Tuesday, 4 September 2018

#Comicsgate, Uncle Ethan, Vox Day and Fourteen Words that Say It All

Last night, in two separate YouTube livestreams, #Comicsgate was offered a choice between completely divergent pathways into the future of the movement. One path was apolitical, and the other the pathway that #Comicsgate has often times being accused of taking, a road leading to the much criticised and demonised ‘Alt-right.’

The first pathway is that offered up by Ethan Van Sciver (aka ‘Uncle Ethan), a long-time comic book artist who has recently left DC Comics largely due to political differences between himself, and the Democrat party supporting consensus that predominates within the industry. Uncle Ethan, seeing YouTube as the valuable tool for commerce that it is, has steadily grown his channel by producing anti-SJW content, mostly focussed on pointing out the laughable incompetence of Disney Star Wars. His videos have been funny, and culturally relevant, surfing on a wave of growing discontentment with the far-left ideology that has began to make itself very evident in mainstream entertainment media today.

Uncle Ethan has seen an opportunity, and taken it with the strength of his engaging, welcoming, and dryly humorous personality. It’s hard not to like Uncle Ethan, because he’s an eminently likeable guy, and more than that he is extremely adept at creating a community around himself. Interfacing with the customer directly on YouTube livestreams in a fun and informal way, he is filling a gap in the market that was not being exploited, or catered to by his fellow comic book peers, and his success is very well deserved. But other than community and witty critiques of the Cultural Marxism messaging/programming of mainstream entertainment, what does he have to offer, in terms of comic book product?

Looking at his IndieGoGo campaign (CyberFrog) we can see that Uncle Ethan offers spectacular artwork, and a story about a superhero frog fighting a plague of hornets. Analogous to his own fight against SJW’s in mainstream comics? I think so, but the political messaging is kept in the background, and the blurb to sell the book states, ‘quality, and a lot of fun!’ Looking at the artwork itself, and hearing him talk about the book on his livestreams. I’m taking him completely on his word here, and I am certain that it will be everything that he says that it will be.

Ethan Van Sciver is a very talented artist, and Cyber Frog is his big push to break away from the far-left mainstream. His book will be the best that he can do, and the best that he can do is better than anything you’ll get in the mainstream today, artistically speaking at least, plus, you are guaranteed no far-left silliness if you back the book.

Apart from Cyber Frog, EVS also uses his YouTube platform to publicise the work of his friends, fellow comic book pros who can no longer go along with the far-left ideological consensus of the mainstream comic book industry. The comic books they are offering, and they increase on a weekly basis, are also crowd-funded, and appear, at least so far, to be largely apolitical, and focussed on taking the politics away from comic books, and making them fun, and inclusive for all.

Uncle Ethan and his friends, whilst openly supporting the Republican Party in the US, and President Donald Trump, are not political ideologues. They are not extreme, and certainly not what they are often accused of being by their enemies in the mainstream comic book industry.

Then there is Vox Day, a man who is a little bit different, and by little, I mean a lot, and the path that he opened up for the future of #Comicsgate last night on YouTube, is in stark contrast to what is being offered by Uncle Ethan.

Vox Day, writer, publisher, and a man who identifies as a ‘libertarian nationalist’ is certainly a better fit of the ‘Alt-right’ stereotype often used to demonise Uncle Ethan and the #Comicsgate movement as a whole. Last night, in his own livestream, Vox elucidated on his decision to set up a comic book platform under the ‘ComicsGate’ brand name, a move specifically designed to gain publicity at the expense of Ethan Van Sciver, and the more inclusive movement that he is creating on YouTube and IndieGoGo.

Here’s what Vox has to say about the ongoing drama, and the pathways into the future that have been opened by the two opposing camps.

‘Let the ComicsGatekeepers gnash their teeth all they like. While they have been talking, talking, and talking some more, we have published 22 digital editions and 11 print editions in the last eight months. And based on an author who signed with us last night, it is safe to anticipate that some of the loudest voices raised against us will be publishing with us in less than a year.’

The 'Dark Lord' Vox day.
Vox Day appears to know exactly what he is doing in claiming the name of 'ComicsGate’ as his own. It’s cheeky for sure, but it is a calculated move, designed to steer Comicsgate away from the largely apolitical goals of Ethan Van Sciver, and into more identitarian territory.

Last night, in the two livestreams I mentioned in the opening paragraph of this article, two very divergent pathways were revealed.

The first is with Uncle Ethan, a mainstream Republican, who wants to make comic books available for everyone again. The second path is that of Vox Day, an alt-right identitarian who wants to make comic books for a very different group of people.

As I write these words, Uncle Ethan is doing another livestream, with the title ‘Vox Day Aftermath,’ and is discussing Vox Day’s use of the fourteen words.

What are the fourteen words? They are, as follows:

‘We must secure the existence of our people and a future for white children.’

In these fourteen words we see the stark contrast between Vox Day and Ethan Van Sciver, and the difference in the two pathways that were revealed for #ComicsGate last night.

