Movie review: The World’s End- Empty Nostalgia for the Loser Generation

Written by: Edgar Wright & Simon Pegg.

Starring: Simon Pegg, Nick Frost, Martin Freeman.

Release Date: July 2013

Box Office: $46.1



Simon Pegg is Hollywood diet body gaunt, he looks wealthy, his new hair must have cost him a fortune, but is Nicholas Cage bad. Nick Frost, his old buddy, is still Humpty Dumpty rotund, an everyman foil to the overachieving Pegg machine. That Office bloke is here as well. He plays the same character that he always plays, with the wide-eyed facial tics and air of bemused exasperation that has served him so well during his entire acting career.

Mocking nostalgia, whilst making money out of nostalgia.

The plot is perfunctory and involves some boring middle-aged gits and their pathetic old mate (Simon Pegg) going on a final pub-crawl around a sleepy English town. The movie sags as the boring old men sit in pub chatting about the past. Pegg is wacky, but the rest of the cast look bored and not into it at all.

Imagine a group of tired middle-aged salesmen having a chat in a pub with a ‘wacky’ 1990’s character trying to get a reaction out of them. That’s the first third of the movie. It then gets purposefully silly as some ridiculous alien robots are introduced into the narrative. They had to appear, as nothing else was happening. The movie then descends into fight scenes with aliens exploding into blue goo, lots of running around, and sight-gags involving Simon Pegg falling over fences, as he tends to do in all of his other movies. Hey, isn’t this the same plot as Shaun of the Dead?

Yeah, it’s Shaun of the Dead 2, just like the first movie, but with an added sense of overwhelming sadness and nostalgic regret. The narrative is unsure of itself, it sags, it’s overwritten, it’s dull and it lacks a strong new idea to give everything a sense of urgency and life. The attempt is to criticise nostalgia, whilst making money from nostalgia. The contradiction comes across as hypocrisy, as the movie is nothing if not painfully, apologetically self-aware. As it concludes you can feel the producers panic as they realise that their theme of an invading alien population might be misconstrued as an attack on the open borders mass immigration policy that is turning the UK into a segregated nation of warring tribal communities. It doesn’t want to do anything that might upset the neo-liberal corporate consensus of cultural genocide of indigenous European culture, so it shoehorns in a politically correct ending to appease the almighty god of cultural diversity. Nice one lads. I think you got away with it.

Here comes the forward rolls and fights in a pub.

It’s all very sad, to see the cool of the past, regurgitated with diminishing returns. What you have in this movie is a nostalgic unit shifter aimed at a generation that gave us Tony Blair, the Iraq war, Police state surveillance, lies and corruption. It’s a generation that paved the way for what we have now. A crumbling western civilisation, being looted by a political class of neo-liberal lunatics with an enslaved population losing itself in I-Phones, fantasy, gambling, sports, celebrities, nostalgia and anything that helps to distract their minds from the painful reality that surrounds their everyday waking lives.

I left ‘The World’s End’ with my mind very much on waking concerns. There was no distraction from painful reality here. It left me with a familiar feeling of sad emptiness and regret that you always get from indulging in corporate sponsored nostalgia. What was new and cool has become old and lame, and try as you might, you cannot reinvent what is now gone. The World’s End is an old man sitting in a pub, alone, thinking about the good old days, unable to recreate them. He’s alive, but lost in a dead past. He’s out of time, and his cool old friends are married/buried (as Kurt said) in the suburbs.

The old man looks pathetic, but then reality kicks in and you realise that Simon Pegg is a Hollywood career actor. He appears in Star Trek. He’s a star. There’s no austerity for him. He escaped the UK. He did very well for himself. He might be playing the sad old man in the pub, but that sad old man, drinking alone, stuck in the past, wrapped up in useless nostalgia, he’s not Simon Pegg. That pathetic old man is the 1990’s generation, the defeated, retreated viewers of this movie.

I loved these guys in 'Spaced.'

We cannot recapture a lost feeling. We cannot live off of the fumes of the past. It’s dead, gone, we need to move on, and we need to deal with the reality that is now. If we stay in the nostalgic past we are the suckers, because we are the people paying for the nostalgic movie that does not resonate with concerns of today. The actors are doing very well, don’t worry about them. They’ll go home to big houses and careers, we’ll go home to debt caged routines and dreams of the days when our world still had possibilities.

