Thursday, 22 June 2017
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.
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.
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)
Tuesday, 13 June 2017
Musical accompaniment is needed for the disaster movie of our times, as we witness western societal collapse into moral and cultural relativism, and the inevitable consequences befalling a society that no longer has any shared moral or spiritual bonds to shield it from attack. ‘Dark Gods: Birth of the Architects’ by ‘VON’ is an essential gift to the watchers of this ongoing, self-inflicted farce/tragedy, a moment in time where we can witness the fall of an entire civilisation. Unfortunately for us, that civilisation is our own, and the collapse, enabled by the left, pushed in schools, colleges, boardrooms, and on our television/movie screens, books, comic books and newspapers, is happening right NOW.
Listen to the sounds of decay, as VON take you back to where it all began, with mother, choices, and the reawakening of demonic forces that were there from the very beginning of humanity. In self-satisfied, virtue signalling deference to evil we invited them back in, allowed them to feed, and now, sated, they have began to set fires to our hollowed out institutions, accelerating the collapse of all that was built by men far better than ourselves.
So sing along with VON as the world falls apart. Wail in despair at all that we have done, and how we took the architecture of western civilisation for granted, and so easily, lazily, apathetically, and with ignorance masquerading as virtue, gave it all away to ancient enemies, from the outside, and (to our everlasting shame) from within.
|Dante in Hell, observes frozen traitors to their own people.|
-To the nothing that we have become:
Atomised, so easily defeated into individualism, a bottom of the caged barrel concept, where trapped animals dig claws into the only companions that they will ever have.
Man built, listened to the enemy, and elevated the least worthy. Children reared by government strangers. Generation snowflake screams about safety, but can never be safe, in hashtag era of nailbomb inevitability, an era inheritance from boomer, into nihilism and relativism collapse.
Drugged children grow up into drugged adults, from Disney and Ritalin, to career, mortgage, debt, politics, television, and pills for anxiety and depression.
Why depressed? Why do I feel so sad? Why do I feel so empty?
Oh God twitter, why do you never reply to my lonely prayer call?
Councils and Bilderbergs rear political puppets that masquerade as choice, to the animals on the farm.
Hey George, Tony, Oh Tony.
Old left zombie re-birth. Rebel alliance, girls and blacks on television, movie screens, fuck it, you better say it now kid.
Boy, you better start talking. Friendless anyway, as end time looms, we all die alone.
Culled, easily, bedroom casualty, walking towards stickman, tax stick, electronic, the currency will kill us all. So easily convinced, but convenience is death. Annihilation sold as a benefit. We wanted it, invited the vampire in, and now she does what the vampire does, sucker, she sucks.
It all returns to mother, shielded from criticism by a word, and from velvet slippered choice we began to descend, into empowerment of weakness and guilt, so sowing the seeds of our own destruction. We did it all for her, but now look at what she has done to us.
Enemies invited in, by dear in power mother, as our new Roman Empire collapses, into relativism, dampened fires rekindled, old fires that were there from the beginning.
‘My truth’ means never a true word spoken, and Godless as we are, ‘truth’ becomes an opinion, and deceit cancers us all.
From invasions, to conspiracies, compromise, convenience, tolerate the trucks of peace, death, into tombs of never was, with eternity pissing on the grave of a Godless, nihilistic, empty, divided people, judgement time is NOW.
So we, the culpable masses, we finally did it.
Stripped naked on the altar of progression, doused in Sunni petroleum, with Karl smiling from the pit below, a flame arose from the heart of us all, and western civilisation roared into flame.
In death, I spit out the fumes of burning corpse surrender, step outside of the flesh melting pain, into soul, with judgement hanging over what I have both seen, understood, and done.
Oh my God, here I am, waiting, it was so hot down there, and the people didn’t care, and the flames of self-deceit increased in temperature, slowly, then quickly, engulfing them all, and I could not help, though I tried, and I tried.
But now, my end begins, no more struggle, no more lines, they fade as judgement time is here, and eternity beckons before me, as lawyer word time finally ends, forever.
(‘Dark Gods: Birth of the Architects’ by VON: A soundtrack for the end of western civilisation, can be purchased, below. Buy it, and sit with me here, for a while, on the rise of Mount Purgatory, watching the city below, in all of it’s multicultural diversity, surrendered in hashtags and love, as it's culturally enriched with trucks, stabbings and nailbombs, and the people watch in paralysed impotence as everything that was built up through generations of sacrifice and courage is burnt to the ground, and all for the fear of a six letter word that silences us all.)
