The Shocking Truth about Corporate Diversity

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

Here are the facts. If you are working in the mainstream, writing corporate narratives for the masses, it’s perfectly fine to kick the straight white guy in the balls, over and over again. Whitey is the bad guy, but more importantly, he’s the bad guy who is never allowed to fight back. Sure, some of the white customers of the corporate diversity narratives complain about it, and kick up a bit of a fuss on You Tube, which still allows the male voice to speak in a way no longer allowed on mainstream television, but legally speaking, white boy you are screwed.

What does this have to do with ‘legally speaking,’ I hear you cry? Well, last night I viewed a red pilled video from a man called JFG, on You Tube, of course, because television would never allow this kind of discussion, where the legal requirements of the diversity business were fully outlined to me.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rogue One: A Far-Right Review

Directed by: Gareth Edwards

Screenplay by: Chris Weitz & Tony Gilroy

Story by: John Knoll & Gary Whitta

Starring:
Felicity Jones
Diego Luna
Ben Mendelsohn
Forest Whitaker

Distributed by: Walt Disney Studios

Release Date: December 10, 2016 



Thirty-seven minutes into a movie that I refuse to pay for, here’s what I think. Loads of quips, trying so hard to be funny, getting a bit annoying now. The girl, she’s beating up all of the men, easily, white stormtroopers, something about male disposability going on here, unintentional, obviously, them being white, also unintentional, just how it goes, right?

Didn’t one of the writers say something on twatter about the cuckfest movie being about a team of multicultural heroes against white supremacy? I see that. I also see the lefts ridiculous framing of themselves as heroic rebels, against the evil empire of white male patriarchy, whilst being completely oblivious to the fact that the lefties have been destroying western civilisation in political, academic and media power hubs for decades now. How do you portray yourselves as the heroic ‘rebels’ when you are in charge of everything? I know, let’s go back in time and pretend that the mythological evil that is the ‘far-right’ is actually in power, not us.

'Hello, we are the patriarchy, how may we assist you?'

That’s what they are doing in the movies anyway, cough ‘A Force Asleepens,’ and in the real world you finally have something real to fight against. The rise of the real world evil empire, starts this Friday with the Trump inauguration ceremony, fear, fear, fear, safe spaces needed. Hey soft guys and girls (I know, no difference now, is there?) great news for you all, you get to play at being the rebels again, just like in this movies. Yay, call for the assassination of Trump on your twatter platforms. You are so heroic, so progressive and so rebellious, even though you are serving the agenda of totalitarian globalists.

Talking of tools, that female lead can’t act at all, how funny it is, not as funny as seeing her beat up all of the men who are three times her size, but still pretty funny nonetheless. You’d think they’d at least be able to find a skinny white girl with a vaguely ‘British’ accent that could act a bit. I guess not, how hard can it be? But hey, that’s leftists for you, they screw up everything. Enough with the writing, I need to get back to the movie. I’m not enjoying it by the way. So glad I didn’t pay Disney corp for this tosh. Okay, back in. I’ll let you know what I think in another thirty minutes or so.

Oh man, back already. Just seen Forest Whitaker ‘acting' with the little girl character and I couldn’t believe this was possible, but he’s actually chewing the scenery worse than she is, putting on a ridiculous Broken Matt Hardy accent in an attempt to be ‘crazy.’ It’s flipping hilarious, really, unintentionally hilarious. What happened to him? He used to be good, didn’t he? I have to get back. Broken Forest Whitaker is so bad he’s cucking awesome.

Multiculturalism to the rescue.

Ha ha ha, they’re just explaining the ‘flaw’ in the Death star, that old plot hole from the original movie. Quite lame, obviously, but they’re loading up the syrupy sentimentality in a hope to get away with it. It will work of course, the cucks watching this shite will lap it up. Oh and Peter Cushing looks like a CGI Peter Cushing, doesn’t sound like him either, sucks, but that’s how it is. As for the comedy relief robot that is getting rave reviews. Nah, bores me, much like the movie is already boring me now at the 48-minute mark. Germanic villains from a WW2 movie, cartoonishly evil, not real people, Hollywood being Hollywood again. Hi Israel. Not even one hour in and I’m bored, bored, bored.

