The Disney Masterplan for #MarvelComics

Chris’ amazing Fantastic Four site really provides a fantastically detailed exposition, so do dip in there.

Basically Chris predicted, accurately, the meltdown occurring in Marvel comics. Not just the broad outcome but he actually somehow through some arcane interplay of his superpowers predicted some specifics- and he has more to predict still to come.

Marvel has not been a comicbook company since 1968. The paradigm shift from comicbook company to brand management company occurred in four major stages:

1968: selling out in the hopes of going mass media- no more real time, no more firm continuity- the continuity was the last to go

1975-1976: bankruptcy staved off solely by licensing Star Wars and riding the wave of its popularity 1977-1980

1989: comicbook superheroes decline in popularity. This leads to the speculator boom in the 1990s where not the content of the books but inane collectible gimcrack gimmickry creates a classic bubble – which bursts

1999-2001: hacks take over the asylum.

As of the Disney takeover, “Marvel” was a brand management company with bad management and brands that were perfect in their 1960s incarnations, and poisonous as monthly marketables. It was obvious that from a corporate point of view Disney would “hollow out” “Marvel” – since it is only the marketable brands and trademarked character that have any value, together with the first 20 years or so of stories which contain 99.9% of the original content. Also attractive was that after 40 years of savage exploitation and court sanctioned trademark theft, a pantheon of the top selling images (what were once comicbook characters) needed to be detached from the insular inbred hacks incestuously churning the chumbucket.

There was no reason for Disney to go to war by destroying its storyboard factory; but neither was there any reason to allow the comicbooks to have any input into the key money maker – the movies.

Thus, the comicbooks turn themselves inside out to create versions of the movie universe. With no meaningful readership left other than the long derided 40,000 or so OCD sufferers, the comics are now irrelevant. In terms of simple company management, you don’t let a loss leader that breaks even at best mess with a multi billion dollar cinema setup.

So between now an 2025 or so, probably a lot quicker once the scalpels stab into the corpulent flesh of “marvel comics”, the “comicbook company” (brand management company) will be normalised with respect to all other brands. There’s a mickey / minnie / whatever department, there’s various animation departments, there’s the disney comicbook department – “marvel” will end up sliced into pieces to fit in with that.

Current consumer-paid marketing research is in the form of Disney Infinity 2.0 and the movies. The movies are mainstream and huge earners. Infinity 2.0 allows detailed up to the second data to flood in on who and what are the most popular characters. Based purely on sales, there was always going to be a Guardians cartoon once the film made book. Likewise various Avengers related properties which currently seem … invincible… may well be shaken up since the rule is to try and halve the budget for each sequel to keep profits high. Anyone bucking that trend risks shitting the money bed and Disney management won’t tolerate that.

Several takeaways from the Disney controlled Marvel Movie Universe:

1. everything the fat fools who ran the comics into the ground, such as Bendis’ hatred of superheroes*, and all the rest- has been soundly rejected by Disney.

(a) continuity is king in the movies. They understand Stan Lee’s cunning plan- continuity makes for completist fans. If it’s all happening in the same universe- it all “matters” and therefore you MUST buy it to get the entire story.

(b) aberrant SJWankery has no place in mainstream entertainment. Disney PC kowtowing is entirely money motivated- why alienate any audience segment? but that isn’t going to translate to big screen cringe inducing vomit such as currently clogs too many comics.

(c) authorship is secondary to corporatism. proven performers get the top jobs in the movie making business for Disney and anyone breaking in needs to perform first time out.

(d) preaching comes secondary to great storytelling. Disney well understood this for decades, origina Marvel did too. The current hacks- not so much.

Ant Man is testing the waters for more character driven film within the new Marvel Universe.

Disney will basically retain some fake version of the “Marvel Comics” “offices” because for the moment it needs to pander to the illusion of independent comicbook makers. In fact, no one attached to Marvel is an “indie” in any sense, and Marvel has not existed for years now. All the masturbation to the contrary, Disney signs the cheques. Which means Disney calls the shot. The many recent aberrant 1990s style changes in the comics proves they DON’T matter.

