…by Jonas E. Alexis
It is now firmly established that people like 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 almost 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 [Emmanuel] Levinas on his work” and declares, “I’m more of a Talmudist than a kabbalist.” Levinas is basically a Talmudic philosopher who denies traditional metaphysics such as objective reality. According to Levinas, responsibility toward others becomes basically a subjective phenomenon, an implicit attack on Immanuel Kant’s categorical imperative.
Levinas, who had an enormously powerful influence on deconstructionist Jacques Derrida—another Jewish philosopher who had a devastating effect on academia—begins his Totality and Infinity with the following lines:
“Everyone will readily agree that it is of the highest importance to know whether we are not duped by morality…The state of war suspends morality…War is not only one of the ordeals—the greatest—of which morality lives; it renders morality derisory…Politics is opposed to morality, as philosophy to naivete.”
Because he is morally and intellectually blind, Levinas could not realize that he was implicitly deconstructing the Holocaust establishment, a thoroughly sacrosanct ideology which the late Christopher Hitchens himself called “a secular religion.”
If wars “renders morality derisory,” can the establishment really say that Hitler actually did something wrong? Why does the Israeli regime still want Germany to maintain “guilt about the Holocaust” if morality is a relic of the past? Why did the Holocaust establishment put my good friend Dr. Frederick Toben to jail for months for questioning key aspects of the Holocaust establishment?
Why did they call Toben “a Holocaust denier” when they did not even want to examine his views? Does he deny the Bolshevik Holocaust? Does he doubt the Palestinian Holocaust? If Toben had to be placed behind bars for asking questions about the past, how about Jewish historian Bernard Lewis, the man who actually denied the Armenian Holocaust, which was perpetrated by largely Jewish organs in Turkey?
Moreover, is the proposition that placing people in concentration camps universally and ontologically wrong? Is it wrong for the Israeli Mossad to work with Nazis? You see, Levinas’ philosophical (or shall we say Talmudic) principle fails miserably and pathetically here. In fact, if he is right, then people like Daniel Jonah Goldhagen and Deborah Lipstadt need to start looking for different job opportunities because they have made a lucrative career publishing nonsense as scholarship.
Furthermore, if “politics is opposed to morality,” how is it that AIPAC or the Neoconservative/Neo-Bolshevik establishment is telling us ad infinitum that it is “moral clarity” to give Israel at least three billion dollars every single year? Why was it “moral clarity” to invade countries that had virtually nothing against the U.S.?
What we are seeing here is that Levinas is articulating essentially Talmudic mores upon the West. As we shall see, superheroes such as Batman and Superman are invariably doing the same thing, though at a deceptive level.
For example, in order to be effective, those superheroes have to blend in. As the Jerusalem Post and the Jewish Daily Forward tell us, Superman is indeed assimilated. He has “a WASP-ish persona.” In Man of Steel, he is studying Plato and wrestling with the questions of origin, meaning, morality, and destiny.
But Superman, as the Jerusalem Post points out, is fundamentally Jewish, which is to say he is a military leader and messiah who attempts to bring about tikkum olam. This is one reason why he is worshipped as a god in the much-anticipated movie, Batman vs. Superman. As E. Michael Jones points out back in 2008:
“‘Superman’ is a comic book figure created in America during the Depression by Jerry Siegel and Joe Schuster, Jews of eastern European extraction who couldn’t expunge the idea of a Messiah from their consciousness.”
“The Jewish superhero,” Jones says elsewhere, “is also the Antichrist.”
“By now it should be obvious that 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.”
We have also argued that “Batman and Superman and Spiderman and Iron Man are fundamentally anti-Logos but are superficially saviors or heroes who aspire to do good. And since practical reason is excluded from this ideological dream, a superhero like Batman could be anything.
In fact, if it was up to Frank Miller, Batman could be gay. Some have argued that “Batman and the Joker have a history of homo-social/sexual affection towards each other.” Comic book writer Grant Morrison, who is an occultist and a follower of Aleister Crowley, takes the same position. Morrison told the LA Times back in 2010:
“Batman can take anything. You can do comedy Batman, you can do gay Batman…it all works. It is something intrinsic to the character. It‘s so strange and amazing.”
