A New Path Emerges in Generation Gone 5

by Drew Baumgartner

Generation Gone 5

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Generation Gone, Aleš Kot and André Lima Araújo have consistently set up competing ideologies — Akio vs. General West, People vs. Government, Idealism vs. Realism, Generation vs. Generation — but the most important (and most nuanced) has probably been those of Elena and Nick. She’s a put-upon optimist, willing and able to take on the abuse of the world in order to Get Shit Done, while he’s a self-pitying, privileged nihilist who sees no future beyond destroying what little of the world he can before he dies. In many ways, they represent the poles we might set for the spectrum of attitudes of Millenials: either cooperate with a system designed to exploit you (and potentially make incremental changes from the inside), or try to blow it to pieces. Those are the extremes, but in increasingly divided times, it’s important to bear in mind that neither one is necessarily “correct.” Indeed, as Elena (and Generation Gone) rejects Nick’s “fuck the world” strategy, Baldwin seems to emerge with another. Continue reading

Generation Gone 4: Discussion

by Ryan Desaulniers and Mark Mitchell

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Ryan D: In the premiere issue of this series, Mr. Akio uses the image of the ouroboros as the symbol for his Project Utopia during his pitch to General West. While this motif appears without much fanfare, it hasn’t been until issue four of Generation Gone that the significance of the serpent eating its own tail begins to fulfill its own inherent meanings. Originally seen as iconography from an ancient Egyptian Book of the Dead, the ouroboros survived through medieval mysticism until finding its home in Renaissance alchemical texts and beyond. Throughout its tenure, it’s represented many things, with the common denominator being duality, and Ales Kot infuses this issue with a multitude of cyclicality and layered recurring through-lines. Continue reading

A Generation Defined in Generation Gone 1

by Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Aleš Kot and André Lima Araújo’s Generation Gone is arrestingly open about its central theme: the existential peril of disaffected youth. Hell, the name of the series gives it away. Kot is seemingly not content with even that level of obviousness, as he starts to reveal the stunted social lives of his main characters right on the cover of the issue, before we know who they are or even what they look like. Comics are a visual medium, and 999 times out of a thousand, the first thing we know about a character is what they look like. These kids are hackers — their skills, personalities, values and identities most likely forged online where text invariably acts as the vanguard for a digital persona. We’re meeting these people the same way you would in a forum: expressing something deeply vulnerable and hurtful, with no faces to associate with their comments. Continue reading