Film Review: Get Carter (1971)

Release Date: February 3rd, 1971 (Los Angeles premiere)
Directed by: Mike Hodges
Written by: Mike Hodges
Based on: Jack’s Return Home by Ted Lewis
Music by: Roy Budd
Cast: Michael Caine, Ian Hendry, John Osborne, Britt Ekland

MGM-EMI, Metro-Goldwyn-Mayer, 112 Minutes

Review:

“You know, I’d almost forgotten what your eyes looked like. Still the same. Pissholes in the snow.” – Jack Carter

I can’t believe I never watched this film until now. It’s a cool ass motion picture. Now I did see the remake with Stallone from 2000 but that one left a bad taste in my mouth. This however, was a balls out revenge fest.

Michael Caine plays Jack Carter. He discovers that his deceased brother was murdered by some mobsters. He then spends the rest of the movie on a revenge quest, knocking off the scum that were behind his brother’s death.

There are also a lot of babes and Caine gets to toy around with several, most notably the incredibly sexy Britt Ekland, who gets naked. She would go on to be a Bond girl in The Man With the Golden Gun and would get even more naked in The Wicker Man.

I loved Caine in this and it is so cool seeing him kick serious ass in his younger days. Sure, he kicks ass as an older man too but he just had a presence here that made him debonair, dangerous and pretty fucking sexy, if I do say so myself. I’m not gay but I can appreciate a masculine dime piece through straight eyes.

This film also had film-noir elements to it, which pulled me in right away. This is more of a neo-noir, as it has that sort of style to it. The tone reminds me of Jean-Pierre Melville’s Le Samouraï.

The plot has noir styled twists and turns and it throws femme fatales into the mix but you never really feel like Caine’s Carter could be outwitted by them.

There really isn’t anything negative I can say about the picture. It was well acted, well directed and had some stupendous camera work and cinematography.

Rating: 8.25/10
Pairs well with: Other old school Michael Caine movies: The Italian Job, PulpThe Ipcress FileFuneral In Berlin.

Film Review: Birdemic 2: The Resurrection (2013)

Release Date: April 10th, 2013 (New York City premiere)
Directed by: James Nguyen
Written by: James Nguyen
Music by: Michael Gordon Shapiro
Cast: Alan Bagh, Whitney Moore, Patsy van Ettinger, Thomas Favaloro, Chelsea Turnbo, Brittany N. Pierce, Thuan Luu, Aaron Pressburg, Sam Hyde

Moviehead Pictures, I Got A Fish Productions, Chill, 79 Minutes

Review:

“Squaaah! Squaaah! Squaaah!” – every bird in the movie

This movie shouldn’t have been made once, let alone twice.

Seriously, this was fucking terrible with a capital FUCKING TERRIBLE.

I don’t mind the cast though. They seem like nice people having fun making these shitty ripoffs of The Birds, which are littered with environmental nonsense, alarmism and misinformation to the point that I can’t believe that the director is remotely serious about it. But then I’ve watched his interviews… he’s totally serious.

Anyway, the plot is even crazier than the first movie. Somehow it rains blood on the La Brea Tar Pits and prehistoric birds come flying out of the muck. Then there are other creatures effected too and we even get scenes featuring human zombies and killer cavemen. This tapestry of terrible bullshit makes Plan 9 From Outer Space look like 2001: A Space Odyssey.

There is a sequence where a woman is attacked by a CGI jellyfish that is very pixelated. It’s one of the most bizarre and baffling sequences I have ever seen on film. And then when the girl emerges from the water, she is covered in blood all over her body. How in the fuck can a jelly fish do that? Seriously? The director needs to watch a friggin’ Nat Geo documentary about jellyfish or hell… birds. While we’re at it, he should probably also watch ones on global warming, the environment and just general science.

The acting is beyond atrocious, the directing is completely nonexistent but we do get to see some nice boobies and horrendous dancing from uncoordinated white people.

