Story
In the year 2040, environmental disasters and the economic Resource Wars of the early 21st century have decimated the fragile ecological balance of an Earth once teeming with life. Everywhere, the privileged and wealthy continue to thrive in expensive real estate developments that tower above the suffering masses. The victims of Earth’s misfortune have been forced to subsist on scavenged refuse from the past on the mangled streets of forlorn city-states.
In Metropia (once known as New York City), the largest and most powerful of the city-states, the powerful robotics manufacturing corporation Maximum Inc. has slowly shaped a cold, steely urban center, consisting of huge, residential towers intertwined with TubeTrain tunnels. Maximum's robotic "biots" (Biological Optical Transputer System) have replaced enormous amounts of human labour, and the corporation is illegally producing prohibited combat biots to form Maximum's personal underground army. Maximum has plans to construct the fortress of Cyberville, an immense survival shelter where only the wealthiest and most elite humans will retreat once Earth finally succumbs to its slowly deteriorating state and Maximum's biot armies take control of Metropia.
The only hope for the survival of humanity is the Ghost Jungle — thousands of square miles of mutated vegetation that may be the planet's salvation. This secret source of life is submerged beneath Metropia where no one is aware of it, but fortunately, college student Kit Walker Jr. is chosen by fate to save the world, donning the black mask and purple suit of his people’s savior, the 24th Phantom.
The role of the Phantom has been passed on from father to son since the 16th century, leading the world to believe that the Phantom is a single immortal individual. Kit, the 24th in the line, is young, unsure, and inexperienced, but he finds within him the courage and might to battle the evil that threatens to destroy the Earth.
Read more about this topic: Phantom 2040
Famous quotes containing the word story:
“A story has been thought through to the end when it has taken the worst possible turn.”
—Friedrich Dürrenmatt (1921–1990)
“Television programming for children need not be saccharine or insipid in order to give to violence its proper balance in the scheme of things.... But as an endless diet for the sake of excitement and sensation in stories whose plots are vehicles for killing and torture and little more, it is not healthy for young children. Unfamiliar as yet with the full story of human response, they are being misled when they are offered perversion before they have fully learned what is sound.”
—Dorothy H. Cohen (20th century)
“I should like to suggest that at least on the face of it a stroke by stroke story of a copulation is exactly as absurd as a chew by chew account of the consumption of a chicken’s wing.”
—William Gass (b. 1924)