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)

Comic review: Doomed #1- Perfect Teen Gets Powers

Writer: Scott Lobdell
Artist: Javier Fernandez
Publisher: DC Comics
Released: 17th June 2015


Doomed #1 is about a boy genius who gains superpowers after being contaminated in a science lab. It is a colourful, playful and inoffensive book, and is suitable for young children to read, unsupervised.

That’s the book, thanks for reading my review.

Okay, I’ll force myself.

The narrative in Doomed #1 follows a perfect specimen of comic book teendom, not much happens, apart from him being perfect. The tone is fluffy and nice. Oh, it does that old trick, starting with a moment of drama, then telling you how it got there. The book follows Mr perfect teen. He has a dream career waiting for him. He has a hot girl after him. He has some nice friends. He cleans a lab, gets contaminated, and is turned into a superhero/villain. This perfect teen is pretty much identical to Peter Parker.

The interesting question posed on the front cover of the comic book (Doomed. Is he hero, or villain?) is not even addressed, let alone resolved, and after finishing the book I’d already lost all interest in the answer to the question anyway.

Mr teen perfect is not real. He’s a cartoon, a happy smiling face on Nickelodeon, and he’s so soft, so unthreatening, so pathetic really. I don’t recall his name, not that it’s important, he could be anybody. Barry, Larry, Harry, whatever. He doesn’t resonate anything, he’s two-dimensional, a blank canvas perfect teen template that the writer can use to service a quick and meaningless comic book narrative that will shift a couple of units, or not.

Here’s an idea. How about writing a comic book tale that has as a protagonist, not a young teen who hasn’t yet experienced anything in life, but somebody a bit older, somebody with more colour, with more baggage, with more character and scope for narrative development?

If you insist on having all of the heroes/villains germinate as teens it limits the possibilities, and what inevitably ends up happening is a book like Doomed #1, with a generic teen protagonist who feels about as real as a fish based character in a Spongebox Squarepants cartoon.

‘But what about the audience,’ I hear the executives cry. Are they having a laugh? Who do they think is reading their comic books in 2015? It’s not teenagers, it’s old blokes like me.

Just go into any comic book shop, and you’ll see a vast variety of beards, but not that many school uniforms.

I don’t want to read about teens. Teens are boring, and they don’t interest me. Teens are just not yet fully formed adults, struggling for attention and faking every thing in a desperate need for attention. Look at me, look at my hair, look at my jacket, and listen to my loud voice and half-witted, ill-researched opinions. No thanks mate, I’d rather not. Come back when you’ve lived a little and have something interesting to say.

So what is the point in this latest teen superhero/villain book? It’s not exactly going to fly off the shelves, is it? Who exactly is calling out for another Spiderman clone book? Who is calling for another book about a teen getting powers in a lab? Who wants to read another book about a perfect teen and how he has troubles balancing, home, work, relationship and super powers in his life? Are people really calling out for this? Perhaps I’m wrong, please tell me if I am. I love being wrong, I really do.

So, again, and bearing in mind that it’s not going to be a best seller, what was the point in this book? Why does it even exist?

I guess it’s not going to offend anybody, so it has that going for it, if nothing else. And as DC is going out of it’s way to not offend anybody these days, then perhaps writer Scott Lobdell has achieved something after all? He’s written a generic teen gets powers comic book that won’t get him into trouble. He’s written a comic book that people won’t notice. He’s written a comic book that will be completely forgotten about this time, tomorrow. Well done Scott. You’ve written another superhero comic book with a teen protagonist that won’t offend anybody, just as DC wants it, and if that’s what they want, that’s what they get.


Rating: 3/10 (Move on, there’s nothing happening here)

Comic review: Martian Manhunter #1- Event Quality ‘Threat’ Book

Writer: Rob Williams
Artist: Eddy Barrows
Publisher: DC Comics
Released: 17th June 2015



I enjoyed this book. It had a very professional structure to it, screenplay quality, like it was pitching for a television series. The art was very good as well, top end event quality good, and the main protagonist was shown to be a man in a moral quandary, fighting against his programming, fighting against what he is supposed to do, knowing that what he is supposed to do is wrong.

I love this guy.

