#Comicsgate, Uncle Ethan, Vox Day and Fourteen Words that Say It All

Last night, in two separate YouTube livestreams, #Comicsgate was offered a choice between completely divergent pathways into the future of the movement. One path was apolitical, and the other the pathway that #Comicsgate has often times being accused of taking, a road leading to the much criticised and demonised ‘Alt-right.’

The first pathway is that offered up by Ethan Van Sciver (aka ‘Uncle Ethan), a long-time comic book artist who has recently left DC Comics largely due to political differences between himself, and the Democrat party supporting consensus that predominates within the industry. Uncle Ethan, seeing YouTube as the valuable tool for commerce that it is, has steadily grown his channel by producing anti-SJW content, mostly focussed on pointing out the laughable incompetence of Disney Star Wars. His videos have been funny, and culturally relevant, surfing on a wave of growing discontentment with the far-left ideology that has began to make itself very evident in mainstream entertainment media today.

Uncle Ethan has seen an opportunity, and taken it with the strength of his engaging, welcoming, and dryly humorous personality. It’s hard not to like Uncle Ethan, because he’s an eminently likeable guy, and more than that he is extremely adept at creating a community around himself. Interfacing with the customer directly on YouTube livestreams in a fun and informal way, he is filling a gap in the market that was not being exploited, or catered to by his fellow comic book peers, and his success is very well deserved. But other than community and witty critiques of the Cultural Marxism messaging/programming of mainstream entertainment, what does he have to offer, in terms of comic book product?

Looking at his IndieGoGo campaign (CyberFrog) we can see that Uncle Ethan offers spectacular artwork, and a story about a superhero frog fighting a plague of hornets. Analogous to his own fight against SJW’s in mainstream comics? I think so, but the political messaging is kept in the background, and the blurb to sell the book states, ‘quality, and a lot of fun!’ Looking at the artwork itself, and hearing him talk about the book on his livestreams. I’m taking him completely on his word here, and I am certain that it will be everything that he says that it will be.

Ethan Van Sciver is a very talented artist, and Cyber Frog is his big push to break away from the far-left mainstream. His book will be the best that he can do, and the best that he can do is better than anything you’ll get in the mainstream today, artistically speaking at least, plus, you are guaranteed no far-left silliness if you back the book.

Apart from Cyber Frog, EVS also uses his YouTube platform to publicise the work of his friends, fellow comic book pros who can no longer go along with the far-left ideological consensus of the mainstream comic book industry. The comic books they are offering, and they increase on a weekly basis, are also crowd-funded, and appear, at least so far, to be largely apolitical, and focussed on taking the politics away from comic books, and making them fun, and inclusive for all.

Uncle Ethan and his friends, whilst openly supporting the Republican Party in the US, and President Donald Trump, are not political ideologues. They are not extreme, and certainly not what they are often accused of being by their enemies in the mainstream comic book industry.

Then there is Vox Day, a man who is a little bit different, and by little, I mean a lot, and the path that he opened up for the future of #Comicsgate last night on YouTube, is in stark contrast to what is being offered by Uncle Ethan.

Vox Day, writer, publisher, and a man who identifies as a ‘libertarian nationalist’ is certainly a better fit of the ‘Alt-right’ stereotype often used to demonise Uncle Ethan and the #Comicsgate movement as a whole. Last night, in his own livestream, Vox elucidated on his decision to set up a comic book platform under the ‘ComicsGate’ brand name, a move specifically designed to gain publicity at the expense of Ethan Van Sciver, and the more inclusive movement that he is creating on YouTube and IndieGoGo.

Here’s what Vox has to say about the ongoing drama, and the pathways into the future that have been opened by the two opposing camps.


‘Let the ComicsGatekeepers gnash their teeth all they like. While they have been talking, talking, and talking some more, we have published 22 digital editions and 11 print editions in the last eight months. And based on an author who signed with us last night, it is safe to anticipate that some of the loudest voices raised against us will be publishing with us in less than a year.’

The 'Dark Lord' Vox day.

Vox Day appears to know exactly what he is doing in claiming the name of 'ComicsGate’ as his own. It’s cheeky for sure, but it is a calculated move, designed to steer Comicsgate away from the largely apolitical goals of Ethan Van Sciver, and into more identitarian territory.

Last night, in the two livestreams I mentioned in the opening paragraph of this article, two very divergent pathways were revealed.

The first is with Uncle Ethan, a mainstream Republican, who wants to make comic books available for everyone again. The second path is that of Vox Day, an alt-right identitarian who wants to make comic books for a very different group of people.

As I write these words, Uncle Ethan is doing another livestream, with the title ‘Vox Day Aftermath,’ and is discussing Vox Day’s use of the fourteen words.

What are the fourteen words? They are, as follows:

‘We must secure the existence of our people and a future for white children.’

In these fourteen words we see the stark contrast between Vox Day and Ethan Van Sciver, and the difference in the two pathways that were revealed for #ComicsGate last night.

Uncle Ethan disavows people who use the fourteen words, and in disavowing people who use these words is going directly against everything that his enemies in the far-left mainstream of comics claim him to be.

Ethan Van Sciver is not Alt-Right, is not an identitarian, is not a white nationalist and he never was.

Vox Day is all of those things, and he always was.

Alt-Right, or apolitical, all-inclusive ‘normie?’

These are the two pathways for #Comicsgate to consider, and the choices that will be made shall dictate the future of the movement as a whole. Will #ComicsGate become what the mainstream left always said that it was, or can Uncle Ethan lead it into the middle-ground of apolitical escapist fun, if that is even possible during these deeply divided, politically and culturally incendiary times?

We’ll see.

Choices will be made, and the pathway will be chosen.

Which one shall it be?

