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V for vendettax by Happy--Jack


I've never seen the film with that name, but the other day I finally read the comic, or, as they are called these days, "graphic novel" with the same title. The art was by David Lloyd, whose work is very efficient and professional. I don't know much about comics these days, but I'm sure he's a very popular artist.

It was written by Alan Moore, who promotes smoking marijuana and thinks "racism" is the most stupid and evil thing ever. He undeniably has a literary bent. This is why he stands out above most of the hacks who dominate the comic biz. I actually liked the work he's done for "Swamp Thing". Since that comic is notoriously eco-friendly his hippy dippy philosophy is actually an asset there, but I really have some problems with much of his other work. I'm not sure whether he's jewish or just as naive as hell, but much of his work is nothing more than shameless leftist propaganda, full of every lefty meme, misconception, prejudice and stereotype you can imagine. I always figured most comics are subversive because it's a jewish business and they all just seem to be into weird things and like creating controversy, but Moore's work actually has me wondering if many of these people don't go into that business specifically to warp young minds. Much of it is just so sappy and over the top I catch myself wondering why more people don't get mad that they are being so blatantly lied to and lead by the nose in these stories. Then I remember their audience is mostly High School kids and college students with no life experience who have already been living in a media fantasy land all their lives and it all makes sense.

Since he doesn't believe in genetics and thinks everything about a person is determined solely by their environment, in his world I suppose it's perfectly plausible that a random prostitute "V" saves from being raped and murdered by some stereotypical nazi thugs can be, if her teacher is sincere and loving enough, sufficiently trained to run his one man resistance operation all by herself in just a few short years. A lot isn't explained, like how an unemployed loner can have an entire building to himself full of electronic equipment right in the middle of a totalitarian nightmare state and live entirely undetected for over ten years, and how he seems to have such easy access to any powerful high official anytime he likes. Once we find out he's somehow taken control of "Fate", the giant supercomputer that runs everything, I suppose that's supposed to explain everything nicely and neatly.

In this book, and other books and movies like it, they are fighting against a right wing autocracy which only serves the few people at the top. Funny that in real life the writers of this kind of tripe work for a left wing dictatorship ran by a small number of self serving families at the top for their own benefit. This imaginary government is characterized by cruelty and sadism. Everyone's thinking is kept in line by mindless slogans and formulaic propaganda, and kept in power by violent street thugs. In our real life liberal oligarchy opposition is silenced by antifa hit squads and advanced by meaningless slogans,  and Hollywood nonsense. I think this guy must be completely insane as he has everything backwards and upside down. Far from being a nightmare worlds of fog, barbed wire, jack boots and vicious german shepherds, modern White ethnostates, far from being the perversion he portrays them as, have been working men's paradises and characterized by peace and prosperity, while it's communist states that have always shed the most blood and caused untold suffering. He's either crazy or he's become addicted to those big, gold shekels they shower on him for telling kids such gigantic whoppers.

The leaders of this fictitious White supremacist regime are abnormal losers who do what they do primarily because they feel unloved. Of course all White males are all portrayed as repulsively violent and hateful, while "people of colour" are invariably shown as vibrant, happy and full of love for the world and everyone in it. Never mind the fact that in reality Whites are pathologically altruistic to a fault and minority crime stats are unsettling to say the least as they show a preference for violent crime. In order to enjoy this story it's best we ignore these inconvenient facts. Young people love fantasy these days, much more than they like the reality of their own lives, so obviously this kind of material is very dangerous. It reminds me of something George Lincoln Rockwell said about modern fiction in one of his books. Something about how entering the imaginary world of a subversive author is dangerous because the reader experiences the story as if it's actually happening to him. I've made similar statements about how Hollywood is in the business of implanting false memories in our minds. It's scary to think about what they are planning to do to young people with the coming virtual reality video games. The way things are going we'll all be living in a talmudic matrix in another ten or twenty years. It's truly frightening.

I find it interesting that "V", whose face we never see (we are lead to believe he is hideously deformed) loves literature, art and all forms of music, especially classical music, when it is a known fact these are hallmarks of European civilization and the left makes no secret about wanting to erase both our civilization and history. I also find it somewhat amusing that the television programming in this make believe Right wing autarchy is very lowbrow and full of cheap sexual innuendos when that kind of thing is overtly characteristic of the jewish idiocracy we all live under in the real world. I don't recall any Fascist or National Socialist movies or television programming that pandered to those adolescent sensibilities the way our own jewish media does. It's also funny how all these fictional Right Wing thugs are portrayed as sexual deviants. Aside from Ernst Röhm, who was purged early on, I can't think of any sexual deviants high up in the NSDAP or Fascist party, but if pizzagate is any indication, such abnormal practices are rampant under our present semitic government. Either this guy is intentionally writing blatant propaganda for the sole purpose of confusing young minds or he's as delusional as hell and lives in his own twisted little fantasy world.

