‘em straight, per­haps 1750 cas­es of gov­ern­ment booze and some scant­i­ly clad danc­ing girls will!

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Nat­u­ral­ly, the site of 1929’s Saint Valentine’s Day Mas­sacre gets star treat­ment, with a graph­ic depic­tion guar­an­teed to stir the imag­i­na­tion far more than a vis­it to the actu­al site itself.

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The pub­lish­er thought­ful­ly includ­ed a Gang­land Dic­tio­nary to fur­ther incul­cate the impres­sion­able youth and explain the pres­ence of two pineap­ples in the car­touche

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Click here to view the map in a larg­er for­mat. Then zoom in to explore this light­heart­ed spin on Chicago’s wicked past in greater detail. The moral instruc­tion con­tin­ues in the form of poster-sized repro­duc­tions whose sale ben­e­fits Chicago’s New­ber­ry Library.

via Slate

Relat­ed Con­tent:

“The Won­der­ground Map of Lon­don Town,” the Icon­ic 1914 Map That Saved the World’s First Sub­way Sys­tem

A Won­der­ful Archive of His­toric Tran­sit Maps: Expres­sive Art Meets Pre­cise Graph­ic Design

Down­load 67,000 His­toric Maps (in High Res­o­lu­tion) from the Won­der­ful David Rum­sey Map Col­lec­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

New Web Comic Revisits the Artists & Writers at the Bloody ’68 Convention: Jean Genet, William S. Burroughs & More

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Draw­ing of William S. Bur­roughs by Nathan Gelgud/The Paris Review

Amer­i­ca’s polit­i­cal cir­cus will soon roll through Cleve­land and then Philadelphia–the sites of the Repub­li­can and Demo­c­ra­t­ic Nation­al Con­ven­tions. And, not with­out some mer­it, there’s con­cern that the car­ni­vals could turn vio­lent, as hap­pened in 1968, when Chicago’s may­or Richard Daley, backed by 23,000 police and Nation­al Guards­men, assault­ed pro­test­ers in the streets. A fed­er­al report lat­er called it a dis­play of “unre­strained and indis­crim­i­nate police vio­lence.”

This week, that tumul­tuous ’68 con­ven­tion is being com­mem­o­rat­ed in a com­ic over at The Paris Review. Issued in dai­ly install­ments by illus­tra­tor Nathan Gel­gud, the comic–simply titled “Uncon­ven­tion­al”–looks at the writ­ers, artists, and demon­stra­tors who attend­ed the con­ven­tion. Part 1 fea­tures poet, singer, activist Ed Sanders. Part 2 puts Jean Genet cen­ter stage (who knew he was there?). Part 3 focus­es on Nor­man Mail­er, who was always ready for a fight. Part 4 gives us the inim­itable William S. Bur­roughs, and Part 5, Ter­ry South­ern. You can fol­low the series here.

To learn more about what hap­pened at that his­toric con­ven­tion, you can read Bat­tle­ground Chica­go: The Police and the 1968 Demo­c­ra­t­ic Nation­al Con­ven­tion.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

R Crumb, the Father of Underground Comix, Takes Down Donald Trump in a NSFW 1989 Cartoon

trump-crumbTrump Crumb

Nature’s way is to take away from those that have too much and give to those that have too lit­tle. Man’s way, on the con­trary, is to take away from those who have too lit­tle to give more to those who already have too much. 

Lao Tzu, Tao Te Ching, cir­ca 500 BC

Two and a half thou­sand years lat­er, the ancient sage’s quote con­tin­ues to res­onate, espe­cial­ly in this elec­tion year.

Lest we get too gloomy, there is anoth­er quote I would like to sub­mit:

And isn’t this a nut­ty kin­da coun­try where you can draw any irrev­er­ent, degrad­ing thing about the most pow­er­ful peo­ple and nobody cares! You don’t get jailed. You don’t get per­se­cut­ed. They just ice you out of the mar­ket­place. 

