Star Wars: The Force Awakens SUCKS (Sorry, but it does)

Why I won't be buying any comic books today

Kinski by Kinski (Fragrance review): Individuality in a bottle

Swindon Town Centre (Purgatory Circle)

Been down town, to the same old places, familiar faces. The beard and beanie busker, strumming, ignored. The giggling teenagers, impressing each other with outrageous remarks at indifferent strangers. The overly polite shop assistants. ‘Can I help you?’ Not with anything of importance, no. The mentally ill man, shuffling, smiles madly to himself, creating reality out of the apathy in which he lives. Swindon town centre, you groan under the weight of your own insignificance. Your purgatory circle offers delay, a hamburger, rain and despair. There are no bargains here. Everything is for sale, but regret is the only thing that you have to offer.

*Photograph is of Richey Edwards (Manic Street Preachers) showing off his tattoo of Dante's Inferno.

Comic review: Klaus #2- The Road to Freedom

Writer: Grant Morrison
Art: Dan Mora
Publisher: Boom! Studios
Released: 16th December 2015



‘So. We have a malcontent in our midst. Someone who refuses to play by the rules of civilisation.’


Evil hides beneath the veneer of collective goodness, taking from you, to give to him, as he deserves it more than you, we are more than you, and we have soldiers, swords/guns, and what are you going to do about it, little man?

It’s socialism. The theft of what you own, of what you have worked for, given to the spawn of the state, an ungrateful spoilt kid.

It’s evil here, real world evil in a beautifully drawn tale about Santa with muscles.

Happy Christmas to a world enthralled with unreality, dictators ain’t the problem mate, it’s collectivism, and you, the collectivised spoilt masses are at the centre of the matrix web of social control.

The world is a hall of smashed mirrors. Grant Morrison takes a shard, and shines it in your eyes. Understand the violent coercion of mirror shattering state apparatus. Here it is, for all to see. Can you see it?

Life should be a road not made. Create one, for yourself. The road well worn is a Disney movie, old, tired, regurgitated emptiness, the road is strewn with weeds, and it leads to nowhere.

Open up a new path to possibility where nostalgia withers, and everyday is a new day, with a new you, creation drunk, exploring your incandescent eternity of endless possibility and ever-expanding consciousness emancipation.

When Morrison gets it right he is an excellent road builder. In Klaus #2 he is building a very fine road indeed, and I'm more than happy to take a Yule time trip down his merry road to freedom.

Rating: 9/10

Klaus #2 is a lovely Christmas tale, it has jokes, but there’s depth here as well. This is more than the usual surface cleverness, nostalgia and social justice that you will find in an average Marvel comic book, or the new Disney Star Wars movie. 

There is real joy here, real creativity, and an acknowledgement that socialism boiled down is the state using collectivised guilt to justify the theft of resources from it’s tax netted population. 

Klaus is a book about individualism, and in this collectivised western world of shared weakness, shared inanity, and shared guilt, what better Christmas gift could any anarchist individualist ask for? 




A special Christmas message to everybody at Boom!Studios

Happy Christmas Boom!Studios. Happy Christmas Grant Morrison. Happy Christmas Dan Mora. Thanks for this fantastic comic book that is all about the Christmas spirit, not of collectivism, but of kind-hearted, individualistic volunteerism away from the violence and coercion that is old time monarchy/dictatorship and its modern day equivalent of neoliberal collectivised socialism. I'm loving the message here, and it's very much appreciated. Have a great Christmas, and I'll see you all in 2016.

Spoiler Free Movie Review: Star Wars-The Force Awakens: Banging my head against a wall

Directed by: J. J. Abrams
Written by: Lawrence Kasdan, J. J. Abrams & Michael Arndt
Starring: Daisy Ridley, John Boyega, Adam Driver & Harrison Ford
Distributed by: Walt Disney
Release Date: 14th December 2015


Sometimes, no scratch that. I’ll start again.

Most of the time I feel like I am living in a parallel reality. I’m here, but not really here, if you know what I mean. I walk around you, but I’m not really a part of you. I’m outside, a bit off, a bit odd, watch out for me. I’m the strange one.

A very weak villain

Being the (accidentally) strange person that I am, I get to be the sole, lonely witness to things that ‘normal’ people cannot see. But, and here’s the worse bit. I refuse to keep my delusional visions to myself. I go onto the Internet, and here I am now, and I spew my bile everywhere. I’m a terrible person. I really am.

