The global war on terror is raging out of control. The president is popping Prozac. And the #1 selling videogame in 2011 America is the terrorist-simulator Infidel Massacre: Los Angeles. On the streets of gentrified Brooklyn, videoblogger Jimmy Burns' latest anti-corporate rant is cut short by a terrorist bombing of a Starbucks...but his live feed isn't. When his dramatic footage is uploaded by Global News ("Your home for 24-hour terror coverage") and rebroadcast across the planet, the obscure blogger is transformed into an overnight media sensation. The next thing he knows he's on a Black Hawk helicopter inbound for Baghdad, working for the same mainstream media monster he once loathed. Burns soon finds that everyone from his ratings-ravenous network overlords to Special Ops troops with messianic complexes to a charismatic band of tech-savvy jihadists all want to make him their pawn.
A scathing near-future satire of the Iraqi occupation that rings with eerie plausibility, this Web comic-to-print hardcover collection follows a cocky young journalist named Jimmy Burns, who finds himself video-blogging across the front lines of Iraq in the year 2011. An accidental Internet celebrity transplanted suddenly to the Baghdad battlefields, Jimmy quickly progresses from arrogant to regretful, then jaded-in short, he is America in Iraq. As the world slowly disintegrates around him, Jimmy finds himself caught between the competing agendas of Muslim insurgents, the American military and a sensational cable news network as they all clamor for blood on the battlefields. Journalist and first-time graphic novelist Lappé takes obvious delight in skewering all three with a whip-smart, left-leaning indictment of both American media and foreign policy that offers little hope and fewer heroes. The bleak prognostications are cut with black humor and a penchant for explosions that keep the narrative moving. The collection adds 110 pages of new content to the Web version, and Goldman's art, a cinematic blend of photography and digital painting, is framed in widescreen panels that lend an air of video documentary to a grim graphic novel that manages to make media-and the truth-seem more fluid than ever. (Nov.)Copyright 2007 Reed Business Information