- Sep 22, 2013
- 4,956
- 250
- 85
This is a TrumpUSA media-consciousness vignette inspired by Argo.
Cheers (signing off),
====
This dude named Ajay Satan became an Internet-blogging self-proclaimed vigilantism-oriented 'democracy-defender,' making posts about censorship and pornography in the age of media (the modern age). Ajay dressed in nifty costumes and wrote political-cartoons using old-world avatars such as Medusa and new world avatars such as Catwoman. Ajay wanted to use comics to talk about pluralism politics in American society/media. He was being watched by the NSA.
Ajay had a really fun little stick-figure doodle of a Marvel Comics villain called Hobgoblin. Ajay wanted the creature to look like Donald Trump or Dan Quayle, but really it came out looking like some 'fun engram' of mischief which Ajay wanted to use to talk about anti-terrorism pedagoguery in modern media. Ajay's Hobgoblin was used repeatedly in political-cartoons about the flaws in Homeland Security, especially after the Boston Marathon bombings.
Of course, Ajay was sincerely a fan of Hobgoblin (Marvel Comics) and wanted to reference the eerie mutant jet-glider soaring and pumpkin-bomb throwing fashion-designer turned urban terrorist in stories about Homeland Security. The NSA began following Ajay's posts about Hobgoblin and Homeland Security and noted that Ajay was himself an Algerian-American and U.S. citizen with no apparent ties to radical groups in American society or elsewhere. Ajay's Hobgoblin tales became political-cartoons that Internet readers/surfers enjoyed and liked.
Ajay got an invitation to write for the New Yorker magazine where he would generate stories about Hobgoblin engaging with two other terrorism-oriented villains named Lilandra (an empress of fascism) and Gray Goblin (a mutant messenger of anarchy). Ajay agreed to do this, having no idea that it was the NSA that encouraged the New Yorker to recruit him for this political-cartoon series assignment. Ajay generated tales about Hobgoblin, Lilandra, and Gray Goblin scaring the hell out of U.S. President Donald Trump with messages about the threats to Air Force One.
Ajay's New Yorker pieces were quite popular, so he was finally approached by the CIA and the NSA for a special field-mission in Afghanistan. Ajay was trained at a secret military base where he was given armor and a shield and mask/helmet and given the code-name 'Snake-Eyes.' Now, Ajay/Snake-Eyes was ordered to infiltrate an ISIS fortress hidden in the deserts of Afghanistan and assassinate a major leader of the terrorist organization hiding in the volatile Middle East. When Ajay asked what the heck his political-cartoons had to do with this crazy patriotic mission, the NSA explained that they needed soldiers who would embody the sort of 'pedestrian creativity' that made them real patriots and therefore 'sincere diplomats' even on the battlefield. Ajay wondered if this was some subtle form of new age nationalism that bordered on propaganda but was pressured to take the mission. Ajay/Snake-Eyes succeeded.
When Ajay returned home, he was given a Medal of Honor, and he returned to his comfy job writing political-cartoons for the New Yorker using Marvel Comics characters. Ajay was later approached by NSA agents who told him that other Americans would be recruited/trained and sent on special missions for America the same way Ajay was, and many of them would be comic book fans. Ajay had to ask what all this comic book stuff had to do with the NSA, and the government told Ajay that comic books represented modern pedestrian free-speech in American culture. Ajay finally understood. This was all about the 'art of democracy.'
Ajay continued writing for the New Yorker, using strange images of bizarre soldiers and well-known comics characters such as the JLA (Justice League of America) in adventurous/patriotic stories about skilled soldiers creating democratic revolutions around the world. Ajay wondered if all this globalization-rhetoric would result in another political tragedy such as the assassination of JFK. Nevertheless, Ajay continued his patriotic writings for the NSA and for America and for the New Yorker. It was even fun.
Ajay was asked by the NSA to begin work on horror-comics approaches to political critique, and Ajay decided to pen stories about Batman (DC Comics), a masked urban vigilante who tackled criminally-insane terrorists such as Scarecrow (a masked fear-toxin wielding sociopath), engaging with Leatherface (the fictional/iconic chainsaw-wielding cannibal from the Texas Chainsaw Massacre horror-film franchise). Ajay's Batman-Leatherface stories were about American patriotism coming at odds with the reality of anti-social criminality reflective of globalization-scarring traumas such as 9/11.
Ajay began to watch a lot of holiday-season movies on the Hallmark Channel and realized there was something really nice about American culture --- its use of holiday-season imagery to promote general sociocultural optimism. Was this because of capitalism-related Christmastime shopping? Was this because of America's love of greeting-cards and Instagram? Whatever the reason, Ajay realized that Hallmark was to America what the Eiffel Tower was to European aesthetics --- a 'welcome-sign.'
Ajay generated Batman-Leatherface stick-figure doodles for the New Yorker and compared them to the political cartoons of Thomas Nast. He decided that a comics approach to American politics reflected valuable links between the NSA and the JLA. Was Ajay right? Was American culture conducive to forms of jovial democracy-oriented patriotism dialogue? Was the Hallmark Channel a symbol of American hospitality? Were American celebrities such as Tom Cruise and Martha Stewart diplomats of a media age of great expectations?
TRUMP: I like this guy Ajay Satan.
CARTER: Are you a fan of the JLA?
TRUMP: No, but I'm a fan of the Fantastic Four.
CARTER: Do comics really promote patriotism, Mr. President?
TRUMP: They certainly promote jovial attitudes towards social expression.
CARTER: Comics are an 'easy' form of art, no?
TRUMP: Yes, Captain America (Marvel Comics) is a terrific easygoing patriot!
CARTER: Maybe this age of media will elevate media-platforms for social humor.
