Comic review: Tokyo Ghost #1- Old Man Fear

Writer: Rick Remender
Artist: Sean Murphy
Creators: Remender/Murphy
Publisher: Image Comics
Released: 16th September 2015


I used to love Stephen King, but the last book that I read coming from his ever-prolific mind was about cell-phones and how people will turn into zombies if they use them too much. The idea was dull, easy, and I expected better out of King. I read the entire book and my lasting impression was of an out of touch, out of ideas, old man, looking at the world outside of his mansion, and having a bit of a ill-considered, lazy moan about it all.

That book was called ‘Cell,’ and this book by Rick Remender, is pretty much the same thing. It is drenched in ‘cool,’ with a cool name, a cool protagonist and cool artwork, but the mind-set that it’s all coming from is pretty much the same as Cell. The difference is slight. Cell was about cell-phones making people violently anti-social, whilst ‘Tokyo Ghost’ (see, told you it was cool) is about computer games and the Internet making people violently anti-social.

I’m calling BS on the entire idea that modern technology is making us violent and anti-social, not because I like modern technology, but because I remember the time when all of this technology didn’t exist, and here’s the truth, people were just as anti-social back then, and a whole lot more violent as well.

The only difference between now and 1991 is that in 1991 people hid behind books, Walkmen, newspapers and magazines, whilst today they hide behind iphones. People in big cities ignore each other. That’s how it has always been. If you want some social interaction then move to a small village where people still talk to each other. It’s not about technology. It's about the modern capitalist rat race life, and urban isolation. The violence in these books is just for dramatic effect. It makes the story more exciting, that's why it's there. In the real world it's the isolation that gets you, not the violence, which is actually quite rare today in comparison to the recent past.

Having rejected the initial premise I’m left to fall back on the characters within the book to get some enjoyment out of it. Unfortunately the main protagonist is that ubiquitous protagonist that you always get in comic books these days, that being the attractive young female (normally a cop, or special agent, as she is here) who goes around beating up intolerant, racist, sexist men. In this book we have another perfect specimen of a middle aged writers PC mind, outfitted in hotpants, with the requisite punk haircut and a good line in banter as she roars up and down the highstreet dispensing instant justice to all of the nasty men that she finds. She has a boyfriend in tow, he sucks, and it’s her job to rescue him from not sucking anymore. This boyfriend is a stand-in for an on-line gamer, so the message is clear. Boys suck, they spend too much time on the internet playing computer games, and it’s up to their social justice warrior perfect girlfriends to save them from themselves.

This protagonist girl (I forget her name, but she’s pretty much identical to Tank Girl from the early 1990’s) is the only person in old Rick’s universe that is not plugged into the Internet. Strange that, because in the world that I live, the most plugged in people to the Internet are not men, but young girls. Men are starting to abandon the Internet, and it’s the females that are stuck to it like wars to a government, but you’re not going to see that reflected in a comic book, because in the world of PC delusion the saviours of the world are always pretty young girls.

The most asleep, clueless, half-witted people on the planet today are social science educated young, feminist, liberal girls. They see none of the tyranny of our times, and are used to divide and conquer the population with identity politics nonsense. Their ideology comes from government approved university Marxism, an ideology that reduces everything to class, skin colour, gender and sexuality, thus missing all of the important issues that we need to sort out in order to enact some real change in the rapidly declining western world.

So, yes, I’m fed up of seeing pretty young girls portrayed as saviours in my comic books when in the real world they are anything but.

Rant over, I’ll try to be nice now. So why would anybody like, or enjoy Tokyo Ghost?

I know why. I do. People will like the art, and they will think that it’s addressing important issues about technology and how it’s isolating us from ourselves. They’ll think it’s smart, funny, cool and fun.

I (obviously) have a different opinion on the book. My opinion is that it’s liberal tosh drenched in cool, that says nothing, has a wonky premise, and features a generic protagonist that you’ll find in just about every other ‘independent’ comic book on the market today. So, is it worth buying? If you are a feminist liberal type, yes, go for it. However, for anybody else, for anybody that has broken free from the mainstream paradigm of feminist liberalism, don’t bother, it will annoy the crap out of you, and will make you long for the good old days when comic books still had genuine diversity, and when Stephen King still pumped out genuinely exciting, fresh, insightful and enjoyable books.



