RAPTURE #2: The Power of a Word, that Can Destroy us All

WRITER: Matt Kindt 

ARTISTS: CAFU & Roberto De La Torre

COLORIST: Andrew Dalhouse

PUBLISHER: Valiant Entertainment

RELEASE DATE: June 21, 2017



I do not waste my time reviewing comic books that do not deserve to be reviewed. That time, for me, has gone.

I will not sit down, and write out another scathing review for a regressive comic book that is pushing, and praising, all of the evils that are currently plaguing the western world. I’ve done that already, and if you want to read those reviews, they are here, on my blog, and you are welcome to check them out.

Today, I look for solutions, not problems. I write my own stuff, and if you want to look at it just go onto Amazon and type ‘Mark Anthony Pritchard’ and ‘Red Pill Tales from the Alt-Right.’ I write about solutions, with positively and hope for real change. Let the problem writers continue to do their thing, because if at this point they are still writing about problems, it’s doubtful that solutions will ever be coming from anything that they write.

Comic books, as we all know, are predominantly leftist, and so the chances of finding solutions within their pages are rare, but still I look, hoping for a spark, for something that is addressing the problems, and occasionally, just occasionally, I find it.

Is Matt Kindt, writer of Rapture #2, a leftist? Looking at his twitter page it’s unclear. I assume that he is, but he’s also smart enough not to alienate over 50% of his potential readers by posting silliness about Donald Trump. He uses twitter to promote his work, and that’s undoubtedly the safest thing to do. Expressing anything that, even accidentally, promotes a (dare I say it) ‘right-leaning’ point of view in the comic book industry, would be heresy to leftist consensus, and you would be subjected to a weaponised ‘word’ that can destroy a career.

Let’s talk about that word, because in ‘Rapture #2’ the use of a word as a weapon is a central theme of the book. Here’s how it works. The comic book villains utter a word, a word that paralyses the heroes into passivity, allowing the villains to attack, and to defeat the heroes.

Now, let’s look at the real world parallels.

I live in the UK, a country that is currently being subjected to Islamist terrorist attacks. Every time one occurs, with blood, guts, and dead bodies littering the streets and concert halls, the response, from the mainstream media, the political establishment, and those on the left (they are the same people) is always the same. They tell us to carry on as before, to come together, to light candles, hashtag support, and repeat that it’s not ALL Muslims who are doing this, so we mustn’t criticise the Ideology that is causing it.

And if the people do criticise that ideology, what happens? The media, politicians, pop-stars, and cultural leaders use one word to pacify the population into helpless passivity, and that word is- ISLAMAPHOBIA.

One word can destroy a country. That is what is happening here in the UK, and all over Europe as well.

Does Matt Kindt understand this? I do not know, but what I do know is that in ‘Rapture #2’ he is saying something that cannot be said in liberal/progressive circles. For that alone, I applaud him, and recommend (to everybody reading this review) that they purchase an issue of this superior comic book.

The art (with it’s beautiful colouring), the characters and the story itself in ‘Rapture #2’ are all excellent, but that is not why the book is essential. Enjoy the surface, enjoy the prettiness, but think on the deeper meaning, think on what is being said here, think on the UK, on Europe, and the power of a word that can destroy us all.


Rating: 10/10 (Essential reading)

Comic Book Review: Demonic #1- Conflicted Cop Drama #60,86,88,888,872,33

Writer: Christopher Sebela
Artist: Niko Walter
Publisher: Image
Release Date: 18th August 2016


I’m going to write a comic book. It’s going to be about a sexy demon girl telling a man to do bad things. What kind of man can I use for that purpose? He has to be a good man, a conflicted man, umm, how about a cop? Yeah, a homicide (that means murder) cop, and he can have a partner and they can banter like those television shows about cops, and the movies about cops and the books about cops, cops, cops, cops, cops, cops, cops everywhere, hunting serial killers and lone crazy nut people. Man, I love cops.

2nd panel featuring George Bush Jr and Condoleezza Rice 

Oh and if the lead cop is a white guy then I guess his partner will have to be black, and female, yeah, that’s progressive, that will do.

Okay then, so I have my cop character, I’ll make him look like Matt Damon and give him a tight T-shirt with biceps attached. Yeah he’s generic, 2-D paper-thin, but that doesn’t matter. I can flesh him out with a wife and young daughter, yeah, that will do.

Good guy, conflicted, and I don’t even have to do any research because, well, this guy, the conflicted cop guy with wife and young daughter is a big block of television cliché, done a million times to death already, which means that it works, so why do something new when something old always works so well?

Okay then, conflicted slab of generic with Morgan Freeman, female version partner, so far so blah. Umm, how is my sexy demon girl going to make captain cop generic do bad things? I know, make his daughter ill, that will do, daughters are always ill or kidnapped in television dramas, so I guess that we’ll start with ill, then throw in the kidnapping later.