I’m an eternally loud mouthed, unpopular and opinionated person, and I spend my life shouting about the things that only I can see. It’s a frustrating life. I point out what is in front of me, things that are invisible to almost everybody else on the planet (there are exceptions) and in doing so I become the bad guy. I’m the villain. Stick a helmet on me and call me Darth, but there’s no redemption scene for this guy.

Why can’t I just go along to get along? Why can’t I stick my head in the horse manure and pretend that I’m sniffing roses? I don’t know. There must be something wrong with me. I’m weird. I’m dangerous. I say things that people don’t want to hear, and so, once again, here I go, saying things about the new bloody Star Wars movie. It’s very likely that you are going to hate this review, so read with caution. Here I go again- RANT TIME.

Here’s how I felt as I left the cinema after sitting through the seeming eternity that is the new Star Wars movie. My ass was sore, my head hurt with the inanity of it, I was still struggling to detect some semblance of plot, and feminism was pouring out of my ears. I felt a stinging desire to scream, 'I’ve just witnessed the birth of a turd, don’t call a nurse, call a bloody plumber.’ And then I tune down, out of my own reality, back into the realm of ‘the norm’ and I listen to the voices of the people around me, the other cinema-goers, and horror to end all horrors, they bloody well loved it.

Agggghhh, my head is going to implode.

Here’s how the movie goes, and there will be NO SPOILERS here. It begins with a burst of optimism, fast paced action stuff, and excitement, excitement, excitement. It then settles down and you begin to realise that this is going to be a movie all about the feelings, the characters, a dollop of nostalgia and the not so subtle neoliberal bludgeoning of third wave feminism.

It's all about the girl..

Have you seen the Hunger Games? If so, you know how it goes. The young girl is the most important part of the movie, she’s tough, independent, brave, strong, MASCULINE, the future of humanity, blah, blah, blah. In this movie the young girl is the best mechanic, the best pilot, the best fighter, the best light sabre fighter (even though she has no training) and she generally makes all of the men look like fools as she dances circles around them.

The villain looks great, but is basically a wuss. His motivations for evil are skin deep, and he seems to exist purely as a punching bag for the female lead. That’s it. That’s all you are getting as far as character depth in this movie. All of the rest of them (Han Solo included) exist to serve the main protagonist, the Hunger Games perfect girl.

As for the plot, there is no plot. It’s cobbled together, parts of the first (good) movie and a bit of a search for Spock thing going on that they almost forget about until the very end. The special effects look like they cost a lot of money, and the soundtrack likewise, but when you search for the heart of the movie you’ll come up with nothing, because it has no heart. It has nothing to say about the world of 2015, and worst of all, it’s not even trying to.

So what is it trying to do? It’s trying for nostalgia, humour, and excitement, fun and umm, more nostalgia I guess. It has some amusing moments. The cinemagoers laugh at the bits that they are supposed to laugh at, and it’s very loud and has lots of explosions. But if you dare look deeper (as many will refuse to do) what you will find is a lack of ideas, and a lack of connection to post 9/11 concerns.

...and nostalgia.

The villains look like Nazi’s. They line up like they are at Nuremberg rally in 1935 where they listen to the crazed ranting speech of their authoritarian leader. But this is not real world contemporary evil. There is no discernible ideology behind the evil that they do. They are evil because they are ‘the dark-side.’ That’s as deep as things get. They are cartoon evil, distanced from all of the contemporary concerns (neoliberalism, multiculturalism, tolerance, diversity, political correctness, statism, the rise of the social justice clown, endless foreign wars based on lies, enslavement to private banks, immigration and Sunni Islam) that plague our real world.

Look at that bracketed list. These are the issues that need to be addressed in the world of 2015. Will you see any of them being addressed in this movie? No, because it is a movie for juvenile adults that still want to be kids, and bringing any of that reality into their movie would make them feel uncomfortable, so out it goes. There will be no reality here. This movie is ‘awesome,’ it’s Star Wars.

They look cool, but their role is limited.

