Comics artists

"Look around you. Everywhere. They are there. In every home - lurking in dark corners … small, bi-pedal entities with almost human brains play their games in which adults are the pawns. They play and wait for the time when they will take over the world!"

"You'll find my power comes from within.... and is a force to be reckoned with."

"Obviously my best strategy is to wait, listen, and learn."

"My name is Thanos, and my name means Death."

"Who would have thought that becoming God would be such a hollow victory."

"The Universe will now be set right. Made over to fit my unique view of what should be. Let Nihilism reign supreme!"

"There are forces at work you do not perceive. I weave a delicate strategy which rash actions could rend. Patience, please."

"Naked power is seldom the answer to any problem. Surely you must know that even this group's combined might is nothing compared to the force Thanos wields. Only a richly complex and skillfully executed strategy will insure your survival. Time is short and I have such a plan."

"We tried to do this the easy way — and we failed. Now begins the conflict I strove to avoid. It may well prove to be a battle the Universe cannot survive! Eternity, it is now your turn."

"Adam Warlock, a being who wished nothing more than to spend the rest of his days within the peaceful environment of the Soul Gem. He now possesses the Infinite Power and the responsibility that goes with it. While I, whose entire life was dedicated to the pursuit of power, now find myself scraping out a living from the soil. Irony worthy of the drama. Yet strangely enough though, I envy not Adam Warlock. Somehow I feel, that in the long run, Thanos of Titan came out ahead in this particular deal."

"I've made more money in novels than I did in my entire career in comics. The few years I did novels, they paid off so well, I don't have to be a slave to doing comics. But I'd rather do comics than novels. If I wanted to do it just for the money, I'd run off and do another novel. I just don't have the juice for it. I'm really not interested in it. It's a love for what this medium is."

"As big as an elephant is, a whale is still larger. Everything's relative. Even gods have their spot on the food chain."

"I’m still proudest of The Death of Captain Marvel followed closely by various Dreadstar stories, Warlock, Kid Kosmos Kidnapped, The Thanos Quest and a series next-to-nobody ever read, called Wyrd, the Mystic Warrior..."

"When I finished with Captain Marvel I had turned him from a warrior into a mystic. Adam Warlock was a mystical messiah. Where to go from there? Decided to reverse course and turn him into a suicidal paranoid/schizophrenic, which was the way I was feeling at the time. I’ve always used my work to examine what is currently going on in my own life. It’s cheaper than going to a shrink. The Death of Captain Marvel was a great way of working through my own father’s death."

"I’m a firm believer that in-depth subjects can be better handled in a fantasy setting. … Let’s face it, traveling to some far off land is a terrific way to break the mold, to do something different. Isn’t that why we go on vacations?"

"Just came from the premiere of Guardians of the Galaxy. With all the hype I expected to be a bit disappointed. It just couldn't be as good as everyone was predicting. And they were wrong. It's even better than everyone said. It just might be Marvel's best movie yet."

"I feel that story, first. I know those people, first. When I put them down they've already lived."

"Darkseid is very evil. He's the equivalent of a mass murderer, but he wouldn't waste his super-powers on just one individual. He wouldn't go out of his way just to kill one man; it would be ridiculous. He wouldn't do it. He'd just walk away. That's how my villains think."

"If someone took control of your mind and you were not able to think as yourself any longer, you would no longer be yourself. You'd be something in his command. You as an individual would be dead. That's Anti-Life. In other words, if you gave yourself to some cause, and gave up everything as an individual and you were at the beck and call of some leader, you would be dead as an individual. And that's what Darkseid wants. He wants control of everybody. If it was snowing outside and you weren't wearing any shoes and it was 38 degrees below zero and this guy says, "Go out and get me a bologna sandwich," you have to go through all that; you obey him automatically, you obey him meekly. You walk out without a coat and you freeze to death. He doesn't care. You do it anyway despite the fact that you don't want to do it. You're dead as an individual. You have no choice. You can't object and you have no stature as a person. You're dead. A slave is a dead man. That's what Darkseid wants. Darkseid wants complete subjugation of everything at a word - his word. He wants every thinking thing under his control. I believe it's an evil concept but he doesn't think so."

"The right idea to Darkseid is anything that benefits him. He isn't going to worry about you. He sees the world from where he sits, and of course what he sees is big. He's a big man. Darkseid is a tremendous, powerful, evil figure, and he's going to see everything in a cosmic view. He's not going to see a view of the candy store around the corner or what's playing at the Palladium next week. Darkseid is going to see everything in an over-powering cosmic view, and of course what else would he want but complete subjugation of everything? Earth is included in that everything, and my concept is that somewhere on Earth is someone who can solve the Anti-Life Equation, and Darkseid is after that poor soul."

"Darkseid considers anything evil that's going to stop him. If you stop me, I consider you evil."

"I don't classify gods as far as their power goes. I classify them as far as their personality goes. Each god, if he used his power right, could defeat another god. If I used my power right I could defeat anyone on Earth if I wanted to. As a man, if I used my physical strength at its best, I could overpower anybody I wanted to. If I did it right. It's the same way with the gods. If they used their super-powers right, they could defeat any other god. Darkseid is no different except that Darkseid is an evil guy with a lot of class. He's the kind of guy that might outthink you, and with super-powers involved it could be in a very dangerous and earthshaking way."

"I feel that nonviolence coupled with some kind of sustaining influence can work in comics. I don't feel that you have to show blood and gore and guts. I think it's repellent. I've seen enough of it in its reality, and it's just as repellent when it's drawn as in reality. I see nothing of any value in anything that has what you call shock value. I see nothing in that except using that sort of thing to prove a point. In other words if you're making an anti-war document or if you're trying to tell the truth about a certain subject, and the blood and gore was a part of that subject, I wouldn't omit it. If I were going to make an exposé on anything I would show anything connected with it. For instance, in a gangster movie I would show the results of being a gangster-the life activities as well as the end and death. I would show exactly how it is they ended. I would show the bullet holes because it's part of the picture, but I wouldn't exploit it for its value alone. I see no entertainment in that sort of thing."

"I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done."

"The romance genre was all around us. There was love story pulps, and there was love story sections in the newspapers. There was love stories in the movies. Wherever you went there was love stories! That’s how we got our new material, and it suddenly struck me that that’s what we haven’t done. We haven’t done any romance stories!"

":No, we didn’t do horror in the sense of haunted houses or people with masks the way you might see them today; something lurking in an anteroom. Our stories were more like peasants sitting around a fire. We had the “Strange World of Your Dreams”. Ours didn’t run to bloody horror. Ours ran to weirdness. We began to interpret dreams. Remember, Joe and I were wholesome characters. We weren’t guys that were bent on the weird and the bizarre. We were the kind of guys who wouldn’t offend our mother, who wouldn’t offend anyone in your family, and certainly not the reader. So we knew that we had to depart from adventure and that there were other ways to go and we came up with the “Strange World of Your Dreams”."