I watched this alone in my room but the film made me feel awkward. Like people were looking down at me from Heaven, judging me for wasting my time on this. I could hear my dead relatives going, “There he is, just wasting away in his room spending 79 minutes on this garbage when he could be bettering himself somehow or making sandwiches for starving hobos.”

This movie is a blight on humanity. It’s easily one of the worst things ever filmed and I feel bad for the actors that came back to do this a second time. Like did their hours get cut at Starbucks? Because they certainly didn’t make more money doing this than working the Thursday morning shift.

Rating: 1.25/10
Pairs well with: Birdemic and really nothing else.

 

Comic Review: Ultimate Comics Spider-Man, Vol. 2

Published: December 5th, 2012
Written by: Brian Michael Bendis
Art by: David Marquez, Sara Pichelli, Chris Samnee

Marvel Comics, 113 Pages

Review:

I was really sold on the Miles Morales character after reading the first volume of this series, which served to be his origin story. With this one, we get to see Miles struggle with mastering his powers and how he is faced with a major moral dilemma.

His uncle, who is the Prowler, becomes aware that Miles is the new Spider-Man. He seeks out his nephew in an attempt to get him to help take out Scorpion, who is in New York City to get revenge on the Prowler. Miles really wants no part of it but his uncle blackmails him and then other circumstances push him towards a showdown with Scorpion, which is set to happen in the third volume.

This isn’t just a build towards a battle with Scorpion though. Miles also faces off with some known villains in this volume. We see him pitted against famous X-Men villain Omega Red and lesser known villain the Ringer.

While I really enjoyed this chapter in the Miles Morales story, it was slower and less exciting than the previous one. It is still very good and builds off of the first volume but other than advancing the story between Miles and his Uncle Aaron, not much happens. I’m assuming shit will hit the fan though in the next volume, as Spidey and the Prowler confront Scorpion.

Rating: 8.5/10
Pairs well with: The other early Mile Morales Spider-Man stories. Also, Spider-Men I and II and Spider-Verse.

Film Review: Saturn 3 (1980)

Also known as: The Helper (working title), Saturn-City (Germany), Kronos III (Greece)
Release Date: February 15th, 1980
Directed by: Stanley Donen, John Barry (uncredited)
Written by: Martin Amis, John Barry
Music by: Elmer Bernstein
Cast: Farrah Fawcett, Kirk Douglas, Harvey Keitel

ITC Entertainment, Associated Film Distribution, 88 Minutes

Review:

“Now tell me. Can you talk? Or are you malfunctioning?” – Benson, “I AM NOT MALFUNCTIONING – YOU ARE” – Hector

This film has three actors and a killer robot. Well two actors, a robot and Farrah Fawcett, who isn’t as robotic as the robot but is clearly overshadowed by the two other actors in this: Kirk Douglas and Harvey Keitel. Fawcett was the top billed star however, as she was at the absolute height of her career when this came out and she got her boobies out, which was something to behold when I was way too young to see this film for the first time.

I remembered this movie feeling incredibly cheesy and it does have a lot of cheese. However, it is also better than my memory’s recollection of it.

This film is pretty damn dark for looking like it was made on leftover sets from Battlestar Galactica. The robot is creepier than most of the killer robots from the time period. However, the story behind the robot and why it is a killer is more interesting than what similar films did, as he actually has a backstory and you fully understand why he is out for blood.

This film has a lot of narrative layers to it, which was impressive for a 1980 sci-fi film with an obviously small budget. There is some real philosophy in this movie, which was way over my head as a kid.

Harvey Keitel was a great slimeball in this but he wasn’t as disturbing as his role in Taxi Driver. But he did bring some of that darkness into this and he was great as the villainous Benson.

Kirk Douglas was typical Kirk Douglas as the more heroic male character of the two and he just came off as he always does, as a real man’s man.

Fawcett was also pretty impressive when you compare this to her most famous role as one of Charlie’s Angels. She got to be dramatic in this and showed signs that she could perform well beyond just being a TV sex symbol. I wouldn’t say that she ever became great but had her career continued on an upward trajectory, she wouldn’t have been half bad.