Marvel Secret Wars aka the Marvel version of Crisis on Infinite Earths is just a face saving way for the Marvel hacks to carry out Disney’s orders and create a new consistent comicbook universe where only those characters in the current or future licensed films will exist. If or when Fantastic Four or Spider-Man return permanently, they will return to something like their original positions.

Since Sony are too incompetent to make normal Spider-Man films, they may well joint venture with Disney to try and ride the coat tails. Otherwise once the Sony VPs are purged we may see Spider-Man return unexpectedly early to full time Marvel Movie stardom.

I am really enjoying seeing the people who ruined twenty years of “Marvel” getting the fuck reamed out of them by professional corporates on behalf of the Six Foot Rat.


Jewish groups blast ‘Foreskin Man’ comic book’s ‘overly anti-Semitic’ images on circumcision

I wonder what happened to this doomed comicbook?

Simon Studio Analysis

Monster Mohel

Monster Mohel…A politically motivated comic book pitting a blond superhero called “Foreskin Man” against a sinister-looking “Monster Mohel” is causing a serious flap in California.

…Circumcision also under Attack in Finland and Massachussetts…

The colorful series was created by the “intactivist” group as part of its campaign to ban circumcision through ballot initiatives.
The Anti-Defamation League (ADL) is blasting it as overtly anti-Semitic.

Matthew Hess via

“‘Foreskin Man,’ with its grotesque anti-Semitic imagery and themes, reaches a new low and is disrespectful and deeply offensive,” Nancy J. Appel, ADL Associate Regional Director, said in a statement Friday.
The online series portrays a menacing-looking mohel – someone specially trained to perform the traditional Jewish circumcision ceremony – waving bloody scissors over a screaming baby laid out on a pool table.
Appel said the imagery invokes the “age-old anti-Semitic canards” such as the blood libel, the accusation…

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The Black Vault’s Statement on the Project Blue Book Files

The Black Vault’s Statement on the Project Blue Book Files

January 29th, 2015 – It is with great frustration to announce, that, and their subsidiary Fold3, has laid down a claim to copyright on the Project Blue Book material – which has long been labeled as “public domain” by the National Archives & Records Administration (NARA). is claiming ownership to the digital version of this material – despite me having records that Fold3 doesn’t even have in their archive and I received under the FOIA starting back in 1996.  They simply claimed it was 100% theirs and I was forced to remove it.

Because of my attempt with properly crediting Fold3 with a DIRECT LINK to their site as partial credit for some of the material, they used that show of proper credit by me to issue a copyright claim under the Digital Copyright Millennium Act (DCMA). Anyone who knows anything about the law can attest; you are “guilty until proven innocent” so this was the beginning of the end. I never hid from Fold3 as a source, and even brought them up in some media interviews I did take part in, which were all cut out. No one cared about that part of the story – this new archive was what they wanted to report on because it was simple, straight forward, easy and free. And people loved it.

Based on an evidence-less claim I was forced to remove the entire site.  That’s right, there was ZERO evidence submitted to my web hosting provider of ownership or copyright or license, but rather, they simply placed the accusation which is all it takes.

In good faith, I took the site down in hopes a compromise could be reached. They already had credit given on the front page of the site for some of the material, and that link alone resulted in a 12%+ increase in their entire statistics since they posted records in 2007, and my link multiplied their weekly hits by 10x, yes ten times, in only 5 days (statistics are posted on their page, so I am not guessing on those statistics but rather took notes).

I stated there was much more information here than is cited to Fold3, but they didn’t care.  I offered giving them a full 100% “share of voice” banner ad to advertise Fold3 (in addition to the link already driving them traffic), or to sell ads with no profit share to me, and they didn’t care. I asked if they would work with me on any capacity, because CLEARLY interest was being generated by my audience (and obviously not by theirs) but they didn’t care.

