“Never, ever underestimate the degree to which people will scatter themselves into a deep fog in order to avoid seeing the basic realities of their own cages. The strongest lock on the prison is always avoidance, not force.” (Stefan Molyneux)
Showing posts with label Manic Street Preachers. Show all posts
Showing posts with label Manic Street Preachers. Show all posts
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.
Writers and artists: Various Publisher: Rebellion Released: 25th November 2015
The overarching theme is of resistance to unaccountable, authoritarianism control systems, fighting against enforcers. The best story though is ‘The Crow Gifts.’ It encapsulates the ‘progressive’ desire for martyrdom, for pointless death to further their cause of suicidal, masochistic, nihilistic emptiness. This is how the left feeds it’s own executioners.
Rating: 9/10
What am I on about here? Two things: First off, most of the stories in 2000AD feature little people against the power of the state. Judge Dredd acts like a US Policeman in one of those videos that keeps getting released online (#JudgeDreddMatters), and the other narratives feature resistance fighters (as the heroes) against top down control systems and state agents. That says a lot to me, it says that there’s a growing sense of anxiety in the western world today and there’s a growing understand that our supposed leaders are not quite as benevolent as they make out on our tell-lie-visions. That’s good. It’s a start at least, and it shows that the writers in 2000AD are not being bogged down with 1990’s nostalgia or cultural Marxist identity politics, as is happening in the US comic book industry right now. The best thing about PROG 1959 of 2000AD though is ‘The Crow Gifts’ by David Baillie. The story is about a young girl. She lives with her Grandfather, feels trapped, and rebels against his pragmatic advice about safeguarding her own future. Rather than do as he advises (living a life as a wife and mother with a prosperous husband) she chooses to embrace her own destruction, feeding birds that will eventually peck her to death. You could over analyse this story, and talk about multiculturalism, feminism, liberalism and immigration, but I’ll keep my analysis simple. To me, the story is the perfect synthesis of the suicidal progressive movement, a death cult political ideology that always embraces fists, for flowers (see song at end of review). I read ‘The Crow Gifts’ and see the progressive left, independent, feminine, nurturing, loving, and walking straight off of a cliff. 2000AD is pretty good this week, but Crow Tales by David Baillie is a lot better than pretty good. It’s easy to rail against an authoritarian control system as you can see the tyranny right in front of your face. But to recognise the weakness that comes from within, that’s the key to fighting back and reclaiming humanity from all that has been lost, not just by force, but by indoctrination into progressive politics and an ideology of martyrdom and self-destructive, masochistic nihilism.
Art: Owen Gieni Script: Ryan K Lindsay Publisher: Dark Horse Released: 23rd September 2015
‘Misery mourns to be devoured.’ (Manic Street Preachers- Removeables)
I have been thinking about that line, analysing it, deciphering it, and trying to extract every last ounce of meaning from it. I’m still not 100% happy with my conclusions, but as far as I can understand it, what it’s trying to say is that unhappiness feeds on itself, leading to more unhappiness, the cycle continuing forever, more misery, more unhappiness, feeding forever, never satisfied, always unhappy, but demanding more unhappiness.
‘Negative Space #2’ takes this idea of unhappiness as energy, and speculates that as well as it feeding upon itself, perhaps there is some other entity that benefits from it as well? I’ve read about the concept before, the idea that there is a race of extra-dimensional beings that feed on human suffering. They are usually referred to as Archons, or Reptilians, and are often described as working within the bloodlines of the ruling elites of our planet. David Icke talks about it all of the time, so if you are reading this review and are not already aware of the idea, get one of his books, you won’t regret it.
Anyway, the idea of an alien race feeding on human misery is given a slightly new and different take in ‘Negative Space.’ There are no reptilians here, no mention of bloodlines, and no mention of government agencies or any of the real world slave masters of planet Earth. As far as I can tell, the blame is being put onto a private corporation in this book, a corporation that works with the aliens, harvesting the food for them by promoting misery all over the world.
I don’t really have too many problems with corporations. It’s governments that control the world, not corporations. Corporations are powerful, but they don’t have a monopoly on the use of violence. They can’t put you in jail for failing to pay them. They can’t start wars. They can’t even force you to buy their products. Government however, can pretty much do whatever they like. They can extort you, rob you, torture you, kill you and kidnap your kids, then say that it’s legal and that there’s nothing that anybody can do about it.
