After years of self-imposed exile from a civilization rife with degradation and indecency, cynical journalist Spider Jerusalem is forced to return to a job that he hates and a city that he loathes. Working as an investigative reporter for the newspaper The Word, Spider attacks the injustices of his surreal 23rd Century surroundings. Combining black humor, life-threatening situations, and moral ambiguity, this book is the first look into the mind of an outlaw journalist and the world he seeks to destroy.
Spider Jerusalem is the cyberpunk homage to gonzo journalist Hunter S. Thompson. You can see it in his appearance, demeanor, personality, and politics. And he's always smoking. Like HST, he savagely attacks what he perceives as a corrupt system filled with politicians, aristocrats, and cult leaders on the take with the use of his trusty computer. He's an anti-hero sticking it to—and sometimes kicking—the man. But he's also flawed. In Spider's case, it's manifold: booze and drugs, loyal to no one but himself, sloth, paranoia, and delusions of grandeur that manifest in the form of a self-righteous arbiter of morality attacking the powerful. He's judge, jury, and punisher (he doesn't execute anyone) who takes too much delight in carrying out his sentences.
Forced out of retirement due to bankruptcy and a publishing contract, Spider returns to the city he loves and loathes. He feeds off that loathing to craft his column for one of the local newspapers. His editor rewards Spider with a generous stipend and improved lodging (and later an assistant), which feeds Spider's ego and gives him all the justification he needs to continue his crusade.
Volume 1 collects the first six issues. The first three issues see Spider's return to the city from his mountain retreat. We learn about this world of his as he gets re-acquainted with it, noting what has changed, what hasn't. Along the way we discover that there are transients, humans who are re-writing their DNA to become aliens. Spider decides to make their story the subject of his first column.
The next three issues are one-offs where Spider meets his assistant (Channon, who deserves hazard pay for putting up with Spider's eccentricities) and runs into the President in a public bathroom, spends an afternoon watching TV (watch out for the ad bombs!), and visits a religious cult convention.
Darick Robertson's artwork is spot on. He perfectly captures the commercial chaos of the city, filled with the circus sideshow of humanity with all of its quirks, cultures, fashions and fetishes. I love scrutinizing the wide shot panels, combing through the debris of this world to catch a glimpse of the detritus and details that offer clues into what this world is all about: Ebola Cola, Necro Porn and Playgray magazines, Sin Gin, Dead Boyz cigarettes.
On a personal note, I just finished this volume before attending a corporate Christmas party. When I wasn't engaged in polite conversations with people who would soon forget I existed, Spider Jerusalem's commentary was there, running through my head with acerbic opinions about the occasion and its attendees. Having a character stick with you like that is a good sign that the author did his homework.
Given the current political climate, Transmetropolitan seems more relevant now than when it debuted 20 years ago. One major difference: the caricatures of people in the comic have now come to life.