All top quality comic book stuff, so you can’t complain too much about it, as even if you dislike it, you have to acknowledge that this is a very competent and well put together product. The narrative though at it’s core is a threat based story, so although it might seem complex at first, it really isn’t, and the solutions to the threat are the same as they always are in superhero comics. Normal people are helpless victims, they need outside agencies to protect and save them, and that’s where the superheroes come in.

That’s the one assumption that bothers me the most about superhero comics, the idea that people are always victims, that they need saving, and that they can’t save themselves. The idea is insidious mind control, and it’s pushed by all spectrums of political control, from monarchy to communism to democracy. It’s all pretty much the same thing, and based on the same assumptions. You don’t need your own farm. That’s what supermarkets are for. You don’t need your own education. That’s what schools are for. You don’t need your own guns to protect yourself. That’s what the cops are for.  You don’t need anything of your own at all. That’s what government is for.

Do you see how it works?

So when people read comic book after comic book with superheroes saving helpless victims from various disasters (it’s unspecified ‘terrorists’ in this book) it plays into the cultural programming of learnt helplessness. The idea being that we don’t have to do anything for ourselves, that there’s always going to be some government sponsored agency that will take care of us, to protect us from all of the threats in the world that we are so helpless to protect ourselves from.

It’s not a great mind-set you know, and this is not my opinion. Democide is defined as, ‘Murder by government.’ In the past century our various forms of government have started to excel in murdering their own people. So continuing to rely on governments, or the outside agencies that work for them (as represented by superhero characters) in 2015? That’s probably not a good idea.

‘Democide is a term revived and redefined by the political scientist R. J. Rummel as "the murder of any person or people by their government, including genocide, politicide and mass murder." Rummel created the term as an extended concept to include forms of government murder that are not covered by the term genocide, and it has become accepted among other scholars. According to Rummel, democide passed war as the leading cause of non-natural death in the 20th century.’ (The Wikipedia definition of ‘Democide.’)

How many of their own people have governments murdered over the past century?

‘Let's start with a number: 262 MILLION. That's the number of unarmed people the late Prof. R. J. Rummel estimated governments murdered in mass killings he termed "democide" during the 20th century. "This democide murdered 6 times more people than died in combat in all the foreign and internal wars of the century," he wrote.’ (reason.com)

The superhero genre is fun, but it’s dangerous, especially when it portrays those in positions of authority as protectors of civilians, when the truth is very often the opposite. Those in positions of authority do not serve the people, they serve their masters, and their masters are government.

Perhaps that’s the one change that comic books need to make before they move forward and evolve the paradigm of dependence upon government authority that is currently caging humanity, and stopping any genuine hope, change or progression?

Martian Manhunter #1 is a fine comic book. It feels big-time, and that surprised me. It read like a Geoff John’s Justice League book, and it looked like one as well. That’s a huge compliment by the way. Everything was there, in place as it should be. Great art, interesting characters, a moral dilemma for the main protagonist and a cleverly constructed script. It was all very good, but that one problem remains. The problem being the idea that humanity is weak, helpless and needs to be saved.

Is it a structural problem, a problem that cannot be resolved without completely tearing apart the entire superhero genre itself? I don’t think so. All we need is less saving the world ‘threat’ plots, less dependence on outside forces, and an acknowledgement that human beings are not as weak and powerless as governments want them to be.

Mainstream corporate comic books buy into the lies of our time. They ignore truth, and promote the authority of government. They promote the lie that we are free people because we have a corrupted version of corporate democracy, a pathetic sham of freedom and choice owned and controlled by corporate/banking interests and protected by their career obsessed friends in the mainstream media.

It’s so easy to ignore truth. It’s so easy to buy a comic book, to enjoy the cool, and to not think about it any deeper than that. People need to stop with the adoration of the cool, they need to get beyond the deliberate ignorance and they need to get with reality. You can’t hide from reality forever. Sorry, did you think that life was just fun and games, that you can do whatever you like, just as long as you are doing what you are told? Sorry, but the laws of the universe don’t let us get away with that kind of behaviour. Sooner or later it’s payback time. You might ignore truth, but truth will not ignore you.

But how to change, what needs to be done? If you care, and most people don’t, read on.