The climb had sapped my last strength when I cried:
"Sweet Father, turn to me: unless you pause
I shall be left here on the mountainside!"
He pointed to a ledge a little ahead
that wound around the whole face of the slope.
"Pull yourself that much higher, my son," he said.
His words so spurred me that I forced myself
to push on after him on hands and knees
until at last my feet were on that shelf.
Purgatorio, Canto XXXI:
"Sweet Father, turn to me: unless you pause
I shall be left here on the mountainside!"
that wound around the whole face of the slope.
"Pull yourself that much higher, my son," he said.
to push on after him on hands and knees
until at last my feet were on that shelf.
Friday, 12 May 2017
Check out this blog, just scan it, and see what I have been doing over the years. Yeah man, what a waste of my fucking time, eh? Call this a life? Fuck off, there’s no life here.
Do you know why I don’t do much of this reviewing stuff anymore? Its not because writing scathing reviews about dippy libtard comic books & movies stopped being fun, and it’s not because I finally got a life, which I never did, and no, it’s not because of the feedback, good, bad indifferent, whatever,
Nope, I cut back because I felt like a dumb ass parasite, swimming alongside a really crappy predator, a shark if you like, but a shark who was old, toothless, and wasn’t really giving me any new scraps to feed from anymore. It’s bad enough being a tic, but a tic on a bloodless body, what’s the fucking point in that?
If you are still consuming mainstream product at this point in time, there probably isn’t any hope left for you at all. Sorry, but come off it, there’s nothing new going on here.
Okay man, it’s Friday and the latest movie in the cinema down the road will be laughable tosh featuring a feeble little girl in a prominent role who easily, and heroically beats up all of the evil white blokes. It’s fucking stupid, and yet people still pay to see this turdy nonsense.
Look at what they have done to the Star Wars franchise. It used to be fun, but not anymore. Nowadays it’s just another reminder that the people who make movies have 1- Run out of new ideas 2- No respect for their audience 3- Become completely corrupted by feminist/Marxist identity politics bullshit. That’s the norm in the cinema now, get used to it, because the fucking morons in Hollywood don’t have anything else to say.
Walk into your local comic book store and pick a random book off of the shelves. You know what you’ll be reading about, right? The writers will be telling you that nationalism is evil and that white males suck.
They’ll tell you that all nations, ethnicity’s, cultures and religions need to blend together to create world peace. They’ll sell you this ideological shit, and call it ‘diversity’ by the way, which is really contradictory and stupid, but don’t expect anything you read to make any coherent sense. What they really mean by ‘diversity’ is less white people, zero ideological diversity and a staff of leftists obsessing over the racial and ethnic differences that they pretend not to see.
Yeah, yeah, yeah, we get it by now. We suck, you suck, everything sucks, and this whole stupid experiment of allowing the dumbest of dumb to vote for more free stuff was really a very stupid idea from the beginning.
Fucking hell man. Democracy really is an empty lie. You were right all along Richey? Oh, and leave a fucking comment if you get that reference. It’s a Gen-X fucking song, if you care, which is a lot more than I can say about Gen-X itself.
Okay, let’s get this bonfire burning. Let’s finish what they stared, because there’s no hope here. You don’t create a future in telling people that their cultural, ethic, and tribal identities no longer exist. What kind of a nut does that? I know the answer by the way. I fucking know, and so do you, if you are being honest with yourself. Sure, we got pushed, but we did it to ourselves. I want to believe that somebody cares, that the programming can be broken, that something will happen to finally make people give a shit, but it’s lonely here, caring, in a society where individualism and nihilism is the atheist God of the day. Do you care? You don’t, do you? It’s okay. You can admit it now.
This whole shit ship called western civilisation is going down, enslaved to god state into the never ending, soul sucking, fucking debt-swamp, with enemies on the outside (Islam) being let in by the enemies from within (that will be the liberals). So what do I do? Read a comic, and watch the fanning of the flames as civil war, collapse, fucking madness rears on the horizon. I wish I had a kid, so I’d care more. People need to have children, it will make you give a shit, at least it fucking should do, because they have to live in this shit hole that we’ve created for them.
