Godzilla: Democracy Tabard

[Abishai100]

It's interesting to measure how globalization politics and networking-etiquette in this new age has impacted the quality and symbolism of modern entertainment/storytelling, reflected in countless calamity-management 'showcases' such as Superman IV: The Quest for Peace and An Inconvenient Truth.

How can we coordinate media (and hence 'consumerism') with real political optimism?

The analysis of such matter represents a unified human effort to better appreciate political-sanity 'fortresses' (e.g., World Health Organization).

We can therefore see the new age appeal of 'calamity-totems' such as Godzilla (a popular sci-fi 'doomsday' dinosaur) and Mandrake the Magician (a pro-populism 'wizard').

How should we 'politicize' such modern folklore (for lack of a better term)?


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Mandrake the Magician realized Americans and the entire world were so obsessed with the hypnotizing stimulation of the Internet (e.g., Facebook) and television (e.g., National Geographic) that he decided to make a photojournalism approach to globalization optimism. Mandrake went around the world and visited various symbolic 'transit-iconic' cities such as Paris (France), Los Angeles (America), Sydney (Australia), Beijing (China), and Stockholm (Sweden) to measure Internet feedback positivity towards tourism hotspot photos (e.g., Eiffel Tower in France). Mandrake basically wanted to apply his 'psychic gifts' to 'pro-humanity solidarity.'

As Mandrake collected statistics about comments to his posts about international attractions, he used these comments to suggest (on various Internet blogs) that social dialogue regarding the transit/traffic appeal of iconic 'world-cities' reflected modern era investments in 'globalization gauged pluralism and tolerance.' Mandrake therefore developed a 'photo-share approach' to sociopolitical demonology and addressed the networking demons that 'plagued' new age efforts towards exchange-based peace initiatives (e.g., Sunni-Shia conflicts regarding trade between Israel and Palestine).

When Mandrake collected the Nobel Prize for his incredible efforts, he said in his acceptance speech that the real 'winner' of his awesome deeds was the social infrastructure 'audience' sensitive about idealistic investments in globalization-gauged institutions such as the World Health Organization (WHO), the Red Cross, and the Security Council of the United Nations. Mandrake added that the WHO's efforts in uniting humanity in the modern era with peace and research-promoting initiatives regarding medical vaccinations to Third World nations represented a 'media focus' on 'true globalization treaty enforcement.'

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[Abishai100]

The Puppetmaster


Characterizations of good and evil in pop-culture and 'folk mythology' are imprinted in the 'modern art' genre of comic books.

Comic book characters such as Ra's al Ghul and Scarecrow (nemeses of the DC Comics urban masked vigilante Batman) represent a modernism paranoia regarding urbanization management.

It's funny how calamity-storytelling has changed since the early days of Industrialization and colonialization-related globalization (e.g., Headless Horseman to Nuclear Man)!

This will surely affect the quality of the marketing of toys. I'm a big fan of the Barry Levinson film Toys (starring the late, great Robin Williams) about the eccentric son of a toy company owner who dies, leaving his son (and his sister) to deal with a corrupt individual who wants to convert the toys into purely war-themed imaginarium dolls/toys.


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RA'S: I'm bored with the tedium of the United Nations and the World Bank!
SCARECROW: The World Health Organization and the Red Cross are very 'prestigious.'
RA'S: Don't underestimate the weight of 'pedestrian angst.'
SCARECROW: Are you suggesting any kind of socialized institution can feel 'oppressive'?
RA'S: The nature of the mind is to constantly reinvent and hence to rebel and revolutionize...
SCARECROW: I prefer terrorism and anarchy to fascism and centralized fascism!
RA'S: We want similar things, Scarecrow; you like mayhem, and I appreciate power.
SCARECROW: It's true mayhem is a powerful thing, but your conception of power is too 'controlled.'
RA'S: You can't prance around the modern city just seeking 'thrills.'
SCARECROW: I'm not a maniac; I'm simply a 'mischief-artist.'
RA'S: Work for me; I could use a 'street-messenger' of your 'calibre.'
SCARECROW: Oh, so you want a horsed masked 'loon' parading on Halloween with 'pumpkin-bombs,' eh?
RA'S: I want my own 'army' to offer its own brand of 'dream-control.'
SCARECROW: Aren't you worried about the National Security Agency or the Security Council?
RA'S: I'm willing to risk personal safety for the purpose of global revolution (and America is the starting-point).
SCARECROW: We'll see if we can convert 'Starbucks America' into a real 'Bolshevik base' (or dystopian fortress)!
RA'S: You just worry about mob psychology optimism (e.g., Mr. Smith Goes to Washington).
SCARECROW: I'm a huge fan of Frank Capra and James Stewart; what we need is the aid of terrorists (e.g., Taliban).

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