"I was a young man. I was still growing out of the East Side. The only real politics I knew was that if a guy liked Hitler, I’d beat the stuffing out of him and that would be it."

":I knew this much — that everybody voted Democrat down my way. If you were poor, you voted Democrat and if you were rich you voted Republican."

"::Oh, communism! That was a burning issue. It was an outrageous issue. To be termed a communist would damage your whole family, damage your whole world — your friends wouldn’t talk to you. I’m talking about other people — because I wouldn’t go near the stuff. Sure, I was against the reds. I became a witch hunter. My enemies were the commies — I called them commies. In fact, Granny Goodness was a commie, Doubleheader was a commie."

":::Anything radical was dangerous to me, as it was to the average American. Nobody knew where a thing like that would lead and we were always afraid of chaos. So communism became the doorway to chaos, and the doorway to chaos was the doorway to evil. Your family might be hurt. Your friends might be hurt. You didn’t want to see a thing like that."

"::::I enjoyed working on any story. I’m essentially a storyteller. You name the subject, and I’ll give a good story on it."

"I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge — what kind of monster would fascinate people? I couldn’t draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn’t faint dead away. There was nothing disgusting in his demeanor. There was nothing about him that repelled you. My monsters were lovable monsters."

":To make the [reader] happy was not my objective, but to make the [reader] say, “Yeah, that’s what would happen” — that was my objective. I knew the [reader] was never happy all the time. You take the Thing, he’d knock out 50 guys at a time and win — then maybe he’d sit down and kind of reflect on it: “Maybe I hurt somebody or maybe we could have done it some other way” like a human being would think, not like a monster. In other books the guy would knock out the gangs and that would be the end of it. You would see the guys in jail, and that’s it. Or it would say, “Wait until next week.”"

"::The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists."

":::I know all about Thor and Balder and Mjolnir, the hammer. Nobody ever bothered with that stuff except me. I loved it in high school and I loved it in my pre-high school days. It was the thing that kept my mind off the general poverty in the area. When I went to school that’s what kept me in school — it wasn’t mathematics and it wasn’t geography; it was history."

"::::The Hulk I created when I saw a woman lift a car. Her baby was caught under the running board of this car. The little child was playing in the gutter and he was crawling from the gutter onto the sidewalk under the running board of this car — he was playing in the gutter. His mother was horrified. She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car."

"Superheroes may be superhuman in stature but inside they’re human beings and they act and react as human beings. It doesn’t matter whether you’re doing legendary characters like Hercules or modern characters, you’ll find that humans are humans and they’ll react the same way in certain situations."

"I never do fairy tale people, I do people just as they are."

"If somebody wants to kill you, they make you a scout."

"Before setting off for duty, the auteur cranked out an increased flow of comics, stating that he wanted “to get enough work backlogged that I could go into the Army, kill Hitler, and get back before the readers missed us.""

"There were mostly women and some men; they looked like they hadn’t eaten for I don’t know how long. They were scrawny. Their clothes were all tattered and dirty. The Germans didn’t give a shit for anything. They just left the place; just like leaving a dog behind to starve. I was standing there for a long time just watching thinking to myself, ‘What do I do?’ Just thinking about it makes my stomach turn. All I could say was, ‘Oh, God.’"

"…I don’t think there was one state that wasn’t represented there. The experience helped me appreciate the variety of the country, in the people, the language, and culture. It is incredible to think that we are as diverse as we are and how we have held together as one culture. Really, it is the one clear fact of this country that makes it unique to the world."

"Jack Kirby’s massive contributions to comics are common knowledge. His influential pulp-epic motifs. The revolutionary dynamism of his art. But here I’d like to talk about a more specific set of “King” Kirby’s innovations—his use of “minority” protagonists. Whether stressing the multi-ethnic makeup of America or revising racist preconceptions of Africa, Kirby’s work challenged comics’ unremarked upon WASPiness and white supremacy in quiet and not-so-quiet ways."

"Jack didn’t have the resources or the stomach lining to fight Marvel over copyrights, character ownership or past contractual sleights that he believed he suffered."

"Even when he was given someone else's idea, he would build it into something unbelievable and new, like a man who was asked to repair a vacuum cleaner but instead built it into a functioning jet pack."

"Unlike other comic book creators who were given either stateside or way-behind-lines assignments, and perhaps because Kirby understood Yiddish, the Jewish German dialect spoken by his family, he was sent as a scout behind enemy lines to draw maps. He endured and survived many harrowing violent experiences during his service, almost losing his feet to trench foot. He had no time for fascists or racists."

"His real dream was to make movies."

"My favorite thing about Kirby’s artwork was his storytelling. He was really a film director doing comics."

"I can’t get over this guy. He creates 100 villains at a sitting and then kills off half of them. Any one of these villains I can make a million off of."

"Jack Kirby—co-creator of the Marvel Universe and big chunks of DC’s—remains one of the most influential writer/artists in the history of comics. Many of Kirby’s works involve the fight against fascism, embodied in characters such as Doctor Doom and the Red Skull. This wasn’t just an imaginary battle for Kirby, who killed Nazis in World War II and was ready to throw down with any fascists he encountered stateside. Many people have fought for freedom in the military; many others have done it through art. Few have waged the war for freedom on two fronts quite like Kirby."

"…Jack took a call. A voice on the other end said, ‘There are three of us down here in the lobby. We want to see the guy who does this disgusting comic book and show him what real Nazis would do to his Captain America’. To the horror of others in the office, Kirby rolled up his sleeves and headed downstairs. The callers, however, were gone by the time he arrived."

"I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt through ... about 25 years."

"Jack’s aliens did not look like anyone else’s aliens. They were dangerous with “alieness.” His characters in general, alien or human, posed with drama. There was something alive, almost sinister, about the locations he drew, whether it was the swamp where the alien craft first landed, or the boarding house where the chase finally ended. Even the coloring was strange, full of raw hues and knockouts where one color was washed over most of a panel, like a raw spotlight shining on the scene. Most of all, the work was vital, bursting with energy even in those panels where characters were merely standing around. And if they were in motion, they moved with authority. It was like no other comic book I had ever seen. In microcosm, that was the genius of Jack Kirby. He was like no other artist who worked in comics, a uniquely gifted individual who brought a new sensibility and a fire to the art and storytelling of American comic books, a fire that burns to this day. I’m happy to say I’m still learning from him."

"He created a new grammar of storytelling and a cinematic style of motion. Once-wooden characters cascaded from one frame to another—or even from page to page—threatening to fall right out of the book into the reader's lap. The force of punches thrown was visibly and explosively evident. Even at rest, a Kirby character pulsed with tension and energy in a way that makes movie versions of the same characters seem static by comparison. The frenetic action and the rooftop fighting so common on the superhero set did not just materialize out of nowhere. Mr. Kirby remembered much of it from his Depression-era youth on New York’s Lower East Side, where, he once told an interviewer, the incessant fights among rival gangs were often staged up and down fire escapes and during running battles across tenement rooftops."