Missing fathers, always missing fathers. Cuck Wars is a universe with missing fathers, says so much about the world we live in today. No fathers equals no resistance, genuine resistance, not lefty bullshit coming out of the foundation funded university system and bled into news/entertainment/culture with ambitious young careerists repeating their programming to get ahead. Get rid of dad and the children run to the globalist empire. That’s real world stuff now, important stuff. Get that and we have a chance, don’t and we might as well go the cinema and shovel multicultural popcorn into our brains.

65mins in and I’m so bored. I don’t care about any of these people, the acting is terrible and the villains are not believable. They must be reading my mind, because here comes a big battle scene, noise, explosions, special FX masking a boring movie, lifeless script, dull 2D characters. Is the dad dead? I don’t care.

Yep, he’s dead. The new message, die dad die, young girls are the future now. Well, is anybody surprised? That’s what Hollywood and the lefty globalists want, get rid of nationalistic dad, your children belong to us now. Only in your movies, losers. The real rebellion is well underway in 2017. Brexit, Trump, bitches. You cannot kill genuine masculine resistance with feminism and white knighting cucks. Ask Hillary, she’ll tell you, if she’s sober that is.

Here comes Darth Nostalgia, that breathing, the cucks are wetting themselves. Hang on, ten seconds in and even Vader is over-acting. What a joke it all is. And he departs, with a ‘choking’ pun. Man, what a suck-fest cuck-fest.

Broken Forest Whitaker says, 'I knew you would come.'

And now the little girl is lecturing a multicultural collective of brave rebel heroes with the wordly wisdom of a couple of years of adulthood. How old is she? She looks like she’s barely out of lefty government school. Oh and a woman is their dictator and none of them appear to mind that she has the final say on a huge decision that could end the lot of them. Well, we all know how the left love a dictator don’t we, so I guess they got that right at least.

Just over half an hour left, waiting for another big battle, don’t care about anything that is happening, time is slowing to a crawl, so glad I didn’t go the cinema and pay for this turd.

Oh man, the teenager is giving a leadership speech now to all of the blokes, what a joke, all of the men bowing to this great eight stone warrior girl with too much eye make-up and a wonky English accent that comes straight out of a Simpson’s cartoon. Is the actress a Brit? I think that she is. I guess that being driven to drama school in a Chelsea tractor for over a decade didn’t exactly give her much experience in the real world and her ‘I was like and she was like’ real life accent is probably not ‘English’ enough for the movie. Multiculturalism destroys hosts cultures. Talk to an English girl today, you’ll see. They sound like idiots, American idiots. Hey Green day. Fuck off Green day. Libtard drunks, back now after eight years of drinking, you are the tooliest tools of all the rock and roll tools.

Down go the whitey stormtroopers, yay multicultural heroes, death to whitey, look at whitey die. Fan service stuff, how long left? Twenty minutes? That’s too long, much too long. My brain is shrinking, my will to live….fading.

Gin Asshole? Is that her name? I like it. Finally, something that I like.

Worst marksmen like totally evvvveerrr.

The end is like the original movie, just without characters that I actually care about. Why can’t they write believable or likeable characters anymore? Comedy characters don't count. They're silly, childish and easy, hello Mr robot, you are supposed to be the best character in the movie, you, the comic relief. I agree with that commonly held opinion, your silliness is amusing and that’s all that the movie has, none of the other characters make any impact whatsoever. The robot is dying now and it’s a little bit sad, the life of the movie, metal comedy relief, is gone, the movie now limps to the conclusion.

Girl jumps first, man follows, of course, the message of the movie, just like all Disney movies. Strong independent women need no man, that role being taken by socialist/globalist government now.

Is he dead? Sacrificed his life for the girl? Don’t do that. Don’t be a white knight, don’t be a cuck. They wouldn’t do it for you. They run to government, betray you, betray their own people and invite in a real patriarchy. Do not self-sacrifice for government girls who will destroy western civilisation to feel good about themselves on twitter.

Much better than Jar Jar.

Oh, boyfriend is back to save the girl. Not dead, yet. Sucker. CGI Peter Cushing is back, over-acting as the real Peter Cushing would never do. Bang, are they all dead? I hope so. Hello, here’s Darth Nostalgia, staring menacingly. Oh, they are not dead yet, the dull couple. Please kill them Lord Nostalgia, just don’t talk, your accent is a bit wrong, like all of the accents in the movie actually.

