Wednesday, May 27, 2015 

Nobody should be fooled into funding a UN-sponsored comic

MTV wrote about the United Nations' new project called Comics Uniting Nations, which they're hoping will change the world in another 20-30 years. But with their record, and countries they have representing their human rights councils now, that change would not be for the better:
[...] You might not be familiar with these names, but The World’s Largest Lesson already has a lot of support from around the globe. Check this out: at the recent World Education Forum, Japan, Laos, Lebanon, Egypt, Pakistan, Sudan, Latvia and Indonesia, among other countries, gave pledges to The World’s Largest Lesson.
Dear dear dear. I could accept Japan, Latvia, and Laos, but most of those other countries listed are a very bad lot, with gross human rights violations taking place there. For example, there's Pakistan, which has seen a horrifying number of Muslim honor murders take place. And slavemongering by Islamofacists is still prevalent in Sudan. In Indonesia, a huge percentage support jihadism. And two thirds of Muslims in Morocco and 3 of the aforementioned countries support establishing a new caliphate.
“The U.N. wants the people of the world to get invested in the Goals,” Josh Elder, Founder of Reading with Pictures, told MTV News. “We want that too, so we’ve assembled an international team of comic creators to craft a series of comics, one for each of the seventeen Global Goals. The comics will explain the challenges we all face and how every individual has a role to play in meeting those challenges.”

The project is on Kickstarter with a week to go, and a number of important comics creators’ names are already attached, including Fabio Moon, Gabriel Ba, Katie Cook, Fred Van Lente, Ryan Dunlavey, Ron Marz, Yen Yen Woo and Janet Lee. Likewise, Comics Uniting Nations is in talks with comics companies to publish single-page PSAs to talk about the Global Goals.
I wouldn't advise anybody who realizes what the UN truly is today to plunk any money into what's bound to become a propaganda project. Nor should any publishers be wasting time and resources working with the UN on this. It'd be nothing more than a boon to autocrats and other people who don't deserve your hard-earned money. The UN's also still got quite a replete record of hostility to Israel, and they're also full of anti-Americanism today, along with failure to disarm terrorist cells in Iran & Iraq. In fact, why are they asking people outside to fund their project instead of paying for it themselves? Most people at the UN doubtless get big salaries, and I'd think they could pay for it all by themselves, rather than cheat people out of their money.

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Tuesday, May 26, 2015 

A DC editor who hated Terry Long like he was a real person

I found a perfect example of a so-called fan who made his way into the mainstream editors offices proper who distorted the differences between fiction/reality. His name is Jonathan Peterson, and he's pretty obscure, because I couldn't find any Facebook page for him; he presumably only worked at DC for a few years. And here's an interview with him from the Titans Companion, published a decade ago, where he gave off quite a poor impression of himself:
TTC: The “Titans Hunt” storyline featured the deaths of a few members of the team. How did you decide who would be on the hit list?

JP: That was part of our brainstorming. We drew up a list of the type of characters we wanted to bring in, and we turned to Marv to see who we could lose. Let’s really let the blood flow. At one point we had to decide who lives [and] who dies, as you asked. Basically, what we soon realized was “Well, we do like these characters. We hate to see anyone go.” I mean, running down the list, Nightwing had to stay. That was a given. He was the leader; he was the star to me. Plus, in my back pocket

I had plans for Nightwing. Donna Troy [was] another one I wanted to see stay, though I was mad Marv had married her off. I wanted Terry Long to go. Personally, I thought he was a whiner. He needed to be upgraded or tossed out, so he was always on the block. [laughs] Month to month we kept running a vote saying “Should we kill him now? He’s really annoying me this month!”

Victor: well, I wanted Cyborg to stay. Good character, and Tom liked him, but he wanted to redo the costume, which I agreed with. I thought a change was in order there. The good thing about a mechanical guy is he always needs new parts. Perfect reason for a perpetual redesign till you find one you like. [laughs] Then … who am I leaving out? Oh! Well, there was Kory. She had to stay; [she] was part of my top secret Nightwing plan. I still hadn’t told Marv about that one yet – I was still putting the pieces together. [laughs] And then there was Joey.
Good grief. This man really thinks it's a whole laugh riot. It's telling he resented Wolfman for daring to make Donna a married woman, to the point where he'd take out his jealousy on a character Marv worked hard at creating, effectively insulting Marv in the process. Would Peterson be saying that if he'd created Terry? And doesn't he realize the reasons Cyborg and Starfire are good is because of the scriptwriting efforts? What planet did Peterson come from originally?

