When I think about the Guardian’s story in Seven Soldiers of Victory, I think about the subway pirates. They’re more than just metafictional representations of Alan Moore and this book’s writer, Grant Morrison, waging war against one another. The story told here, about a ragtag group of people society has discarded, roving about a secret system of tunnels in search of something greater is a distinctively captivating concept — just ask Jordan Peele. The idea of subway pirates also feel distinctively of New York, a city so dense and full of stories that you can easily imagine that, despite there being so little open space, there’s always something fantastic happening outside your field of vision.
Yet, in rereading the Guardian’s miniseries in preparation for this essay series, what struck me about this story were not the fantastic elements, but rather the heightened-but-based-in-truth elements of classism baked into it.
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