Rating: 5/10 (Dripping with generic cool, and not half as clever as it thinks that it is)


 Special thanks to John at the Incredible Comic Book Shop for recommending this book to me. I didn’t like it, but I got a lot out of it, and it gave me perfect ranting material, thanks mate. 
https://www.facebook.com/TheIncredibleComicShop

Comic book review: The Names #1- I dedicate this review to the fanboys out there

Writer: Peter Milligan
Artist; Leandro Fernandez
Publisher: Vertigo (DC)
Released: 3rd September 2014



It will be interesting to see how well this comic fares, as it’s dealing with something that a lot of the 1990’s obsessed fanboys fear more than anything else. Yes, I’m talking about the dreaded R word……

REALITY.

Yeah, I know that was a bit harsh, but it’s true on a lot of levels as well. This book is dealing with something that has hit the news recently, something that looks like a series of coincidences, but to those of a more conspiratorial mind-set looks like forming an ominous pattern, being indicative of something sinister going on, and something catastrophic that is yet to come.

That ‘something’ is the recent spate of bank assholes that have committed ‘suicide.’ Or did they really commit suicide at all? That’s where ‘The Names’ begins, with a bank tosser being forced to write a suicide note before taking a swan dive out of his office window.

There’s a great villain introduced early on in the book, and the heroine is a super hot, punch you in the face feminist. You know the kind of woman that Quentin Tarrantino creams himself over, the middle class wet blanket that he is. There’s a reason that comic book fans love Quentin and his 1970’s homage movies. The reason is that they feature strong, independent, sexy women. These sexy/manly women are substitutes for a lack of masculinity in the lives of the pathetic, suburb dwelling dweebs who adore Quentin and his N word movies. Watching his movies helps them briefly escape their emasculated realities where political correctness has bathed them in a mind bath of male guilt bullshit. They want to be men, but they feel so very bad about it, so end up being fanboys instead, with an empathise on ‘boys.’ Lacking any manhood in themselves they look to strong, fictional females to surreptitiously inject some testosterone into their veins. They cheer for the feisty, independent kick-ass women not because they want to sleep with them. No, they wouldn’t do that, because that would mean they are ‘objectifying’ them and that wouldn’t be politically correct, would it? No, they love to watch movies and read comics about these women because they want to be them.

That’s not to say I have problems with her inevitable appearance in this mainstream comic book. I understand why she’s there. She’s bait for the feminist liberal dweebs, and as this comic book business is about getting them to read your stuff I cannot criticise the decision to have her as the main protagonist. People such as myself would prefer a strong independent male protagonist, but I accept that they are rare these days outside of a Conan book, so it is what it is.

The art by the way is great. The cover-art kind of sucks, but the interior art is all dark shadows, atmosphere, angles and creativity. It’s early days, but so far I like it a lot.

If you take a chance on ‘The Names’ you are going to get a book with nice art, a contemporary plot theme, a strong independent woman protagonist and some creepy villains. It’s a good start, the script is engaging with a ‘too cool for school’ dialogue and it’s nice to see a comic book about bank bastards for a change. Oh, and as for my little mid-review rant about feminist liberal comic book fan dweebs, I just put that in there to light a fire underneath some flabby asses. If it sounds like I was talking about you in this review then take it as a big flashing neon sign above your head that says- TIME TO MAN UP, SON. Put the political correctness in the bin and start being a man, not a fanboy waiting in-line at a convention as horrified writers and artists count down the seconds before they can get the hell away from you.

Rating: 8/10

Comic book review: Trees #3- Male guilt bullshit from the 1970’s

Writer: Warren Ellis
Artist: Jason Howard
Publisher: Image comics
Released: 23rd July 2014


Issue #1 of Trees was intriguing to me, as it appeared that writer Warren Ellis had the perfect allegory for the modern banking system, a toxic alien tree rooted in the middle of the city that periodically spat poison at the people. In other words the boom and bust cycle. Or, as it is in modern times, the austerity and bust cycle.

Issue #2 was slow, very slow, and I was starting to get worried that this book wouldn’t be quite as interesting as I thought it might be. There was nothing developed about the trees themselves, and the main protagonists were largely unlikeable.

Issue #3 develops the main protagonist, and as is usual in comic books of today she is a feminist liberal pretty young girl. A girl standing up for herself against evil men, you know the sort. The sort of girl that only exists in comic books because in the real world everything in the west is set-up to empower females. This would not be the case if the girl were living in a western backed Hell hole like Saudi Arabia, but no way is Warren Ellis going to touch anything to do with our corporate fascist ‘friends’ in Saudi.