I didn’t see any mention of government in ‘Negative Space #2’ and I don’t know if that’s a deliberate omission, or just something that the writer didn’t think about. The blame for misery appeared to be completely heaped upon a corporation, and I find that a bit strange. Sure corporations have power, but real power is always within the centralised control system, and that system at the moment is government, not corporations. Corporations do indeed try to pay off politicians and I do understand the revolving door between the two, but government has the gun, and guns have a way of getting things done.
Perhaps the omission will be addressed later? I hope so, because Negative Space is a very interesting book. There is a daft sense of humour to it all as well, making it a very enjoyable, occasionally silly, read.
There are quite a few interesting characters in the book as well. The main villain is ridiculously over the top, (‘I can only beat on a hipster for so long before I need breakfast nutrition.’) and issue #2 introduces a daftly entertaining alien character that is on the side of the heroes.
My favourite character however is the main protagonist, an overweight, unattractive, unhappy, middle-aged bloke. That one character alone is enough to get my interest in a comic book. If I have to read another supposedly ‘rebellious’ book starring a punk haired young girl then I’m going to start losing my mind, so it’s nice to see some real ‘diversity’ in comic books for a change.
I have to mention the art as well. It has a unique atmosphere to it, a dark, almost abstract quality, like it’s touching on reality, but is not quite there yet. It’s unique, and for an equally as unique book, it’s a perfect fit.
Issue #2 of Negative Space adds a heavy dose of dark humour to the pathos of issue #1 and that combination of misery and comedy produces an excellent black comedy with depth and emotional resonance. I need more government in my misery, but apart from that noticeable omission, this is an excellent book that stands out from the crowd and is well worth you investing both your time and money on.
Rating: 8/10 (Not as doom laden as you might think, there is a lot of enjoyable silliness in this one)
Writers and artists: Various Publisher: Rebellion (Rebellion?) Released: 1st July 2015
It’s supposed to be hot today, but I’m not hot. I’m cool, man. Yeah, ha ha, I’m cool alright, that’s why I read comic books, and that’s why I’m spending my time now, indoors, typing away, listening to black metal and writing more words about PROG 1937 of 2000AD than anybody else will bother to do. And why should they bother? It’s hot, they are outdoors, doing sweaty stuff, but I’m cool, so I’ll stay indoors doing cool stuff, and onto the review.
It starts with Judge Dredd, we get some torture, it works, and I’ve had enough of the story already. Torture doesn’t work in the real world, but as long as they pretend that it works in the realm of fiction (see 24) the justification stands. All evidence coming from western torture centres (Guantanamo Bay) that demonstrates how torture actually works (it plants information, rather than extracting it) continues to be ignored by a criminally complacent, compliant, condoning mainstream media. Until torture is shown for what it actually is, nothing changes.
Absalom starts in a 1980's UK care home with some Satanic child abuse. It’s nice to see some reality in 2000AD for a change. I’m not joking btw, see David Icke for more details. However, it denigrates quickly with the cops acting as heroes trying to protect the public. Sorry, but reality doesn’t work like that. Cops work for the state, not the public. They protect their masters, like the obedient dogs that they are. The tax paying, voting for slavery, cattle public is controlled, not protected, and cops are little more than the dogs of the corporate elites. Don’t believe me? Try going to a cop when you need help, and see what his response is. They don’t care, because it’s not their job to care. It’s their job to maintain the status quo of their masters, and that is what they do. Absalom ends this week with a reference to Jim Davidson, a comedian whose jokes were woefully dated in 1993. Oh dear. How long does this one run for?
Helium is starring another dog of the elites, a female dog this time. The world controllers love female dogs, they are so materialistic, so career orientated, so easy to control, and so willing to do anything, as long as it pleases their masters. Girl power baby, anyway, this female dog/cop is on protect the public duty, just like Absalom, so at least 2000AD has it’s story straight. Cops protect, remember that, even though it’s not true. The story is better than Absalom, but it is very progressive with men in the role of women and women in the role of men. Welcome to the New World order kids. Don’t be sexist, have a nice day. The story ends with a bloke talking about destroying the world in order to save it. Hey, with a progressive mindset like that the guy is perfect new world order material. If he does what he is told and looks good on the tel lie vision he could even be a future EU technocrat, head of a troika bank or the next US president. Quick, somebody get him a scholarship immediately.
