In this paper, I investigate the binary opposition, which is instated between words as true and images as false in Warren Ellis and Darick Roberts’ Transmetropolitan series, which deals heavily with the notion of truth in a dystopic future. The series’ protagonist Spider Jerusalem is a journalist trying to show a world that doesn’t care what the truth is. In a world saturated with images, resembling a Baudrillardian nightmare, Spider is peculiarly attached to writing, even working for a newspaper called The Word. Spider is positioned as a Messiah-like figure who, coming down from the mountain, will bring truth and revelation to the people. Continue reading →