Saturn 3 looks fantastical and lighthearted in its style but it is a pretty dark movie with some disturbing undertones to it. It’s definitely worth checking out if you like sci-fi films of its era.

Rating: 6.75/10
Pairs well with: Outland, The Black HoleFlash Gordon (1980), The Last Starfighter, Dune and the original Battlestar Galactica TV series.

TV Review: Flight of the Conchords (2007-2009)

Also known as: Los Conchords (Spain)
Original Run: February 26th, 2016-current
Created by: James Bobin, Jemaine Clement, Bret McKenzie
Directed by: James Bobin, Taika Waititi, various
Written by: James Bobin, Jemaine Clement, Bret McKenzie, Taika Waititi, various
Music by: Jemaine Clement, Bret McKenzie
Cast: Jemaine Clement, Bret McKenzie, Rhys Darby, Kristen Schaal, Arj Barker

Dakota Pictures, HBO, 22 Episodes, 26 Minutes (per episode)

Review:

*Written in 2015.

Having just watched Jemaine Clement in the fantastic What We Do In the Shadows, I was inspired to revisit Flight of the Conchords, as I hadn’t watched it since it was last on HBO in 2009. Also, I had never seen it in its entirety and in the proper sequence. Now I have and I’m glad I did. By the way, both seasons are streaming for free on Amazon’s video-on-demand service, right now.

So, as much as I loved this show when it was current, I loved it even more revisiting it several years later and after seeing Clement’s career evolve. It was nice to get back to basics and see him and his crew at their best. I wouldn’t call this their creative peak but I would say that it was where they were the most in-tune to the versatility of their talents.

Following a New Zealand band, the Flight of the Conchords, and their lives trying to make it in New York City, is a unique experience. The show ties together entertaining stories, hilarious musical segments and great characters that are unlike any other. Being that everyone in this show is pretty much an exaggerated extension of themselves makes it feel authentic despite its absurdity.

Jemaine Clement and Bret McKenzie are a perfect duo and play off of each other so well, that there is nothing unnatural or forced about their relationship. Kristen Schaal and Rhys Darby are also great members of this show’s cast and are both believable and lovable. Arj Barker, who plays their best friend, is fantastic as Dave. In fact, if you have time, go to YouTube and search for “Dave’s Pearls of Wisdom”.

This is one of the best comedies HBO has ever aired and they have aired several comedies that are now classics. I wish that the show went on for more than two seasons but the quality of work was so strong, and the ending was pretty fitting. There are few shows that feel this satisfying throughout their entire run.

Rating: 9/10
Pairs well with: Other films and shows created by this same group of guys: What We Do In the Shadows, Eagle Vs. Shark, etc.

Comic Review: The Man of Steel (2018 Miniseries)

Published: May 30th, 2018
Written by: Brian Michael Bendis
Art by: Jason Fabok, Ivan Reis, Joe Prado, Alex Sinclair, Steve Rude, Evan Shaner, Ryan Sook, Wade von Grawbadger, Kevin Maguire, Adam Hughes

DC Comics, 155 Pages

Review:

Brian Michael Bendis lost me a long time ago. But when he left Marvel for DC Comics and was given a weekly Superman miniseries to write, I was intrigued. It had been a while since I really got into a Superman story and even longer since Bendis wowed me. Would these two forces coming together give us something great?

Well, not really. But this did get off to a really strong start. I’ll explain.

This story is stretched over six issues that were released weekly, as a lead-in to the Bendis Superman ongoing series. The story started out really strong and it had me hooked over the first four issues. Things changed as I got to issue five though and I didn’t like the conclusion. Anything after this sentence is going into major spoiler territory, so you’ve been warned.

A new villain has arrived in the DC universe and his name is Rogol Zaar. Apparently, Zaar was instrumental in the cataclysmic event that destroyed Krypton. Now, he wants to do the same thing to Earth, as he must “cleanse” it from Kryptonians. I thought that Zaar was a pretty cool and intimidating villain but his design could have been better. He kind of just looks like a generic cosmic brute that Superman or a Green Lantern would take out after a bit of a struggle on the way to fighting a badder, major villain.