"There was power in the work of Jack Kirby that changed the way I looked at things. There was no one else like him and there never will be."

"Darkseid constitutes the kind of men Kirby was acquainted with in his youth. The slum lords, made famous in Will Eisner’s A Contract With God, were men (perhaps women?) with agendas. They operated on morals dictated by their business mindset. The cost of rent, the living conditions, and the quality of life they allowed for their tenants was in line with their standards. To them, that standard was appropriate. To call them “evil” or “unethical” is an inaccurate assessment. They were gods within the worlds they created."

"Here’s a test you can try at home: put a two-year-old in a playpen with an apple and a rabbit. If it plays with the apple and eats the rabbit, you’ve got a carnivore. According to numerous studies … vegetarians have 60% less cancer than meat-eaters, and a tiny fraction of the heart attack rate. It doesn’t take a rocket scientist to figure out we aren’t very well designed to eat meat."

"Until mid 2002, I was a meat eater. I have always instinctively been opposed to cruelty to animals, as all decent and sensible people are, but didn’t know much about how food animals were raised or processed. I assumed humans had always eaten meat because it was natural for us to, and that food animals were raised on farms where they were fairly oblivious to their surroundings and only moderately inconvenienced until their swift and humane execution. Nothing could be further from the truth. Over 95% of animals raised for food are born, live, and die in horribly painful conditions. ... Another misconception I had was about the relative intelligence and awareness of farm animals. Since becoming vegan, I’ve met rescued “food” animals now living natural lives outdoors … Cows, pigs and chickens are as smart, friendly and loving, as dogs and cats, and create friendships with other animals and people in much the same ways. Each has its own personality and its own set of likes and dislikes. If you think you’re an animal advocate because you care about saving dogs and cats in city shelters but still eat meat, think again."

"[Describing her visit to a slaughter facility in Pennsylvania] The floor was very slippery and the walls and everything else were covered with blood. Dried blood had formed a crust on the chains. I surely didn't want to fall down in all that blood and guts. The workers wore non-slip boots, yellow aprons, and helmets. It was a scene of controlled, mechanized chaos."

"Sue Coe … has done more through her paintings and prints to help animals than any other artist in history."

"I have no doubt that Sue's art … is of historic importance. A hundred years from now and more, assuming our species has managed to survive, Sue Coe's work will hang in all the great museums of the world."

"Born and brought up in New York City and having survived and thrived there, I carry with me a cargo of memories, some painful and some pleasant, which have remained in the hold of my mind. I have an ancient mariner’s need to share my accumulation of experience and observations. Call me, if you will, a graphic witness reporting on life, death, heartbreak and the never-ending struggle to prevail…or at least to survive."

"As the story unfolds it is at 55 Dropsie Avenue where Frimme Hersh deals with God; where the street singer fails to grasp his chance for gory. It is on Dropsie Avenue where a diminutive enemy defeats the super, and Willie comes of age. It is in an alley of Dropsie Avenue where Jacob Shtarkah tries to find the meaning of life. It is also on Dropsie Avenue, finally, where I undertake the biography of the street itself, through the physical evolution of the block, the rise and fall of the tenement building at No.55 and the ethnic and social changes of the stream of occupants."

"The tenement – the name derives from a fifteenth-century legal term for a multiple dwelling – always seemed to me a “ship afloat in concrete.” After all didn’t the building carry passengers on a voyage through life? No. 55 sat at the corner of Dropsie avenue near the elevated train, or the elevated as we called it in those days. It was a treasure house of stories that illustrated tenement life as I remembered it, stories that needed to be told before they faded from memory. Within its “railroad flats,” with rooms strung together train-like lived low-paid city employees or laborers and their turbulent families. Most were recent immigrants, intent on their own survival. They kept busy raising children and dreaming of the better lie they knew existed “uptown.” Hallways were filled with a rich stew of cooking aromas, sounds of arguments and the tinny wail from Victrolas. What community spirit there was stemmed from the common hostility of tenants to the landlord or his surrogate superintendent. Typically, the buildings tenants came and went with regularity, depending on the vagaries of their fortunes. But many remained for a lifetime, imprisoned by poverty or old age. There was no real privacy or anonymity. Everybody knew about everybody. Human dramas, both good and bad, instantly gathered witness like ants swarming around a piece of dropped food. From window to window or on the stoop below, the tenants analyzed, evaluated and critiqued each happening, following an obligatory admission that it was really none of their business."

"To anyone growing up in any large city, the immediate neighborhood becomes the world. The street on which one lives provides a kid with local identification somewhat similar to being branded by national origin. Streets have a status. They grow, get old and change in character. In large coastal cities, immigration has an effect on the profile of a street altering it as each new group enters, stays a while, assimilates and then moves away. Streets seem to have a discernible life. Some start out ostentatiously and gradually descend into slums while others begin as poor the disreputable neighborhoods and rise to ostentation through what city planners call gentrification."

"My early work in newspaper comics and comic books allowed me to entertain millions of readers weekly, but I always felt there was more to say. I pioneered the use of comics for instructional manuals for American soldiers, covering three major wars, and later used comics to educate grade school children. Both were heady responsibilities that I took very seriously. But I yearned to do still more with the medium. At an age when I could have "retired," I chose instead to create literary comics, than a decidedly oxymoronic term. Acceptance has not always been easy, but I have seen it arrive in my lifetime. It has been most gratifying to see the graphic novel and many of its exceptional creators gradually become an accepted part of the book world. I couldn't find a major publisher to take A Contract With God only a quarter century ago, and now graphic novels represent the book industry's fastest growing genre."

"The most extraordinary aspect of the Protocols of the Elders of Zion is not so much the history of its inception as that of its reception. That this fake was produced by a number of secret services and police of at least three countries, assembled from a collage of different texts, is by now a well-known fact-and Will Eisner tells it in full, taking into account the most recent research. In one of my essays I identify other sources that scholars had not taken into account: for example, the Protocols “Jewish plan” for conquering the world follows, almost literally at times, the Jesuit plan as told by Eugene Sue first in Le juif errant, (1844-45) and later in Les myst’eres du people (1849-57)-the similarities are so great that one is tempted to conclude that Maurice Joly himself (the French satirist whose pamphlet Dialogues in Hell Between Machiavelli and Montesquieu, published in 1864, is considered to be the direct predecessor of the Protocols, and who is a figure in Eisner’s The Plot) had been inspired by Sue’s novels."