The demon girl can get him to do bad stuff by promising to make his daughter not ill anymore and he can have the get out clause that he’s only doing it to bad people and it’s making his daughter not be all ill and stuff.

Crazy person cliche alert

Perfect, and throw in some serial killer axe murderer cult demonic clichés with a bucket of mangled body parts, guts and blood that you can only see in an ‘adult’ comic and we are off to the generic races of cliché demon, cop story irrelevance.

Err, what does this have to do with anything in the world today? Nothing, and to prove that I have nothing whatsoever to offer I’ll write the entire first issue with no mention of any modern technology.

That means no cell phones, no Internet, no Pokemon Go, nothing, just generic city murder stuff and bars where depressed men drink whiskey like a 70’s television cop show.

Man, I’m a genius. I love being a comic book writer in 2016, it’s the perfect place to hang out if you have absolutely nothing to say, and want to get paid in peanuts for the privilege of doing so.

I’m feeling really good about this one. I don’t want to jinx myself, but I see television deals in my very near future.

Ah, it’s good to be alive. I wonder what’s going on outside? Ah, who gives a crap, reality sucks anyway.

Rating: 1/10 (1 point for the cover)

Comic review: Think Tank #1- Government is young, sexy and cool (Err, hang on, are you sure about that?)

STORY BY: Matt Hawkins
ART BY: Rahsan Ekedal
PUBLISHER: Top Cow Productions
RELEASED: 6th April 2016



Okay Matt, here we go again. So, what is this one about?

It’s about super cool, sexy, young, quipping government employees designing weapons to be used in foreign policy murder campaigns for the banks and corporations that run the US government.

But how will the painfully progressive Top Cow guys and girls write a comic book about government agents and not mention that the people being murdered are their favourite tolerate friends, the Muslims?

Remember that you are not allowed to have Muslim terrorists as the villains in a progressive comic book. That’s a no-no. In the regressive progressive comic book world of empowered high kicking females and cuckold men, Islam is a religion of peace, and all of the wrongs of the world are caused by evil, right-wing (meaning Christian) white men. That’s the blind as a bat truth, as told in comic books, and if you disagree, then you are obviously a racist, sexist, homophobic, Islamaphobic, Trump supporting bigot.

Compromised hoodie. Slack Wives Matter?

You are not a racist, are you?

Sorry, but that’s how it works, that’s the indoctrination you get from your comic books. Sorry kids, but it’s true.

Don’t worry progressives, you can read this comic book and still feel good about yourself, as the tricky real world reality of global Islamic terrorism is not mentioned in this comic book. Top Cow gets around the problem by featuring some African terrorists that most people have never heard of, and by only referring to them by the name of their gang, and not by the name that really identifies them, that being: ISLAMIC TERRORISTS.

Of course the terrorists are Islamists, they always are, but that’s not mentioned here, so don’t worry your sweet progressive heads about it. Plus, all of the main characters are ‘diverse,’ and the hero has a black girlfriend, so you can be sure that he’s a good guy, or is he? He is a white male after all. Yes, you can read this comic book and feel progressively good about yourself, so don’t worry. Reality step aside, here comes the comic book choo choo train of politically correct unreality, driven by your friendly liberals at Top Cow Productions.

The book isn’t going to stress you with boring ‘politics’ talk. It’s more concerned with a cool guy with great hair, and an empowered young female working (as leader, obviously) in super- sexy government funded astrophysics swimming pool related research. The plot is paranoia central, with an idea coming from a book about the power grid going down. Err, hasn’t that been done before, like, a lot? Yeah, yeah, yeah, but you didn’t expect originality here, did you? Is it going to have desperate humans acting like zombies? Is it going to feature super-smart commentary on capitalism/shopping being bad, or something? Probably, we all like zombies, communism and old metaphors, right?

Hey Matt, writers write what they know, don’t they? I write. I write what I know. I don’t write about CIA agents because I don’t know a thing about CIA agents, mainly because I am not a CIA agent, and I don’t know any CIA agents either. (Insert passive-aggressive smarmy quip about ‘research’ here)

So, as a guy who obviously doesn’t do any research at all, what do I write about? I write about solitary blokes looking at the world from the outside. I write about anarchists, people outside, happily outside, and not looking to get corrupted by the beast of government, and then I read a comic book like ‘Think Tank #1’ and it’s all about government insiders.

US comic book industry, why do you keep on biting me on the butt? Why do you continue to ignore reality, and continue to suck? Why do I keep on giving you chance after chance after chance? I must be suffering from some kind of expensively made-up psychological disorder. Why do I keep on going back to my perpetual abuser? Somebody call me a lawyer, I can make some money out of this, can’t I?

