Mighty Captain Marvel #0 (Review): Feminist Turds in Space

Written by Margaret Stohl
Art by Emilio Laiso, Ramon Rosanas, Rachelle Rosenberg
Published by Marvel Comics
Release date: December 21, 2016




I’ve finished my latest novel, Red Pill Tales from the Alt-Right: Volume Two (please check it out, it’s all over amazon), and now I have some time to read, relax, and see what is going on in the comic book world. How bad has it got? Is it all Donald Trump bashing, SJW, feminist, open-border, pro-Islam, anti-white man insanity, like I suspect? Let’s jump into ‘Mighty Captain Marvel #0’ and find out.

Okay, we are starting in a therapy session with our brave, short hair heroine, and her cat is there, and it’s all jokes and silliness. She’s super awesome, because, well, of course she is, what did you expect from MarDisney? But being awesome is hard work, so she can’t sleep, because of awesomeness. Okay then, that’s a problem that that nobody in the world (bar Donald Trump) can identify with, and immediately I know that I am back in MarDisney, the world of perfect females and identity politics running amok, where progressive victim-groups are portrayed as galaxy conquering superheroes.

Oh, a cat, how cute.

Oh man, can I go back to writing a new book now? Nope, not yet, you must read MarDisney, and you must suffer for your white male patriarchal sins. Right them, so back to the story of Ms Perfect BBC haircut in space.

It appears that she’s helping space refugees get to earth. THIS IS NOT A JOKE. No, really, she’s in space, helping refugee aliens get to earth. I wrote a story about that in my Red Pills book, it was a joke, and now I’m reading it in a comic book. Bloody hell, what are they like? Lefty, that’s what they are like, very, very lefty.

Now she’s moaning about being a high-achiever, yep, common problem with feminists these days don’t you know. Come on story, do something. Here comes a bald bloke with a (hey, it’s me in a comic book) oh no, he’s just another male comic book cuck, a delivery boy with a parcel for our great sexless wonder. What’s in the box? So exciting, what could it possibly be? Oh, it’s some of her old stuff, and now we are going to flashback mode to see how perfect she was as a kid.

Come on, DO SOMETHING.

Yep, there she is as a kid, getting an ‘A’ in physics, just like all of the other good feminists. It’s a thing you know. Physics and feminism go together like television and bullshit. It’s just a thing. Wow, now we are in a flashback where her own dad is being sexist against her, like that has ever been a thing since the 1950’s.

Here’s the direct quote from the story: Dad (to little Ms Perfect)- ‘Find yourself a nice boy. Heck, a nice astronaut and settle down.’

Come on, this is very, very, very, very silly. I’m 43 years old, and that kind of sexist bullshit wouldn’t even have been a thing when I was a kid. What the hell are they trying to do here? Silly question, because we all know exactly what they are doing. Once again they are portraying a member of one of their victim groups (this time it's women) as brave warriors fighting against the all powerful, oppressive patriarchy that apparantly only exists in white, western, democratic countries.

Oh MarDisney, call me ‘paranoid’ but I’m starting to smell agenda all over this story. First strike is alien refugees, second strike is imaginary sexism, made worse by the fact that the sexist is her own father. That’s pretty low MarDisney, even for you.

A feminist winning? Yeah, keep dreaming love.

Right, I’m reading this digital comic book online as I’m typing, so they have one more strike and that’s it, I’m done. Let’s see. I’m 9:18 into the 17:13 comic book, how long do you think I’ll last before I can take no more of this shite? Let’s see.

So, Ms Perfect joins the airforce, and is the best at everything, obviously, and now she’s moaning about ‘all the voices that said I was nothing.’ Why were they saying that? Because she is a girl, no really, that’s what the story is doing here. It’s saying that girls are treated horribly in AMERICA just because they are girls, and remember, this is all taking place a couple of years ago. Going by her age in the comic book she can’t be any older than thirty, so all of this bad memory stuff must be fifteen years ago tops.

Fifteen years ago was 2002, so they are trying to tell readers that AMERICA in 2002 was some kind of misogynist hellhole for brilliant and talented young women.

FUCK OFF.

NO, REALLY.

FUCK RIGHT OFF.

That’s your third strike Captain Perfect, the comic ends for me at 9:55 of 17:13. I just can’t do this anymore. I can’t subject myself to anymore of this total and utter horseshit. I can’t take anymore of this imaginary world where women are a suppressed minority in western countries. I can’t take the madness of it all. How am I supposed to handle this wilful, agenda driven ignorance and hatred of reality itself?

Fuck it. That’s my review done. If this is what MarDisney is going to do as the entire planet experiences a red pill awakening, rediscovers national pride and rejects global leftism, then they are completely irrelevant. Fuck this comic. Please check out my new book, it’s a lot fucking better then this Ms Perfect piece of shit. Sorry, this piece of shit comic really wound me up, but fuck Marvel, they deserve to fucking die, and if they keep on laying turds like Mighty Captain Marvel #0 that’s exactly what is going to happen to them.


Rating for comic book: 0


If you are some kind of crazed masochist you can read the shit-fest comic book here (I do not recommend it): https://www.youtube.com/watch?v=baj143Qq5ik


'Red Pill Tales from the Alt-Right: Volume Two' is available now on Amazon Kindle, and as a paperback. If you enjoy laughing at the crazed lunatics on the left, this is the book for you. Get your FREE sample below:

Kindle (UK): https://www.amazon.co.uk/dp/B06XKRQV2L
Kindle (US): https://www.amazon.com/dp/B06XKRQV2L
Paperback (UK): https://www.amazon.co.uk/dp/1520836678
Paperback (US): https://www.amazon.com/dp/1520836678

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

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




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

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

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

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

Ummmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.

