- Sep 22, 2013
- 4,956
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Modern urbanization angst perhaps stemming from great tribulations such as the Los Angeles Race Riots and 9/11 and post-USSR Russian underworld crime/anarchy has poets and artists inventing vigilantism-oriented avatars and a vigilance-paranoia 'aesthetic' in new age storytelling (e.g., The Crow, Dark City, The Shadow, etc.).
How will such 'grid-folklore' impact our new age human idealism regarding 'Utopian-tech' psychiatry (e.g., Tron: Legacy, Robotech, etc.)?
This yarn was inspired by The Maxx, and I think it's my last contribution to USMB, my favorite Internet-board.
Signing off (God bless),
====
As the modern world became a maze of electric energy and circuits of traffic and commerce, human beings became ultra-conscious of profiteerism and piracy, and new age urban corruption and anarchy reminded people of the reality of real-world tremors (e.g., Los Angeles Race Riots of 1992). This neo-grid invited criminals to seek 'adventure' and vigilance-oriented priests and even 'vigilantes' to seek prayer and justice. This was called the Labyrinth of Dreams, and an urban detective-vigilante named the Raven would affect how the city itself would serve as a 'hub' for vitality...instead of crime.
A villainous gang of L.A. hellraisers known as the Anarchists were busy looting passengers in the subways and using the money to fund pirate-TV broadcasts of their 'anti-establishment' message of crime-driven revolution. The Anarchists were led by a diabolical young 'radical' simply named Anarky who insisted that Americans should be raised in cages rather than in schools. Anarky was the new Jim Jones.
A studious psychologist at NYU named Nava Stubbs was creating outlines of modernism-symbolic 'urban labyrinths' which she used to cast the intellectual notion that city-scapes and grids reminded the everyday pedestrian of labyrinths and mazes not unlike the ones we remembered from Ancient Greek mythology (e.g., Maze of the Minotaur). Dr. Stubbs believed these 'labyrinths' or mazes were psycho-sociological 'manifestations' of the activity-based human subconscious perception of labor, tedium, and a commerce-based reward-system of gratification. Dr. Stubbs also suggested that it was this 'labyrinth consciousness' that fostered both claustrophobia-poetry (e.g., Dark City) and anti-social rage (e.g., Fight Club).
Dr. Stubbs was right. Anarky and his Anarchists continued their spree of 'revolutionary-crime' designed to subvert these modern 'urban mazes' and create social panic about everyday traffic designed to 'awaken the subconscious' to what Anarky referred to as the 'reality' of lust. The Anarchists were not alone, as more and more anti-social 'agents' and 'minions' popped up in cities around the world to undermine basic 'traffic securities.' Even the Chicago mayor was robbed by an eerie individual dressed like a pale harlequin.
On Devil's Night, the night before Halloween Eve where ritual mischief was performed, an LAPD detective and two other cops dressed in Halloween costumes and wondered how they'd 'mingle' into the city-activity that night and try to prevent any large-scale act of anarchy or mayhem, perhaps coordinated by the Anarchists. These idealistic LAPD officials were both passionate and paranoid, since they simply didn't know how to 'address' the modern problem of new age nihilism. Who would help them?
Anarky noticed in the news that in the Moscow underground, a gang of costumed self-proclaimed 'mayhem-artists' who dressed like demonic clowns and 'villains' wielded hatchets, sledgehammers, and chainsaws which they used to literally chase around Russian policemen. Anarky gloated in the certainty that modern urban development was being 'philosophically confounded' by the reality of anti-social 'fever.' Anarky even prompted a comic book artist to portray these new urban 'ghouls' in a series of urban-crime paranoia fables titled City of Hellraisers. Anarky remembered his love of the horror-cinema creator Clive Barker with a mischievous delight.
An LAPD officer might think that the modern city was a 'vessel' for all kinds of sinister pranks and that there were 'covens' where eccentric 'warlocks' lay sitting and concocting schemes involving narcotics, loitering, self-destruction, and basic forms of vandalism. There was suddenly a great need for an ultimate 'pulpit hero' or perhaps even 'imagination-vigilante.' Who would answer the call?