In the end – they offered I become a member of their affiliate program – and offer a link to them in exchange for a portion of sales generated. ie: You have to sign up with them, pay a membership, and they give me a percentage.  I quickly declined.

This is public record material, and it should remain so. To lay ‘exclusive’ claim to it in the digital world, when both sites (my site and theirs) offer it for free – is ludicrous and a waste of time and money for everyone.

But at the end of the day, I am proud to have brought attention to information that although has been available for quite some time – the public at large never knew it existed.  I will let Google Trends prove my point.  Here is the popularity of Project Blue Book, since 2005, and a graph relating to people searching for information on it.

See that spike?  Yes, The Black Vault did that… and I am proud to be the one who caused such an uproar of interest by the public and the media (despite some erroneous facts in the reporting).

Did some media outlets misreport? Yes, and if this page was still up, there was a message on the front page setting the record straight.

But, call it corporate greed, a legal loophole, or a grey area in the copyright law, all of that is gone in the name of getting your personal information, and your credit card, by a corporation that has a wallet much thicker than mine. I’ll let you decide what the right label is to put on this entire mess.

Does all of this upset you? Me too!  And I invite you to express your thoughts to, Fold3, and anyone else you’d like to express your disappointment:

355 South 520 West
Suite 250
Lindon, UT 84042
Ph 1-800-613-0181

Ancestry Inc. Corporate Headquarters
360 West 4800 North
Provo, UT 84604
Ph 801-705-7000
Fx 801-705-7001

In 18+ years, I’ve never seen anything like this, and it is a sad day for the world of public domain, public information, public record and the idea of “Freedom of Information”.

I have vowed from day 1, never to fall into the pit of desire of placing a price tag on PUBLIC information. It’s a shame I am very much alone in that belief.


John Greenewald, Jr.
The Black Vault

The Great God Pan

So what am I saying here?  Is the god Pan/Faunus, or the Genius Loci the source of the panic that seems to be self evident in some of the cases in the Missing 411 books, Todd Sees, and the Dyatlov Pass incident?  In a way, yes. It is believed by academics that many of the ancient gods arose out of the need to explain natural phenomena, which the people of the time lacked the scientific knowledge to understand (Thor, god of Thunder, explained why the sky shook; there was a god that lived “up there” and was doing it).  I think it is more complicated than that but it’s a good start.  So accepting this one can then make a rather bold assertion, and that is that the idea of panic in forests is something that has been with humanity for a long time, at least since the Greeks.  What or who is Pan, or the power behind the myth?  That is the real question here.

Swamp Man: the logic of the story #SwampMan


I’ve reached several times in recent years for a kind of comic scripting which would allow me to explore with a new audience ideas that a decade ago I would have simply exorcised through writing a novel. I decided against writing a novel because the fire that once motivated me very strongly to write books is, at least for now, gone.

Instead, I wanted to make a comicbook exploring the same issues that came into my head:

1. a self aware comicbook character in the redheaded teen mode – from Archie to Jimmy Olsen – who didn’t break the fourth wall but who did despair of the endless looping existence of which he was the epicentre; I tried this previously with JT Neslo but that was too derivative- a single idea spread too thin;

2. the Swampman thought experiment combined with Mossman and Pere Malfait lore from Florida;

3. a non-Satanic working with symbols and secret messages- a way to put encryption into a comicbook for a non-sinister purpose. I feel personally that there is a definite luciferian aspect to some comics, not necessarily the ones people might immediately jump on either;

4. since comicbook writing and drawing is my hobby, but a serious hobby, I wanted to implement the powerthinking techniques I’ve learned recently in a form where it can express itself in something concrete;

5. I wanted to do a comic whose artwork would be vibrant and delightful when printed, not just a digital comicbook whose charms are entirely different. The Swamp Man book will be digital as well- but this is intended to actually literally be a graphic novel- written as would one of my earlier novels have been, but translated into comicbook long form.

To the extent I succeed this will be one of the projects closest to my heart.

Swamp Man and all related characters and images are TM & (c) Jonathan Nolan 2015 and following all rights reserved worldwide.