Nope.

Nothing yet.

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

Ummmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

Dammit, I got nothing.

Ahhhhh, I know.

Err, is it about racism, or something?

No, no no, no, it’s sexism, right?

It’s got to be one of the two, right?

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

Oh, it’s neither of the two?

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

Oh, it is.

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

Oh, so it’s that’s kind of book?

I see now.

Well, thanks for that then.

Cheers guys.

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

That was really cool, man.

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

This book was so, like totally cool.

I can’t wait for next month.

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

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

Was that supposed to be a review?

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

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

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

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

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

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


Rating: 1/10 (Cool front cover)

Comic review: Gotham by Midnight #8- Television, Cops and the State

Writer: Ray Fawkes
Artist: Juan Ferreyra
Publisher: DC Comics
Released: 26th August 2015



Gotham by Midnight #8 is an unpleasant, unimportant and depressingly stuck within the matrix little comic book, so I won’t waste too much time in reviewing it.

The tv gets us at each other's throats, no **** Sherlock

The story is perfunctory, nothing happening, statist drivel. The protagonists are cops and a couple of television hosts. The two hosts are well-worn-out clichés (ruthless and ambitious) and the cops are divided into the usual two categories, good and bad.

There is no underlying understanding of the immoral nature of order following, not that I would ever expect that in a DC comic book. The cops are either ambitious (bad) or trying to do the right thing (good).

Comic book writers still fail to understand that the state is violent coercion, that it is a control system of human enslavement backed up by order following goons. It always has been, and what do they do? They still play the game that the television plays, the game that the politicians play, the game that the newspapers play.

The game is this: You have a choice, but all of your choices are evil. Choose one evil over the other, and that means that you are free, and that evil now has your consent to rule over you.

But what if you don’t want the evil that is violent state coercion? Tough luck, you’re getting it anyway, slave.

I’m fed up with the game now. I’m fed up with comic book writers not understanding it, and I’m fed up of books like Gotham by Midnight #8.

Don't worry, the diverse agents of the state are here to save us.

There was one thing of note in the book. The two hero cops are smart, young and attractive, as they always are in cop shows. One of the cops is an attractive young girl with short hair, a Goth type that you might have seen in a 1990’s comic book by Neil Gaimen.

I’ve met real cops, female cops. Sorry, but they are not cool, comic book style Goths. Real life cops are simple-minded rule followers. They do what they are told, and are happy to do so.  I feel sorry for them. They are lost children in a world of predatory adults.

Anyway, the fantasy Goth Cop in Gotham by Midnight has a boyfriend. He’s a tribal tattooed pretty boy with long hair and a fondness for cooking. In other words, he’s playing the role of the female in their relationship. It’s all about equality now you see. The woman gets to work for the evil that is the state, and the boyfriend gets to stay at home and do her housework and cooking for her.

Yep, it’s that kind of book. That’s how lame it is, and I kind of hate myself for wasting my money on it. Yuck, what a piece of crap that was. Tame, lame and pushing a version of reality that comes from the wet dreams of a viewer of the Daily Show. I wasted my money again, didn’t I? Crap.



Rating: (More cop show disinformation from the liberal mainstream)

Comic review: Batman- Arkham Knight #7- Are you taking the pi**?

Writer: Peter. J Tomasi
Art: Viktor Bogdanovic
Publisher: DC Comics
Released: 19th August 2015



Okay, let’s make this a quick one. Writer Peter J. Tomasi hasn’t put much thought or effort into writing the book, so why should I waste my time reviewing what is evidentially just a piece of throw-away, unit shifter irrelevance?

I prefer 'Skipman.'

Rhetorical that one, but onto the book. Batman Arkham Knight #7 consists of two stories, both are flimsy, and both have the impact of a soft sheet of tissue paper being ripped to shreds in a roaring thunderstorm tornado super-powered torrential downpouring storm.

The first story is about a saint. This saint is very poor, and he finds Batman in a skip. No joke, this is what actually happens. Anyway, this saintly man takes Bat/Skipman home, makes him soup and talks about his ex-wife. Whilst Skipman enjoys his soup a couple of lily-white bodybuilding thugs come to shake down the saintly man for rent or something. Skipman beats them up, and the story finishes up with Skipman and the saint watching the sunrise and having a nice cup of tea. Ha, how lovely it all is, reminiscing about the good old days with the one and only, dark night of the trash-bags, the slightly pongy Skipman himself.

What the donkey doharrr was that supposed to be Mr. Tomasi? Put some effort in mate, or don’t bother at all.

'Yo man, where's the toilet at?'

The second story has the epic and cutting edge paradigm shifting idea of having some villains trying to murder Bruce Wayne. Why do they want to murder Bruce Wayne? Because Penguin asked them to, and why not, it’s something to do, right? The highlight of this story is a villain taking a leak off the side of the building:

Harley Quinn- ‘What the **** are you doing?’ 

Deadshot- ‘Nine hours is a long time.’

Hope you enjoyed that one kids. He’s having a p***, but the writer doesn’t really give one. Thanks for coming, now bugger off and read one of the three versions of Wonder Woman available from DC this week.