The counter arguments to this review will be that is was fun, exciting, entertaining, funny, for children, and there was a ‘cool’ moment that was a bit shocking, and upsetting. I found ‘the moment’ to fall flat, mainly because I was expecting it to happen, and secondly because by the point in the movie when it did take place, I had long lost interest in anything that was happening. I will give the movie credit though. It was a big safe blockbuster movie. It will make lots of money for Disney. Most people will love it, and I recognise that I am certainly not ‘most people.’ It wasn’t made for me. I can sod off. That’s fair. I accept that.

Let’s finish off this review before I waste any more brain cells on it. Perhaps the worst thing that I can say about it is that is has KILLED any remaining interest that I had in the Star Wars franchise. I loved Star Wars as a kid, but I guess I’m not a kid anymore, so it’s gone for me now. There will be another movie, and I will not be watching.

What else is there to say? A lot of people will love this stinky egg of a movie, and they will suck in its toxic vapours until they are puking all over the floor in delirious delight. As for me, I’ll be walking around the vomit, avoiding the puking fanboys and retreating back into my own safe space called reality. Goodbye Star Wars. Thanks for the memories, but I’m all grown-up now.


Rating: 4/10 (Starts strong, settles into a comfortable Space-Nazi, one-liners, explosions, jokes, nostalgic routine, becomes all about the perfect female lead, loses all semblance of plot and concludes with a familiar bang, and a nostalgic plea to watch the next movie.)

50-Word (Comic) Review: Judge Dredd//The Beating-Part Three- The end of an arc, and a compromise that destroys all that came before

Writer: John Wagner
Artist: Patrick Goddard
Published in: PROG 1960 of 2000AD
Release Date: 9th December 2015


Spotlight on state sanctioned violence, on the order following sociopath Dredds of the world, and as the finish line draws near, a compromise. Stockholm syndrome cowardice bows to slave state programming. Why? Writer? Editor? Owner? A false dawn of ‘Rebellion’ then back to the slave game of Police state obedience.


Rating: 5/10 (Good, but then three panels destroy it all)



How do they expect the reader to feel? Do they not care? I say ‘they’ because I don’t know who blame for what has happened at the end of this arc. Was it the writer? Did he not know how to end the story? Did he feel like he had gone too far, and deliberately rein himself in? Or did the editor look at the story, get worried that it was a bit too close to the truth, and order a compromised ending where everything would be brushed under the carpet? Who knows? They do, but they’re not going to tell me, are they?

The entire story arc of Judge Dredd/The Beating was about Police brutality. It was about the Police (as representatives of the state) and how they are given the authority to murder anybody that doesn’t instantly surrender, prostrate themselves on the floor and kiss their royal boots. 

This wasn’t a story about racism or racial profiling, or anything like that. It was a story about what the cops are allowed to get away with, because they ARE the state. Cop violence is the reality of the state. It is what the state actually is. The state is coercion backed up by the threat of violence from uniformed order following thugs. That statement is as true in a democracy as it is in any third world Islamic s***hole (hello Saudi Arabia). 

The state is always going to back-up it’s uniformed enforcers, because without the uniformed enforcers, there is no state. There’s a huge debate still raging in the US about this, and although the majority of protestors have mixed up ‘racism’ with what it actually is (statism) the issue of Police brutality is quite a hot button topic at the moment. So to see good old 2000AD deal with it over the past three weeks was a nice surprise for a comic book reader like myself who has become depressingly used to seeing reality being COMPLETELY IGNORED in his comic books. 

I read the last two issues of this arc, beamed like a anarchist Cheshire cat, and ran to the Internet to tell everybody how great it was that Matt Wagner was writing about something that actually had some kind of relevance in the real world. Do you know how many people actually review 2000AD on a weekly basis? Worldwide it’s hardly anybody at all, just me. I’m the only one who can be bothered. What does that say? Seriously, if the comic was so bloody cutting edge and essential reading, how many reviews do you think that it would get? It would be a heck of a lot more than just my half-hearted, moaning and complaining efforts, that's for sure. 

I want to say good things about this comic book. I really do. I’m always looking on the bright side, searching for the gems amongst the muck, and hoping, hoping, hoping that it will break through the toxic, circle-jerk cloud of neoliberal, progressive, multicultural guff that is choking the US comic book industry in 2015. I want 2000AD to be a beacon of sanity amongst the comic book progressive unreality that is coming out of the US right now, and occasionally, it gets close. 