Our heroine appears to be living in a future version of Italy, but as there are no details about the societal structure at all (it looks like now, but with big trees) it’s impossible to know anything else about where she is, or what kind of society she lives in. All I can do is compare it to my own world, as writer Warren Ellis hasn’t given me anything else to contextualise the half-world he is building.

Comic book writers like to pretend that Islam and countries like Saudi Arabia don’t exist, so their silly little feminist heroines end up being all aggressive and empowered in the very western cities that bend over backwards to accommodate their every whim. It’s ridiculous, purposefully ignoring reality as it is in 2014, but that’s what the liberals are all about. Ignoring reality and patting themselves on the back for their politically correct ‘bravery’ which of course in reality is not bravery at all, but the easiest sort of lazy conformity imaginable.

I don’t hate all liberals you know. They depress me more than anything else. The way they appear to be stuck in the 1970’s, unable to connect with the times as they are today and how they are being used by the elite’s, in terms of the mind control system that is political correctness and a childish obsession with race, gender and sexuality.

Tree’s #3 has a 1970’s feminist warrior doing it for the girls, stalking an elderly professor, moaning about her bad boyfriend, and then letting herself be used as a personal project for the elderly professor, but making sure it’s not about sex. Because sex is the only important thing, not whom the professor works for, what he represents or what his agenda is of course.

The girl in this book might as well be a Marvel super hero government spy/agent. You know the sort, a Black Widow, empowered because she is all tooled up and punching people in the face, but totally clueless about who she is working for (the state) and the slavery agenda that every modern state is all about. It’s stupid, it’s childish, it’s politically correct, it’s ignorant (it deliberately ignores reality) and the writer needs a kick up his feminist liberal backside.

Wake-up people. The year is 2014, not 1977. We should be more aware of what is going on in the world by now, and we need to leave this race, gender and sexuality nonsense behind. It’s a control system, where the liberals think they are changing the world because a female is now allowed to serve the control system as well as men. This is not equality; it is just the state further tightening its control system by bringing all groups into its orbit. Females are allowed to be Bishops in the Church of England now. Do you know why? Because it makes no difference to the elite’s that this is happening. The liberals think they have gained more freedom, when all they have done is sink further into the statist quicksand.

Writing a comic book about an empowered female in 2014 is bloody stupid unless the female is living in an Islamic country that is suppressing women’s rights. In Trees #3 our feminist heroine is walking around a western city in skinny jeans and a breast enhancing T-shirt, but when she talks she sounds like a 1970’s women’s-lib activist. That is ridiculous. I’ll say it again, put her in Saudi Arabia and we are talking.

In western countries of 2014 females are largely in charge. They are put on female only short-lists for employment opportunities. Laws are written to empower them, to take men out of their children’s lives and to have them reliant on the state. Abortion is endorsed by the state. Birth control is free, again endorsed by the state. The state wants females as corporate enforcers, and they will pat them on their heads and tell them good doggie whilst further tightening the corporate statist choke-chain around their necks. That’s how it works now, and I’m fed up with writers like Warren Ellis who are woefully out of step with the times.

Do you want to know where writer Warren Ellis is in terms of his understanding of the corporate statists control system that is being built up around us? Check out the words he’s put in his elderly professors mouth, words that say everything about his anachronistic world view, and how he still believes it’s a male/female power struggle that is the biggest problem of our times:

“Do you know why old men like young girls? It’s guilt. An existential horror at having crushed out female intelligence for our own amusement.”

He couldn’t be more wrong if he tried. What year is he living in? What country is he living in? Unless it’s at least way back in the 1970’s or he’s living in Saudi Arabia right now, this is nothing less than feminist liberal male guilt bullshit. I will no longer be having anything to do with this ridiculously dated and irrelevant comic book. How old is Warren Ellis? He must be in his late 80’s and housebound, right?
Rating: 2/10

Movie review: Elysium (2013)- Kill yourself to prove you’re not a racist

Although the film's story is set in 2154, Blomkamp has stated that it is a comment on the contemporary human condition. "Everybody wants to ask me lately about my predictions for the future," the director has said, "No, no, no. This isn't science fiction. This is today. This is now."

****Spoilers in review****

It took me a while, but I got there in the end and finally worked out that this movie wasn’t actually about the new world order but about liberal America’s attitudes towards immigration. To be more precise, it was about the Texas-Mexico border.

Matt Damon's liberal hero protecting poor innocent Mexicans

I was a bit slow on this one, but the clues were there all along. Why were all of the poor victims speaking Spanish? Why was Matt Damon the only white guy in the movie who wasn’t a villain? Why was the main villain speaking with a South African accent? Why was Elysium a big ‘lone star’ in space?