Yes, it's a pretty stupid comic book.

Man, what can you say? I could complain about how it was set in no time and thus has no relevance whatsoever to, well, anything. I could complain that the art was a bit ropey in the second story and that Harley Quinn looked like a builder in a dress. I could complain that the tone was as throwaway as last week’s mouldy pizza crusts. I could moan and complain until the cows come home, but what’s the point?

Like I said in the first paragraph, Tomasi very obviously doesn’t care, so why should I? One thing happens in this book, one thing. That one thing is Deadshot taking a comedy leak off of the top of a building. That’s the highlight of the book, an indifferent pi** over the side of a very tall building.

I’ll conclude this review by doing more work than Tomasi did. I’m going to leave you with an image. Think of Donald Trump in a muscled-up Batman costume. Think of him going to the poor areas of the city. Think of him acting like he’s their great saviour, that he alone can make their lives better. Do you have the image in your head? It’s pretty ridiculous isn’t it? Now take that image, store it, have a laugh with it, and forget about this book. Have a bloody brilliant day with Donald ‘The Batman’ Trump dancing away in your head, and let’s pretend that Batman Arkham Knight #7 didn’t just turn up, take a leak, and waste everybody’s time and money.

Rating: 3/10 (Purely for the pi**)


SJW Watch:
For those keeping tabs on social justice warrior/ identity politics/ cultural Marxism themes in contemporary corporate comic books, this truly forgettable book includes a wonderfully ‘progressive’ panel featuring a muscled up woman working as a construction labourer. Nice job Peter. Women just love working on building sites. They can’t get enough of the low pay, hard physical work and dangerous environment. Extra ‘head in the clouds’ SWJ brownie points for that one mate.

.

Comic review: Justice League- Gods and Monsters- Superman #1- SuperMex Vs. Evil White Racists

Writers: J.M DeMatteis & Bruce Timm
Art: Moritat
Publisher: DC Comics
Released: 29th July 2015

I really enjoyed this comic book. Not because it is any good, but because it is the perfect encapsulation of the politically correct, left leaning, ‘progressive’ cult of mind-control and censorship that is the US comic book industry today.

Have you noticed that the mainstream corporate whore media is a bit ‘liberal’ these days? Sure, you still get Fox news blasting out its nonsense to it’s scared an elderly audience, but Fox is for ‘old’ people. Cool, hip, progressive youngsters are all about the rainbows, feminism, Marxism, atheism and tolerance these days. There is a consensus collectivist mind-set that is being broadcast to young people today from the mainstream corporate media outlets, and it consists of the following:

1- Abortion is about equality and women’s rights, and has nothing to do with murdering babies.

2- Immigration is good, and if you complain about it you are a racist.

3- Men are troublesome. We need women to take over in order to make the world a better place.

4- The only people that need to have guns are the Police, and those with government approved authority. The Police (and the government) are our friends, and it’s their job to protect us from bad guys.

5- Opposing gay marriage is morally wrong. People need to get with the times and stop being so homophobic.

6- Christians are like gullible children. You can tolerate them, but they must be taken away from all decision making.

7- Islam is a religion of peace, and if you criticise suicide bombers or the latest massacre you are Islamaphobic.

8- The State is legitimate, and we are ‘free’ because we are allowed to vote between two pre-selected corporate parties.

9- Order followers are heroes, even though they operate with no regards to personal responsibility or morality.

10- Racism means white people hating black people. There is no such thing as a black racist.

11- Feminism is about empowering women and defending them against a big conspiracy by evil white men called ‘Patriarchy.’

There are more, but I think that I nailed the most important ones here. Now, bearing all of the above liberal assumptions in mind, what would you expect to see in a DC Comic book about a Mexican superman?

That’s what Justice League- Gods and Monsters- Superman #1 is by the way. It’s a book about a Mexican Superman growing up with his immigrant family in America. Stop reading this review now, and write down some of the things that you would expect to see in a corporate whore liberal PC comic book in 2015 about a brave and heroic Mexican Superman.

Are you still here? Stop reading, go on, do the list, and then come back to this review.

Okay then. I hope you’ve done your list. I’ve also done a list. Here is my list of the PC cliches that make up this story about SuperMex:

1- An unrealistically perfect young female is the heroine of the narrative.

2- The young SuperMex is troubled, and needs to be corrected by positive female influences, as opposed to positive male role models.

3- Immigrants are honest, hard working and downtrodden.

4- The white (male) locals are bigoted, idiotic, violent racists.

5- SuperMex is going to change the world, but only because he listened to his perfect young sister.

6- It’s okay to murder people, but only if they are criminals.

7- The people that need to be eliminated are those who operate outside the law, not the Government, banks and corporations who are the real slave owners of the world.

The book has a drug cartel as it’s main villains, and if you are wondering how they make that fit into the PC narrative then I’ll tell you. They make the leader of the cartel a young man with blonde hair. He’s a (very) white Mexican, but let’s be honest here. He’s a white man, so he’s the obvious bad guy of the narrative.

At the end of this book SuperMex has become a class warrior for the downtrodden Mexican immigrant females. These females are perfect, obviously, because they are women, but even better than that, they are women with a tint to their complexion. They are women, and not white. Wow, that’s a two in one there.