And now, here comes the comedown to my goodwill party of delusional naïve optimism. In this, the final instalment of the Judge Dredd/The Beating arc, John Wagner has taken all of that goodwill, all of that hope and expectation, all of that praise that I showered upon him over the past two weeks, digested it, and cr***d it back all over face. 

Why am I so upset? What exactly has John Wagner done? 

He has written an ending to the arc (in the final three panels) where he reveals that Judge Dredd didn’t actually beat anybody to death at all, and is in-fact a hero working for the greater good. John Wagner has turned the embodiment of state sanctioned violence into a misunderstood hero, and in such a bumbling, unsatisfactory and unconvincing way that it reads like an addendum, added onto the story at the request of a panicking government/cop worshipping editor. The story ends as cuckolded as possible, signifying to the readers that there is no problem with cop violence, no problem at all. Go back to sleep. Thanks for reading. Reality is now closed for the foreseeable future. 

Do you see why I might be a little bit upset about this? A narrative that was exploring the very real problem that cops can beat you to death, and get away with it, has been turned into a story about the individual personality of Judge Dredd, and how he’s not really as bad as you first thought him to be. 

All of the contemporary concerns about state sanctioned violence have been left hanging in the wind. Nothing has been resolved. State authority is still legitimate. State sanctioned violent coercion is still legitimate. It was all about Judge Dredd. He didn’t beat a man to death. You have nothing to worry about now.

 I trusted a writer, and at the final hurdle, he massively compromised, and went back on everything that came before. This feels like (and here’s a dated reference) the Bobby Ewing shower scene in Dallas. Trust has been betrayed, and there’s no coming back from this one. 

Who made the decision? Will I ever find out? Does anybody at 2000AD even care? Probably not, and that’s the worst thing of all. I have read the story. I paid to read it. I reviewed it. I wasted my time, and my money. I’m the sucker here. I’m the idiot. They are laughing at me, and my anger, frustration and sense of betrayal will be completely ignored.

50-Word (Comic) review: Symmetry #1- Individualism versus Collectivism

Writer: Matt Hawkins
Artist: Raffaele Ienco
Publisher: Top Cow/Image Comics
Released: 9th December 2015


Liberal writer takes his PC ideology, creates a progressive future for us all. Writes a socialist paradise of clones, controlled by hive-mind AI, free of individualism, slaves to the greater good, a nightmare liberal utopia. Is ‘Symmetry’ detailing a progressive mind breaking free from its cultural Marxist programming? We’ll see.



Rating: 8/10

A very intriguing beginning with a lefty comic book writer (yes, I know, they are all lefties today) exploring issues of individualism versus collectivism. 

It would be unwise to get too excited at this early stage, but I get the sense that writer Matt Hawkins has an open mind (and that is a rare thing in the left today) and is genuinely concerned about a utopian future created by the progressive/collectivist/totalitarian left.  

He’s looking at this future and seeing a lack of creative individualism (and as a creative man himself, why wouldn’t he?) and realising that perhaps this hive mind borg collectivist ideology is not as great as he had previously thought it to be. 

That’s the funny thing about creative liberals. They are a lot more individualistic and ‘right-wing’ than they think that they are, it’s just that they do one thing (using their individuality to create something new) and promote the direct opposite (calling for ideological collectivisation). 

The contradiction that is at the heart of cultural Marxist programming will finally be the thing that defeats it. As the progressive writers begin to understand just what it is that they have been promoting, they will inevitably turn against the narrow dictates of politically correct, collectivist, virtue signalling ideology, and start to get back onto the freedom train of individualism, creativity and human freedom. 

There’s a guy called Trump who is breaking down a few walls at the moment. He’s controversial. He’s brave, and he’s very, very popular. There is a reason for his popularity, and it’s not because his followers are all evil, racist, sexist bigots. The reason for his popularity is that he is an INDIVIDUAL battling against the status quo political ideology of COLLECTIVISM. You might not like Trump, but that’s not the point. The point is that we need to get back to individualism, and to leave this era of politically correct collectivism behind us. It’s dangerous, and we need to get rid of it.

Trumpzilla: The collapse of neoliberalism is imminent

Comic review: Robin War #1- Way to ignore the world guys

Writer: Tom King
Artists: Various (they get worse as the narrative progresses)
Publisher: DC Comics
Release Date: 2nd December 2015




One of the biggest social concerns in the western world today is the growing number of young vigilantes taking to the streets. Every day we read story after story about costume wearing youngsters interfering in bank robberies/muggings and generally getting in the way of the police.

