I've concluded that the more surreal and "out there" our reality becomes, the harder it is to talk about such things (what I see as being prophetically significant) seriously especially in a Christian forum like this. Gosh, any quick look at the Comments portion of each article will prove this sometimes!
Of course, I'm very grateful because a majority of you wouldn't be here regularly if you didn't seem to think that we were on to something, and that God - - as prophesied - - is no longer "shutting up the words" or "sealing the book" since this is now "the time of the end" (Daniel 12:4). So, that being said, these "F4 (FFFF)" columns will be more for those people who just happen to stumble upon this site.
At the same time, it will give the rest of us a chance to openly discuss certain "off-limits" topics without fear of ridicule. The theories and ideas expressed in this category will most likely reflect the very real thoughts and questions I have about a particular subject (those that immediately stir my soul and set off bells and whistles within), but to avoid the "you're-just-another-crazy-crackpot-tin-foil-hat-wearing-Christian-doomsday-wacko" label, I figured that by writing about such things under the banner of "Freaky Friday: Fantasy Or Fact?" it would give me greater leeway in exploring such ideas, and prevent people from simply writing me off from the start.
In addition, I want to officially invite you to forward me your ideas, observations, and theories as well since this is where they would be explored (some of you have already done that - - thank you).
F4: WHY DO COMIC BOOKS (POP CULTURE) SEEM TO FORETELL THE FUTURE?
I'm still in a mild state of shock over what I saw in the new Nicholas Cage film "Knowing" especially given the fact that its storyline directly mimics many real world events we're seeing today (mainly all the collisions and tragic plane crashes). This had me thinking about the prescient nature of pop culture as we've seen in the past especially in regards to 9/11.
Why is it ok for people to point to George Orwell's classic novel "1984" in such a way, but when you try to apply the same supernatural characteristics to other creative works found in pop culture like art, movies, music, and television people instantly dismiss the notion? More on that later.
For now, all I will say at the outset is that while this particular piece took me longer than usual to put together it was totally worth it. Yes, it's a long read, but I've used so much visual evidence to support my findings so hopefully that will help keep an exciting pace as you work through it on your own.
I absolutely love the work by Andre Heath of The ALIEN Project because his comprehensive knowledge of mythology and religion and their relationship to pop culture and prophecy amazes me on a regular basis. Plus, he always seems to come out with work on a subject just before I have a chance to beat him to it! Case in point, I was thinking about pop culture and wondered if we can find anything of interest in comic books when I came across Heath's newest commentary.
In any event, he has a new post up today that is curious to say the least. He found this picture just a short while ago of the new cover for the Image Comics' Savage Dragon comic featuring a extremely angry one-eyed President Barack Obama clobbering America's arch-nemesis, and number one terrorist suspect Osama bin Laden, while holding aloft the American flag, as the mutant Savage Dragon and the Statue of Liberty looks on in front of piles of WMDs (weapons of mass destruction). Have a look for yourself:

Now, I'm going to file this column today in the "Freaky Friday: Fantasy Or Fact?" section for obvious reasons. Yet, in all fairness, this find of his could be very important, considering that comics have formulated a central role in popular culture today. More than that, the question must be asked: Is this a precognitive and synchromystic view of future events yet to unfold?
Sounds silly, right? Not really. I mean, if there's HARD EVIDENCE of this kind of thing in television and movies (and not just one or two minor examples, but multiple examples, many of which are found in the most popular shows and films; think of all the examples that eerily predated 9/11 like "The Lone Gunmen" TV show) then why can't it show up in comics too? Actually, it has. The examples will blow you away!
Take the case of the comic legend John Byrne, best-known for his work on Marvel Comics’ X-Men and Fantastic Four and the 1986 relaunch of DC Comics’ Superman franchise. He drew a comic back in 2001, illustrating an alternative reality series of Superman and Batman called Generations, where one story takes place in the year 2008 and shows an African American in the White House as the Commander in Chief!
What are the odds of that? He not only predicted the historical event of an African-American President itself, but he hit the time frame so accurately - - 7 years in advance and before there was even a politician on the scene who might actually fulfill this scenario. Are you kidding? Makes you wonder, doesn't it?
DOES ONE ARTIST'S WORK PROVE THE EXISTENCE OF THIS PHENOMENON?
He's not the only one either. Jack "King" Kirby is another visionary (and one of the greatest the industry has ever seen) who has also contributed a lot to this field of study. Christopher Knowles of The Secret Sun has written about this extensively over the past few years. Allow me to present you with a collection of the facts or the truth in print.
The heroic imagery of comics and the countercultural vibe of the 1970s were fueled with the language of religion - - Gods, Forever, Miracle. Yet, this synergy has always been part of the superhero's essential DNA since Action Comics #1. Why is it about comic books that seem to force us to write about these same themes decade after decade? What is it about comic books that seem to give them the uncanny ability to predict future events to some extent?
For those of you who think I'm writing way off in left field somewhere I give you Exhibit A:

