EPIC RANT: This is the End of Everything

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?

How many times can I write paragraphs about the plain as day cultural Marxist programming, multicultural programming, feminist programming, and anti white male programming that constitutes the entire point of mainstream media product in the west today?

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.

Oh, and don’t forget about the ham-fisted (wall related) accusations of racism and white supremacy thrown at Donald Trump, and a constant reminder that if you support him, then that most certainly means that you are a card carrying member of the newly resurrected KKK.

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.

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

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.

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 Return of Hitler (A Webcomic about the potential re-emergence of the right in Germany 2015)

The Comic Book Industry 2015: Decadence, nostalgia, identity politics and western decline

Do you remember that scene in ‘Interview with the Vampire’ where the vampire Armand (Antonio Banderas) begs Louis (Brad Pitt) to take him away from the boring vampires that are driving him insane with their inability to connect to the world around them?

That feeling of being stuck within a group that is unwilling, or unable to reflect/connect with the reality around them is pretty much how I feel about 99% of the comic books that I read today.

I read two last night. The Hangman #1 (Dark Circle Comics) is about a gangster, and a ghost vigilante. It’s cliché, uninteresting, perfunctory, going through the motions, reflecting nothing, saying nothing, and not even trying to. Plus, it’s half a comic, so you are not even getting good value for money.

The second comic book was Batman Europa #1 (DC). Just think of all of the things that are going on in Europe right now, all of the issues with immigration, terrorism, austerity and mass unemployment. Is any of this reflected in Batman Europa #1? No, it’s not. The book is set in ‘Berlin’ but the references are cold-war era, and read like the writer has done a quick five-minute search on Wikipedia. Batman is fighting Joker. He has infected him with a virus. The Joker has it as well. They have to work together to find a cure. What has this got to do with anything that is happening in Europe in 2015?

The Hangman #1 and Batman Europa #1 have ‘cool’ front covers, and decent artwork, but that’s all they have to offer. They are all surface, no meaning, and in that sense they are the perfect embodiment of the comic book industry as it is today.

Who wants to read a bunch of left-wing college Marxism, nostalgia and cold-war references that are woefully out of touch with the neo-liberal western world as it is today? Not me, that’s for sure. I don’t want identity politics. I don’t want nostalgia, and I don’t want to die from ennui like the Armand character in Interview with the Vampire.

I know that a lot of comic book fans are happy with the status quo of the comic book industry, but I need more, and that is why I am starting to write my own narratives.

If comic book writers are unwilling or unable to connect with the world as it is today, then I’ll do it for myself. I have to. I have a lot to say. I want to create, to express myself, and to talk about how the west is crumbling into nostalgic decay through the deliberate avoidance of reality.

Batman Europa #1 and Hangman #1 are not bad comic books. They are not interesting enough to be bad. They are average, and that’s all they are trying to be.

Give me bad over average any day of the week. At least bad conjures up some kind of emotion. Average just leaves me feeling empty, like Armand. Nothing bad was happening to him, he was just very, very bored. That movie was released in 1994, but in many ways the character of Armand reflects the state not just of the comic book industry, but of western culture as it is today.

Here’s a reality check. Collectively speaking, our culture is in decline. We are now vulnerable to attack from rival cultures (Islam) but the weakness comes from within.

The baby-boomer generation of the 1960’s has left a generation of soft, insecure people that are unwilling, or unable to defend themselves from attack, and rather than defend what has been built before, they are actively working (whether consciously or not) to destroy it from within. That’s the hard truth, and you are not going to see it being reflected in contemporary comic books due to politically correct ‘diversity’ training that comes from the ‘progressive’ Marxists in state funded university systems.

Why are western elites, working within governments institutions, funding their own decline? That’s a complicated issue, but in short, it’s to bring about their New World Order. Order out of chaos, they will destroy the old to bring about the new.

To fix a problem, the first thing that you need to do is to identify that there is a problem in the first place. I have identified it, and I plan to do something about it. I will write my own narratives, my own stories, and my own comic books. I will write them again and again and again until I get very good at it. I’m not going to wait around for somebody else to do it, because it’s very clear to me now that that’s not going to happen.

Can you write a culture out of decline? Probably not, but you can at least document it as it happens, and so that is what I will do.

50-Word (Comic) review- 2000AD- PROG 1956: My mind is on other things

Writers & Artists: Various
Publisher: Rebellion (time to live up to the name folks)
Released: 11th November 2015



Reading comic at work, memories of 1980’s flooding back. Dredd story is silly. Defoe is rich v poor. Brass Sun so convoluted will read better as a whole. Dexter inconsequential. Bad Company all nostalgia. How to think about a comic when Islam is showing it’s true face of intolerance again?