How do we stop this epidemic of reckless youngsters taking the law into their own hands? They are not trained, and all they are doing is putting themselves and the public in danger. This is a terrible problem, and it must be stopped immediately. Heck, we should even pass new laws against vigilantism to stop it.

Oh, it’s not a problem, at all? It’s just nonsense made up for a comic book that is saying NOTHING WHATSOVER about the world that we are living in today, and that in actuality we have NO problem whatsoever with vigilantes taking over the role of the police?

Oh, okay then. So, what’s the point that this comic book is trying to make? Perhaps the ‘vigilante’ thing is code word for something else? Perhaps it’s a clever metaphor or allegory for something that actually is an issue? Hang on. Let me have a good think on this one….

Ummmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.

Nope.

Nothing yet.

Hang on, more thinking time needed………..

Ummmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

Dammit, I got nothing.

Ahhhhh, I know.

Err, is it about racism, or something?

No, no no, no, it’s sexism, right?

It’s got to be one of the two, right?

It usually is in comic books today, battering us over the head with that two pronged Cultural Marxist attack.

Oh, it’s neither of the two?

Crud, so it’s about err, nothing, then?

Oh, it is.

It’s just a comic book, and it’s about personalities and petty conflicts, not issues or subject matters that have any resonance with contemporary, real-world concerns?

Oh, so it’s that’s kind of book?

I see now.

Well, thanks for that then.

Cheers guys.

Great quip on page sixteen, panel four from Robin #5 by the way.

That was really cool, man.

I like totally love quips and fight scenes in bars dude.

This book was so, like totally cool.

I can’t wait for next month.

I hope like Robin #2 like totally flips out on Robin #5 man.

Yeah, man, cool, cool, cool and on and on it goes, for infinity……………………………..

Was that supposed to be a review?

No, not really, but it’s all that Robin War #1 deserves. Sod it, I’ll give a little bit more..

You could argue that the book is encouraging youngsters to take a more active role in society rather than being passive slaves to their isurveillance devices. You could, but that would be a stretch. I really don’t see how Robin War #1 is trying to say anything. It’s trying to entertain, that’s all.

So, did it entertain? No, it didn’t particularly entertain me. It annoyed me because it was so far removed from reality that I couldn’t connect with it on any level, and when that happens in a comic book I get really irritated, really quickly.

I don’t understand why people spend all day writing and don’t even want to say anything about the world around them. That both annoys, and confuses the heck out of me.

Perhaps I just need to accept the fact that life for the vast majority (including comic book writers) is always going to be about finding a comfortable bed, career, food, partner and way to spend their leisure time? That’s probably the hard truth of the matter, and that’s why the slave masters of our world (government) find it so bloody easy to control us.

Bread and circus, if that’s all that we want, that’s all that we are going to get. Oh well, another slice of comic book bread that was a complete waste of my time. I should be getting used to it by now, right? BIG SIGH. Okay, that’s enough.  I have better things to do with my time now. See ya Robin, I got some Ayn Rand to read, have fun in toyland, us grownups have some learning to do……..boring…….later.


Rating: 1/10 (Cool front cover)

FRAGRANCE REVIEW: KINSKI BY ESCENTRIC MOLECULES- A SCENT FOR THE COMFORTABLY WEIRD

Released: 2011
House: Escentric Molecules
Fragrantica page: http://www.fragrantica.com/perfume/Kinski/Kinski-14192.html



Top Notes: Cannabis, Juniper, Castoreum, Black Currant
Heart Notes: Oceanic notes, Magnolia, Vetiver
Base notes: Animalic notes, Woody notes, Patchouli



I’m a little bit weird. Not because I want/try to be weird, and not because I have a particular chemical imbalance or psychological condition that affects my mental reasoning or social behaviour, because I don’t.

I am weird because I am noticeably different to the people that I grew up with. It’s as simple as that.

I have never felt any desire to join, and this not wanting to join has made me ‘weird’ from the very beginning, whether I realised it or not. I didn’t even have to do anything. Being weird is not about what you do, it’s about what you don’t do, and by doing nothing, I marked myself for life.