Men still suck of course, but if they listen to the great, innate wisdom coming from these perfect embodiments of wisdom and compassion (young females) they might have a chance to bring some good into the world. Men, if left alone, are only going to be selfish, stupid, aggressive and self-destructive. Why? Because, that’s just what men do, isn’t it?

In other words- Masculinity is inherently bad, whilst femininity is inherently good.

I’m not joking here. This is seriously how the comic book goes. It’s not an aberration by the way. This is how all of the DC and Marvel comic books read today. There’s a consensus, and if you go against it you are opening yourself up to charges of sexism, misogyny and bigotry. Thanks for coming kid, but your career ends here, unless we get a brand new attitude from you where all of your female characters are young, feisty, strong, independent, brave, in charge (preferable wearing a government badge or uniform) and kicking plenty of male buttocks.

That’s how big a joke it’s all becoming now within mainstream US comic books. Liberal types like to mock Fox news (and I’m not a fan of it myself) but they need to look in the mirror and see what they have become. What they have become is a big old circle jerk that congratulates itself on how ‘tolerant’ and ‘progressive’ they all are, when all they are really doing is creating a new corporate status quo that is every bit as dangerous as the right-wing nonsense coming from Fox news.

This new corporate consensus is not really about human rights and equality. If liberals really cared about human rights and equality then their number one target would be the religion of Islam, the most violent and backwards looking, female and gay hating cult in the world today. But do you ever hear liberals say anything to criticise Islam? Of course not, because they don’t really give a damn about equality and freedom at all.

What they do actually care about is acting like moral crusaders whilst telling people what they can and cannot think and say. They are totalitarian fascists and a comic book like JL-Gods and Monsters- Superman #1 is supporting this PC/Progressive/New World Order cult of mind control and censorship. Get the book if you are a student writing an essay on the new totalitarian left, but for anybody else, for anybody interested in liberty, free speech and individualism, there is nothing here for you.



Rating: 3/10 (For its insights into the cult of progressivism and its unintentional comedy value)

Comic review: JL- Gods and Monsters- Batman #1- Dangerously Stupid

Writers: J.M DeMatteis & Bruce Timm
Artist: Matthew Dow Smith
Colours: Jordie Bellaire
Publisher: DC Comics
Released: 22nd July 2015



Justice League- Gods and Monsters- Batman #1 is a very dangerous comic book.

Why is it dangerous?

It’s dangerous because of the following assumptions that it makes:

1- Villains are those who break the law.
2- Following the law makes you a moral person.
3- Breaking the law makes you an immoral person.
4- Villains are those who operate outside of the corporate/state control system.
5- Villains carry out their immoral actions within ‘organised crime.’
6- Murder is justified, along as you are murdering the ‘villains’ who operate within organised crime.

These assumptions give the woefully ignorant and anachronistic impression that there are two sides to society:

A- The respectable, law and order side, with morally decent people working within the system to make the world a better place for everybody.
B- The criminal underworld, down the docks, where immoral gangsters operate their criminal empires, working outside of the system, and making the world a worse place for everybody.

The superhero (Batman) in this contemporary comic book targets group B. Of course he does, why wouldn’t he?

Do you see the problem here?

After all that has happened over the past ten years, with the illegal wars, surveillance, banker bailouts, and government authorised criminality, you’d think that comic books would start to point out that the real big-shot criminals of our era operate within the law, not outside of it, wouldn’t you?

Real world criminal gangsters don’t hang out down the docks, they operate within corporate and banking boardrooms, doing perfectly legal business, not breaking any laws, because they made the laws in the first place.

Nice colours, bad art.

JL- Gods and Monsters #1 gives readers the impression that criminal masterminds work outside of the structures that have been erected to accommodate rampant corporate criminality. What kind of an idiot would do that?

What kind of an idiot criminal would work outside the law and allow himself to be arrested like a common, petty criminal? It doesn’t happen. The top criminals of our era are the most respected men in town. They operate within government, within banks, within corporations, and the entire neoliberal consensus structure is designed to let them get away with their criminality, and to be rewarded and lauded whilst doing so. That’s how it works, and we all know it by now.

The narrative in this book doesn’t really care about all of that pesky real world reality stuff. Instead it features a vampire (bat) who needs to drink blood to live, and because he’s a nice vampire (bat) he hangs around the docks looking for old movie villains (Circa Humphrey Bogart) to have a nibble on.

This hero/villain bat/vampire-thing has a temper tantrum in a restaurant, and finds a new best friend through talking to a stranger in a public art gallery. Yeah, that’s how you meet best new friends, by hanging out in art galleries. I should try that one out myself.

The book features a ‘twist’ at the end that’s not very surprising, and does nothing but further empathise the comedic stupidity of the main protagonist. All of the dialogue is heavy laden with exposition, and none of it reads like real people talking to each other. The art is very loosely pencilled, and the heavy inking and colouring attempts to disguise the lack of detail throughout. It’s a one shot story that you will have read many times before, and this time next week you’ll have completely forgotten about the entire book. If that’s what you are after, get the book. Have fun with it, if you can.

What I am reading here is a deliberately stupid comic. It reads like something designed for children, in the 1930’s. There are no mobile devices, no izombies walking down the street, head down, oblivious to those around them, no references to the Internet and no references to anything contemporary actually.

The protagonist is a laughable Cartman-esque clown who tells his story first person, loading every sentence with a bucket load of exposition as he plods through his ridiculously inconsequential adventures.

