“Our way must be: never knowingly support lies! having understood where the lies begin—step back from that gangrenous edge! Let us not glue back the flaking scale of the Ideology, not gather back its crumbling bones, nor patch together its decomposing garb, and we will be amazed how swiftly and helplessly the lies will fall away, and that which is destined to be naked will be exposed as such to the world.”—Alexander Solzhenitsyn
…by Jonas E. Alexis
Will Eisner, Jack Kirby, Bob Kane, Stan Lee, Joe Simon, Marvin A. Wolfman, and a host of other comic book writers and artists revolutionized the superhero genre. In fact, the comic book industry in America was exclusively a Jewish creation.
One can say the same thing about France as well, with Jewish artists like Joann Sfar, Lewis Trondheim (Laurent Chabosy), and others leading the comic book scene. Sfar talks about “the influences of the philosophers Nietzsche and Levinas on his work” and declares, “I’m more of a Talmudist than a kabbalist.”
E. Michael Jones suggests that the Jews’ introduction of supermen in comic books is important because Jews like Jerry Siegel and Joe Schuster, who created the superman idea, “couldn’t expunge the idea of a Messiah from their consciousness.”
This sentiment makes sense when you consider that Jewish director Richard Donner, who became famous for directing the first Superman movie (1978), claimed that Jesus was “the ultimate Super Jew of his day.”
Just like Christ’s death, burial, and resurrection are the turning point in Christian history, the superhero’s “death is the salvation of mankind.” More recently, Man of Steel director Jack Snyder declares,
In Christology, Christ had to die to save humanity. Since Jews couldn’t expunge Christ from their memory, superheroes have to die to save humanity. We see this in the 2006 movie Superman Returns, where the superhero metaphorically dies and is resurrected to save humanity.
This same metaphor is used somewhat derisively in Spider-man 2 after the hero saves a passenger train. One could also argue that this theme appears in the 2011 movie Thor. Man of Steel is no different.
In an article entitled “Superman as Christ-Figure: The American Pop Culture Movie Messiah,” Jewish writer Anton Karl Kozlovic declared,
“Theologically speaking, the corporeal nature of Jesus is itself a sacred sign. The need for a deliverer ‘is expressed in the biblical messianic hope that God would send his Messiah in the form of a single human being, a person just like us, who could speak to us and show us, through human words and deeds, the way to the truth and the life.’
“Superman was the fictional, secular equivalent of that sacred hope…The title-cum-name ‘Superman’ was also equivalent to Jesus’s title-cum-name ‘Christ.’” Jesus began his earthly ministry at age thirty; “at age thirty, Superman flew out with ‘a clear idea of his messianic mission to battle evil and save Earth from its own foolishness.”
Throughout the article Kozlovic compares Superman to Christ, ignorant of the fact that the concept of the superhero is part of a larger ideological/Talmudic theme. But Superman or any other superhero is nothing but a cheap counterfeit of what Christ represents.
One writer goes so far as to say that “‘for good or ill, the Jewish style, with its heavy reliance upon Yiddish Yiddishisms, has emerged not only as a comic style, but as the prevailing comic style.’ The result…was ‘the new life for American culture.’”
Jewish scholar Ted Merwin admits that “because Jewish producers, actors, comics, and composers dominated the field of entertainment, New York Jewish culture had a disproportionate effect on American culture.” To quote Merwin’s book title, the Jews have shaped America In Their Own Image.
In other words, this “new Christ” is not the suffering Christ as portrayed in the New Testament, but the “anti-Christ” or anti-Logos. As E. Michael Jones puts it after the release of The Dark Knight Rises,
“The Jewish superhero is also the Antichrist. The Jews rejected Christ because he was not a powerful military leader who would restore the Kingdom by military might as David had done. The Jewish Messiah is, in other words, Superman, which is to say a caricature of the real Messiah that they rejected.
“The superhero is the Jewish Messiah who brings about tikkun olam, the healing of the world, at a time of economic crisis, but in a non-communist way that did not jeopardize his standing as a good American.”
In a nutshell, Jewish comic book writers quickly picked up a new way to replace the suffering Christ with “the new Christ,” the Talmudic Christ.
Like Freud, who used psychoanalysis as a pretext to attack Christianity and Western values, comic book writers promote their agendas under the guise of fiction and art. This is not my words. In 1954, Jewish psychologist Frederic Wertham realized that comic books were having an enormously negative influence on the lives of young people and directed a frontal attack against the genre in his seven-year study Seduction of the Innocent.