Over all I found the story entertaining and I enjoyed some of his poetic turns of phrase. Unfortunately I found his constant resorting to hackneyed, tired out, and cliche "liberal" misrepresentations more than a little annoying at times. In fact I could only read the first couple paragraphs of his introduction to the book because it was so full of communist bullshit.

As aggravating as it was I can't say I regret reading it as it was a look into the mind of a millennial antifa activist. 

By the end of the story "V" freed the people from the evil White government that was suppressing them and finally the people were free to do as they please. Evidently, according to this Moore at least, what they really want to do is destroy the work of their forgathers, give their country away and die off.

Here are some samples of what they were publishing prior to 1955. Just ask yourself if any of these are appropriate for little children. Also remember, back then people weren’t as overloaded with visual stimuli as we are today so these images would have a much more profound affect on the children who saw them:

Anyone who has had more than a passing interest in Comic books has heard this story, but the official version has never sat well with me as it has always struck me as someone disingenuous and misleading.

The media is always tinkering with the facts and trying to create a false reality that makes them look good, or at the very least like the hapless victims of narrow minded and viciously bigoted people. They love to lie, but when they can’t lie, or when outright lies are inconvenient due to an event being too well documented they will settle for putting a spin on the event, a spin that helps prop up their ongoing narrative of innocent jews under constant attack by brutal, animal like, snarling goyim. One instance of that that has always bothered me was the oft repeated story of how the Comics Code authority came into being.

Often when you hear this story related it will be by some fanboy who sneers at the idea that comic books could have been even partially responsible for juvenile delinquency. This reminds me of how Hollywood reacts whenever anyone suggests that their movies could have a bad influence on the behavior of certain segments of the population. I find it odd that when they do this no one brings up how these same people bring the full weight of the law down upon anyone who says anything less than flattering about certain protected classes of individuals claiming that they are concerned it might inflame passions against them. They even have a specific category of law that deals with this, these sorts of utterances are all covered by “Hate Speech” legislation and claim that saying such things are a violation of the protected individual’s civil rights, even when the incendiary speech is limited to documented and provable facts, like crime statistics and facts that conflict with the official holocaust narrative.

There was a case about 20 years ago when some WN was sued (I think it was Tom Metzger) because it was claimed that some of his “racist speech” inspired some kid to murder some black immigrant. Of course all the anti-White garbage shown in movies, on television, in rap music and even taught at Universities have inspired countless gruesome crimes against Whites, yet anybody who tried to sue any of the idiots spreading this evil propaganda would be at the very least ridiculed or at worse made the subject of a media fueled hate campaign. Just stating the obvious and saying everyone, including the blacks themselves would be happier and better off if they were all back in their native Africa can get you lynched by the P.C. mob these days.

OK. I’m getting side tracked so back to Bill Gaines and this Comics Code Authority business. The way the story is told is that in the late forties and early 50’s a psychologist named Fredric Wertham was whipping the public up to a frenzy of mass hysteria with a series of magazine articles and finally a book claiming that comic books negatively affect the behavior of young children.

Here’s the official story that’s been made available in dozens of websites and fanzines for the past 60 years:

“Horror. Crime. Science Fiction. War. Suspense. Oddball humor. Incisive writing. Eye-popping art. These are the elements that made EC Comics irresistible to readers of the 1950s. Their titles were produced by some of the finest creators the comic industry has ever seen, a who’s who of boundary-bursting, wildly innovative talents: Wally WoodHarvey KurtzmanJack Davis, Will Elder, Johnny CraigFrank FrazettaAl FeldsteinAl WilliamsonJoe OrlandoJohn SeverinGraham IngelsBernard Krigstein, and many others.

And when the bubble burst, and EC’s line of comics fell before a squalling mob of censors, Senators, sinister psychiatrists and simple-minded puritans….

-dark clouds loomed. A noted New York psychiatrist, Fredric Wertham, had been publishing anti-comics articles to great acclaim, writing for magazines such as Reader’s Digest and Ladies’ Home Journal, and his 1954 publication of Seduction Of The Innocent, a full-length book on the connection between comic books and social ills, made him the flashpoint for a nation already teetering on the edge of Joe McCarthy-inspired paranoia.