Uncle Ethan disavows people who use the fourteen words, and in disavowing people who use these words is going directly against everything that his enemies in the far-left mainstream of comics claim him to be.

Ethan Van Sciver is not Alt-Right, is not an identitarian, is not a white nationalist and he never was.

Vox Day is all of those things, and he always was.

Alt-Right, or apolitical, all-inclusive ‘normie?’

These are the two pathways for #Comicsgate to consider, and the choices that will be made shall dictate the future of the movement as a whole. Will #ComicsGate become what the mainstream left always said that it was, or can Uncle Ethan lead it into the middle-ground of apolitical escapist fun, if that is even possible during these deeply divided, politically and culturally incendiary times?

We’ll see.

Choices will be made, and the pathway will be chosen.

Which one shall it be?

Thursday, 28 June 2018


I read, and review comic books, and if there’s one term that succinctly sums up what going on with the entire mainstream comic book industry today, it is the term ‘Global-Homo.’

Here me out. Don’t get triggered. I have something to say. You can call me a bigot later, and I will get to Batman, but I need to define my term first. ‘Global-Homo’ is a term used to categorise, broadly speaking, the mainstream progressive entertainment and news propaganda complex.

It is not about hating on homosexuality. It’s about triggering the mainstream institutionalised, establishment left, and calling them out for what they are actually doing.

So, what are they doing on Global-Homo? Lots of things, and they’re all degenerate, and none of it is good for you, your family, and most importantly, your children.

One of the major projects of Global-Homo is to subvert traditional male/female gender roles. This is being done under the guise of equality, but is actually about lowering the birth rates of people of European ancestry. The propaganda of Global-Homo pushes the cucking of white males, turning them into beta-male losers, and advocates for the career advancement of non-breeding white females. The men will have their computer games and porn, and the women will have their precious careers. Homosexuality alone cannot lower the birth-rate enough because homosexuality itself is not quite as common as Global-Homo likes to make out, so it’s the cucking of males and empowerment of masculine femininity that’s the key here.

Convince the men to play second fiddle to their women, and convince the women that they don’t need men at all, that a career can replace the joys of motherhood and traditional family life. This is Global-Homo, and it’s a genetic attack on the future of white, western civilisation. If there are no children, no families, no husbands and wives, there is no future.

Why are they doing this, and what is the end-goal here?

It’s about control. White men are a problem, because an increasingly large number of them are stubbornly rejecting Global-Homo programming. It appears that the supposed patriarchal oppressors (aka working class, blue collar white men) just won’t go along with the propaganda, and that’s a real problem to the hidden masters of the world. So, how do you sort out the stubborn individuals that refuse to accept open-border (not for Israel, obviously) multicultural, race-mixed utopianism?

Simply put, if they can’t be convinced to go along with the programme, then you just have to get rid of them, which leads me to the death of Batman.

Batman is a problem because Bruce Wayne wins with smarts, determination, training and toughness. He wins because he works harder, thinks harder, fights harder. That kind of guy, yeah he’s rich, but he’s just a guy with no super-powers, might encourage the little white boys to strive, to be better, to be a hero and to do things for themselves. Independence, self-determination and an ethos of hard graft, pain and toil has to be nipped at the bud. Global-Homo is about the communist adherence to universalism over meritocracy, about mediocrity over excellence, so the hard-working, tough guy Batman is a huge problem. Bruce Wayne, like Wolverine, a character who Marvel is currently (reluctantly) resuscitating from the dead, is simply put, too independently masculine to be allowed on the comic book plantation today.

But how do you destroy a character like Batman? The fans wouldn’t like it, and no, they wouldn’t. That’s why Marvel has been forced to bring Wolverine back, they demanded it. Apparently his replacement, a teenage girl called Laura, just wasn’t cutting it. DC, perhaps learning from Marvel’s policy of replacing the straight white men with Mary-Sue female characters, has been a lot smarter than their rivals. You don’t kill off the independent masculine striver. You just kill off his character instead. Add soy, as Ethan Van Sciver would say, and the masculine man becomes somewhat less masculine than he used to be.

Buy any DC Batman book today, and you’ll see what I’m talking about. You’ll see a man who looks like Batman, but is anything but.

Bruce ‘Batman’ Wayne, as written today, is a limp, weak, angst ridden, pathetic, progressive, soy boy, lost-boy, beta-male cuck who wants nothing more than to fade into the shadows, and hand over the reigns of control.

Read a Batman story, any of them, and you will see, that no matter who the writer is, from Tom King, to Scott Snyder, to James Tynion IV, to Bryan Hill, or even Sean Murphy, that Batman is the least important character in every single book.

Global-Homo Batman has become a passenger in his own life story, and he will consistently stand-down, and allow the heroic victim groups on Global-Homo, to do the work that he used to do.

Bruce Wayne has become a stand-in for the progressive writers’ view of themselves. Their role, as they see it, is to act as facilitators of a new, non-white, non-masculine future. They write Batman as a shell of what he used to be, because he is the past, obviously, well, he’s a straight white man, isn’t he? Why write about the past? Why write about old white guys? Write about the future, a future that looks just the city that we live in. It’s great. It’s progressive. Don’t forget to double lock the front door, and don’t walk alone late at night.