Now the issue is no longer limited to the desecration of Christmas, but the abolition of Logos in the culture war and in movies.
Frank Miller, a Jewish comic book writer and film director, talks about “a clash of civilizations” and how “superheroes should be front and center.” He even believes that Jewish comic book writers like himself should use their medium as “the biggest megaphone” and blatantly states, “I am out to provoke.”
In other words, comic books and films, for Miller, are weapons.
Peter Sanderson of Publishers Weekly writes that Miller “pointed out all the major superheroes of the 1940s were created by Jews during a time of anti-Semitic persecution: ‘Superman was golem.’ And while he said that he ‘won’t tell Jeff Smith that Bone has got to [go on a political] crusade,’ Miller nonetheless issued a call to his fellow comics pros: ‘Let’s revive our tradition and get back on the job.’”
In Jewish folklore, a golem is a Frankensteinian monster brought to life to strike out at all perceived enemies of the Jewish people. The New Jewish Encyclopedia
declares that this inanimate character can be
“given artificial life with the aid of magic or the use of a Divine name…The concept of the Golem as an artificially created human being by supernatural means was widely accepted during the Middle Ages.
“According to the legend, the most famous Golem was created in the 16th century by Judah Low of Prague, one of the great rabbis. The express purpose of these living automatons was to protect the Jews from menacing dangers…Jewish folklore has numerous Golem stories, and several modern literary works have been written on that theme.”
Eleventh-century Talmudic scholar Rashi taught that “the golem was created by combining the letters of God’s name as revealed in the Sefer Yetzira [Book of Creation] a seminal kabbalistic text written between the third and sixth centuries C.E.”
The theme of the golem has been used prominently in the work of Jewish comic book writers Uri Fink and Eli Eshed. Raab continues:
“Fink recreates the newspapers and journals of Israel across the decades, each with its unique style of graphic representation—primitive designs and fonts included—while interpolating characters into actual historical photos and paintings in a way that would make the best Stalinist artists proud.”
Golem is the main theme behind Superman. Let you doubt the accuracy of this statement, listen to Larry Tye of the Jewish Daily Forward: “Superman’s creator, Jerry Siegel, acknowledges in an unpublished memoir that he was strongly influenced by anti-Semitism he saw and felt, and that Samson was a role model for Superman.”
Tye continues: “The explosion of Krypton conjures up images from the mystical Kabbalah where the divine vessel was shattered and Jews were called on to perform tikkun olam, repairing the vessel and the world. No one did more of that than the Man From Metropolis.”
Then Tye drops the Jewish bomb: Superman is “as indestructible as The Golem — and an inspiration to every Jewish schlump who knew there was a super being inside him.”
A recent incarnation of the golem theme is found in the 2008 blockbuster movie Iron Man (and its 2010 sequel), which was written in part by Stan Lee and directed and produced by Jewish filmmaker Jon Favreau. Zack Snyder reboosts this theme with the release of Man of Steel, produced by Christopher Nolan and David S. Goyer, two individuals we shall meet in the next article.
Frank Miller and Golem
This theme of the golem wreaking havoc on all enemies has emboldened Frank Miller and other comic book writers to provoke anything they perceive as a threat to the Jewish people. Journalist Geoff Boucher writes,
“Much has been made of Miller’s politics in the wake of ‘300.’ The deliriously violent and stylized sword film is based on a Spartan battle in 480 B.C., and although Miller wrote and drew the story for Dark Horse comics a decade ago, in film form it was received by many as a grotesque parody of the ancient Persians and a fetish piece for a war on Islam. Miller scoffs at these notions. ‘I think it’s ridiculous that we set aside certain groups and say that we can’t risk offending their ancestors. Please.’”
Great! If Miller truly believes this, he then should help us destabilize the political power of the Jewish police state around the world. Why should decent Germans be put to prison if they just dare to raise a question about the “Holocaust”? Just a quick example here.
Germar Rudolf was a German chemist who was working at the famous Max Plank Institute and believed in the gas chamber story until he went to examine the sites as a chemist himself. When he came out, he began to question some of the views he had previously held. His mistake was that he made his voice heard, and he not only had his Ph.D. denied, but lost his job and had to flee Germany in order to avoid prison time.
After he fled to Spain and England, he settled in the United States, where he eventually got married. During his absence, criminal charges were piled up against him in Germany for the same reason, and he was denied political asylum.
Even after he married and had a child, he was deported to Germany to be imprisoned for, among other things, “disparaging the dead”! (Germar needs to send a letter to Miller.)