Real change starts with a no, and a refusal to follow immoral orders. Soldiers and cops and other servants of the state unquestioningly follow orders, they are not good people, as morality plays no part in their decision making process. They are ordered, they obey, like a dog obeys. This is a truth that people don’t want to hear, and it is a truth that is born out by the facts on democide that I have included above.

We need to recognise real heroism. Real heroism is refusing orders when you know that they are morally wrong. America has real heroes. It has whistleblowers like Bradley Manning, but when was the last time that Bradley Manning was even referenced within the pages of a mainstream comic book? Do you know why he isn’t mentioned? He isn’t mentioned because he was a US soldier who told the truth, he saw that what was happening was wrong, and he spoke up about it. That is true heroism, speaking truth even when it is not in your best interests to do so.

“When the persecution of an individual (Bradley Manning) who has exposed an evil is pursued so ruthlessly and yet the evil itself is studiedly ignored, all of us know that there is something very wrong with the way that our society is conducting itself. And if we do not protest in the strongest terms about what is being done in our name, then we become complicit.” (Alan Moore)

Humanity needs to wake up to truth, and it needs to look at itself in the mirror, however uncomfortable that might be. Comic books play their role. Governments need threats, just like comic book narratives need threats. In comic books an outside threat is used to push the narrative, to create tension, excitement, drama and action. Threats are used in our own world in order to justify wars, a restriction on freedoms and all kinds of totalitarian, Orwelian new world order government policies.

Where did you think ISIS came from?  Why are they running around in US vehicles and using US weapons? Why are they being promoted in the mainstream media, and given free publicity like they have the best PR people in the world? Threats legitimate state control, and that is why states will always manufacture new threats in order to justify their positions of authority, or domination over our lives.

As superheroes characters are often little more than stand-ins for government order followers, the parallel should be perfectly clear. Both entities (comics and governments) are dependent upon permanent new threats, and both entities are more than willing and able to create their own threats to push their individual narratives. What they have more in common though is the idea that these threats cannot be handled by normal people, that people in positions of authority need ‘special powers’ in order to deal with these threats. In comic books it’s superheroes who save you. In the real world, it’s a gang of murderers, liars and thieves called government.

Real change is not going to be easy. You are not going to be able to watch your television and vote for it. It’s time to demolish false heroes, and to recognise uncomfortable truth. Superheroes will continue to work as stand-ins for government control, and the corpses will continue to pile up, just as before, as long as we ignore truth, ignore reality and pretend that comic books are just a bit of fun that we don’t really have to think too much about. Threats can be real, but who is creating the threat, and why have they created it in the first place? That’s a good place to start, and a good place to end as well, and that’s where I will finish off this review.


Rating: 8/10 (Fine book, but it’s just another threat narrative that portrays humans as helpless victims, in need of rescue by government sponsored heroes)

Boycott the new Fantastic Four Movie: Race-Baiting as a Marketing Ploy

Read about the ‘controversy’ here:
https://uk.tv.yahoo.com/michael-b-jordan-racist-reactions-000700333.html

Fantastic Four movie Wiki Page:
https://en.wikipedia.org/wiki/Fantastic_Four_(2015_film)

Fantastic Four Wiki Page:
https://en.wikipedia.org/wiki/Fantastic_Four



The one thing that this recent controversy, surrounding the casting of a black actor to play Johnny Storm in the new Fantastic Four movie, has taught me, is that white people finally appear to be getting fed up of being called ‘racists.’

The new Johnny Storm

Perhaps the movie’s use of race-baiting as a marketing ploy is going to be a watershed moment, the moment when mainstream media race-baiting finally gets kicked to the curb for good? Could we be witnessing the dawn of a new era, an era of real hope and change?

The hope and change I’m talking about here is not rhetoric designed by a PR team to get a shyster politician elected. No, the hope and change I’m talking about here is that the pernicious era of political correctness is finally going to come to a much deserved and unlamented end.

What after all is political correctness but self-censorship, a mind-block of Orwelian proportions that stops people from saying what they are thinking, and to feel bad about even thinking it in the first place?

Pretty insidious, don’t you think?