Nostalgia Vader ain’t talking, chopping, best bit of the movie. He's kicking lefty rebel ass, blending into the original movie, that first bit when Darth makes his entrance and oh, here's Princess Leah.

‘What is it they sent us?’

‘Hope.’

END

Well we all know how that really ends don’t we. It ends with Obama's empty slogans, broken promises, drones, war, government dependency, SJW tantrums, failure, BLM, ISIS and Donald Trump coming in to sort out all of the damage that has been caused.

Movie reviews are supposed to end with a summary, a conclusion, but this here, this thing, was different, don’t you think? I didn’t pay for this movie and I’m glad that I didn’t. It was soft leftism, out of touch, nostalgia, fan service, comedy robot, feminism, dullness, multiculturalism versus white nationalism, the usual fare that you can expect from Hollywood for the next four years. Don’t go the cinema. It’s only going to get worse, hey Meryl?

Libtards have been in charge of everything for far too long and now we are living during the time of the real rebellion, a nationalist uprising against their globalist socialist evils. Cinema has to change, or it will die. Same story for television, academia, politics, literature, comic books, everything. Change, adapt or die, it’s evolution baby, the false god of libtards that is now biting them on the butts and how amusing it is indeed. I’m looking forward to Friday. Donald Trump, a new beginning, not just for America, but for the future of western civilisation. The era of empty, passive hope is dead. Hollywood is dying. The new era is of competence, hard work and individualism. To hope is to be passive. Don’t hope, don’t wait, get up, believe in yourself, create, work, do.


Rating for movie: 2/10 (For Darth Nostalgia getting choppy at the end and the comedy robot being an amusing antidote to the dullness that surrounded him/it)

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

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.)

Comic review: Journey to Star Wars- The Force Awakens-Shattered Empire #1- Identity Politics Golem

Writer: Greg Rucka
Artist: Marco Checchetto
Publisher: Marvel (Disney)
Released: 9th September 2015



Journey to Star Wars: The Force Awakens-Shattered Empire #1 is the most underwhelming ‘Star Wars’ book that I’ve ever read.

The story starts at the end of the final battle in Return of the Jedi, and the main focus is a staple of mainstream comic books today, the pretty, young, empowered, female. The story unfolds from her point of view as she flies around shooting assorted villains before assisting Luke Skywalker in his escape from the soon to be exploding Death Star.

I don't remember that in the movie, but oh well, what can you do? As our society collapses and real freedoms diminish I guess it's all going to be about cultural marxism and identity politics now.

Who wrote this book? Let’s have a look, ha, it’s Mr Greg Rucka, he can always be relied upon to put out a good PC girl-power unit shifter. I’ve read so much of his stuff over the years, and it’s about as memorable as a mid-card WWE story line. (Note: The WWE cannot do stories, at all, they are terrible, really, really bad).

Greg Rucka is one of those names that you remember, but you can never quite recollect what book he wrote. He writes a lot, but what has he ever done that is actually good, or memorable? Was it Punisher? Could be. I stopped reading that one months ago.

Anyway, back to this utterly underwhelming book. This female warrior girl shoots up some villains, kisses her boyfriend, has a brief chat with Luke, and Han Solo, then goes back out on a ‘mop-up’ mission to kill some imperial soldiers that were left over from the main battle. That’s it, that’s all you are getting, thanks for buying the book, suckers.

Why the Darth helmet would I want to buy issue #2 of this series. Come on, somebody give me a reason, because I don’t get it. Am I supposed to like the girl warrior because she is pretty? Come on, there has to be more to it than that, because as far as her personality goes, she’s as generic as you can possibly get. 

I understand what Greg is doing here. I get it. He’s trying to write a ‘strong’ female character, the kind of character that is ten a penny in DC and Marvel comics in 2015.

Want a career in mainstream comic books? You better get writing about strong, independent (i.e. working for the government) pretty young females then. Give your ‘progressive’ character a military uniform or a wacky haircut and nose-ring, show her beating up some random men (preferably white sexist/racists) and you’re flying.

Am I being unfair here? Buy a comic book, any comic book, and judge for yourself. Strong, independent female characters (in other words, women acting like overly masculine men) are as ubiquitous as lies in mainstream television news broadcast these days. Every other comic book features an empowered female. It’s not ‘brave’ or ‘new’ or ‘edgy’ or ‘rebellious.’ It’s easy, boring, predictable and lame. Comic book writers are largely singing from the same song sheet here, and it’s getting really, really boring now.