Rudolf ’s documents were eventually “confiscated and ordered to be destroyed, that is to say: burned in waste incinerators under police supervision.” Rudolf was released from prison in the summer of 2009.
Miller sees Islam as a threat to the West and thinks that using his graphic skills to make fun of Islam is appropriate.
But what if people treated Judaism and the Talmud the same way? Would Miller feel so cavalier then? I don’t think so; there would be a loud outcry about anti-Semitism. Can Miller explain this phenomenon?
If he does not agree with Talmudic teachings, then why doesn’t he devote equal amounts of time to ridiculing Talmudic theology which has been a central force for evil in the West and in the Middle East?
The simple fact is that Miller’s work, like that of Stan Lee, Bob Kane, Joe Shuster, and others, is indirectly Talmudic by a process of osmosis. Miller’s dedication to taking down anything he sees as a threat to Judaism is revealed throughout his work, especially in his graphic novel Sin City, which he brought to the big screen in 2005 in collaboration with Robert Rodriguez (director of El Mariachi and Desperado) and Quentin Tarantino.
Both the book and the movie are laden with nudity, pornography, and pervasive, graphic violence. Miller is right: he is out to provoke.
But Miller’s provocation in Sin City is most often aimed at the Catholic Church and Western values. Sin City depicts Christianity as synonymous with the most evil entity ever. One reviewer remarked, “Crosses and Bibles appear in numerous scenes—and without fail they’re associated with death and depravity.”
The overarching message from Sin City is that using graphic violence, anti-heroes and prostitutes win their own wars against the moral order.
Yet the movie isn’t really intended to connect with its viewers. Manohla Dargis of the New York Times writes that the directors’ “commitment to absolute unreality and the absence of the human factor mean it’s hard to get pulled into the story on any level other than the visceral. When stuff goes blam, you jump like someone who’s landed on a whoopee cushion. But then you just sit there, wrap yourself in the dark and try not to fall asleep.”
Producers and directors have used this approach for years. For example, Menahem Golan, an Israeli producer and director who first became famous in the 1980s, made a career writing, directing, and producing films such as The Delta Force (starring Chuck Norris), which uses heroic American soldiers saving a hijacked plane to convey to the American people how evil the Lebanese government is and how much they hate Americans and Jews.
It is no accident that Golan, who often used the pen name Joseph Goldman, was a pilot in the Israeli Air Force during the Israeli War of Independence (1948-1949).
Golan was the third owner of the now defunct Hollywood film company the Cannon Group, which he once ran with his cousin Yoram Globus.
During the 1980s, the Cannon Group produced many Soviet-style propaganda movies such as Avenging Force, starring Michael Dudikoff, in which right wingers are portrayed as neo-Nazis and racists. The leader of the gang extols Hitler as “a visionary,” and says that Darwinian principle is what keeps the gang alive: “Survival of the fittest, that’s what counts. That’s why we rule and always will.”
Some American isolationists in the 1930s argued that Jews would use the media
whites as rednecks, criminals, and looters, with blacks as their victims.
After the Bar Kochba rebellion, which ended around 135-136 A.D., the revolutionary Jew figured out that military power wasn’t a guarantee of victory. Of that event, Jewish historian Solomon Grayzel writes,
The way of the spirit is implanting ideology and comic books, films and blockbuster movies, which can have far more devastating consequences than the way of the sword.
On the whole, Jewish revolutionaries have found spiritual and mental warfare to be much more effective than the sword. While their strategies have been updated, “the animus against Christianity” remains the same.
Whether it is in movies or comic books, through the power of the written word or the power of visual images, Jewish revolutionaries directly or indirectly attacked Logos and Western culture.
Christianity, as we shall see later, is one of the main pillars of Western Culture, and if it can be undermined, then the West will eventually crumble. The attacks against it over the past eighty years or so have been extremely powerful and effective in movies.
Miller describes his new comic book Holy Terror: Batman! as “a piece of propaganda.” Revolutionary/Talmudic ideas lead to graphic novels; graphic novels lead to movies; movies lead to propaganda; and propaganda invariably leads to the change of culture and thought.
George Lucas unapologetically acknowledged this years ago at the University of Southern California. He said:
“film and visual entertainment are a pervasively important part of our culture, an extremely significant influence on the way our society operates. People in the film industry don’t want to accept the responsibility that they had a hand in the way the world is loused up. But, for better or worse, the influence of the church, which used to be all-powerful, has been usurped by film. Film and television tell us the way we conduct our lives, what is right and wrong.”
