Trumpzilla: The collapse of neoliberalism is imminent

Feeding Time (How westen neoliberalism created an Islamic monster)

Abyssal - The Cornucopian: The Awakened Force of the Sacred Masculine

Play track, and read.......

Do you hear that quiet discontented, maladjusted male voice stirring? At first in chaos, disorganised, so many nails, standing up, isolated, separated, disorganised, inefficient in solitude, then finally, together, rising above the parapet, in rage, unafraid any longer to sleep amongst the feminised, sedated hordes. We rumble our discontent, individualistically, believing our cry will never be heard, we cry anyway, a defiant roar of anger, a no, a refusal to join, to accept the collectivisation of acquiescence, until finally, a damn bursts, our individual voices merge as one, and a crescendo of violent rhythm crashes, like a wave against the anaesthetic hordes. The elite’s cry out in horror, it wasn’t supposed to be like this, the sheeple were to sleepwalk into tyranny, but no, the enemy, humanity, with the sacred masculine leading the charge, has risen, as one, as a NO, a defiant fist into the face of globalisation, of neoliberalism, of multiculturalism of cultural Marxism. The wall of tell lie vision iphone helplessness collapses under a tide of righteous male anger, a refusal to lie down and accept their plans for Armageddon, their dreams of chaos before their new world tyranny, the days before the end. Awakened in violent fury, the weakness of collectivised power collapses overnight against the barrage of western masculine holocaust aggression. The battle is short, and the dark suit wearing demons are banished to the pit where they belong. Man acts. God is the judge. A world reclaimed, the wall of obliterating masculine anger subsides, and calm returns, there will be no more sleeping, we wait in guard, tyranny will be kept in check, the sacred masculine watchmen of western civilisation sleep no more. We wait, in preparation, for tyranny to stir again. A single velvet glove, with iron fist, a smile for all, but warning to those that would collectivise the future. Humanity settles, the world prospers under free association, the non-aggression principal and golden rule being the moral law of the land. No more coercion, no more statism, no more uniforms, and no more leaders. The imperfect ape-like being, blessed with the divine gift of God consciousness, finally achieves its brave new world. It’s not the one the globalists had been ‘banking’ upon.




This piece was inspired by 'The Cornocopian' by Abyssal.

'The Cornocopian' is from the 10/10 album Antikatastaseis, by Abyssal, released on June 23rd 2015. BUY IT.

Abyssal bandcamp page: https://abyssal-home.bandcamp.com/

Comic review: Our Friend Satan (the first seventeen pages)- A review of a Kick-Starter Project

Read comic here:
http://ourfriendsatan.com/comics/


Kick-Starter Page:
https://www.kickstarter.com/projects/imagomedia/our-friend-satan-graphic-novel



Why would Satan be depressed in 2015? The west has gone secular/atheist and the middle east is a Hell on earth with the west bombing it and funding, arming and training Sunni Muslims (ISIS) terrorists in order to take control of any country that is not part of neo-liberal western hegemony. Throw in the Ukraine and the western intervention there, and you have a world of chaos, no Christian God in sight, demonic Sunni Muslims beheading people on the daily news and a refugee crisis that gets worse by the hour.

A spooky beginning.

No, Satan wouldn’t be depressed, he’d be bloody, hellishly delighted. Satan has won, he was right, God was wrong. Humanity is dumber than ever, they cannot stop murdering each other, and millions of people don’t even believe in the immortality of the soul, and have been taught that humanity is nothing more than a bunch of over evolved monkeys that live, breed, fight and die. This is what Satan said in the very beginning. He argued that humanity was unworthy of the gift of life that was bestowed from the creator, and who would argue with him now?

That leads me to this kick-starter Graphic novel titled, ‘Our Friend Satan.’ The concept is that Satan is depressed. That intrigues me. How do you write a book where Satan is depressed when all you have to do is look around you to see that things couldn’t really be going better for the old red devil? What is going on here? I have to know more.

Let’s take a look.