But let’s get to the details of this latest PC controversy. Long-term comic book fans don’t like the fact that Johnny Storm is to be portrayed by black actor Michael B. Jordan. Johnny Storm has always been white you see, and now he’s black, and if you question this odd decision, well apparently that means that you are a racist.

Cool poster.

Johnny Storm isn’t a new character by the way. He’s a character with over fifty years of comic book history, and he’s always been white. He has a white sister as well, and their relationship is key to the whole dynamic of the FF team. But now he’s black, although his sister is still white, and if you say anything about it you are racist.

Sounds pretty daft, don’t you think? What the producers of the FF movie have done here is deliberately created a race controversy to sell their movie. They’ve made their decision, and you better like it. If you don’t, that means you are a secret member of the all-powerful KKK.

Questioning bizarre decisions is now racist. You have to accept it, and like it, and if you don’t that means you are racist.

Racist, racist, racist, racist, racist, racist, racist.

Can you see why this might upset people who aren’t actually racist?

When you are not racist it gets a bit annoying when people keep insisting that you are one. It would be like calling a Manchester United fan a closet Manchester City fan, day after day, after day, even though he goes to Old Trafford each week and has a Manchester United tattoo on his neck and calls his pet dog ‘Giggsy.’

The original comic from Nov 1961.

You can only do this nonsense for so long until people finally get fed up with it, and it appears that the line has finally been crossed with this new FF movie. People are getting fed up with being called secret racists, and the whole media generated culture of political correctness and white guilt race baiting is finally being called out for the BS that it actually is.

The bottom line of course is whether or not the movie makes any money. If it does, then political correctness wins, but if it doesn’t, that means that things are changing.

A low box office for FF will mean that people are finally getting fed-up of political correctness and being labelled as a racist just for questioning anything to do with skin colour. Time will tell whether or not political correctness gets a kicking here, but it’s up to us now. We can send a strong message to the producers of the movie by boycotting it. Don’t watch it, it’s as simple as that.

Boycott the movie, but not because Johnny Storm is black. Boycott it to send a message. That message is ‘enough with the race-baiting nonsense.’ If you keep calling all white people ‘racists’ then eventually they are going to get fed up with it. This movie is using race baiting as a promotional tool, so we need to send them a strong message of disapproval. Boycott FF, and let’s give political correctness a long overdue flaming torch boot up the ar**.

Comic review: Punisher #17- The inevitable come-down after a rare moment of truth in Marvel comics

Writer: Nathan Edmondson
Artists: Mitch Gerads & Brent Schoonover
Publisher: Marvel (Disney)
Released: 1st April 2015


If you kidnap a top US politician, get him to confess that he’s a criminal, and then run around Washington DC with every uniformed order follower in the city hot on your trail, how do you get away? How do you make your escape when you have helicopters featuring the very latest in high tech thermal, night vision equipment tracking your every move?

Easy, you throw a Dictaphone (circa 1986) at the nearest soldier, tell him that it will prove you are innocent, then hide in a bush for half a minute and wait for everybody to fly off. You can then calmly stroll out and have a moment to yourself, right in the open, sitting alongside the Washington Monument and all of that other creepy occult architecture that is in the middle of Washington DC. Don’t worry about CCTV or anything like that, and don’t worry about security guards, soldiers, cops or any of the other people who are looking for you. They’ve flown away now, so take your time and enjoy the scenery.

Next scene it’s daytime and you are in a small town meeting your old army buddy. How did you get there when the entire military and police forces of the USA are looking for you and would have put up roadblocks all over town? Don’t worry about it, you just got there, let’s not get bogged down in details, okay?

From there you can saunter off to Mexico and beat up a top drug lord, blowing up his car and somehow tracking him and getting past all of the special forces trained security guards that would be protecting him 24/7 night and day.

Ahh, it’s easy being the Puinisher in 2015, isn’t it? Don’t worry about the high tech Police state of 2015 that has been exposed by numerous whistle-blowers recently. Just do your thing; pretend that it’s 1980 and that all of the new spy technology doesn’t exist. Oh, and if you are ever in big trouble just remember those two special weapons in your arsenal, the Dictaphone and the bush.

