Comic Books

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Will Williams
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Re: Comic Books

Post by Will Williams » Sat May 26, 2018 1:45 pm

C.E. Whiteoak wrote:I knew Superman was created by two Jews, but had no idea the comic book business was so completely jewified from its very beginning. I wonder if the western comics I used to enjoy way back in the early 'fifties were written and published by Jews. If so, Red Ryder and the Lone Ranger will never seem the same to me.
There were gentile cartoonists around early on (like Walt Disney, before his empire got Jewed after he died), but they weren't organized purposefully for their tribe's interests like the Jews were and still are. Here's a eye-opening new article on the topic, tipped by this commentator over at nationalvanguard.org:

---
SIC SEMPER
MAY 1, 2018
NY jew comic book writers invented “holocaust”: How comic books taught America about the Holocaust https://nypost.com/2018/04/30/how-comic ... holocaust/

---

How comic books taught America about the Holocaust

By Ruth Brown
April 30, 2018

Image
Before high schools taught about the Holocaust, before there were dedicated museums and before
“Schindler’s List,” kids learned about the horrors of Hitler from comic-book superheroes
.

At a time when most adults considered such fare brain-rotting junk and the topic of genocide too taboo to discuss openly, the largely Jewish comic book industry was quietly educating a new generation about the Nazis’ atrocities. Comic books featuring superheroes such as Captain America and with titles like “Blitzkrieg” and “War Is Hell” — their covers splashed with exclamation points and sound effects — often tackled the deadly serious subject matter inside.

Now this often-ignored legacy has been pulled out from the plastic sleeves of history in “We Spoke Out: Comic Books and the Holocaust,” a collection of comic-book stories about the Holocaust and interviews with some of the biggest names in the business.

“After the war, there were comic-book stories in regular publications that talked about the Holocaust when other people weren’t talking about it,” said Neal Adams, the enormously influential New York comics artist who created the book with Holocaust scholar Rafael Medoff and comics historian Craig Yoe.

“The comics industry is filled with Jews. Almost all of the artists and writers were Lower East Side kids who as teenagers got into comics,” he said.

“Comic people didn’t have too many shackles on them. You’d just say [to an editor], ‘I’d like to do a story on Rommel,’ ” he said, referring to Hitler’s field marshal Erwin Rommel, nicknamed “The Desert Fox.”

“We Spoke Out” features words and images from comics legends such as Stan Lee, former Mad magazine editor Harvey Kurtzman, “Daredevil” artist Wally Wood and “Sin City” writer/artist Frank Miller. It includes stories from both DC and Marvel.

“To get . . . DC and Marvel together on the same project shows what an important project this is,” says Yoe, an upstate resident whose IDW Publishing imprint, Yoe Books, released the hardcover collection.

The project grew out of Adams and Medoff’s own Holocaust comic.

The two men met while championing the cause of Dina Babbitt, an Auschwitz survivor who had been forced to paint portraits of gypsies by the Nazi doctor Josef Mengele.

In the 1970s, the museum at the former concentration camp contacted Babbitt — who had since moved to the US and married an animator — to say it had found her paintings. But the museum refused to let her take them home, and she spent the rest of her life campaigning for their return.

Adams and Medoff turned her story into a comic that ran in a 2008 issue of the miniseries “X-Men: Magneto — Testament,” which was set in Auschwitz and is the final chapter of “We Spoke Out.”

While working on the story, Medoff said, he recalled how he had learned about social issues such as racism and drug abuse from Adams’ work, especially his groundbreaking run with writer Denny O’Neil on the “Green Lantern” series in the 1970s.

“Reflecting on these comics Neal had illustrated to do with racism and these other issues got us thinking about whether comics had talked about the Holocaust during those years,” says Medoff, founding director of the David S. Wyman Institute for Holocaust Studies in Washington, DC.

“Whether comics might have been a source for young people to learn about genocide.”