Rating: 7/10



I read this comic book last night, and I enjoyed it. Dredd made me laugh, and there was a nostalgia factor to the book as a whole, but how much longer can we bury our heads in nostalgia whilst ignoring the reality of the world around us? Knock, knock, here’s a reality check. Western civilisation, look at what has happened to us. We are under attack, and most of us are too scared to even defend ourselves. Cowered by political correctness into shutting our mouths and living in a delusional non-reality world, or the dead world of the past, our heads are in the sand and our asses are up in the air. No more enforced ‘respect.’ It’s truth time. We need to start getting with reality. We need to start defending ourselves. Radical Islam is a real threat that seeks to kill us all. This threat needs to be recognised EVERYWHERE, and comic books need to do their part as well. Have a good weekend. Speak truth now. We have been building our own graveyard, labelled with the cultural Marxist epithets of 'diversity’ and ‘tolerance.’ Stop building the graveyard. It’s time to smash it down, and to rebuild what we have been programmed to destroy. Start speaking truth. Stop living life as a politically correct coward. Start defending yourselves. If you don’t, you know what’s going to happen next.

Secret Wars #6 of 8: Fatherhood versus State Collectivism

Art: Essad Ribic
Story: Jonathan Hickman
Publisher: Marvel (Disney)
Released: 7th October 2015

This article is not a review. It’s intention is to discuss the role of fatherhood, using Secret Wars #6 to illustrate some of the broader points about the importance of fathers within the family unit and as a vital component in today’s fight against the collectivisation agenda pushed by the modern state apparatus.

In Secret Wars #6 a young girl (Valeria) is undergoing the process of realisation that her stepfather is a liar. His name is Doctor Doom. He is a dictator, a man pretending to be God. He represents the western democratic bogeyman of 2015, the anti-democratic dictator. This evil man must be disposed by western military intervention. He represents the past. He is an obstacle to change.

Valeria Richards appears to be about twelve years old, and is portrayed as independent, intellectual, very smart, very questioning, and very self-aware. She is like no twelve-year-old girl that I have ever met. Simply put, she is exceptional, a genius.

This positioning of the exceptional young female who questioning male authority figures is a common theme in contemporary comic books. The old structure of western society is portrayed as being organised around male power, normally tied to religion. It is portrayed as corrupt, violent and an obstacle to human progress. It needs to be replaced by young females. The message is clear. Old men need to step down. Religion is a lie. There is no God. The message is feminist and atheist.

The argument is that men, and the religions that they have created, have made the world the terrible place that it is today. Men and religion are oppressive symbols of the past. Women and atheism are the future. What we need then is a brave new (atheist) world controlled by exceptional young women. This is the idea, and it comes from Rockefeller funded university classes that push Marxist, feminist identity politic cultural programming onto the middle-classes, specifically girls, but men get it as well.

This is how it works: Middle class children are taught that white males are to blame for all of the evils of the world. The real reasons (blind obedience to the violently coercive power of the centralised state) is not taught. They are taught that the solution is to build up girls as the replacement, as the future leaders, that girls (because they are not boys) will make the world a better place.

Boys and girls go through the same cultural programming, girls are empowered by it, and as boys want to please girls, they go along with it as well. It doesn’t matter if the underlying assumptions are true, or not. What matters is that boys want to please girls, so they are happy to accept it as truth, even if it’s not, even if all the evidence around them contradicts what they have been programmed to believe. What young man would want to be labelled as a misogynist? None, and so they go along with the cultural programming.

Will the future then be a utopian society ran by female geniuses? No, it will not. The future is NOW, as this cultural programming has been pushed by universities for over fifty years, and has been a constant in progressive mainstream media texts for the past decade, at least.

So why isn’t the world a wonderful place today? What went wrong?

Instead of producing a western world of female geniuses changing the world for the better, what has been produced is a broken society where family break-up is the norm. The family unit has been targeted, and destroyed, and females now compete with men in order to serve state control systems that collectivise the individual and make the world a worse place for all of us all, men, women and children alike.

Men have been continuously told that they are bad, just because they are men, and women have never been more depressed, lonelier and isolated.

The progressive world of feminist ideology leads to frustration, depression and dependency upon the state. The genius girl as portrayed in Secret Wars #6 is all grown up now, and she is a retired government worker. She is a spinster, surrounded by cats, with no family of her own, drinking, taking prescription medicine for anxiety and depression, and wondering why her life turned out the way that it did. And how does she answer this question? She blames men, and thus, the cycle is complete.