What you are getting in Star Wars- Shattered Empire #1 is a comic book Golem, a character that is more about being a female than she is about being an interesting or engaging personality in her own right. She moves with purpose, yet has no semblance of life about her, at all. I don’t care about this Golem girl, not because she’s a girl, but because she is a two dimensional, generic character that has no memorable features, quirks or personality attributes. She’s clay, she’s not real, she’s a Rucka inspired Golem.

You can’t just put a girl in a role that men would usually occupy and expect people to care. I’m not obsessed with identity politics, so I need a bit of character, a bit of personality, a bit of life. Oh Greg, you’ve done it again. You’ve produced another unit shifter of a book. I’ve read it, reviewed it, and now I’m starting to forget about it already. Greg, I know you want to write about empowered girls, but please put a bit of personality into the next one that you launch onto the comic book reading public. It’s not enough that she’s a girl, I need a bit more than that.



Rating: 3/10 (Move on, there’s nothing to see here)

Comic review: Kanan- The Last Padawan #1: Departing One Direction member pops up in Star Wars

Writer: Greg Weisman
Artist: Pepe Larraz
Publisher: Marvel (Disney)
Released: 1st April 2015

I’m not going to get too upset with this one. I had the feeling that it would be bad, but you have to give things a chance, right?

You can’t stop yourself from trying out new things, because then you’d never be surprised when things are actually decent. Marvel is pretty bad these days, but that doesn’t mean that they will always be bad. They might be a part of the dehumanising corporate new world order machine, but they have individuals working for them, and my hope in the power of the individual hasn’t completely eroded yet.

I picked up this book for a number of reasons. Firstly, it’s Star Wars, and I used to like Star Wars, when it was good. Secondly, I didn’t know the writer (I’m always interested in checking out new writers), and thirdly, I’d never heard of the Kanan character.

So who is this Kanan bloke? He’s a pretty boy Jedi who is flying around the galaxy with his cool team of hipsters. He has a ponytail, douche bag goatee beard and he doesn’t appear to own a T-shirt. Actually, looking at him again he kind of reminds me of that bloke who quit One Direction last week. Okay, so that kind of sucks so far.

What is his story about? It’s mainly a flashback sequence to the days where his Mum was training him to be a Jedi. She’s not really his Mum, she’s actually a Jedi master, but let’s face it, she’s his Mum. The story is a bit dull and appears to be about discovering who this Kanan pretty boy is as a character, what makes him tick and all of that other back-story stuff that is really intriguing, just as long as you don’t know too much about it.

This title is going to follow Kanan’s very recent past (He looks about seventeen years old), and milk it until every ounce of mystique (he doesn’t have much anyway) is completely drained from the character. We’ll see the tragic death of his Mommy/Jedi, and other cliché stuff that will helpfully rid the narrative of any boring old people and leave the schoolboy superstar free to roam the galaxy having adventures with his buddies whilst acting like a cool, interesting and tortured young hipster.

Are you interested in any of that? If you are, then buy the book. I’d think that (and this is just a guess) this story MIGHT appeal to very young girls who like boybands. That could be the audience, not that young girls read comic books in huge numbers though, so that could be a problem. Perhaps it could appeal to soft comic book readers types who don’t like to think, and instead prefer to have detailed character portrayals of third string Star Wars poseurs who fly around the galaxy showing off their abs and tribal tats to all of the pretty alien girls out there?

That can’t be a big audience, can it? Aggghhh, what do I know? Somebody out there must be enjoying this soft, testosterone free ride into irrelevance. I don’t get bent out of shape when I read a book like this. It’s just Marvel comics pushing out another 'Star Wars' product. It's neither inspired, nor interesting. It has no connection to anything real, and the story is formulaic, flat and pedestrian, that’s all.

I get a bit confused about who is actually reading and enjoying something as tame as this, but that doesn’t mean that there’s not somebody out there who loves every page of it. If we met we wouldn’t have anything to talk about, that’s for sure. She would say something like; ‘It was really cool.’ I’d be nice, and wouldn’t even bother trying to explain why it isn’t. It’s just another boring Marvel comic book, and not worthy of my time.