Morrison elaborated elsewhere:
“He’s very plutonian in the sense that he’s wealthy and also in the sense that he’s sexually deviant. Gayness is built into Batman. I’m not using gay in the pejorative sense, but Batman is very, very gay. There’s just no denying it. Obviously as a fictional character he’s intended to be heterosexual, but the basis of the whole concept is utterly gay.”
If one is looking for some kind of proof that Superman is actually a caricature of Christ, then Batman v. Superman is a case study. In order for Superman to save this world, he had to die, but we all know that he is going to be resurrected at the end of 2017—a cheap imitation of Christ’s burial and resurrection. Which brings us to an important point here.
Jewish writers Christopher Knowles and Joseph Michael Linsner have noted that some superheroes were conceived as a form of Messiah, in essence, “the new Christ.” Just like Christ’s death, burial, and resurrection are the turning point in Christian history, the superhero’s “death is the salvation of mankind.”
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 (2004) after the hero saves a passenger train.
Christ began his 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.”
In Man of Steel General Zod finally found earth, where Clark/Superman lives, after thirty-three years. If none of this makes sense whatsoever, then take it from Zack Snyder, director of Man of Steel and Batman vs. Superman:
“I think the relationship between Jesus and Superman is not a thing we invented in this film, it is a thing that has been talked about since the creation of Superman…”
In Man of Steel, Snyder shows Superman descends from General Zod’s ship to earth in a Christ-like fashion. This Christ-like figure again has been acknowledged by numerous writers. Australian writer Anton Karl Kozlovic declares:
“Superman was the fictional, secular equivalent of [Christ]…The title-cum-name ‘Superman’ was also equivalent to Jesus’s title-cum-name ‘Christ.’”
Part of Superman’s job is to indirectly fight anti-Semitism and to create a culture of philo-Semitism. Larry Tye of the Jewish Daily Forward argues that “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.”
Jesse Eisenberg, who plays Lex Luthor, has recently admitted this in an indirect way.
“I can’t separate myself — nor do I want to — from my history, and I really like to embrace certain parts. It’s hard not to be proud of a group that promotes civil rights, education and social justice.”
Then Tye drops the political bomb: Superman is “as indestructible as The Golem — and an inspiration to every Jewish schlump who knew there was a super being inside him.”
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.”
Jewish professor Alon Raab tells us that “the Golem never failed to come to the rescue of his people when danger lurked, battling everyone from Yasser Arafat to space invaders.”
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.
So, Superman and arguably all the superheroes are not only Golem but are desperately trying to bring about tikkun olam. But this would create problem because not everyone is really happy about this alleged paradise on earth.
Frank Miller for example 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.”
If you doubt Miller here, then crack-open his Batman: The Dark Knight Returns, and you will find that a character by the name of Arnold Crimp opens fire in a pornographic theatre, killing three people, after listening to Led Zepplin’s classic track Stairway to Heaven. Crimp believes that if one plays Stairway to Heaven backward, then he will hear: “My Sweet Satan.”
This “sweet Satan” makes its appearance in the animated film Justice League vs. Teen Titans, released by Warner Brothers just this year. During the course of the film, we are told that one of the characters’ mother was a member of a Satanic cult.
The mother ended up having sex with a demon named Trigon and gave birth to a child named Raven. As the movie progresses, Trigon attempts to persuade Raven to help him conquer this world, because “he needs a powerful conduit to open earth to his control.” This is actually what Warner Brothers is teaching young, impressionable, and naïve kids.
We can be sure that this dark dimension will make its subtle appearance (directly or indirectly) in the blockbuster movie Justice League, which is scheduled to be released in November of next year. It is almost inevitable because, as we have already pointed out, the Jewish superhero is the antichrist, which is to say he is metaphysically against the moral and political order.