THE DEATH OF BATMAN

I read, and review comic books, and if there’s one term that succinctly sums up what going on with the entire mainstream comic book industry today, it is the term ‘Global-Homo.’


Here me out. Don’t get triggered. I have something to say. You can call me a bigot later, and I will get to Batman, but I need to define my term first. ‘Global-Homo’ is a term used to categorise, broadly speaking, the mainstream progressive entertainment and news propaganda complex.

It is not about hating on homosexuality. It’s about triggering the mainstream institutionalised, establishment left, and calling them out for what they are actually doing.

So, what are they doing on Global-Homo? Lots of things, and they’re all degenerate, and none of it is good for you, your family, and most importantly, your children.

One of the major projects of Global-Homo is to subvert traditional male/female gender roles. This is being done under the guise of equality, but is actually about lowering the birth rates of people of European ancestry. The propaganda of Global-Homo pushes the cucking of white males, turning them into beta-male losers, and advocates for the career advancement of non-breeding white females. The men will have their computer games and porn, and the women will have their precious careers. Homosexuality alone cannot lower the birth-rate enough because homosexuality itself is not quite as common as Global-Homo likes to make out, so it’s the cucking of males and empowerment of masculine femininity that’s the key here.

Convince the men to play second fiddle to their women, and convince the women that they don’t need men at all, that a career can replace the joys of motherhood and traditional family life. This is Global-Homo, and it’s a genetic attack on the future of white, western civilisation. If there are no children, no families, no husbands and wives, there is no future.

Why are they doing this, and what is the end-goal here?

It’s about control. White men are a problem, because an increasingly large number of them are stubbornly rejecting Global-Homo programming. It appears that the supposed patriarchal oppressors (aka working class, blue collar white men) just won’t go along with the propaganda, and that’s a real problem to the hidden masters of the world. So, how do you sort out the stubborn individuals that refuse to accept open-border (not for Israel, obviously) multicultural, race-mixed utopianism?

Simply put, if they can’t be convinced to go along with the programme, then you just have to get rid of them, which leads me to the death of Batman.

Batman is a problem because Bruce Wayne wins with smarts, determination, training and toughness. He wins because he works harder, thinks harder, fights harder. That kind of guy, yeah he’s rich, but he’s just a guy with no super-powers, might encourage the little white boys to strive, to be better, to be a hero and to do things for themselves. Independence, self-determination and an ethos of hard graft, pain and toil has to be nipped at the bud. Global-Homo is about the communist adherence to universalism over meritocracy, about mediocrity over excellence, so the hard-working, tough guy Batman is a huge problem. Bruce Wayne, like Wolverine, a character who Marvel is currently (reluctantly) resuscitating from the dead, is simply put, too independently masculine to be allowed on the comic book plantation today.

But how do you destroy a character like Batman? The fans wouldn’t like it, and no, they wouldn’t. That’s why Marvel has been forced to bring Wolverine back, they demanded it. Apparently his replacement, a teenage girl called Laura, just wasn’t cutting it. DC, perhaps learning from Marvel’s policy of replacing the straight white men with Mary-Sue female characters, has been a lot smarter than their rivals. You don’t kill off the independent masculine striver. You just kill off his character instead. Add soy, as Ethan Van Sciver would say, and the masculine man becomes somewhat less masculine than he used to be.

Buy any DC Batman book today, and you’ll see what I’m talking about. You’ll see a man who looks like Batman, but is anything but.

Bruce ‘Batman’ Wayne, as written today, is a limp, weak, angst ridden, pathetic, progressive, soy boy, lost-boy, beta-male cuck who wants nothing more than to fade into the shadows, and hand over the reigns of control.

Read a Batman story, any of them, and you will see, that no matter who the writer is, from Tom King, to Scott Snyder, to James Tynion IV, to Bryan Hill, or even Sean Murphy, that Batman is the least important character in every single book.

Global-Homo Batman has become a passenger in his own life story, and he will consistently stand-down, and allow the heroic victim groups on Global-Homo, to do the work that he used to do.

Bruce Wayne has become a stand-in for the progressive writers’ view of themselves. Their role, as they see it, is to act as facilitators of a new, non-white, non-masculine future. They write Batman as a shell of what he used to be, because he is the past, obviously, well, he’s a straight white man, isn’t he? Why write about the past? Why write about old white guys? Write about the future, a future that looks just the city that we live in. It’s great. It’s progressive. Don’t forget to double lock the front door, and don’t walk alone late at night.

Batman is dead, and DC killed him, deliberately, because he is white, because he is male, because he’s the past.

How can we change this? How can we breathe new life into Bruce Wayne, and make Batman great again?

I’ve got some bad news for you. We cannot change this. Batman is on the Global-Homo plantation, and he is going to stay there for the rest of his undead-life. DC has hired many different writers to portray him, and in the vast majority of the books he’s a cucked beta male loser, the past, yesterday’s news, anachronistic, a facilitator for the diverse replacements that will progressively, and rightfully take his place.

Just look at the last issue of Tom King’s Batman #49. It barely featured Bruce Wayne at all. The book, which is duplicating the emasculation of the male character as seen in his Mister Miracle title, relegated Batman to a defeated, castrated, whimpering voice underneath a pile of bricks as Catwoman (his wife to be) did all of the fighting for him.

What woman would marry a man so pathetic that she has to engage in physical combat to protect him from his enemies? Protection is the masculine role, and is the reason that men have approximately 40% more muscle-mass than the fairer sex. And remember, this is Batman we are talking about, a man who is supposed to be a hero for young boys, a man that a boy would want to be, when he’s all grown up.

Tom King’s Batman is not Batman. He is a pathetic, laughable, beta-male loser.