The entire book is completely laughable, even more so because it’s written with a pofaced seriousness and inability to recognise just how babyish and stupid it all is.

The art looks rushed, the facials are lacking in expression or movement and it’s all washed in a thick pallet of heavy colouring in an attempt to put some life into the dead and rushed pencil work.

It’s the seriousness of the book that really kills it. If it was scripted with a wink, nod and a sense of irony, then it could have been fun, it could have been a laugh, and it could have been worthwhile. But no, it’s as serious as cancer, and about as much fun as staying up all night and watching the latest suicide inducing election results.

This is a really, really stupid book, and the underlying assumptions that it makes about criminality and morality make it a very dangerous book as well. I wouldn’t want a young kid to read something as dangerously stupid as this comic book. It’s going to do nothing for a delicate young mind other than to lead him into a slave job working within the corporate system, thinking that he’s a good person just because he is following orders and obeying corporate laws.

That’s not good, all it’s doing is preparing the next generation of compliant worker slave drones for the corporate/banking ‘elites’ prison camps.

JL- Gods and Monsters #1 won’t be read by many kids. The majority of it’s readers are going to be adult statists, stuck in the matrix, hiding from reality, not because they are unable to look at reality, but because they don’t want to look at reality.

It’s a comic book for people who want to forget the world and read something stupid that will distract them from the mundane horrors of the everyday, uneventful lives. If stupid and ignorant is what the writers were going for then they’ve succeeded with this one. Well done lads, you’ve done it again. Poop out the story, extract the money, poop into the minds, poop into the landfill. Hey man, it’s the American way.


Rating: 2/10 (For the colours. Nothing else about the book has any merit)

Comic review: Book of Death #1- Hey Stoopid

Writer: Robert Venditti
Art: Robert Gill
Publisher: Valiant Comics
Released: 15th July 2015

Book of Death #1 is a cliché ridden threat event book with a bunch of superheroes fighting to save the world from an evil dictator, or something, and it has a book in it about a prophecy, and the only one who can read it is a young girl.

The story is about the girl, and who gets to control her, a heroic superhero bloke, or the heroic intelligence agencies. Yes, I said that correctly, the heroic intelligence agencies.

Soldiers and cops, the dogs of the state

The villains in the book are threats to the established order, and it’s up to the military and those working for them, to stop the threats, and to keep things going as they are, because obviously, everything is going just fine at the moment.

I found it telling that the book, when looking for historical examples of horrible things happening, went to the Spanish Inquisition and the Second World War. There is no mention of Iraq, or Gitmo, or rendition, or Abu Ghraib or Edward Snowden, or Bradley Manning, or Afghanistan, Libya, Syria, the Ukraine, ISIS and how the west is openly funding terrorism now.

No, forget all of the things happening NOW, that’s controversial, lets go back to the safe examples, and back to telling our silly little childish comic book threat event book.

I cannot conceive how any half-intelligent adult would get any enjoyment out of this embarrassingly stupid child’s comic book.

I know that contemporary comic book narratives have a habit of reinforcing the status quo and ignoring all of the important issues of our post 9/11 world, but this one really is taking things to a whole new level of deliberate, pointless, dumbed down idiocy. Every single thing about it is perfunctory to the core, and I see no point whatsoever in wasting any more words on it.


Rating: 2/10 (Childish drivel)

Comic review: Black Science #16- The death of a pointless comic book

Writer: Rick Remender
Artist: Matteo Scalera
Publisher: Image Comics
Released: 8th July 2015



Black Science #16 begins with the main protagonist feeling like everything he has ever done in his life has been:

‘One giant fn waste of time.’

Decent art, blah book.

I know exactly how he feels. I’ve been reading this book for sixteen issues now, and I don't understand why I bothered with it in the first place.

The overall message of Black Science #16 is that you shouldn’t bother doing ANYTHING. If you try to do something extraordinary then bad things will happen to you.

Therefore, you might as well spend your life in safety, living in the suburbs with your wife and kids, going to their baseball games, not spending too much time at work, and keeping your head down in order to have a safe, unexciting and uneventful life.

Whenever I read this book I read the writer, not the characters. That’s not good.

I read the characters and I see familiar clichés and a guy heading up a creative writing course, showing you how to put the pieces into place, but with no real desire to say anything dangerous or to kick against a system that he’s perfectly happy with.

I read a guy with a comfortable career, and a nice wife and kids at home, so why cause trouble when tea is ready at five and the grass needs to be mown before suppertime?

There’s nothing wrong with that kind of life, but when that mentality seeps through into the comic book narrative it doesn’t exactly set my world on fire.

How could it?

What I am reading in Black Science is a desire to compromise and to play it safe. Okay Rick, play it safe, I wish you the best, but you are writing safety when I want revolution, and as I see a world badly in need of revolution, not safety and compromise, why should I keep on reading your safety, career and suburban isolation comic book narratives?

Middle aged bloke + girl to have affair with.

Rick won’t respond, and why should he? He’s doing fine, and I’m just a no-nothing guy on the Internet. He’ll keep on pumping out this stuff, and his name alone will keep on selling these mediocre narratives for a good few years yet, so why should he change?

I don’t hate the book, but it’s just a book, just another comic book sci-fi narrative, that reflects nothing, and so, why should I bother with it?

I can’t find a reason to care about this book anymore, so after sixteen issues of reading it, I’m off.