Yeah, I know I’m slow. So this was about Mexican people wanting to get citizenship in the United States, and how it’s really unfair and that the borders should be wide open so everybody can jump on the socialist bandwagon and into the loving arms of big brother government.

Here’s a spoiler alert. At the end of the movie all of the evil white people die, the Spanish speaking heroes are all made legal citizens of Elysium, and that’s it, end credits. Just how big is this Elysium then? Is there going to be room for everyone up there on that space station? How is this going to work resources wise? I guess we’ll never know, because the happy ending is just legalising everybody, and that’s paradise I guess. Big cheer for all of the heroic Spanish-speaking people, all the whites are dead, and everything is perfect now.

Errr, what? You don’t like that?  Sorry, but that’s the movie you’re getting here. Don’t you realise that we need to open our borders to all of the third world starving millions and only then will world peace and harmony be achieved. If you disagree, then you are racist.

Oh, this is a movie review isn’t it? So, the acting and what-not. The main racist South African villain was charismaticaly evil. Matt Damon did what he could with a largely unbelievable character, and Jodie Foster was mostly on autopilot playing a two dimensional evil politician. The plot had some nice twists, the special effects were great and there was a good fight scene at the end and a pretty emotional scene where the white man officially killed himself for the betterment of the human race.

Evil white racists

Matt Damon's character was self centred and unlikeable throughout most of the movie, but he was white, and I’m guess they’re trying to make a point here. Damon was nice to his Spanish mate, but his job was building brutal police robots, and when given the chance to act like a decent human being and help the little girl of the supposed love of his life he couldn’t be bothered and made a run for it instead. The movie really lost me at that point as I started to dislike the Matt Damon character, and he was at the centre of everthing that was happening. His selfish character didn’t make sense to me, and he came across as more of a vehicle for the plot than anything resembled a real human being.

What were they doing here? Oh yeah, I get it. White people are sociopathic racists who only care about themselves, so even though Damon was the main protagonist he couldn’t be portrayed as a good man until the end of the movie when he proved he wasn’t a racist by killing himself for the betterment of the Mexican people. Hey, that’s the white liberal dream, right? Killing yourself to prove you are not a racist. Great message for a movie that one. My only question is what the Hell did Matt Damon think he was doing here? Oh yeah, he’s a self-hating feminist liberal type isn’t he? I can just see him chuckling it up with Bill Maher and Jon Stewart now as he plays a game of who’s the most politically correct sap in town. What a bunch of twits.

Well, I hope you are feeling very happy with yourself now Matt. Extra liberal brownie points for you my son. Back to the mansion eh, just like all of the other evil white guys who live in luxury. You do realise that you’re living in Elysium right now, don’t you Matt? Just like me actually. I live in Elysium as well. All of us white people are loaded didn’t you know?  Now I’ve finished this review I’m going to kick back in my huge mansion, take a swim in my big outdoor swimming pool, and then do random racist things before I sign off for the day in my big luxury bedroom with my blonde haired supermodel girlfriend. I tell you what, it’s great being a rich white guy, ha ha ha ha ha ha ha. They’ll never stop us, never I tell ya, ha ha ha ha ha ha.

Rating: 4/10 

Comic book news: Thor to become a woman

‘This October, Marvel Comics evolves once again in one of the most shocking and exciting changes ever to shake one of the “big three” of Captain American, Iron Man and Thor. No longer is the classic Thunder God able to hold the mighty hammer, Mjölnir, and a brand new female hero will emerge worthy of the name THOR.’

More on Marvel.com: http://marvel.com/news/comics/2014/7/15/22875/marvel_proudly_presents_thor#ixzz37ZAxpeQn

In news that’s about as shocking as the Sun coming up in the morning, or another BBC presenter being arrested on charges of paedophilia, Marvel comics has announced that long running character the almighty Thor is to become a woman. The big question now of course being, will she be a gay woman, and the answer? Probably.

Marvel comics, the feminist liberal corporate whore of the comic book industry has long been dipping into it’s politically correct box of tricks in an attempt to spice things up and make it’s increasingly anachronistic and backwards comic books relevent to today’s Internet savvy audiences. However, the comic book giant has a serious truth telling problem. That problem revolves around the fact that they, as a large corporation owned by globalist child brainwashers Disney, are a part of the corporate tyranny that is enslaving humanity as a whole. Their problem is thus, how to make itself appear to be relevant, whilst ignoring all of the important issues of our times?