This was drawn by Kirby in 1959. The so-called "Face on Mars" wasn't discovered by NASA until 1976. Take a look at the "real" photos and notice how similar these two depictions are despite being separated by almost 20 years:

What gives? How can this be?
Let's look at other examples of Kirby's work that have a definite prophetic undertone to them. One such work was called Kamandi about the "Last Boy on Earth" who is a lost soul fighting simply for survival in a world gone mad. The comic appeared in 1972,and in some ways was Jack Kirby's most personal comic strip. I bring this up because of some curious symbolism. Below is a map of the world that this character inhabits. It's the new map of the world (called "Earth A.D.") following "a great natural disaster has changed the course of all previous history" and there's plenty here worthy of its own separate column:

See anything that catches your eye that reminds you of Biblical end times prophecy? Click HERE for a larger image of the picture. Perhaps a brief overview of this short 50-issue series will help in that regard.
Jack Kirby takes us for a cool joy ride across most of the planet Earth in a rip roaring action adventure story set in the not to distant future where men no longer rule the roost, and animals have jumped up the so-called "evolutionary ladder." Today, almost 40 years after Kirby penned this opus it seems even more likely with all the genetic tampering that's going on in our world. Couple that with our unusually cavalier attitude towards nuclear power especially in Europe and the Middle East. Then, one day...whammo! It's on! Suddenly, we have Earth A.D. ("After Disaster"). Animals in Kamandi's new world are what is left of the human race with only him being truly human. Very much like the humans in "The Planet of the Apes."
Next up we have Captain Victory and His Galactic Rangers, which was Jack Kirby's completely whacked-out series from the early 80's. No one sees that material as Kirby's finest, but the ideas and concepts in that series are so completely off the wall and ahead of their time, it deserves to be better serviced than it was by Kirby's original production team. Here's an interesting page:

In case you can't read what is says at the bottom of that page I'll help you out: "A humanoid member of the 'God Squad' is prepared to descend upon planet to generate primitive code of discipline - - a first step to eventual civilization." Wow! Where have we just seen something similar to that before?
JACK KIRBY ACTUALLY FORESHADOWED 9/11!!!
Just wait! It gets better (or is it worse?). In July 2007, Image Comics released a gorgeous hardcover volume of Jack Kirby's 1983 mini-series Silver Star. Though not one of Kirby's more celebrated works (his drafting skills were beginning to wane by this point), to me it's one of his more fascinating creations. It's also rife with unsettlingly specific 9/11 signifiers that strain the definition of "coincidence." Even more than The Lone Gunmen, this series is my "Exhibit A" in the precognitive potential of the dreaming/creative mind. I'm also kind of wondering if the writers on "Heroes" haven't scanned an issue or two.
Semiotically, "Silver Star" has a double meaning. The first is a military medal, and the second is the "A∴A∴" or "Argentum Astrum," meaning "Silver Star." The "A∴A∴" was Aleister Crowley's first secret society formed after leaving the Golden Dawn. Scifi fanboy Grady McMutry (not the "creation evangelist" Grady McMurtry) was a member of this order. Those connections alone should set off bells and whistles within us (Crowley is credited with playing a key role in the establishment of what could very well one day become the prophesied one-world religion - - Scientology - - especially if this whole "Alien/UFO" agenda plays out like I suspect it will).
Tell me if you've heard this one before: the basic theme behind Silver Star is that a new race of super-powered beings is emerging, engineered to survive a nuclear holocaust. Pregnant women were given pre-natal implants that changed the DNA of their babies, but the experiments were done anonymously. The new beings are unaware of their counterparts, and in some ways unaware of their powers until they manifest themselves. Some of these people use their powers to make money.
These new beings are being hunted down and killed by "Darius Drumm", a "religious fanatic" who sees himself as the "Lord's Avenging Angel," and who wants to be the only superhero in town. Drumm gives us some frightening contemporary portents. Drumm was born the son of a super-rich Fundamentalist preacher, who led the "Foundation for Self Denial." His followers dressed in monk's robes, eschewed all worldly comfort and pleasure, and gave all of their money to Drumm's father, who used the wealth to buy into the Oil racket. Drumm kills his father, leaves but later returns, and takes over the Foundation. Drumm leads his followers to an underground cavern where they ready themselves for an apocalyptic holy war. Need I remind you that one of the translations of Al Qaeda is "Foundation?" And so we have the first eerie connection to and foreshadowing of 9/11.
This most recent revival of superheroes is not unique, but that might be precisely the point. 9/11 unleashed the sort of fears that hero fantasies address. The sort of devastation you saw on 9/11 plays itself out on a regular basis in the comics. Apocalyptic devastation is the lifeblood of today's post-Kingdom Come superhero comics. In the climax of Silver Star, Darius Drumm becomes the "Angel of Death" and sets about destroying a city. Take a look at this picture from the comic and from 9/11 below:

Knowles has flipped the photo, but you see the remarkable visual parallels, particularly in the buildings. Kirby had been a foot soldier in Patton's army in the Big One, and understood the raw terror of war better than most. Thus, we get our second eerie connection to and foreshadowing of 9/11.
The parallels don't end there though. Another disturbing precognition (the third one we've looked at now) - - the rubble left in the Angel of Death's wake is a dreaming-mind vision of Ground Zero:

Knowles accurately captured the sentiments I have about all of this when he wrote, "So, we have urban destruction from the skies, now linked to a 'Foundation' of robe-wearing, cave-dwelling, armed Fundamentalists - - financed by oil money, I might add - - not in a prime time TV show, but in an obscure old comic book from 1983 that perhaps 10,000 people read. I'm willing to bet none of them were in intelligence or national security work."
The cover of the final issue of Silver Star seems like a symbolist rendering of the 9/11 attacks - - a robed "Angel of Death," his fiery breath like a beard, laying waste to the West's towering acheivements. The vaunted hero is tiny in comparison and helpless and the Wrath of God comes down upon him. It's like a political cartoon about 9/11 from some radical Middle Eastern tabloid. Remember that this was published in the 1980s:

And there's our fourth eerie connection to and foreshadowing of 9/11. The climax of Silver Star is very much different to the original treatment Kirby wrote. In that, Drumm unleashes the "Fireangel," a dragon that destroys a microcosmic planet or something? I'm not sure because Kirby's writing could be very strange. The religious fanaticism of Drumm was also greatly amped up from the treatment to the comic. So what happened in between that so changed the tone and thrust of the Silver Star story? Hold on to your hats folks because I know you're going to think I'm making all this up! The following is just the icing on the cake as far as I'm concerned.
Given comic book production schedules, it's hard to say what really happened to cause such significant changes to a key part of the entire story. However, in a comic dated a month before Silver Star #6, we find a story in a completely different comic book series featuring a terrorist hijacking, two towers, and a jet slamming into a skyscraper. No, I'm not making any of this up:

So many of the thematic strands that we now see bubbling up from the conspiracy underground (or the "Truth Movement") seem to hover around his work. It seems that nearly every major theme discussed in the more speculative branches of conspiracy research finds a synchronistic antecedent in three obscure Jack Kirby comic books. Granted, Kirby's work shows that he seemed to be very much immersed in the same themes that you and I see on conspiracy, so-called "Aliens/UFOs," and high weirdness websites. Still, I'm not sure if that explains the 9/11 precognition.
9/11 was like gasoline on the smoldering coals of Internet conspiracy research, which had been whipped up by "Behold a Pale Horse," Art Bell and the "Patriot" movement in the 1990's. The image above was taken from Destroyer Duck #5, published by Eclipse Comics in 1983. It's important to note that Kirby didn't write this story, Howard the Duck creator Steve Gerber did, but it may well be what inspired Kirby to completely rewrite the end of Silver Star. Plus, it begs the question: What are the odds - - again - - of yet another comic book from the '80s foreshadowing 9/11 with such specific detail? How do we explain that?
In Destroyer Duck #5, we see the set up for the unsettingly prescient 9/11-like scenario in this story. The CEO of "Godcorp" readies a "suitcase nuke" (that favorite bugaboo of the neoconservative Right) to celebrate the signing of a oil drilling franchise in Hoqoom, a Mesopotamian theocracy based on Iran. I swear I'm not making any of this up as the image below (which you can view in a larger form HERE) will attest to. The conflicts and tensions that played themselves out on 9/11 are presented here in reverse, with the Islamic radicals suffering what becomes a (inadvertent) suicide attack at the hands of American plutocrats. The satirical "Pahkmani the Devourer" (yes, a Pac-Man parody) and the fundamentalists of Hoqoom find their counterparts in Darius Drumm and the Foundation for Self Denial in Silver Star.

9/11 MEME NOT ENOUGH FOR YOU? KIRBY ALSO WROTE ABOUT THE NEPHILIM!
One popular school of thought in the conspiracy underground is derived from an dyspeptic reinterpretation of the theories of writers like Zechariah Sitchin and Erich Von Daniken. It holds that human race is secretly manipulated and unconsciously enslaved by a cabal of evil "extraterrestrials," who created homo-sapiens as a slave race using their own "Alien" DNA and the DNA of proto-hominids. On the flip side, others suggest that these "Aliens" are benevolent and while they did have a hand in creating us, it wasn't for nefarious purposes since they are our "Space Brothers" who will come back one day to help us "reach the next level" of planetary evolution. Again, think about the conclusions drawn in the New Age movement and the new film "Knowing."
Of course, these two popular writers and their supporters on both sides don't ever consider attaching a spiritual element or explanation to all of this like we have. Yes, it's true that Sitchin was inspired by Biblical stories of the Nephilim (the offspring of fallen angels who mated with human women; a race of "giants"), but he never held to that position. Instead, he subscribed to the theory that they are truly "extraterrestrials" from other planets.
Kirby himself also subscribed to this interpretation and theory, which formed the basis of his 1976 Marvel series, The Eternals.

This leads us to researchers like former BBC TV personality David Icke who has taken these interpretations one step further and to the next level, claiming that the ruling elites of the world are devil-worshipping, shape-shifting, "Alien" reptiles who use symbolism as a form of mind control-cum-witchcraft. In this view, popular media is a minefield of symbolic spells, created to manipulate the primitive human mind (which come to think of it, probably isn't that far from the truth...) Interesting, no?
Which brings me to the backup story in Destroyer Duck #5 :

Where the main story explored the theocratic and petropolitical motivations behind a 9/11 type event, Destroyer Duck #5's backup feature The Starling (written by Superman creator Jerry Siegel) offers a comic book foreshadowing of Icke's "Alien/UFO" theorizing. In erotically charged language, Siegel describes the origin of his character, which are identical to the modern theories of the biblical Nephilim (or The X-Files, for that matter). In turn, this human-alien hybrid also links us symbolically back to Mesopotamia, via the writings of Sitchin. Wow!


The story is filled with the brutal emotionalism that made Siegel's Superman so compelling. In this scene, the sweet-faced teenage boy learns from his mother (now a best-selling novelist) that his father was a shape-shifting alien who seduced her to create this new child. In another foreshadowing of Icke et al, that sweet-faced boy is himself a shape shifting reptilian. Mind you, this was written by the creator of Superman, modern history's most iconic superhero.
Let this all sink in for a moment. Not only did the main story of Destroyer Duck #5 have several elements of the story that resonated with future events in a MAJOR way, but the back-up feature story (the one that was never officially published as this issue) also had several elements of the story that resonated with future events in a MAJOR way. How do we explain all of this?
I'm afraid that the mystery deepens. Remember earlier when we looked at Kirby's Kamandi? Mirroring the later Destroyer Duck #5, Kirby wrote his own story of a suitcase nuke smuggled aboard in airplane. In Kamandi, The Last Boy on Earth #30, Kamandi and his mutant companion Ben Boxer discover a long-dead terrorist on an airplane that had been commandeered by a UFO. The terrorist is clutching a suitcase nuke, en route to some grim destination before the "Great Disaster," the nebulous Apocalypse that is the basis of the Kamandi mythology.