Don’t think that this will change when King finally leaves the book, because it won’t. He will be replaced by another Trump hating progressive, and the agenda will remain the same. Cucking the males is the norm in mainstream comics. This is the message that the progressive comic book writers want to send to young boys, and girls living in America, and what remains of Europe today, and they are proud of it. Go on twitter, and you’ll see them boasting about it every single day.

Batman is no longer Batman.

Batman is dead.

Luke Skywalker is dead.

Han Solo is dead.

I could add more names to the list, but you get the picture.

Our childhood heroes have been murdered by Global-Homo, and they are not coming back, but that doesn’t mean that the fight is over.

The fight is never over.

Global-Homo owns the heroes of our past, and they have cucked, and murdered them with glee. That is a fact, and we need to move on from it.

Each and every one of us has a spark of creativity within us, and we need to start creating new narratives, and original heroes of our own. I have done just that, and I have two new heroes to offer you, right here and right now.

My novel, ‘Invasion of the Red Light Spiders,’ is available on Amazon right now, in paperback and Kindle, and features independent, courageous, autonomous, heroic strivers who are fighting against the same (((nameless))) enemies that we all face today.

Batman is dead, but there are new heroes waiting to be discovered. I offer you my new heroes, and look forward to reading your own creations.

You can stay in the past, hoping for useless change, but the future really is undecided, and you can make it what you want it to be. All you need to do is leave the old heroes behind, reach out, grab the future, in tough, hardened, callused masculine hands, and make it better than the dead progressive dust that lingers, acrid and stale in the deserted hallways of today.


Links to my novel:

'INVASION OF THE RED LIGHT SPIDERS'


UK (Kindle):
https://www.amazon.co.uk/dp/B07D9MPNXN/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1527272592&sr=1-1&keywords=Invasion+of+the+Red+Light+Spiders

U.K. (Paperback):
https://www.amazon.co.uk/dp/1982995467/ref=sr_1_1?s=books&ie=UTF8&qid=1527272627&sr=1-1&keywords=Invasion+of+the+Red+Light+Spiders

US (Kindle):
https://www.amazon.com/dp/B07D9MPNXN/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1527272506&sr=1-1&keywords=Invasion+of+the+red+light+spiders

US (Paperback):
https://www.amazon.com/dp/1982995467/ref=sr_1_1?s=books&ie=UTF8&qid=1527272550&sr=1-1&keywords=Invasion+of+the+Red+Light+Spiders

The Shocking Truth about Corporate Diversity

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2000AD Summer (All-Female) Special 2018: Is This the End of Meritocracy?

The 2000AD special of summer 2018 is a very special, special indeed, for this marks the first time in it’s entire (40 plus year) history that the writers and artists are completely comprised of affirmative action diversity hires. Yes, they are all women, not all straight white men, funny how that works, isn’t it? Actually no, it isn’t funny at all, and I’ll explain why it isn’t funny, and is actually very patronising, and ultimately, very, very dangerous.

The west is what the west is today, because of meritocracy, the idea of a level playing field, where the best, or hardest working thrive, whilst the worst, and laziest do not. Meritocracy produces unfairness, because to have winners you have to have losers as well, but meritocracy also produces great achievements that would not be possible under any other system.

You can try to be fair, and get everybody to cross the finish line together, and this has been tried many times before. Ask the Russians about it, the Chinese, the Cubans, or any other nation that has cried ‘not fair’ and abolished any idea of a meritocratic system. We are talking Communism here, and I would strongly suggest that what 2000ad is doing with this summer special of enforced diversity, which is of course anti-diversity (as all of these progressively insane projects are) is the comic book version of a red revolution.

Well, we all know how revolutions work out, don’t we, and if not, why not? I’ll tell you why we don’t understand that revolutions are bloody, stupid, and just put you back to the beginning, revolving in a circle, and not progressing at all. It’s because of the schools, the welfare state, the female teachers, the pandering, the guilt, the cultural Marxism, the movies, the television, the crusty old sandal wearing, Guardian reading BBC, a state mandated, anti-white, anti-male communist system of anti- meritocracy, school-girl fantasy utopian, far, far left propaganda.

So, of course we are getting an all-female anti-diversity 2000ad bloody revolution of feel-good stupidity. It’s a sign of the times, as the purple hedonist used to say. In an age of Godless, matriarchal, welfare state, government indoctrination, morality free nihilism, you get your virtue from the least rebellious comic book on the market today. Signalling to the heavens that they do not believe in, crying to the sky, ‘We are good people, we are good people, watch as we virtuously flog ourselves to the Goddess of meritocracy crushing mediocrity.

But what, I hear you cry, will I say if the special is actually really, really good? Well, I’ll say the following. If it is really good, and I will not find out because I am not purchasing it, then they didn’t need to do it in the first place. They could have allowed each and every one of the female creators to compete on the same level playing field as their male contemporaries, and let the cream rise to the top.

Do you remember, when that used to happen, when the cream was allowed to rise? I remember, and it was a glorious time. No colours, no genders, no gay, straight, trans, whatever, no left, no right, no politics, just good old fashioned hard work and talent, with the best man, woman or little green frog, rising to the top, and producing the best product possible. Oh, those halcyon days, they are fading, fast, and if you buy this summer special from the virtuous signallers at 2000ad, you are helping to end those days, now, and for the future, forever.

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)

EPIC RANT: This is the End of Everything

Check out this blog, just scan it, and see what I have been doing over the years. Yeah man, what a waste of my fucking time, eh? Call this a life? Fuck off, there’s no life here.

Do you know why I don’t do much of this reviewing stuff anymore? Its not because writing scathing reviews about dippy libtard comic books & movies stopped being fun, and it’s not because I finally got a life, which I never did, and no, it’s not because of the feedback, good, bad indifferent, whatever,

Nope, I cut back because I felt like a dumb ass parasite, swimming alongside a really crappy predator, a shark if you like, but a shark who was old, toothless, and wasn’t really giving me any new scraps to feed from anymore. It’s bad enough being a tic, but a tic on a bloodless body, what’s the fucking point in that?