President Matt is either already an insider, or he wants to be one. Wish fulfilment or writing your life? I don’t think that he’s cashing a cheque from the CIA, I really don’t. His persistent virtue signalling tells me that he’s just another modern US progressive, he writes what he believes in, that’s all. I don’t hate the guy. Either way, Matt is a statist kind of guy who thinks that state order followers are young, sexy and cool, so I can see why he has found his place in US comic books.

The US comic book industry is drowning in cultural Marxism, progressive politics and statism, so I shouldn’t act all surprised about this book.

He's cool, he's sexy, he's making guns for government.

It’s an advert, for the state: Join the cult of government. See the world. Shoot somebody in the head (from a safe distance, and with night-vision goggles) it will be a lot of fun.

And for those saying, ‘But there’s a twist, the protagonist is actually fighting against the corrupt elites, blah, blah blah,’ that’s not really the point I’m making here. Of course there’s a twist, that’s how it always works in comic books, but I’m not going to be hanging around with the super cool sexy government employees whilst waiting for it. That costs me time, and money, and I’m not wasting it on a book like this.

I guess what really bugs me about ‘Think Tank #1’ is that the government characters are portrayed as wacky, interesting, sexy, cool individuals that you really would want to be friends with. Yuck. It would be like doing a book about Hell-hole Communist Russia with Stalin and all of his chums having wacky, super progressive and self-aware conversations, whilst our hero sexy guy is doing the twisty turny thing. Sod that. I’m not reading an entire arc full of smiling nut-job government twats in sexy land. Sod the mentalness of it, if that’s even a bloody word, and it should be. Sod it, sod this comic, and sod the progressively insane government-worshipping world of cloud cuckoo land leftism.

Humanity continues to suffer from the authority worshipping disease called statism, and ‘Think Tank #1’ portrays that brain-rotting disease to an absolute tee. The protagonist could end up being my kind of anarchist, turning against his programming in order to promote a new world of volunteerism and self determination away from the centralised tyranny of the state, but do I trust Matt Hawkins to write that? In short, no, I don’t. What I do expect is more of the same government worship that I have read in his other books. I expect calls for better pigs in the system (Ref: Animal farm), rather than real solutions to the problems caused by large socialist governments. I’m not reading that. I’m not subjecting myself to more of that, whilst hoping for an anarchist twist at the end of the book. Everything that I’ve read in issue #1 tells me that the writer thinks that government is cool.

I disagree.

Government is not young, sexy or cool. Government is a gun to your head, pay us our tribute, or you are dead. Government is a gangster, a thug coward who wants you to worship him like a God. Sod off government. You are not God. I will not worship you. I will not join your cult.

Time’s up Top Cow, last chance gone. I’ll look elsewhere for some sanity in this dark world, because I’m certainly not going to find it in anything that you are pumping out. I wish you the best, but I can’t get to where I want to go on your progressive ride to nowhere.



Rating: N/A (An anarchist rating a progressive statist’s love letter to government wouldn’t be fair, would it? It would be like an atheist reviewing the Bible. Err hang on, didn’t that Dawkins bloke make a career out of that? Oh well, low hanging fruits. I’ll choose to pass.)

Comic Review: Will Eisner's The Spirit #7- Butter your crumpets & put your feet up

Writer: Matt Wagner
Art: Dan Schkade
Colours: Brennan Wagner
Publisher: Dynamite Comics
Released: 20th January 2016


The Spirit #7 is very silly, and it’s not saying anything, or even trying to.

The Spirit himself is a daft, square jawed bloke in blue. He works for the ‘authorities,’ so it reinforces the idea that state authority is legitimate.

In other words, here’s another comic book character that anarchists will detest.

It’s set in a besuited gangster time with men wearing fedoras and where ‘criminal’ things are going on down the docks.

Matt Wagner won’t have done anything research for this one, as there’s nothing in here that would need any researching.

The fun to be had is with the silliness, and the art and the odd line of dialogue, or look from a character, that makes you smile.

It’s a child’s cartoon, and the art confirms that. It’s big, bright and colourful, and I enjoyed it.

The book offers readers a break from reality, in a land of silliness and cosy nostalgia for 1940’s noir Americana.

The Spirit #7 is as sharp as a butter knife. Read it with some toast, and a cup of coffee. Smile, enjoy, and then get back to reality.


Rating: 7/10 (Do you need a five-minute break from reality? Put your feet up, butter your crumpets and let the Spirit ease your troubled, exhausted, anxious, overburdened mind)

Comic review: Klaus #2- The Road to Freedom

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



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


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

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

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

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

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

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

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

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

Rating: 9/10

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

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

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




A special Christmas message to everybody at Boom!Studios

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

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

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


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


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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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



Rating: 8/10

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

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

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

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

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

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

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)

50-Word (Comic) Review- 2000AD- PROG 1958: You always mistook fists, for flowers

Writers and artists: Various
Publisher: Rebellion
Released: 25th November 2015


The overarching theme is of resistance to unaccountable, authoritarianism control systems, fighting against enforcers. The best story though is ‘The Crow Gifts.’ It encapsulates the ‘progressive’ desire for martyrdom, for pointless death to further their cause of suicidal, masochistic, nihilistic emptiness. This is how the left feeds it’s own executioners.