How do I feel about the experience?

I feel like it was a waste of my time, and a waste of my money, but no hard feelings.

Oh well, that’s old Rick off my list then, let’s see if I can find a writer who has something to say, and is desperate, no matter what the cost, to say it.


Rating: 5/10 (A well constructed comic book, but ultimately, it’s pointless)

Comic review: The Tomorrows #1- What’s for dinner tonight?

Writer: Curt Pires
Artist: Jason Copland
Publisher: Dark Horse Comics
Released: 8th July 2015



Feisty young girl with punk haircut as main protagonist> CHECK.

Too cool for school dialogue> CHECK.

Dystopic future that looks a bit like Blade Runner> CHECK.

Vague referances to corporations and social media> CHECK.

Villainous white guy planning to rule the world from his corporate headquarters> CHECK

Fight Club vulgarity and sex talk> CHECK

Secret cyber hacker group full of cool young kids> CHECK

‘Cool’ references to fashionable pop culture icons> CHECK

Inability to recognise that the tyranny of the ‘future’ is happening right now>CHECK

Exposition overload in issue #1> CHECK

Creepy villains with televisions for heads> CHECK

Talking animal for added ‘cool’ factor> CHECK

Futuristic motorcycle for punk girl to ride about on> CHECK

Confusing subplot about the nature of reality, complete with academic references> CHECK

Guest appearance by Alan Moore clone> CHECK

Confusing end that leaves you with a feeling of emptiness mixed with bewilderment>CHECK

That’s the book then.

What is it about?

Ah, nothing really, but it’s cool, it’s about the future and stuff, I think man, about corporations being evil and stuff.

Ah I see, so it’s just another faux-rebellious comic book with a punk female protagonist who looks like the 1992 era Tank Girl? 

Yeah, pretty much.

The kids will buy it, won’t they?

Yeah, a couple of lonely art students will drool all over it.

Don’t be cruel.

Sorry, easy targets.

What a laugh, it’s just a waste of their time though, isn’t it?

Yeah man, but don’t tell them that. It’s just a comic book. Don’t spoil it for them.

Okay man, I won’t.

What’s for tea tonight anyway?

Lasagne.

Cool man, I love me some Lasagne.



Rating: 3/10 (Overly complicated, yet maddeningly generic)

Review: We Stand On Guard #1: Guaranteed not to offend

Writer: Brian K. Vaughan
Artist: Steve Skroce
Publisher: Image Comics
Released: 1st July 2015


The previews to this book looked very promising. I picked it up hoping for something controversial, something that would upset people, and something that would go to the dangerous places where other comic books fear to tread.

I’m a bit of a sucker, aren’t I?

Okay, so, first off, ‘We Stand On Guard’ is a masterpiece of political correctness, of how to write a comic book that is guaranteed to offend absolutely nobody. That’s not a criticism, it’s the best thing about the book, how it manages to exist, and be so meek and compliant. If you want to know how to have a career as a comic book writer in these PC times, then this is the book that you’ll want to study, and emulate. It’s more impressive because it has the US as the villains, yet does it in a way that won’t upset Americans, or anybody else in the world.

The book starts with the cliché of the White House being blown up, and then attempts to subvert that cliché through point of view, having a Canadian family look at it on their television, then having the US retaliate by blowing said family up.

I have a few points to make about this opening scene, as it sets the tone for the rest of the book, and no doubt, the entire series. Firstly, when the Canadian family are speculating about who is responsible for blowing up the White House they very noticeable fail to bring up the two obvious suspects- 1: Islamic extremists. 2: Sections of the US intelligence agency apparatus, a false flag, hitting yourself in order to justify foreign wars (see 9/11 for more details).

The book is set in 2112, so I guess that means that all of the problems that we have today with the peaceful, tolerant religion of Islam have disappeared? I guess that also means that the CIA no longer exists, and that false flag attacks no longer happen? It’s either that, or writer Brian K. Vaughan is being very careful, and very mainstream in his writing.

So, if it’s not Islamic extremists or a false flag attack who is responsible for blowing up the White House? Candidates are Algiers (is that the new capital of the Islamic state?), domestic terrorists (again, no religion mentioned) or Canadians?

It’s not exactly a very controversial list, is it? That list alone should tell you everything that you need to know about this comic book. It’s going to be a very careful book, a PC book, a book that will wash over you, and do nothing, because it’s not trying to do anything except shift units, and not offend.

Canada versus America one hundred plus years from now is as safe as you can get. I’m not reading a safe book. I want to read a book that sticks its neck out, and I’m not going to get that here.

Let’s look at the characters. All of the leaders are young women. Men are followers, missing, dead or expendable. On page seven a father dies. His last words are for his son to protect his young daughter. The story shoots forward to the future, and the son is missing, the daughter is looking after herself. She is strong, self-sufficient, independent, young, feisty sexy, and the main point of view protagonist in the book, of course she is, that goes without saying. Rebellion is the sole domain of pretty young girls in contemporary comic books, false rebellion of course, but that’s the only rebellion that exists today in the corporate mainstream.

This generic comic book protagonist pretty young girl is alone for only a couple of pages before she hooks up with a group of Canadian freedom fighters, led by another young female, of course, and you know exactly what you are going to get in this comic book. More feminism, more male/female power dynamics reversed, and more of the neoliberal corporate consensus, dressed up as equality, pushed as the new norm, and if you don’t like it, send in the social justice warriors.