Rating: 3/10 (Dull book about a Star Wars boy-band character) 

Comic review: Darth Vader #1- The Glorification of a Psychopath

Writer bot: Keiron Gillen
Artist: Salvador Larroca
Publisher: Marvel (Disney)
Released: 11th February 2015



I’m not going to slaughter this book, as I knew exactly what I was going to get before I read it.

Here’s a Marvel (Disney) mainstream corporate whore comic book written by a writer (Kieron Gillen) who is so unmemorable that I cannot recall any of his previous work, even though he’s been writing mainstream comic books for many years now.

Gillen, Bendis, Fraction, Waid, Snyder, Slott, Aaron, Parker, Lemire, Hickman and all the rest of them working in the mainstream are pretty much the same. They concentrate on characters and plot, conform to the politically correct norms that the neo-liberal globalist consensus dictates, and pump out unit shifter after unit shifter without offending, and without saying a single useful thing about the state of the world as it is today. That’s okay, they have every right to do that, but I also have every right to not buy their books, and that is what I do, with the odd exception of course.

So when I get Darth Vader #1 by writer bot no 24445 Gillen I don’t exactly expect it to be subtly dealing with geo-political issues. I don’t expect clever references to contemporary surveillance state concerns, privacy issues, corporate crime, illegal foreign wars based on lies, the funding of international terrorism and all of the other sick things that democratic western elites are getting up to today.

What I do expect from a corporation like Marvel/Disney is a book that ignores all of the things that an intelligent, brave, moral and truth centred writer would discuss, and instead to focus the reader’s attention on trivial personality issues involving the cult of personality toybox stars that were created a long, long time ago, and maximised for corporate profit ever since.

That’s exactly what I get in Darth Vader #1, so no surprises. We follow Vader as he interacts with some of the more successful villains of the franchise (Boba Fett, Jabba the Hutt, the Emperor) and I guess the enjoyment to be had is the ‘Wow, that was cool’ factor as we see large panels of him standing in Jabba's palace and deftly avoiding the trap-door that leads to that big lizard monster thing that Jabba feeds his victims to. Is it fun? Kind of, on a surface level, but let’s delve a bit deeper here.

Who are we supposed to be empathising with here? It’s Darth Vader, right? He’s the name on the cover, and it’s his story that the book is following as he attempts to salvage his career in the evil empire after the right balls up he made with the Death star being blown to bits. Is he supposed to be a sympathetic character though? In this book he is a psychopath in a black uniform randomly murdering people in a stylised ‘cool’ manner in order to get his career moving again, and to settle old personal scores.

That’s the worst kind of person, right? That is the kind of person who has no problems machine gunning civilians or leading naked prisoners into gas chambers. It’s the kind of person who happily follows orders, thinking only of himself and perhaps a possible promotion if he gets the job of mass murder done as quickly and efficiently as possible.

That is who Darth Vader is, and that is exactly how he is written in this book, so writer bot 24445 Gillen has to be congratulated on that point. What he needs to be called out on however is that he makes Vader’s actions look cool, he makes them look like they are the actions of a strong, powerful individual and not what they actually are, the actions of a weak, order following snivelling coward.

The impression that what Vader is doing here is super cool, awesome man, high five dude is helped along by the artwork where order following Darth is portrayed in the most flattering light possible. He’s big, he’s heroic, and he’s a super cool badass.

Yeah, and he’s also a cold, callous, in it only for himself secondary (made, not born) psychopath, so perhaps we shouldn’t be glorifying the guy, right?

So that’s the book. More glorification of the worst kind of person, the kind of person that the corporate elite’s rely upon to maintain the status quo in the world as it is today. A world owned and controlled by a tiny number of corporate/banking elites, and kept in murderous disorder by their bought and paid for gangs of order following mass murdering career obsessed psychopaths in black uniforms.

All of this will of course fly over the heads of the majority of comic book readers (and fanboy writer bots) as they act like children and praise the book for being cool, and Boba Fett is in it, and wow, that was like totally awesome, yawn. Wake up, wake up, wake up. Take a step back, take a deep breath of air, look at the world, and then read the book again. It’s the glorification of a Police state psychopath, and the plot is the same old stuff that Dark Horse was doing with a browbeaten and angry Vader trying to prove his worth to the Emperor, it’s not good, not good at all.