"This patchwork of largely fictional works makes the Protocols an incoherent text that easily reveals its fabricated origins. It is hardly credible, if not in a roman feuilleton or in a grand opera, that the “bad guys” should express their evil plans in such a frank and unashamed manner, that they should declare, as the Elders of Zion do, that they have “boundless ambition, a ravenous greed, a merciless desire for revenge and an intended hatred.” If at first the Protocols was taken seriously, it is because it was presented as a shocking revelation, and by sources all in all trustworthy. But what seems incredible is how this fake arose from its own ashes each time someone proved that it was, beyond all doubt, a fake. This is when the “novel of the Protocols” truly starts to sound like fiction. Following the article that appeared in 1921 in the Times of London revealing that the Protocols was plagiarized, as well as every other time some authoritative source confirmed the spurious nature of the Protocols, there was someone else who published it again claiming its authenticity. And the story continues unabated on the Internet today. It is as if, after Copernicus, Galileo, and Kepler, one were to continue publishing textbooks claiming that the sun travels around the earth. How can one explain resilience against all evidence, and the perverse appeal that this book continues to exercise? The answer can be found in the works of Nesta Webster, an antisemetic author who spent her life supporting this account of the Jewish plot. In her Secret Societies and Subversive Movements, she seems well informed and knows the whole story as Eisner narrates it here, but this is her conclusion: The only opinion I have committed myself is that, whether genuine or not, the Protocols represent the programme of a world revolution, and that in view of their prophetic nature and of their extraordinary resemblance to the protocols of certain secret societies of the past, they were either the work of some such society or of someone profoundly versed in the lore of secret society who was able to reproduce their ideas and phraseology. Her reasoning is flawless: “since the Protocols say what I said in my story, they confirm it,” or: “the Protocols confirm the story that I derived from them, and are therefore authentic.” Better still: “the Protocols could be fake, but they say exactly what the Jews think, and must therefore be considered authentic.” In other words, it is not the Protocols that produce antisemetism, it is people’s profound need to single out an Enemy that leads them to believe in the Protocols. I believe that-in spite of this courageous, not comic but tragic book by Will Eisner- the story is hardly over. Yet is is a story very much worth telling, for one must fight the Big Lie and the hatred it spawns."

"In 1848, driven by a revolution in Paris, King Louis Philippe abdicated and Louis Napoleon (a nephew of Napoleon Bonaparte) was elected president of France. Four years later, after a coup d’etat, Louis Napoleon styled himself Napoleon II, emperor of France. Napoleon III’s first act as emperor was to imprison his political opponents. He was a crafty monarch, and his ambition during his reign was to seek glory through military adventurism while the great mass of French peasants remained ina state of poverty and despair. Initially, Napoleon III achieved a short-lived public popularity by trying to “modernize” France and liberalize its economy, but his legacy remains that of a dictator and conniving politician. In 1870, fearful that Germany was expanding too fast, Napoleon III declared war against this neighbor. The French were quickly defeated, and Napoleon III became a prisoner of war. Upon release in 1871, he was exiled to England, where he lived until his death in 1873. Maurice Joly was mindful of this growing tension between Germany and France. He had been born in 1821 of French parents. He was admitted to the Paris bar as an attorney and was a one-time member of the General Assembly. Joly devoted most of time to writing caustic essays on French politics. He joined many other severe critics of Napoleon III, who regarded him as a ruthless despot. In 1864, Joly wrote a book called “The Dialogue in Hell between Machiavelli and Montesquieu.”…It intended to liken Napoleon III to the infamous Machiavelli, author of “The Prince,” a treatise on the acquisition of power. Holy intended to reveal the French dictator’s dark and evil plans."

"Maurice Joly: In “Caesar” I bluntly accused our emperor of evil offenses…in ‘’’this’’’ book I expose the nature of the man’s mind, how he thinks, y’see!"

"Maurice Joly: Your honor, I have not written a lampoon here…this book’s delineations are applicable to all governments!"

"When Nicholas II was crowned tsar of Russia in 1894, the country was seething with unrest. Brought up by private tutors, he had little training in the affairs of state. He was dull, reactionary, and an ineffective ruler who was easily influenced. Although revolution was slowly brewing, Russia on the surface remained a prisoner of its feudal past. In order to maintain the appearance of stability, Nicholas II engaged ina policy of suppreission and later on supported pogroms against Jews. Such anti-Semitic views were not new. Even before the assassination in 1881 of Alexander II (Nicholas II’s grandfather) the Romanov family had been convinced of p-lots against the tsar. During his own reign, Nicholas II was easily swayed by strong opinions. He veered from one plan to another depending on the advice of the most articulate in his council. His most trusted adviser was Sergei Yulievich Witte, a clever but sometimes unpopular councilor who was known to have liberal modernistic views regarded as controversial by conservatives, who dominated the court. Witte had two very resentful enemies…Gorymikine and Rachkobsky, who were associated with the secret police."

"Gorymikine: Surely, he must be aware that Russia is facing a revolt!"

"Rachikovsky: What if there appeared a document proving that modernization was a part of a Jewish plot?"

"Mathieu Golovinski was born in the Simbirsk region of Russia in 1865 during the reign of the Romanov dynasty. His family, a part of the fading Russian aristocracy, provided him with a fragile social standing. He grew up in a leisured environment typical of families of that class. His father, Basil Golobinski, died,however, when Mathieu was 10 years old."

"Classmate 1: Count Dashkov is close to the tsar…a minister at the court no less…"

"Count Dashkov: Ah, Mathieu Golovinski, I hear good things about you…I have need for a young man with your talents!"

"Pobedonostev: Aha! You are very well recommended Golivinski. You are just what we need here! Russia’s bureaucracy and its state apparatus have been infiltrated by Jews. Believe me. I’ve been studying the Jewish threat. As guardians of Christina Russia we must deal with them… but it will not be easy…they’re more intelligent and smarter than the average Russian. So how?? How??"

"Golovinski: What is the meaning of this? Why am I arrested?"

"Rachkovsky: The tsar must have unquestionable’’’ evidence of a threat against the monarchy!"

"Golovinski: Mr. Rachkovsky, a Zionist congress met last year. I can simply fabricate a manifesto!"

"Rachkovsky: That is Sergius Nilus!"

"Nilus: This is a program of Jewish world conquest…proof of who is behind this revolution!"

"1905 Tsar Nicholas II made inept efforts to mollify his angry people by granting basic liberties and allowing a parliament (Duma), which he kept dissolving. Meanwhile he ruthlessly suppressed the people’s rising. Royal troops fired ona peaceful march of workers in St. Petersburg on January 9, known as Bloody Sunday. Anti-Jewish pogroms were rampant. The Russian edition, published by Dr. Nilus, of the “Protocols of Zion” was widely circulated. Monarchists frequently read it aloud to illiterate peasants. 1914 The start of World War I led to Russian military defeats. A failing economy brought about terrible civilian suffering. Loyalists openly spoke about a “Jewish plot”. Food riots, strikes, and the tsar’s panicky dissolution of the Fourth Duma exploded into revolution. By November, the Bolsheviks (the revolutionary faction of the former Social Democratic workers’ party) had seized control of the government. Royalist Russians began a civil warand were defeated. Tsar Nicholas II abdicated and was executed, along with his family, by Bolsheviks in 1918. Russian aristocrats fled Russia and dispersed throughout Europe, the Far East, and the Middle East. There they settled as expatriates. Most had little work experience.In order to earn money, they frequently sold valuables. Some of these items provided information on the Russian use of anti-Semitic literature."