Anti-comic actions had previously been scattered, isolated events. Now, churches, scouting groups, schools, and charitable organizations around the country were hosting comic bonfires. And as EC was constantly pushing the envelope, Bill Gaines was caught right in the crosshairs of public opinion.

In the spring of 1954, the Senate Subcommittee on Juvenile Delinquency held a series of hearings on the effects of comic books, and Gaines decided that he needed to testify and stand up for his livelihood.

It didn’t go well. Gaines was suffering from a cold on the day of his testimony, and was under the influence of various medications. He showed up, read a prepared statement, fumbled when pressed for clarification, and stumbled his way through answering some very pointed questions from the presiding senators.

By the fall of 1954, a coalition of publishers formed a new trade group, the Comics Magazine Association of America. After some short deliberation, they instituted a new series of strict guidelines for their product, effectively self-censoring in hopes that the government would leave them alone. Rules included bans on words like “terror” and “horror” in titles, restrictions on visual depictions, and a note that all authority figures must be portrayed with respect — in short, rules that may as well have been written specifically to address EC’s house style. And while the Comics Code regulations came with no legal authority, the fact that the publishers in question also controlled newsstand distribution meant that Gaines had little choice but to comply.”

So, that poor little comic book publisher, all he wanted was to bring us quality stories and art, but he was ruthlessly shut down by narrow minded Philistines who were unjustly paranoid that these stories may hypnotize an entire generation into crazed criminals.  Notice the inflammatory, hyper emotional language that is used in this article, phrases like “Joe McCarthy-inspired paranoia”, and mentioning that he was trapped in the “cross hairs of public opinion”. They do this all the time. It’s a cheap trick to distract you from the facts of the subject at hand.

Well, just let me say here that I still enjoy these types of comic stories and I respect a lot of those old artists. They did do quality work, and a lot of those stories were really clever. EC comics are still to this day considered to be the best in that genre, but the one fact these “historians” consistently overlook is the audience, who was actually reading all those comic books? The great majority of the people who bought those comics were very young children. Children are very impressionable, are they denying that? I admit I enjoy them, but I’ve not been a preteen for quite some time now.

Little kids read comic books. They are made for children. They are small and very colorful. If he wanted to stay in business all he had to do was change the format. I’ve no doubt that that’s easier said than done, there would certainly be expenses involved. I’m not saying it would have been easy, but I find it interesting that this possible solution is never mentioned. Instead they always harp on how stupid the authorities and the public were being. By “the public” they mean the goyim as I’m sure most jewish parents didn’t allow their children to read that trash in the first place, just as now days, despite the fact they own all the television stations, most jews don’t let their children watch much, if any television. That’s for the entertainment of the livestock.

Of course, these chosen are artists when it comes to slander, and since the Code, as enforced by Judge Charles Murphy, cost Gaines so much money that it very nearly put him out of business, you know he just had to have the last word. Here’s the official story as told by all the fanzines and comic book websites:

“JUDGMENT DAY”

“In one early confrontation between a comic-book publisher and Code authorities, EC Comics‘ William Gaines reprinted the story “Judgment Day“, from the pre-Code Weird Fantasy#18 (April 1953), in Incredible Science Fiction #33 (Feb. 1956). The reprint was a replacement for a Code-disapproved story – “An Eye for an Eye”, drawn by Angelo Torres– but was itself also “objected to” because of “the central character being black.” The story, by writer Al Feldstein and artist Joe Orlando, was “a strong allegory on the evils of race prejudice“, which point was necessarily “nullified if the lead character” was not black. Following an order by Code administrator Judge Charles Murphy to change the final panel, which depicted a black astronaut, Gaines engaged in a heated dispute with Murphy. He informed Murphy that “if they did not give that issue the Code Seal, he would see that the world found out why”, causing Murphy to reverse his initial decision and allow the story to run. Soon after, however, facing the severe restrictions placed upon his comics by the CCA, and with his “New Direction” titles floundering, Gaines “quit comic book publishing to concentrate on Mad“.”

Never mind the fact that this myth they are so fond of pushing, that blacks and Whites are exactly the same intellectually is nothing more than a lie, or foolishly naive at best, I don’t know what kind of proof Gaines has that this whole thing happened exactly as it’s being told, or even at all. Anyway, assuming the explanation given was the reason he allowed the story to be published, his cooperation didn’t do him any good since, in true tribal fashion, Gaines went back on his word and told the world this story anyway. So, even if it’s true it’s not a good reflection on Gaines.