Batman is dead, and DC killed him, deliberately, because he is white, because he is male, because he’s the past.

How can we change this? How can we breathe new life into Bruce Wayne, and make Batman great again?

I’ve got some bad news for you. We cannot change this. Batman is on the Global-Homo plantation, and he is going to stay there for the rest of his undead-life. DC has hired many different writers to portray him, and in the vast majority of the books he’s a cucked beta male loser, the past, yesterday’s news, anachronistic, a facilitator for the diverse replacements that will progressively, and rightfully take his place.

Just look at the last issue of Tom King’s Batman #49. It barely featured Bruce Wayne at all. The book, which is duplicating the emasculation of the male character as seen in his Mister Miracle title, relegated Batman to a defeated, castrated, whimpering voice underneath a pile of bricks as Catwoman (his wife to be) did all of the fighting for him.

What woman would marry a man so pathetic that she has to engage in physical combat to protect him from his enemies? Protection is the masculine role, and is the reason that men have approximately 40% more muscle-mass than the fairer sex. And remember, this is Batman we are talking about, a man who is supposed to be a hero for young boys, a man that a boy would want to be, when he’s all grown up.

Tom King’s Batman is not Batman. He is a pathetic, laughable, beta-male loser.

Don’t think that this will change when King finally leaves the book, because it won’t. He will be replaced by another Trump hating progressive, and the agenda will remain the same. Cucking the males is the norm in mainstream comics. This is the message that the progressive comic book writers want to send to young boys, and girls living in America, and what remains of Europe today, and they are proud of it. Go on twitter, and you’ll see them boasting about it every single day.

Batman is no longer Batman.

Batman is dead.

Luke Skywalker is dead.

Han Solo is dead.

I could add more names to the list, but you get the picture.

Our childhood heroes have been murdered by Global-Homo, and they are not coming back, but that doesn’t mean that the fight is over.

The fight is never over.

Global-Homo owns the heroes of our past, and they have cucked, and murdered them with glee. That is a fact, and we need to move on from it.

Each and every one of us has a spark of creativity within us, and we need to start creating new narratives, and original heroes of our own. I have done just that, and I have two new heroes to offer you, right here and right now.

My novel, ‘Invasion of the Red Light Spiders,’ is available on Amazon right now, in paperback and Kindle, and features independent, courageous, autonomous, heroic strivers who are fighting against the same (((nameless))) enemies that we all face today.

Batman is dead, but there are new heroes waiting to be discovered. I offer you my new heroes, and look forward to reading your own creations.

You can stay in the past, hoping for useless change, but the future really is undecided, and you can make it what you want it to be. All you need to do is leave the old heroes behind, reach out, grab the future, in tough, hardened, callused masculine hands, and make it better than the dead progressive dust that lingers, acrid and stale in the deserted hallways of today.

Links to my novel:


UK (Kindle):

U.K. (Paperback):

US (Kindle):

US (Paperback):

Tuesday, 26 June 2018

The Shocking Truth about Corporate Diversity

This ‘diversity’ stuff that we always talk about in relation to #Comicsgate and Disney Star Wars is just a code word for anti white, anti male, anti heterosexuality, right? Well yes, we know this to be true, and to pretend that it’s anything but, is objectively, and factually incorrect, but there is a lot more to this than meets the eye.

Here are the facts. If you are working in the mainstream, writing corporate narratives for the masses, it’s perfectly fine to kick the straight white guy in the balls, over and over again. Whitey is the bad guy, but more importantly, he’s the bad guy who is never allowed to fight back. Sure, some of the white customers of the corporate diversity narratives complain about it, and kick up a bit of a fuss on You Tube, which still allows the male voice to speak in a way no longer allowed on mainstream television, but legally speaking, white boy you are screwed.
What does this have to do with ‘legally speaking,’ I hear you cry? Well, last night I viewed a red pilled video from a man called JFG, on You Tube, of course, because television would never allow this kind of discussion, where the legal requirements of the diversity business were fully outlined to me.

Diversity is big business for activist groups, and it’s big business not because white people feel bad about being white and want to make amends for perceived wrongs of the past, diversity is big business because of title seven of the Civil Rights Act of 1964. This legally codified decree from the God that is government, states the following:

‘Title VII of the Act, codified as Subchapter VI of Chapter 21 of title 42 of the United States Code, prohibits discrimination by covered employers on the basis of race, colour, religion, sex or national origin. Title VII applies to and covers an employer "who has fifteen (15) or more employees for each working day in each of twenty or more calendar weeks in the current or preceding calendar year.' 

Sounds reasonable, right? After all, discrimination based on race, colour, religion, sex or national origin is wrong, right? I agree, yes, it is wrong, but in correcting that wrong, the balance has been tipped in the opposite direction, and created a whole new class of privileged peoples, based on all of the race, colour and gender categories that are mentioned in the act.