This new hero was the Raven. His real name was Eric Snow. His newlywed-wife Alyssa was murdered by a troop of the Anarchists in his L.A. loft on Devil's Night. Eric decided to devote his life to anti-crime vigilance and painted himself as a male harlequin and donned a leather trench-coat and set out prowling the streets of L.A. as a prophet and a 'dark-angel' named the Raven. The Raven wanted to use crime-fighting (with a home-made tranquilizer dart-gun) and pro-urbanization Internet-posts to counter basic modern-day urban insanity. The Raven was the world's last prayer, and he himself believed this was the Biblical End of Days.
As Raven's legend grew, other idealistic young people across the world and in L.A. started using the public pulpit to talk more 'passionately' about the opportunity to use urban grids to promote imagination rather than rebelliousness. The Raven referred to this new wave of idealism as the 'shadow chronicles' --- since he considered these 'rising everyday heroes' as messengers of light. Hopefully, this was a sign that the modern city was not becoming a pit of brain-eaters.
The Raven continued his crime-fighting and ideals-based Internet-posts, while various remaining members of anti-democratic 'gangs' around the world such as the Anarchists tried to outlast this wave of idealism (e.g., 'the shadow chronicles') by continuing to attack policemen; Anarky himself kidnapped the L.A. mayor's daughter and held her for ransom and sent an 'artistic rendering' of her desperate visage/face to the L.A. Time with the eerie caption, "Light is challenged by fury." The Raven wanted to see an end to all kinds of 'juvenile savagery.'
The Raven finally apprehended Anarky and the emergence of 'the shadow chronicles' saw a demise in gang-activity across cities around the world. Russian policemen began finding a new tide of courage in the idealistic activities of pro-democratic 'sentinels' such as the now-legendary Raven. The Raven decided to start blogging on the Internet about the scope/potential for democracy-oriented new age urban online-networking which would surpass even the communication glories of modern socialization 'toys' such as Facebook and MySpace. You see, the Raven was a prophet of 'tech-vision,' which is why one L.A. Times writer referred to Raven's new 'tech-propaganda' as the idealism-blanketing inventive 'Raven-Tech.'
LAPD officers started feeling less like 'trapped man-rodents' and more like invigorated 'traffic-specialists.' Suddenly, comic book writers were inspired to generate stories about crime-fighters finding ways to turn Devil's Night and Halloween into festivals of great social sanity. What George Orwell prophesied would be a new age labyrinth of tyrants was miraculously becoming a psychiatric labyrinth of dreams. Even Batman (DC Comics) and Dick Tracy (Harvey Comics) would be proud.
As cities began to take sane shape and emerged as proper/secured zones of 'normal traffic,' the Raven decided to retire and began writing a series of books about the modern malady of traffic-insanity oriented 'tremors' called City Seance. It won him the Pulitzer Prize. The Raven (Eric Snow) concluded that urbanization only required doses of 'honey' to become arenas for complete fitness. Perhaps the Apocalypse was avoided altogether...
TRUMP: I'm a huge fan of the Raven...
CARTER: They're making a movie about him!
TRUMP: It seems that 'Raven-Tech' has some grounding in IMAX.
CARTER: I love IMAX-cinema.
TRUMP: Do you subscribe to Cinemax, Carter?
CARTER: No, but I'm a member of Netflix.
TRUMP: Let's go watch City of Industry on Netflix.
CARTER: Maybe the Raven (Eric Snow) was the new Eliot Ness.
TRUMP: They're making Raven-comics too; kids love him to death!
CARTER: Let's be relieved George Orwell was just plain incorrect...
TRUMP: Every good problem requires creative thinking.
CARTER: America will lead the way in commercial traffic, Mr. President.
TRUMP: The PyeongChang Olympics saw a vital alliance between the Koreas.