I’m in no mood for nonsense this week. It must be the weather, as truth is boiling up, and rising as steam from my keyboard, and onto the screen, vomited onto the Internet for one man and his dog to look at, dismiss, and to continue their lives as usual.
Next story in 2000AD is Outlier. Oh crud. I couldn’t make any sense of it last week. This week must be better, right? Oh, double crud, it’s beginning with a weak man and a strong, determined, steely-eyed woman bossing everyone around. I see patterns evolving. I read on, and they’re soldiers, or cops, more dogs of the elites. Patterns man, patterns, they form a whole, and the picture is tyranny in a uniform, wearing lipstick, smile, comply or they’ll send the drones.
I’m almost at the end of PROG 1937 of 2000AD now, with one story to go, and it’s been about worship of the uniform, of authority, of female authority working for the corporate elites. That’s not good, but I have faith, so onto the final story, a new one, Jaegir/Tartarus- Part One. Ah man. Here we go again, a female soldier, bossing around the men on the first page, she’s tough in control, action, now back-story. The villains in this one are dressed up like Nazi’s, no joke, bloody Nazi’s again. Oh, and it has dinosaurs in it. The story is about a young woman acting like a man, following orders in the army, like a female dog, end of review.
I’m very disappointed with PROG 1937 of 2000AD, because there’s nothing here for me, at all. It’s all strong independent female dog stuff. I’m not a female Police officer, or a female army officer, and I consider neither of these two types of people to be worthy of my time. I hope that they have lots of fun following orders and acting like men, but I don’t care about them, and I don’t particularly want to read about them either.
2000AD wasted my time, and now it’s just wasted more of my time on a review that will do me no good whatsoever, and will only end up with bad feeling against me, and inevitable accusations of sexism.
I want to be clear. I dislike feminist liberal marxist types. I dislike the neoliberal corporate status quo. I dislike social justice warriors. I dislike fake rebellion. I dislike anti-human, anti-family propaganda that comes from corporate whore mainstream media programming. I want genuine rebellion in my comics. I want comics that recognise truth and attack, attack, attack. They are rare, but these are the times in which we are living, and if nobody else is going to call out the neoliberal consensus of contemporary comics, I’ll do it myself.
PROG 1937 of 2000AD is a whimpering female dog, begging to serve, all rebellion is gone, oh dear, I think it just pi***d itself. Last week I saw some hope in 2000AD, but this week all I see is a cowered dog, beaten into submission by a friendly faced socially conscious, progressive slave master. I usually recommend that you pick up 2000AD, if only for one of the stories, but this week it’s pure junk. Pat Mills is gone. Slaine is taking a break. He’ll return in 2016, but what is left, what is there to enjoy in 2000AD at the moment? Not a lot I’m afraid. It’s going to be a long, hot, summer, and I’m starting to really feel it now.
Rating: 1/10 (Good cover) Do you feel defeated? Do you feel like there is no hope, that sleep is the only escape from new world order tyranny, but that even sleep aludes you now? Watch this video. Here it is, defeated masculinity, predicted by the Richey Manic era Manic Street Preachers in 1993:
Pathetic, isn't it? Don't give up, don't accept the new world order, fight against it, the fight is not over, it is only just beginning. The masses are asleep, but the masses never change a thing. Don't seek the change, be the change. Be strong, be annoying, be loud, be aggressive, be unpopular, be free.
Main story: Demon in A Silvered Glass, by Doug Moench & art by John Bolton.
Publisher: Dark Horse Comics
Released: April 1st 2015
Note- The images in this review are of the 1981 black and white version of the story. The 2015 version in Savage Sword #10 has been beautifully coloured by Jim Campbell, so to enjoy the coloured version please buy the book.
Savage Sword #10 was a reminder of quite a few things, of feelings, of moments in my life. It triggered a recollection of boredom, and of what can (or will, to be more precise) happen to you when you let the hooks of inertia dig deep within your psyche. Boredom will kill you, it will leave you open to the Reptilian part of your nature, that old demon that lurks, waiting for an opening, before pouncing at your moment of weakness, taking you over, killing your body and rotting your soul.