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

If you are still consuming mainstream product at this point in time, there probably isn’t any hope left for you at all. Sorry, but come off it, there’s nothing new going on here.

Okay man, it’s Friday and the latest movie in the cinema down the road will be laughable tosh featuring a feeble little girl in a prominent role who easily, and heroically beats up all of the evil white blokes. It’s fucking stupid, and yet people still pay to see this turdy nonsense.

Look at what they have done to the Star Wars franchise. It used to be fun, but not anymore. Nowadays it’s just another reminder that the people who make movies have 1- Run out of new ideas 2- No respect for their audience 3- Become completely corrupted by feminist/Marxist identity politics bullshit. That’s the norm in the cinema now, get used to it, because the fucking morons in Hollywood don’t have anything else to say.

Walk into your local comic book store and pick a random book off of the shelves. You know what you’ll be reading about, right? The writers will be telling you that nationalism is evil and that white males suck.

They’ll tell you that all nations, ethnicity’s, cultures and religions need to blend together to create world peace. They’ll sell you this ideological shit, and call it ‘diversity’ by the way, which is really contradictory and stupid, but don’t expect anything you read to make any coherent sense. What they really mean by ‘diversity’ is less white people, zero ideological diversity and a staff of leftists obsessing over the racial and ethnic differences that they pretend not to see.

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

Yeah, yeah, yeah, we get it by now. We suck, you suck, everything sucks, and this whole stupid experiment of allowing the dumbest of dumb to vote for more free stuff was really a very stupid idea from the beginning.

Fucking hell man. Democracy really is an empty lie. You were right all along Richey? Oh, and leave a fucking comment if you get that reference. It’s a Gen-X fucking song, if you care, which is a lot more than I can say about Gen-X itself.

Okay, let’s get this bonfire burning. Let’s finish what they stared, because there’s no hope here. You don’t create a future in telling people that their cultural, ethic, and tribal identities no longer exist. What kind of a nut does that? I know the answer by the way. I fucking know, and so do you, if you are being honest with yourself. Sure, we got pushed, but we did it to ourselves. I want to believe that somebody cares, that the programming can be broken, that something will happen to finally make people give a shit, but it’s lonely here, caring, in a society where individualism and nihilism is the atheist God of the day. Do you care? You don’t, do you? It’s okay. You can admit it now.

This whole shit ship called western civilisation is going down, enslaved to god state into the never ending, soul sucking, fucking debt-swamp, with enemies on the outside (Islam) being let in by the enemies from within (that will be the liberals). So what do I do? Read a comic, and watch the fanning of the flames as civil war, collapse, fucking madness rears on the horizon. I wish I had a kid, so I’d care more. People need to have children, it will make you give a shit, at least it fucking should do, because they have to live in this shit hole that we’ve created for them.

And here I am, mid 2017, writing a stupid fucking blog post that will be read by one man and his dog, talking about the same old shit, and why reviewing inferior material from liberal dick-heads that do the same thing over and over again is less than fucking pointless. Yeah man, this is it, the end of everything. Let’s write another fucking song about it. No, there’s no meaning, it’s just a song, don’t expect any meaning, not here, not now, fucking waiting for Godot shite man.

Okay fuck it, sense, we are going the way of every other corrupt, overly inflated, multicultural empire in world history, and the lessons of the past, have been ignored, again, boringly, obviously, as they always are. And so I trail off this whatever the fuck this was, ending like the west will end, not with a bang, but a tired old cliched, indifferent, who gives a fuck, whimper.

Royals #1- A Message to Marvel Comics

STORY BY

Al Ewing

ART BY

Jonboy Meyers

COLORS BY

Ryan Kinnaird

ReLEASE DATE

5TH APRIL 2017

PUBLISHER

Marvel Comics

‘We forgot the meaning of love’ drones the laughably juvenile dialogue, and off they go into space, a bunch of cutesy lesbians, trusting in some obviously villainous bloke who told them there’s a special ‘magic’ prize hidden at the end of the Care Bear rainbow in space.

And Marvel still doesn’t understand why readers are turning away from their books?

What exact readership demographic is Marvel looking to attract here? After reading Royals #1 I can only assume that it’s the pre-teen girls who are questioning their sexuality demographic, because there’s not a lot in this for anyone else, especially young boys. If I had read this book as a ten year old version of myself then I would have been 100% convinced that I had just accidentally read a girls comic book, and not a very good one either.

Okay Marvel, keep writing girly books where you try to convince everybody (including yourselves) that there’s no difference between the genders, but recognise that these comic books will only ever appeal to social justice warrior activists, and your sales will continue to decline. Do you really want to destroy yourselves with gender neutral love and feelings stories? All you are really doing here is whining that the world isn’t the way that you want it to be, and it’s getting a bit embarrassing.

Marvel, my old mate, it really is getting a bit silly now. You really need to stop with the leftist, race-gender-sexuality activism. The world that you are pushing for is a communistic world of perfect equality, where gender, race, politics, sexuality, religion, and everything else is merged into a creepy Borg collectivist whole of unquestioning love and acceptance. The world, the real world, can never, and will never be like that, and the more you try to achieve your impossible Marxist Nirvana, the worse that things will get for all of us.

Wake up Marvel. Take the red pill option that the rest of us are taking. We are forgiving people, and will look back at this period in your history when you got infiltrated by Marxist activists posing as writers, have a laugh at how silly it all was, and move on.

Get with the times Marvel. Recognise that the world is full of real diversity away from the Marxist deceptions of forced integration and mass immigration into western countries. Celebrate real diversity Marvel, real diversity away from the multicultural lies that are being rejected at the ballot box, in England, America and Europe.