Oh dear, oh dear, oh dear, oh dear. What the Hell happened to this book? It was pretty decent last month, but it’s fallen apart now and what I’ve just read is so completely stooopid that I’m almost lost for words in describing it. It even had one panel with a US superhero criticising the Punisher because he killed somebody without ‘Due process,’ like that’s even a thing in the US today where they kill people all of the time with no regards to due process whatsoever. What the Hell do you think those drones in Pakistan, Iraq and Afghanistan are doing every day? Perhaps they are just looking for evidence for an upcoming trial, and accidentally killing women and children because of some design fault?

Goddamn it, this is too stupid for me to take in. Punisher #16 hinted at some kind of connection to reality in 2015, but Punisher #17 has just gone and reigned itself in by being as wilfully ignorant and as stupid as possible. Perhaps the last issue was a bit too radical, a bit too dangerous, a bit too close to the truth?  We can’t have that in Marvel comics now, can we? Punisher #17 has rectified that problem, and has promised to be a good boy, promised to be just another silly little comic, and promised not to reflect reality in a way that would be uncomfortable for anybody with power and/or money.

Writer Nathan Edmondson has kissed corporate ass this week, and put out a comic that will please his masters very much indeed. Don’t worry boss, issue #16 was just a one off. Issue #17 will be a good little boy, and I’ll get back to talking about rotten apples, Mexican drug cartels and how there is nothing wrong with the actual system itself. No, there’s no problem there. Land of the free and all that. Well, free as long as you can pay, obviously. Now get back to voting, back to serving the system, back to the rat-race, back to striving for that movie contract, back to the greasy corporate career pole, back to statist slavery and back to a comic book fantasy land that still acts like it’s 1986.


Rating: 2/10 (Just for the comedy value of seeing a US superhero talk about ‘Due Process’ in 2015 with no sense of irony whatsoever).











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Original fiction: Ms Morality in ‘The Tunnels of Intolerance’- Part One.

Written by: Mark. A. Pritchard
Released on: The Rorshach Rant- 27th February 2015


A thundering on the door was the signal of a new beginning, the start of a day that would change everything for young Ms Eva Truth (real name Elizabeth Ponsolby Holdings). Armed only with her mobile phone she bravely walked down the stairs to investigate just what the jolly hell was going on. By the time she had made the twenty-yard walk the Police were already on the scene. Her speed dialling bravery had saved the day once again.

She opened the door with caution, can of mace in hand, to find three Police cars, numerous Police officers and her handcuffed and embarrassed looking brother Rufus.

‘Oh hi Rufus, what’s up?’ said an empowered and confident Ms Truth.

‘Hi Liz, any chance you can explain to these gentlemen that I’m not the serial rapist you described on the telephone?’ replied a clearly annoyed and exasperated Rufus.

After a quick explanation, some on the spot counselling from a concerned WPC the brave feminist warrior Ms Truth finally allowed her brother to come into her house for a cup of tea, biscuits and a quick chat.

‘Now Rufus, before we begin I have to make things very clear here.’ Started a still shaking (but bravely) Ms Truth as she put the kettle on and made for the chocolate bourbons.

‘You have to understand that you can’t just knock on my door at 10am in the morning and expect me not to be concerned. You have to…..’

‘Wait a second,’ interrupted Rufus. I come around here every Wednesday morning to baby-sit for baby Sojourner and it hasn’t been a problem so far.’

‘Yes, but today is Thursday Rufus, today is Thursday.’

There was a stunned silence in the room, as Rufus came to the awful realisation that an entire day had gone misssing.

‘Oh my word,’ he cried. ‘Whatever could have happened? I feel a bit queazy. I thought it was Wednesday, but it’s actually Thursday??? Oh my mother earth goddess, I think I’m going to faint.’

‘You stay right here bruv, don’t do a thing, don’t even move a muscle,’ replied Ms Truth, now taking charge in a confident female manner. ‘This is a mystery for a super heroine to investigate, and I know just the woman for the job. You stay here. I need to make a call. ’

‘But what about baby Sojourner?’ replied Rufus. ‘Where is she? Is she at her Dad’s, is she….’

But before he could finish the sentence his fiercely determined sister was off, out of the room. There was no time to waste. Patriarchy was a menace that had to be snuffed out immediately, and every second spent talking about babies, children or families was a precious second wasted.