The book also reminded me of being a kid. Of being a young boy in love with comic books where brave heroes battled against evil sorcerers and their seductive, yet equally as dangerous daughters. It reminded me of that boyish suspicion of all things ‘girl’ related, that there is something alluring there, but be careful son, that beauty has a heck of a bite on it as well.
The story I’m talking about in Savage Word #10 is the old one, the story about a bored King and what happens to him when he gives into adult boredom, and the boyish fear of all things girlie is ignored. It’s the longest story in Savage Sword #10, and by far the best. The title of the story is ‘Demon In A Silvered Glass,’ written by Doug Moench, and with art by John Bolton. The story was first released in 1981, and it really stands out because you don’t get anything like this anymore. It’s too good, too clever, too intelligent, too insightful about the nature of power, boredom and human nature. It’s brilliant, and you don’t get that many brilliant comic books in 2015.
I hadn’t read the story as a kid. How I missed it I do not know, but I did, so reading it here for the first time is pure pleasure, a mix of nostalgia not only because the story (and art) is in a different league to anything available today, but also because it brings me back to my boyhood of reading cool American comic books with manly heroes who you could really look up to as being the personification of the man you want to grow up and become when the lazy days of boyhood fights and tree-house adventures sadly comes to an end.
Like I previously mentioned, the story is about a bored King. He gives in to the animal side of his nature, and becomes something akin to the neo-liberal democratically selected leaders that we have in the morally bankrupt west today. The spiritual, moral side of his nature, the very thing that makes him a man slowly ebbs away as he lives a life of authoritarian pleasure. He reverts to the Reptilian side of his nature, and by doing so he leaves not only himself open, but his entire Kingdom open for take-over as well.
This is a book that could have been written by David Icke himself. What this is about is the leaders of humanity being taken over by Reptilian outsiders who have hacked into the DNA of our species, implanting their evil into our brains in order to corrupt the species and eventually take it over and use it for their own ends.
The only difference between this book and our real world is that in this book the Reptilian outsiders are eventually defeated and the spiritual, eternal soul of man wins over the grounded, animal part of our nature. In our world the Reptilian elements have yet to be defeated. They haven’t yet won, but they are largely in charge of the world and are currently running it for their own benefit through the use of their Reptilian (influenced at least) front-men in the political sphere. Look at the world, look at what is happening, look at who is running it, and then ask yourself this question:
Is the world being run for the benefit of the human race, or is it being run for the benefit of something else?
I know how it looks to me. It looks like a world being controlled by the kind of woman/man who has given in to boredom, the kind of human who has completely given in to the animal side of their nature who want to kill, to destroy, to rape and pillage and indulge their baser instincts. If there is a God, he is not in charge of this planet. What is in charge is an animal/reptilian man who sits on a throne of boredom and decadence. He looks at the world and hating humanity, bored with it all, wants to set it all on fire, and warm his toes as he watches it all burn.
‘Demon In A Silvered Glass’ then is not just a silly boyish nostalgia tale from the early 1980’s bought back to life for a new generation of comic book readers. It’s much more than that. To me it is a warning of what happens when you give in to boredom and see yourself as nothing more than just another beast in the field. But more than that it’s a warning about what happens when you allow that kind of mindset to be the dominant mindset of the leaders you allow to control your world. That is the mindset of the neo-liberal consensus leaders who are controlling our lives today. We stupidly vote for them every four years or so and expect ‘change,’ then when we get none we are confused and angry. That is stupid, really stupid. We get what we deserve. We vote for the reptilian, the animal, so that is what we get.
This 1980’s comic book gets to the heart of the matter. It is telling us not just what is wrong with society, but what is wrong with each and every one of us. We are potentially independent, powerful and self-governing human beings, but we have become inert, lazy, and are ruled by the worse of us because we have allowed ourselves to be ruled.
We would rather be bored, owned animals than the strong, powerful, self-determined heroes that we should be. The comic book heroes that we read as children had important moral, ethical, societal and spiritual messages to impart to our young minds. These lessons have gone unheeded, and what we have today on this enslaved, chaotic, archon infested planet is just the natural result of what happens when a lazy species allows itself to be enslaved. This is what is always going to happen to a bored, decadent, indifferent, lazy, selfish, animalistic race of beings who refuse to learn and insist on repeating every single mistake of the past.