The book begins with an evocation to the Devil, the art is very cuddly, the Devil appears, and he’s just an old, bald bloke in slippers. He's depressed because the Catholic Church are making him out to be far scarier than he actually is. Okay then, it’s not going to be a serious book. Instead it’s a book that’s going for laughs. The art is great by the way, very colourful, very professional, top drawer really, and a lot better than quite a lot of the haphazardly thrown together deadline chasing material that you get in Marvel and DC.

Then the Devil shows up, and the tone is set.

The setting is the future, so there’s no mention of anything contemporary, so scrub any mention of what is going on in Syria and Libya right now. That’s a good way to avoid controversy, and I don’t really like it.

I see it all of the time in mainstream comic books with characters like Captain America being sent to different dimensions where he can safely beat up some alien Nazi’s or something safe, thus ensuring that he doesn’t have to deal with the contemporary US foreign policy of arming terrorists and invading countries in order to maximise profits for western banks and corporations.

Captain America should say something about US corporate imperialism, but as long as he is safely hidden away in BattleWorld, he doesn’t have to.

I see the same thing happening here in ‘Our Friend Satan,’ but that doesn’t mean that it’s a bad comic. It’s a safe comic, and the villains are the future Catholic Church, so yep, it’s the Christians again who are getting it, and that’s disappointing, but not surprising. In this neo-liberal world of corporate consensus you are allowed to criticise the Catholic Church, to mock them, to make them look silly, or evil, and you’ll get no pushback at all.

The villains in the book are the Catholic Church.

If you mock Islam or Judaism then you’ll be in a whole heap of trouble, so comic book creators prefer to play it safe and leave them alone and attack and mock the one religion that it’s safe to mock. That religion is Christianity, the religion of the dying west, the religion that has been demolished by secular atheism and is currently being demolished by US backed Islamic terrorists in the middle east.

All of the villains in ‘Our Friend Satan’ are white, middle-aged men. That’s also something that you are allowed to do in 2015. What you don’t do is have women, or women of colour, or homosexual women of colour (that would be the worst thing to do) as villains. Keep the villains white, middle-aged, male and straight, and you’ll be okay with the PC brigade. Does that annoy me? It used to, but now, it just bores me, and tells me that the writer and artist are obediently ‘progressive’ in their world-views. I don’t hate it. I expect it.

‘Our Friend Satan’ then is a happy, colourful, playful, funny, well-drawn, cosy, PC, neo-liberal book about a comedy Satan and a cartoon evil future Catholic Church, in space. It’s not terrible, but it’s not really my thing. Lots of comic book readers will love it, and who am I to shoot it all down? I wish the creators all the luck in the world, and if you enjoy cute and cuddly comic books that come from the neo-liberal, progressive centre of what you are allowed to say in contemporary comedy, throw them a couple of quid, as I’m sure you’ll love it.


Rating: 5/10 (Politically correct neo-liberal consensus comedy book that features superior artwork)

Comic review: Alan Moore’s Providence #3- A black, fishy comedy that mocks Christianity

Writer: Alan Moore
Artist: Jacen Burrows
Publisher: Avatar Press
Released: 12 August 2015



I’ve read this book more than a few times now, and have been afraid of reviewing it. The reason being, it’s complex, and a review wouldn’t be easy, and I don’t want to mess it up. However, I’ve read it again today, and can see a slither of meaning amongst the murkiness, and so, I’m ready to give it a go.

Fishy men collecting souls in bottles.

Okay then, so what’s it all about? I think that the following quotation (from the book itself) nicely sums it all up:

‘It’s leaking from the future.’

That’s how I see the book now. That’s why in issue #3 there are weird, disjointed dream sequences, giving hints that are confused (as all dreams are) with events that are currently happening in the life of the main protagonist.

Our man is dreaming of the future, but it’s mixed up with his every day anxieties, his feelings of guilt, and his longings for answers in the present. We are seeing the world through his eyes (as is reinforced by the diary extracts that follow the main comic book narrative) and the confusion that he is experiencing is being transferred into the reading experience of the reader.