In practical terms today, for the large corporations that give us our entertainment fodder, that civil rights act of 1964 becomes a legally binding obligation to an enforced anti-white agenda. If the corporations do not bow to the activists who represent the special category of privileged people, they leave themselves wide open to be sued, and sued for billions and billions of dollars.

Think I’m joking? I’m not. Title VII also provides that an individual can bring a private lawsuit against a corporation if they do not comply to enforced diversity. This happens, and it happens all of the time.

Here’s just one of the numerous examples of what happens to a corporation if they dare to go up against the special class of non-white privileged people.

Google the name Byron Allen, and his $20 billion lawsuit against Comcast. Mr. Allen is a very successful black businessman, and knows all about diversity, and how to make it work for him. He knows that if corporations do not bow to his demands for representation, that he has the full weight of the law behind him. That law will support his demands, and literally put money into his privileged pocket.

This is big money stuff. It’s not about far-left activism ideology. It’s not about virtue signalling. It’s not about Dan Slott or Mark Waid annoying you on twitter. It’s not about tokenism, about being nice, or feeling guilty about being white.

There is a very real corporate reality that enforces diversity, and if you are foolish enough to ignore that reality, you will be sued, and the corporation you (used to) work for will be made liable for billions of dollars in damages.

If this happens, you will lose your job, and you will never work for another corporation ever again, plus, you will have the mainstream media calling you a Grand Wizard of the KKK for the rest of your life. You will be the epitome of evil, and you will be so broke, that you’ll be living alone, homeless, denigrated, hated, despised, rejected, totally destroyed.

This is all because of the 1964 legal requirement for enforced diversity. There is no conspiracy here. It’s the law. Now, can you see why there appears to be an ideological consensus in American corporate life? Do you see why your comics, and your television, and your cinema all appear to be doing pretty much the same thing?

This is not about people being on the left. This is about people not wanting to be sued. It’s about people wanting to have a job. It’s about people not wanting to be hated, thrown out of their homes, and made to live under a subway begging for change to buy that one hit of a heroin that will take the pain away forever.

So, next time you complain about anti-white/anti-male enforced diversity, and demand that Kathleen Kennedy, or C.B Cebulski, or JJ Abrams be fired, and replaced by somebody less politically correct, or less infested in far left identity politics activism, remember what corporate diversity is really about.

All of the individuals that we complain about on YouTube and twitter work for American corporations. They are smart people, and they know all about the dangers of doing anything that goes against the legally requirements of the 1964 Civil rights act, and in particular, clause seven. They know that if they fail to bend the knee to diversity, which is anti-white and anti-male, then the corporations that they work for, will get sued, by people like Byron Allen, for billions of dollars, and that that they will never work in the corporate arena ever again.

Everybody knows that ‘diversity’ is a codeword for anti-white, and anti-male. We know. The corporations know, and the individuals who work for the corporations also know. We can complain about it until the cows come home, but corporations are not going to change, because they cannot change.

Diversity is here to stay, like it or not. It is a legal requirement in the United States of America today to be anti-white and anti-male. If you even attempt to go against this reality you will have the full weight of the law coming crashing down upon your neck. This is a fact, and for more information about all of this, please watch, ‘The Perplexing Case of Starbucks Pt. II | w/ Frame Game, TPS #62. On JFG Livestreams.’ I’ll leave a link to the video below, and I’m looking forward to your comments on this one. Cheers guys, thanks for reading/watching, take care, and never forget, diversity is strength, question it, and you’ll see just how strongly enforced it truly is.

Wednesday, 20 June 2018

2000AD Summer (All-Female) Special 2018: Is This the End of Meritocracy?

The 2000AD special of summer 2018 is a very special, special indeed, for this marks the first time in it’s entire (40 plus year) history that the writers and artists are completely comprised of affirmative action diversity hires. Yes, they are all women, not all straight white men, funny how that works, isn’t it? Actually no, it isn’t funny at all, and I’ll explain why it isn’t funny, and is actually very patronising, and ultimately, very, very dangerous.

The west is what the west is today, because of meritocracy, the idea of a level playing field, where the best, or hardest working thrive, whilst the worst, and laziest do not. Meritocracy produces unfairness, because to have winners you have to have losers as well, but meritocracy also produces great achievements that would not be possible under any other system.

You can try to be fair, and get everybody to cross the finish line together, and this has been tried many times before. Ask the Russians about it, the Chinese, the Cubans, or any other nation that has cried ‘not fair’ and abolished any idea of a meritocratic system. We are talking Communism here, and I would strongly suggest that what 2000ad is doing with this summer special of enforced diversity, which is of course anti-diversity (as all of these progressively insane projects are) is the comic book version of a red revolution.

Well, we all know how revolutions work out, don’t we, and if not, why not? I’ll tell you why we don’t understand that revolutions are bloody, stupid, and just put you back to the beginning, revolving in a circle, and not progressing at all. It’s because of the schools, the welfare state, the female teachers, the pandering, the guilt, the cultural Marxism, the movies, the television, the crusty old sandal wearing, Guardian reading BBC, a state mandated, anti-white, anti-male communist system of anti- meritocracy, school-girl fantasy utopian, far, far left propaganda.