Remarkably, we are symbolically brought back to Sitchin's Mesopotamia by the giant statue of Marduk on the cover of Kamandi #30 (story is titled "UFO: The Wildest Trip Ever"). The desert sands of Mesopotamia (or "Hoqoom") were the cradle of civilization and now this "Alien"-made "sand pit" becomes its grave. This cover is not altogether thematically dissimilar to the Sitchin cover of his most popular book, either! The "Angel of Death" in Silver Star that we mentioned earlier also reduced the landscape to desert. Weird, indeed, the common thread that weaves through all of this. This also ties us back to Jerry Siegel, since Marduk was one of Superman's mythological antecedents.
WHAT!?! ALL OF THIS IS ALSO CONNECTED TO STARGATES?
As if all of this weren't enough, the terrorist, the suitcase nuke and the airliner are all drawn into a gigantic Stargate, or interdimensional portal, that opens in the sky above the sand dunes (attention Tom Horn!), which is EXACTLY what Christian bestselling author Tom Horn has written extensively about in recent years:


Kirby writes: "Where do UFO's come from? How do they get here? Maybe they don't travel through the vastness of space, maybe they just come through things like the Door." I'm sure both Freud and Crowley would appreciate the blatant symbolism on that image above - - a skyscraper entering a Stargate, though for different reasons. Jake Kotze would appreciate it for another reason altogether from them. So would Lynn Picknett and Clive Prince, whose landmark work "The Stargate Conspiracy" was published in America exactly one week before 9/11.
Speaking of 9/11 again, I'm even more struck by the gematria encoded in the tail-fin of the Kamandi plane. Check out this image from that Kamandi #30 story:

"N" and "C" are the 14th and 3rd letters of the alphabet respectively, adding up to the mystical 17. "G" is the 7th - - add the 2 and you have 9. And we already have the 11. The two 9/11 airplanes - - Flight 11 and Flight 175 - - struck the twin towers 17 minutes apart. Kamandi #30 hit the stands in March of 1975 - - 26 years before 9/11.
GUESS WHAT? KIRBY ALSO TOLD US ABOUT THE COMING NEW WORLD ORDER
It sounds absurd, I know, and if I was to try to explain all of this to someone without showing them all the visual evidence, I'm sure their eyes would gloss over and they'd tune me out. Let's see what Kirby had to say about the New World Order (NWO) or prophesied one-world government:

That NWO, where a centralized global authority keeps the peace, was presented to us by Jack Kirby in living color in his incredibly prescient 1974 series called OMAC. And then some:

OMAC prophesied a technocratic utopia lorded over by a sentient artificial intelligence named "Brother Eye," who orbits the planet in satellite form. Keeping things calm were a literally faceless police force known as the "Global Peace Agency." In this series, Kirby forecast virtual reality, non-lethal weaponry, a kind of ramped-up organ harvesting, water wars and genetically engineered Beasts of the Apocalypse that would make DARPA drool.

Any conspiracy researcher or symbology buff worth their salt should be sitting up straight, seeing that blatant All-Seeing Eye imagery upon OMAC's chest. OMAC's mohawk haircut doesn't say "Punk Rock" (which didn't really exist back then anyway) so much as it says "Revived Roman Empire." Where have students of last days prophecy read about that? Again, it's almost certain that Kirby came across the juxtaposition of occult symbolism and world government theorizing while reading conspiracy literature. I should probably also mention how the U.S. Army's one tag line is "An Army Of One" which no doubt resonates with Kirby's "One Man Army."
Check this out though. In one particular issue of OMAC, the "One Man Army" defeats the invading force and goes to arrest the commander of the invading army, "Marshall Kafka," who is trapped in his bunker:
The bewildered look on the bearded, presumed-dead warrior's face as he is arrested by the One Man Army had a strange, real-life echo 30 years later when the "Army of One" arrested another bearded, presumed-dead warrior in his underground bunker:

Here, take a closer look. Notice the mouth agape on both men:

I know! It's absolutely surreal and defies all explanation! The rabbit hole goes even deeper though. Later, Kafka is put on trial for assorted crimes against humanity. Here he defiantly reviews the charges against him, which are essentially the same charges brought against Saddam! See for yourself:

Note the last charge is another way of saying "Weapons of Mass Destruction." The full-page shot below is an uncanny foreshadowing (how many times have I written that already today?). The hair is different - - this is cartooning, not caricature - - but the strong features (especially the eyes!) are remarkably similar to Saddam. Especially considering Kirby's tendency towards abstraction. See here:

The name "Kafka" is curious for Kirby, considering the aggressive militarism of the character. But it's worth noting that more than one commentator as referred to the trial, sentencing and execution of Saddam as something out of Kafka or "Kafkaesque" by some reporters at the time.

As amazing as all of this is, there was another frame that piqued my interest because of its undisputed and direct connection to the first Gulf War:

This panel is from one issue that seems to be a premonition of the Gulf War! I could be wrong because I was young at the time, but I don't remember even hearing the term "smart bomb" until 1991. Plus, here's another OMAC comic that was of special interest to me:

We could read this cover one of two ways. If we don't read it literally it's like a political cartoon with the outmatched One Man Army facing a multi-pronged chimera appearing out of the ether, raining fire and death. Just write "intifada" on the monster's chest, and put a triangle around OMAC's chest eye and you're set. I see it another way.
Let's analyze this cover art literally. When we do that we find that it syncs quite nicely with the ENTIRE "Alien/UFO" agenda we've looked at quite a bit in relation to the end times and the coming Great Deception and rise of the Antichrist and his one-world everything. For instance, in case you can read what it says in the lower left hand corner of the cover: "A doomsday monster - - made to order!"
Interestingly choice of words especially when you note that this battle that's depicted takes place on Mount Everest, lending an Theosophical tinge to this story. What's Theosophy you ask? Theosophy holds that all religions are attempts by the "Spiritual Hierarchy" to help humanity in evolving to greater perfection, and that each religion therefore has a portion of the truth. Does that leave you speechless? Sounds like Maitreya and his minions!
KIRBY, THE MAYAN 2012 MYTHOS, AND "ANCIENT-ASTRONAUT" THEOLOGY
In 1976, Kirby celebrated America's Bicentennial with the conspiracy-laden "Madbomb" series in Captain America. He further twisted the knife into the consensus reality paradigm with his "Ancient Astronaut" theory manifesto, The Eternals. The story opened with an archaeological team exploring a massive tomb of the "Space Gods" in South America. Kirby introduces a character named "Ike Harris" (a.k.a. Ikaris or "Icarus"), who acts as the "Basil Exposition" foil of this tale.
Harris tells his companions and the readers that a host of giant aliens called the "Celestials" came to Earth in ancient times and created three races using the DNA of apes - - Humans, the Eternals (who became the basis of mankind's god and demigod myths), and the Deviants (a genetically unstable race who resemble demons and monsters and once kept humankind enslaved). Below is a picture, but click HERE if you want to be able to read the enlarged version. Wow! How mind-blowing is all of this given our studies here lately!?!