Whatever happened there is not really important anyway. They are using the age old trick of publicly questioning the motives of their opponent and assassinating his character to divert attention from the real issue at hand. It’s called an “ad hominem attack” and it’s one of their favorite tricks.

All that smoke and mirrors aside, you can’t just allow strangers to recklessly influence your children without any kind of rules concerning what is and what is not appropriate. Am I the only person who doesn’t feel safe allowing a bunch of greasy, middle aged New Yorkers to show and say anything they want to to a bunch of young, naive and impressionable children? Everybody knows that the more sick and lurid something is, the better it sells. This is true across all age brackets. The comic book business, like any other, is fiercely competitive, so you know those people will be constantly pushing the limits, doing whatever it takes to get noticed just to survive. Without a very firm set of governing rules things could easily get very ugly. That’s pretty much the situation we have now, but this was in the early 1950’s so parents, churches and community groups were still a long way away from feeling buried and helpless and throwing up their hands in despair and surrender.

Anyway, EC publications did pull through because they changed the format of Mad into a magazine and focused on that. Also, a little over 10 years later another publisher, Warren Publications, was able to put out a whole series of horror and science fiction comics that were not affected by the Comics Code Authority because they published them as black and white magazines which were marketed to teenagers.

While on the topic of “unfair censorship” there is also the famous story concerning the Topps chewing gum cards, “Mars Attacks” where much is made of how they redid many of the cards after complaints from parents that some of the images were too gruesome for little children. This is told in a way that makes the company seem almost heroic and that the effort they put into repainting the cards was an act of selfless altruism, done as a public service. Funny how nobody wonders how they thought they thought that selling pictures of people being bitten in half by giant insects or having large sections of their bodies disintegrated by hideous, alien creatures to young children was acceptable in the first place. Especially back in 1962. People just weren’t anywhere near as jaded back then as they are now.  Bubblegum cards are also a form of media so I shouldn’t have to tell you who dominates that business.  Anyway, all this reminds me of a saying that is popular among the jewish people, “It’s much easier to get forgiveness than to get permission”. Obviously it has been 70 years of them pushing the proverbial  envelope a little at a time that has gotten us into the depraved swamp of sewage we are literally drowning in now.

en.wikipedia.org/wiki/William_…

en.wikipedia.org/wiki/Comics_C…

comicsalliance.com/tribute-wil…

I remember watching this show when I was less than 2 years old, likely because it had dinosaurs in it.

It aired right after the open borders act and the Civil Rights act and all the episodes involve these astronauts who somehow went back in time and had to live with cavemen. Of course a consistent feature in this series, as in most jewish movies and TV shows, focuses on their preoccupation with getting home, which is likely an analogy of their obsession with Israel.

The plots always involve the astronauts convincing the cavemen that their traditions and customs were foolish and getting the cave men to either change them or give them up entirely, usually for the benefit of the astronauts themselves who keep running afoul of their prehistoric laws. In one episode (first in the link provided) they actually use drugs (laughing gas) to disrupt caveman society so the astronauts can escape execution. Remember that the hippie movement was gearing up around this time.

In another episode the astronauts again found themselves in hot water for committing another serious infraction of cave man law, in this case the chief found a Polaroid the astronauts took of him so he thought they were using black magic against him. It seemed their goose was really cooked this time so they convince the chief of the tribe to make their society a democracy so he has to run for the office of chief to maintain his position. Of course the astronauts get their lackey Gronk to run against him making all kinds of impossible promises and, most interesting of all, they set him up with an amplifier that made his voice boom like thunder. Obviously that made him much more prepossessing, but it also put’s me in mind of how the jews give candidates they like ample media access. Of course sit coms usually like to keep the characters and settings consistent so Gronk lost the election. The chief won the last and crucial vote because some female of the tribe found his Polaroid and that he looked very strong in it. The chief was flattered, so in a burst of generosity let the space men off the hook.

The show is jewier than vaudeville but I find it amusing. John Lennon actually made a very insightful remark when he said that show business is part of the jewish religion.

The show went off the air in ’66 and hadn’t been shown on TV till a couple years ago on some cable channel.

I wasn’t sure if it was a real show or I had dreamt it for years till I found it on youtube 3 years ago. It is pretty hard to believe, a sit com about astronauts living with cavemen.

