Postmodern Doom and Transmetropolitan Redemption
TL;DR: The analysis of the semiotic relationship between the city and the science fiction mode in Transmetropolitan allows first of all for a critical introduction that challenges certain canonical certainties regarding the Science fiction mode as well as the medium of comic books, and lead us to refine our terminology to better distinguish literary genres from narrative modes as mentioned in this paper.
Abstract: The analysis of the semiotic relationship between the city and the science fiction mode in Warren Ellis and Darick Robertson’s Transmetropolitan allows first of all for a critical introduction that challenges certain canonical certainties regarding the science fiction mode as well as the medium of comic books, and lead us to refine our terminology to better distinguish literary genres from narrative modes. Transmetropolitan can be considered as paradigmatic when it comes to the treatment of the city in the science fiction mode for it offers a variety of interpretive layers, which, when studied from the particular to the general—from micro to macrostructures—enable us to establish a vast array of connotative levels that work complementarily in order to generate a highly coherent narrative semiosphere. Ultimately, the study of the narrative function of the city as theme and background in the Transmetropolitan saga reveals its political and ethical intentionality, which transcends the ideological limitations of post-structuralist cultural constructionism and puts forth a hopeful, albeit
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