I'm no psychologist, but I'd guess that up to a point, Peterson was illogically jealous because this guy who never existed in real life was dating a hot girl who never existed either...and Peterson wasn't. He must've inexplicably decided to himself that Donna wasn't allowed to have a civilian boyfriend. Let's remember how, after Donna and Terry separated in 1994, she was paired up with another character touted as a superhero, Kyle Rayner, for about 3 years.

Oh, and about Jericho, his take on Joseph Wilson wasn't much better:
TTC: Yes, Jericho…

JP: Jericho we decided was sort of expendable. So if Jericho was to die, I think Marv was the one that decided to make it symmetrical. Let’s have Deathstroke be the one to do it; then we have the whole pathos of Deathstroke killing his own son. I mean, it was just too perfect. So by process of elimination, we all agreed he could go. Especially since, much like Terry Long, I thought Jericho was a bit too soft-edged. I mean, I know he has his fans and all, I just wasn’t one of them. [laughs]

Then we thought, “Well, why would he kill him? Let’s bring it back to Raven and Trigon. Let’s have him be possessed,” and someone else tossed out the idea of having a big moment where suddenly he can talk. That will freak people out! [But] we couldn’t just have him show up talking. [Since] we liked the Wildebeests and wanted to bring them back, we decided to make Jericho the leader of the Wildebeests. Then we brainstormed the notion that as part of their experiments, they end up creating an actual Wildebeest! So I get my Wildebeest!
That's why he saw to it Jericho would croak? What an embarrassment he is. If the character had to go, it shouldn't be because he thought he was something that only results from the writer's failure to make him what he personally thought was fitting. It should be because they think it'll have a plausible impact. Peterson only explained why people outside comicdom could think people inside are nuts.

The most stupefying comment Peterson made, however, was earlier in the interview:
So from all of that, that basically set the stage for me getting to talk to Marv and to become friendly with him. So now we jump forward a bit. As I said, I had been at DC a while now, [and had] edged my way along the ranks, and was now being given the Titans.

TTC: Which you were a fan of…

JP: Not really. [laughs] I mean, I was familiar with it. I knew the characters and all; I knew of and had read many of it’s core stories, but to be totally honest, even though I got my comics start at DC, growing up I was more of a Marvel fan. I was a true Lee-Kirby disciple. To this day I still think those are “comics prime.”
Let me get this straight. He wasn't a fan of the Titans? No wonder he considered any Titan he chose expendable, and didn't think it was enough to just drop them quietly into limbo, if he really had such a problem with their presence. I dispute whether he was a Marvel fan either, because it's always possible that, if he'd gone to work for them, he could've wound up trying to do just what he did with the Titans at DC. For now, his statement explains why he cared so little about the hard work by other writers - because he hadn't read much of DC in his younger years, if at all. That's not a good sign, and it wouldn't be if he'd been more a DC fan and less a Marvel fan either.

Thank goodness Peterson didn't get what he must've actually wanted - subsequent writers wrote Terry and Donna as just getting estranged/divorced and he only died in a car accident along with their son - but Peterson was clearly an early example of a self-proclaimed fan who got his foot into the door of a major publisher, and proceeded to inflict damage upon all the hard work people more talented than him spent years to etch out. That's how he thanks them? By seeking to wipe out any character he personally doesn't like as if they're real people, and not try to make improvements that could make them more interesting or workable than he thinks is the case? It's good he's no longer working in comicdom, because if he's going to be so narrow and self-important, then he's not qualified for editing books whose primary function was escapism. And I don't like how he considers his biases funny either. Anyone who'd think it's hilariously entertaining to terminate even fictional characters on a whim should have their heads examined.

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Monday, May 25, 2015 

Did Kurt Busiek's Marvels miniseries lead to stagnant superhero comics?