And here I am, mid 2017, writing a stupid fucking blog post that will be read by one man and his dog, talking about the same old shit, and why reviewing inferior material from liberal dick-heads that do the same thing over and over again is less than fucking pointless. Yeah man, this is it, the end of everything. Let’s write another fucking song about it. No, there’s no meaning, it’s just a song, don’t expect any meaning, not here, not now, fucking waiting for Godot shite man.
Okay fuck it, sense, we are going the way of every other corrupt, overly inflated, multicultural empire in world history, and the lessons of the past, have been ignored, again, boringly, obviously, as they always are. And so I trail off this whatever the fuck this was, ending like the west will end, not with a bang, but a tired old cliched, indifferent, who gives a fuck, whimper.
Thursday, 27 April 2017
VIEWED IN CINEMA
DATE: 26th APRIL 2017
BY: THE ROYAL SHAKESPEARE COMPANY
LOCATION: ROYAL SHAKESPEARE THEATRE, STRATFORD-UPON-AVON
If you go to the theatre today you run the risk of hearing the political views of directors and actors, and being subjected to their embarrassingly blue pilled juvenile squarkings about nationalism, Donald Trump, or anything that doesn’t conform to PC, consensus leftist ideology.
Such was the case with this production of Julius Caesar, which was largely very good, but (predictably) tainted at the beginning with a short interview with some of the cast members. So, what did the lefty twits say? Did they call Donald Trump Hitler? Did they call Brexit voters Hitler? Did they call my brother’s dog Hitler? Well, no Hitler references this time, but they had a good old SJW whinge anyway.
Okay, so here’s the bit where you slap your forehead, and endure the pearls of 'wisdom' dropped from the lefty luvvies at the RSC.
|Hail Caesar/Trump/Hitler (same thing, isn't it?)|
Oh man, the idiocy is strong in the theatre, a strange land of oestrogen empowered make believe where actors and directors see patriarchal dictators everywhere, yet are completely unable to see their own Marxist indoctrinated faces that stare back at themselves in the mirror.
But onto the play, which was very good, and written by a guy who was a bit of a genius, and not a drippy leftist, who would no doubt have been commissioned to write the play if it was created anew today.
The plot is simple, easy to follow, and I can see why it is one of the Shakespeare plays taught in UK schools. A very popular Julius Caesar is returning from another military triumph, and the plebeians of Rome (the ancient equivalent of the voting masses) are demanding he be made an emperor, and given dictatorial powers. The Roman plebeians are unanimous in their passionate devotion towards Caesar by the way, they all love him, so the parallels with nationalist figures like Donald Trump (who are massively divisive) is completely off. Trump built hotels, not battlefields of corpses. He was a businessman, not a soldier. If you want a more accurate parallel with Caesar I'd suggest you look at Oliver Cromwell, and the aftermath of the English Civil War, and for modern parallels of military might and dictatorships look to Erdogan in Turkey, because that situation is ongoing right now.
But, back to the plot.
Caesar is considered too popular/ambitious by a group of conspirators that are close to him, and so they bump him off, speeches happen, the plebeians change their mind, then back again, and the play concludes with the conspirators losing a battle and doing what good Roman soldiers always do when they lose a war.
|James Corrigan excels as Mark Antony.|
Potential politicians should take note, this is how you do it, this is how you turn a potentially hostile crowd onto your way of thinking, whilst acting like all you are doing is speaking unvarnished truth. And no, this has no parallels with Trump either, sorry libs, it just doesn't. Trump is a symptom, not a cause, and his powers of rhetorical speech are certainly not at the level of Mark Antony. If you want to know the cause, look in that most painful of implements, a mirror.
I want to make a couple of notes about the individual performances and staging, as I saw the production with my mother, and as she has seen (and studied) the play before, her observations hold more weight than my own.
Mum felt that the actor playing Brutus lacked presence, power and charisma, and that his uninspiring performance detracted from the play. I saw the character as weak and wishy-washy, and apparently that’s not what they were going for, so that was a problem. Mum also felt that the scenes with the plebeians were lacking in personal. The speakers talked of large crowds in Rome, and what we saw was ten people shuffling around the stage, so that was a bit off.