Rating: 9/10



What am I on about here? Two things: First off, most of the stories in 2000AD feature little people against the power of the state. Judge Dredd acts like a US Policeman in one of those videos that keeps getting released online (#JudgeDreddMatters), and the other narratives feature resistance fighters (as the heroes) against top down control systems and state agents. That says a lot to me, it says that there’s a growing sense of anxiety in the western world today and there’s a growing understand that our supposed leaders are not quite as benevolent as they make out on our tell-lie-visions. That’s good. It’s a start at least, and it shows that the writers in 2000AD are not being bogged down with 1990’s nostalgia or cultural Marxist identity politics, as is happening in the US comic book industry right now. The best thing about PROG 1959 of 2000AD though is ‘The Crow Gifts’ by David Baillie. The story is about a young girl. She lives with her Grandfather, feels trapped, and rebels against his pragmatic advice about safeguarding her own future. Rather than do as he advises (living a life as a wife and mother with a prosperous husband) she chooses to embrace her own destruction, feeding birds that will eventually peck her to death. You could over analyse this story, and talk about multiculturalism, feminism, liberalism and immigration, but I’ll keep my analysis simple. To me, the story is the perfect synthesis of the suicidal progressive movement, a death cult political ideology that always embraces fists, for flowers (see song at end of review). I read ‘The Crow Gifts’ and see the progressive left, independent, feminine, nurturing, loving, and walking straight off of a cliff. 2000AD is pretty good this week, but Crow Tales by David Baillie is a lot better than pretty good. It’s easy to rail against an authoritarian control system as you can see the tyranny right in front of your face. But to recognise the weakness that comes from within, that’s the key to fighting back and reclaiming humanity from all that has been lost, not just by force, but by indoctrination into progressive politics and an ideology of martyrdom and self-destructive, masochistic nihilism. 

50-Word (Comic) Review: Dark Knight III- The Master Race- Book One: The New Batman book by Frank Miller- Don’t worry, it’s bloody awesome

Writer: Frank Miller & Brian Azzarello
Art: Andy Kubert & Klaus Janson
Publisher: DC Comics
Released: 25th November 2015


Female protagonists dominate the comic book industry. How to make them resonate? Portray dead masculinity in decaying west. Cops prey on citizens. Vigilantes are villains, not heroes. The enemy of western governments is not ISIS. The enemy is masculine individualism, and those that refuse to be collectivised. Frank gets it.



Rating: 10/10

A short review for a fantastic comic book. There will be no spoilers here. Read the book for yourself. I loved it.

50-Word (Comic) Review: 2000AD-PROG 1957- Bad Company is pretty ace, mate

Writers & Artists: Various
Publisher: Rebellion
Released: 18th November 2015



Bad Company/First Casualties is everything that a 2000AD story should be in 2015. Retro, yet relevant, ridiculous, yet intelligent and with the irreverent tone of a 1980’s anarchist student comic book, but updated for our newly dumbed down, metrosexual, genderless, anaesthetised by political correctness, tuned in, but turned off igeneration.


Rating: 7/10

My review is a bit late this week, so sorry about that, I was a bit preoccupied with writing my webcomic about Hitler and his dog (available on this blog, if you want a look/laugh). PROG 1957 has a front cover that looks like a rushed pencil sketch, a Judge Dredd story that takes the p*** out of runners (nothing wrong with that, as I am one myself and we deserve a bit of mockery), a Defoe story that (sadly) is starting to get a bit ill-disciplined and wobbly, a daft horror story with a joke ending, a funnier than usual episode of Brass Sun, and a flippin awesome closing story in Bad Company//First Casualties. BC has a great little joke about Angela Merkel, the German globalist who is killing off Germany at the moment with her obsequious obedience to multi-cultural political correctness, and it’s that little joke that really puts it over the top into the category of ‘excellent.’ That’s what 2000AD should be doing in 2015, mocking the little twerps who are screwing up the world for all of us, but hiding the goodies like Easter eggs within a meadow of ridiculousness. You can get away with a lot when you are being silly. Anyway, let’s finish this ‘review’ before PROG 1957 is released tomorrow. Bad Company is the star, and it continues to be ace, mate. Get 2000AD for that story alone. Does anybody say ‘ace’ anymore? Probably not, let’s bring it back, shall we? Out with the new, and in with the old. Let’s get old again. Old was good, it’s the new that is screwing things up at the moment.