So, of course we are getting an all-female anti-diversity 2000ad bloody revolution of feel-good stupidity. It’s a sign of the times, as the purple hedonist used to say. In an age of Godless, matriarchal, welfare state, government indoctrination, morality free nihilism, you get your virtue from the least rebellious comic book on the market today. Signalling to the heavens that they do not believe in, crying to the sky, ‘We are good people, we are good people, watch as we virtuously flog ourselves to the Goddess of meritocracy crushing mediocrity.

But what, I hear you cry, will I say if the special is actually really, really good? Well, I’ll say the following. If it is really good, and I will not find out because I am not purchasing it, then they didn’t need to do it in the first place. They could have allowed each and every one of the female creators to compete on the same level playing field as their male contemporaries, and let the cream rise to the top.

Do you remember, when that used to happen, when the cream was allowed to rise? I remember, and it was a glorious time. No colours, no genders, no gay, straight, trans, whatever, no left, no right, no politics, just good old fashioned hard work and talent, with the best man, woman or little green frog, rising to the top, and producing the best product possible. Oh, those halcyon days, they are fading, fast, and if you buy this summer special from the virtuous signallers at 2000ad, you are helping to end those days, now, and for the future, forever.

Wednesday, 13 December 2017

Murder on the Orient Express (2017): PC Poirot and the Diversity Train of Tolerance

What is cinema in 2017? Okay, straight talking now, cinema in 2017, in western countries, and I’m talking that multiplex down the road, and the turdfests that they show, is 100% diversity programming, and when I say ‘diversity’ I mean anti-white, anti-male, anti-western propaganda, produced by liberals, directed by liberals, acted by liberals, for liberals.

Like the good little Globalists/Communists that they are, the world-view of the moviemakers is completely unambiguous, and very, very clear. Here how it goes:

Straight white men (the blonder the better) are the enemy, and so must be demonised at every opportunity. Masculine young ‘empowered’ females with black boyfriends are the future. Islam is a religion of peace. Christianity is evil, and lastly, and most importantly, nation states must be demolished, because nation states (white countries only, obviously) represent the white male patriarchy, of racist, sexist, Islamaphobic, intolerant, hateful, straight white men.

As a straight white man myself, the cinema therefore has nothing to offer me, other than lacerating self-hatred, and accusations of racism, sexism, and being a terrible person because of my politically inconvenient race and gender.

So, bearing all of this in mind, and not being particularly inclined towards self-hatred, I don’t go to the cinema, usually.

Oh dear, what happened to Poirot?
Last night I made an exception, because my mother wanted to see a movie, and so, because Tuesday nights are half price night, and because I wanted to make my mum happy, I decided to go. Was it as bad as I expected it to be? Was the movie full of social justice, and liberal virtue signalling about how not racist and sexist they all are? Were my assumptions confirmed?

Yes, of course they were. It’s a movie. It’s 2017. It’s what they do. To expect anything else would be unrealistic. You go to the cinema, and you know what you’re going to get.

Okay then, onto the movie, and it could have been any movie, but the one that I decided to see (because it was the movie my mum wanted to see) was called ‘Murder on the Orient Express.’ I know the plot, know the characters, know what happens, and I also know that they won’t be able to help themselves.

Kenneth Branagh is in charge, the director, and star, and as old Ken is a luvvie lefty (obviously) virtue signalling about tolerance and diversity is a certainty. There will be no surprises here. You are going to get a new ‘interpretation’ of the old story, and that new interpretation means social justice and ‘diversified’ characters (which is code-word for less white characters, obviously) so here we go, let’s see how far they go with it.

First off, Poirot doesn’t look like Poirot anymore. He’s got a ridiculous moustache, but not the right kind of ridiculous moustache. This moustache is grey, and bushy, and ostentatiously hipsterish. Kenneth’s Poirot isn’t a quirky little Belgium. He’s a domineering peacock hipster, constantly on the lookout for any small incident of non-PC intolerant behaviour. This ain’t Poirot. It’s lefty bore, daaaarling boy, wine sipping, Guardian reading, soyboy Kenneth. Hey Ken, how's Spacey doing? Oh, we can't talk about him anymore, can we?

I see director, not detective in the new Poirot. I see the Metrosexual City. I see the prat. I see the virtuously lonely white hipster, itechnology, a job in PR, advertising, transgender bathrooms, city-bubble consensus from the offices of an all-female, all white, diversity is our strength Huffington Post echo chamber of cat lady future loneliness. I see the city. The dead, meaningless, diversified, sniffing from the fumes of what once was great, ruined cityscapes of Europe, another movie that feeds from the glory of the past, farted out for the eight people in the cinema showing where I sat, the poison fumes of 2017, liberals, liberals, liberals.