"1920 The Times London, Saturday, May 8, 1920. “The Jewish peril.” A disturbing pamphlet Call for inquiry. (From a correspondent.) The Times has not as yet noticed this singular little book. Its diffusion is, however, increasing, and its reading is likely to perturb the thinking public. Never before have a race and a creed been accused of a more sinister conspiracy. We in this country, who live in good fellowship with numerous representatives of Jewry, may well ask that some authoritative criticism should deal with it., and either destroy the ugly “Semitic” body or assign their proper place to the insidious allegations of this kind of literature. In spite of the urgency of impartial and exhaustive criticism, the pamphlet has been allowed, so far, to pass almost unchallenged. The Jewish Press announced, it is true, that the anti-semitism of the “Jewish Peril” was going to be exposed. But save for an unsatisfactory article in the March 5 issue of the ‘’Jewish Guardian’’ and for an almost equally unsatisfactory article in the March 5 issue of contribution to the ‘’Nation’’ of March 27, this exposure is yet to come. The article of the ‘’Jewish Guardian’’ is unsatisfactory, because it deals mainly with the personality of the author of the book in which the pamphlet is embodied, with Russian reactionary propaganda, and the Russian secret police. It does not touch the substance of the “Protocols of the Learned Elders of Zion.” The purely Russian side of the book and its fervid “Orthodoxy.” Is not its most interesting feature. Its author-Professor S. Nilus-who was a minor official in the Department of Foreign Religions at Moscow, had, in all likelihood, opportunities of access to many archives and unpublished documents. On the other hand, the world-wide issue raised by the “Protocols” which he incorporated in his book and are now translated into English as “The Jewish Peril,” cannot fail not only to interest, but to preoccupy. What are the these of the “Protocols” with which, in the absence of public criticism, British readers have to grapple alone and unaided?"

"Have we, by straining every fiber of our national body, escaped a “Pax Germanica” only to fall into a “Pax Judaica”? The “Elders of Zion,” as represented in their “Protocols” are by no means kinder taskmasters than William II. And his henchmen would have been. All these questions, which are likely to obtrude themselves on the reader of the “Jewish Peril” cannot be dismissed by a shrug of the shoulders unless one wants to strengthen the hand of the typical anti-Semite and call forth his favourite accusation of the “conspiracy of silence.” An impartial investigation of these would-be documents and of their history is most desirable. That history is by no means clear from the English translation. They would appear, from internal evidence, to have been written by Jews for Jews, or to be cast in the form of lectures, and notes for lectures, by Jews to Jews. If so, in what circumstances were they produced and to cope with what inter-Jewish emergency? Or are we to dismiss the whole matter without inquiry and to let the influence of such a book as this work unchecked?"

"Zionist Aspirations Dr. Weizmann on Future of Palestine. Dr. Weizmann; the Zionist leader, who had just returned from the Conference at San Remo, in the course of a statement yesterday on the future of Palestine expressed his appreciation, and that of his fellow Zionists for the assistance rendered to their cause by The Times. The Balfour declaration, by being incorporated in the Treat with Turkey, had received international sanction. Dealing with the mandate conferred on Great Britain, he said:- There are still important details outstanding, such as the actual terms of the mandate and the question of boundaries in Palestine. There is the delimitation of the boundary between French Syria and Palestine, which will constitute the northern frontier and the eastern line of demarcation, adjoining Arab Syria."

"Graves: Quite a lot of attention has been given to this “Protocol” matter in England! An English edition of it, “The Jewish Peril,” appeared last January…and the “Illustrated Sunday Herald” carried a big article on it February 8, 1920"

"International Jews. In violent opposition to all this sphere of Jewish effort rise the schemes of the International Jews. The adherents of this sinister confederacy are mostly men reared up among the unhappy populations of countries where Jews are persecuted on account of their race. Most, if not all, of them have forsaken the faith of their forefathers, and divorced from their minds all spiritual hopes of the next world. This movement among the Jews is not new. From the days of Spartacus-Weishaupt to those of Karl Marx, and down to Trotsky (Russia) Bela Kun (Hungary), Rosa Luxemborg (Germany) and Emma Goldman (United States), this world-wide conspiracy for the overthrow of civilization and for the reconstitution of society on the basis of arrested development, of envious malevolence, and impossible equality, has been steadily growing. It played, as a modern writer, Mrs. Webster, has so ably shown, a definitely recognizable part in the tragedy of the French Revolution. It has been the mainspring of every subversive movement during the Nineteenth Century; and now at last this band of extraordinary personalities from the underworld of the great cities of Europe and America have gripped the Russian people by the hair of their heads and have become practically the undisputed masters of that enormous empire."

"Dialogue in Hell: First Dialogue"

"Dialogue in Hell: First Dialogue States, once constituted, have two kinds of enemies: the enemies within and the enemies without. What arms shall they employ in war against the foreigners? Will the two enemy generals communicate to one another their campaign plans in order that each shall be able to defend himself? Will they forbid themselves night attacks, snares, ambuscades, battles in which the number of troops are unequal? Without doubt, they will not. And such fighters would make one laugh. And these snares, these artifices, all this strategy indispensable to warfare, you don’t want them to be employed against the enemies with ink, against the disturbers of peace?... Is it possible to conduct by pure reason violent masses which are moved only by sentiment, passion, and prejudice?"

"Protocols: Number 1, paras. 9,10 If every State has two foes, and if in regard to the external foe it is allowed and not considered immoral to use every manner and art of conflict, as for example to keep the enemy in ignorance of plans of attack and defense, to attack him by night or in superior numbers, then in what way can the same means in regard to a worse foe, the destroyer of the structure of society and the commonweal, be called immoral and not permissible? Is it possible for any sound logical mind to hope with any success to guide crowds by the aid of reasonable counsels and arguments,, when any objection or contradiction, senseless though it may be, can be made and when such objection may find more favor with the people, whose powers of reasoning are superficial?"

"Protocols: Number 1, paras. 11,12,13,14 The political has nothing in common with the moral. The word “right is an abstract thought and proved by nothing. Where does right begin? Where does it end? In any State in which there is a bad organization of authority, an impersonality of laws and of the rights over multiplying out of liberalism, I find a new right to attack by the right of the strong, and to scatter to the winds all existing forces of order and regulation, to reconstruct all institutions and to become sovereign lord of those who have left to us the rights of their power by laying them down voluntarily in their liberalism."