The dream sequences (of the main protagonist) are explored in great detail during the diary sections of the book and expand the narrative after the main illustrated part of the book concludes. Within this diary section are clues for the reader, clues that hint at both what is happening, and what is to come. It’s a fascinating story-telling device, and something that adds so much to the comic book reading experience, adding subtle elements, and details that would otherwise have been lost within the necessarily truncated comic book story format.

After reading the main comic book text, and the diary extracts, I cannot help but conclude that our protagonist is a bit of a dim detective. He is preoccupied with homosexual urges that distract him from the clues that can be picked up by the attentive reader, and although he records everything, he is not exactly coming to any big conclusions for himself. I guess that’s our job. Our protagonist records the evidence, and it’s up to us to unravel and make meaning of it all.

Into the caverns of the mind.

Providence is an occult mystery narrative that is dropping clues as it goes along. It’s a complex, involving book, and that’s exactly what you want in a genre book of this type.

The protagonist has to be a bit dim, as he’s laying out the clues, not solving them. The enjoyment to be had here is in following the story, and speculating about what is going on, whilst always being a bit in the dark as the full picture has yet to be revealed.

As for the deeper meanings that lay behind the narrative, that’s even murkier, but at the moment I detect a black comedy that involves jews, fish people, and homosexuals. It’s hinted that all three groups are about to be persecuted by the upcoming Nazi regime, with the black comedy being that two of the group are real, and were persecuted, whilst the other is pure Alan Moore weirdness.

The main focus of Providence #3 is the aforementioned fish people. These half-human, half fish follow a religion that’s part Christianity, and part worship of an ancient Mesopotamian fish God called Oannes.

‘Oannes, in Mesopotamian mythology, an amphibious being who taught mankind wisdom. Oannes, as described by the Babylonian priest Berosus, had the form of a fish but with the head of a man under his fish’s head and under his fish’s tail the feet of a man. In the daytime he came up to the seashore of the Persian Gulf and instructed mankind in writing, the arts, and the sciences. Oannes was probably the emissary of Ea, god of the freshwater deep and of wisdom.’
http://www.britannica.com/topic/Oannes

The fictional fish religion in Providence substitutes Oannes into the role of Christ himself, and is thus blackly blasphemous, disrespectful and contemptuous of Jesus Christ and Christianity as a whole.

Dream sequences include gratuitous nudity, be warned. 

What writer Alan Moore is doing here is insinuating that Christianity itself is a mixed up religion that has taken weird elements from earlier cult worship, creating a new cult that is equally as ridiculous as what came before it.

To further reinforce this point, the book concludes with the ‘Church of St. Jude’s Parish Newsletter.’ This is a comedic, absurdist attack on the origins of Christianity, mocking Jesus by making him a fish on a slab, resurrected and thus followed by all fish that have come after him as the one true messiah of all fish.

‘And they said, let us thake him out and hang him upon hooks that he may cure. Yet many tides did not pass before he was risen from his slab and was descended unto Heaven, through black abysses to dwell amidst wonder and glory for ever.’ (The Parish Church of Saint Jude, 138 Bridge Street, Salem, Mass. June- August, 1919)

Pretty silly, isn’t it? Christians are often mocked for taking allegorical Bible stories literally, but this really is taking things to a whole new level.

I have to point out that Alan Moore is picking very low hanging fruit here in mocking the origins of Christianity. It’s something that is allowed, and even encouraged, so I’m not going to applaud him for doing it. If he was mocking Judaism or Islam then I’d applaud him, but he’s not doing that, probably because doing so would be truly controversial, and dangerous.

Alan Moore is not being brave, or outrageous, or scandalous, or cutting edge in mocking the origins of Christianity and talking about a weird fish cult, insinuating that Christianity itself is pretty much the same thing. Sorry, he’s just not. He’s doing what you are allowed to do in our neo-liberal, atheist times, but he’s doing it very well, and Providence is noticeably superior to 99% of the other comic books that I read on a weekly basis.