They had.

Not only did Adams recall drawing several Holocaust-related comics himself, Medoff, a lifelong comics fan, was wowed by the other titles they turned up.

“I had expected we would find the stories in war comics. But I was surprised to find Holocaust themes in mainstream superhero comics like ‘Captain America,’ ‘Batman,’ ‘X-Men,’ ” Medoff says.

“It lends strength to the argument that this was something kids were reading about — these were the biggest titles, kids were reading this stuff.”

The pair spent several years combing through archives and chatting with experts to unearth forgotten gems and secure the rights to the best stories.

Among them was “Master Race,” a legendary 1955 comic written by Al Feldstein and drawn by EC Comics illustrator Bernie Krigstein that slowly reveals its narrator to be a former Nazi concentration camp commander living in New York.
“It’s considered by many as one of the high points of the art form. It’s just brilliant the way it’s told, very cinemagraphic, very innovative,” Yoe says.

Another of Adams’ contributions is a classic 1971 comic written by O’Neil in which the Dark Knight hunts for a Nazi war criminal at a Halloween party.

But other inclusions had almost been lost to the ages — including “Desert Fox,” a war comic published in 1951 just as some historians were trying to rehabilitate the image of Rommel and recast him as a great military leader with no real connection to the Nazi regime’s war crimes, according to Medoff.

“[It] takes Rommel’s reputation and shows in comic-strip form that he was not just a talented general but part and parcel of the Nazi movement,” Medoff says.

“These creators felt like they wanted to be part of a serious conversation, and they brought teenagers into this serious debate. As a historian, I was very impressed [by] their level of knowledge and determination to refute the revisionist historians.”

Medoff was also impressed to discover a 1969 Captain Marvel comic that paired the hero up with a Holocaust survivor as they tried to escape a mad sociologist experimenting on them “for the betterment of the race” — the first time a superhero story had directly discussed the Holocaust.

“I think many people will be surprised by the characters that are household names that were part of the stories,” Yoe says.

“The superheroes themselves are an incredible cast. Real and fictional characters coming together, making people aware of this important subject.”

“We Spoke Out” is hitting shelves just after a study revealed that many millennials remain ignorant about the Holocaust — with 66 percent not knowing what Auschwitz was and almost half believing that fewer than 2 million Jews were killed, when, in fact, up to 6 million were.

The authors hope their book will once again help comics-obsessed kids learn about this dark chapter of human history.

“For the average American teenager, it’s something that happened a long time ago to other people in a faraway land. There’s nothing like comic books to get teenagers interested,” Medoff says.
---
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Will Williams
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Re: Comic Books

Post by Will Williams » Sat Nov 24, 2018 6:52 pm

Good grief! Charlie Brown is racist!

Image

You’re a racist man, Charlie Brown!

Critics are slamming ABC’s “A Charlie Brown Thanksgiving” for seating its only black character, Franklin, alone on one side of the holiday table — in a rickety old lawn chair.


Meanwhile, white friends — including Peppermint Patty, Charlie Brown, Sally and even Snoopy — were all seated across from him in real chairs as they feasted, Twitter users pointed out.

The special, which debuted Nov. 20, 1973, aired again on Wednesday — prompting social media outrage over the gang’s highly unwoke picnic table arrangement.

“Why is Franklin in Charlie Brown Thanksgiving sitting all by himself at the table. Man. Things that I did not notice as a child,” @Asharp52 blasted on Twitter.

Others said good grief over a seating chart that would have thrilled George Wallace.

“Not watching Charlie Brown Thanksgiving anymore, until they sit some people on the same side of the table as Franklin,” another critic tweeted, along with two black power-style fist emojis.

The scene in question centers on an impromptu holiday feast — of toast, jelly beans and ice cream — in Charlie Brown’s backyard.

At one point, poor lonesome Franklin topples over in his half-broken chair.