"Raslovlev: The “protocols” written in 1897 states that the elders decreed the expulsion of all non-Jewish secret societies."

"Protocols: Number 1, paras. 16, 18, and 20 Let us, however, in our plans, direct our attention not so much to what is good and moral as to what is necessary and useful. In order to elaborate satisfactory forms of action it is necessary to have regard to the rascalist, the slackness, the instability of the mob, its lack of capacity to understand and respect the conditions of its own life, or its own welfare. It must be understood that the might of a mob is a blind, senseless and unreasoning force ever the mercy of a suggestion from any side…. A people left to itself, i.e., to starts from its midst, bring itself ro ruin by party dissensions excited by the pursuit of power and honors and the disorders arising therefrom. Is it possible for the masses of the people calmly and without petty jealousies to form judgement, to deal with the affairs of the country which cannot be mixed up with personal interest? Can they defend themselves from an external foe?"

"Dialogue in Hell: Fourth Dialogue There are tremendous populations riveted to labor by poverty, as they were in other times by slavery. What difference, I ask you, do your fictions make to their happiness? Your great political movement has after all only ended in the triumph of a minority privileged by chance as the ancient nobility was by birth. What difference does it make to the proletariat bent over in its labor, weighted down by the heaviness of its destiny, that some orators have the right to speak, that some journalists have the right to write? You have created rights which will be purely academic for the mass of the people, since it cannot make use of them. These rights, of which the law permits him the ideal enjoyment and necessity refuses him the actual exercise, are the people only a bitter irony of defeat."

"Protocols: Number 3, para. 5 All people are chained to heavy toil by poverty more firmly than ever they were chained by slavery and serfdom; from these, one way and another, they might free themselves, these could be settled with, but from want they will never get away. We have included in the constitution such rights as to the masses appear fictitious and not actual rights. All these so-called “People’s Rights” can exist only in idea, an idea which can never be realized in practical life. What is it to the proletariat laborer, bowed double over his heavy toil, crushed by his lot in life, if talkers get the right to babble, if journalists get the right to scribble nonsense side by side with good stuff, once the proletariat has no other profit out of the constitution save only those pitiful crumbs which we fling them from out table in return for their voting in favor of what we dictate, in favor of the men we place in power, the servants of our agenteur…. Republican Rights for a poor man are no more than a bitter piece of irony."

"Dialogue in Hell: Fourth Dialogue"

"Protocols: Number 3, para. 16 It is the bottomless rascality of the goyim peoples, who crawl on their bellies to force, but are merciless toward weakness, unsparing to faults, and indulgent to crimes, unwilling to bear the contradictions of a free social system but patient unto martyrdom under the violence of a bold despotism. It is those qualities which are aiding us to independence. From the premier-dictators of the present day the goyim peoples suffer patiently and bear such abuse as for the least of them they would have beheaded twenty kings."

"Dialogue in Hell: Ninth Dialogue"

"Protocols: Number 10, paras. 6,7 A scheme of government should come ready made from one brain, because it will never be clinched firmly if it is allowed to split into fractional parts in the minds of many. It is allowable, therefore, for us to have cognizance of the scheme of action but not to discuss it lest we disturb its artfulness, and interdependence of its component parts, the practical force of the secret meaning of each clause. To discuss and make alteration in a labor of this kind by means of numerous votings is to impress upon it the stamp of all ratiocinations and misunderstandings which have failed to penetrate the depth and nexus of its plottings…. These schemes will not turn existing institutions upside down just yet, They will only effect changes in their economy and consequently in the whole combined movement of their progress, which will thus be directed along the paths laid down in our schemes."

"Graves: Here, we can clearly see how an idea is copied!"

"Dialogue in Hell: Tenth Dialogue"

"Protocols: Number 11, paras. 1,2 The state Council has been, as it were, the emphatic expression of the ruler; it will be, as the “show” part of the Legislative Corps what may be called the editorial committee of the alws and decrees of the ruler. Br> This, then, is the program of the new constitution. We shall make Law, Right, and Justice (1) in the guide of proposals to the Legislative Corps, (2) by the decrees of the president under the guise of general regulations, of orders of the Senate and of resolutions of the State Council in the guise of ministerial orders, (3) and in case a suitable occasion should arise, in the form of a revolution in the State."

"Graves: When copying the “Dialogues”…why would the :Protocols” alter “coups d'etat: to “revolution”?"

"Dialogue in Hell: Thirteenth Dialogue"

"Protocols: Number 15, para. 6 You cannot imagine to what extent the wisest of the goyim can be brought to a state of unconscious naivete in the presence of this condition of high conceit of themselves, and at the same time how easy it is to take the heart out of them…. These tigers in appearance have the souls of sheep and the wind blows freely through their heads. We have set them on the hobby-horse of an idea about the absorbtion of individuality by the symbolic unit of Collectivism…."

"Graves: “…Tigers with the souls of sheep and heads full of wind…” A CLEVER METAPHOR…NO WONDER THE “PROTOCOLS” COPIES IT!"

"Dialogue in Hell: Seventeenth Dialogue"

"Protocols: Number 17, paras. 7,8 Our kingdom will be an apologia of the divinity Vishnu, in whom is found its personification – in our hundred hands will be, one in each, the springs of the machinery of social life. We shall see everything without the aid of official police…. In our programs one-third of our subjects will keep the rest under observation…. Our agents will be taken from the higher as well as the lower raniks of society, from among the administrative class who spend their time in amusements, editors, printers, and publishers, booksellers, clerks, and salesmen, workmen, coachmen, lackeys, et cetera…."

"Graves: Now, why on earth would the Elders of Zion have their kingdom be an apologia for Vishnu, a Hindu God?"

"Dialogue in Hell: Twentieth Dialogue"

"Protocols Number 20, paras. 26-32 The budgets of income and expenditure will be carried out side by side that they may not be obscured by distance one to another. …The first irregularity, as we shall point out, consists in their beginning with drawing up a single budget which year after year grows owing to the following cause: this budget is dragged out to half the year, ten they demand a"

"Dialogue in Hell: finally comes the liquidation which adds 15, 20, or 30 millions. In short, in the general reckoning, the total of the unforeseen expenses forms one-third of the estimated expenditures. It is upon this last figure that the legislative vote of the Chambers falls as a form of confirmation. In this way, at the end of ten years the budget can be doubles and even tripled…."

"Protocols: supplementary budget, and all this ends up in accordance with the sum of the total addition, the annual departure from the normal reaches up as much as 50 percent in a year, and so the annual budget is trebled in ten years…. Every kind of loan proves infirmity in the State and a want of understanding of the rights of the State. Loans hang like a sword of Damocles over the heads of rulers, who, instead of taking from their subjects by a temporary tax, come begging with outstretched palm of our bankers…the Goy states go on in persisting in putting more on to themselves to that they must inevitably perish, drained by voluntary blood-letting."

