Incomplete atlas of fantastic maps
In the second issue of The Keepers (comic book series), masked adventurers gather around a map of the United States. It shows in close-up the geographical regions marked as “Anti-war demonstration”, “Black riots”, “Drugs”, “promiscuous sexual relations”. Captain Metropolis perceives this card as a challenge to the Fighters against crime, as he called his squad. This card for some of the Guardians symbolizes the decline of America, which, in their opinion, they must save, although others believe that there is nothing more to tinker with. Edward Blake, The Comedian, ignores Captain Metropolis. Turning away, resting his legs on the table, he reads a newspaper with the headline “France is leaving NATO”, turning the page, he will set fire to the map of Captain Metropolis. The comedian likes to counteract the rest of the keepers by laughing in their faces. He is a cynic. The reaction to America’s map for Crime Fighters was a facet that cannot be crossed. Their answers at the beginning of the series cause a split in the group. When they are all aged and retired, the Comedian is killed, ironically, it revives the group. Rorschach wears a felt hat, cloak and mask, which changes his tarnished image. He is convinced that Blake’s fall from a skyscraper was not an accident, and uses this murder as a call to mobilize the surviving Guardians. Rorschach calls each one of them one after another, but now they are old and too shattered or do not trust his conspiracy theory, although they know that the world will perish soon. DMZ (Demilitarized Zone) – comic books by Brian Wood and Ricardo Bucelli, describing post-apocalyptic New York, in which there are few superheroes and they are far away. The Combined State Army entrenched in New Jersey, and American Forces are stationed in Brooklyn, Queens, and east of Long Island, and enemy clashes occur across river and land borders. Matty Roth, a promising photojournalist who works for journalist Victor Ferguson, is abandoned by his cowardly mentor in the lower Manhattan military zone. The mouth must cross the area in which the urban settlement is still recognizable, resembling the futuristic ruins of Blade Runner. He escapes from gangs, snipers, extreme weather conditions. He comes across recognizable road signs, wireframes of buildings and neighborhoods. Wood and Bucelli use a map that is familiar and real, but show us how all this can be destroyed and specially reconstructed: a hybrid of a water tower hides exits and self-sufficient zoos. The territorial context begins with the current map. We can follow Roth’s progress through the real and the imaginary. He eats noodles with shoots using sticks against the background of neon flickering of Cantonese characters, travels to Flatroin Building, Central Park, Upper East Side, where the most selfish and shortsighted citizens of DMZ live. A mouth crosses these areas, then flounders in bamboo thickets somewhere in Central Park. Wood and Bucelli provide maps so readers can follow Roth, who is facing the chaos of war, the growing fratricidal brutality of gangs and landscapes, both familiar and strange. Jason Lutes also uses real maps of Berlin from the times of the Weimar Republic (the name of Germany was adopted in historiography in 1919-1933), but his heroes know that the end of the world is not the way to speculation. It almost happened. At the intersection of Burstrasse and Torstrasse, Cocoa Kids, a touring African-American jazz band, performs on Bastian Strasse, journalist Kurt Severin meets art critic Marta Müller among the characters traveling around Berlin, the landscape becomes ominous and unpredictable. There are no emergency hatches, Rorschach and Captain Metropolis to get them out of the country before the 1933 elections. The Cities of Smoke and Cities of Stone maps are blurry, hard to read, like a map of a city that will soon be lost. They are accurate because they are unreadable. In an interview with Francois Truffaut, Alfred Hitchcock spoke about his decisions so that the audience knew more than the heroes. In The Secret Agent (1936), based on Conrad’s novel, the boy has a delivery package. Inside the bomb. The audience knows this, the boy does not. He lingers on the way to his goal, stopping at the carnival, looking into the shop windows. Finally, he gets on a London bus, but gets stuck in traffic. Similarly, we know that the bomb is ticking for the characters in Lutes’ graphic novel. They do not have much time for salvation. Riots led by the Nazis in the Neukölln region in 1927 and Kristallnacht (a series of coordinated attacks against Jews throughout Nazi Germany and part of Austria on November 9–10, 1938, carried out by militarized assault squads and civilians) were approaching several years later. As a child, Bertrand Russell drew a map of the vast estates of his grandparents. She appeared in Logicomix (Apostolos Doxyadis, Christas Papadimitriou).