“They give our friend the busted chair and won’t even sit on the same side of the table, more proof that Charlie Brown and his cohorts are RACIST,” slammed Twitter user @mwizzy128...
---https://www.foxnews.com/entertainment/c ... -as-racist
Image
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FolkishFreya
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Re: Comic Books

Post by FolkishFreya » Thu Oct 06, 2022 7:40 am

Michael1488 wrote:
Mon Apr 21, 2014 7:29 pm
That's great Will, thank you for your generosity. Perhaps some day we can get this comic and future issues into mass production once again. While the genre of comic books has become less popular these days, I still know many friends and family with youngsters in elementary and junior high school who still buy and read comics. It would be great to distribute this comic of a positive racial angle among young people today.

The comic books of today are thoughtless, idiotic, and have no moral values to teach young White kids. Some of them are even downright disgusting. A little while back I saw a new comic book series based on a transgendered/gay hero. If this doesn't convince White Americans that the Jews are hellbent on confusing and destroying healthy mental attitudes in our kids, I don't know what will. The popular comic series like Batman and Superman gained popularity during and after World War 2 with the heroes fighting "evil Nazi's" and such.

Comics have been used as a medium to sway public opinion, at least the younger people in our demographic. They are just another tentacle utilized by the entertainment media, and as such are controlled by the jews.
It would be great to have more comics, and more racially aware ones as well. I really enjoy the white will comic book.
-Freya
LOYAL TO THE CAUSE

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natmanwhite
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Re: Comic Books

Post by natmanwhite » Sat Nov 11, 2023 1:06 am

Think we could make white nationalist comic books some day?
If the concept worked for the Jews, why wouldn't it work for us?

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Jim Mathias
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Re: Comic Books

Post by Jim Mathias » Sat Nov 11, 2023 1:34 am

natmanwhite wrote:
Sat Nov 11, 2023 1:06 am
Think we could make white nationalist comic books some day?
If the concept worked for the Jews, why wouldn't it work for us?
As the "Saga of White Will" and other works shown previously in this thread indicate, we can and have done it. It takes a bit of time and talent to produce them, why not try your hand at doing something along these lines? Write a script, a story teller can inspire an artist. Make some illustrations to show to a script writer that you can collaborate with them. Can you manipulate a document creation program? Convert files to a digital format that can be reproduced to a print format? When members of the National Alliance first join, they're asked to fill out a survey form of their talents so that the National Office can put members together to produce these kind of works (among other tasks needed) under the supervision of our Media Director (Kevin Strom.) This is how our messages gets out in a structured and orderly way to advance our cause.

Apply to join us and make your life truly useful to our race.
Activism materials available! ===> Contact me via PM to obtain quantities of the "Send Them Back", "NA Health Warning #1 +#2+#3" stickers, and any fliers listed in the Alliance website's flier webpage.

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Will Williams
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Re: Comic Books

Post by Will Williams » Sat Nov 11, 2023 11:05 am

Jim Mathias wrote:
Sat Nov 11, 2023 1:34 am
natmanwhite wrote:
Sat Nov 11, 2023 1:06 am
Think we could make white nationalist comic books some day?
If the concept worked for the Jews, why wouldn't it work for us?
As the "Saga of White Will" and other works shown previously in this thread indicate, we can and have done it. It takes a bit of time and talent to produce them, why not try your hand at doing something along these lines? Write a script, a story teller can inspire an artist. Make some illustrations to show to a script writer that you can collaborate with them. Can you manipulate a document creation program? Convert files to a digital format that can be reproduced to a print format? When members of the National Alliance first join, they're asked to fill out a survey form of their talents so that the National Office can put members together to produce these kind of works (among other tasks needed) under the supervision of our Media Director (Kevin Strom.) This is how our messages gets out in a structured and orderly way to advance our cause.