Simon Pegg is a winner, just like he always was. These days he’s selling nostalgia to losers, a winner, milking the failures that make up his audience of ageing fanboys, a well he can drain before going back to making irrelevant movies in Hollywood with unfunny American actors. Why then does he still go through the old UK routine, with diminishing returns, when he can stay in Hollywood making nonsense movies for the big US market? Who knows? Perhaps he just needs to sure up his UK fanbase every now and then? I think that’s probably it.

I don’t want to be reminded of a useless past. Pegg portrays a loser in these movies, but he’s no loser. The audience fanboys stuck in useless 90’s nostalgia are the losers, he panders to them, he pretends to be them, and why not? He’s a winner, and winners always portray themselves as losers in order to gain favour with their audience. I don’t want to be a loser. I don’t want to be stuck in the past. The 1990’s created what we have now. I live now, not then, I want to talk about now. I want to move on.  I have no desire to live in the useless, dirty old past. I want to live today. I want to talk about today. I want to do something about today. Today is all we have. The past is a graveyard, an overgrown nowhere land of sad-eyed nostalgic losers. I don’t want to go there. I have to move on.


Rating: 4/10 (The movie is nostalgia aimed at UK males who grew up in the 1990’s. I grew up during that time period, and loved ‘Spaced’ so I’m in the target demographic, but all it did for me was to leave me feeling empty and depressed)

Comic review- Miracleman #2: In this wasteland of the now

Story: Neil Gaiman
Art: Mark Buckingham
Publisher: Marvel
Released: 16th September 2015 


I’ve spent my morning with Neil Gaiman, and he’s led me down the path of yesterday, leaving me drenched in sweet, nostalgic sad, empty, hindsight regret.

Still waiting.....

There’s an initial pleasure to be gained in looking back, but when you get to deep you see yourself as you actually were. You see the stupid mistakes, the missed chances, the should have beens, the almosts, and the never weres. Regret rises to the surface and pleasure soon ebbs into a useless, longing feeling that things should have been better, but they weren’t, and there’s nothing that you can do about it now, because the past is gone, the people are gone, and you yourself, as you used to be, you are gone as well.

Miracleman #2 is split into three individual parts. The later two are probably connected, and are tied into the larger narrative, hinting of a return, of the villain.

The second part is school in the late 80’s/90’s, in England, as I remember it, personally. It’s behind the bike-shed, a pretty girl, spots, being cool, being detached, messing things up, being a silly boy, it’s the things that I remember, and I’m not sure if it will mean anything to kids in their twenties who are reading the book, but for a 80’s/90’s kid, Gaiman is a witness to how things actually were, he gets to the soul of it, and he takes me back to that time, that place of memory and regret, a school uniform and the wish, now, that things had turned out a bit better than they actually did.

The first story, the main story is equally as sad, but in a grown-up sense of deluded expectations, disappointment and waiting for something that isn’t there. The story is about a man holding out for physical perfection, stupidly, rejecting the possibility of love, rejecting reality, and waiting for the return of an impossible Goddess.  It’s a lonely tale, and it reminds me of 90’s libraries, reading Gaiman, walking home in the rain, alone, of course, but with Gaiman in my head, telling me that the world is sad, telling me that I shouldn’t give up, because who knows? Perhaps, some day, somebody will give a s***.

for the girl

Yes, it’s an emotional trip for me to spend time with Neil Gaiman on a September morning in 2015. I have emotional baggage with the dude, old memories, mostly crappy, but they would have been even worse without him. He’s a bloody good writer you know. He’s a craftsmen, and I do appreciate him, and I do admire his work, even the new (old) stuff, with the memories that come with it, stuck in my own past.

I should probably leave Neil Gaiman well alone from now on. I’m too old, and it’s making me painfully aware of my own useless past. I read his work today, and it’s good, very good, but there’s deep sadness there.

When I read Miracleman #2 I feel a sense of time, of wasting it, waiting, too much time waiting, only for nothing to happen and to wake up one day with nothing gained from the wait, just more waiting, more waiting. Reading Gaiman takes me back to the past, my own neglected graveyard, of dashed hopes and an almost tangible feeling of time slipping through my fingertips.

The world outside swirls and changes, and yesterday fades into memory, becoming further, and further away, as new memories fail to materialise, so all that is left, though not worth remembering, is all that there is, in this useless, silent, far too still, wasteland of the now.