Speaking for myself I very much enjoyed the performance of Martin Hutson as Cassius. There was a very human sense of complexity to the motivational drivers behind his actions, and my mother and I were left debating those motivations long into the night. I felt him to be the most fascinating character on stage, the most believably human, and certainly the most memorable. Special mention also goes to the booming voice of Andrew Woodall’s Caesar, and the subtle notes of insecurity in his performance of a man not quite as physically robust as he would like to be for an individual in such a high status position of social elevation.
|Martin Hutson's compellingly complex Cassius|
The social justice, open borders, sovereignty hating, feminised libtards, who control the theatre industry can moan and complain about the rejection of their lefty agenda as much as they want, but what they think doesn’t really matter. What matters is the original Shakespearean text, and when they stick to it (as they did in this production) the words of the master easily transcend childish attempts from contemporary liberals to use the bard as weaponised propaganda against their ideological enemies.
William Shakespeare will, of course, endure long after the current era of regressive insanity fades away to dust, buried in the Highgate cemetery of silly bearded, dangerously wrong ideas. That’s a certainty, and it makes me smile. I always get something out of watching Shakespeare, not from the actors, it’s the words that matter, and when they stick to the words, I’m more than happy to spend a night with the liberals. The RSC began tonight’s performance with words from their actors, and then the master took over, his words revealing truth beyond the narrow political ideological squarkings of our time. Leftist insanity disappeared when William returned, ideas flourished, minds were stimulated, and all was RIGHT with the world again.
Rating: 8/10 (Superior performances from Martin Hutson & James Corrigan, but the star of the show, as always, was Shakespeare himself)
Posted by Mark Anthony Pritchard at 06:07
Labels: #RSCCaesar @TheRSC #WilliamShakespeare #Review #Theatre #SocialJustice #DonaldTrump #EverybodyIDisagreeWithIsHitler #RedPill
Thursday, 6 April 2017
‘We forgot the meaning of love’ drones the laughably juvenile dialogue, and off they go into space, a bunch of cutesy lesbians, trusting in some obviously villainous bloke who told them there’s a special ‘magic’ prize hidden at the end of the Care Bear rainbow in space.
And Marvel still doesn’t understand why readers are turning away from their books?
Okay Marvel, keep writing girly books where you try to convince everybody (including yourselves) that there’s no difference between the genders, but recognise that these comic books will only ever appeal to social justice warrior activists, and your sales will continue to decline. Do you really want to destroy yourselves with gender neutral love and feelings stories? All you are really doing here is whining that the world isn’t the way that you want it to be, and it’s getting a bit embarrassing.
Marvel, my old mate, it really is getting a bit silly now. You really need to stop with the leftist, race-gender-sexuality activism. The world that you are pushing for is a communistic world of perfect equality, where gender, race, politics, sexuality, religion, and everything else is merged into a creepy Borg collectivist whole of unquestioning love and acceptance. The world, the real world, can never, and will never be like that, and the more you try to achieve your impossible Marxist Nirvana, the worse that things will get for all of us.
Wake up Marvel. Take the red pill option that the rest of us are taking. We are forgiving people, and will look back at this period in your history when you got infiltrated by Marxist activists posing as writers, have a laugh at how silly it all was, and move on.
Stop pretending that we are all the same Marvel. Reclaim national pride. America is great. Be proud of who you are. Stop pushing leftist victim groups as heroes. Stop hating on straight, white men. Fire the activist leftists who pose as writers. Get back to telling good stories, with recognisably masculine and feminine characters, who are defined by their actions, and not identity politics and how much of a ‘victim’ they are on the liberal scale of officially sanctioned oppressed groups.
You can do it Marvel. You were great before, and you can be great again. All it will take is a little red pill, a touch of courage, and the ability to recognise that you are walking towards a cliff, and it’s time to stop, change direction, and start walking back home. We are waiting here for you Marvel, we miss you Marvel, and we desperately want you back.
Rating for comic: 2/10 (A load of silly old, irrelevant pap)
Friday, 24 March 2017
Writer: Peter B. Gillis
Artist: Tom Sutton
Release Date: 22nd March 2017 (Originally released in 1983)
‘The Black Flame’ exists as a time capsule from a very different age, and opening it now is a strange, telling, and rewarding experience. The story is very much of it's time. It could have only existed in the early 1980's and it does things that you just don't do today. Read on and I'll explain what I mean by that.
