Terrorism in Comics: Democracy/Hospitality

[Abishai100]

Americans care about free-speech, and terrorism in comics symbolizes a Western entertainment/arts-industry investment in globalization politics stability erudition. Mass dialogue is after all the hallmark of modern IQ (e.g., Talk Radio).




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Americans were fascinated by Plastic Man (DC Comics). Plastic Man could stretch to great lengths while exhibiting skill and strength. He would contend with the forces of evil and serve as an overall 'defender' of democracy.

America changed drastically since the days of Plastic Man. Today, urbanization-themes in crime-oriented storytelling offer us more gothic (or 'dark') images of anti-social intelligence and a more violent brand of interaction characterizations. New age villains and villainesses such as DC Comics' Ra's al Ghul (a fascist and eco-terrorist) and Harley Quinn (a maniacal clown-outfitted cheerleader of urban anarchy and crime) were more like terrorists than simple adversaries of democracy. Americans craved stories about the liberty in American intellectualism with respect to shock-value or rhythm-based anti-governance critiques. They liked Hitchcock and Tobe Hooper now, so terrorism in comics represented an even broader definition of the term 'American hospitality' (in free-speech politics).

Americans were soon introduced to its iconic and cult-legendary terrorism-engagement comics-franchise G.I. Joe: A Real American Hero (Hasbro/Marvel). G.I. Joe media would spawn paramilitary crusader action-figures, TV cartoons, Halloween costumes, and even full-length American films such as G.I. Joe: The Rise of Cobra. In this franchise, a secret governance-advocate military commander named Duke heads a team of democracy-defenders known as 'G.I. Joes' who contend with a real evil terrorist organization simply called the 'Cobra.' Duke's Joes and Cobra agents such as Snake-Eyes and Storm-Shadow vied for dominion in Western civilization in the modern age of biochemical warfare, genetics, political experiments, and power-batteries. This was a 'B-Art Subculture Phenomenon.' Kids even purchased G.I. Joe adapted video-games.

TRUMP: I'm a fan of G.I. Joe comics.
CARTER: There're two thrilling live-action films starring the Rock.
TRUMP: Yes those two G.I. Joe films also star Jonathan Pryce...
CARTER: Indeed; we should talk about Terrorism History courses at Yale.
TRUMP: I know a Yale history professor planning a course, "Subversive Media."
CARTER: What is really 'subversive' in modern media?
TRUMP: I suppose low-brow anti-federal protests signify general social disarray.
CARTER: Are you a fan of Woodstock?
TRUMP: I found the counter-culture...interesting.
CARTER: Perhaps we should build a casino in Korea (for North and South to share!).
TRUMP: Getting back to G.I. Joe comics, there's a 'Gamemaster' plot about unions.
CARTER: Cobra Commander is a symbol of 'evil gambling.'
TRUMP: I agree, Carter; presenting terrorism in comics is important for American pride.
CARTER: We don't want to censor what is really worthy of simple rational conjectures.
TRUMP: We want our youngsters to daydream about the idealism in American hospitality.
CARTER: Howard Johnson hotels/motels, Planet Hollywood, and Disney are signs of success.
TRUMP: Commerce has facilitated great 'aesthetics dialogue.'
CARTER: Many critics suggest this is all 'virtual reality.'
TRUMP: Writing about terrorism in comics reveals sane gossip(!).
CARTER: We have to determine therefore what not to censor...

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[Abishai100]

The Psychoanalysis Dimension


Arkham Asylum (DC Comics) is a fictional center for the treatment of the criminally-insane in a fictional place called Gotham City, which is seething with criminality.

The hero who tackles and sends criminally-insane 'super-villains' of Gotham to Arkham is the masked urban vigilante known as 'Batman' (aka, The Dark Knight) who tackles eerie social nemeses such as Scarecrow (a fear-toxin wielding urban terrorist), Penguin (a deformed but underworld crime-master), and Poison Ivy (a seductive but dangerous female eco-terrorist). Criminal insanity is an important metaphysics subject for modern civilization (arguably) since it represents a species-focus on the contours of civics and terrorism 'self-willed' by the human intellect. The Information Age (the modern era in which comic books really exploded) is the billboard for 'intellect commercialization.' So how do we approach terrorism in comics and 'pedestrian-politics-prose' in terms of modernism symbolism?

Free-speech critics suggest that the prioritized reason liberals hype intellectual freedom is that so they can justify/defend the practice of 'governance-sociology graffiti' (e.g., Los Angeles Race Riots of 1992, Watergate, The X-Files, etc.).

Is this all...Freudian?




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American industries of the modern age were guilty of mishandled toxic-waste and therefore required serious censorship. This pseudo-Orwellian development inspired comic book writers to explore storylines about mutant-abominations born in the 'sea of industrial-waste filth'. The science-fiction explored biochemical degradation 'metaphysics' in other words...



American sci-fi horror-writers were inventing bizarre mutant monsters such as Leviathan or the Blob or the Thing, and these were equally more varied as more deformed than the singular titan-like appearance of the monsters of earlier times --- Godzilla, the Minotaur, Ravana, Grendel. These mutants represented a modern paranoia about toxic-waste and its impact on human imagination(!).



American citizens were celebrities, professionals, lawyers, politicians, artists/musicians, bureaucrats, salesmen, athletes, and cops. This was the age of pluralism and great media fun (e.g., The MTV Generation). There were idealistic Internet-bloggers posing as 'democracy-propaganda' crusaders and writing about media-scandals and academic anti-Marxism in modern 'fanzines' (a popular new age populism phenomenon). There were American actors making movies about dystopian environments in which a futuristic and/or inventive USA wrestles with the forces of the apocalypse, genetic abominations, terrorism in the city, and fascism. Everyone cared about liberty in a time of great commerce and industry, and anti-Western and anti-American terrorists such as ISIS simply did not believe in all this 'MTV rhetoric.'

Americans were sitting down on the couch and reflecting on what their psychiatrist would tell them about the symbolic value of Marxism in the modern age of Wal-Mart and the World Bank. They wanted to know what their psychiatrist had to say about the controlling of anti-claustrophobia frustrations in this new age of almost-dizzying consumerism-traffic. Everyone carried a mobile-phone with a built-in auto-camera in it, so photography was becoming more of a social norm than a sub-culture art. Americans wanted their psychiatrists to tell them, "It's perfectly acceptable to 'zone-out' in front of you TV on a Sunday night!"

American comic book writers created the urban menace Bane (DC Comics), a chemically-enhanced maniacal super-brute who fights Batman in Gotham City and represents steroids-use. Steroids affects the body-muscles but perhaps also the vanity of the emotions in the psyche and mind, and Bane signifies a modern paranoia about the sociological impact of untampered consumerism and celebrity-crazed peer-pressure. Bane is the ultimate Devil's Advocate, and he makes us wonder if we should be exercising at the gym more than typing on our laptops or texting on our smartphones...



Therefore, terrorism in comics is a psychiatric experiment and exploration and therefore must be addressed systematically and professionally rather than being closed-off because of myopic censorship-oriented reflections(!). As long as America leads the world in patriotic terrorism-paranoia comic book media (i.e., G.I. Joe: A Real American Hero), citizens/voters will believe that modern writers sincerely care about new age anxieties regarding the destabilization of the complete 'geo-urban matrix.' Ain't love grand?

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