Another interesting thing about the show was when the ratings dropped they tried to make it more interesting by bringing the cave people to the 20th century. Then the comedy hinged on these primitive people trying to integrate into middle class White society.

Interestingly this show aired during the period of forced integration of blacks into White schools in the south.

One of the episodes revolved around how the son of the cave people had to go to school. He was laughed at at first, but it wasn’t long before he had a disruptive affect on the behavior of the other boys who began acting and dressing like him.

I think it’s pretty obvious these jooze knew exactly what they were doing from the start. None of the negative affects of integration were accidental or unintentional.

There was a Saturday morning cartoon show in the early 60’s, during the height of the “Civil Rights” movement called, “The Magilla Gorilla Show”. It had an interesting plot, especially when you consider what was going on at the time.

There was a little shop keeper named “Mr. Peebles”, a merchant (A jew?) who was trying to sell a gorilla. Of course nobody wanted him, who in their right mind wants a 500 lb. gorilla messing up his home or apartment?
If I remember correctly, most of the situations depicted involved people being conned into buying him, only to return him for a full refund after he had wreaked havoc in the lives of his new owners.
So Mr. Peebles can’t even give this ape away. There was, however, a little White girl named “Ogee”, pronounced “Oh gee” who was infatuated by the over sized anthropomorphic simian. Her name is supposed to be a reference to an endearing mannerism she exhibits where she puts her index finger in her mouth and sighs, “Oh, gee” whenever she’s at a loss as to what to say. Considering where this is going I’m inclined to think it could be meant to imply “the big “O””, or “orgasm”? I don’t know, but little Ogee is unnaturally fixated on the big ape. She finds him both cute and amusing. Of course Mr. Peebles won’t sell him to her, she must be around 3 years old. Maybe they are trying to use some reverse psychology to make children more infatuated with the gorilla by making him seem all the more inaccessible? Like how the rabbit could never get “Trix”?
I find this interesting. He can’t sell the ape directly to grown ups because they are wise enough to know how much trouble owning a huge jungle ape would involve, so these wily jews make him as appealing as possible to young children, who are naive and ignorant as to the ways of the world. They could relentlessly badger their parents into letting them have a gorilla. No worries, if the gorilla creates any problems it will be the parents’ job to try to clean up the mess after the fact, or, more likely, just learn to ignore or deal with the difficulties it creates.
This is how they sold the negro to us, by making them appeal to young people, through music, television sit coms and the invented concept of “cool”.

V for vendettax by Happy--Jack


I've never seen the film with that name, but the other day I finally read the comic, or, as they are called these days, "graphic novel" with the same title. The art was by David Lloyd, whose work is very efficient and professional. I don't know much about comics these days, but I'm sure he's a very popular artist.

It was written by Alan Moore, who promotes smoking marijuana and thinks "racism" is the most stupid and evil thing ever. He undeniably has a literary bent. This is why he stands out above most of the hacks who dominate the comic biz. I actually liked the work he's done for "Swamp Thing". Since that comic is notoriously eco-friendly his hippy dippy philosophy is actually an asset there, but I really have some problems with much of his other work. I'm not sure whether he's jewish or just as naive as hell, but much of his work is nothing more than shameless leftist propaganda, full of every lefty meme, misconception, prejudice and stereotype you can imagine. I always figured most comics are subversive because it's a jewish business and they all just seem to be into weird things and like creating controversy, but Moore's work actually has me wondering if many of these people don't go into that business specifically to warp young minds. Much of it is just so sappy and over the top I catch myself wondering why more people don't get mad that they are being so blatantly lied to and lead by the nose in these stories. Then I remember their audience is mostly High School kids and college students with no life experience who have already been living in a media fantasy land all their lives and it all makes sense.

Since he doesn't believe in genetics and thinks everything about a person is determined solely by their environment, in his world I suppose it's perfectly plausible that a random prostitute "V" saves from being raped and murdered by some stereotypical nazi thugs can be, if her teacher is sincere and loving enough, sufficiently trained to run his one man resistance operation all by herself in just a few short years. A lot isn't explained, like how an unemployed loner can have an entire building to himself full of electronic equipment right in the middle of a totalitarian nightmare state and live entirely undetected for over ten years, and how he seems to have such easy access to any powerful high official anytime he likes. Once we find out he's somehow taken control of "Fate", the giant supercomputer that runs everything, I suppose that's supposed to explain everything nicely and neatly.