The narrative is centered on a young girl, called Susie Ingalls, who is kidnapped from her parent’s house by a strange man on a motorcycle, and taken away to a creepy looking ‘safe-house’ where a ‘poet’ gives her a drugged drink of hot chocolate and puts her to bed. The man on the motorcycle (the ‘Black Flame’ of the title) is a hero by the way, and the poet (Michael Robartes) is a good-guy as well. Yes, the two strange men responsible for the kidnapping of a young girl from her family home are the heroes of the tale.
The narrative in this weird comic book world drifts between two very different realms. There is everyday, motorcycle kidnapping reality, and a nightmarish realm of fearsome creatures that lurk in the closets of little girls who can’t get to sleep without having the light turned on. This nightmarish land of closet monsters, evil (scantily clad) ladies and monstrous beasts, is the world of H.P Lovecraft, a man who was a big deal in the 1980’s, in television, movies, books and the comic book genre. Lovecraft’s world is a world where madness, dreams and reality merge, and that is the realm that you are entering when you read this comic book.
‘Rescuing’ a little girl from the monsters of her dreams, putting her on the back of your motorcycle, and taking her to live with your poet mate in his creepy old house, is certainly not normal, but this is Lovecraftian territory.
It’s all very weird, and you are not going to find anything like it being written today. You couldn’t do it, you really couldn’t. If you did somehow manage to find a publisher who was okay with you writing a story where the child-kidnappers are the heroes then there would be so much controversy kicked up that issue #2 would never be released.
What needs to be taken (heavily) into account when reading ‘The Black Flame’ in 2017 is that it was first released in 1983, a time period very different to the one that we live in today. There are, of course, many technological differences between the time periods, but even bigger than that are the cultural differences.
In 1983 men were still, largely, the patriarchs of the western family unit. This was a time before the feminisation of western culture, the enlargement of the welfare state, the rise in single mother households, and the increase in paranoia that comes when females are more dependent upon state power than the security that comes with a husband provider/protector. It was a book released when men were still valued, and admired, when women preferred good men over the easy access to resources that comes from running into the controlling embrace of the all powerful welfare state.
When you read ‘The Black Flame’ you are getting a window into the world that existed before the present matriarchal society that we live in today. The culture in western democratic societies of 2017 is a feminised culture of fear, paranoia and anxiety, where everything is a threat, everybody is a potential predator, keep your kids indoors, never let them play unsupervised, danger is everywhere, always watch, always control. This feminised world of fear did not exist in the early 1980’s because men had yet to be marginalised by government, media (comic books included) and academia, and children were still allowed to roam their neighbourhoods and do what children are supposed to do. Men were seen as providers and protectors, not as threats, and so when you have masculine strangers protecting a young girl in a comic book it was not as unusual as it seems today.
‘Black Flame’ then is an anachronistic book of a bygone age, and for that reason alone it is extremely interesting and worth reading. It is also very enjoyable to read, as it is fast paced, camp, a bit silly, a bit scary, a bit serious here and there, and very, very 1980’s old school cool. In this one issue you get FIVE chapters of the original story, and that means that you get some awesome cliffhangers and a story that is as fast paced as the Black Flame’s motorcycle itself. The art is 1980s style, totally awesome and with beautifully updated, bright as you like colouring. It's very cheesy, gloriously old fashioned, and bottom line, fun, fun, fun.
The challenge in 2017 will be to read through the narrative with your cynical (every ‘strange’ man is a potential pervert) radar turned off. If you can break through the oestrogen induced fear-fog of our times you’ll get a huge amount of enjoyment from the book. Please take into account that it was written during very different times. Those times have gone forever, and can never be reclaimed, but you can revisit them through the pages of this wonderfully weird and thoroughly enjoyable old school comic book. I personally recommend that you take the trip, because what you will find within the dark and murky corners of the very near past is authentically odd, malevolently masculine, and most assuredly not for those of delicate, modern, feminised, paranoiac sensibilities.
Rating: 9/10 (Worth purchasing for the weird factor alone)
* Pics on this review are from the original comic book. The 2017 version of the comic book has much superior, brighter colouring. BUY IT NOW.
Thursday, 23 March 2017
Writer: Matt Kindt
Artist Tomas Giorello
Colorist: Diego Rodriguez
Letterer: Dave Sharpe
Publisher: Valiant Entertainment
Released: 22nd March 2017
**WARNING- LOADS OF SWEARING IN THIS REVIEW**
Fuck yeah, my dusty memories of youth have been rekindled. Days spent messing around outside, going everywhere, anywhere, with my mates, messing around, getting in trouble, running from that trouble, doing it again, having fun, truly living before this adult half-life, which is pretty much indoor delay, thinking rather than doing, writing rather than experiencing.