Providence #3 then is a studious, intelligent, dark occult comic book, but it’s also, very much nestled within the centrally planned social consensus norms and mores of our neo-liberal, cultural Marxist times. Get it, enjoy it, have a laugh with it, but please, recognise it for what it actually is.


Rating: 9/10 (Blackly comic tale that is mocking the origins of Christianity)



Note:
I do realise that Providence is packed with references to H.P Lovecraft and that this book is more than likely a progressive/liberal critique of the identity politics issues within his work. I recognise that, but as I’m not particularly familiar with the PC thought crimes committed by H.P Lovecraft I’ve reviewed this new book by Alan Moore as a stand-alone text. 

Comic review: Secret Wars #5- Atheism, propaganda, dictatorship, democracy, truth and lies

Writer: Jonathan Hickman
Artist: Esad Ribic
Publisher: Disney/Marvel
Released: 12th August 2015



In my previous review (18 Days #2) I bemoaned the fact that contemporary neo-liberal corporate hegemony supporting comic books are pretty much all the same.

I moaned and complained that their narratives feature crazy dictators as the villains, and order following agents of democracy as the heroes. These ‘heroic’ agents of the state just want to bring ‘freedom’ and ‘democracy’ to the world and to stop evil dictators from killing their own people, or something.

‘War is peace. Freedom is slavery. Ignorance is strength.’ (George Orwell)

The lie that democracy means freedom is the lie that allows western governments to propagandise their own populations and to enslave them to a centralised control system.

Through the repeated telling of this lie the numerous wars that have become ever more apparent since 2001 can be sold as wars for peace, and not the wars for resources, profit and control that they actually are.

The wars are now sold as protecting people (by bombing them) and bringing democracy, which of course equates to freedom, seeing as we are all so free in the west, cough Edward Snowden.

“Make the lie big, make it simple, keep saying it, and eventually they will believe it” (Adolf Hitler)

“All art is propaganda. It is universally and inescapably propaganda; sometimes unconsciously, but often deliberately, propaganda.” (Upton Sinclair)

The first thing that we need to recognise is that we are living in a lie. Your life is a lie, and so is mine. The west is a lie, a lie that we drink, eat, and bathe in, daily. It washes over us, flowing from everything and everywhere, yet the lie is so big, and so relentlessly repeated that we come to think of the lie as truth itself. We work for the lie, we feed the lie, we caress the lie, we nurture the lie, we treasure the lie, we love the lie, and we get careers as writers, and repeat the lie until the day that we die.

Do I think that comic book writers working for Marvel, DC, Darkhorse or any of the other US comic book corporations care much about truth and lies? Perhaps in their personal lives, but I know one thing for sure, I know that it’s not coming out in their comic book career lives.

I read a lot of contemporary US comic books and it’s become very apparent to me that the writers don’t want to go anywhere near truth. They want to tell exciting stories, they want to please liberal, progressive minded readers and they want to keep reality, truth and the real world a million miles away from what they are doing in their comic books.

It’s a choice. They choose the easy life and they echo chamber the thoughts and beliefs of their left leaning audience back to them whilst dreaming of the big television or movie deal. I wish them the best of luck with that and hope that they make lots of money and win award after award after award. It’s meaningless, but as most of them are atheist, solipsist, Darwinian types, that isn’t really an insult to them, it’s just stating a fact about their collective mindsets. Rats in a cage, and they are happy to be so.

Secret Wars #5 is a mainstream American comic book written by Jonathan Hickman. The story is about an evil dictator, and there’s a bit of tame religion bashing going on as well, which is par for the course in contemporary comic books.

The book is beautifully illustrated by Esad Ribic, and doesn’t touch on any real world concerns of 2015. It is an uncontroversial book. It does what all of the other books do, but there’s a lack of jokes, puns and quips in it, meaning (I suppose) that it’s a ‘serious’ comic book.