We Stand On Guard #1 is a neoliberal consensus politically correct comic book. If that’s your thing, buy it. It’s not my thing, so I’m one and out on this one. I need more than safe in my comic books today. This comic book is safe, and it doesn’t interest me at all.


Rating: 3/10 (A case study in how not to offend)

Comic Review-Age of Reptiles- Ancient Egyptians #1- I don’t empathise with lizards

Creator: Ricardo Delgado
Publisher: Dark Horse Comics
Released: 3rd June 2015



The Reptilian part of the brain is concerned with fight or flight. It is the part of the brain that governments around the world want their (tax netted) subjects to be caught in.

If a population is in fight or flight mode they can be easily controlled, as morality and intellect play no part in the decision-making processes. You simply need to scare them (terrorism, global warming, new diseases) and then offer them your pre-prepared solution, a solution that will of course lead to less freedom for the people, and more control for the government slave controllers.

Richard Delgado’s ‘Age of Reptiles- Ancient Egyptians- #1’ has no Egyptians in it, no humans, no governments, and nothing else that holds my interest. Oh, and it doesn’t even have any dialogue either, so it’s a quick read, and that’s probably the best thing about the book, that it’s quick to get through, leaving you plenty of time to read something else.

The book is about lizards doing what lizards do, struggling to eat, to survive, and to dominate territory. Writer Ricardo Delgado attempts to put human characteristics and personalities onto these animals, even though they are incapable of them, so the entire project fails at the first hurdle.

‘DINOSAURS stood on beaches embracing each other moments before a meteor killed them all, it has been claimed.

Nikki Hollis, Professor of Hollywood-style Natural History at Roehampton University, said: “As they realised they were doomed, the dinosaurs stopped eating each other and all became friends.

“A T-Rex stood, put its tiny arm around a stegosaurus and said something profound in a voice like Morgan Freeman’s.

“Probably it was about being part of the great wheel of life, or along those lines.” 
(From ‘The Daily Mash’ 8-2-13)

That was a joke article, but Age of Reptiles is po-faced and serious.

The book attempts to portray one of the lizards as a human character, by having the story follow him as he does what lizards do, alone, like Clint Eastwood, fighting against the odds, tough, stoic and cool. But he’s not Clint, he’s a lizard, so there’s nothing there.

The Daily Mash article was funny and entertaining, but this book is trying to do something serious, and I’m not getting anything out of it at all.

You can’t seriously humanise a lizard, because when all is said and done, it’s just a lizard. It’s not capable of higher human spirituality or empathy, and it doesn’t have the ability to act according to the natural laws of morality and the golden rule. Anything that is there is what you are putting there, not what is actually present and real in anything resembling reality.

A large, meat-eating dinosaur was simply a machine programmed to eat, breed, fight for dominance, or scamper off when in danger. That’s all there is to it. Some humans act like this, but that’s not what being a human is supposed to be about. If you act in this way you are a sociopath, you are an animal, and not a human being at all.

A truly awakened human looks for meaning, the lizard machine simply looks for the next meal, and putting human characteristics onto that machine is fraudulent and deceptive story telling.

I’m not a lizard, and I’m not looking to get into the human rat race that is pushed by capitalism and Darwinian survival of the fittest mainstream programming. I don’t identify with the lizard, and I don’t want to either.

I didn’t like the book, but I didn’t hate it either. To me it falls into that worse of both worlds, the middle pit abyss of indifference. The art wasn’t great, the colours kept changing and it confused me.

Is that the same lizard? I don’t know. I don’t care really. Is that lizard supposed to be a person? What? Is this supposed to be serious? Oh, that’s the end? Good, I won’t be reading that again. Get the book if you want to read something that gets awards, is about lizards, and has no dialogue.

Lizards are lizards, and humans are humans. Reject the reptile, act like a human, reject fight or flight, get higher, not lower. Get hot, not cold. This book was looking to scoop up the low and if it is saying anything, I’m either not getting it, or not wanting to get it.

You can heat up the cold, but it’s cold, that’s it’s nature, like it or not, and it will always revert to what it is supposed to be. Humans are hot-blooded animals that have been given free will in order to question and to act in accordance to universal moral principles. Dinosaurs were cold lizards, running to, or running from, in fear, or creating fear. Let’s not devolve, lets leave the lizards behind and move on with warmth. This book left me feeling cold, and I don’t like to feel cold. I have a reptile hack in my brain, but it doesn’t define me. I’m not a lizard, and a lizard, however warmed up it may be, is certainly not a human being.


Rating: 3/10 (Not much fun I'm afraid. To me it read like experimental student art. Sorry.)



Link to the funny Daily mash article:
http://www.thedailymash.co.uk/news/science-technology/dinosaurs-had-big-emotional-moment-before-meteor-struck-2013020859135

Comic Review: Justice Inc- The Avenger #1- You’re Awful, But I Like You

Writer: Mark Waid
Artist: Ronilson Freire
Publisher: Dynamite Comics
Released: 3rd June 2015


I shouldn’t like this comic book. It’s deliberately corny, very stupid and completely pointless, and the voice over narration that describes the unfolding action is straight out of that camp old Batman television show from the 1960’s.

Is it supposed to be a knowing, post-modern corny kitschy joke? Probably, but who is laughing?