Rating: 4/10 (Slightly below average corporate, neo-liberal, police state comic book) 

Review: Star Wars #19- Feminist liberal wet fart

Writer: Brian Wood
Artist: Carlos D’Anda
Publisher: Dark Horse comics
Released: 9th July 2014


This issue is a bit of a wet fart. Let me explain why. Issue #18 of Star Wars concluded a long arc where the female leaders of the rebel alliance had fallen for an obvious Imperial trap, thus jeopardising every single life in the rebel alliance, including all of the famous names that are the main reason why anybody will be reading this book in the first place.

The funny thing about that book was seeing how feminist liberal writer Brian Wood dug himself out of the hole of his own creation. How could he make the female leaders look strong, even though they were responsible for the big mess that the rebels had found themselves in? If this was anything resembling reality the incompetent two-some of Mon Mothma and Princess Leia would have been forced to resign their positions of power for gross incompetence. That’s not going to happen in this book for two reasons. Firstly, Brian Wood is working with characters with story-arcs that mustn’t be damaged or changed because they have to correspond with the roles they played in the three very popular movies.

Secondly, they are female, and as anybody who has been paying attention to 2014 feminist liberal programming in comic books is already aware of, there must be no criticisms of female leaders in contemporary comics, and any suggestion of incompetence on their behalf is a no-go area. It’s not quite the no go area that Islam or anything to do with the Middle East is, but it’s on par with portraying a homosexual character in any kind of bad light. You just don’t do it if you want to work in comics. I loved issue #18 because Brian Wood had to perform story-telling somersaults to get himself out of the politically correct mess that he had created. And you know what? He largely succeeded. Sure it made no sense, and the story has now continued like nothing has happened, but he didn’t upset the liberal Mafia (and he is a part of that Mafia as well) and all is right in the wilfully blind world of feminist liberal comic books in 2014.

Star Wars #19 has a great front cover, and the interior art is a lot better than it usually is in this book, but the story has now officially fallen into wet fart territory. Beginning something completely new, Wood has decided to tell a not particularly interesting tale of the rescue of an agent, who will probably turn out to be somebody’s sister, or daughter. Again as is usual fare in feminist liberal books, the woman is portrayed as an all action man, leaping from danger, wise quipping and acting like men used to do before it was politically incorrect for them to do so. But she’s trapped, and she needs rescuing, although this is not her fault obviously, and she’s tough and independent, but she’s trapped and here we go again with Brian Wood getting himself in a mess, trying to portray females as strong, but getting it all wrong again. Another shovel Mr Wood?

The rest of the book is Han Solo and Luke Skywalker having their balls slowly removed as they meekly and unquestioningly follow the orders of their female superiors. Han Solo is just a love sick teenager in this book, and he in no way shape or form resembles the man that appeared in the original Star Wars movies. That man was a 1970’s man, and that man simply does not exist anymore. He’s been replaced by a liberal wet fart, and that’s what this book is, a liberal wet fart.

The character with the most personality in this book is a droid. A bad guy droid who is tracking our action heroine and saying funny little things like, ‘Humans are so stupid,’ to himself whilst doing so. I agree with him by the way. The humans in this book are stupid, very stupid, and once again Princess Leia has flown some of the most important characters in the Star Wars universe into a very likely trap. All organised and approved by Mon Mothma, the most tactically unaware leader since Hitler thought it would be a good idea to invade Russia in the winter. With leaders like this it’s amazing that the rebels actually won the war against the Empire.

The book ends with an emasculated Han Solo blindly following orders in the background as his beloved Millennium Falcon gets shot to bits, and incompetent Hillary Clinton clone Princess Leia thinks only of herself whilst enjoying a tepid hug with her now even drippier than ever brother Luke.

What a pile of shite. That’s it for me on this one. Who exactly is this book written for? I was reading because I’m a fan of the old characters, but they’ve been given such a lame liberal makeover that they are no longer recognisable as the characters I fell in love with in those old movies. Luke is a gay best friend, Han is a lovesick order following teenager, and Leia is bossing everyone around whilst making bad decision after bad decision with no consequences whatsoever. With decision making skills like that she’s the perfect embodiment of the western political elite’s and their actions since 2001. Making mistake after mistake, with nobody ever taking any blame for the consequences of their actions. And yes, I’m talking about you Tony Blair, you lying piece of satanic crap.