It’s simple; they turn their characters, black, female or gay. You see, in 2014 you can say pretty much whatever you want to say about ethnic groups, LBG’s (that’s lesbian, gay, bi-sexual and trans-gender) and women, just as long as you are saying nice things about them. It’s encouraged, and you get politically correct brownie points for it, everybody congratulates you on being ‘tolerant’ and ‘progressive’ and you can ignore all of the important issues of 2014 like illegal wars, NSA spying, corporate and banking corruption, political parties that represent nobody except the rich, poisons in the food and water supply, the funding of foreign terrorists and the fear of government funded terrorism as an excuse to take your rights away back home.

All of these issues can be ignored by focussing on gender, sexuality and race, so that is what mainstream comic book writers in 2014 do. The only problem with this is that it’s getting a bit tired now, and so when news comes out that Thor is to become a woman nobody gives two-shits about it. Many, many, many, many, many moons ago perhaps it would have been something worth discussing. But these days the news is released and nobody even cares. I won’t be buying the comic, but not because Thor is becoming a woman. I won’t be buying the comic because I’ve read writer Jason Aarons work on Thor before. His Thor is a US marine with powers, flying around the world ‘protecting the civilians from dictators.’ In other words, he’s a bloody idiot, written by a bloody idiot who has bought into mainstream media’s justifications for the next war, and the next war after that and the next war after that one. And so Thor is becoming a woman. Is that really the best that Marvel can do these days? Yes, sadly it is.

Review: Weird Love #2- The past is not as weird as today

Writers and artists: Numerous
Publisher: IDW Comics
Released: 2nd July 2014


This book is a re-print of old ‘romance’ tales from 1950’s American comics, with a targeted audience of young girls, dreaming of romance and marrying a rich, successful, popular and handsome young man. I don’t see this as something to laugh at by the way. I know that most feminised liberal twit young readers will read these books as horribly sexist, but what’s wrong with young girls dreaming about marrying a successful man who loves them? I don’t see anything wrong with that, unless of course you are a liberal idiot who doesn’t want anybody to be happy, which, come to think of it, is kind of my point really about the innate idiocy at the heart of feminist liberal ideology.

Of course a lot of the underlying assumptions and portrayals of male/female relationships are going to be dated now that the Rockefeller funded mind control of modern education has warped generations of minds, but I’ll review this book as something of it’s time, aimed at young girls, and at least trying to give them a good sense of morals, something that’s lacking in modern comics where all men and women blur into an indistinguishable mesh of sexless human beings, all competing for the same goals and all acting like they don’t know what it means to be either a man or a woman. These comics might be a little ‘weird’ but that’s only because we don’t know who we are anymore.

The front cover is very suggestive, with an overly painted young women pointing at her lips whilst looking at some sparkly jewellery. The words coming out of her lips are undeniable risqué, ‘And just what must I do to get those?’ she asks. This tone however is not reflected in the actual stories inside the book. It’s just one of those covers that comic books used to do so well, where you are teased into buying the book by a slightly deceptive cover that promises far more than the actual stories deliver. Some people might feel slightly conned by that, but if you’ve ever read any comics you can’t pretend to be surprised. You know the score with front covers. They are the honey trap, designed to ensnare the reader, and this one does that very well.

The first story is probably the most salacious of the tales, in that it is the story of a prostitute, told with her own words. This could have been pretty scandalous, and controversial, but the writer makes it very clear that the prostitute is the victim of this story, and that she’s a good person who has good morals, and is just doing the job because she’s desperate for the money to further her education and live a good, morally upstanding life as a honest tax slave like the rest of us. Plus, she just escorts the men, she doesn’t have sex with them, so she’s a good person and she always escapes the evil men at the end of the dates with her morals intact.

The story concludes with the girl marrying the perfect embodiment of corporate morality, a Policeman who had been investigating the morally dubious operation that she had been a part of. No blame is put upon the woman, even though she freely chose to be a prostitute, and the story ends up with her being safely taken back into society by one of their corporate enforcers. Modern readers will laugh at this story as the young woman is portrayed as an enfeebled victim who needs a man to protect her. They won’t like that as all women in modern comics have to be portrayed as fierce and independent, sticking up for themselves like they are men in a dress. I disliked it because the women is portrayed as a weak victim and the only thing that will safe her is a statist symbol of corporate ‘authority,’ that being the cop. Have comics changed all that much? Look at all of the statist authority figures in comic books today. Are they not all cops or special agents to the corporate state as well?