And now as a different version of the same person that I always was, and still outside, I’m into scents, and what scent encapsulates outsiderness, difference, separation, better than Kinski? It’s an anti-social scent, but not really, like myself, it’s rough, but really quite sweet. I sampled it in a department store, and was instantly repelled at the awkwardness of the scent.

This isn’t perfume, is it? I thought that perfume was supposed to be soft, charming, alluring, and romantic, not a harsh, dirty, earthy, sweaty, dry, animalic? I can’t wear this, can I? What would people say? And that’s the point. Here’s what they will say.

In my world, they will say nothing, because that is what they always say. So, I douse myself in Kinski, enjoy it, because I like it, I really do, and what people think, it doesn’t matter, because I do not matter to them, so why waste my time in concern for how they will react?

I wear Kinski for myself. I wear it because my individuality is not a circle and the scent helps me to connect with that awkward sense of alone for life individuality that I value more than anything else in the world. It’s little old me, in a bottle, awkward and alone, harsh, yet sweet, and happy to be alone, as looking around me, there’s nothing out there that’s really worth joining, or belonging to, is there?

Kinski is a scent for the comfortably weird, for those that happily refuse to assimilate within one of the little groups of stranger circles. You wear it because it allures you, to yourself. It makes you appreciate yourself.

The world grinds people up, taking them inside, and moulding them into the collective. It’s how the world works, it’s how humanity works, and it’s how we kill ourselves for the greater good of what will never exist. Outside, they walk, back and forth, to their circles of ruinous routine, but you don’t have to pick a side and join the wilfully blinded throng. Let them walk by. They are walking, but they are not going anywhere. Enjoy Kinski, luxuriate within the isolated sense of fiercely independent weirdness, it’s all you need, it’s all that anybody needs.


Longevity: 8/10
Sillage: 8/10
Overall rating: 10/10

Comic review- Doc Savage: The Spider’s Web #1- And the award for the stupidest comic book of 2015 goes to……..this one.

Writer: Chris Roberson
Artist: Cezar Razek
Publisher: Dynamite Entertainment
Released: 2nd December 2015



Here’s the plot: 1935, America, and an evil inventor/industrialist has a portable weapon that melts people, and entire buildings. He attempts to sell it to the US Government, but (unbelievably) they are not interested.

So, rather than selling it to foreign governments, or to the numerous independently wealthy private individuals who would no doubt pay him billions for such a weapon, he comes up with a devious plan to change the US government’s mind and to get them interested in it.

Here’s his plan. Melt a couple of cops, evaporate a warehouse, frame the Germans, get the US government to perceive a German threat, and then they’ll come running back to you to buy your portable WMD. Will it work or will the heroic Doc Savage foil his evil plan to, err, sell a weapon to the US government, the very people that (in the real world) would be more than happy to buy it off of him?

If you want to find out what happens next, buy this book. If, however, you find this entire plot to be completely, unbelievably stupid, then don’t.

What on earth is going on here? Are we supposed to believe that the US government (In 1935) would NOT be interested in a powerful (portable) weapon that can dissolve people and entire buildings into a puddle of goo? And are we also supposed to believe that having found out about this technology that they would leave the inventor alone to do whatever he likes with it? Wouldn’t this be a serious national security issue? Didn’t the US invade Iraq because they THOUGHT that they had WMD’s? Okay, I know that was a lie, but the point stands.

There is no way in Hell that the US government of 1935 (or any other time in world history) would find out about a devastating weapon of mass destruction, and then do absolutely nothing about it other than politely say no when given first refusal.

How the Donald Duck am I supposed to take any of this seriously. The whole thing is completely preposterous. There’s suspension of disbelief, but suspension of the intellect as well?

Chris Roberson, you’re asking too much of your readers. Your story is nonsense, and I have to call you out on it. When the fundamental core of your narrative makes ZERO LOGICAL SENSE how the heck am I supposed to engage with it?

I’ll answer that. I can’t. It’s absolutely impossible to engage with something sooooooo mindnumbingly stoooopid. Aggggghhhhh, my head hurts now. Somebody give me some brain juice please, my intellect is literally pouring out of my ear holes.



