Marvel Comics: 9/11 Movie Connections

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Marvel Comics: 9/11 Movie Connections

Unread post by hoi.polloi » Wed Dec 05, 2012 4:01 am

So, it's pretty clear that if someone wants to make a big-budget blockbuster with explosions, one must write a script that incorporates some propaganda that satisfies the Hollywood producers. Let's go over some of the properties of Marvel (newly associated with Disney, and now Star Wars):

Spider-Man (4 movies)
X-Men (5 movies)
Iron Man (5+ movies)

The sheer amount of propaganda and 9/11 connections in movies like Sony Pictures' Spider-Man (which had a completed 3D model of New York that apparently took 7 years to build and which must have been completed before the completion of the first Spider-Man movie, and which featured the WTC Twin Towers in the first Spider-Man teaser before their demolition occurred), the X-Men movies (explored below) and the Iron Man and closely associated Avengers movies (regularly sponsored by Oracle - computer systems company for the government, who allegedly lost lives in the WTC and which had database software more than capable of handling thousands of fabricated identities, perhaps the birthplace of the Vicsim Monster) really starts to paint a ridiculous picture of hypnotism and constantly updated lies. The fact that every minutiae of every second of every 2 or 3 hour film is selected, directed and constructed over weeks, months and years seems to escape people when characters start flickering around the screen.

As I've already demonstrated in the Vicsim Report, the X-Men movie is closely associated with the name generation software. Input like "Charles Xavier" (fictional character Professor X from the X-Men, played by Patrick Stewart) was put into the Vicsim in order to quickly supply syllables to an apparently ill-thought out name generation process. An image or images of Patrick Stewart's face were apparently cut up and used as face parts for constructing individual vicsims. Fictional events also take place in New York City in the first (1999-2000) X-Men movie, which would have been rife for testing New York-based special effects. In addition, Patrick Stewart plays the conspiring villain in the movie Conspiracy Theory, the voice of the CIA director in the cartoon show about the CIA called American Dad (by the Family Guy director/creator who claims to have "missed" flying on one of the hijacked 9/11 planes).

But it gets more corny and heavy-handed than that in the newer X-Men Origins series (2009-2011). In the opening of the new movie X-Men Origins: Wolverine, the immortal character of the Wolverine and his immortal brother are seen battling throughout all the "good American wars" up until they split ways during the Vietnam war (where the peace movement in America finally succeeded in proving the un-enforceability of the warmonger position - at least for some Americans). Despite the psychological strangeness of this opening scene, by far the weirdest moment is during World War I when a single flaming aeroplane collides directly with a tower, damaging the stone tower (apparently more than the plane itself) before the two explode, transitioning to another explosion from World War II firing behind the two brothers. The two brothers seem to represent the towers, since they appear where the tower formerly stood moments earlier. The following is a sequence of sequential frames from that moment:


A close up (and contrast enhancement) of the plane impact, showing greater damage to the tower than to the small airplane:



In the sequel/prequel (the fifth movie in this strange X-Men series), the tale is told through the perspective of the CIA and a victim of the holocaust. A runaway Nazi is the villain (fair enough, we know the USA hired a number of these creeps after the war) and a young "super-powered" Jew is tortured and his anger releases his powers (Zionist metaphor if ever there was one!)

The CIA "hires" young superheroes to defeat evil superheroes because they (people with pseudo-scientific magic powers) are appearing all over the place. One of them plans to use the Cold War to cause nuclear destruction of the planet, killing off the "normal people" and allowing the "super" people to take over. It seems to hijack the conventional wisdom on the Cuba Missile Crisis (which is already rather staged in and of itself) and present "Kennedy's decision" to avert war as a necessary means of continuing the cold war with an evil Russia.

There is a super-powered character named Darwin (for his ability to instantly adapt to threats, naturally) but he is killed (naturally, he's the only black character so he has to die through some fault of his own) and the line follows:

"Darwin's dead, Charles."
"He's dead but we can avenge him."

Now what is this curious exchange, subliminally referring to Charles Darwin being a victim that must be avenged, doing in a series already dripping with intimations of evolution, superiority, Naziism and so forth? It could make sense if it were addressed, but instead it hangs in the air like a stale pun.


For Iron Man, you have a weapons contractor blasting away his xenophobic racist Middle Eastern villains with hardly blinking an eye. You have a constant threat and references to a global international terrorism. Real life posters in New York City, completely apart from the offensiveness of the movies themselves, actually advertise for the CIA-DIA-DOD computer systems company Oracle, featuring Marvel/Disney's Iron Man character prominently, exciting children and making young boys think they too can be a part of Iron Man's racist technofascist campaigns in foreign countries.

Now Disney - the infamous NASA associated company - has influence over Marvel and most recently the Star Wars property. Just the name "Star Wars" conjures ridiculous yet maudlin speeches by Ronald Reagan. What awful psychological mindgames can we expect from coming Star Wars sequels? Perhaps the Jedi will have homeland security patches and the evil Sith villains will have turbans? Maybe we'll get another public brown-nosing spectacle like The Matrix, which will have foreknowledge of the next Psy-Op?

It's time to stop paying for this nonsense, people. Do not give the filmmakers your money until they start reflecting more realistic premises for their fiction, rather than the insulting propaganda-laced entertainment that has seduced us for too long.


Steal it, boycott it, but don't pay for it. Let's vote with our dollars - the method that has been given to us to vote - and do what we can do drain their funds until they shape up.

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Re: Marvel Comics: 9/11 Movie Connections

Unread post by Farcevalue » Thu Dec 06, 2012 4:34 am

Thanks for reminding us that the editors in Hollywood go over these movies frame by frame. None of the so-called coincidences are there by chance. It's not as if they are out grabbing stock footage and 9/11 images just happen to get picked up by accident. Someone makes a decision about every frame that makes it to the screen.

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