From the cultural ruins of modern day Europe, our progressive movie scoots back to the 1930's with a pretentious Poirot solving a mysterious case involving a Jew, Muslim, and a Christian. Oh, religious conflict? A movie where real world issues are being explored honestly, and bravely? No, don’t be silly. This is a modern lefty movie. You already know who the bad guy is, don’t you?

So how are we going to navigate through the religious conflicts in Jerusalem, and find a convenient scapegoat that will leave all religions off the hook, and confirm (what we already know) that diversity is a strength after all? Easy, my friend. Pick the white man, any white man will do, blame him, it’s always him, that rotter. Religious conflict? Don’t be silly. Blame the WASP. All religions can co-exist, even in Jerusalem. In the modern toxic-city of liberal consensus, and trucks of peace, we all get along.

So, nothing religious going on here at all, let’s move on, it’s the white guy to blame, as it always is, and always will be, at least in cinema today, if not the real world, not that the two things have anything in common whatsoever.

From solving the Jerusalem issue, hipster Poirot jumps on-board the famous train (which is shot in perpetual darkness, thus wasting the impressive interiors that my mum was looking forward to seeing on the big screen) and the well-known plot unfolds, and unravels into predictable lefty tiresomeness.

Working class white male villain (the enemy of the left)
Johnny Depp is the villain, and he plays him as a rough and ready working-class man, the very kind of commoner so feared by hipster Ken and his darlings of the theatre. Middle-class, city-dwelling, university Marxists always fear the genuine working-classes, so to have working class Johnny playing the villain makes a lot of sense. This is the kind of man they really fear, in the real world, outside of their twitter block bubble of self-congratulatory virtue. This is the Donald Trump voter. This is the Brexiteer. This is the straight, white, working class man. This is their enemy. This is the man they want to murder, and this is the man they want to replace with ‘diversity.’

I suppose I should mention the black guy now, shouldn't I? Okay then. So there was a black guy in the movie. Did he appear in the original novel by Agatha Christie, I hear you ask. Of course he bloody well didn't, is the answer. So how is he going to be portrayed? How do you think? There’s nothing unpredictable here. He’s black, he’s in a movie, don’t worry, he’s not going to be the bad guy.

Nope the black guy is a brave, self-sacrificing, courageous, erudite, charming, wonderful man, and he’s as English as Winston Churchill. Oh, and he's race-mixing with the character played by Daisy Ridley, that boyish girl who’s doing the same race-mixing thing in the new social justice Star Wars franchise. Hey Daisy, how come so many of your on-screen relationships are with black guys, but in the real world you are dating a fellow white, English actor? Come on girl, think of the social justice message you are portraying in your roles, and commit to the bit in your real life, otherwise it might just look like you are the vehicle of a message that you don’t really believe in yourself.

Away from reality, and back on the lib-train, one of the characters addresses this race mixing directly, blending her white and red wine, and declaring virtuously, ‘I prefer Rosa anyway.’ The message is clear. You shall be blended, such is the way of the modern progressive left, where diversity means consensus, no white, no black, no colours at all, just blended neutral corporate friendly colours that have as much meaning as a Pepsi advert. Diversity compels you to agree. Ignore Muhammad Ali and his blue and red bird analogy.

You’re not racist, are you?

Daisy = Lib Director's Dream Girl (a progressive man in a dress)
And so I yawn, and start to notice that Poirot, with his non-Poirot look, isn’t acting like Poirot either. He’s looking at an old photograph of some simpering lass, and getting in touch with his emotions, doubting himself, and looking at the photograph, pleading for ghostly guidance from a girl not yet in her mid twenties. What is it with old liberal men and their belief that great wisdom resides in the minds of pretty white girls who have yet to experience anything of life at all? It’s weird, cucky, and silly, but I see it all the time. Here’s the truth. Pretty young girls are not exactly the font of great wisdom. Sorry Ken, but wisdom and pretty female faces don’t exactly align in the real world. I've met lots of pretty young girls, but a wise and pretty young girl? Nope, I’m yet to meet one, and though I live in hope, I’m not exactly holding my breath and waiting for one to show up.

With simpering cuck Poirot getting in touch with his feelings, the plot goes down the usual route, with a couple of dramatic scenes added to make it seem more interesting than it is, before a final denouement where the suspects are lined up on a last supper table. The hipster detective reveals who done it, and then proceeds to let the guilty parties get away with it, walking off to take on the next case with barely a care in the world.

Hang on, that’s not how it usually ends, is it? Nope, but this is a newer version, with a Poirot who is not Poirot, and added feelings, and a fog of relativism and nihilistic grey emptiness.

Right and wrong? Paying for your crime? Who cares? Rules, facts, law, morality, all dissipate in the liberal fog of feelings and getting in touch with the wisdom of a pretty feminine face. This is the brave new world of the progressive matriarchal welfare state, and the only thing that matters is how you feel, no morals, no order, no justice, just the feels, race-mixing, white-guilt, a hipster moustache, and the leftist establishment’s fear of the white, working-class man.

So, that’s it. My yearly visit to the cinema, one and done, that’s it for me. Will I be watching the new Star Wars movie with Daisy doing her race-mixing thing again? Nah, I think I’ll give that one a miss. She doesn't believe in it. Not really, not in the real world, and neither do I.