The second story is something that you certainly won’t see in contemporary comics. Again it’s from the point of view of the female protagonist (which is understandable, as that’s the best way to bring the female readers into the story, to make them empathise with the main character.) This time her problem is not financial (like the first tale), it’s her physical appearance. Is she too fat for love? Yes, I know how funny that sounds, but can you tell me that young girls today won’t be going through these same emotions? Look at their skinny role models, and look at all of the tales about anorexia and bulimia that you hear.

This tale follows a rich young girl as she finally realises that her weight isn’t as important as she thinks, and that a man will love her for more than her appearance. The only problem with the story is that it doesn’t follow through with it’s own premise, as at the end of the tale the young girl loses all of that weight as the love of her life jumps into her arms and happiness overwhelms her. If you are going to tell young girls that being fat isn’t a bad thing then it’s probably not a good idea to have the girl lose all of the weight before love finally arrives.

This tale really shoots itself in the foot, and in that sense it’s unintentionally really, really funny. But would you see any of these themes in a contemporary comic? That’s very interesting to me, as I can’t recall ANY portrayals of fat girls in my big stack of comics. That could be a real issue today, and perhaps it’s the reason why you have so few girls reading comics now? After all, why would they want to read comic books where female characters have unrealistic physiques that they cannot compete with? Come to think of it, you have the same issue with young boys as well, don’t you? Body image is something that comic books don’t deal with in 2014 and in that sense little has changed since the 1950’s.

The third story is about ‘drugs.’ Its portrayal of illegal (non-taxed) drugs as bad is very contemporary, in that this portrayal has changed very little in the mainstream over the past sixty years. All drugs are bad, well, all of the illegal ones. The legal drugs are fine, and they don’t count as ‘drugs’ because a statist authority figure (a Doctor) gave them to you. The only difference in this 1950’s portrayal of addiction is that a nice boyfriend ends up saving the young girl at the end of the tale. In modern tales that nice boyfriend wouldn’t be allowed to save her, as the girl always has to be portrayed as ‘independent.' No boyfriend is allowed to save her, because that’s ‘sexist.’

This story has a predictably happy ending where an exciting boyfriend is dumped, and she is taken back into the safe arms of corporate society by her boring and safe boyfriend, her boring and safe friends and mainstream education and ‘medicine.’ And what is the moral to the story? Watch out for excitement, it will probably lead you into becoming a drug addict. It’s best to be a corporate slave. It might be boring, but at least it’s safe there. That’s not true of course, but that’s the story you’re getting here.

Lots of readers of this book will get a lot of fun out of the next full page spread, of a young Ronald Reagan (Yes, that Ronald Reagan) as a dapper, handsome young man who is the ideal husband for all of the young readers of the book. He’s portrayed as handsome, ambitious, sporty, respected and caring for animals. It seems very naff, but if you take away his obsequence to statist authority figures I can see that he has some admirable qualities here. He’s a statist honey trap of course, bringing young girls into the control system. But is he any more ridiculous than the male celebrities that young girls are taught to admire these days? At least he’s not a wife beater, a talentless television non-entity or somebody who boasts about his wealth and power, like just about every moron celebrity worshipped by young girls today. Sure, he’s Ronald Reagan, but at least he’s not prancing around in a bejewelled facemask and calling everybody who doesn’t worship him a ‘racist.’

The next story is pretty stupid, and at its core it’s fulfilling a fantasy that is politically incorrect these days, where a man saves a woman from physical danger and they fall in love and live happily ever after. The only way you’ll see this played out today is in reverse, with a woman rescuing a pathetic man from danger, emasculating him in the process and taking all of his masculine power away. But hey, that’s okay, because that’s progressive, right? Girls love weak men you know? They can’t get enough of them. So this story about a man rescuing a girl from a bear at the zoo is ridiculous, but at least they have the gender roles in the right order, and you won’t see that these days.

The next story, about a man at work being distracted by his mini-skirt-clad secretary, is obviously very dated now. With it’s portrayal of men as being the bosses (not anymore, the women are bosses now) and with the girls wearing mini-skirts not to feel good about themselves, but to attract the men and get themselves successful boyfriends. No way would this be allowed to see the light of day in a 2014 comic. It shows just how much gender roles have changed since the 1950’s, and as you look around the world today, do you think that’s been a good thing? No longer can a man be a man, go to work and feed his family. No, that role has been taken from him. The wages have decreased and the bills have gone up, so now both men and women have to work just to live and pay those bills. This has led to increased divorce rates, and the situation where men have been taken away from their children, and those children have brought into the control system of the new daddy figure in their lives, the corporate state. Do you see how this works? How the corporations and governments have colluded to control families, by destroying them and taking control of their lives? If you think this is a progression in humanity then you’re a bloody idiot. Take men out of the home and society collapses. That is what is happening right NOW.