Stop pretending that we are all the same Marvel. Reclaim national pride. America is great. Be proud of who you are. Stop pushing leftist victim groups as heroes. Stop hating on straight, white men. Fire the activist leftists who pose as writers. Get back to telling good stories, with recognisably masculine and feminine characters, who are defined by their actions, and not identity politics and how much of a ‘victim’ they are on the liberal scale of officially sanctioned oppressed groups.

You can do it Marvel. You were great before, and you can be great again. All it will take is a little red pill, a touch of courage, and the ability to recognise that you are walking towards a cliff, and it’s time to stop, change direction, and start walking back home. We are waiting here for you Marvel, we miss you Marvel, and we desperately want you back.


Rating for comic: 2/10 (A load of silly old, irrelevant pap) 

The Black Flame- Archives- #1 (comic review): Before this age of Matriarchal Fear & Isolation

Writer: Peter B. Gillis 

Artist: Tom Sutton

Publisher: 1FirstComics

Release Date: 22nd March 2017 (Originally released in 1983) 



‘The Black Flame’ exists as a time capsule from a very different age, and opening it now is a strange, telling, and rewarding experience. The story is very much of it's time. It could have only existed in the early 1980's and it does things that you just don't do today. Read on and I'll explain what I mean by that.

The narrative is centered on a young girl, called Susie Ingalls, who is kidnapped from her parent’s house by a strange man on a motorcycle, and taken away to a creepy looking ‘safe-house’ where a ‘poet’ gives her a drugged drink of hot chocolate and puts her to bed. The man on the motorcycle (the ‘Black Flame’ of the title) is a hero by the way, and the poet (Michael Robartes) is a good-guy as well. Yes, the two strange men responsible for the kidnapping of a young girl from her family home are the heroes of the tale.

What the hell is going on? It’s a fascinating question, and the answer can be found through a contextual analysis of the time period that the book was first released (1983) and in the literary source that inspired it’s creators.

The narrative in this weird comic book world drifts between two very different realms. There is everyday, motorcycle kidnapping reality, and a nightmarish realm of fearsome creatures that lurk in the closets of little girls who can’t get to sleep without having the light turned on. This nightmarish land of closet monsters, evil (scantily clad) ladies and monstrous beasts, is the world of H.P Lovecraft, a man who was a big deal in the 1980’s, in television, movies, books and the comic book genre. Lovecraft’s world is a world where madness, dreams and reality merge, and that is the realm that you are entering when you read this comic book.

‘Rescuing’ a little girl from the monsters of her dreams, putting her on the back of your motorcycle, and taking her to live with your poet mate in his creepy old house, is certainly not normal, but this is Lovecraftian territory.

Yes, it’s mad, but that’s what we are playing with here, dreams and madness. When you read the tale it flits in and out of reality, with the nightmarish dream world playing a far more significant role than the mundane reality of waking life. As the story progresses the little girl gets kidnapped (again) by the monstrous villains of the tale, and taken into the nightmare dream world, and it’s the job of our heroes to rescue her, and bring her back to reality.

It’s all very weird, and you are not going to find anything like it being written today. You couldn’t do it, you really couldn’t. If you did somehow manage to find a publisher who was okay with you writing a story where the child-kidnappers are the heroes then there would be so much controversy kicked up that issue #2 would never be released.

What needs to be taken (heavily) into account when reading ‘The Black Flame’ in 2017 is that it was first released in 1983, a time period very different to the one that we live in today. There are, of course, many technological differences between the time periods, but even bigger than that are the cultural differences.

In 1983 men were still, largely, the patriarchs of the western family unit. This was a time before the feminisation of western culture, the enlargement of the welfare state, the rise in single mother households, and the increase in paranoia that comes when females are more dependent upon state power than the security that comes with a husband provider/protector. It was a book released when men were still valued, and admired, when women preferred good men over the easy access to resources that comes from running into the controlling embrace of the all powerful welfare state.

When you read ‘The Black Flame’ you are getting a window into the world that existed before the present matriarchal society that we live in today. The culture in western democratic societies of 2017 is a feminised culture of fear, paranoia and anxiety, where everything is a threat, everybody is a potential predator, keep your kids indoors, never let them play unsupervised, danger is everywhere, always watch, always control. This feminised world of fear did not exist in the early 1980’s because men had yet to be marginalised by government, media (comic books included) and academia, and children were still allowed to roam their neighbourhoods and do what children are supposed to do. Men were seen as providers and protectors, not as threats, and so when you have masculine strangers protecting a young girl in a comic book it was not as unusual as it seems today.

Could you still write this narrative into a comic book of 2017? I don’t think so. It would be viewed as a bit odd, your motives would be questioned, and as a writer born into a matriarchal society would it even cross your mind to write about two strange men protecting a young girl anyway?

‘Black Flame’ then is an anachronistic book of a bygone age, and for that reason alone it is extremely interesting and worth reading. It is also very enjoyable to read, as it is fast paced, camp, a bit silly, a bit scary, a bit serious here and there, and very, very 1980’s old school cool. In this one issue you get FIVE chapters of the original story, and that means that you get some awesome cliffhangers and a story that is as fast paced as the Black Flame’s motorcycle itself. The art is 1980s style, totally awesome and with beautifully updated, bright as you like colouring. It's very cheesy, gloriously old fashioned, and bottom line, fun, fun, fun.

The challenge in 2017 will be to read through the narrative with your cynical (every ‘strange’ man is a potential pervert) radar turned off. If you can break through the oestrogen induced fear-fog of our times you’ll get a huge amount of enjoyment from the book. Please take into account that it was written during very different times. Those times have gone forever, and can never be reclaimed, but you can revisit them through the pages of this wonderfully weird and thoroughly enjoyable old school comic book. I personally recommend that you take the trip, because what you will find within the dark and murky corners of the very near past is authentically odd, malevolently masculine, and most assuredly not for those of delicate, modern, feminised, paranoiac sensibilities.