Ultimately, Superman gets help from Supergirl and his Justice League pals: Batman, Wonder Woman, the Hal Jordan Green Lantern, Cyborg and the Flash.

Superman also has to deal with the surprise appearance of his father, who randomly crashed into his apartment to take his grandson away for some sort of training experience. Superman’s son Jonathan wants to go but Supes and Lois Lane don’t agree. Then everyone ends up ganging up on Superman and cucks him out (for lack of a better description) and his son and Lois both leave with his dad, leaving him alone clutching a teddy bear. For real, this happens and it is baffling as hell seeing Superman without balls.

Then in the final battle, Superman is struggling and Supergirl just shows up and throws the big bad guy into the Negative Zone in the most anticlimactic, easy and bullshit ending possible. So he was upstaged by his little cousin like it was no big deal.

Yeah, the last two issues had me scratching my head and then I remembered what was going on here and his name is Brian Michael Bendis. For four issues, Bendis had his audience back in the palm of his hand and then he Bendised the fuck out of us!

Now I can excuse this dime store bullshit if it actually leads to something better and greater for the ongoing Superman series but I’m going to go into that title with serious caution.

It’s just that 66.7 percent of this story was really damn good. I don’t know if Bendis does this shit on purpose or if he just has good ideas without the ability to close out his stories.

In any event, this miniseries and the regular series to follow are going to have a major impact on the larger Superman mythos. Hell, they already have by making Rogol Zaar the force behind the destruction of Krypton.

Rating: 7.5/10
Pairs well with: One would assume, the upcoming Superman series by Brian Michael Bendis.

Talking Pulp: Comicsgate and the Sustainability of Crowd Funded Comics

*If you have been following what has been going on with Comicsgate over the last several months, you can probably skip over the long introduction and jump right into the second part of the article. The introduction is to get people who aren’t aware of Comicsgate up to speed on what has been happening.

Part I: An Introduction to Set the Stage:

I have always hated labels but I find my ideals and my fandom in line with the Comicsgate movement. I hate anything called “(insert name)-gate” because it’s been done to death and at this point, it is misused. Initially, it was used as a suffix to label anything that was a scandal. Comicsgate like Gamergate before it isn’t a scandal, it is a push back against a forced social cultural agenda brought on by liberal extremists that many refer to as SJWs (or social justice warriors).

I really don’t want to spend my time on this article talking about SJWs, as all the big wigs in the Comicsgate movement have that covered. But in a nutshell, they tend to latch on to something in pop culture and use it as a platform to force diversity on the masses. No one I talk to or support in Comicsgate has a problem with diversity. We love diversity, which can be found in many major comic book titles going back decades.

Hell, it’s rare to find an old school comic book fan that isn’t a huge fan of the Chris Claremont era of X-Men, where diversity was kind of the whole point. My favorite franchise of all-time was G.I. Joe and that certainly wasn’t short on diversity. As a kid two of my favorite characters were Stalker (a black man) and the Baroness (a woman). My absolute favorite was Shipwreck, whose real name is Hector Delgado, so he’s probably Hispanic.

What Comicsgate people have a problem with is the SJW’s tactics and how they use hate filled rhetoric and intimidation while preaching the opposite. The big thing that people supporting Comicsgate want is good storytelling and for the intellectual properties that they love and cherish to be respected. But if you disagree with SJWs, they tend to call you names like “racist”, “bigot”, “misogynist”, “homophobe”, “white supremacist”, “Nazi”, “alt-right”, “Trump supporter” and whatever other bullshit they can come up with to bully you and paint you as something you aren’t.

I’m none of those things, by the way, not that I should even have to defend myself. And I didn’t support Trump… or Hillary for that matter. I’m an anarcho-capitalist that hates talking about politics because I ran a blog about it for several years until my brain exploded. It then took several more years for my brain to regenerate into something other than pulpy goo.