Rating: 9/10 (Taking me back, as Gaiman always does)

Comic review: Miracleman #1- Neil Gaiman and the Perpetual 80’s

Writer: Neil Gaiman
Artist: Mark Buckingham
Publisher: Marvel Comics
Released: 2nd September 2015



I didn’t read Alan Moore’s Miracleman series when it was first released in 1982. I was around at the time, but doing something else, probably obsessed with American football, or just plain old football, I expect. I was reading 2000AD though, irregularly, and this new Miracleman #1 by Neil Gaiman very much reminds me of that time period in my life.

This new book has a narrative starting date of 1987. It’s a future parallel world 1987 with a God like superhero and a destroyed, then rebuilt London, but it’s a very familiar 1987. It’s a 1987 that is very, very 1980’s. It’s a 1987 that could have been written in 1985, at least, that’s how it reads.

Perhaps it’s just me, but whenever I read anything by Neil Gaiman it has that 1980’s feel about it. I get the sense that he doesn’t really care about the contemporary neoliberal world. His narrative universe is the late 1980’s, and so he is the perfect choice to be the writer on a book that is set in a parallel universe 1987. He doesn’t have to deal with anything that has actually happened in the real world for the past twenty eight or so years, he can build his cocoon in the late 80’s and he can go back to the past, a place where he very evidentially feels most at home.

The narrative itself in Miracleman #1 is instantly accessible. It’s easy to follow and brings the reader straight into the world, telling a story from the point of view of a man with hope, seeing him through a difficult journey, and concluding with a revelation of either hope realised, or hope destroyed. I won’t spoil it. The story is okay, it’s enjoyable, and I think that it’s worthwhile you getting the book to enjoy it for yourself.

The art has a bit of a Watchman feel about it, mixed with some of the recent stuff I’ve seen in Jeff Lemiere’s Trillium, and in the art by Matteo Scalera in Rick Remender’s Black Science. The faces are a bit sharp, very pointy noses and high cheekbones, and very blonde, and the colouring has an unreality to it that screams ‘sci-fi comic’ of the 1980’s, but in colour. I don’t have any problem with it. I’d term it as ‘old fashioned new’ if that makes any sense, and it’s perfect for this kind of book.

Let’s sum things up then. Do I have a problem with Neil Gaiman being stuck in a perpetual 1987 world? No, of course not. He’s a successful, talented man, and his work is always enjoyable.

However, I’m the self-appointed (self-important) post 9/11 false flag/ NWO/Neo-liberal/Globalist comic book reviewer. So what I am after is never going to come from somebody like Neil Gaiman who doesn’t want to get out of the late 80’s, well at least from what I’ve read of his work anyway.

That’s cool man.

Miracleman#1 is a good book. I enjoyed it. The very last part confused me a bit, but I’ll be back for issue #2, and hopefully it will make some sense there.

Get the book if you enjoy Neil Gaiman’s late 80’s worlds, and yes I know he’s just continuing a series left off in the 80’s, so he has a good excuse for doing it here. If all you’re after is a decent comic book with a 1980’s nostalgia feel about it, then this one is a lot better than most of the other mainstream junk that’s being pushed onto the masses today. Check it out, put on those old 80’s records, and go back to a time when the Internet didn’t exist, Thatcher was killing off all working-class resistance and the BBC still had an aura of truth and respectability about it.


Rating: 7/10 (Back to the late 80’s with Gaiman, and why not?)

Comic Review: Fight Club 2 #2- Repackaging Fake Cool Revolution

Writer: Chuck Palahniuk
Artist: Cameron Stewart
Publisher: Dark Horse Comics
Released: 24th June 2015



There’s no shining up this one. Fight Club 2 #2 has now officially plopped down, and the only thing to do with it is to flush it away as soon as possible, open the window and spray the heck out of the room to remove the foul stench of it’s existence.

Can we finally bury the 1990’s now, please? No more attempts at nostalgia cool, it’s getting a bit embarrassing and very desperate now. Yes, I know that Nirvana were great, but the dude died in 1994, find something new, find something that says something about NOW, not then.

Fight Club #2 is Nirvana, grown up, married, buried, not dead, but it might as well be. The narrative follows a bored suburban couple. The man is old, tired and useless, his wife is having an affair, but because it’s Fight Club, she’s having an affair with the married bloke’s alter ego, Tyler six-pack. Throw in a child kidnapping (Yawn, somebody call Liam Neeson) and vague references to change (call Obama) and you have your book.