In this book, and other books and movies like it, they are fighting against a right wing autocracy which only serves the few people at the top. Funny that in real life the writers of this kind of tripe work for a left wing dictatorship ran by a small number of self serving families at the top for their own benefit. This imaginary government is characterized by cruelty and sadism. Everyone's thinking is kept in line by mindless slogans and formulaic propaganda, and kept in power by violent street thugs. In our real life liberal oligarchy opposition is silenced by antifa hit squads and advanced by meaningless slogans,  and Hollywood nonsense. I think this guy must be completely insane as he has everything backwards and upside down. Far from being a nightmare worlds of fog, barbed wire, jack boots and vicious german shepherds, modern White ethnostates, far from being the perversion he portrays them as, have been working men's paradises and characterized by peace and prosperity, while it's communist states that have always shed the most blood and caused untold suffering. He's either crazy or he's become addicted to those big, gold shekels they shower on him for telling kids such gigantic whoppers.

The leaders of this fictitious White supremacist regime are abnormal losers who do what they do primarily because they feel unloved. Of course all White males are all portrayed as repulsively violent and hateful, while "people of colour" are invariably shown as vibrant, happy and full of love for the world and everyone in it. Never mind the fact that in reality Whites are pathologically altruistic to a fault and minority crime stats are unsettling to say the least as they show a preference for violent crime. In order to enjoy this story it's best we ignore these inconvenient facts. Young people love fantasy these days, much more than they like the reality of their own lives, so obviously this kind of material is very dangerous. It reminds me of something George Lincoln Rockwell said about modern fiction in one of his books. Something about how entering the imaginary world of a subversive author is dangerous because the reader experiences the story as if it's actually happening to him. I've made similar statements about how Hollywood is in the business of implanting false memories in our minds. It's scary to think about what they are planning to do to young people with the coming virtual reality video games. The way things are going we'll all be living in a talmudic matrix in another ten or twenty years. It's truly frightening.

I find it interesting that "V", whose face we never see (we are lead to believe he is hideously deformed) loves literature, art and all forms of music, especially classical music, when it is a known fact these are hallmarks of European civilization and the left makes no secret about wanting to erase both our civilization and history. I also find it somewhat amusing that the television programming in this make believe Right wing autarchy is very lowbrow and full of cheap sexual innuendos when that kind of thing is overtly characteristic of the jewish idiocracy we all live under in the real world. I don't recall any Fascist or National Socialist movies or television programming that pandered to those adolescent sensibilities the way our own jewish media does. It's also funny how all these fictional Right Wing thugs are portrayed as sexual deviants. Aside from Ernst Röhm, who was purged early on, I can't think of any sexual deviants high up in the NSDAP or Fascist party, but if pizzagate is any indication, such abnormal practices are rampant under our present semitic government. Either this guy is intentionally writing blatant propaganda for the sole purpose of confusing young minds or he's as delusional as hell and lives in his own twisted little fantasy world.

Over all I found the story entertaining and I enjoyed some of his poetic turns of phrase. Unfortunately I found his constant resorting to hackneyed, tired out, and cliche "liberal" misrepresentations more than a little annoying at times. In fact I could only read the first couple paragraphs of his introduction to the book because it was so full of communist bullshit.

As aggravating as it was I can't say I regret reading it as it was a look into the mind of a millennial antifa activist. 

By the end of the story "V" freed the people from the evil White government that was suppressing them and finally the people were free to do as they please. Evidently, according to this Moore at least, what they really want to do is destroy the work of their forgathers, give their country away and die off.

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Happy--Jack

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United States

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:iconkarkataracts:
karkataracts Featured By Owner Feb 3, 2014
Thanks for the watch!
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:iconsomeone1fy:
someone1fy Featured By Owner Jan 31, 2014
Thanks for the watch and invite me to your group but..... I don't know how'd I do in your group.
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:iconhappy--jack:
Happy--Jack Featured By Owner Jan 31, 2014
Awe come on! Live a little! :D
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:iconsomeone1fy:
someone1fy Featured By Owner Jan 31, 2014
Well, sorry I don't understand the meaing of 'Live a little'.

Because my first language is not English.
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:iconhappy--jack:
Happy--Jack Featured By Owner Jan 31, 2014
Just means, like, 'enjoy yourself' or 'have fun'.
Whatever.
Have a nice day!
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(1 Reply)
:iconkommandeur:
Kommandeur Featured By Owner Jan 28, 2014  Hobbyist Photographer
thanks for the watch
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