We've all heard the arguments about how The Dark Knight Returns and Watchmen led to an alarming influence of darkness, joylessness and lack of humor in superhero tales. How the death of Gwen Stacy later influenced the idea of getting rid of co-stars, increasingly for no good reason, and how the Phoenix Saga led to the idea of turning leading ladies into villainesses for shock tactics (or how they regurgitated the storyline ad nauseum in later years), among other horrific things. But until I first read this entry on Comics Should Be Good from 2010, about how Busiek's Marvels miniseries may have inadvertently led to overabundant nostalgia trips and retcons, I never thought it might've contributed to a largely static, artificial situation in character drama and interactions:
You see, Marvels is nostalgic. Busiek looks back on the “golden age” of Marvel comics, when everything was new. Phil Sheldon takes a journey that many fans of superhero comics take – he begins with wonder and slowly becomes cynical, finally “quitting” superheroes because they don’t dazzle him anymore. The death of Gwen Stacy is a big ol’ metaphor for death in superhero comics in general – Phil gets burned out on the craziness and wants a “normal” life. Gwen’s death doesn’t get covered in the newspapers, because she wasn’t important enough. And Phil’s had enough. In a grand way, Busiek (who still, obviously, loves the superheroes) is showing how we as readers move beyond childish power fantasies and focus on more important things. That’s where the nostalgia comes from. Despite Gwen Stacy’s death, there’s still that wonder about superheroes and the marvelous things they do. Marvels tapped into that beautifully and became a hit. And that’s where the problems began.

[...] Suddenly, retcons became the hip thing. In the years since Marvels, DC and Marvel realized that they could tell stories about their characters that would fit into their already-established histories. They could fill in the blanks, in other words. And people who grew up with the characters would love that. This coincided with the slow graying of the audience over the past 20 years – comics audiences in the past famously turned over every four years, so the companies didn’t care about repeating themselves, but that’s no longer true, as fans stick with comics as they get older and older and remember precisely which nipple Ogre-Man lost in his fight with The Tabloid! in 1977. So Marvel and DC started to tap into that nostalgia of older fans, who remembered when comics were really awesome (as you all know, everything was the BEST when you were 12 – I of course agree with that, because that’s when MOTHERFUCKING MANIMAL was on!!!!!) and wanted to relive those bygone days without actually re-reading the comics they already had. Marvels showed that there was an audience for this.

Retconning became a fairly big trend in comics that has continued to this day. Busiek himself was at the forefront of it, as he did Untold Tales of Spider-Man soon after Marvels, a series that fit stories into gaps in Spider-Man’s old continuity. Marvel has continued to capitalize on this. Off the top of my head, we have X-Men: The Hidden Years, which told stories that picked up when X-Men was originally cancelled back after issue #66; the “First Class” X-Men series of the past few years; Avengers Classic, which told stories from the early years of the team; Fantastic Four: First Family, a different take on the team’s origin; and Daredevil: The Man Without Fear, which added nuance to Matt Murdock’s early years. DC, which has always been a bit more interested in its “historical” characters and, because of Crisis and a lack of emphasis on continuity early on in their publication history, has mined this vein perhaps even more than Marvel. James Robinson’s brilliant Starman (which began not too long after Marvels) is steeped in DC history, and Robinson did some re-writing of the past. DC also began to capitalize on the “Year One” success, as more and more heroes got reworked origins (Green Arrow, Metamorpho, Huntress, to name a few). Superman’s origins have been continually tweaked. DC has also wiped their continuity clean once more, in Zero Hour, and again to a certain degree in Infinite Crisis. Joe Chill, the man who shot Bruce Wayne’s parents, has been dead (in “Year Two”), not identified as the murderer (after Zero Hour), back to being the murderer (after Infinite Crisis), and then a crime lord rather than a simple mugger (in Batman #673). While Marvel seems to attempt to fit all these retcons into their established continuity, DC seems fit to play fast and loose with theirs.
An interesting observation. It never occurred to me that Marvels could've been responsible, even unintentionally, for the decline of quality in superhero comics. It may not be the first of its kind - Roy Thomas already did similar projects with The Invaders and All-Star Squadron, and DC had another book or two in the early 90s built on nostalgia - but Marvels clearly must've precipitated the flood of retcons and overly nostalgia-based ideas that have substituted for meaty drama and personality over the many years. To the point where it resulted simultaneously in the following:
One consequence of this (but not the one I’m concerned with) is the retroactive “darkening” of superhero comics from bygone days. This is most evident in the now-infamous Identity Crisis, in which we see an old rape of Sue Dibny, one which never had any impact on the Dibnys themselves because it never happened in “real” DC time. Rape was also inserted into Felicia Hardy’s past and used as a motivation to her becoming the Black Cat. As ugly as these incidents are, they stem from the “grim-‘n’-gritty” turn comics took in the mid-1980s as much as the obsession with retconning. The other consequence is more far-reaching and serious. The obsession with “filling in” parts of the pasts of these characters has effectively cut off any growth they might have had, and superhero comics have become more and more static as a result. [...]
A process that gradually became more common by the end of the century. But I would just disagree that stagnation of growth is more awful than the grim-and-gritty turns superhero comics have taken. Making the pasts of the heroes and villains so repellent is much worse, and drives away potential audience a lot more easily than lack of growth or character depth.