Rating: 9/10 (Worth purchasing for the weird factor alone)



* Pics on this review are from the original comic book. The 2017 version of the comic book has much superior, brighter colouring. BUY IT NOW. 

X-O Manowar #1: Old School FN Awesome

Writer: Matt Kindt
Artist Tomas Giorello
Colorist: Diego Rodriguez
Letterer: Dave Sharpe
Publisher: Valiant Entertainment
Released: 22nd March 2017


**WARNING- LOADS OF SWEARING IN THIS REVIEW**


Fuck yeah, my dusty memories of youth have been rekindled. Days spent messing around outside, going everywhere, anywhere, with my mates, messing around, getting in trouble, running from that trouble, doing it again, having fun, truly living before this adult half-life, which is pretty much indoor delay, thinking rather than doing, writing rather than experiencing.

Oh to be a kid again, in the 1980’s, before the Marxists reprogrammed women into thinking that they should be just like the men. Those days were fucking awesome, and I know now just how lucky I was to experience them. Today, the kids are indoors, ipads in hand, spoilt, stunted, closeted, deified and bored as fuck. It’s awful, and if you want to know why it all started to go wrong for western civilisation, stop, go into your living-room, look towards the poison lefty box that lurks in the corner, and you will have found the culprit largely responsible for the decline of it all.

Good comic books in 2017, and there are not that many of them, take me back to the days when leftist bullshit was confined to a room full of bearded commies at the local polytechnic, and not the dominant ideological cancer that it has grown into today. Before white guilt, Islamaphobia, gender pronouns, antifa fags, gay marriage rights and open border terrorist atrocities, there were young boys reading comic books about the men they wanted to grow up to be.

These men were big, strong, courageous, kick-ass, big muscled warriors with long hair, cool scars, and sexy girlfriends who looked at them longingly, with lust and admiration. I did not want to grow up and be Carl the fucking cuck, a subservient worshipper of empowered women, and their society wrecking PC bullshit. I, like all of my mates, wanted to be Conan the Barbarian, a kick ass warrior who did what he wanted to do, and didn’t give a shit about anybody’s precious fucking feelings. I read comic books because they were awesome, the male hero characters were manly and cool, and the girls wore very skimpy clothes, and were sexy as fuck.

THAT IS WHY COMIC BOOKS WERE COOL.

But look at today’s comic books <FUCK> Just look at the state of them. The girls are in charge now. Read a contemporary Marvel comic book, and you will see that a far-left/Marxist/feminist consensus has been reached. Young girls are the best leaders, pilots, fighters, warriors, engineers, lawyers, accountants, politicians, fucking everything, and there’s no need for men at all.

It’s not just Marvel, though they are the worst, pick up any comic book today and you will see young girls elevated to such a ridiculously fucking unbelievable standard of excellence that men are simply no longer required.

PLUS, the Mary Sue heroines don’t even look very attractive anymore, and certainly not to any young male reader. The progressive heroines of contemporary comic books are starting to become more covered up than women and girls in Islamic countries. FUCK. There are only TWO kinds of people who will get anything out of this kind of pandering to Marxist/feminist infiltration. The first group is obese girls with daddy issues (you will see them in the streets with metal in their faces and blue hair dye dripping into their brains) and the second group is their pathetic cuck, testicle free jellyfish boyfriends who couldn’t fight themselves out of a wet paper-bag.

FUCK THESE PEOPLE.

The twelve-year old version of myself would have laughed his ass off at these fucktards, and seen them as the pathetic losers that they are, and now these are the people who are keeping the comic book industry alive? What a sorry fucking state the entire industry is in, how fucking sad it all is.

So, when I pick up a NEW comic book in 2017, a book that features a big buff man with a bad-ass attitude, cool hair, stripper girlfriend and the story is all about him fighting weird alien creatures in space, fuck yeah, this is the good shit. This is what I want, this is what comic books used to do, this is what comic books should be doing to reclaim their place in the hearts of masculinity deprived young boys in the west today.

Let’s talk about the art in this book. Tomas Giorello, you are a fucking genius mate. You know how to draw the bulging biceps, scarred up, growling glint of pure testosterone that is MAN. Giorello knows how to draw the man that every young boy dreams that he will grow up to be. Muscles, individualism, aggression, determination, pure, badass, masculine authority, that is what he draws, and nobody does it better.

What’s the story all about then? It’s a straightforward tale, easy to follow, and focuses on our man, ‘Aric’ the hero. That’s exactly how it should be. That’s what young boys want. That’s what gets them into reading comic books in the first place. To break it down, here’s what you are getting. You have super buff Aric on a farm, and he has a stripper alien girlfriend. There’s a hint that he has some super weapon technology thing that he hides, and then he’s sent to a war that he doesn’t want to go to. He kicks ass in that war (and the alien creatures whose ass he kicks look fucking awesome) and the issue ends with him about to be sent off on a suicide mission where he’ll obviously have to unpack and use his super weapon technology. What is it? What does it do? All shall be revealed next issue.

That is fucking awesome. What else could a young boy want out of a comic book? The protagonist is everything that any kid would ever want to be. He’s a kick-ass warrior with a bad-ass attitude, he’s got big muscles, cool hair, an alien stripper girlfriend and A SECRET FUCKING WEAPON THAT HE HASN’T EVEN FUCKING USED YET!!!!!!!!!!!!!!

It’s really very simple, isn’t it? That’s it. That’s all you need to fucking do in a comic book. Do this, put a real man in the book, let him do what men do, and you rescue the entire fucking comic book industry. Not only that, but you start to give the kids of today a glimpse into that rare realm of ancient lore, that strange mythological dark space that is rarely glimpsed today, PURE, HONEST, SWEATY BALLS, KICK-ASS, DON’T GIVE A FUCK, MASCULINITY.