50-Word (Comic) Review- Red Thorn #1- If Kurt Cobain were alive today he would be 48-years-old

Writer: David Baillie
Artist: Meghan Hetrick
Publisher: Vertigo (DC)
Released: 18th November 2015 (not 1994)



Halfway through and it’s annoying the heck out of me. The characters are douchebags, nothing is believable, and the references are early 1990’s bands. Yuck, I don’t want to read about unbelievable, unlikeable asses. Why are comic book writers still stuck in 1993? Will I read the entire issue? No.



Rating: 2/10

I was a huge fan of Nirvana, and when Kurt died in 1994 I found it sad, but predictable. His songs were about a miserable, nothing happening adolescence, and as he got famous they morphed into songs about hating fame, and wanting to go back to the life that he hated anyway. Heroin addiction and death were inevitable for a man who refused to look on the bright side. He left some great, angry, pounding music behind him, but his refusal to embrace the possibility of future happiness killed him. I got over Nirvana a long time ago, but that’s doesn’t appear to be the case for a lot of people. I was in the supermarket today, and Kurt’s face was on the front of a top-selling (meaning it sells about ten issues) music magazine, and now I’ve just read a ‘new’ comic book from Vertigo, and Kurt is all over that as well. What the hell happened? When did our culture grind to a halt? When did looking back, relying on nostalgia, become the norm? Kurt died 21 FN YEARS AGO!!! It’s time to move on, and do something genuinely new, so when I read a comic book with (yet another) young female protagonist, and she’s all about Nirvana, it’s an immediate turn-off. A big flashing neon sign clobbers me over the head and tells me that this writer has nothing to say about now, so is going back to the past in an attempt to pump some meaning into his already moribund creation. Goddamn it man. Another FN comic with Nirvana references. I can’t believe it. Well, I can, and that’s why it’s so bloody depressing. Agggghhh, enough words, sod this comic book, over.

50-Word (Comic) Review- The Goddamned #1: Violently naked, foul-mouthed and very, very good.

Writer: Jason Aaron
Art: R.M. Guera
Colours: Giulia Brusco
Publisher: Image Comics
Released: 11th November 2015



Progressive PC infiltration destroyed my comic-book pull list, whittling it down to almost nothing. Just tell me a story, please, make it good, don’t rely on quips, and leave statism, feminism and collectivism out of it. That’s all that I want. Does this one do it? Surprisingly, yes, it does.



Rating: 9/10

I was in two minds about buying ‘The Goddamned #1’. Writer Jason Aaron, during his Marvel Thor run, wrote Thor as a soldier flying around the world (representing America) and fighting evil dictators. By doing so his Thor came to represent US imperialism, and gave credence to the lie that has justified the US setting the Middle East on fire and ‘accidentally’ creating ISIS. You know the lie, that wars happen because the ‘good guys’ (the US) want to make the world a better place, and to get rid of evil dictators. It’s a ridiculous lie, mainly because the US supports all sorts of crazy dictators (Saudi Arabia) all over the world and is more than happy to do business with them, and I don’t want to see it again in my comic books. We need to get beyond that very basic, dumbed down version of reality that is pushed on the mainstream media, and when I see mainstream idiot lies parroted in my comic books it instantly turns me off the books. There was also the fact that he turned the ultimate symbol of Norse masculinity (Thor) into a woman, thus bowing to the femiNazi’s who are doing a very good job of destroying mainstream comic books right now. Plus, I read the previews of this book, and because it’s a story about our pre-flood civilisation I figured that Aaron is bound to be a trendy liberal atheist and take the opportunity to cr*p all over the Bible. But now that I’ve read it, I’m glad that I took a risk and gave it a chance. The story, to sum it up very succinctly, reads like a Bible story with naked, violent, sweary blokes in it. There are no moments of social justice, no moments of PC pandering, and no moments of atheist having a go at God stuff. The main protagonist is Cain (the first murderer), the story is linear, easy to follow and interesting, and the art has great colouring and an edge to it that’s perfect for a brutal story about the moral decline of early man. The Goddamned #1 is about a time when things on Earth were so bad that God decided that he’d had enough of it all, and had to wipe the slate clean and start all over again. Look at the world today, and ask yourself this question: What must he think of us today? Anyway, it’s a top book, very good, and I enjoyed it very much. If you haven’t got it, get it. That’s it, end of review, thank you Mr. Aaron.

50-Word (Comic) Review- The Infidel, featuring Pigman #1: Take that Jihadi Scum!!!