TRUMP: Maybe there will be fewer 'TrumpUSA' jokes...
====
Cheers (signing off),
====
This dude named Ajay Satan became an Internet-blogging self-proclaimed vigilantism-oriented 'democracy-defender,' making posts about censorship and pornography in the age of media (the modern age). Ajay dressed in nifty costumes and wrote political-cartoons using old-world avatars such as Medusa and new world avatars such as Catwoman. Ajay wanted to use comics to talk about pluralism politics in American society/media. He was being watched by the NSA.
Ajay had a really fun little stick-figure doodle of a Marvel Comics villain called Hobgoblin. Ajay wanted the creature to look like Donald Trump or Dan Quayle, but really it came out looking like some 'fun engram' of mischief which Ajay wanted to use to talk about anti-terrorism pedagoguery in modern media. Ajay's Hobgoblin was used repeatedly in political-cartoons about the flaws in Homeland Security, especially after the Boston Marathon bombings.
Of course, Ajay was sincerely a fan of Hobgoblin (Marvel Comics) and wanted to reference the eerie mutant jet-glider soaring and pumpkin-bomb throwing fashion-designer turned urban terrorist in stories about Homeland Security. The NSA began following Ajay's posts about Hobgoblin and Homeland Security and noted that Ajay was himself an Algerian-American and U.S. citizen with no apparent ties to radical groups in American society or elsewhere. Ajay's Hobgoblin tales became political-cartoons that Internet readers/surfers enjoyed and liked.
Ajay got an invitation to write for the New Yorker magazine where he would generate stories about Hobgoblin engaging with two other terrorism-oriented villains named Lilandra (an empress of fascism) and Gray Goblin (a mutant messenger of anarchy). Ajay agreed to do this, having no idea that it was the NSA that encouraged the New Yorker to recruit him for this political-cartoon series assignment. Ajay generated tales about Hobgoblin, Lilandra, and Gray Goblin scaring the hell out of U.S. President Donald Trump with messages about the threats to Air Force One.
Ajay's New Yorker pieces were quite popular, so he was finally approached by the CIA and the NSA for a special field-mission in Afghanistan. Ajay was trained at a secret military base where he was given armor and a shield and mask/helmet and given the code-name 'Snake-Eyes.' Now, Ajay/Snake-Eyes was ordered to infiltrate an ISIS fortress hidden in the deserts of Afghanistan and assassinate a major leader of the terrorist organization hiding in the volatile Middle East. When Ajay asked what the heck his political-cartoons had to do with this crazy patriotic mission, the NSA explained that they needed soldiers who would embody the sort of 'pedestrian creativity' that made them real patriots and therefore 'sincere diplomats' even on the battlefield. Ajay wondered if this was some subtle form of new age nationalism that bordered on propaganda but was pressured to take the mission. Ajay/Snake-Eyes succeeded.
When Ajay returned home, he was given a Medal of Honor, and he returned to his comfy job writing political-cartoons for the New Yorker using Marvel Comics characters. Ajay was later approached by NSA agents who told him that other Americans would be recruited/trained and sent on special missions for America the same way Ajay was, and many of them would be comic book fans. Ajay had to ask what all this comic book stuff had to do with the NSA, and the government told Ajay that comic books represented modern pedestrian free-speech in American culture. Ajay finally understood. This was all about the 'art of democracy.'
Ajay continued writing for the New Yorker, using strange images of bizarre soldiers and well-known comics characters such as the JLA (Justice League of America) in adventurous/patriotic stories about skilled soldiers creating democratic revolutions around the world. Ajay wondered if all this globalization-rhetoric would result in another political tragedy such as the assassination of JFK. Nevertheless, Ajay continued his patriotic writings for the NSA and for America and for the New Yorker. It was even fun.
Ajay was asked by the NSA to begin work on horror-comics approaches to political critique, and Ajay decided to pen stories about Batman (DC Comics), a masked urban vigilante who tackled criminally-insane terrorists such as Scarecrow (a masked fear-toxin wielding sociopath), engaging with Leatherface (the fictional/iconic chainsaw-wielding cannibal from the Texas Chainsaw Massacre horror-film franchise). Ajay's Batman-Leatherface stories were about American patriotism coming at odds with the reality of anti-social criminality reflective of globalization-scarring traumas such as 9/11.
Ajay began to watch a lot of holiday-season movies on the Hallmark Channel and realized there was something really nice about American culture --- its use of holiday-season imagery to promote general sociocultural optimism. Was this because of capitalism-related Christmastime shopping? Was this because of America's love of greeting-cards and Instagram? Whatever the reason, Ajay realized that Hallmark was to America what the Eiffel Tower was to European aesthetics --- a 'welcome-sign.'
Ajay generated Batman-Leatherface stick-figure doodles for the New Yorker and compared them to the political cartoons of Thomas Nast. He decided that a comics approach to American politics reflected valuable links between the NSA and the JLA. Was Ajay right? Was American culture conducive to forms of jovial democracy-oriented patriotism dialogue? Was the Hallmark Channel a symbol of American hospitality? Were American celebrities such as Tom Cruise and Martha Stewart diplomats of a media age of great expectations?
TRUMP: I like this guy Ajay Satan.
CARTER: Are you a fan of the JLA?
TRUMP: No, but I'm a fan of the Fantastic Four.
CARTER: Do comics really promote patriotism, Mr. President?
TRUMP: They certainly promote jovial attitudes towards social expression.
CARTER: Comics are an 'easy' form of art, no?
TRUMP: Yes, Captain America (Marvel Comics) is a terrific easygoing patriot!
CARTER: Maybe this age of media will elevate media-platforms for social humor.
TRUMP: Maybe there will be fewer 'TrumpUSA' jokes...
====
