The Private Supershelter

D. Pike
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Abstract

The private supershelter as a space proposes an artificial environment sufficiently palatial, high-tech, and heavily fortified to render permanent underground living worthwhile despite the constraints and hardship entailed by the separation from nature. The supershelter permutation of the bunker fantasy mostly appears in satirical and critical form rather than as an affirmative space. We find this fantasy of an alternate space of power explored more realistically in Philip Wylie’s ironic 1963 novel Triumph, and in full-fledged fantasy mode in the myriad underground high-tech strongholds of Silver Age comic heroes and of a few villains who choose pure modernity over cave-bound strongholds masking villainous technology. In its capacious size and design, the supershelter affords a utopian promise of survival on favorable terms. Necessary in the American context to insulate the owners from any charge of communism, the private origins of the shelter equally militate against any equitable terms of survival. Unlike the cave shelterer, the master of the supershelter is civilized and technologically advanced; however, he (nearly always) also remains inevitably an isolated elitist, apart from the dying world around him.
私人超级收容所
私人超级避难所作为一个空间,提出了一个足够富丽堂皇、高科技和强化的人工环境,尽管与自然分离所带来的限制和困难,但永久的地下生活还是值得的。地堡幻想的超级庇护所排列大多以讽刺和批判的形式出现,而不是作为一个肯定的空间。在菲利普·怀利1963年的讽刺小说《胜利》中,我们发现这种对另一种权力空间的幻想更现实地探索了,在白银时代漫画英雄和少数恶棍的无数地下高科技据点中,我们发现了一种成熟的幻想模式,他们选择了纯粹的现代,而不是掩盖邪恶科技的洞穴堡垒。在其宽敞的规模和设计中,超级避难所提供了一个乌托邦式的生存承诺。在美国的背景下,有必要使业主免受任何共产主义的指控,庇护所的私人起源同样不利于任何公平的生存条件。与洞穴避难所不同,超级避难所的主人是文明的,技术先进;然而,他(几乎总是)不可避免地仍然是一个孤立的精英,远离他周围垂死的世界。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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