In 2015 progressivism as pushed by cultural Marxism has created a society that blames men, depresses women, destroys families and empowers the state.

That is the inevitable end result of progressivism. When you attack tradition, attack masculinity itself and put young girls on undeserved pedestals you get a breakdown of the family, and a subsequent breakdown of society itself. Of course you do, what else could possibly happen? That is the disease of contemporary liberal ‘progressive’ ideology fused with third wave feminism. It is an ideology of destruction, of collapsing all that has come before it, in order to bring in a utopia that has never existed, and cannot exist as it goes against human nature itself.

In a progressive society nobody is empowered, women are miserable, families collapse, and the world that is created is a collectivist, soviet Russia style Hell hole. All that is remains is ideology wedded to the state. This is Hell. This is the world that we live in. This is the world that we are continuing to build with disenfranchised men, bitter, disappointed women and unhappy, fatherless children.

Secret Wars has a chance to tackle the ideology of collectivism wedded to the state. You have to remember that Doctor Doom is not the real father of Valeria. He is a stepfather, and thus could be portrayed as a state stand-in, an artificial substitute for the real father, the real head of the family unit. Valeria’s real father (Reed Richards) is plotting against the state as represented by Doom, so this story could put out a strong message about the role of the father in reuniting the family unit against the tyranny of the state.

If Doom represents the tyranny of the Collectivist State, a tyranny that takes the role of absent men/fathers within the family unit, then the victory of Reed Richards will be saying that men need to return to the family in order to resist the power of the collectivised state.

There are two issues left in this Secret Wars arc, and it’s very likely that this will happen, so even though I get fed up with this continuous pushing of the girl genius as the liberator of humanity, the likelihood is that this book will have a very positive conclusion. Will it happen, will the role of the father as a barrier against state collectivism be re-established, just as it needs to be in the real world? I hope so, and I’ll keep on reading in order to find out.

Comic review: Survivor’s Club #1- The new new is the old new

Writer: Lauren Beukes & Dale Halvorsen
Artist: Ryan Kelly
Publisher: Vertigo/DC
Released: 7th October 2015



The blurb on the front cover of this book (from Joe Hill, son of Stephen King) describes the book as, ‘a throwback to books like THE SANDMAN and HELLBLAZER.’

With that blurb you have a declaration of intent. The producers of the book are telling you that they intend to go back to the past, and use nostalgia to create the new ‘new.’ I wrote about that yesterday when I compared contemporary comic book writers to Jeremy Corbyn and the ‘new’ ‘new’ Labour party, which is actually the old Labour party from the 70’s/80’s.

What is it with writers working for mainstream entertainment corporations that stops them from getting with the NOW and doing something genuinely NEW rather than relying on dusty old ideas and ideologies of the past?

I’ll answer that question in a sentence:

Neoliberal consensus, collectivist, authoritarian political correctness, pushed by your local (state funded) university in gender studies/Marxism classes.

It’s everywhere now, you can’t escape it, and this new/new/old comic book is all on board and willing to do its bit for the progressive collectivist cause.

The narrative of Survivor’s Club #1 is focused on the ubiquitous champion of progressive ideology, the young, sexually appealing (but not overly sexualised) woman of colour. She is a leader, an engineer, a computer gamer (expert level, obviously ), and a survivor of the evil white racist regime that was apartheid South Africa.

Do you have your PC tick box ready? Here we go, tick off those politically correct brownie points.

- Young female.
- Not white.
- Victim of white racism.
- Engineer.
- Leader.
- Computer game player, and an expert one at that.

I want to make this very clear. I’m not complaining about any of this. All I am doing is pointing out the neoliberal corporate consensus agenda, an agenda that is being pushed right now in comic books.

There is a severe lack of diversity happening right now in the comic book genre. It’s dominated by progressivism, feminism and Marxist identity politics. That’s not my opinion, it’s just the way that it is. Pick up any contemporary comic book, have a look, and tell me that it’s not the case.

The new heroes (young females) are starting to look very similar, and the new villains (racist, right wing white males) are just as similar as well. If I didn’t know any better I’d suspect that there’s some sort of ideological consensus in contemporary comic books that people should be talking about, but perhaps I’m just another evil white man and I don’t know what I’m talking about?