As Jewish ascendency became the norm in Hollywood, the American culture had changed. Quoting Jewish scholar Murray Friedman, Jones writes:
“The Jews transformed American society after World War II, remaking it in their image. The older generations of Protestant novelists and poets, many of whom—e.g., T. S. Eliot and Ezra Pound—had serious reservations about modernity even though their writing was ‘modern’ in form, were replaced by almost exclusively Jewish writers.
“Ernest Hemingway, F. Scott Fitzgerald, Ezra Pound, and T. S. Eliot, who came to prominence in the ‘20s, were replaced in the ‘50s by Saul Bellow, Aaron Copland, Leonard Bernstein, Philip Roth, J. D. Salinger, Norman Mailer, Arthur Miller, German Wouk, Bernard Malamud, and Alan Ginsberg. Leslie Fiedler called it ‘the great takeover by Jewish American writers.’ Friedman says the Jews not only wrote books, they also ‘taught Americans how to dance (Arthur Murray), how to behave (Dear Abby and Ann
Scholars like David A. Hollinger saw that the same thing was happening in university departments. He writes:
“By the early 1960s the large number of Jews in sociology led to faculty-club banter to the effect that sociology had become a Jewish discipline. In the literary world the triumph of Norman Mailer, Saul Below, and J. D. Salinger led Leslie Fiedler to hail ‘the great take-over by Jewish-American writers’ of a task ‘inherited from certain Gentile predecessors, urban Anglo-Saxons and Midwestern provincials of North European origin.”
Hollinger of course minimized the Jewish de-Christianization of America and their take-over of intellectual life and academics, but he could not help but note that when they took over the social sciences, “Religion was increasingly private, and public discussion was increasingly secular.”
Seen in its proper context, the de-Christianization of America was essentially a Jewish movement that had deep roots in Jewish revolutionary/Talmudic activity. Hollinger does not say this explicitly because it seems he does not like the implications of this deduction.
Instead he states, “Any account of how Jews contributed to the diminution of Christianity’s influence could be construed as a criticism of Jews, and as a grist for the mill of T. S. Eliot’s ideological descendants. But this historiographical inhibition disappears if we believe, instead, that whatever may be wrong with American universities, and with America, it is not that they are insufficiently Christian.”
Yet Jewish historian Murray Friedman could have helped Hollinger here. Friedman writes in his widely read study The Neoconservative Revolution: Jewish Intellectuals and the Shaping of Public Policy:
“Jewish groups had come to play a critical role in the ‘de-Christianization’ of American culture.” They “had successfully challenged Bible reading in the public schools and any form of state aid to parochial schools.
“So dominant had the ‘separatist’ view become that even a nonsectarian prayer prepared by the New York Regents Board in 1962 was ruled by the Supreme Court in Engel v. Vitale to be a violation of the establishment clause of the First Amendment.”
The Golem and Christian Judaizers
While Jewish writers have been telling us that the superhero industry was created as a form of “the new Christ,” although this “new Christ” has been sprinkled with the writings of occultists like Alan Moore and Grant Morrison, devout followers of Aleister Crowley, as we shall see in due time, Protestant Christian publisher Tyndale House has writers such as Paul Asay trying to turn Batman “into a Christian role model,” an issue that Asay wrestles with throughout his book.
For Asay, Batman will “teach us a bit about goodness and God and our own conflicting natures, becoming an unwitting spiritual instructor.”
In other words, Jewish writers are saying that Batman is a “new Christ,” but Asay is saying that he is a servant of Christ. Who is more deceived here: Jewish writers who know the creators of the superheroes inside out, or Christian Judaizers like Asay?
 See Arie Kaplan, From Krakow to Krypton: Jews and Comic Books (Philadelphia: The Jewish Publication Society, 2008); Simcha Weinstein, Up,Up, and Oy Vey: How Jewish History, Culture, and Values Shaped the Comic Book Superhero (Baltimore: Leviathan Books, 2006); Paul Buhle, Jews and American Comics (New York: The New Press, 2008); Danny Fingeroth and Stan Lee, Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero (New York: Continuum, 2007); Stephen Harlan and Eunice G. Pollack, ed., Encyclopedia of American Jewish History (Santa Barbara: ABC-CLIO, Inc., 2008), 1:469-473; Gerard Jones, Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book (New York: Basic Books, 2004).
 Alon Raab, “Ben Gurion’s Golem and Jewish Lesbians,” Samantha Baskind and Ranen Omer-Sherman, ed., The Jewish Graphic Novel: Critical Approaches (Piscataway, NJ: Rutgers University Press, 2008), 215.
February 15, 2006.