The post slips, however, when it gets to a part about passing mantles to younger generations:
[...] As poorly done some of the exits of older heroes were (Hal Jordan’s, for instance), there was no reason why Wally West couldn’t be the Flash, or Conner Hawke Green Arrow, or Kyle Rayner Green Lantern. [...]
Here we go again, not making distinctions between what's done well and what's not. "No reason"? But he hinted at one! Turning Hal Jordan into a crazy mass slayer of Lanterns out of the blue in one of the most rushed editing jobs ever is why Kyle's ascension can't be viewed tastefully. Crisis on Infinite Earths may not have been so great, but the silver lining is Barry Allen's heroic ending. Oliver Queen's seeming demise in Green Arrow may not have been that great either, but he remained a hero till the end of the 1995 story where this took place, and that's why Connor's ascension, much like Wally West's, worked a lot better than Kyle's too. The key to passing a mantle effectively is to keep prior heroes as heroes till the end, and not insult the audience's intellect by turning them into something that doesn't look good alongside the earlier, much better material from the Silver Age.

At the end, it's said that:
All the Big Two saw were dollar signs in stories about the past. Naturally, they went too far in one direction, and now we’re inundated with these kinds of comics. It’s not Busiek’s fault (hence the “unwittingly” in the title), but he definitely pointed the way. Unfortunately, I don’t think Marvels has had a positive influence on comics, as good as it was. The question is, how can Mr. Busiek live with himself?!?!?!?!?
I think he already answered that question when he indicated circa 2008 he's got no problem with Spider-Man making faustian pacts with Mephisto. Here's a blogger who made an important note regarding the Spider-marriage:
I don’t think that the writers, fans and editors who prefer a single Peter Parker are wrong to have a preference. Kurt Busiek and Ed Brubaker, two of my favorite active comic writer, said they prefer a single Spider-Man.

And yet so many writers were more concerned with ending or ignoring the marriage than they were in exploring it. There were two significant attempts to end the Married Peter status quo before One More Day, so it’s not like writers and editors were enthusiastic about it. And yet the writers who DID work with it wrote some really good books.
Whereas the writers who wanted to end it turned out some of the worst slop imaginable. Worst, they wouldn't do it organically, nor would they be patient. It's like they were so vindictive and obsessed they were willing to shatter all plausibility just to reach their childish grudge goals. And they wouldn't thank Stan Lee for all the hard work he did to create these characters. By refusing to explore the story potentials in the marriage, you could say the editors and other contributing writers were shunning the concepts of character focus, personalities, growth and development that folks like Lee spent a lot of time etching out years before. So what do they really think of Lee's ideas, for example?

The whole topic of Marvels made me think quite a bit. Could it have hinted at Busiek's real view of Mary Jane Watson years before Joe Quesada pulled the artificial act erasing the marriage instead of dealing with it realistically? He's certainly one a bundle of writers who doesn't question whether this was a bad way to go about it. And for a miniseries that's supposed to be about moving past fantasies and growing up, the laughable irony is that Busiek doesn't practice as he preaches, what with all his horrendous left-wing politics (Alex Ross, the artist on Marvels, has similar standings). He also once noted how a lot of the characters he wrote up for Marvel didn't stick (considering how awful Marvel's storytelling became in this era, it's probably for the best), yet he still maintains such a chummy connection with pretentious editors like Tom Brevoort who haven't done much to ensure they will, long after they stopped employing him on an official basis. And I can't say Busiek's ever sounded disappointed they're now going to jettison much of the history he says he likes after the new Secret Wars.

Whether Marvels had any negative influence on character focus, it's a fascinating subject that most definitely shouldn't be overlooked.

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Sunday, May 24, 2015 

DC will be running ads on same pages as comic panels

According to this article, DC is bringing back an approach that existed in the 1960s and 70s, where advertisements would be printed on the lower half of at least one page in an issue, under a set of comic panels at the upper top.