Rating: 0/10 (I can’t even remember the last time that I read something as stupid as this comic book)

Feeding Time (How westen neoliberalism created an Islamic monster)

50-Word (comic) review: 2000AD-PROG 1959- Reflections on a world gone wrong

Writers and artists: Numerous
Publisher: Rebellion
Released: 2nd December 2015



2000AD, you really are spoiling me. What can I complain about when your stories are about Police brutality, political corruption, false justifications for war, resistance to tyrants and the ‘highest’ being questioned by the ‘lowest?’ This is how you get with the times. This is how you actually say something.


Rating: 10/10

Check out the following quotation from ‘Defoe//London Hanged’ by Pat Mills- 

‘By what authority are the highest in the land to be questioned by the lowest?’ 

Look at the front cover on this issue of 2000AD (by Cliff Robinson) where an unrepentant Judge Dredd is caught on a camera phone beating a civilian to death for the crime of talking back to him. 

Read ‘Bad Company//First Casualties’ a story where ex-soldiers find out that the war they risked their lived for was based on fear propaganda and lies. 

Something happened to 2000AD recently. I don’t know how or why, but something clicked, and rather than being lost in the silliness of identity politics (like US comic books) they started to reflect real world concerns within their narratives. 

When I read a typical DC, Marvel (and most of the 'indie' US books as well) I read nostalgia, style over substance, identity politics and the worship of collectivism and state authority. 

When I read 2000AD I read about individuality, resistance and the desire to be free from those that wish to enslave and control. PROG 1959 of 2000AD has three excellent stories: Dredd, Bad Company and Defoe. These three stories are UK stories. You will only get them in 2000AD. 

When people ask me- ‘Why should I bother reading 2000AD in 2015?’ I will point them to these three stories. If you care about the world around you, about what is happening now, then you will get a heck of a lot more insight from these stories than anything that you will read coming out of the almost completely worthless US comic book industry. 

For a story to excel, it has to reflect the times in which it is being written. We don’t live in the 1990’s anymore. The cold war is over. Things happened. They continue to happen all around us as I type these words. Comic books need to reflect these realities. We are not children, and we don’t need a ‘safe-space’ to protect us from harmful reality. 

When we get with reality, things change. Politicians cannot fob us off, as they always try to do, and they have to actually engage with the people that they are supposed to represent. 

That’s us, we are the people that are supposed to be in charge, not corporations, not banks, and not arms dealers. We get with reality and things start to change, so when I read 2000AD reflecting the real world of 2015 back into their narratives, that makes me very happy indeed.

Reality Cat is worried about: New Comic Book Day (A webcomic about new comic book day)

Marvel Comics: New releases-2nd December 2015


1: All New All Different Avengers #2 (Threat book with the separated superheroes needing to get together in order to beat the outside threat. Umm, sounds like a western style ‘intervention’ is needed. )

2: All New Inhumans #1 (Superhero girl has the task of helping people out after a comic book catastrophe. Does she work for a NGO? Hey perhaps she can help out in Syria or the Ukraine as well?)

3: All New X-Men (2015) #1 (Brave teenage heroes fight against the prejudices of society. What year is this again? Perhaps it’s set in Saudi Arabia?)

4: Daredevil (2015) #1 (Daredevil is a district attorney now. Hey, perhaps he can investigate some real criminals for a change and not just cartoon gangsters? Nah, just kidding. I know that’s not going to happen. It’s the Kingpin again isn’t it?)

5: Doctor Strange (2015) #3 (Issue #1 was like a 1990’s Constantine comic book, but with all of the non PC edge taking out of it. If you want something safe and with Doctor Strange acting like a playboy professor, then this is the book for you.)

6: Extraordinary X-Men (2015) #3 (More humanity versus the mutants guff again. Something new, please?)

7: Guardians Of Infinity #1 (Friendly characters go on chucklesome adventures around the galaxy. Quips, puns and one-liners guaranteed.)

8: Howard The Duck (2015) #2 (Howard the bloody Duck? What year is this again?)

9: Invincible Iron Man (2015) #4 (Tony Stark has relationship issues. Lucky old Tony.)

10: Miracleman #5 (Do you like the 1980’s? If so, this is the book for you.)

11: Nova (2015) #2 (Nova has to save the world from an earthquake cause by a monster. Fracking?)

12: Red Wolf (2015) #1 (It’s about a cop, in samurai get up. Next…)

13: Spidey #1 (Young Spiderman worries about girls. One for the pre-teens.)

14: Star Wars 2015 #13 (Princess Leia against Darth Vader. You go girl.)