Anyway, when you try to have rational or reasonable discussions, the SJWs call you more names and then block you on social media because that’s what modern day bullies do. In the old days, bullies at least had balls and would get in your face, physically. Nowadays, the bullies are setting up GoFundMe accounts to get their fans to pay for surgeries to remove their balls (see for yourself). I guess being a writer for Marvel and DC Comics with an SJW agenda isn’t a good paying gig when you need to crowdfund your sex change operation. Point being, comic book sales are terrible in 2018, as the industry is essentially being held hostage by these SJW types. Comic books, as we know them, are dying a horrible death. Seriously, look at Squirrel Girl… who buys this shit?

But with all that being said, there are several people who are now creating their own comics because they no longer want to work within an industry where they aren’t wanted by those who hold the keys to the kingdom. Many conservatives in comics have been harassed and blacklisted. Those who still work in the comics industry that don’t agree with SJW politics and tactics, keep their mouths shut for fear of losing their jobs or receiving even worse backlash.

However, guys like Richard C. Meyer a.k.a. Zack of Diversity & Comics (currently at 81K subscribers) and former DC Comics artist Ethan Van Sciver a.k.a. ComicArtistPro Secrets (currently at 68K subscribers) have spoken out heavily against the SJW types and have created their own projects, which are being crowd funded with great success, unlike SJWs trying to crowd fund the snipping of their genitalia.

Diversity & Comics was the first to come out with his own graphic novel, which is called Jawbreakers – Lost Souls. Right now, this book has raised $362K from 9403 backers, funding 3867% of its initial goal. Ethan Van Sciver followed with Cyberfrog: Bloodhoney, which has raised $436K from 6928 backers, funding 5452% of its initial goal. These campaigns are still open and will continue to raise money.

Now there are other creators entering the fray and that’s what I’m here to discuss after this long winded introduction to get my readers up to speed.

Part II: Moving Beyond the Genesis of Comicsgate:

I have supported Jawbreakers and Cyberfrog. I did it gladly, without even knowing much about the comics themselves, as it is about funding something bigger than just a comic book project. It is about funding a movement and trying to change the industry. As time rolls on and things change and modernize with technology, we don’t have to necessarily buy comic books the same way that we’ve been buying them since, well… half a century before I was even born. To be honest, I still love walking into my local comic shops and buying stuff off of the wall and I think every true comic fan agrees with me there.

Since supporting those two projects, I’ve also found myself backing Cautionary Comics’ Ravage – Kill All Men!, Mitch and Elizabeth Breitweiser’s Red Rooster: Golden Age (the one I’m most excited about) and Richard C. Meyer’s second project Iron Sights.

The thing is, there are more projects out there that I haven’t supported and many more in the pipeline. So that raises some questions worth exploring.

To start, these comic books are typically graphic novel size or longer than standard comics. Plus, they are printed independently without being under the banner of a large publisher like Marvel, DC, Image, Dark Horse, etc. Therefore, they can’t print these books as cheaply because they aren’t printing mass quantities, month after month, till the end of time.

Printing costs are determined by a combination of things: mainly cost of goods (paper, ink, etc.) and labor. More comics means that the cost of overall goods goes down and so does the amount of labor, as labor is mostly tied in to setting up the press. It doesn’t matter if you set up a press to print 100 comics or 100,000, the set up process is virtually the same. Spreading that cost out over 100 copies is going to cost more per issue than spreading it out over 100,000 copies.

So keeping that in mind, the cost of these crowd funded indie comics is more expensive than that issue of Detective Comics that you bought at your local store. What usually costs $3.99 to $4.99 costs at least $20. Keep in mind that there are more pages in these books but the price is still quite a bit more than the norm.

But realistically, most people will spend more than this. I’ve spent between $30 and $75 on each of these projects. Reason being, there are all types of perks based off of what tier you decide to purchase. So for instance, on Red Rooster I got the $50 tier, which comes to $60 after shipping but it includes a signed copy of the 48 page Red Rooster comic, a sketchbook of unused and conceptual art, as well as a sticker related to the project. I really wanted the sketchbook in addition to the comic, so I spent twice as much as I would have for just the comic alone, which was $25.