An hour later, and after the upstairs sounds of a shower, hairdryer and Pussy Riot CD, the living-room door flew open, and there she was, the heroine of the masses, the saviour of the offended, the amazingly empowered MS MORALITY.

What a sight it was to behold. Trouser suited, Pink Doctor Martin boots a cute orange balaclava and a little briefcase to show that this was a businesswoman, and not somebody that you should be messing with.

‘Greetings comrade. I hear you have been threatened/slightly offended by a mysterious event that was out of your control, and as a young homosexual gender neutral comrade of the politically correct nation of togetherness I am here to right all wrongs that were done to you.’

Her voice was booming, empowered and impressive, but not in an aggressive way. Young Rufus sat back in awe, quietly clapping his hands like a Dolphin at a theme park.

‘Ohhhh Ms Morality, I can’t believe that you have taken time-out from your duties at the politically correct nation of togetherness to help somebody like me.’

‘Of course comrade, that’s what we are here for. Whenever one of our comrades has suffered we are here to help. So what is the problem? Your sister told me that it was urgent, that you had lost something because of the evil system of white heterosexual patriarchy. Please tell me, calmly, in your own time, what have the evil b******s done to you? ’

After five minutes of explanation our quick-witted heroic detective/investigator/super-heroine determined that a conspiracy was afoot. It couldn’t be the fault of Rufus that he had managed to lose an entire day. He was after all just a single young gay man living all alone in the cold, harsh city. No, something else had to be happening, something bigger that needed to be investigated.

‘This is a most intriguing and complex mystery comrade Rufus. Your sister did the right thing to call me rather than letting you doing anything for your poor, innocent victim self.’ boomed the confident, and attractive (but not in a sexual way) feminist heroine.

‘I detect the intolerant and probably secretly gay workings of master criminal Doctor Homophobial behind what has happened to you. If anybody would have the motivation to cause the unpleasant scene with the Police that so victimised you this morning then it would have to be him.’

‘Oh, how do you know about the Police?’ replied Rufus. ‘I forgot to mention them. I just said that I’d lost a day and thought it was a bit strange.’

‘Ha ha ha, my young friend,’ replied the resplendent superheroine. ‘We are always listening, we are always watching, but just for your own protection of course.’

‘But now, I must be gone. It appears that Doctor Homophobial is up to his old tricks again, and it’s up to the nation of togetherness to stop him. That is our duty. That is our curse. Oh, and you don’t mind if I have a quick look around your flat for clues do you?’

‘Of course not Ms Morality, do you need a key?’ replied a now visibly shaking with excitement Rufus.

‘Ah no, that won’t be necessary. Just thought I’d ask. I’d hate to intrude on your privacy without asking.’

‘But didn’t you just say that you were listening and watching me for my own protection? And where’s my sister gone?’

‘No time for that comrade,’ interrupted a heavily in thought Ms Morality. ‘No time to waste, I must get to the bottom of this intriguing mystery.’

And with a quick nibble on a custard cream, the brave, heroic, towering, empowering superheroine was off into the dangerous mid afternoon traffic to investigate this now deepening mystery.

Meanwhile….deep in the bowels of their mancave of intolerance the evil gang of villains known as the ‘Politically Incorrect Scoundrels’ planned their next move. The leader of the Scoundrels, a particularly evil, devilish and devious character known only as ‘The Dissenter’ spoke up:

‘Stage one of the operation has now been completed my politically incorrect brethren of rogues. The trap has been sprung, and Ms Morality is walking straight into it. Now we move on to stage two of the plan. Operation Disempower is going exactly as planned, and it’s time we turned up the heat on little Ms Morality. Ha ha ha ha.’

The evil, intolerant laugh of the menace to society known as ‘The Dissenter’ echoed menacingly in the mancave of the rogues, and all the while Ms Morality was walking straight into their trap, a trap that could spell the end of her intolerance busting days, forever.


END OF PART ONE


Miss Morality will return next week (Friday 6th March) in ‘The Tunnels of Intolerance’- Part 2. What do the brethren of rogues have planned for her? What exactly is ‘Operation Disempower?’  All will be revealed next week. DON’T MISS IT.