True, the Jewish superhero gives the impression that he cares, saves people, and gives them hope. As Lois lane puts it in Batman v. Superman, Superman’s dream “is all some people have. It gives them hope.”
But one cannot deliberately abandon the light of reason and deliberately embrace darkness, as Talmudists do, and still bring real hope to a miserable and suffering world. The Israeli regime, which has embraced the Talmud as the basis of its legal system, is a case study.
Talmudists always try to do the impossible and always try to come up with irrational ideas as to how they are going to save the world. Their project always turned out to be a big scam precisely because they are at war with reason. Once again, what they have done decent Palestinians for over sixty years is now undeniable.
Moreover, Talmudists always make sure that they are the true beneficiaries of their revolutionary project. Peter Sanderson of Publishers Weekly writes that
“Miller pointed out that all of the major superheroes of the 1940s were created by Jews during a time of anti-Semitic persecution: ‘Superman was a golem…’ Miller issued a call to his fellow comic pros: ‘Let’s revive our tradition and get back on the job.”
Miller sees Islam as a threat to the West, one that is not contingent upon Jewish provocation, and thinks that using his graphic skills to make fun of Islam is appropriate. This is one reason why producers will never portray Israel as a villain. If you look carefully, villains are largely Russians and Muslims. Batman v. Superman is no different.
One of the villains who cooperated with Lex Luthor is a Russian by the name of Anatoli Knyazev. Other movies such as The Equalizer, The Dark Night Rises, etc., present the same message: Muslims or Russians are evil, drug traffickers, human traffickers, terrorists, etc., etc. But terrorist states like Turkey get positive reviews:
Miller’s dedication to taking down anything he sees as a threat to his ideology 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 and Quentin Tarantino.
The funny thing is that feminists tell us ad absurdum that they are against brutality against women, but they are perfectly happy with Miller’s Sin City, which is littered with brutality against women. These people continue to show that their ideological movement is just a charade which they use to destroy the moral and social order.
Batman v. Superman is part of that transformation. Christopher Nolan and Zack Snyder have taken a lot of heat because they portray Batman as brutal, but critics need to start picking up the comic books themselves and see that Nolan or Snyder’s portrayal of Batman is not much different than Miller’s “My Sweet Satan.”
 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 Press, 2006); Paul Buhle, Jews and American Comics: An Illustrated History of an American Art Form (New York: The New Press, 2008); Danny Fingeroth, Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero (New York: The Continuum International Publishing, 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); Harry Brod, Superman Is Jewish?: How Comic Book Superheroes Came to Serve Truth, Justice, and the Jewish-American Way (New York: Free Press, 2012).
 Lauren Elkin, “French Jewish Comic Book Writer Talks,” Jewish Telegraphic Agency, May 12, 2005.
 See for example Emmanuel Levinas, Nine Talmudic Readings (Bloomington: Indiana University Press, 1990).
 Immanuel Kant, Grounding for the Metaphysics of Morals (Indianapolis and Cambridge: Hackett Publishing Company, 1993).
 Emmanuel Levinas, Totality and Infinity (Norwell, MA: Kluwer Academic Publishers, 1991), 21.
 Christopher Hitchens, “The Strange Case of David Irving,” LA Times, May 20, 2011.
 Nir Gontarz, “Israeli Diplomat in Berlin: Maintaining German Guilt About Holocaust Helps Israel,” Haaretz, June 25, 2015.
 Heath Aston, “Holocaust denier Frederick Toben backs George Brandis’ plans for discrimination law,” Sydney Morning Herald, March 13, 2014.
 This will be discussed in our upcoming book, Zionism vs. the West.
 Dan Raviv and Yossi Melman, “The Nazi Who Became a Mossad Hitman,” Jewish Daily Forward, March 27, 2016.
 See for example Norman G. Finkelstein and Ruth Bettina Birn, A Nation on Trial: The Goldhagen Thesis and Historical Truth (New York: Metropolitan Books, 1998). Lipstadt blames many Jews for using the Holocaust for their own goals, but the same Lipstadt ends up using the Holocaust as a weapon to silence dissenting views. Deborah Lipstadt, “Deborah Lipstadt Jews Who Use Holocaust for Their Own Goals Shame the Jewish People,” Haaretz, January 10, 2012.