CARTER: Commerce with secured traffic will help us forget 9/11.
TRUMP: I think Trump Tower in United Nations Plaza can serve as a 'beacon' for vitality.
CARTER: God bless the city!
====
How will such 'grid-folklore' impact our new age human idealism regarding 'Utopian-tech' psychiatry (e.g., Tron: Legacy, Robotech, etc.)?
This yarn was inspired by The Maxx, and I think it's my last contribution to USMB, my favorite Internet-board.
Signing off (God bless),
====
As the modern world became a maze of electric energy and circuits of traffic and commerce, human beings became ultra-conscious of profiteerism and piracy, and new age urban corruption and anarchy reminded people of the reality of real-world tremors (e.g., Los Angeles Race Riots of 1992). This neo-grid invited criminals to seek 'adventure' and vigilance-oriented priests and even 'vigilantes' to seek prayer and justice. This was called the Labyrinth of Dreams, and an urban detective-vigilante named the Raven would affect how the city itself would serve as a 'hub' for vitality...instead of crime.
A villainous gang of L.A. hellraisers known as the Anarchists were busy looting passengers in the subways and using the money to fund pirate-TV broadcasts of their 'anti-establishment' message of crime-driven revolution. The Anarchists were led by a diabolical young 'radical' simply named Anarky who insisted that Americans should be raised in cages rather than in schools. Anarky was the new Jim Jones.
A studious psychologist at NYU named Nava Stubbs was creating outlines of modernism-symbolic 'urban labyrinths' which she used to cast the intellectual notion that city-scapes and grids reminded the everyday pedestrian of labyrinths and mazes not unlike the ones we remembered from Ancient Greek mythology (e.g., Maze of the Minotaur). Dr. Stubbs believed these 'labyrinths' or mazes were psycho-sociological 'manifestations' of the activity-based human subconscious perception of labor, tedium, and a commerce-based reward-system of gratification. Dr. Stubbs also suggested that it was this 'labyrinth consciousness' that fostered both claustrophobia-poetry (e.g., Dark City) and anti-social rage (e.g., Fight Club).
Dr. Stubbs was right. Anarky and his Anarchists continued their spree of 'revolutionary-crime' designed to subvert these modern 'urban mazes' and create social panic about everyday traffic designed to 'awaken the subconscious' to what Anarky referred to as the 'reality' of lust. The Anarchists were not alone, as more and more anti-social 'agents' and 'minions' popped up in cities around the world to undermine basic 'traffic securities.' Even the Chicago mayor was robbed by an eerie individual dressed like a pale harlequin.
On Devil's Night, the night before Halloween Eve where ritual mischief was performed, an LAPD detective and two other cops dressed in Halloween costumes and wondered how they'd 'mingle' into the city-activity that night and try to prevent any large-scale act of anarchy or mayhem, perhaps coordinated by the Anarchists. These idealistic LAPD officials were both passionate and paranoid, since they simply didn't know how to 'address' the modern problem of new age nihilism. Who would help them?
Anarky noticed in the news that in the Moscow underground, a gang of costumed self-proclaimed 'mayhem-artists' who dressed like demonic clowns and 'villains' wielded hatchets, sledgehammers, and chainsaws which they used to literally chase around Russian policemen. Anarky gloated in the certainty that modern urban development was being 'philosophically confounded' by the reality of anti-social 'fever.' Anarky even prompted a comic book artist to portray these new urban 'ghouls' in a series of urban-crime paranoia fables titled City of Hellraisers. Anarky remembered his love of the horror-cinema creator Clive Barker with a mischievous delight.
An LAPD officer might think that the modern city was a 'vessel' for all kinds of sinister pranks and that there were 'covens' where eccentric 'warlocks' lay sitting and concocting schemes involving narcotics, loitering, self-destruction, and basic forms of vandalism. There was suddenly a great need for an ultimate 'pulpit hero' or perhaps even 'imagination-vigilante.' Who would answer the call?