- R Crumb, Hup, 1989

Crumb is to under­ground comix as Lao Tzu was to Tao­ism, but the fame Crumb achieved in the late 60s and ear­ly 70s did not pro­tect him from the 80s, “an awful decade” as he told the Observ­er. His aston­ish­ing cre­ative out­put nev­er flagged, but he hat­ed the cul­ture and strug­gled to make ends meet:

…it all grad­u­al­ly fell apart through the 70s, and by the 80s with the rise of the yup­pies, Reagan’s elec­tion and the real estate boom. In Cal­i­for­nia it was always about real estate ever since the Gold Rush, but the 80’s saw a new explo­sion of it. They went crazy. Every­body was get­ting their real estate license. They kept on build­ing these hideous hous­ing devel­op­ments where we lived. It used to be farm­land there when we first arrived, then every­thing became a fight. Dow Chem­i­cal tried to come there, we fought that. Then the Super Col­lid­er, we fought that. It was this con­stant bat­tle against these forces of devel­op­ment and busi­ness. 

In 1991, he fled Amer­i­ca for a small vil­lage in South­ern France, a pre­scient move, giv­en “Point the Fin­ger,” a com­ic pub­lished two years ear­li­er in his short-lived Hup series. The semi-fic­tion­al five-pager pits Crumb him­self against real estate devel­op­er Don­ald Trump, billed as “one of the more vis­i­ble big time preda­tors who feed on soci­ety,” as well as “one of the most evil men alive.”

The then-42-year-old Trump is quick to take Crum­b’s bait, pil­ing on some insults of his own. He may not be famil­iar with the car­toon­ist’s work, but he knows how to mount an attack, with labels like “crass,” “venal,” “some kind of self-styled ter­ror­ist,” “the pic­ture of neg­a­tiv­i­ty,” and “filled with hate.” Had Crumb set this smack down on a beach, Trump would be the bul­ly kick­ing sand in the scrawny nerd’s face, as a cou­ple of hot babes look on, admir­ing­ly.

In fact, the com­ic comes very close to end­ing on such a note. Two of Crumb’s char­ac­ter­is­ti­cal­ly pow­er­ful­ly-thigh­ed females are on hand, osten­si­bly as mem­bers of his camp. Their heads are quick­ly turned, how­ev­er, by an invi­ta­tion to Mar-a-Lago, Trump’s lav­ish Palm Beach estate. The Don­ald starts look­ing pret­ty good to Tra­cy and Marny, bedaz­zled by the promise of ban­quets, man­i­cures, world-class enter­tain­ment, and a hedo­nis­tic after-hours romp with Trump and his then-wife Ivana.

The car­toon­ist, defeat­ed, com­pares the tycoon to Tri­mal­chio, the vul­gar but loaded host of Petro­n­ius’ Satyri­con, before prepar­ing to take things out with the Lao Tzu quote at the top of this post.

It’s here that things take a turn for the meta, as Stan “the Man” Shnoot­er, the self-assured fic­tion­al pro­duc­er of Hup, ral­lies Crumb to assert autho­r­i­al con­trol.

Crumb rewinds to a piv­otal moment. In this redo, Tra­cy and Marny remain stead­fast. The bul­ly is frog­marched to the toi­let to be giv­en a taste of his own med­i­cine. The saga draws to a close with the sort of acro­bat­ic, ques­tion­ably con­sen­su­al, NSFW sex that has rained fem­i­nist ire on Crumb for years, as the unlike­ly con­quer­er savors vic­to­ry in his pre­ferred style.

Is it fan­ta­sy? Real­i­ty? All just a dream?

(Any way you slice it, I’m pret­ty sure Tra­cy and Marny aren’t the win­ners…)

You can check out Crumb’s 1989 Trump com­ic in its extreme­ly NSFW entire­ty here or buy Hup, Issue 3 to read it the old fash­ioned way. Some of the tamer pan­els can be sam­pled here.

Relat­ed Con­tent:

R. Crumb Shows Us How He Illus­trat­ed Gen­e­sis: A Faith­ful, Idio­syn­crat­ic Illus­tra­tion of All 50 Chap­ters

R. Crumb Describes How He Dropped LSD in the 60s & Instant­ly Dis­cov­ered His Artis­tic Style

Noam Chom­sky on Whether the Rise of Trump Resem­bles the Rise of Fas­cism in 1930s Ger­many

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

The Life of Prince in a 24-Page Comic Book: A New Release

prince comic cover

Since Prince’s death in April, writ­ers have been try­ing to sum up a life lived that was both very pri­vate and yet also felt like it exist­ed in our DNA. Much like Bowie, the Prince we knew was the one we shared and we saw and we sang. So how to get that life into a 24 page com­ic book?