"Dialogue in Hell: probable resources. How are loans made? By the issue of bonds containing an obligation on the part of the government to pay a yearly interest proportionate to the capital which has been depleted. If the loan is at 5 percent, for instance, the state, at the end of twenty years, has paid a sum equal to the capital borrowed; at the end of forty years, a double amount; at the end of sixty years, a triple amount, and yet it always remains debtor for the total of the same capital. The modern states wished to put a necessary"

"Protocols: What also indeed is, in substance, a loan, especially a foreign loan? A loan is an issue of government bills of exchange containing a percentage obligation commensurate to the sum of the loan capital. If the loan bears a charge of 5 percent, then in twenty years the State vainly pays away in interest a sum equal to the loan borrowed, in forty years it is paying a double sum, in sixty treble and all the while the debt remains an unpaid debt. from this calculation it is obvious that with any form of taxation per head the State is bailing out the last coppers of the poor taxpayers in order to settle accounts…;instead of collecting"

"Dialogue in Hell: limitation to the increase of taxes. So they conceived a scheme truly admirable for its simplicity…. A special fund was created, the capitalized resources of which are meant to be a permanent redemption of the public debt by successive fractions; so that every time the state borrows, it must endow the sinking fund with a certain capital for the purpose of liquidating the new debt at a given time…. Our system of accounting, fruit of long experience, is distinguished by the clarity and the certitude of its procedures. It obstructs abuses and gives to no one, from the smallest official to the chief of state himself, the means of diverting the least sum from its original purpose, or of making irregular use of it."

"Protocols: these coppers for its own need without additional interest. So long as loans were internal the Goyim only shuffled their money from the pockets of the poor to those of the rich, but when we brought up the necessary person in order to transfer the loans into the external sphere, all the wealth of States flowed into out cash boxes…. We shall so hedge about our system of accounting that neither the ruler nor the most insignificant public servant will be in a position to divery even the smallest sum from its destination without detection or to direct it in another direction except that which will be once fixed in a definite plan of action."

"Graves: Now…why would the elders of Zion in their protocols of world domination devote so much time to the ‘’’mundane’’’ details of financial management??"

"Dialogue in Hell: Twenty-First Dialogue"

"Protocols Number 21, paras 1, 11 To what I reported to you at the last meeting I shall say nothing more, because they have fed us with national moneys opf the Goyim…. We have taken advantage of the venality of administrators and slackness of rulers to get our moneys twice,thrice, and more times over, by lending to Goy governments moneys which were not."

"Graves:…unless, of course, this was not written by the elders at all…as we suspect!"

"Dialogue in Hell: Twenty-third through twenty-fifth dialogues"

"Protocols: Number 24, paras. 3-15 Certain members of the sneed of David will prepare the kings and their heirs inducting them into the most secret mysteries of the political, into schemes of government, but providing always that none may come to knowledge of the secrets…. The king’s plan of action for the current moment, and all the more so for the future, will be unknown, even to those who are called his closest counselors. <br? Only the king and the three who stood sponsor for him will know what is coming. In the person of the king who with unbending will is master."

"Graves: An obvious adaptation! Where the “Dialogue” uses ‘’’prince’’’, the “Protocols” uses ‘’’king.’’’"

"Dialogue in Hell: inscrutable…They never know if some enterprise already prepared will not descend on them from one day to the other. A Prince whose power is founded upon a democratic base, must speak carefully, albeit popularly. If necessary he must not fear to speak like a demagogue, for after all he is the people, and he must have its passions... You asked me a moment ago if I knew self-denial, if I would sacrifice myself for my people, relinquish the throne if necessary; now you have my answer, I can relinquish it as a martyr."

"Protocols: of himself and of humanity all will discern as it were fate with its mysterious ways. None will know what the king wishes to attain by his dispositions, and therefore none will dare to stand across an unknown path…. That the people may know and love their king, it is indispensable for him to converse in the market-places with his people. This ensures the necessary clinching of two forces which are now divided one from another by us by the terror. The prop of humanity in the person of the supreme lord of all the world of the holy seed of David must sacrifice to his people all personal inclinations."

"”Jewish Peril” exposed. Historic “Fake.” Details of the forgery. More parallels. We published yesterday an article from our Constantinople Correspondent, which showed that the notorious “Protocols of the Elders of Zion” – one of the mysteries of politics since 1905 – were a clumsy forgery, the text being based on a book published in French in 1865. The book, without title page, was obtained by our correspondent from a Russian source, and we were able to identify it with a complete copy in the British Museum. The disclosure, which naturally aroused the greatest interest among those familiar with Jewish questions, finally disposes of the “Protocols” as credible evidence of a Jewish plot against civilization. We publish below a second article, which gives further close parallels between the language of the Protocols and that attributed to Machiavelli and Montesquieu in the volume dated from Geneva. Plagiarism at Work. (From our Constantinople Correspondent.) While the Geneva Dialogue open with an exchange of compliments between Monsequieu and Machiavelli, which covers seven pages, the author of the Protocols plunges at once in medias res. One can imagine him hastily turning over those first seven pages of the book which he has been ordered to paraphrase against time, and angrily ejaculating, “Nothing here.” But on page 8 of the Dialogues he finds what he wants."

"1921 Germany"

"1923 Germany"

"Adolf Hitler, while spending three years in jail for the Beer Hall Putsch, writes his famous book “Mein Kampf.”"

"Hitler: To what extend the whole existence of his [Jewish] people is based on a continuous lie is shown incomparably by THE PROTOCOLS OF THE ELDERS OF ZION."

"1934 Bern, Switzerland The Trial"

"Reporter: Ha! Ha! Ha!"

"April 1935"

"Reporter: The “Protocols” trial is on today. I’ve been assigned to report on it for my paper."

"1945 As the Allies rummages through documents in the wreckage of defeated Germany, evidence of the influence of the “Protocols” was found by American Intelligence."

"1993 California Los Angeles Times November 28, 1993 “In what observers called an historic ruling, a Russian court has pronounced the infamous Protocols of Zion an anti-semitic forgery…[It is] the first such verdict in the land where the fraud originated 90 years ago. ‘Up to now, every country has disengaged itself from this shameful book except Russia where it was concocted,’ Tancred Golenpolsky, the publisher of the Moscow Jewish newspaper that won the ruling, said Saturday. The court cast arose 10 months after Golenpolsky’s Jewish Gazette accused the radical nationalist Group Pamyat (Memory) of printing anti-Semitic sentiments…Fostering ethnic conflict is punishable under Russian law.”"