Saturday, 5 August 2017

‘Angry Goy’ by CYBERN4ZI: The Rise of FashWave Offers a Pathway to the Future

I remember talking to a girl during my university years, and it’s one of those conversations that you don’t forget, not because of the words, but because of a look, and what remained unsaid. I was talking, not listening, about moving away from my old passion of hard, aggressive, masculine metal music, and settling into a new listening routine of Belle & Sebastian, and similar bands of whimsy, cucked out faggotry. She looked at me, and instead of being impressed with my ‘sensitivity’ as I had intended, she kind of sighed, and gave me a look of pure, ‘Well I’m never having sex with you then,’ revulsion/pity.

I was shocked. I thought that girls at university were supposed to be into intellectual, Woody Allen ‘intellectual’ types, and her reaction confused the fuck out of me. Today I understand fully what was going on. I was renouncing my own masculinity, and making a virtue of it. What a cuck I was. A regressively retarded, girl repellent turn-off, fool. That same girl arranged to meet me (with her gay mate) at the end of the college term, to ‘say goodbye and good luck for the future.’ One day before the meeting the gay guy sent me a text, saying that they couldn’t show up. I never saw, or heard from either of them ever again. I don’t blame her for not showing up, fuck, why would she?

What does that horribly self-tortuous story have to do with ‘Angry Goy’ by ‘CyberN4zi? Not a lot, you might think, but you’d be mistaken, because my story is a metaphor for life, and the pathways that you choose to take. Take the wrong path, and you might think that you’ve fucked your life, but that’s not the case. Pathways have intersections, and you can always get off, decide to take a detour, or better still, make your own path to someplace you’d never even thought about before.

My pathway at university was a pathway narrative that I told myself was leading towards ‘progression’ and bettering myself. It was supposed to be easy. The destination would naturally enfold, and the pathway would widen, expanding horizons around me as I progressed into the future. All I had to do was follow the left-wing liberal pathway to enlightenment, and everything would get better for me. To take this pathway I had to jettison all of the baggage that I had carried with me through my previous twenty-six years of life. Yeah, I lived a bit before university, but not enough to help me navigate through the dangerous waters that I was about to dive into. I worked in factories, warehouses, shops, but I read too many shitty liberal books, and my mind was already primed to fuck me over.

Metal music had to go, because it was too assertive, aggressive, masculine, not ‘sensitive’ enough, so off it went, replaced by the whiny music of defeated man-boys, gay as fuck, but progressive, the way forward, the way of the future, my future. I listened to ‘college’ bands now, anything to prove that I wasn’t the boorish manly man who used to work in a car-factory.

If you want to know where this new, kinder, softer taste in music led me, read the end of the first paragraph again, then read some of the frustrated ‘reviews’ that litter this blog. After university, with a useless liberal arts degree, having feminised myself almost into the point of suicidal despair, I was (when it comes to interpersonal relationships, and future career possibilities) complete and utter fucked, up a shitty creak, with no paddle, and a big fucking hole in my (one-man) boat.

‘Fuck, fuck, fuckity fuck,’ I thought to myself. I’d been taken down a ‘progressive’ path that led to no fucking life, no fucking female interest, and no fucking career opportunities. After wailing around in ‘please kill me now’ despair for a bit, I regrouped, and decided to write down my thoughts, and tell the world of the fucking disastrous mess that I’d made of my life. My blog is a warning, and here’s the condensed version of it:


^^^That’s my entire blog encapsulated, ranting about everything that I despise, which is of course everything that I used to consume, every poisonous bit of shit which made me take a near disastrous pathway in life towards progressive/regressive oblivion.  I’m a strong guy, and I got off the pathway, eventually, but man, it fucked me up for a long, long time.

Nowadays I write short stories (‘Red Pill Tales from the Alt-Right’ by ‘Mark Anthony Pritchard’ is available on Amazon) and my blog is updated only rarely. But on this Saturday morning, sweating buckets after getting back from the gym, I’m coming back, because I have some good news for you all. You must already know that our culture is toxic fucking poison, so when I find something that is the diametric, polar opposite, I’ve got to say something about it. Big holes of truth are appearing all over the black cloud of mainstream liberal consensus, and they are getting larger by the day.

I’ve told you my old story, and here’s the new one. The old pathways that led me astray, pathways I diverted from many years ago, have led me to a new path, and that can loosely by termed ‘Alt-Right.’ This pathway has a very obvious final destination, and that destination is, fuck it, I’m going to say it, the ethno-state.

Yeah, I’m finally getting somewhere, no more walking, it’s time to run, and to come home. All of my old liberal white male guilt is fucking waste to me now. Fuck that shit. I’m all about the future now, and to get to that future we have to look at a time before this modern ‘progressive’ age of black cloud toxic shit that still engulfs us all.