Released June 7th on Prince’s birth­day, Trib­ute: Prince is a primer on the musician’s life and pass­ing writ­ten by Michael L. Frizell and illus­trat­ed by Span­ish artist Ernesto Lovera. The com­ic actu­al­ly dates from 2013, when it was released as Fame: Prince, but Ital­ian illus­tra­tor Vin­cen­zo San­sone has con­clud­ed the sto­ry of his life with three extra pages now added to the tale, which alludes to Prince’s opi­oid use, his demand­ing sched­ule, and the pub­lic reac­tion to his pass­ing.

purple rain comic

Frizell starts the tale from a fan’s per­spec­tive, as a teen girl in 1984, secret­ly enjoy­ing his music, hid­ing the fact from her par­ents. The sto­ry then jumps back to Prince’s child­hood, his strug­gle to get a record­ing con­tract, and his explo­sive fame. Read­ers will spot numer­ous allu­sions to Prince’s lyrics in the text, as well. Frizell has also writ­ten issues of Trib­ute about David Bowie and Mot­ley Crüe, and said in a pro­mo state­ment, “The sub­jects of [Prince’s] songs spoke to me in ways I did­n’t under­stand until I was old­er, but the dark poet­ry of them com­pelled me to keep lis­ten­ing. To this day, my iPod is full of his work and I lis­ten to it as I write.”

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The sin­gle issue com­ic is avail­able online and in stores and comes with three dif­fer­ent cov­ers by David Frizell, Vin­cen­zo San­sone, and Pablo Mar­ti­ne­na. It runs $3 or $4. If you have Kin­dle Unlim­it­ed plan, you can get it for free.

Relat­ed con­tent:

See Prince (RIP) Play Mind-Blow­ing Gui­tar Solos On “While My Gui­tar Gen­tly Weeps” and “Amer­i­can Woman”

Hear Aman­da Palmer’s Cov­er of “Pur­ple Rain,” a Gor­geous Stringfelt Send-Off to Prince

Prince (RIP) Per­forms Ear­ly Hits in a 1982 Con­cert: “Con­tro­ver­sy,” “I Wan­na Be Your Lover” & More

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

How to Look at Art: A Short Visual Guide by Cartoonist Lynda Barry

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Despite the small, nar­ra­tive doo­dle post­ed to her Tum­blr a cou­ple of weeks back, inspi­ra­tional teacher and car­toon­ist Lyn­da Bar­ry clear­ly has no short­age of strate­gies for view­ing art in a mean­ing­ful way.

She takes a Socrat­ic approach with stu­dents and read­ers eager to forge a deep­er per­son­al con­nec­tion to images.

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She traces this ten­den­cy back forty years, to when she stud­ied with Mar­i­lyn Fras­ca at Ever­green State Col­lege. Could Fras­ca have antic­i­pat­ed what she wrought when she asked the young Bar­ry, “What is an image?”

For Bar­ry, who claims to have spent over forty years try­ing to answer the above ques­tion, there will almost always be an emo­tion­al com­po­nent. In a 2010 inter­view with The Paris Review, she addressed the ways in which art, visu­al and oth­er­wise, can fill cer­tain cru­cial holes:

In the course of human life we have a mil­lion phan­tom-limb pains—losing a par­ent when you’re lit­tle, being in a war, even some­thing as dumb as hav­ing a mean teacher—and see­ing it some­how reflect­ed, whether it’s in our own work or lis­ten­ing to a song, is a way to deal with it.

The Greeks knew about it. They called it cathar­sis, right? And with­out it we’re fucked. I think this is the thing that keeps our men­tal health or emo­tion­al health in bal­ance, and we’re born with an impulse toward it.