Kirby followed up the "Madbomb Saga" with an incredibly strange story of an interdimensional Stargate opening up in the sky over the Ground Zero resonating "Zero Street." The first hero through it would be the Falcon, the 17-resonating Horus stand-in. Also, the story would involve a Texas oilman and yet another reclusive sect of mind-controlled Fundamentalist weirdos. Boy, oh boy.
I should probably also mention that after having quit Marvel Comics in 1978, Kirby went to work in Hollywood, working in the animation field. One of his first projects was a gimme- the Kamandi-esque "Thundarr the Barbarian." In this case, the Apocalypse was brought about by a Deep Impact incident, and the series itself was a grab bag of apocalyptic, occcult, and Fortean symbolism.
Along the way, Kirby was hired to do design work for one of those post-"Star Wars" pipe dreams- a major motion picture based on Roger Zelzany's 1967 novel, Lord of Light. If the Luciferian title or the All-Seeing Eye on the cover don't get conspiracy buffs in a lather, perhaps the book's premise will (for us Christian students of prophecy, you get a bonus point if you can spot the familiar name):
"LORD OF LIGHT is a novel about a future world after the destruction of Earth, conquered by men who, through ultratechnology, give themselves godlike powers and set themselves up as the old Hindu gods to rule the common people. Called The First, they have achieved a kind of immortality by transferring their identities from old bodies to new ones. These deicrats (as Zelazny calls them) through centuries of "divine" rule, have become corrupt, and only one among them will openly oppose their tyranny. He is the hero, "who was variously known as Mahasamatman, Kalkin, Manjusri, Siddhartha, Tathagatha, Binder, Maitreya, the Enlight-ened One, Buddha and Sam."
Again, was any of this done consciously? I can't possibly see how. If not, then aren't we left to conclude that these people were divinely inspired in a sense to create these stories? IT SHOULD GO WITHOUT SAYING, BUT JUST IN CASE, PLEASE UNDERSTAND THAT I USE THE PHRASE "DIVINELY INSPIRED" LOOSELY SINCE I'M NOT FOR A MINUTE SUGGESTING THAT A COMIC BOOK IS ANYWHERE IN THE SAME UNIVERSE AS THE DIVINELY INSPIRED WRITINGS OF THE BIBLE. My point is to simply state what I've publicly offered before - - that I believe God allows False Prophets and secular creations because He can still use them to get the secular world's attention and draw them to Him. I may be wrong, but this is the position I currently hold.
CONCLUSIONS: FANTASY OR FACT?
Again, what in the world is going on here? Surely, there's no denying that there's something we have yet to understand about consciousness at play here.
I mean, if there were only one example that was tenuous at best then I could laugh this off as a mere coincidence. When you start to see one, two, three, four and more examples time after time of events being foreshadowed in pop culture (spread out across decades and coming from various unrelated sources) it makes you wonder doesn't it?
Why is it ok for people to point to George Orwell's classic novel "1984" in such a way, but when you try to apply the same supernatural characterisics to other creative works found in pop culture like art, movies, music, and television people instantly dismiss the notion?
I mean, even if we come full circle back to the comic book cover that launched this piece (the Savage Dragon featuring President Obama and Osama bin Laden) we see things lining up with that storyline in real life headlines: Upping The Ante In Afghanistan: Obama To Dispatch 4,000 More Troops. Bin Laden Said To Be Plotting Fresh Attacks and Port Authority Doing Away with Freedom Tower Name - to be renamed One World Trade Centre. Seems like there is more to this comic story, huh?
As tempting as it is to believe that precognitive events in art are all planted by CIA spooks or men in black for arcane or ritual purposes, I think the truth is far stranger. And more compelling.
Look, being a Christian I firmly believe that while we have free will that doesn't mean that God's ultimate plan for us as individuals and as a race (His plans for humanity in general) will be thwarted. Quite the contrary. Subsequently, if events are predetermined and set-in-stone as I believe that they are then who are we (with our limited and finite brains) to say that there's nothing too all of this?
Perhaps this harkens back to a previous F4 column I wrote about Nostradamus and why God allows False Prophets to exist. These artists may not realize at the time, but maybe - - just maybe - - God is using them (a secular source) to warn the people He loves about what's coming even if many will still ignore Him in the end.
Personally, I think this is more "fact" than pure "fantasy" given all the evidence. What do you think? How do you reconcile everything we've just looked at? Are these just bizarre "coincidences" or something more? God's trail of bread crumbs warning the secular world (because we Christians already have the answers from His Holy Bible) about what's to come?
I understand that given the seriousness of everything that's going on in the world today this may seem like a strange type of thing to be writing about when it comes to alerting the rest of the world that prophecies found in the Bible are coming true (are about to come true).
However, maybe this is just another prime example of the "unsealing" Daniel wrote about in Daniel 12:4. If so, we should at least keep one eye on this sort of thing if nothing else. I'm not saying we should plan our lives around what Hollywood and the Entertainment Industry tells us in the stories they present to us. What I am saying is that there's enough here to warrant further study, and since it deals with the apparent ability to foresee events that should be of interest to anyone who studies what Bible prophecy tells us about the future.