* If any artist would be willing to illustrate this story, then please let me know.

Television review: The Flash: Season 1. Episode 1- Police state, we’re lovin it?

The Flash: Series One- Episode One (the pilot show)

Date of broadcast: 28th October 2014 (on Sky One)

Website: 
http://www.sky.com/tv/show/the-flash



In a corporate Police state that hides its true nature under the illusion of ‘democracy’ the Police, army and numerous government bureaucrats have to be portrayed as heroes.

These order following men and women are the very people who help maintain the current state of human slavery, not the tiny number of billionaires who own and control them. That is why they have to be glorified, made into demi-gods, made into heroes.

The mainstream media’s role is to produce propaganda that glorifies the corporate Police state. They will make the viewers believe that left is right, and up is down, but only if it serves the interests of the corporate elites.

Their purpose is to mislead, distract, and control. That is what they do, and they do it very well.

Peter Parker? Nope, it's Flash. 

They lie to you because that is their job.

Mainstream media propaganda is an extremely powerful weapon for the handful of families that own this planet. Do it correctly and the slave will actually be grateful for his condition of slavery. He will worship his master, and never, ever want to be free. Do it really well and he won’t even see the prison, and will laugh and scoff at anybody that points it out to him. After all, how can he want to be free when he doesn’t even realise that he is living in a cage?

Any reality on corporate mainstream media would expose the very owners of the media groups as the duplicitous autocratic cartel of slave masters that they actually are. Therefore, no reality is allowable on television. I’m not being particularly smart here. I’m just stating facts that we already know.

Only a bumbling, stumbling moron would watch one of their television ‘programmes’ recognise it as the Police state propaganda that it is, and then go onto the Internet and complain about it on his blog.

Yes.

I Know.

I am that moron.

Here's Captain white bread in one of his uniforms

I admit it, but I’m not going to waste too much of my time on ‘The Flash.’ It’s a superhero show where the heroes are the Police and the villains are muggers and bank robbers. Thank God for the Police. Without them we would be experiencing an epidemic of muggings and bank robberies every day of the week. Wouldn’t we? Thankfully the good old Police are there to protect us helpless victims, err I mean civilians, and everything is right with the world.

Err, except, that it’s not.

The Police are not there to protect and serve us. They are there to control us. It’s called a ‘Police state’ for a reason, not a politician state, or a banker state. The Police are the attack dogs of the corporate masters. They obey orders and smash all dissent, all by the letter of the law. See Nazi Germany and the Occupy movement for recent examples. I’m not stating my own personal opinions here, and I do not hate on people because I have some sort of personal grudge. All I’m doing is stating reality, and if you think that comic books are more important than reality then you are already beyond help.

But back to the silly little cop show. The Flash might as well be Peter Parker/Spiderman. He has girl problems, is traumatised by a family death, is very smart, attractive, young, and he is a cop, so a good guy.

The narrative was typical cop show stuff. Not interesting at all. Comic book fans will enjoy the references to comic book stuff (Gorilla Grodd) but it’s just another in a long, long line of hero cops saving helpless victims show. Remember viewers, you are a victim, you cannot help yourself. Wait for the uniforms. Wait for those in positions of authority to help/arrest you.

Professor X makes a guest appearance

See I told you I wasn’t going to waste too much of my time on what is ultimately just another pointless television show.

My summary: It’s a statist, corporate Police state show, with a young, powered up protagonist to make it all look cool to the children watching at home.

It’s a show that glorifies ignorance, apathy and the New World order.

It teaches children that goons in uniforms are gods and that the biggest problem in the banking sector is bank robbers.

Why rob a bank in a mask when you can do it in a suit and tie? Rob a bank in a mask and the Police will try to kill you. Rob it in a suit and they will protect you.

Oh, was I talking about reality again?

Sorry about that.

As for Flash, the super contemporary, super-smart television ‘programme’ for good little slaves?

Go on, knock yourselves out.

Enjoy it.

Don’t listen to me.

What do I know?

I’m just free.

That’s all.


Rating: 2/10 (Because the acting is okay, and at least Flash has a good relationship with his Dad and that’s rare in new world order dramas today).