A little over thirty years ago, Neil Gaiman and Dave McKean’s Black Orchid limited series landed in comic shops. Gaiman, in the late 1980s probably known best for his history of Douglas Adams’s Hitchhiker’s Guide series (Don’t Panic), and his novelistic collaboration with Discworld creator Terry Pratchett…
As anyone who’s been online in more than a passing way over the past decade can tell you, we live in an era where facts in the public sphere often fall victim to wishful lies concocted by powerful individuals with naked political agendas.
The number of cruise passengers worldwide increased from half a million in 1970 to 3.8 million in 1990, the hike almost exclusively thanks to Aaron Spelling’s The Love Boat (1977-1986), a one-hour dramatic fantasy that portrayed a relatively diverse, generally middle-class group of passengers and the close-knit crew that tended to them (and often cavorted with them) during the voyage…
A potent ingredient of the “You’ve never had it so good” mindset of post-post-war Britain was the modern holiday. Traditionally, the British industrial working- and lower-middle-classes had spent what holidays they’d managed to prise out of the generous fists of their employers in one of the many resorts dotted along the island’s coast…
I suppose I could go off on a rant here, as I usually do, about The Things We Have Lost, but I won’t. To quote the title of a Jacques Barzun book that I discovered (and subsequently bought) while browsing a bookstore, we get the culture we deserve…
Four years after the release of Raymond Briggs’ When the Wind Blows, children in the British Isles were treated to another misleadingly cheerful-looking jaunt through a postlapsarian landscape in Graham Oakley’s 1986 book Henry’s Quest. I’ve spoken elsewhere about the extent to which the British culture of the 1970s and ’80s seemed determined to inculcate feelings of dread and hopelessness in young people, but with its superficially light-hearted tone, Henry’s Quest took a different approach…
Veteran comics writer Larry Hama is best known for his work on Marvel’s G.I. Joe franchise, where he took what could have been a cynical toy line marketing tie-in and created a dynamic and hugely popular universe where salty commandos do battle with snake-themed terrorists in a neverending covert ouroboros of action…
In the almost-two decades between Blade Runner (1982) and The Matrix (1999), a particular form of cyberpunk existed across various medias. It was an era in which William Gibson and Bruce Sterling novels reigned supreme, Max Headroom was on the air in America, while the Bubblegum Crisis anime was being produced in Japan…
A little over two years ago, theorist and cultural critic Mark Fisher took his own life at the age of 48. I remember feeling numb at hearing the news; not out of sadness but more a sense of deja vu, of familiarity…
The 1980s saw the gradual ascendancy of cyberpunk narratives in popular science fiction. The genre projected Western societal trends seen in the decade—corporate conglomeration, the rise of computer networking and global media, and the ascendancy of Pacific Rim economies, most prominently Japan—into a vision of the future bursting with high technology controlled by a few neo-feudal corporate interests…
We Are the Mutants 