Apply to join us and make your life truly useful to our race.
Our comic: https://cosmotheistchurch.org/product/n ... am-pierce/

Jim, Natman is new to WB and posts comments here without familiarizing himself by reading earlier posts in a thread like this one from nearly nine years ago. This, from page 2 of this thread, may give him an idea of what it takes to produce a pro-White comic book:

---

Quote:
Originally Posted by Malleus
http://www.solargeneral.com/library/sagaofwhitewill.pdf [dead link]
Saga of White Will here.

(I wonder if this title has anything to do with Will Williams?)

A little bit, Malleus. My given middle name is White so I've been using "White Will" as a nickname since the late 1980s when I started White Will Studio for my artwork. Dr. Pierce had wanted to produce a comic book for White kids since at least the mid-1980s but never had the time and talent to bring the project together until Kevin Strom and I joined him on staff in WV in late 1991, early 1992. We collaborated with Dr. Pierce on the script, and Kevin suggested that the hero be named White Will and Dr. P. agreed that that was a good choice. It was my job to recruit the cartoonist. I wanted "Rip" Rousch, a young fellow I'd met at Aryanfest in OK in 1989. He was a member of the Mid-Town Bootboys band and produced a comic strip called "Bootboy" that was exceptional. I went through the motions of sending a script to four other known movement cartoonists but knew all along that Rip was our man, if we could get him to get on board. Unfortunately, Rip was locked down in solitary confinement in Memphis Federal prison as a result of some serious boot partying on niggers heads in his hometown of Tulsa.

Anyway, just as I figured, Rip said he'd love to do the artwork, and we started slipping a few pages at a time into his cell where he was armed with nothing more than a few sheets of typing paper, a pencil and a felt-tipped pen. He would send us a few pages of inked drwings at a time as we would send him a few more pages of script. It was a minor miracle that we managed to pull off the project under those conditions, but pull it off we did in a matter of a few months. I spent over 100 hours coloring in Rip's inspired inkwork in my spare time. By the time our self-imposed deadline approached it became clear that the prison authorities were not going to allow any more artwork from Rip to make its way to the NA National Office so I had to draw the first and last page myself so that it looked halfway like Rip's work. We zipped the final product off to the printer and soon received back the first run of 35,000 copies of New World Order Comix - The Saga of White Will. Dr. Pierce liked Rip's work so much that we used him to do the illustrations in the NA Membership Handbook as well. And now you know...the rest of the story.
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White_Vengeance
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Re: Comic Books

Post by White_Vengeance » Sat Nov 11, 2023 12:12 pm

Will Williams wrote:
Sat Nov 24, 2018 6:52 pm
Good grief! Charlie Brown is racist!

Image

You’re a racist man, Charlie Brown!

Critics are slamming ABC’s “A Charlie Brown Thanksgiving” for seating its only black character, Franklin, alone on one side of the holiday table — in a rickety old lawn chair.


Meanwhile, white friends — including Peppermint Patty, Charlie Brown, Sally and even Snoopy — were all seated across from him in real chairs as they feasted, Twitter users pointed out.

The special, which debuted Nov. 20, 1973, aired again on Wednesday — prompting social media outrage over the gang’s highly unwoke picnic table arrangement.

“Why is Franklin in Charlie Brown Thanksgiving sitting all by himself at the table. Man. Things that I did not notice as a child,” @Asharp52 blasted on Twitter.

Others said good grief over a seating chart that would have thrilled George Wallace.

“Not watching Charlie Brown Thanksgiving anymore, until they sit some people on the same side of the table as Franklin,” another critic tweeted, along with two black power-style fist emojis.

The scene in question centers on an impromptu holiday feast — of toast, jelly beans and ice cream — in Charlie Brown’s backyard.

At one point, poor lonesome Franklin topples over in his half-broken chair.