The ideology that runs through the book compares God to a deceitful, murderous, petty, insecure dictator. It’s an ideology that atheistic neo-liberal types will agree with, and thus is just another continuance of the mainstream echo chamber that stifles all debate and doesn’t address the predominant lie of our times.

I didn’t hate the book. It’s just another lefty comic book. It looks nice, it toes the line, and it does what it is supposed to do. It keeps the neoliberal democratic lie intact, our heads submerged within the corporate matrix, and successfully farts out another unit for the Princess programming, unreality pushing, crazy as a Rihanna video, bathed in children’s blood Disney Corporation.


Rating: 6/10 (It’s all about Doom, how he’s not God, how he created the world and how he’s a big old mean dictator that needs to be taken down by the atheistic democracy squad)



Check out Rihanna's charming new pop video below. Yep, the mainstream sure is a crazy place these days.

Secret Wars #4- What is a superhero?

Writer: Jonathan Hickman
Artist: Esad Ribic
Publisher: Marvel (Disney)
Released: 1st July 2015



Go to a comic book shop, pick up a new superhero comic book, read it, and ask yourself the following question:

What is a contemporary mainstream comic book superhero?

Grant Morrison thinks that they are stand-ins for soldiers.

I agree.

They are soldiers, and what do soldiers do?

They follow orders.

Who TODAY is in charge, and who is giving the orders?

According to the mainstream media it’s the Clintons, Blairs, Obamas, Camerons and all of the other blue and red puppets.

Puppets?

Yes, puppets.

But if they are puppets, who is controlling their strings?

The neoliberal corporate/banking elites.

Who are they?

They are the people who run the privately owned banks and corporations that fund governments. They are the globalists, the western elites, the new world order.

Back to comics, back to superheroes.

A superhero is a soldier, soldiers take orders from political puppets, the new world order is a corporate entity, and mainstream comic books are a part of that corporate entity. Therefore, a superhero appearing in a mainstream comic book is a soldier working for the new world order.

Did that truth taste bad? I hope so, because truth is a bitter pill to swallow, and that is why people don’t like it, and get upset when you try to force it down their throats. I understand, but I want to talk about more than the art and panel designs in comic books. I want to talk about the world, and comic books are the platform that I use to do that.

So what does the new world order want?

They want one world government, and total control of the entire planet.

What is the role of a soldier/superhero in the new world order?

Their role is to eliminate all opposition to the new world order.

Therefore, all ‘villains’ in contemporary comic books have to represent a threat to the new world order.

The villain in Secret Wars #4 is Doctor Doom, a crazed dictator type.

It’s always a crazed dictator type, in comic books, and in the real world.

The crazed dictator will sit on a throne, scare people, act like a villain, and cause problems until he is finally defeated by the soldiers/superheroes.

In Secret Wars #4 that process is progressing towards its inevitable conclusion. Doom fights the soldiers, and he acts like a power-crazed delusional madman. He wins a battle, but in the long run he will lose the war.

That’s how contemporary corporate entity comic books work. A dictator threatens the status quo, soldiers/superheroes are sent in, cue battles and some character stuff, the dictator is defeated, and it’s back to the beginning again.

In comic books it’s The Joker, Doctor Doom, Magneto, The Red Skull and Lex Luthor.

In the real world it’s Hussein, Bin Laden, Gaddafi, Assad and Putin.

Comic books villains exist to serve the narrative, to sell comic books.

Real world villains exist to serve the narrative, to sell the new world order.

Secret Wars #4 is a comic book about superheroes/soldiers fighting against the latest dictator, the latest threat to the new world order.

It’s a comic book that people will read and enjoy. They will discuss the art, the characters, the fights and the plot. Deeper issues and socio-political assumptions that are made within the text will not be discussed.

I will be ignored, or criticised, more of the former, a little of the later, if I’m lucky. That’s okay. The new world order relies on the consent of the governed. If the people want it, then they’ll get it. That’s the world that we live in, that’s the world that we want, that’s the world that we deserve.


Rating: 7/10 (Starts better than it ends, and it’s all about the characters now)