It’s very boring, the jokes are ‘cool’ and meaningless, and nothing about it holds any interest to me, mainly because, as I said before, it’s a 1990’s relic, rejuvenated for nostalgia cool, and not something that should be read by anybody under the age of about thirty-five.

I’m over the age of thirty-five, and I remember the movie when it was first released. It was cool, we thought it was saying something, and it probably was, but what it said was largely back-drop to the all pervading ‘cool.’ The world watched, took nothing from, it other than entertainment value, and carried on doing the same voting, buying and moaning that they always do.

Fight Club was a movie that appeared to be revolutionary, but that was surface, as this comic book now proves. No revolution is happening here. Don’t expect it from career cool people, and don’t expect it from those hanging onto 90’s glories.

I decided to give Fight Club 2 a chance. After two issues I’m done with it. Nirvana were great, move on, get something new. Fight Club was great, move on, get something new.


Rating: 3/10 (Redundant)

Comic review: Convergence: The Atom #1- Good Old Fashioned Cheese on Toast

Writer: Tom Peyer
Artist: Steve Yeowell
Publisher: DC Comics
Released: 8th April 2015


I’m always complaining about contemporary comic books and their refusal to deal with real world, contemporary issues that are affecting the lives of their readers. But when a comic book is intentionally silly and doesn’t even pretend to have anything to do with the real world of 2015, I can relax, put my mental feet up and enjoy it, just like I did as a comic book obsessed kid back in the early 1980’s.

Convergence- the Atom #1 is one of those comics that I can relax with. It’s very silly, genuinely funny and it reminds me of the comic books I used to read as a kid. The Atom is a nutter, a loser, and an embarrassment to everybody who is unfortunate enough to know him. His super hero power is having one large hand. It’s laughable, children don’t want to be anywhere near him, and I don’t blame them either. He hears voices in his head. The voices tell him that he sucks, and I agree with them wholeheartedly, because he does indeed suck, big time.

His world isn’t our world of 2015. It’s a 1980’s brightly coloured world where kids still go out to play and get up to healthy mischief not Internet or twitter/twatter related. It’s the world that I grew up in, a world that no longer exists as paranoia has set in and children are locked up by their television and fear indoctrinated parents.

Here kids, have this ipad, or iphone. Look at the Internet all day and think about the adventures outside that you could be having. That sucks.

Far too many kids today are prisoners in their own homes, with the government and their parents spying on everything that they do. Let them out parents. Buy them a bloody bike and let them have some freedom before the chains of conventional adulthood tie them to the rat race Hell of careerism, debt slavery, statism, war, consumerism, capitalism and everything else that slowly sucks away our souls as we rot away our adult lives.

The Atom #1 reminds me of better days. This old colourful 1980’s comic book world has stupid villains in it, and the dialogue is naff, and the cheese levels are through the roof, but there’s something about it that I’m enjoying.

I like cheese, I do. I like it on toast, and I like it in my comic books as well, just don’t give me the fancy Dan cheese, don’t con me with the cheese, just give me something old fashioned, something reliably cheddary and I’m happy.

Atom #1 is good old-fashioned cheddar cheese on toast. It’s easy, tasty and it fills up your belly very nicely indeed.

I’m going to come back to this one. I’m going to forget everything that I know about this post 9/11 world of the new world order, put my feet up, get the cheddar ready and have a good old fashioned 1980’s comic book experience, just like I used to. It was good then, and it’s just as good today.

New World Order? What the Hell is that? Cheese on toast time, yum, yum, happy times are here again.


Rating: 8/10 (Good old fashioned, fun, daft, enjoyable 80’s comic book)

Comic review: Millennium (X-Files) #3- 90’s nostalgia for my useless generation

Writer: Joe Harris
Artist: Colin Lorimer
Colourist: Joana Lafuente
Publisher: IDW Comics
Released: 1st April 2015



Millennium has been a very enjoyable series so far. The art is great, the colouring’s superb, the script is interesting and the construction of the narrative itself has a screenplay element to it that makes the entire experience feel like you are watching an old episode of the X-Files television show.