I can feel the anger building up now. Am I really complaining that young women of colour are being portrayed as heroic protagonists in comic books? No, I'm not. What I'm complaining about is a lack of diversity. There are too many strong independent young women in comic books now. Book after book and the heroines all look and act the same. That's boring, really, really boring, and I'm starting to get really fed up with this lazy, self-congratulatory progressive/feminist agenda being shoved down my throat in all of my comic books.

I began this ‘review’ with a quote that described this book as a ‘throwback.’ Sorry, but that’s not true. This comic book might have a narrative based on 1980’s computer games, but it’s a book very much set in the identity politics obsessed mainstream comic book world of today. I read this book and it doesn’t remind me of Sandman or Hellblazer, it reminds me of just about every other comic book that I’m reading at the moment.

So what is it about? Did I mention that yet? Probably not, okay then, here we go. It’s about a computer game turning people into violent murderers, or something. Is that new? Does that sound ‘new’ to you? Do we really need to look at the link between computer games and violence again? Didn’t that debate end many, many, many years ago, and with the conclusion that no, computer games don’t make you violent?

The only difference in the debate about computer game violence in 2015 as compared to 1986 is that today it’s been taken up by the social justice warriors, whilst before it was pushed by right wing evangelical Christian types.

There’s nothing new here. Computer games are sexist, racist and violent, and they warp the minds of the young, blah, blah, blah. Do we really need a comic book to be talking about this tired old nonsense again?

I don’t care if this story is coming out on the side of computer games, and gamers, it doesn’t matter. The debate is old, irrelevant, and I don’t want to read about it. I have no interest in ‘Gamer-Gate’ because it’s bull****. The whole thing is bull****. The social identities of the authoritarian nut-cases might have changed, but the bull**** remains the same, and I don’t want to rehash old controversies that have been debunked decades ago and are not even worth wasting any time on in 2015.

‘Survivor’s Club #1’ is nothing. It’s just another new/new/old comic book that is pushing the same old agenda as all of the other new/new/old comic books that make up the US comic book industry in 2015. It’s not saying anything new, it’s not connecting with any cutting edge issues of today, and as a forty something year old guy who is getting increasingly fed up with young girl protagonists and white male guilt identity politics bull**** it has absolutely nothing to offer for me. I had high hopes for this one. I should have known better, what a fool I am.



Rating: 3/10 (Yet another in a long line of stuck in the past, yet obsessing over PC identity politics comic books from the progressive mind of the mainstream comic book collective)

The infiltration of marxist, feminist, neo-liberal, progressive, collectivist ideology in contemporary US comic books: Can you see the Elephant in the living-room?

I haven’t reviewed many comic books this week, reason being that there hasn’t been anything released that is actually worth reviewing.

I don’t want to repeat myself, and I don’t want to waste my money, so why should I bother with DC, Marvel, Darkhorse (and the others) and their weekly round of identity politics, ignoring reality, nonsense?

If I want to see emasculated males and empowered females acting like the worst of men I’ll watch mainstream television. I’m not a fan of mainstream television. The anti-family/anti human programming is getting out of control now. If the collapsing Roman Empire had television I strongly suspect that it would look a lot like mainstream television looks today.

A culturally programmed ident-kit PC generation.

Blood, sex, violence, torture, inhumanity, pandering to corporations, banks and their puppet political parties, pushing drugs, pushing junk celebrity culture and ignoring all of the important issues of our times, whilst lying to us and telling us that ignorance is strength and that freedom is slavery. Who is running television these days? I assume it’s promoted idiots pushing an agenda that they don’t know about, not that they would care anyway, just as long as they continue to enjoy their lovely careers as the propaganda chiefs of a sick and decaying culture.

Television is a non-stop parade of freaks, creeps and idiots, and it’s all aimed at the mindset of a brain damaged perpetually adolescent child. It’s sick, so sick that it needs to be put down for it’s own good.

Contemporary US comic books take the satanic sickness of mainstream television, make every bloody story about a government sponsored teenage girl, and off they go, empowering the world by pushing marxist feminist, progressive, liberal slavery to the state.

Soft, cute, cuddly and deadly.

I’m a forty-two year old guy who grew up in a world that wasn’t completely taken over by the new world order banks and corporations that run it (the west anyway) today. I grew up reading stories where men were still men. I grew up reading stories that promoted freedom, not collectivism. I grew up reading stories that cared more about telling a good adventure yarn than pushing identity politics and cultural marxism.

So when I read a contemporary comic book in 2015, and read panel after panel, book after book of something that looks like it was constructed as a group project from a neo-liberal, feminist/marxist college class, how do you think I am supposed to react?

I’d be a bit odd if I liked it. I’d be a bit odd if I pretended that the programming wasn’t there, and I would be an out and out LIAR if I didn’t mention it when I reviewed a comic book.