 “Netanyahu is hoping that the U.S. will increase that amount. Israel Hoping To Lock Up $4B -a-Year U.S. Aid Package,” Jewish Daily Forward, February 11, 2016; Michael Kaplan, “Netanyahu White House Visit 2015: Israel Premier Expected To Request Billions In Military Aid As Iran Nuclear Deal Sets Off Arms Race,” International Business Times, November 11, 2015; see also “Netanyahu demands ‘up to $45 bn’ in US military aid to deter Iran, Gulf States,” Russia Today, May 27, 2015.
 See for example Abe Novick, “Super Jew,” Jerusalem Post, June 16, 2013; Larry Tye, “10 Reasons Superman Is Really Jewish,” The Jewish Daily Forward, June 12, 2013.
 Quoted in E. Michael Jones, “Wall Street Rises,” Culture Wars, October 2012.
 See for example Abe Novick, “Super Jew,” Jerusalem Post, June 16, 2013; Larry Tye, “10 Reasons Superman Is Really Jewish,” The Jewish Daily Forward, June 12, 2013.
 E. Michael Jones, The Jewish Revolutionary Spirit and Its Impact on World History (South Bend: Fidelity Press, 2008), 30.
 Jones, “Wall Street Rises,” Culture Wars, October 2012.
 For an expansion on this, see Todd A. Comer and Joseph Michael Sommers, ed., Sexual Ideology in the Works of Alan Moore: Critical Essays on the Graphic Novels (London: McFarland & Company, Inc., 2012).
 “‘Batman Inc.’ gets busy as Grant Morrison takes the hero beyond ‘blue-collar’ rage,” LA Times, August 10, 2010.
 Christopher Knowles and Joseph Michael Linsner, Our Gods Wear Spandex: The Secret History of Comic Book Heroes (San Francisco: Red Wheel/Weiser, 2007), 10.
 Anton Karl Kozlovic, “Superman as Christ-Figure: The American Pop Culture Movie Messiah,” Journal of Religion and Film, Vol. 6, No. 1, April 2002.
 Quoted in Abe Novick, “Super Jew,” Jerusalem Post, June 16, 2013
 Anton Karl Kozlovic, “Superman as Christ-Figure: The American Pop Culture Movie Messiah,” Journal of Religion and Film, Vol. 6, No. 1, April 2002. I made the mistake of saying that Dr. Kozlovic is Jewish. He has kindly written to me and said that he is not Jewish.
 Larry Tye, “10 Reasons Superman Is Really Jewish,” The Jewish Daily Forward, June 12, 2013.
 Curt Schleier, ‘‘Batman v. Superman’: Jesse Eisenberg on Lex Luthor’s Jewish qualities,” Jewish Telegraphic Agency, March 22, 2016.
 Tye, “10 Reasons Superman Is Really Jewish,” The Jewish Daily Forward, June 12, 2013
 David Bridger, The New Jewish Encyclopedia (Springfield, NJ: Behrman House, 1976), 170.
 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.
 Ibid., 216.
 Peter Sanderson, “Frank Miller Speaks,” Publishers Weekly, February 28, 2006.
 Frank Miller, Batman: The Dark Knight Returns (New York: DC Comics, 1986 and 2002), 89.
 Marissa Newman, “Netanyahu reported to say legal system based on Talmud,” Times of Israel, May 8, 2014.
 The Ethnic Cleansing of Palestine (Oxford: One World, 2007); The Forgotten Palestinians: A History of the Palestinians in Israel (New Haven: Yale University Press, 2011); Benny Morris, The Birth of the Palestinian Refugee Problem Revisited (Cambridge: Cambridge University Press, 2004).
 Sanderson, “Frank Miller Speaks,” Publishers Weekly, February 28, 2006.