That screenplay element is in use again at the beginning of issue #3 with a plot device that is usually used in television dramas. A moment of high (spooky) drama opens the narrative, before the story flashes back 24 hours so the viewer can see the prelude to the dramatic scenes that are now unfolding.

I enjoy that technique, it brings you straight into the narrative with a monument of adrenaline, hooking you into the story with drama, and having you hang around for an explanation about the context behind that drama.

As with all ‘conspiracy’ shows the game here is to hint at what is to come, revealing slowly, drip by drip, tantalising clues about the bigger ‘conspiracy’ picture behind surface events. Throw in some interesting characters, have a daughter kidnapping (that always works) and you have a show.

It sounds like, from what I’ve just been underlying here, that this ‘Millennium’ book isn’t exactly busting with originality, and that’s a pretty fair accusation to lay on the project. It’s not original, but that doesn’t mean that it’s not any good. Yeah the references are a bit old (The Millennium Bug and the Pixies) but for people over the age of forty (that’s me) there’s still fun to be had here.

If you pick up this title you’ll get a mixture of X-Files nostalgia (like the returning show) good art and a well-paced and competently executed script. I’m enjoying it, but bear in mind that I am a 41 (almost 42) year-old guy who grew up with this stuff on his television during my prime (they weren’t really prime, I was terribly depressed back then) twenties years.

This book transports me back to the days when the X-Files was the coolest, newest, edgiest show on television. That’s not really the case anymore, and if you expect the upcoming new shows to be anything other than nostalgia I fear you are in for some disappointing viewing.

The X-Files was of it’s time, and as I read ‘new’ versions of it today I come away with the feeling that it’s not connecting with anything that has happened post 9/11.

All of the usual globalist, New World order, failing democracy, surveillance and illegal, never-ending war stuff that I always talk about in my reviews, and want to see reflected in my comic books isn’t really happening in this book, or any of the other X-Files titles coming from IDW Comics.

That’s okay. If you want to talk about new stuff you have to update the vehicle, and the X-Files wagon is a bit rusty these days. It’s become a nostalgia thing, and when it’s done well it still has something to offer, at least to blokes like me who grew up with this stuff during our late teens or twenties.

I like this book, but I’m being realistic about it here. I’m not going to pretend that something game-changing is happening.

It’s a nostalgia book, done well, that is centred on a conspiracy group that was designed to cash-in on the silly (and it always was silly, this is not hindsight) Millennium bug fears of the late 1990’s. Get Millennium if you miss the X-Files and are looking forward to the new television shows. The book looks great, the story is interesting and the entire project has been carefully and thoughtfully constructed.

Rating: 7/10 (Nostalgic fun for the 35+ generation)

Comic review: Bill & Ted’s Most Triumphant Return #1- Nostalgia for the bearded generation

Writer: Brian Lynch
Artist: Jerry Gaylord
Publisher: Boom! Studios
Released: 11th March 2015


The last Bill & Ted movie (Bogus Journey) was released in 1991, and when my young niece watched it last week on Netflix she called it, ‘The most boring movie that I’ve ever seen.’ 

So, in regards to this 2015 Bill & Ted comic I’m guessing that the potential audience will consist of old people like myself whom lived through those dark days before the Internet, mobile phones and Edward Snowdon.

Who exactly is reading comic books in 2015? You know, sometimes when I look at all of the pointless alternative covers on new books I suspect that it’s bearded forty-year old losers like myself. My friends, I have seen the future. It’s a bit sad, and it needs a shave

Bill & Ted’s Most Triumphant Return #1 is fluffy, inoffensive, cute and friendly. The art is nice and colourful and everything about it scream ‘nostalgia’ for the 40 year old bearded bloke crowd. I’m a part of that crowd. I’m the guy that the comic book is aimed at. So, did it hit?

Yeah, it did what you would expect it to do. It offered a five-minute jolt down memory lane, but I can’t see it winning over any younger converts. The comic book is still set in the early 1990’s (the safest place for comic books to exist in today) so it’s not really doing, or saying anything. It reminded me of the silly movie, but I was a different person back then, heck, the world was a different place back then, and things have changed whilst Bill & Ted have remained the same.

I don’t want to go back in time to the early 1990’s. I was there, and they weren’t that great the first time around. In fact, times were so stiflingly dull that Nirvana had to come along just to kick some life into the party. Okay, so they told people that they sucked, but at least they said something, and that was the problem with the early 1990’s, people were going through the motions, nothing was being said and nothing was really happening.