When a King gets bored and lazy his Kingdom decays, the people revolt, outsiders capitalise on the disorder, and eventually it collapses. So what happens when an entire species is suffering from the same disorder? I ask that question because that is what is happening to the human race right now.
We are bored, lazy and ruled by those with a Reptilian mind-set. Collapse is inevitable. It’s not if, it’s when. That is the warning that is contained within this comic book. Whether or not we act on this warning and start doing something to stop the decline, well as always, that’s up to us. We have been too decadent, too indolent, and too indifferent for too long. The Reptiles are in charge now, we let them get in charge, and the only question left is whether or not we are too far-gone to do anything about it.
Overall Rating: 8/10 (Best of the rest was ‘The Sea Dog’s Tale’ by Ron Marz. A very good parable about evil, false religion and mind-control)
Demon In a Silvered Glass: 10/10 (Perfect)
Note about the heading, 'Drugs Come Out of Boredom Babe' The quote comes from a Manic Street Preachers Song called 'Another Invented Disease.' Click link to have a listen: https://www.youtube.com/watch?v=5PK133q19lg
Some clever bloke said that. Indoctrinated and educated within the feminist neo-liberal/Marxist UK education system he got a bit depressed because he realised that people only really act out of self-interest.
Before he threw himself off a bridge (probably) he looked at the world, saw lot’s of dirty beggar feet and realised that no matter what people said, their actions demonstrated that they didn’t really care about anybody other than themselves.
That can be very depressing for the ‘liberal’ mind-set as it’s a wake up call to reality, and that’s one thing that liberals hate more than anything else, more than people like me actually.
It’s difficult to deal with reality when you come from the ideological prison known as the ‘left.’ It angers you, it makes you throw insults, and it makes you accuse people of alleged social justice warrior ills.
Oh, he’s just a racist, sexist, homophobe, bigot, right?
As long as you keep accusing those that disagree with you, you don’t have to examine the truth behind your own shaky ideological foundations.
So, will you wash a beggar’s feet tonight?
Will you do something to prove that you really care?
Or will you drink a beer, fill your belly, ignore reality and find a politically incorrect thought criminal to criticise?
Liberalism is collectivism, and collectivism is a lie.
It requires you to ignore human nature, to ignore reality and to live a repressed life of self-delusion.
Liberalism is about individual weakness, backed-up by the gun of the state.
I’ve listened to this album so many times now that it’s starting to get a bit old to me, so it’s probably a good time to knock out a review and detail the best tunes, the most interesting lyrics, and the overall themes, and lasting impressions made by the album.
My own association with the Manics goes back to their prime years in the 1990’s when they were producing fiercely intellectual polemics against everything and everybody. This culminated in their nihilistic, screaming into the abyss nightmare/masterpiece ‘The Holy Bible.’
In 1994 Richly Edwards, their intellectual, philosophical, moral, political, lyrical leader disappeared, and everything changed.
The lads
From that point on it has been a slow slide into compromise and middle class/suburban sadness and nostalgia for the remaining Manics. ‘Everything Must Go’ gave them their big success, but to me it was a deeply depressing album, a resignation from the extremism, an acknowledgement that they could never go that far again. From there it has been hit and miss, a carefully crafted career rather than a suicide mission.
The band used up some remaining Richey Edwards lyrics in the Holy Bible retread album (and correctly titled) ‘Journal For Plague Lovers,’ which briefly brought me back to them, but since then I have paid less and less attention to the Manics.
Futurama shouldn’t have interested me at all, but the excellent reviews caught my eye, so I took a chance, and purchased the album, not expecting much, but hoping for the best. I’ve spent a couple of weeks with the album now, listening to it a lot more than I thought that I would, and I’m ready to share a few thoughts about it.
First off, the tunes are excellent. They are exploding with creativity, vibrancy and (most importantly) sing-along hooks. This album feels like it took some time to produce, and it really does have some memorably hooky moments that will stay in your head all day long. There’s probably too many of those moments to mention here, they really are that frequent, but one of my favourites was the self-lacerating chorus (Yes, I realise how appropriate that phrase is in the context of a Manics review) ‘The next Jet to Moscow,’ with lyricist Nick Wire mocking his own socialist failings, compromises, contradictions and hypocrisies.