I think this is another sign that business is waning, and cutting the story in half (or two thirds?) on a single page reduces the room for the story. I know that a few years ago, they were dropping 2 pages from various books, supposedly to cut costs, yet here we are today and so many comics cost 4 dollars. Putting ads underneath panels at the top end of a page only limits the length of the story even more.

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Friday, May 22, 2015 

The medium needs to be reclaimed from the left

A writer on Reaxxion is making the case for why comics need to be rescued from ultra-leftist influence. He cites the recent change of Catwoman to bisexual, including the writer Genivieve Valentine's defense of her steps, and notes how it doesn't make a character more interesting, let alone the writing. And how:
This particularly flagrant abuse of common sense and human decency was brought to my attention by a reader of my own work, who commented that Ms. Valentine’s qualifications for writing a story arc for such a prestigious character really amount to little more than her ability to write fan fiction.

Yes, I know, she’s also won a Nebula Award. But given that the Sad/Rabid Puppies campaigns proved beyond any shadow of doubt that sci-fi and fantasy awards are now given out based on ideology rather than merit, the fact that Ms. Valentine won a Nebula Award for her work makes her about as well qualified to write comic books as the fry cook at your local greasy spoon is qualified to be the head chef at a Michelin-starred restaurant.
Yes, and it's not just Nebula that's been ruined. Even the Eisner awards have been devastated by this kind of mindset penetrating into comicdom and its reps. The given description of Valentine brings to mind Brad Meltzer, because his approach when he wrote Identity Crisis, JLA and a Buffy comic are more like repellent fanfiction.

However, while there's a good point made that homosexual relationships have their share of abuse, and how these stories don't reflect that kind of reality, I have to take issue with the following:
...if Ms. Valentine had really claimed to know how bisexuality works, as she claims to in her blog post, she would have depicted Selina Kyle beating the ever-loving snot out of Eiko, then kissing and making up. That, at least, would have been “accurate.” Might even have made for an interesting story, too, instead of the patently absurd and transparently stupid arc that she has tried to pass off as a “canonical” Catwoman saga.
Oh good grief. I do think that, if realism matters, people like Valentine should show they're willing to focus on abusive relations and how they exist. But does that mean fans of Catwoman want to see Selina crossing the lines into becoming an assaulter? I think not. Maybe the other way around would work better, with Eiko as the violator and Selina the target? Or maybe he should say Valentine should create a different pair of lesbian characters to serve those roles? Just because Selina's been depicted as a professional thief before doesn't mean they should turn her into somebody less honorable than she's usually been depicted in the past.
So let’s discard this ridiculous myth that SJWs are trying to make comics more “realistic” or “inclusive.” In reality, they are trying to legitimise violence and sexual deviancy in a blatant and transparent attempt to make right out of wrong.

If that is not evil and twisted, I don’t know what is.
At least there he's getting someplace. This is exactly what DC was doing when they published Identity Crisis and even Nightwing 93 in 2004.
If SJWs have their way, someday we will be confronted with the appalling reality of a comic in which Batman—the greatest comic book character of all time, as far as I’m concerned—is not morally any different from the Joker or Black Mask.
I think they've already passed that point. The Batbooks have definitely lost direction long ago.
So we fight with the one weapon that they cannot resist: our wallets.

Do not spend any more money buying their filth. Not one more cent of your money should go to comics by hack writers like Ms. Valentine. Spend your hard-earned cash instead on the true titans of the industry.
I agree with that part. Unfortunately, he dampens the edge when he recommends people buy the following:
Buy the classic works of legends like Jeph Loeb, who wrote the Hush graphic novels as well as The Long Halloween and Dark Victory; Alan Moore, whose works V for Vendetta, Batman: The Killing Joke, and the magnificent Watchmen define to this day what a powerful medium comics can be; and of course the monumental The Dark Knight Returns by Frank Miller.
For crying out loud, this guy has no idea what a joke he's making now. Loeb was one of the most overrated writers, and the Hush story in Batman was an all style-no substance farce. Even the cited works of Moore and Miller have to undergo scrutiny, because in a way, they're indirectly responsible for the downfall of Batbooks along with many other superhero comics, after successive editors started mandating darkness. Does this guy realize he's damaging his argument? For all we know, some of those books above might've influenced the current direction with Catwoman! Oddly enough though, Watchmen did feature an abusive lesbian truck driver beating up on her partner towards the end of the miniseries, something that might not sit well with today's PC advocates.
Above all, never forget that the SJWs managed to pervert comic books and graphic novels because, once again, the rest of us let them get away with it.
Yes, but depending on one's view, those same SJWs exploited the works of Moore and Miller (who was more of a leftist at the time he wrote Dark Knight Returns), to serve as the templates for their twisted visions. Whatever the merits those books have on their own, we can't support them if they end up serving as a bad influence on superhero continuity proper. In fact, one of the commentors said:
I tried reading Watchmen and frankly it feels like a precursor to what's going on right now in comics. [...]
And another said:
That's because comic book artists, being devoid of creativity, all decided to copy Watchmen, resulting on the 2edgy4me comic books that we know. [...]
See, that's just it. How that eluded the writer of this article is beyond me. If we're to effectively challenge the bleak viewpoints now espoused ad nauseum in superhero comics, we can't just jump to recommending these kind of tales.