This issue, of course, is just a very, very, very, very good start. The following issues could social justice it all up and lay a big turd of progressive weakness all over this awesome start, but as a stand-alone first issue, X-O MANOWAR SOLDIER ISSUE 01 is old school fucking awesome.

This is the kind of book that I used to read as a kid in the early 1980’s, the kind of book that got me into comic books in the first place, and the kind of comic book that you just don’t see anymore. Everything about it is fucking awesome, the characters, art, story, simplicity, and the take no shit old-school masculine attitude itself. If you are searching for evidence that the Marxist era of progressive insanity and weakness is finally coming to an end, then this is the book for you.


Rating: 10/10 (Art, story, characters, everything about this book is old school fucking awesome)

American Gods: Shadows #1: Red Pill Reality, or Blue Pill Dreaming?

Writers: Neil Gaiman, P. Craig Russell
Artist: Scott Hampton
Publisher: Dark Horse Comics
Released: 15th March 2017



Okay then, let’s jump into Neil Gaiman again, and see if he has anything to offer in 2017. Old story condensed: As a messed-up, lost, ostracised, ignored, working in bad jobs, dead man walking, unloved, tax-payer, seat-filler, walking alone, always alone, don’t talk to him, he’s alone, young man in mid to late 1990’s UK, I read the Sandman. In those books I found something to occupy my mind, and make me think that perhaps the world wasn’t as empty and devoid of meaning as the life that I was experiencing. I devoured it all, then departed, back into the world that offered so little, and gave back even less.

A decade later I returned to Gaiman, purchased one of his novels, tried to read it, and couldn’t. I remember sitting on the grass as I waited for my car to be fixed. I remember wanting the book to be good. I remember being disappointed. The book was long-winded, ponderous, boring, didn’t connect with me, and I gave up trying to read it about one hundred pages in. It’s title? I don’t remember. After that time I have occasionally gone back to Gaiman, giving him chance after chance after chance, and the more time that passes, the further I get from being able to connect with his writing.

This is probably a good thing, because when I did connect I was miserable, not really caring if I lived or died, because I had nothing around me worth living for anyway. Dreams were better than reality, because reality really sucked. Now, as I get older, and still don’t connect with the world around me, I feel a lot better about everything.

Why, what changed?

Not the world, that didn’t change, but I did. I’ve been through a process of getting rid of the junk, of cleansing my system of the poison nihilism that almost killed me. Gaiman gave me distractions, but nothing that offered hope of nourishment, of a future, or a rope to safety that would help me get out of the pit that I found myself in.

That pit was my culture by the way. I was a young man growing up during a time period when traditional English culture and identity was being replaced by the love of all things American. I didn’t want to be English. I didn’t even know what being ‘English’ meant. I wanted to be American. I wanted American comics, food, sport, movies, everything. I didn’t even want to live in England. My country was boring, there was nothing here, no future, no pride, nothing, just a wasteland of grey, and over the pond there was America, bigger, brighter, newer, better. I didn’t know anything about my own country, wasn’t taught about it at school, or on my television, or in my movies, or in the music that I listened to. Everything was American. England was nothing, and so was I.

The dream stories of Neil Gaiman placed England in the past, and looked to America as a pathway into the future. The young people of England were being told to look to America, that their homeland was a dream with no future, and so that is exactly what we did.

But America, the amusement arcade, was just another dream, there was no solidity, no meaning there, and as I stood in awe to it’s sparkling neon newness I became adrift in my own land. I looked to America, and saw a reflection of my own face in a plastic façade, whilst all around me the present crumbled into disrepair and decay.

When I look back at that past, my past, I’m hit with a huge sense of pride that I managed to live through that era of awful nihilism to emerge here on the other side. So here I am today, in a present that I almost denied to myself, thriving because I dug myself out of the pit of nihilism, and discovered things of worth, things to fight for, and things to believe in. Now when I go back to the writers of my past, the writers who kept me down in that pit, I look at them anew, see ugliness, cynicism, aimlessness, and the sense of despair that they broadcast, and can identify it immediately.

Let’s jump into ‘American Gods #1’ and explore a small part of that past.

It begins with a thirty-two year old handsome, athletic, intelligent, philosophical, black man in an American prison, and the story is from his point of view. Neil Gaiman is a fifty-six year old Jewish man from Hampshire, England.

The handsome black man, although in jail, is portrayed as intelligent, caring, loving, and in general, a good individual, a victim of ‘the man,’ that man being the spectre of white racism, as can be seen by the casual racism that comes his way from a white prison guard. The insinuation is that America locks up intelligent, handsome, good black men because of white racism. We see the handsome black man’s pretty white wife. He tells us how much he loves her, how he’s looking forward to seeing her again when he is released. What has he done? Why is he in prison? It’s brushed over, it’s unimportant, what is important is that this good man is in jail, he made a mistake, he’s going to get out, and the rest of his life is going to run just fine.

We wait for the bad news to come, it’s inevitable, the character is a vehicle for narrative development, there is no humanity in him, he is not real, he is a shop-window dummy for Gaiman to dress up in story. He needs him imprisoned to service that story, so he’s in jail, and he will be released when the story needs him to be released.

This dummy character of liberal virtue signalling value has no family, no relatives, no children, no parents, no community, nothing substantial, just a pretty white wife who is killed off halfway through this first issue, because it services the story. After reading this first issue (I have not read the book) I get the same feeling that I get at the start of most books, comic books and movie narratives. That feeling is of emptiness and confusion and annoyance that so much has happened, so much remains unexplained and try as I might, I cannot drain any meaning whatsoever from anything that I have just witnessed.