The point I’m trying to make here is that these things aren’t cheap. But that’s okay. I gladly funded these projects because I like them, the people behind them and what all of this represents. Tens of thousands of other people feel the same way and so far, these Comicsgate related projects have raised more than $950,000 in less than two months and that’s just the projects I have supported. I’m sure the ones I haven’t backed push the number over a million dollars. Plus, Red Rooster and Iron Sights just started a week or so ago.

Additionally, there is a lot of buzz around these books as most of the creators are helping each other out by promoting different projects than just their own. YouTube and Twitter have been the strongest forces in getting the word out. And since Jawbreakers and Cyberfrog both went gangbusters, everyone is excited and motivated even more than they were a few months ago. This is great for the creators and even better for the fans.

But can this momentum maintain? How big is the market share, really? It is easier to control a few projects and to pinpoint where the consumer should put their buck but what happens when others start jumping on the bandwagon, which is already happening?

Part III: The Uncertain Future:

The thing is, as more projects hit the market, there will be more choices. That is how capitalism works.

However, more doesn’t necessarily mean better and while the creators now seem like a good, solid group of people in this for the right reasons and to help establish something larger for the comic book industry, there are no guarantees in the type of people that could come along next.

I’m not saying that we should be weary? Quite the contrary. I’m all about accepting people with open arms. If they turn out to be a douche, I cross my arms and move on. But everyone should be given the same platform and means to achieve success. I think people should be smart with their money though and not just freely throw it onto every project that pops up. I’ve had to do that with some projects that I was going to help fund simply because of my excitement level for what’s been happening. I’d love to fund all of these things but I only make so much money and have bills to pay; that’s life. Plus, there’s other things outside of the Comicsgate sphere that I want to back just because they’re projects that resonate with me in some way.

Anyway, once the floodgates are open and they’re nearly there, it will be hard for others to have the same sort of early success that Richard C. Meyer and Ethan Van Sciver had with their first projects. Truthfully, their follow up comics might not perform as well either when other projects pop up on Indiegogo or Kickstarter. I hope that the word spreads and that sales continue to increase but we don’t yet know how big this market can be.

Right now, the market is only so big. It is growing, however. I definitely feel like it still has room to expand but that also comes from maintaining the level of enthusiasm people have for all of this.

I found out about all of this Comicsgate stuff through a friend that introduced me to Diversity & Comics six months or so ago. I also started following Ethan Van Sciver after that because I liked a lot of the things he was saying, even if his channel is mostly about Star Wars and I’ve pretty much moved on from that franchise.

I think that it is important for people to share what is happening on social media because in this day and age, it is the best way to get the word out. And people are doing just that, which is why the movement has drastically expanded in the last few months and why Cyberfrog and Jawbreakers are crushing it on Indiegogo.

Wearing your passion on your sleeve is the best thing you can do. And being outspoken against the haters and the bullshit is also important because anyone who supports these guys is public enemy number one to the majority of comic book pros in the mainstream comics industry.

With more people coming into this from the creative side, the pie will have to be cut up into smaller pieces. That’s fine though, because in a free market, the better comics will survive and outshine the ones that just aren’t up to snuff. That’s how it works and I think that most people on the Comicsgate side of the coin understand this. But if the market continues to increase, that’s just more money to go around.

Unfortunately, there are some lesser known creators that are getting all worked up and accusing the more popular guys of stealing their thunder and cutting into their pieces of the pie. The truth is, this shit isn’t going to help them sell more books and no one will really have sympathy for this sort of whiny bullshit. Everyone that’s creating on the side of Comicsgate is working towards making the industry better overall but ultimately, are also working to make their bank accounts larger because that’s what business is.

These people that feel entitled to something just because they have been doing it longer won’t matter in the grand scheme of things and this sort of infighting within the network doesn’t help anyone. Get motivated by your competition and use that as fuel to make a better product; see what works for the successful creators and learn from those successes.