The last story in this book is a tale about how physical appearance is not as important as being a decent human being. Okay, it's a slightly ridiculous tale, but at least it’s attempting to tell young girls that a man should love you for more than just your appearance, and if all he’s interested in is your appearance then he’s probably not worth having anyway. Again the woman is portrayed as the less dominant partner, waiting for the man to make his decision, but, and I’m sorry to break this to all of you deluded liberals out there, this is the role that men and women are supposed to be playing. They are the roles that make us happy. They are the roles that have always made us happy, both men and women. Is there anything so bad about that?

So what did I get out of the book as a whole? I got the impression that gender roles were far less confused in the 1950’s than they are today. Men knew how to be men, and women knew how to be women. There was happiness there, not confusion, loneliness and resentment. Sure there were problems, and the portrayal of women as helpless victims, waiting to be rescued by a strong, handsome male protagonist who is little more than a fill-in for a corporate government system is deeply problematic to me. There was a soldier and a policeman, and a politician and the rest of the ‘good’ men were little more than drones to the corporate, work hard, never question, pay your taxes and die system, but at least they were recognisable as men.

When I read comic books today there is little difference between the male and female characters. Do you think this is not problematic? Look at the world you live in today. Is it a paradise? Because that is the world that has been created by people who have been indoctrinated into the erroneous belief that men and women are the same. They are not the same, and the longer we kid ourselves about this the more unhappiness is spread in our decaying western world. Broken homes, less and less jobs with both sexes competing for them, no breadwinner roles for men, increased intrusion into the family by a corrupt state, unhappy women who find comfort only in alcohol, and a generation of children who lack strong father figures and have abandonment issues.

The end result is unhappy children eager to put on the control system's uniform and serve as their minions, where they get to unleash the anger caused by abandonment issues on anybody who does not bow down to the global Police state that is being built all around us. So look at this silly, ‘politically incorrect’ comic, and ask yourself this question. Were things really so much worse in the 1950’s, where men were portrayed as men, and women portrayed as women? What is wrong with that? And, more importantly, what is wrong with the world we are all living in today?

Rating: 7.5/10

Ten warning signs that you might be a feminist liberal drip

(A feminist liberal drip is somebody stuck in the mainstream corporate control system/matrix. He/She is a slave to the New World Order who cannot think for him/herself.)

1- You think that there are no differences between men and women, and that anybody insisting that both sexes need completely different things, in both their work and family environments to live happy and contented lives are ‘sexist pigs.’

2- You regularly buy a ‘left-leaning’ mainstream newspaper and generally agree with the viewpoints spouted by that newspaper.

3- You think that ‘man made global warming’ is a slam dunk, scientifically proven fact, and that we should pay the new priest class of billionaire ‘experts’ carbon credits, much like we used to pay the Catholic church ‘Indulgences’ for our sins. If we don’t do this the planet will explode, or something, but you haven’t looked at any of the actual evidence, as that obviously will take time, and Al Gore is so trustworthy, and I’m sure he wouldn’t lie to us, would he?

4- You hated that ‘war criminal’ George Bush, and admire President Obama even though the policies and actions of Obama are almost identical to the policies and actions of Bush. The only difference being the words used to justify their actions, and the deliberate pandering of the media to their ‘liberal’ hero.

5- You laugh at the billions of people in world history who have talked about God and religion, thinking it’s just a silly tale about a spaghetti monster in the sky, whilst having great admiration for Charles Darwin and Richard Dawkins, two New World Order front men who have been pushed into their positions of prominence by a Satanic cult who hates humanity and works tirelessly to enslave, dumb-down and poison both you and your family.

6- You jump all over some white guy saying something vaguely racist, but when you see and hear real racism from black celebrities you look the other way.

7- You think that anybody criticising the obvious societal problems inherent with mass immigration and porous border control, both in the US and in the EU, is a ‘racist.’

8- You think that the public should be completely disarmed, and that the only group allowed to have guns should be the government, even though governments have murdered over 260 million people in the 20th century and are on course to murder over one BILLION people in the 21st.