The only thing to look forward to in this book is the rescue mission of a girl who is so identical in every single way to Princess Leia that Wood is even forced to address it in this story. Is she a sister, half sister, cousin, auntie, whatever? She’s probably the gay lover of Mon Mothma, or something equally as daft, as you know that Brian Wood has just been dying to write a gay character into this story to show off his politically correct credentials to all of the brain washed liberal drips out there. You know what, I don’t care. That’s it for me on this book. The art has never been better, but the story has never been worse, and those bloody characters? Give me a break, what a total and utter feminist liberal wet fart.
Rating: 3/10 (for the art)

Blast Review: Star Wars #18: Don’t upset the girls

Writer: Brian Wood
Artist: Stephane Crety
Publisher: Dark Horse
Released: 11th June 2014

I had to laugh after reading Star Wars #18, as writer Brian Wood performed miraculous back-flips, somersaults and a dazzling display of narrative contortionism to explain away why two female leaders of the rebel alliance had made such a massive mess of things over the past six-months of his story arc. He also had to explain why one of the most menacing and scary villains in cinematic history (Darth Vader) couldn’t pull off what amounted to shooting rebel fish in a barrel.

Princess Leia and Mon Mothma, the two great feminist leaders of the rebel alliance have just spent the past few month’s of this story-arc leading their troops into the most obvious trap since those Greeks and their silly wooden horse. Their combined incompetence has now left everybody in the Rebel alliance open to easy annihilation by any half competent villain worthy of the name.  Don’t shout at me about this. I didn’t write the stupid story. That was Brian Wood’s fault.

What Wood had to do in this issue was 1- Make the two female leaders look strong, even though the story arc has just shown their incompetence. Remember this is a politically correct, feminist liberal book, so all female leaders must be portrayed in a good light. 2- Somehow make the villains fail to shoot the rebels in a barrel, even though if you are following the story they would have to be the most incompetent villains in history to not easily kill every single one of them, including Han Solo and Luke Skywalker.

How does Wood achieve this goal? Firstly, he makes Mon Mothma look like a tough and courageous fighter by having her kill some low level villains, and then he reveals that she has prepared a secret weapon that will ensure that the rebels sitting in a barrel won’t get killed after all. And what about Darth Vader you might ask. Won’t his failure here make him look completely incompetent, thus diminishing him as the serious threat that he’s supposed to be? Easily fixed by the acrobatic Wood who simply removes him from the final scene so some faceless uniform can take the blame for the unbelievable incompetence. It’s genius.

The book then ends with Princess Leia kind of taking some of the blame, but not really because there are no consequences, and lets forget this all happened. You have to take your hat off to Brian Wood. His feminist liberal credentials are intact, two incompetent female leaders are portrayed as heroes, and Darth Vader doesn’t have to look weak either. Nice one, ha ha, what a laugh. Rating: 6/10

Review: The Star Wars #8- Flush the Turd

Writer: J.W. Rinzler
Artist: Mike Mayhew
Publisher: Dark Horse Comics
Released: 28th May 2014

What a load of junk that was. I feel like the biggest sucker imaginable after paying for this load of rubbish. Eight issues and I bought all eight of them. What the hell was wrong with me? Perhaps my Star Wars fandom needs to be sorted out, because if I continue to waste my money on anything Star Wars related, even when it’s horrible, then I have nobody to blame but myself. What I should have done here was get the first two issues, realise that the awfulness was not going to get any better, and stop buying this stupid comic and wasted my time and money on it. But no, I stubbornly bought every bloody issue, and now I have eight dripping turds of an awful comic that I’ll never read again and feel a whole lot embarrassed about buying in the first place. This final issue features a drama free space battle, boring villains, a childish and unconvincing love story and a brief mention that the Death Star has blown up. Cue celebrations from underdeveloped characters that are impossible to care about, and that’s it. Don’t buy this book, and look out for the trade paperback when it’s released. Make sure you avoid it, and don’t be conned like I was. This comic book is Star Wars on a paper napkin. It’s bloody awful, knows it’s awful, and doesn’t care because suckers like this reviewer have been buying it just because it’s ‘Star Wars.’ Lesson learnt. Rating 1/10