This new hero was the Raven. His real name was Eric Snow. His newlywed-wife Alyssa was murdered by a troop of the Anarchists in his L.A. loft on Devil's Night. Eric decided to devote his life to anti-crime vigilance and painted himself as a male harlequin and donned a leather trench-coat and set out prowling the streets of L.A. as a prophet and a 'dark-angel' named the Raven. The Raven wanted to use crime-fighting (with a home-made tranquilizer dart-gun) and pro-urbanization Internet-posts to counter basic modern-day urban insanity. The Raven was the world's last prayer, and he himself believed this was the Biblical End of Days.
As Raven's legend grew, other idealistic young people across the world and in L.A. started using the public pulpit to talk more 'passionately' about the opportunity to use urban grids to promote imagination rather than rebelliousness. The Raven referred to this new wave of idealism as the 'shadow chronicles' --- since he considered these 'rising everyday heroes' as messengers of light. Hopefully, this was a sign that the modern city was not becoming a pit of brain-eaters.
The Raven continued his crime-fighting and ideals-based Internet-posts, while various remaining members of anti-democratic 'gangs' around the world such as the Anarchists tried to outlast this wave of idealism (e.g., 'the shadow chronicles') by continuing to attack policemen; Anarky himself kidnapped the L.A. mayor's daughter and held her for ransom and sent an 'artistic rendering' of her desperate visage/face to the L.A. Time with the eerie caption, "Light is challenged by fury." The Raven wanted to see an end to all kinds of 'juvenile savagery.'
The Raven finally apprehended Anarky and the emergence of 'the shadow chronicles' saw a demise in gang-activity across cities around the world. Russian policemen began finding a new tide of courage in the idealistic activities of pro-democratic 'sentinels' such as the now-legendary Raven. The Raven decided to start blogging on the Internet about the scope/potential for democracy-oriented new age urban online-networking which would surpass even the communication glories of modern socialization 'toys' such as Facebook and MySpace. You see, the Raven was a prophet of 'tech-vision,' which is why one L.A. Times writer referred to Raven's new 'tech-propaganda' as the idealism-blanketing inventive 'Raven-Tech.'
LAPD officers started feeling less like 'trapped man-rodents' and more like invigorated 'traffic-specialists.' Suddenly, comic book writers were inspired to generate stories about crime-fighters finding ways to turn Devil's Night and Halloween into festivals of great social sanity. What George Orwell prophesied would be a new age labyrinth of tyrants was miraculously becoming a psychiatric labyrinth of dreams. Even Batman (DC Comics) and Dick Tracy (Harvey Comics) would be proud.
As cities began to take sane shape and emerged as proper/secured zones of 'normal traffic,' the Raven decided to retire and began writing a series of books about the modern malady of traffic-insanity oriented 'tremors' called City Seance. It won him the Pulitzer Prize. The Raven (Eric Snow) concluded that urbanization only required doses of 'honey' to become arenas for complete fitness. Perhaps the Apocalypse was avoided altogether...
TRUMP: I'm a huge fan of the Raven...
CARTER: They're making a movie about him!
TRUMP: It seems that 'Raven-Tech' has some grounding in IMAX.
CARTER: I love IMAX-cinema.
TRUMP: Do you subscribe to Cinemax, Carter?
CARTER: No, but I'm a member of Netflix.
TRUMP: Let's go watch City of Industry on Netflix.
CARTER: Maybe the Raven (Eric Snow) was the new Eliot Ness.
TRUMP: They're making Raven-comics too; kids love him to death!
CARTER: Let's be relieved George Orwell was just plain incorrect...
TRUMP: Every good problem requires creative thinking.
CARTER: America will lead the way in commercial traffic, Mr. President.
TRUMP: The PyeongChang Olympics saw a vital alliance between the Koreas.
CARTER: Commerce with secured traffic will help us forget 9/11.
TRUMP: I think Trump Tower in United Nations Plaza can serve as a 'beacon' for vitality.
CARTER: God bless the city!
====