I guess in that sense we are living through a period much like the early 1990’s once again in 2015. There is a cultural vacuum that is becoming increasingly more apparent as the days pass. Who is going to fill it? Is it going to be a self destructive, nihilistic rejection of everything as represented by the band ‘Nirvana?’ Or is it going to be something more positive? Something that looks at the corporate/government tyranny of our time (like Nirvana did) but rather than turning inward and self-destructive, instead turns outwards and looks for solutions to the problems that face us all today? My money is on the later.

Bill & Ted are not going to help, but by going back to what they represented in 1991 we are being reminded that it’s time again for another shake-up.

2015 is the new 1991. It’s time for something genuinely new, genuinely revolutionary and genuinely determined to shake this joint up again.

There’s an open space, people are sleeping again, and the most exciting thing about living in 2015 is to have that sense of anticipation that feeling that something is lurking, planning, scheming, creeping, ready to pounce and ready to get this party going again.

Rating: 6/10 (Not bad, but it's just a nostalgia book)

Punks the Comic #1: Somebody has been watching old episodes of The Young Ones

Story: Joshua Hale Fialkov
Art: Kody Chamberlain & Rob Guillory
Publisher: Image comics
Released: 8th October 2014 


Half-way through reading this book I was getting flashbacks to old episodes of The Young Ones and going to the Cub Scouts on my bike with it’s stupid light dynamo that slowed it down to a crawl. There was something very 1980’s about this book, with it’s references to Morrissey and Glenn Danzig, so I did what we all do now and looked it up on the Internet expecting the book to be a re-make of some old student project in 1986. I got one half of the equation right. It was an old student type of deal, but it was produced in 2004.

2004????????

What the Hell????????

How did something like this get any attention whatsoever in 2004?

Oh yeah, it didn’t. I never noticed it in 2004, and I was a pretty big fan of just about everything comic book related during that time. What were the writers doing in 2004? Did they have a DVD box-set of old Young Ones episodes, a limited budget, and so decided to put a collage based comic book together with references that were completely out of date and had no relevance to the world around them?

It looks like it.

So what is this book about then? It’s about some characters based on 1980’s English student stereotypes living together in a house where they are very bored and are not very successful with the ladies. The characters are physically and emotionally abusive to each other, but in a wacky, comedy way. Crazy things like Gnomes are involved. The dialogue is all one-liners that are trying to be arch, ironic, knowing and clever. It doesn’t work, instead it reads like smart arse witticisms that come from the mind of a Google kid, annoying as f*** douche bag. The narrative involves one of the characters bringing a girl home. All of the other characters are shocked. Before this mess of a book ends we are given some word searches (I’m not joking) and a reprint of the original book from waaaaay back in ye olden days of 2004. That book is just as bad as the 2014 incarnation.

Oh, the characters have fists, dogs and old President’s for heads.

Does that make it original then?

What do you think?

I’ll tell you what I think. I think that ‘Punks the Comic’ is a painfully unfunny student magazine based on an anarchic BBC sit-com of the early 1980’s. That show, as I mentioned in the first paragraph, is called ‘The Young Ones.’ It was great when it first came out. I know, because I was a kid who grew up with it, and compared to all of the other staid and conservative po-faced crap of the time (Blue Peter anybody?) it was the most exciting thing that I had ever seen. But I was about twelve years old, and that was decades and decades ago. If they released the same show today it wouldn’t have anywhere near the same impact, because the socio-political themes, anxieties and concerns would be decades out of date. Plus the humour, that was considered risky and edgy at the time, would now look a bit tame, silly, childish and dated.

Just like this comic.

How the Hell is this supposed to be a post 9/11 book? It’s not. It’s a 1980’s book, it just so happens to have been written in 2004/2014 by a writer who cannot get in touch with what is going on in the world today.

Leave your house for five minutes and have a look at the world mate. Please. Read a book. Watch a documentary. Get on the Alex Jones infowars website http://www.infowars.com/  for a day of research. PLEASE DO SOMETHING. Get with the bloody times.

Goddamn it, Goddamn it, Goddamn it.

This book says everything you need to know about the comic book industry as it is today. Backwards looking, irrelevant, out of touch and completely stuck up it’s own arse.

Rating: 1/10 (for the cover)