Writer: Bosch Fawstin
Artist: Bosch Fawstin
Publisher: Bosch Fawstin
Released: 2011
Price: £1.99
GET BOOK HERE:
https://www.comixology.co.uk/The-Infidel-featuring-Pigman/comics-series/10525?ref=c2VhcmNoL2luZGV4L2Rlc2t0b3Avc2xpZGVyTGlzdC9zZXJpZXNTbGlkZXI




A ruthless hero kicks butt, not fake comic book villain butt, real butt, with jokes about pigs, bashing a Jihadi over the head with the Quran, and talking truth about a paedophile prophet, this is a book that goes where others are too cowardly to go. This is bloody awesome.


Rating: 10/10

My plan for the day was to read, and then review, Joe Golem ‘Occult Detective #1’ from DarkHorse Comics, but half-way through the book I was so bored with it that I decided to put it down and do something a bit more satisfying and worthwhile with my time. That resulted in my writing a new webcomic for my blog (the one about Reality Cat going to the comic book shop and discovering that everything there was feminist/progressive). After finishing off that webcomic I decided to see if I could find ANY comic book that looked at the world from even a slightly ‘right-wing’ point of view. It was slim pickings, but what I did find was a fantastic Digital comic called ‘The Infidel –featuring Pigman #1’ written by Bosch Fawstin and available (digitally only it appears) on ComiXology. I purchased the book, read it, and what can I say? It’s flippin incredible. Here is a book that’s not afraid to talk about Islam in a way that NEEDS TO BE DONE. I won’t spoil the book, so all I’ll say is GET IT, NOW. Here is a comic book that has balls. I love it, love it, love it, and as for Joe Golem-Occult Detective? Sod that tired old tripe, if I can’t even finish the book then there’s no chance in Hell that I’m going to waste my time reviewing it.

50-Word (Comic) Review- Klaus #1: A Wonderful Fairytale Book about the Origins of Santa Claus

Writer: Grant Morrison
Art: Dan Mora
Publisher: Boom! Studios
Released: 4th November 2015



Soldiers revel in cruelty, granted by a tyrant, his castle towers over homes of the poor. Spoilt child destroys, wants more, a solitary trader, appalled at what he sees, escapes, then by night, alien elves conjure presents for children, a red cape, a sprinkle of snow. Santa is that you?


Rating: 8/10

Klaus #1 is a lovely surprise gift to the comic book world, and it’s just in time for Christmas 2015. The story is about the origin of Santa Claus, and there’s something very fairytale about it, mixed with the dirty realism that you will find in an old brother’s Grimm story. Issue #1 follows a buffed up (bearded) young man as he visits a town gone to wrack and ruin due to a scumbag leader, and all of the top down corruption that inevitably follows when those in charge are a right bunch of bankers. It might as well be about David Cameron, and the town might as well be London in 2015. The rot starts from the top, and when everybody is aware of the corruption of those in power, the reasoning goes, why not be just as corrupt as them, after all corruption equals success, right? The only difference between this book and the UK in 2015 is that at least the men in this book have jobs. They might all be down a dirty old mine, but at least they are working, and that’s a lot more than you can say about a lot of people in the UK right now. Anyway, back to this book. It’s a happy bundle of Christmas joy, get it, it’s good, there’s a nice feel about it, and you’ll like it, probably, I did.

50-Word (Comic) Review: 2000AD-Prog 1954- Bad Company Brilliance

Writers and artists: Various
Publisher: Rebellion
Released: 28th October



Dredd concludes Serial//Serial. Villain undetected, which is good. Don’t kill a star. Defoe is rich crooks versus poor crooks, happy enforcers enjoying their work. Bad Company old school art brilliance. Used up dogs of war refuse to hide painful memories with state mandated ‘medication.’ Now that’s something with contemporary parallels.


Rating: 8/10

Bad Company//First Casualties is the undoubted star of 2000AD at the moment. It’s a story that reminds me of the old days, the days when I first fell in love with 2000AD as a kid. The art is old school excellence, very 80’s, very cool. The characters are enjoyable, interesting, a bit wacky and a lot of fun. The story itself has a strong thematic core that resonates with contemporary concerns. It’s about traumatised veterans, and what happens to them when they are no longer of any use to the death cult state. 

The story is dealing with truths that a lot of people don’t even want to think about. The state is organised violence. It programmes young men, turning them into murderers, monsters, and spits them out when they are no longer of any use. Medals, parades and charity concerts cannot hide the truth. Bad Company//First Casualties is a story about what happens to soldiers after the war, and in a 2015 UK society full of traumatised young men returning from illegal foreign wars, it’s as contemporary, relevant and important as a ‘sci-fi’ story in a weekly comic book can get.

50-Word (comic) Review: Art Ops #1- Dead art illustrates book where art comes alive

Writer: Shaun Simon
Artist: Mike Allred
Publisher: Vertigo/DC
Released: 28th October 2015



Art portraits are real, the subject lives within the frame, can be stolen, protected by ‘Art-Ops.’ The Mona Lisa is a physical lady, not oil on canvas. Creative idea from Shaun Simon, but I dislike the art. Comic book about art being alive has unimpressive art, ends up defeating itself?