9-  You are very supportive of ‘gay rights’ and think it’s perfectly normal and acceptable to have two men French kissing on day-time television as your ten-year old daughter looks on in stupefied horror. 

10- You think that all talk about GMO food, Chemtrails, Vaccinations, Fractional reserve banking, MK Ultra, Operation Gladio, Operation Northwoods, Operation Fast and Furious, Statism, Rockefeller Foundation, Carnegie Foundation, Rhodes scholarships, Bank of International Settlements, Banker funded NGO’s, Banker funded think-tanks, and bloody obvious insider Mafia groups like the Bilderberg group the Trilateral Commission and the Council on Foreign Relations is ‘silly conspiracy stuff,’ even though you know nothing about any of these subjects, and wouldn’t look at them if your life depended on it, which it does.

Review: King Conan The Conqueror Part 5 of 6: Masculinity fight-back

Artist: Tomas Giorello
Writer: Timothy Truman
Colourist: Jose Villarrubia
Publisher: Dark Horse Comics
Released: 25th June 2014

The work produced by the creative team of Truman, Giorello and Villarrubia on this latest re-telling of Robert E. Howard’s Hour of the Dragon has been amazing, there’s no other word for it. This story has been told over and over again, and I have read it many, many times. Yet when the latest issue comes out, as it did this week, it’s still the one comic book that I’m most looking forward to reading, even though I know the story inside out by now. That’s the biggest compliment that I can pay to it, that something so familiar is not in the least bit worn out, and is still as fresh as anything released today.

This issue is nearing the end of Howard’s tale now, and it follows on from the previous issue's cliff-hanger, with a Hammer Horror style Mummy walking menacingly towards our eponymous hero. You have to love the dialogue here, with the testosterone and masculine strength that pulsates through the artwork being perfectly realised in the actual words coming from Conan’s mouth. Without spoilers, (for those lucky few not yet familiar with the tale) the Mummy gives Conan a gift. Here’s how the subsequent conversation between Conan and said Mummy goes-

Conan- “Who are you?”
Mummy- “ I was Thoth-Mekhi. I am dead.”
Conan- “ Well, since you’re feeling so damned helpful, show me out of this cursed temple will you?”

Is that not beautiful? How Conan, completely unintimidated by any man, living or dead talks to the Mummy like it’s some kind of random bloke in the street who’s giving him directions. Conan really is a man from a lost past. A past where men acted like men, and politically correctness and the curse that is liberal feminism had yet to blight the body politic.

This is further confirmed in the next few pages where scantily clad temple prostitutes get drunk with a corrupt and decedent king. This is not portrayed as a good thing by the way. It’s portrayed as a bad thing, as something that weak cowardly men do rather than engage with life and taking charge of their own destinies. This is no dedication to licentiousness, drunkenness and abusing your ill-deserved social status (for all of you celebrity worshippers out there), no this is a warning about what happens when you act like a fool and not like a man.

The artwork throughout this book is of the highest possible calibre, and together with the colouring it creates an impression that you simply will not see in your average Wolverine or Batman book. Just look at the panels I’ve included alongside this review, and get the bloody book immediately. If you like good art then you’ll want to get this book. Put the feminist liberal guilt trip nonsense aside for a second and be a real bloody man, or a real bloody woman, and just buy the bloody book.

This series ends next month, but if you haven’t been following it don’t worry. There will be two trade paperbacks coming out very soon that collect all twelve issues of the run. If you haven’t been following this run you need to get those two books as soon as they are released, and if you have been following this run, you need to pick them up as well, but you already know that.

This has been good. No, it’s been more than good. This is Conan being told as Conan should be told, and in this cultural wasteland of 2014 we should be immensely grateful that Darkhorse comics is still putting out books that don’t pander to the bullshit feminist liberal agenda that is poisoning all of the younger generations of comic book fans, heads full as they are with Rockefeller nonsense from their years of incarceration, mind-control indoctrination at school, college and university.

This is a book with red blood and a strong anti-authoritarian, masculine heartbeat. Do you realise how rare that is today? There are hints that the creative team will continue to work on more Conan stories past this run, and we’ll get more news on that next month. I’m sure they’ll continue. They have to continue. I can hear Conan himself roaring his demand through this generation of defeated male comic-com attending, emasculated guilt-tripping, soft dullards. ‘Oh you shall continue. By Crom I demand that you do.’ Do not ignore Conan, it would be unwise to do so.
Rating: 10/10