Good comic books in 2017, and there are not that many of them, take me back to the days when leftist bullshit was confined to a room full of bearded commies at the local polytechnic, and not the dominant ideological cancer that it has grown into today. Before white guilt, Islamaphobia, gender pronouns, antifa fags, gay marriage rights and open border terrorist atrocities, there were young boys reading comic books about the men they wanted to grow up to be.
These men were big, strong, courageous, kick-ass, big muscled warriors with long hair, cool scars, and sexy girlfriends who looked at them longingly, with lust and admiration. I did not want to grow up and be Carl the fucking cuck, a subservient worshipper of empowered women, and their society wrecking PC bullshit. I, like all of my mates, wanted to be Conan the Barbarian, a kick ass warrior who did what he wanted to do, and didn’t give a shit about anybody’s precious fucking feelings. I read comic books because they were awesome, the male hero characters were manly and cool, and the girls wore very skimpy clothes, and were sexy as fuck.
THAT IS WHY COMIC BOOKS WERE COOL.
It’s not just Marvel, though they are the worst, pick up any comic book today and you will see young girls elevated to such a ridiculously fucking unbelievable standard of excellence that men are simply no longer required.
PLUS, the Mary Sue heroines don’t even look very attractive anymore, and certainly not to any young male reader. The progressive heroines of contemporary comic books are starting to become more covered up than women and girls in Islamic countries. FUCK. There are only TWO kinds of people who will get anything out of this kind of pandering to Marxist/feminist infiltration. The first group is obese girls with daddy issues (you will see them in the streets with metal in their faces and blue hair dye dripping into their brains) and the second group is their pathetic cuck, testicle free jellyfish boyfriends who couldn’t fight themselves out of a wet paper-bag.
FUCK THESE PEOPLE.
The twelve-year old version of myself would have laughed his ass off at these fucktards, and seen them as the pathetic losers that they are, and now these are the people who are keeping the comic book industry alive? What a sorry fucking state the entire industry is in, how fucking sad it all is.
So, when I pick up a NEW comic book in 2017, a book that features a big buff man with a bad-ass attitude, cool hair, stripper girlfriend and the story is all about him fighting weird alien creatures in space, fuck yeah, this is the good shit. This is what I want, this is what comic books used to do, this is what comic books should be doing to reclaim their place in the hearts of masculinity deprived young boys in the west today.
Let’s talk about the art in this book. Tomas Giorello, you are a fucking genius mate. You know how to draw the bulging biceps, scarred up, growling glint of pure testosterone that is MAN. Giorello knows how to draw the man that every young boy dreams that he will grow up to be. Muscles, individualism, aggression, determination, pure, badass, masculine authority, that is what he draws, and nobody does it better.
That is fucking awesome. What else could a young boy want out of a comic book? The protagonist is everything that any kid would ever want to be. He’s a kick-ass warrior with a bad-ass attitude, he’s got big muscles, cool hair, an alien stripper girlfriend and A SECRET FUCKING WEAPON THAT HE HASN’T EVEN FUCKING USED YET!!!!!!!!!!!!!!
It’s really very simple, isn’t it? That’s it. That’s all you need to fucking do in a comic book. Do this, put a real man in the book, let him do what men do, and you rescue the entire fucking comic book industry. Not only that, but you start to give the kids of today a glimpse into that rare realm of ancient lore, that strange mythological dark space that is rarely glimpsed today, PURE, HONEST, SWEATY BALLS, KICK-ASS, DON’T GIVE A FUCK, MASCULINITY.
This issue, of course, is just a very, very, very, very good start. The following issues could social justice it all up and lay a big turd of progressive weakness all over this awesome start, but as a stand-alone first issue, X-O MANOWAR SOLDIER ISSUE 01 is old school fucking awesome.
This is the kind of book that I used to read as a kid in the early 1980’s, the kind of book that got me into comic books in the first place, and the kind of comic book that you just don’t see anymore. Everything about it is fucking awesome, the characters, art, story, simplicity, and the take no shit old-school masculine attitude itself. If you are searching for evidence that the Marxist era of progressive insanity and weakness is finally coming to an end, then this is the book for you.
Rating: 10/10 (Art, story, characters, everything about this book is old school fucking awesome)