"Research desk: Despite the Russian court’s condemnation and the Dodd Keating congressional report in 1964, the world wide use and publication of the “Protocols” has continued. Not only did the Ku Klux Klan continue to distribute the book in America.. but in 1968, in Beiruit, the Islamic institute there published 300,000 copies in French, Italian, Spanish, and Arabic."

"Researcher: In almost every country there are people trying to seize political power! What is the easy way?"

"Research desk: In 1930, a Spanish edition of the “Protocols” appeared. And in 1972 another edition was published there and used to explain certain Vatican reforms by the Catholic Church! It Italy in 1930 the neo-fascist group Ordino Nuovo circulated a new edition of the “Protocols”! And also in 1930 the neo-facist group ordino nuovo circulated a new edition of the “Protocols”! And also in 1930 in Argentina “Los Protocols De Los Savios De Sion Y La Subversion Mundial” appeared. It was supposed to predict a plot to found a Jewish state by Zionists in Argentina."

"Research desk: In 1972, an edition of the “Protocols of Zion” was published in Egypt! In 1974 an edition of the “Protocols” was published in Bombay, India, entitled “International Conspiracy Against Indians.” In 1972, the USSR embassy in Paris released an anti-Israel paper that contained passages from the “Protocols of Zion.' In 1977, in America, a national states’ rights party published three editions of the “protocols”…in English! In 1978, this book appeared in shops around England!"

"Research desk: In 1987 a Japanese language edition of the “Protocols” appeared in Japan! In 1988 the Palestinian activist group Hamaas published the “Protocols” to denounce Zionists. And in 1990 this appeared in Damascus"

"Research desk: In 1992, a Mexican edition of the “Protocols"’’’ was listed in a few Catholic schools as required reading! And that same year in Turkey, a newspaper carried a 40-page insert that linked Freemasonry to Jewish world power headed by 70 elders! Again in 1992 a Russian edition of the “Protocols of Zion” appeared. Well, that’s the whole story, sir."

"Audience member: At last we have an unquestionable disclosure that erases any claim to legitimacy of the “protocols of the Elders of Zion”!"

"2000 Louisiana, U.S.A."

"2001 San Diego, U.S.A."

"Graphic novelist: Excuse me…you’ve got a copy of the “Protocols of Zion” there! …Why?"

"Graphic novelist: Don’t you feel foolish accepting that lie?"

"Publisher: But the good news is….the U.S. state department called on Egypt to stop it…and the intellectual community of Egypt helped to prevent its broadcast. And recently the Russian government appointed a group of independent experts who examined and certified that the “protocols of Zion” is a fraud!"

"2004 The Protocols of Zion is still sold in bookstores around the world"

"It’s mythic New York. And that’s what Will drew. He and I really did share two profound loves: One was for New York, and the other was for beautiful women."

"I didn't start out wanting to be an editorial cartoonist. I loved drawing from the moment I learned how to make a crayon work. I'd tell picture stories with my mom years before I learned how to read. When I was 10, a visiting cousin left an X-Men comic on the coffee table and I was instantly hooked, and it wasn't long before I was drawing my own superhero adventures. It just seemed like a natural path for me. I would be a comic book artist someday and I'd be pretty happy."

"I work with the TV on, lots of news, and as the 2016 campaign got more ridiculous I got more angry. I started venting my frustrations at all these eroding norms by drawing cartoons of Trump and then posting them online for friends. The responses were very positive and almost seemed like group therapy for those who shared them. People got a laugh out of it; they felt better, even. After the shock of the election I just kept going, and then suddenly it was January and my sister and I were at the Women's March in Washington D.C. holding signs made from one of my cartoons. The positive feedback was coming every few yards and I made a decision right there to make this a project-I would draw these cartoons until this guy was out of office because there's no way I can't not do it. When someone in the future asks me what I did during all this craziness I'd have this to show them. I did this."

"And it's not just getting the anger out of my head (and sleeping very well having done so, thank you very much) but letting others know that they're not alone in feeling this way, that their anger matters and that things can change for the better if we remind ourselves there's more of us than all those who accept this normalized cruelty. I used what I had, my ability to draw, as a tool to speak up. I didn't plan to, I just figured out how. Anyone can do the same, just figure out what your tools are and get loud. And if you can piss off a few bullies in the process, even better."

"Even if my main product is webcomics, I know that there's a whole generation for whom a real author is someone who makes books."

"The names of the characters in Pepper & Carrot all actually follow the names of plants, herbs, and for the animals that accompany them, vegetable names. So for all the spice names, what inspired me was simply going to do my shopping at the traditional market, there are always grocers' stalls, and then I saw 'coriander', I saw 'saffron', I saw 'pepper', and there it was. There was 'poivre' but in French it sounded too much like 'poivrot'. So I said to myself "We're going to avoid 'poivrot' and 'carrot'", which didn't work very well, which is why I kept the English 'Pepper'."

"Managing everything on this project is hard and challenging, but extremely rewarding on a personal level. Pepper&Carrot is the project of my dreams."

"Before 2000 [and the internet], you had to pay for a book or go to exhibitions to see new artworks. And suddenly many artists were on the internet, and you could see thousands of artworks daily."

"It's a dream come true! Every artist I know would love to make their own comics. Would love to get paid for making it, and to keep the control of it, about the stories, about the heart."

"I'm really happy if Pepper & Carrot can bring more money for external people."

"I'll never regret making Pepper&Carrot so open."

"That was a really bad week: [I] had to spend a lot of money and my productivity was totally ruined."

"The character of his art, in which a very varied and lively inventiveness predominates, reflects the very otherwise ingenious taste of E. Delacroix, with whom he shares the dynamic and excited research, the chiaroscuro contrasts and the traits of environmental realism, without attempting to compete with him in creative richness and originality. (Valerio Mariani)"

"The orientalist vision of the Holy Scriptures even becomes popular with the illustrated editions of the Bible, from that of Gustave Doré of 1866, imaginative but with precise oriental references, to the very widespread one edited by James Tissot, who he inserts views of the cities, maps, architectural reconstructions and topographical surveys of the sacred stations with the aim of making biblical archeology reliable, otherwise distorted, as the curator claims, by the fervent imagination of the artists. In one sense or another, the drive to seek the living testimonies of the Holy Scriptures in the Eastern reality of the moment, and to permeate a disenchanted West, was relaunched in the second half of the nineteenth century by the neo-spiritualist attempt to reaffirm the primacy of faith in the era of scientific materialism . (Attilio Brilli)"

"What that means is that you want to do everything right. Anything worth doing is worth doing well."

"There is a saying that “A man that stops training or educating himself will soon become an illiterate”. So, you need to keep on learning because learning does not stop."

"The product is a function of people that have worked on it."

"It’s impossible to remain static in this world of technology. You’ve to keep moving. Even, if you’re not being pursued, you have to force yourself out of a particular spot. You have to move from good to better and better to best"

"And business like they say, getting to the top is not the major problem but retaining your top position."