No won­der the snag­gle-toothed dog woman on Barry’s Tum­blr looks so anx­ious. She craves that elu­sive some­thing that nev­er much trou­bled Helen Hockinson’s muse­um-going com­ic matrons.

(Had rev­e­la­tion been on the menu, those ladies would have duti­ful­ly paged through the most high­ly rec­om­mend­ed guide­book of the day, con­fi­dent they’d find it with­in those pages.)

These days, the inter­net abounds with point­ers on how to get the most from art.

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Houston’s Muse­um of Fine Arts lob­bies for a four-point method, well suit­ed to class­room dis­cus­sion.

The Wash­ing­ton Post’s Pulitzer Prize-win­ning art and archi­tec­ture crit­ic Philip Ken­ni­cott pre­scribes time and silence.

Anoth­er crit­ic, New York magazine’s fire­brand, Jer­ry Saltz, rec­om­mends an aggres­sive­ly tac­tile approach for those who would look at art like an artist. Get up close. Cop a feel. Try to see how any giv­en piece is made. (He him­self is giv­en to con­tem­plat­ing art with his hips thrust for­ward and head tilt­ed back as far as it will go, in dupli­ca­tion of Jasper Johns’ stance.)

Look­ing for some­thing more graph­ic? Abstract Expres­sion­ist Ad Rein­hardt helped the post-War pub­lic get a han­dle on mod­ern art in his icon­ic How to Look series.

For­mer muse­um edu­ca­tor, Cindy Ingram, the Art Cura­tor for Kids, echoes the spir­it of Barry’s sen­ti­ment when she states that a child’s inter­pre­ta­tion of a work’s mean­ing is no less valid than Wikipedia’s, the museum’s, or even the artist’s. Adults, don’t squelch a child viewer’s joy of art by telling him or her what to think!

Of course, some of us don’t mind a hint or two to help us feel we’re on the right track. Those in that camp might enjoy the Met­ro­pol­i­tan Muse­um of Art’s 82nd and 5th series, in which expert cura­tors wax rhap­sod­ic about their love of par­tic­u­lar works in the col­lec­tion.

You under­stand that this is just the tip of the prover­bial ‘berg…

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Read­ers, if you have any tips for achiev­ing rev­e­la­tion through art, please share them by leav­ing a com­ment below.

And don’t for­get to lift your short­er com­pan­ion up so he can see bet­ter.

Bar­ry’s short series of images orig­i­nal­ly appeared on her Tum­blr.

Relat­ed Con­tent:

Lyn­da Barry’s Illus­trat­ed Syl­labus & Home­work Assign­ments from Her New UW-Madi­son Course, “Mak­ing Comics”

Car­toon­ist Lyn­da Bar­ry Shows You How to Draw Bat­man in Her UW-Madi­son Course, “Mak­ing Comics”

Join Car­toon­ist Lyn­da Bar­ry for a Uni­ver­si­ty-Lev­el Course on Doo­dling and Neu­ro­science

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Philosophy Prof Illustrates Nietzsche’s Zarathustra in the Style of Dr. Seuss

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John Hol­bo, a phi­los­o­phy prof at the Nation­al Uni­ver­si­ty of Sin­ga­pore, recent­ly gave the world a free illus­trat­ed edi­tion of three dia­logues by Pla­to (get it as a free PDF, or via Ama­zon). Now he’s embark­ing on a new cre­ative project called On Beyond Zarathus­tra.

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Over on the Crooked Tim­ber blog, Hol­bo light-heart­ed­ly launched the project with these words:

Ever since Pla­to wrote Socrates “Will You Please Go Now!” and “If I Ran The Polis!” great philoso­phers have most­ly start­ed out as authors of (what we would now call) Dr. Seuss-style children’s books. A lot of this old stuff has been lost. Schol­ars have neglect­ed it. But I’m under­tak­ing a project of restora­tion and study, start­ing with Niet­zsche.

I’ll be post­ing updates reg­u­lar­ly to the Flickr page – few pages a week as my work pro­ceeds. We’re just get­ting to the good bits: The Rope Dancer and the Last Man!

Please do feel to share with any friends who may have a schol­ar­ly inter­est in the his­to­ri­og­ra­phy of phi­los­o­phy. (I’ll have some more notes about that soon.)