Rating: 5/10

I really enjoyed ‘Neverboy’ from Shaun Simon. It had a great central idea, and the art (By Tyler Jenkins) was perfect for what the book was trying to convey. It was a book about creativity, and the art was very creative, so it was the perfect marriage between narrative and art. ‘Art-Ops’ features another creative concept from writer Shaun Simon, with the idea being that art is alive within the frame, and that what is drawn can come out of the frame and interact with the physical world. The ‘Art-Ops’ (who they work for, or how they are funded, is not specified) work to protect the people living in the portraits (how does it work with things like mountains and landscape portraits?) from art thieves. Are the art thieves purely interested in money, or is something more interesting going on? I’m not sure, but I’m sure we’ll find out later as I am unsure about any of the motivations here. The main protagonists are a punk haired boy (makes a change from a punk haired girl I guess, but what is it with the punk haircuts in comic books?) and his Mum. His Mum worked for the art-ops, but goes missing, and it’s up to him to take her place, but he’s reluctant, as is to be expected. He has no Dad by the way, which is a theme that I’m really starting to notice now in all forms of mainstream cultural programming. If you’ve read anything on my blog you’ll know what I think about that, and how the state wants fathers out of the lives of children, leaving children easy pray for the father substitute that is the state. I hope that the father turns up in this book, and I hope that he’s a good guy, as that will make a nice change from the norm and will be sending out a strong message about the importance of fathers, but we’ll see. The main problem I had with this book however was that I disliked Mike Allred’s art. I found it to be borderline bad, lacking in detail, lacking in intensity, lacking in emotion, blocky, static, amateurish, basic, and just not very good at all. What more can I say? I didn't like it, at all. That’s a huge disappointment to me because I really enjoyed the art in Neverboy, and the art here (for me) is nowhere near as good. I wanted to be impressed by this book, but the art just isn’t doing it for me, and I don’t know if there’s enough here plot/character/idea wise for me to hang around for too long. Because of the good-will I still retain from my enjoyment of Neverboy I’ll give it one more issue before making up my mind about it, but sad as it is for me to type out these words, I’m feeling very much underwhelmed by this book at the moment.

50-Word-Review: The Uncanny Inhumans #1- Starring Christine Legarde as Medusa

Writer: Charles Soule
Artist: Steve McNiven
Publisher: Marvel/Disney
Released: 21st October 2015


Medusa as Christine Lagarde, Hillary Clinton, Angela Merkel, totalitarians masquerading as liberators, protectors. Humanity enslaved to collectivised left, on the Daily Show/ CNN. Male emasculation as female liberation, cheat on your husband, in his face, no shame, immorality is tolerance, kill tradition, diversity a mantra, collectivisation, feminist New World Order.



Rating: 2/10


There’s two stories going on in ‘The Uncanny Inhumans #1# but they didn’t particularly grip me. The first one involves Black Bolt trying to get his son back from cartoon evil ‘Kang the Conqueror.’ The second story involves his wife (Queen Medusa) acting like a globalist politician, ‘Your world is our world. We will always fight to keep it safe.’ Medusa is the empowered boss of this book, working with what looks a UN approved superhero diversity team, appearing on collectivist, progressive media platforms (The Daily Show), and concluding her day by kissing her new boyfriend in front of her ex-husband’s (are they even divorced yet?) face. What does she think about her missing son? It is her son, as well as Black Bolt’s, right? We don’t know, as she never mentions it, she’s far too busy with her political agenda, and new boyfriend to care about a missing boy, even if he is her own son. Oh, by the way, she’s a heroine in this book, not a villain. Yep, what we have here is the typical ‘progressive’ feminist protagonist, more concerned with her career and personal pleasure than the welfare of her own family. She’s not a woman, she’s a representation of the very worst kind of man, but that’s third-wave feminism for you, and that’s exactly what you are getting in this comic book. Female empowerment is always pushed as a good thing as it emasculates men, denies the biological reality of femininity, and pushes females into positions of authority within the new state collectivist system of human enslavement. Females are encouraged to join this system where they can boss around/protect the poor innocent victim/voters that grovel at their feet in willing supplication. Females know what is best, because they are female, and they get to tell us all what to think, feel and do. If you disagree with them that means you are you are a misogynist bigot and are a danger to the wonderful new world order that is currently being ushered in by the wonderful progressive liberal writers working for globalist programmers Marvel/Disney comics. If you disagree with any of this progressive agenda then you are a barrier to ‘progress,’ to be ostracised from society and thrown in jail if you continue to speak up on any of these issues and invade the ‘safe space’ non-reality of all that push it. Hey guys, blokes, men, and any traditionally minded female who values family, respect, honour and real femininity over far-left communist inspired ideology. Why are you reading these comics? You do realise that they are attacking YOU, don’t you? I read them to expose this anti-human ideology, and to talk about it in these ‘reviews,’ because nobody else is doing it, and comic books are being given a free reign to push this collectivist crap. I have to write about it, because I disagree with what they are pushing, and I want to call them out on it. That’s my excuse for (occasionally) buying these horrible tools of Marxist/Globalist/FemiNazi propaganda. What is yours? 




