Red Skull Is Not a Villain and Why SJW Storytelling Fails

Red Skull is a character in the Marvel Comics universe who illustrates everything that is wrong with modern SJW heroes. He himself is supposed to be a villain – a Nazi, basically – but he is far from it.

The above speech is supposed to make Red Skull into a despicable villain that is to be hated. There is only one problem – leftists and their ideas are so out of step with reality that in the attempt to make Red Skull evil, they present him as the sanest person in the universe.

Literally everything Red Skull has said is factually correct. Mass immigration to Europe is ineed invasion. Migrants are ideologically, culturologically and biologically different from Europeans, which means that immigration is in fact colonization, conquest and genocide. And Islam – which many migrants believe in – is definitely a fanatical ideology. All multicultural countries are hotbeds of crimes such as theft, murder and rape.

Refugees do indeed bring their fanatical beliefs and crime with them, attack women and bomb cities. And their representatives are defending them: Khan said that being prepared for terrorist attack is part and parcel of living in a big city. But that is wrong: terrorism is part and parcel of living in a multicultural city. Large cities that are monoethnic or close to it – such as Tokyo, Beijing and similar – are in fact very safe. There is little or no terrorism there, unless a leftist group starts throwing bombs for the sake of it. By contrast, multicultural cities suffer from high rates of murder and terrorist attacks.

And as Red Skull points out, Western leaders do not do anything to protect their people, remove immigrants and stop terror attacks. In fact, they attack and smear those – such as Viktor Orban – who try to protect their countries and people. To immigrants they give food and shelter, give them concessions that limit European way of life, and allow them to murder indigenous inhabitants.

And the only way to stop that is indeed through strength. Immigrants and criminals in general only recognize strength in the first place, and will act decently only if they are afraid. But kneeling policemen and fat pigs with pink wigs will not make them afraid – on the contrary, they are a signal that the West is ripe for taking. In United States, the only people who are protected are politicians and criminals – which is to say, only criminals are protected, while their victims are denied any right to defend themselves, let alone to count on protection of the state.

And on to the next point, the land indeed belongs to the people. It does not belong to the government, and every time idea appeared that the land belongs to the government, it ended up with totalitarian state and genocide. Instead, Western governments oppress the natives while protecting and supporting the invading aliens.

Tolerance is used as a byword, but in reality, it actually means submission – submission to Marxism, to immigrants, to invasion and to genocide. White people are not allowed to defend themselves, or to speak out against the genocidal Marxist ideologies of progressivism, multiculturalism, globalism and cosmopolitanism.

And the entire reason why all of this is happening is because supranational class of banksters and other large capital owners wants to destroy any borders, any uniqueness, all in search of profit. International socialism and big capital are not enemies, they are in fact best friends, and they want to destroy everything that makes humans human.

Thus, the Red Skull and the Hydra in general really fit the category of heroic antagonist. But this is not noticed because the story is told from the point of view of protagonists, who are multicultural progressive Marxists.

This is probably the main reason why SJW stories – such as new Star Wars – fail. Leftist SJWs subsribe to the critical theory – a belief that norms and values are encoded into literally everything we read and watch. Everything represents power structures, and should thus be picked apart, because it produces social structures and cultural assumptions that keep people oppressed. A 1950s housewife going about her chores is part of an oppressive system that is enslaving her. Depicting historical medieval Europe as almost exclusively white is racist because it shows a functioning society as being monoracial. A kid playing on a street means that his school is underfunded. A woman being defeated in a fight is automatically male supremacy and sexism. Everything is filtered through ideology, and thus it is no surprise that SJW stories are not really stories at all, but rather ideological propaganda pieces.

And because they are incapable of understanding different perspectives – and in fact, reject them automatically as being evil – SJWs are also incapable of actually writing immersive stories. They reject aesthetic and escapist values of fiction, and instead focus solely on using fiction as a vehicle of political propaganda. This leaves them incapable of creating transgressive art. Leftist politicization of fiction combined with their rejection of anything outside their narrowly defined ideals as ultimate evil produces works that are cookie-cutter, shallow, and extremely whitewashed. This affects everything: from story itself, over art, dialogue, and mannerisms. There are no characters in SJW fiction: only shallow cardboard cutouts, moralizing carricatures that are supposed to educate the people on how to behave.

As a result, SJW heroes have no flaws, while SJW villains have nothing but flaws. Problem with this is that devaluing villains also devalues heroes. If your “perfect” hero struggles to defeat a weak, incompetent villain, what does that say about the hero? Moreover, real humans are complex – nobody is purely good or purely evil, and many evil acts were done with good intentions behind them. But SJWs reject this – to them, there are purely good heroes (naturally, SJWs themselves) and purely evil villains. There is no room for gray areas in SJW narrative, nor any room for flawed heroes. But this means that heroes have no obstacles – moral or practical – to overcome, which makes for extremely boring stories.

Moreover, for SJWs, to depict something is to endorse it. In SJW’s eyes, to depict Hitler and Nazis as anything but completely evil incompetent buffoons means to endorce their views – anyone doing so must be a closet Nazi himself. There is no room for analysis, for understanding; anything that opposes SJW beliefs must be categorically rejected out of the hand. But if villains are incompetent buffoons, then – as noted previously – there can be no conflict, and heroes’ achievments are worthless.

When they do try to depict villains that are not completely evil – which is to say, villains that do not oppose Progressive Marxism outright – they always go to another extreme. In this depiction, villains are not evil, they are just misunderstood. At worst, villains are misled, and simply talking to them will show them the error of their ways and bring them back to the proper side. Arabs and Ottomans were not cruel conquerors; they were progressive intellectuals who showed primitive medieval Europeans the error of their ways. Most people are wonderful if you get to know them, and evil does not really exist. Nobody is beyond reform, beyond saving.

But evil exists, and SJWs are censors. They either remove evil from fiction outright, or turn it into a shallow, boring black-and-white carricature of reality. Result of this is that SJW fiction is worthless carricature of far better works, and cannot be related to because it refuses to depict ordinary people. This is why manga and anime had become so popular in the West: unlike the modern SJW fiction, manga depicts ordinary people, warts and all, struggling against various challenges. This is something SJWs would never allow.

And the reason is simple: SJWs themselves and their stand-in heroes are so pathetic that any proper villain would overshadow them. If given a choice between Rey of Star Wars sequels and original Darth Vader, it is obvious who is a superior character. Rey would never have been able to compete with Darth Vader. But just like Rey, SJW heroes are one-dimensional, boring and lame. Thus a reall, three-dimensional villain presents a continuous threat of the audience siding with him against the hero. This must not be allowed, especially since majority of SJW heroes are stand-ins for SJW’s themselves, and so the villain must be so pathetic that nobody could find him appealing.

Another problem, already discussed on the Red Skull example, is that SJWs are completely out of touch with reality. When an SJW tries to create an abominable villain, this villain usually ends up sounding sane, reasonable and relatable compared to the “heroes”. This however is not a parody or self-criticism: SJWs are genuinely so out of touch with reality and with human nature that they genuinely believe their heroes are heroic and relatable, and thus SJW heroes are an honest reflection of how warped and insane the thought process of the people behind creating such characters is.

Thus, it is no accident that in many cases villains end up being more likeable than heroes. In fact, SJW influence can sometimes get so bad that “Rooting for the Empire” can be objectively justified.

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