The time has come time for white people to reclaim their tribal identity, a proud ethnic identity that has been taken from us by our toxic, nihilistic, empty culture of endless shame and cuckoldry. A big part of reclaiming our pride is to listen to music that genuinely uplifts, rather than depresses. ‘Angry Goy’ does exactly that. Despite the title, it is not an angry album. It’s an album of uplifting music, with just one brief interlude into sadness at the brutality of the past (Echoes from Dresden), it’s an album of joyful music that will make you feel good to be alive, and feel positive about the future. It’s an album that must be listened to as a whole, but standout track ‘Kek Commando’ with it’s ribbiting frog hilarity, gets a special mention. It’s an album of resistance against mainstream despair, an album of sun, in a world of darkness.

This is not the music of the aggressive young man that I used to be. It’s not the music of aimless violence and rage. It’s music of resistance, but that resistance has matured, grown solid, emboldened not by youthful aggression, but with the intellectual, moral understanding that truth is on our side, that what we are doing is good, honest and true.

I hear Atari. I hear Commodore 64, and old pro-wrestling shows with ripped-off themes based on Star Wars, when Star Wars was new, and masculine, and good. I hear happy plinks and plonks of electronic joy, and rousing sci-fi tunes of a ‘futuristic’ movie set in the 1980’s, before identity politics and enforced diversity turned the cinema experience into a libtard joke for the dumbest of the dumb.

‘Angry Goy’ makes me smile, makes me feel happy, and it’s available now for all of you ‘Goys’ to consume and enjoy. Pay as many shekels as you think it’s worth, but download it, listen, and experience life as I did this morning.

Get up early, put on some headphones, talk a walk down an alt-right path, enjoy the crisp fresh morning air of optimism, feel good to be alive, and know that there is a future for OUR PEOPLE, that the angry goys are rising, and things are finally beginning to change.

Rating: 10/10 


Thursday, 22 June 2017

RAPTURE #2: The Power of a Word, that Can Destroy us All

WRITER: Matt Kindt 

ARTISTS: CAFU & Roberto De La Torre

COLORIST: Andrew Dalhouse

PUBLISHER: Valiant Entertainment

RELEASE DATE: June 21, 2017

I do not waste my time reviewing comic books that do not deserve to be reviewed. That time, for me, has gone.

I will not sit down, and write out another scathing review for a regressive comic book that is pushing, and praising, all of the evils that are currently plaguing the western world. I’ve done that already, and if you want to read those reviews, they are here, on my blog, and you are welcome to check them out.

Today, I look for solutions, not problems. I write my own stuff, and if you want to look at it just go onto Amazon and type ‘Mark Anthony Pritchard’ and ‘Red Pill Tales from the Alt-Right.’ I write about solutions, with positively and hope for real change. Let the problem writers continue to do their thing, because if at this point they are still writing about problems, it’s doubtful that solutions will ever be coming from anything that they write.

Comic books, as we all know, are predominantly leftist, and so the chances of finding solutions within their pages are rare, but still I look, hoping for a spark, for something that is addressing the problems, and occasionally, just occasionally, I find it.

Is Matt Kindt, writer of Rapture #2, a leftist? Looking at his twitter page it’s unclear. I assume that he is, but he’s also smart enough not to alienate over 50% of his potential readers by posting silliness about Donald Trump. He uses twitter to promote his work, and that’s undoubtedly the safest thing to do. Expressing anything that, even accidentally, promotes a (dare I say it) ‘right-leaning’ point of view in the comic book industry, would be heresy to leftist consensus, and you would be subjected to a weaponised ‘word’ that can destroy a career.

Let’s talk about that word, because in ‘Rapture #2’ the use of a word as a weapon is a central theme of the book. Here’s how it works. The comic book villains utter a word, a word that paralyses the heroes into passivity, allowing the villains to attack, and to defeat the heroes.

Now, let’s look at the real world parallels.

I live in the UK, a country that is currently being subjected to Islamist terrorist attacks. Every time one occurs, with blood, guts, and dead bodies littering the streets and concert halls, the response, from the mainstream media, the political establishment, and those on the left (they are the same people) is always the same. They tell us to carry on as before, to come together, to light candles, hashtag support, and repeat that it’s not ALL Muslims who are doing this, so we mustn’t criticise the Ideology that is causing it.

And if the people do criticise that ideology, what happens? The media, politicians, pop-stars, and cultural leaders use one word to pacify the population into helpless passivity, and that word is- ISLAMAPHOBIA.

One word can destroy a country. That is what is happening here in the UK, and all over Europe as well.

Does Matt Kindt understand this? I do not know, but what I do know is that in ‘Rapture #2’ he is saying something that cannot be said in liberal/progressive circles. For that alone, I applaud him, and recommend (to everybody reading this review) that they purchase an issue of this superior comic book.

The art (with it’s beautiful colouring), the characters and the story itself in ‘Rapture #2’ are all excellent, but that is not why the book is essential. Enjoy the surface, enjoy the prettiness, but think on the deeper meaning, think on what is being said here, think on the UK, on Europe, and the power of a word that can destroy us all.

Rating: 10/10 (Essential reading)