* Bonus story is statist bull**** with an agent of the state rescuing a poor innocent helpless civilian/victim from evil white men with beards. Same old s***.

50 Word (Comic) Review: Godzilla in Hell #4- Subtle Matrix Busting Brilliance

Writer: Brandon Seifert
Artist: Ibrahim Moustafa
Creative Consultant: Chris Mowry
Publisher: IDW
Released: 21st October 2015


It’s subtle, you can’t see it, you are wrapped within the life lie, fighting battles, throwing punches, avoiding kicks, but truth is outside the war-zone of rat-race concerns, realise that death is an illusion, blast through the hidden wall, walk into the white, for there, alone, you will find reality.



Rating: 9/10

There’s a heck of an allegory going on in this comic book, and it’s so subtle that it can be easily missed. Godzilla is fighting various monsters, but after a while he realises that something is afoot. He cannot die, so he realises that the fight isn’t real. With this knowledge he decides to focus his energy on escaping from the unreality that has caged him. He comes across a wall, uses guile, intellect and brute strength to break through it, sees the white light of endless possibility, and walks straight into it. That’s the end of the book, and to find out more about that white light we’ll have to wait for Godzilla in Hell #5. Here’s my take on the allegory: Godzilla is in the world that we all inhabit. He spends his time fighting for dominance, as we all do. However, Godzilla realises that death is an illusion, as it is in our own holographic world. With this knowledge of truth, he breaks free from the Matrix that has caged him in flight or fight/rat-race/survival of the fittest non-reality, and into truth, into the real world beyond the Matrix. Godzilla is Neo, breaking through the Matrix, but is he going to wake up in a tank of Goo like the Matrix movie? Will he find himself on a movie set like the Truman show? Or perhaps he’ll just walk out onto a blank page and argue with the writer, like that old Daffy Duck/Bugs Bunny cartoon? Whatever it is, I can’t wait to find out what is going to happen next. This book has been great. It’s the subtlety that does it, that and an overarching concept that has tied everything together to create what is an absolutely fascinatingly individualistic, yet collaborative whole.

50 Word (Comic) Review: 2000AD-PROG 1953- I Want to Break Free

Writers and Artists: Various
Publisher: Rebellion
Release Date: 21st October 2015



Dredd story gets it. Chinny mocks uniformed order following authoritarianism. Defoe is class war, reanimation of dead ideology, collectivist Corbyn awaits guest appearance. Brass Sun hits religious collectivism. Dexter is mainstream television, cool people violence, yuck, don’t desensitise me Bro. Bad Company rejects drugged sheeple culture, awakening time. I approve.


Rating: 8/10

Judge Dredd// Serial Serial is fast becoming the best Dredd story that I’ve read in a long, long time. Writer John Wagner really gets the absurdity that is Judge Dredd and he’s putting a lot of humour into this daft story about a serial killer and his cliché taunting letters to the cops. It’s a great send up not just of Dredd, but the entire ‘serial killer’ genre itself. I missed this at first, but I’m well on-board now. Defoe//The London Hanged is a slow builder, and there’s real meat in the rich versus poor story-line, as it ties into what is happening in the real world UK of 2015 with a largely unrepresented and disaffected tax netted population being ripped off by a bunch of Eton educated toffs, and with the only alternative being a Labour party that is going back to their dated Marxist ideology of the 1970’s. Brass Sun//Motorhead is getting to that part of the story where individuals rise up against the collectivist controllers. If only we would do that in the real world. Sinister Dexter// The Taking of the Michael is graphic blood and violence with the gross-out realism that you get on ‘cool’ mainstream US television programming. I don’t like it. I don’t like US television, and I don’t like to read it in my comics either. There is nothing ‘cool’ about shooting somebody in the head. Bad Company// First Casualties is old school 2000AD. It has top retro art, a wry sense of humour and the plot itself is a boys own adventure tale about a group of buddies getting off their drugs, clearing their heads and starting to fight back against the collectivist, lying control system that has used and abused them. In other words, it’s a story about retired soldiers realising that they have been used like dogs, and have been put into a drugged up retirement home as they are too damaged to be of any more use to the sociopathic state. I love it, and I love 2000AD this week. I disliked only one out of five of the stories, and that’s a very good strike rate, or whatever that American term is.