“They give our friend the busted chair and won’t even sit on the same side of the table, more proof that Charlie Brown and his cohorts are RACIST,” slammed Twitter user @mwizzy128...
---https://www.foxnews.com/entertainment/c ... -as-racist
Image
As a very young man, many, many years ago in grammar school, I truly enjoyed the Peanuts comic strip, made even immensely more enjoyable by the fact that it was as White and pure as the driven snow that fell in the Chicago-land area from late December through mid-March--and sometimes even into early April.

So, if Charlie Brown does happen to have racist tendencies, then that is even more reason to love the perpetually-non-ageable six-year-old. After all, who could blame Charlie Brown from seating the cannibalistic moon cricket all by its lonesome. Hell, it is not Charlie Brown's fault that the egalitarians forced the hand of the creator of the Peanuts comic strip into inserting a shuckin'-'n'-jivin', buckwheats, banjo-lipped creature into a comic strip that was one the very few remaining bastions of 100-percent Whiteness.

The blue-gummed tootsoon, Franklin, is fortunate that it was even allowed to be seated at the same table as the vastly superior White people. If the barbaric, woolly-headed freak of nature, Franklin, was a few shades lighter, it might have earned a place as the house nigger. In antebellum times in the South, lighter-skinned niggers--called house niggers--were allowed entry into the homes of the plantation owners, where the house niggers were given mundane, simple chores (let us not forget that the average IQ of a moulinyan is approximately 75 IQ points) such as washing dishes, scrubbing floors, cleaning toilets, taking out the trash, and tidying up the inside of the massive, stately colonial houses. Even given the fact that the house niggers were given only the very simplest of chores, the White woman of the house usually found herself having to follow up and re-do what the house nigger failed to do correctly.

This short story, a factually true one about the abysmally pathetic worthlessness of niggers, should have sent a loud-and-clear message to our Southern ancestors and forefathers of what lie in store for them, lest they repatriate every last cannibalistic jungle savage to the jungles of sub-Saharan Africa. Sadly, those Southern folks of the 1700s and 1800s--good White people, one-and-all--failed in their appointed rounds by not thinking of the future generations of White people and what would be cast upon them--and us--when those knuckle-draggin' tootsoon slaves were granted their freedom and multiplied like the cockroaches that they are, so that we current generations of Americans, here in calendar year 2023, are now saddled with upwards of 40-million or so spear-chuckin' shitskins that have now become the single-greatest problem, ever, in the lengthy recorded history of our magnificent White race.
Any White person who can see the threat to the future of the White race today and who refuses, whether from cowardice or selfishness, to stand up for his/her people does not deserve to be counted among them.

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natmanwhite
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Re: Comic Books

Post by natmanwhite » Sun Nov 12, 2023 2:58 pm

Look what I found!!

chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://cdn.preterhuman.net/texts/unsor ... 20Will.pdf

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natmanwhite
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Re: Comic Books

Post by natmanwhite » Sun Nov 12, 2023 3:16 pm

And once more,

The Saga of White Will - New World Comix - by National Alliance (40 PG) | Flickr
https://www.flickr.com/photos/161411273 ... 6564275550

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Will Williams
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Re: Comic Books

Post by Will Williams » Sun Nov 12, 2023 6:21 pm

natmanwhite wrote:
Sun Nov 12, 2023 3:16 pm
And once more,

The Saga of White Will - New World Comix - by National Alliance (40 PG) | Flickr
https://www.flickr.com/photos/161411273 ... 6564275550
Natman, both of your links go to the first edition of our comic that has the old National Alliance address in Hillsboro, WV. People can look at the comic for free by going to these links, but they will not purchase it from that pre-Internet postal address.

At significant expense and difficulty, we managed to publish a second edition of the then out-of-print comic a couple of years ago. Like I said, it is available at our online bookstore, here: https://cosmotheistchurch.org/product/n ... am-pierce/ Proceeds from sales go toward Alliance-building.

Or, tightwads who care not for Alliance-building can now read it for free at one of the unauthorized sites you have just linked to here on our forum.
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