Added to that corn factor is an ugly dollop of 2015 era social justice warrior political correctness. A woman who acts as a secretary isn’t a secretary at all. No, she’s a very rich and important woman because obviously having a young female secretary in the 1930’s (Is that when this book is set?) would be sexist, and we can’t have that, can we? I mean, women in the 1930’s never worked as secretaries did they? No, we can’t portray that in a comic book, because that is sexist, even though it is true.

Bugger reality, let’s all be politically correct and pretend that reality doesn’t exist.

<<<HUGE SIGH>>>

So what do we have here?

Yes, it’s just another comic book, desperate not to offend, very safe, and very depressing. The book should be chucked in the bin with all of the other inoffensive saying nothing junk that you’ll find in a comic book shop today, right?

Hang on, there’s a but.

There’s always a butt. Sorry, that’s a joke. Did it offend anybody? I hope so, anyway, the but is that something happens in this book that completely redeems it.

After an opening fight sequence that features the usual mix of cool quips and acrobatic women kicking men in the face, the narrative plods on and is uniformly awful, dull, laughable and pointless. But then, in one large panel, something is introduced, and yes it’s really, really stupid and meaningless as well, but (more butts) it somehow works.

I smiled, laughed even, and now I’m writing up this review not to say that the book is pointless and awful, but (I can’t escape the butts in this review) that it’s worthwhile after all.

I’m not even going to mention what this ‘thing’ is, because I don’t want to spoil it. I want it to be a nice surprise for everybody, so get the book, endure and wait for something that is genuinely cool, something that makes all of the awfulness worth enduring.

So, in summary, it’s an awful book, it says nothing, it doesn’t even try really, but you need to get yourself a copy of it immediately. Off you go, to the ebay, trust me, it’s not great, but it’s worth spending a couple of quid on.


Rating: 6.5/10 (Awful, but good)

Comic review: Punisher #17- The inevitable come-down after a rare moment of truth in Marvel comics

Writer: Nathan Edmondson
Artists: Mitch Gerads & Brent Schoonover
Publisher: Marvel (Disney)
Released: 1st April 2015


If you kidnap a top US politician, get him to confess that he’s a criminal, and then run around Washington DC with every uniformed order follower in the city hot on your trail, how do you get away? How do you make your escape when you have helicopters featuring the very latest in high tech thermal, night vision equipment tracking your every move?

Easy, you throw a Dictaphone (circa 1986) at the nearest soldier, tell him that it will prove you are innocent, then hide in a bush for half a minute and wait for everybody to fly off. You can then calmly stroll out and have a moment to yourself, right in the open, sitting alongside the Washington Monument and all of that other creepy occult architecture that is in the middle of Washington DC. Don’t worry about CCTV or anything like that, and don’t worry about security guards, soldiers, cops or any of the other people who are looking for you. They’ve flown away now, so take your time and enjoy the scenery.

Next scene it’s daytime and you are in a small town meeting your old army buddy. How did you get there when the entire military and police forces of the USA are looking for you and would have put up roadblocks all over town? Don’t worry about it, you just got there, let’s not get bogged down in details, okay?

From there you can saunter off to Mexico and beat up a top drug lord, blowing up his car and somehow tracking him and getting past all of the special forces trained security guards that would be protecting him 24/7 night and day.

Ahh, it’s easy being the Puinisher in 2015, isn’t it? Don’t worry about the high tech Police state of 2015 that has been exposed by numerous whistle-blowers recently. Just do your thing; pretend that it’s 1980 and that all of the new spy technology doesn’t exist. Oh, and if you are ever in big trouble just remember those two special weapons in your arsenal, the Dictaphone and the bush.

Oh dear, oh dear, oh dear, oh dear. What the Hell happened to this book? It was pretty decent last month, but it’s fallen apart now and what I’ve just read is so completely stooopid that I’m almost lost for words in describing it. It even had one panel with a US superhero criticising the Punisher because he killed somebody without ‘Due process,’ like that’s even a thing in the US today where they kill people all of the time with no regards to due process whatsoever. What the Hell do you think those drones in Pakistan, Iraq and Afghanistan are doing every day? Perhaps they are just looking for evidence for an upcoming trial, and accidentally killing women and children because of some design fault?

Goddamn it, this is too stupid for me to take in. Punisher #16 hinted at some kind of connection to reality in 2015, but Punisher #17 has just gone and reigned itself in by being as wilfully ignorant and as stupid as possible. Perhaps the last issue was a bit too radical, a bit too dangerous, a bit too close to the truth?  We can’t have that in Marvel comics now, can we? Punisher #17 has rectified that problem, and has promised to be a good boy, promised to be just another silly little comic, and promised not to reflect reality in a way that would be uncomfortable for anybody with power and/or money.

Writer Nathan Edmondson has kissed corporate ass this week, and put out a comic that will please his masters very much indeed. Don’t worry boss, issue #16 was just a one off. Issue #17 will be a good little boy, and I’ll get back to talking about rotten apples, Mexican drug cartels and how there is nothing wrong with the actual system itself. No, there’s no problem there. Land of the free and all that. Well, free as long as you can pay, obviously. Now get back to voting, back to serving the system, back to the rat-race, back to striving for that movie contract, back to the greasy corporate career pole, back to statist slavery and back to a comic book fantasy land that still acts like it’s 1986.


Rating: 2/10 (Just for the comedy value of seeing a US superhero talk about ‘Due Process’ in 2015 with no sense of irony whatsoever).











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