We’ve post­ed here the first four pages of Hol­bo’s new graph­i­cal project.

holbo4

To see how the project unfolds, you can reg­u­lar­ly vis­it this album on Flickr. The are cur­rent­ly 22 pages, with the promise of many more to come soon.

holbo2

And, take note, once he’s done with Friedrich, Hol­bo promis­es to turn to Descartes and Kierkegaard and give them the same Dr. Seuss treat­ment. Enjoy the ride.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via Dai­ly Nous

Relat­ed Con­tent:

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

Hear Clas­si­cal Music Com­posed by Friedrich Niet­zsche: 43 Orig­i­nal Tracks

135 Free Phi­los­o­phy eBooks

Free Online Phi­los­o­phy Cours­es

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Get a Sneak Peek of Archangel, the New Comic Book by Cyberpunk Author William Gibson

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“The world is in ruins. The White House relo­cat­ed to the omi­nous-sound­ing Nation­al Emer­gency Fed­er­al Dis­trict in Mon­tana. They have tech­nol­o­gy that far out­strips our own.” A dystopi­an vision of the dis­tant future? Nope, a dystopi­an vision of Feb­ru­ary 2016 — the Feb­ru­ary 2016 of Archangel, a new com­ic-book series from actor-writer Michael St. John Smith, artist Butch Guice, and none oth­er than nov­el­ist William Gib­son, author of such sui gener­is works of sci­ence fic­tion, pil­lars of cyber­punk, or prophe­cies of the present as Neu­ro­mancer, All Tomor­row’s Par­tiesPat­tern Recog­ni­tion, and most recent­ly The Periph­er­ala pre­de­ces­sor, in a way, of Archangel’s sto­ry that plays out on more than one time­line.

“A father and son occu­py the new White House as Pres­i­dent and Vice Pres­i­dent,” writes Ars Tech­ni­ca’s Jonathan M. Gitlin. The younger over­lord of Amer­i­ca “has been sur­gi­cal­ly altered to resem­ble his grand­fa­ther, because Junior is about trav­el to an alter­nate Earth in 1945 to take grand­pa’s place, with the intent of remak­ing that world more to his lik­ing.” In response, “a pair of tat­tooed Marines go back in time to stop him, but things start to unrav­el when their stealth plane mate­ri­al­izes in a for­ma­tion of B‑17s in the skies above Berlin.” In that alter­nate 1945, “British intel­li­gence offi­cer Nao­mi Givens is tasked with find­ing out what just fell out of the skies of Berlin.” If you feel your curios­i­ty piqued — and how could­n’t you? — you can read through (above) pages of Archangel’s first issue, whose paper ver­sion quick­ly sold out. (You can also pur­chase the dig­i­tal one here.)

As the series goes on, it will sure­ly deliv­er more of the “alter­nate-his­to­ry/cross-worlds sto­ry” that Gib­son describes as “Band Of Broth­ers vs. Black­wa­ter,” not to men­tion plen­ty of hero­ics on the part of anoth­er one of his sig­na­ture pro­tag­o­nists, the “over-the-top female char­ac­ter who just nev­er gets killed.” Enthu­si­asts of both com­ic books and William Gib­son have long and patient­ly wait­ed for those worlds to col­lide, and they’ll pre­sum­ably wait a lit­tle less patient­ly for Archangel’s next issue, since its first one holds out enough promise to make them want to time-trav­el back to an alter­nate 1984, the year of Neu­ro­mancer’s pub­li­ca­tion, and get its author writ­ing comics right away.

via Ars Tech­ni­ca

Relat­ed Con­tent:

William Gib­son Reads Neu­ro­mancer, His Cyber­punk-Defin­ing Nov­el (1994)

Take a Road Trip with Cyber­space Vision­ary William Gib­son, Watch No Maps for These Ter­ri­to­ries (2000)

Tim­o­thy Leary Plans a Neu­ro­mancer Video Game, with Art by Kei­th Har­ing, Music by Devo & Cameos by David Byrne

How Chris Marker’s Rad­i­cal Sci­Fi Film, La Jetée, Changed the Life of Cyber­punk Prophet, William Gib­son

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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