So I mention it. I mention the nonsense that is going on in contemporary comic books, and I go online and check out all of the other reviews of the same book. And what do I read? I read positive reviews, negative reviews, indifferent reviews. They discuss the art, the dialogue, the plot twists, the panel layout, the individual characters (it’s all about the characters really) but none of them mention the big old FARTING AND SNORTING ELEPHANT in the living-room.

It bewilders me. Can they not see it? They are reading a comic book that is full to the brim with cultural programming, yet to them, it’s as normal as breathing air as you sleep, which is an apt comparison, because it appears that that is exactly what is happening here. A generation programmed with cultural marxism as they sleep, and they don’t even know that it is happening.

New boss, same as the old boss.

Am I being unfair here? Maybe they do see it. Maybe they like it. Maybe they want it. Maybe, the prisoner/slave training is so advanced now, that anybody under the age of his/her mid-thirties is unable to differentiate between living in a cage, and living as a free human being?

You know the old story about freed slaves not wanting to be free, right? Perhaps that’s what’s happened to the west today? Decades of cultural programming has left us defeated, unable to free ourselves, and worst of all, unwilling to even try, because we like it, we like being slaves, and all we really want, is more slavery?

It’s a terrifying thought, but this might be the end. The new generations are tied up in identity politics. They are slaves and they like being slaves, just as long as the new slave master is of the right gender, skin tone and sexuality, of course. This is just a short little rant, and I’ll end it with a couple of questions. Answer if you like. Carry on reading comics as usual if you don’t even care.

Can you see the elephant in the living-room?

And if you can, does it even bother you?


My video on YT plugging this artcle: 

Comic Review/Mark Passio vid on Ignore-ance: Groo: Friends and Foes #5- Funny & Good

Art: Sergio Aragones
Story: Mark Evanier
Publisher: Dark Horse Comics
Released: 20th May 2015


It’s so refreshing to read a funny comic, that’s actually funny, and not knowing, clever, ironic, self-modern, neo-liberal, feminist or Marxist.

Reading this issue of Groo: Friends and Foes #5 took me back to a time when comic books were good. A time before the influence of cultural Marxism, and what we have in the majority of comic books today.

Contemporary comic books are not funny. I want to enjoy them, but it’s impossible. How can I enjoy a comic book that reminds me of one of my old Feminism/Marxism College classes? It’s really depressing that those dated and discredited ideas have managed to permeate themselves so deeply into the psyches of writers today.

What the Hell are they doing? Have they not being paying attention to the world recently?

They do realise that Marxism is 100% sponsored by private banking interests, don’t they?

They do realise that feminism is anti-family, anti-individual and being used to enslave people to the corporate state, don’t they?

They do realise that new legislation is being passed that will make you a ‘terrorist’ if you don’t agree with the tyranny of the state, don’t they?

Do they not realise what is going on in 2015?

What the Hell is going on with all of this cultural Marxism feminist crap that I read in my comic books today?

I realise that writers have been indoctrinated by their suburban educational experiences, but they do have the Internet, right? They might have been lied to at school, but they have no excuse for doing what they are doing. They have no excuse for their ignorance.

When you have the information available, and refuse to look at it, that’s ignorance, and that’s what I see in mainstream comic books of 2015.

IGNORANCE (ignore ance) OF THE TRUTH (Please watch this short video)

Groo is different. It’s silly, and funny, and there’s no cultural Marxism in it, at all. The characters are daft, it’s written with a wink, and a sense of the absurdity of life. It made me smile, it made me think back to the times when comic books were like this, when they were their own little thing and the world looked interesting and full of possibilities.

When I read contemporary comic books I’m reading statist propaganda. I’m reading the death of all hope, the death of rebellion and any chance of human emancipation from the tyranny of the neo-liberal corporate status quo. Imagination has died, and the books are being written by suburban fanboys looking to sell a script of spectacle and quips mixed with a dollop of politically correct feminist Marxism to their all powerful Gods of the Tele ‘lie’ Vision.

I don’t want to read that. I want to read something that is good. I want to read something that doesn’t want to join the corporate borg. I want to read something that is free, something that is a celebration of life, not a negation of it.

Groo- Friends and Foes #5 is silly, and funny, and it made me smile. The characters are always smiling, even when they are frowning, even when they are being beaten up, they are doing it with a smile. If you want to smile, then buy the book. It’s timeless, and good, and unlike any other comic book out there today.


Rating: 8/10 (Daft, funny, timeless and good)