Plus, the success of the bigger guys like Ethan Van Sciver and Ricahrd C. Meyer is what brought more people to the movement. I probably wouldn’t be here if it wasn’t for these two guys. The truth is that they’ve baked a much larger pie for people to get in on. Their presence in this network of like minded people should be seen as something positive, as it does benefit everyone.

Part IV: What the Future Can Be:

I have heard a lot of people make the same connection that I am about to but this Comicsgate movement is very similar to the Image Revolution in the early ’90s. The last time I felt this way about comics was when I was in middle school and seven major comic book creators walked out on their jobs at Marvel to start their own independent company. Their reasons and motivation were different but what they were looking for was essentially the same: a better comic book industry where the creators own their creations and get to make as much money as they possibly can by plying their trade. And in the case of Comicsgate, creating better stories and respecting the established history of the industry.

The biggest difference between this generation’s rebels and the founders of Image, is that these modern rebels interact directly with their customers. They are approachable, easy to communicate with and have the ability to adapt to trends on the fly. This isn’t just about crowd funding money, it is about crowd funding ideas and criticism. It’s also about building the movement. If my middle school aged self could have had conversations with Todd McFarlane, Rob Liefeld or Jim Lee, I would’ve lost my damn mind. We live in a really cool time.

The SJW creators don’t want to interact with their fans, they want to dictate what their fans should support and call them “toxic” if they don’t follow suit. The SJW way of doing business will absolutely fail and the Comicsgate creators are on the right side of the consumer.

As this continues to grow, the future will start taking shape for the comic book industry in new ways. I don’t think Marvel or DC will ever go out of business, as they own very profitable characters that are essentially the gods and heroes of American mythology. But guys like Ethan and Richard will probably have to start their own companies. Or there will end up being some sort of indie publishing house that will form to take on the duties of printing and distributing these products with more regularity and eventually, at a cheaper price.

This could very well lead to a third major company forming and making the same sort of impact that Image did with their first string of releases in 1992. In fact, this could be bigger, as a large part of the Comicsgate fan base is comprised of people that have been long time fans and are no longer kids buying comics with their allowance. We have jobs, make real world money and are a much bigger financial pot to dip into than Image had with their earliest fans. I understand that the comics industry doesn’t do early ’90s numbers in 2018 but that can change. Maybe this is what the industry needs and the x-factor that can propel it forward for future generations. Especially, when just two guys have independently crowd funded over $800,000 for just two comics in less than two months.

Part V: Conclusion:

There is a lot to be excited about and things have changed for the better with the impact that Comicsgate has made on the industry in just a short time. The SJW creators try to ignore it and downplay it but they’re terrified, which is why they spend all their time trying to undermine it, harass its supporters and attempt to sabotage it at every turn. Just look into what Mark Waid did to Antarctic Press in trying to stop Richard C. Meyer’s Jawbreakers from being published (video on that here).

It is still an uphill battle and a few big victories don’t necessarily win a war. It’s up to the fans and the creators to keep pushing forward in positive ways and to not become swayed by hate filled shitbirds that are just projecting that hate onto normal, well adjusted people. Plus, SJWs have proven time and time again that they’re not very smart and that they’re just cowards that will talk shit and then immediately block you. Ding Dong Ditch was a game for pussies.

It is important to support these projects if you believe in what all of this stands for and if you want to create a comic book industry that is once again thriving and healthy without lame ass identity politics, crappy writing and shitty Tumblr art.

As the train keeps running, spend that money wisely. Buy what you want though. So many new projects are about to flood the market and that’s a good thing because you now have more choices. It’s okay to be selective because these comics are pricier and with that, you deserve to get more for your investment. The cream will rise to the top and with that, bigger and better things for the creators that succeed and the fans that have supported them.

Maybe one day there will be a Jawbreakers or a Cyberfrog movie. Why not both? Why not more?

*The highest rated definitions of “Comics Gate” and “SJW” on Urban Dictionary.