That theme of recognising that your life long held political ideology has been tested and shown to be false is a central theme of the album as a whole.
This is the Manics album where Nicky Wire admits that all of that Marxist stuff of his youth was total and utter bullshit. It’s taken him some time to get there, but the old left wing feminist liberal drip is finally waking up to the reality of the collectivised new world order supporting liberalism that has defined his socio-political life, and the lyrical themes of his band.
Nicky Wire (left, obviously) has a few things to think about.
Futurama, at least to this reviewer, is the album where Nick Wire admits that he was wrong, and that he needs to batten down the hatches, read, read, read and reassess his worldview. Because of this it’s the next Manics album that’ll probably be worth listening to, at least from a lyrical viewpoint. This album unfortunately still has a lot of that champagne socialist whining quality that comes across like a rich man complaining about digging his own luxurious pit of self indulgent ennui, in the safe suburbs, and surrounded by high tech security systems (to keep out the bothersome proletariat) obviously.
So yes, its still full of Nicky Wire complaining (as he does on every other Manics album post Richey) about feeling isolated and depressed behind his wall of luxury, but with that hint of change, that hint about further study and world view reassesement ringing throughout the lyrical themes, I can put up with it this time, and it leaves me looking forward to the next album, something that I haven’t done in a long, long time now.
Get 'Futurology' for the fresh sounding tunes, and a promise of a world-view reassessment by ‘Jaded old Commie’ Nicky Wire. The Manics sound rested up and full of vigour in this one. It’s jacked to the gills with catchy, sing-along hooks, it has variety and creativity in the individual songs, and you’re guaranteed to get at least a month’s worth of listening pleasure out of it.
Nicky Wire is still moaning about being a rich socialist, but this is a very good collection of songs. If you’ve ever taken an interest in the Manics then you’ll get a lot out of this one, and just like me you’ll find yourselves humming the songs in your head all day long.
Story: Eric Stephenson Art: Simon Gane Colours: Jordie Bellaire Publisher: Image comics Released: 24th December 2014
I’m a huge fan (cult member) of what is commonly referred to as the Richey Manic era of the Welsh pop/rock band Manic Street Preachers, so plastering ‘From Despair to Where’ on the front page of your comic book is guaranteed to get my attention.
This phrase/question ‘From Despair to Where?’ refers to a MSP’s single from their second studio album ‘Gold Against the Soul.’
The song itself is a depressing dirge about a young man finding himself lost and alone in an indifferent adult world of empty routines and blank, indifferent faces:
‘Outside open mouthed crowds Pass each other as if they're drugged.’
The song offers no hope, no redemption, no meaning, just a repeated question:
‘From despair to where?’
‘From despair to where?’
‘From despair to where?’
The answer, for the writer at least, was in all probability, suicide. That message of hopelessness, of defeat, is the perfect starting point to a comic book narrative that begins with a suicide attempt. But after the attempt fails, where does the story go?
From despair, to where?
In ‘They’re Not Like Us #1’ it goes into a generic cult story that comes off as more X-Men and the school of mutants rather than as anything genuinely subversive or threatening. The main protagonist (a pretty young blonde) is the perfect stand-in for a confused young mutant with special powers, but rather than being taken in by Wolverine or Professor X she is taken in by a scruffy looking bloke with mind reading powers and a hatred for society.
This cult leader bloke (The Voice) is a generic comic book cult leader villain, the exact type of guy that you would expect to see in a comic book leading the vulnerable young and suicidal protagonist astray. He saves her life, offers her a new home, but wants her to do a terrible thing to prove her loyalty. It’s pretty standard cult leader stuff, and not very interesting at all.
The Manic Street Preacher tie-in extends to the cover, and back-cover quotation. The actual book itself has no ‘lipstick’ traces of the ideas expressed by the band whatsoever. The song title is used as a launching pad only, a depressing song for a depressed protagonist.
The artwork is fine, but the story isn’t really doing anything for me. It’s a sad girl joins cult book. I can’t see anything else going on here, and so, off I go. One issue and off for me. I enjoyed the Manics references, but that’s not enough for me. It’s not a terrible book, but I don’t really want to spend my time reading yet another book about a depressed teen joining a team of evil cult followers. Where’s Professor X when you need him?