The entire point of modern narratives is to keep you hanging on the end of a hook, to drag you through a story of no meaning, and get you to the end, thanks for coming, now please depart from this fairground ride of nihilistic emptiness. The ride is the meaning, because there is no meaning other than the fact that the creator got you to pay for the ride in the first place.

I recognise a good fairground dream ride of no meaning, as that was my past, that was my pit, and that is why I was so unhappy. Neil Gaiman is a good writer, of course he is, but do you want to join his new/old ride of no meaning? It’s rusty now, the movements no longer amuse, startle, or thrill. What do I mean? Let’s look at the breakdown of this ride, and the tricks or gimmicks that are used to thrill the passengers.

1- ‘A storm is coming’ cliché immediately.
2- Good man released from prison as the world changes.
3- Casual white racism.
4- Convict observes differences of life outside of prison, in airport setting.
5- Phoning dead wife, listening to her voice on answer phone.
6- Gaiman not understanding the sharing drinks (to create bonding) dating trick/tactic.
7- Dream sequence with strange creatures talking vaguely.
8- Weird stranger meeting on aeroplane after upgrade.
9- Chimp grin, showing teeth as aggressive, BBC 1993 Attenborough observation.
10- Strange old American diner cliché.
11- Freudian sex scene.
12- End.

That is poor sauce. There is nothing that feels new here. Nothing to connect with anything contemporary, it feels so, so old. Thank you for getting on the ride, thanks for your money, you allowed me to live the life of a writer, and I get to wear black, have messy hair and pretend that I’m a gothic teenager from the late 70’s early 80’s. I am fifty-six years old, and my book from 2001 is being made into a new television show. Thank you, thank you, thank you.

I admire Neil Gaiman. I admire his cleverness, and ability to prolong his writing career into the fiftieth decade of his life. He is still working, and even though I cannot find anything to take from his work, that work ethic is admirable. I know that ‘American Gods’ is an old book. I know that it’s about modern life killing the old Gods, replacing them with technology, and that the old Gods return to battle against the new Gods of materialism. I understand the idea that our new Gods are celebrities and materialism, but that already feels dated to me. If you want to talk about new and old Gods of 2017 you need to talk about the Gods of mainstream liberal consensus, because they are the Gods that are being challenged ‘right’ now.

Plus, attacking the idea of celebrity, materialism, products, television, and the emptiness of mainstream culture, whilst playing a huge role in propagating that culture yourself? Come on, selling faux-rebellion/revolution to the masses, and in the very instrument (comics, books, and television) that enslaves them to nihilistic materialism? You’re taking the piss, telling your audience that they are dupes, whilst keeping them safely duped/drugged up upon the dream plantation of no-resistance, no reality that is mainstream lefty comic books and television? Come on, look in the mirror, get some reality into your lives.

2001 was sixteen-years ago, that’s a very long time ago now. The questions on people’s mind’s today are not about Odin or Thoth, but globalism and nationalism, that is what truly awakened people are talking about in 2017, not questions about religion and the God’s of old tribes. Why release a comic book that already feels old? Why bother making it into the latest television show? I’ll answer that. It’s being released now because it’s safe, it’s just another ride, it might sell a few tickets, and nobody is going to get upset or feel anything other than mild amusement about it all.

In 2017 Neil Gaiman is still selling his useless old dreams to the masses. It’s what he does, and it’s what he will always do. He’s made a career out of it, so good for him, but I can’t stay with him in dreams of the past. I have to move on.

I am in the fortieth decade of my own life, and have decided to walk past the funfair-ride of television, cinema, books and comic books. It has taken me a while, but nothing worth having will ever come to you quickly, or easily. To gain wisdom you must suffer, but suffering does not last forever. Eventually, and it might take decades, light must finally appear. I see the light now, finally, and that is where I must go.

There are rabbit holes revealing themselves, and they are available to anybody brave enough to take a look. What am I talking about? I’m not going to tell you, because you cannot be told, you must find them for yourself, when you want to find them, and when you are ready to find them.

But, I am a blabbermouth, so I shall hint at the entrances.

Start with nationalism versus globalism. Look at the actions of Longshanks (Edward I) and his edict of expulsion. Tribal identity, multiculturalism, social, global control, money, politics, culture, education, history, who are you allowed to criticise? What are you allowed to question, and more importantly, what are you not allowed to question?

The rabbit holes are open, and you can explore them on your own. Neil Gaiman offers a funfair ride into the world of old dreams. I’ve been there before, it can be fun, but all it really does it take you around and around, and leave you back at the same place where you started. I no longer have time for fairground rides and running around in American dream circles. I took the red pill, explored the rabbit holes, and hey, it’s amazing what you start to find when you truly awake from a blue pill life of slumber.

We all have a choice to make, and the biggest problem that stopped me from progressing was that I didn’t even realise that there was an option. If you are reading this and are still in the same mindset that entrapped me, then I know how it is. In the movie there is a bloke who gives you a red or blue pill option. Real life isn’t as easy as that. In real life you end up reading somebody (flawed as I am) like myself, get angry or confused, and run back to the safety of the blue pill dream. I just want to let you know that you have a choice. What do you want to live for? Do you want a life of red pill reality, or a blue pill Neil Gaiman dream? It’s your life, and the choice, and you do have one, is up to you. Take care, and thanks for reading.

-Mark Anthony Pritchard (17th March 2017)


You can check out my new red pill book here:

Amazon Kindle (UK): https://www.amazon.co.uk/dp/B06XKRQV2L

Amazon Paperback (UK): https://www.amazon.co.uk/dp/1520836678

Amazon Kindle (US): https://www.amazon.com/dp/B06XKRQV2L

Amazon Paperback (US): https://www.amazon.com/dp/1520836678

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