15: Totally Awesome Hulk #1 (Asian Hulk, no really.)

16: Vision (2015) #2 (A book about the vision family. Sounds intensely uninteresting.)

BBC One Schedule 1-12-2015: The television guide (as it should be)

06:00- Breakfast: Framing the day for the masses with the latest brainwashing from bank funded public relations companies, presented by a stand-in mother and father figure cooing at you like kindly owls.

09:15- Fake Britain: The paranoia programming begins here. Watch how loveable, workingclass 'blokes' track down petty criminals selling fake watches and handbags in the highstreet, whilst ignoring all of the serious criminals in the corporate/government buildings around them.

10:00- Homes Under the Hammer: Mum and dad substitutes look at houses that you cannot afford.

11:00- Oxford Street Exposed: Authority worshipping documentary that follows the gods of the state (cops) as they investigate petty crimes and (like Fake Britain) ignore the corporate/governmental crime that is happening all around them.

11:45- Rip Off Britain: More paranoia programming, again looking at petty crime.

12:15- Bargain Hunt: Fake eccentrics wear silly jackets and bow ties in an attempt to impress lonely old ladies.

13:00- BBC News at One: National corporate/state propaganda, keeping the masses in fear and ignorance in order to maintain the status quo.

13:30- BBC Local News: As above, but with things to be scared about on a local level.

13:45- Doctors: Homosexuality/Cultural Marxism programming about handsome doctors and their fascinating private lives.

14:15- The Doctor Blake Mysteries: Australian drama about a television safe ‘eccentric’ doctor who spends his time investigating mysteries. Starring the bloke who used to be in Neighbours and is not Jason Donovan or Guy Pearce.

15:10- Escape to the Country: Another show about houses that you cannot afford.

16:15- Flog It: Another antique show featuring a fake eccentric in anachronistically quaint clothing.

17:15- Pointless: The name says it all. More harmless eccentricity, with a quiz show going on in the background featuring the banal, cardigan wearing public answering ‘pointless’ questions about safe subjects like bees, old movies and Mexican football teams.

18:00- BBC News at Six: Here’s what we want you to think at 6pm.

18:30- BBC Local News: Detailed information about that local murder, just to make you too terrified to leave your house tonight.

19:00- The One Show: Banality personified, presented by sexless/unthreatening mommy and daddy types talking to viewers like they are five-year-old children.

19:30- Eastenders: Cultural Marxism masquerading as drama, with random murders keeping the public in a constant state of anxiety and fear and with story-lines that push the neoliberal agenda of multiculturalism, homosexuality and everything else that is designed to destroy western civilisation. Essential viewing, if you hate yourself and want to see the western world burn.

19:57- BBC News and Regional News: More fear from the state, and some blatant lies and deception designed to make you think that their authority over you is legitimate, which it isn’t.

20:00- Holby City: Unbelievable hospital drama featuring attractive young people, and focussing on their relationship issues. Interspersed with gruesome murders, drug overdoses, car crashes and ladder based accidents. Expect your usual BBC dose of homosexuality and anti-family propaganda programming.

21:00- Capital: Politically correct drama programming about multicultural London stereotypes, based on a book described on Amazon as, ‘Weak stereotypes interrupted by flaky, identical characters that lack any substance, wrapped up in the complete absence of any engaging plot. Avoid.’

22:00- News at Ten: Oh God, does it never end?

22:30- Local News: Apparently not. Are you scared yet?

22:37- Weather: Random guesses about whether or not it’s going to rain tomorrow.

22:40- Imagine: Alan Yentob (former ‘Director of Drama, Entertainment and Children's Programming’ on the BBC during the Jimmy Saville child-rape era and chairman of fradulent, money-wasting charity ‘Kid’s Company’) is given legitimacy that he does not deserve. Here he interviews one of his old architect mates. A show for the drunk, dead, or family members of Mr. Yentob.

23:50- Possession: 2002 movie about eccentric English poets. Reviewed on the BBC website by Jamie Russell, where he describes it as, ‘Lacking the intelligence of an arthouse picture, or the classy sheen of a British production, "Possession" isn't possessed of anything other than over-wrought emotionalism and unintentional silliness.’


Goodnight, and thankyou for wasting your day on BBC One. Same s**t tomorrow? You betcha.

The Scum (The front page of a typical UK newspaper)