And how did we let the SJWs get away with all this? We kept buying specific products despite the poor quality of the writing, and wouldn't drop the books when it would've been the proper time to do so. By the time we did, it was too late. If we stumble on a story that's built on bad components, we have to abandon ship as quickly as possible upon realizing what the problem is, or risk encouraging the publishers to continue perverting superhero comics to the point where optimism and meaty storytelling are destroyed. We can't let that happen anymore.

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Thursday, May 21, 2015 

2 Spider-Men co-existing alongside each other post-NuSecret Wars

The Venture Capitol Post quoted Brian Bendis talking about Marvel's plans for what a reboot of the MCU will be like for Spider-Man, which appears to be set to use an Ultimate universe derived vision:
So when Ultimate Spider-Man writer Brian Michael Bendis confirmed that there will be two Spider-Mans when the Secret Wars mini-series ends, it also confirms the speculation that Peter Parker will be resurrected, although there were no details on how. But knowing the Marvel Universe, there are many ways the dead can come back to life. Time-travel is one. And how will they be distinguished from each other? Aside from both co-existing in future comic books, no other details were revealed.

This revelation also confirms talks of big changes, leading to what they refer to now as the New Marvel Universe. The Avengers lineup will change. New characters are also coming, as well as rebooted ones. Whatever changes are in store for the new Marvel, we'll just have to wait and see when Secret Wars releases the last issue of in the mini-series by the end of September this year.
No, we won't have to wait, because there's nothing left to care for. But the above suggests the Peter who's being revived is going to be based on the Ultimate world's version. And if the Ultimate line is what they're going to go by this time, that'll only confirm they've decided to use a vision that was never aimed at younger audiences no matter what was claimed back in 2000. If the Ultimate line is their planned direction now, this'll also tell that they're changing the original path they took with the Ultimate books, not resurrecting a lot of the characters who were killed off in the line over the past decade. But the Ultimate's cast is not what I'm interested in. It's the 616 universe's cast I stand behind. And they're now being dumped into oblivion along with Mary Jane Watson, whom I don't expect the modern staff to respect now or even after their new Secret Wars crossover.

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Wednesday, May 20, 2015 

Marz claims to be worried about Boko Haram's violence

The otherwise wretched writer appears to be making a valid complaint about the tyranny of Boko Haram:

But, does he recognize the wheres and hows of the terrorist gang's ideologies? Because if he doesn't, then this is just one more issue he raises where he only takes a superficial view, all without acknowledging what kind of ideologies have led to these horrors.

And if this is really his standing, then is he sorry for the attack he wrote against Pamela Geller a few weeks ago? Because she's been speaking in defense of African victims of Boko Haram too, and Marz returns the favor by siding with those who'd declare her nothing more than filth? If he's not repentant about his attack on Geller, then that undermines his current statements. As does the following, in fact:

He's donated to a project run by an outfit that's now allowed human rights violators on their Human Rights Council? If he really cared, he wouldn't have anything to do with such an awful "business". There were scandals in recent years where UN aid workers were caught sexually abusing children. Supporting such a movement that's been so negligent in dealing with sexual abusers does nothing to ensure they'll ever take measures to make repairs for their image. I'm afraid Marz has once again made himself look absurd.

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About me

  • I'm Avi Green
  • From Jerusalem, Israel
  • I was born in Pennsylvania in 1974, and moved to Israel in 1983. I also enjoyed reading a lot of comics when I was young, the first being Fantastic Four. I maintain a strong belief in the public's right to knowledge and accuracy in facts. I like to think of myself as a conservative-style version of Clark Kent. I don't expect to be perfect at the job, but I do my best.
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