" R u s h k o f f is a c u l t u r a l t r e a s u r e a n d a n e c c en t r i c a u t h o r o f b i g , s t r a n g e i d e a s , n e v e r l es s t h a n f a s c i n a t i n g a n d a l w a y s e n t e r t a i n i n g . " -W A RR EN
ELLIS
^LEISTCRsyiDOtF
PRESIDENT A N D PUBLISH PUBLISHER ER M I K E EDITOR
D A N IE L
CHAB ON
ASSISTAN T EDITOR C A R D N E R DESIGNER
R IC H A R D S O N
E T HA N
C L A RK
K IMBERLING
DIGITAL ART TECHNICIAN A L L Y S O N
HA LL ER
Published by Dark Horse Books A d iv is io n o f D ar k H or se C om ic s, Inc. 1 0 9 5 6 SE M a i n S t r e et et M i l w a u k ie ie , O R 9 7 2 2 2 DarkHorse.com T o f i n d a c o m i c s h o p i n y o u r a r e a , c a l l t h e C o m i c Sh o p L o c a t o r S e r v i c e : ( 8 8 8 ) 2 6 6 - 4 2 2 6 International Licensing: (503) 905-2377 F ir ir s t e d i t i o n : N o v e m b e r 2 0 1 6 Digital ISBN 978-1-63008-069-3 A le is te r & A d o lf A le is te r & A d o lF M © 2 0 1 6 D ou gl as Ru sh ko ff. A ll rig h ts re se rv ed . A ll ot h e r m a te ria l, unle ss o th er w is e specified, © 201 6 Dark Horse Comics, Inc. Dark Horse Books® and the Dark Horse logo logo are registered trademarks of Dark Horse Comics, Inc. N o po rtion of this this publication may be rep roduced o r transmitted, transmitted, in any form or by any means, without the express written permission of Dark Horse Comics, Inc. N a m e s , c h a r a c t e r s , p l a c e s , a n d i n c i d e n t s f e a t u r e d in t h i s p u b l i c a t i o n e i t h e r a r e t h e p r o d u c t o f t h e a u t h o r ' s i m a g i n a t i o n o r a r e u s e d fifi c t itit i o u s ly ly . A n y r e s e m b l a n c e t o a c t u a l p e r s o n s ( l iv iv i n g o r d e a d ) , events, institutions, institutions, or locales, witho ut satiric intent, intent, is coin cide ntal.
N e i l H a n k e r s o n , Executive Vice President • T om om W e d d l e , C h i e f F i n a n c i a l O f f i c e r • Randy Stradley, Vice President of Publishing • M i c h a e l M a r t e n s , Vice President of Book Trade Sales • M att Parkinson, Vice President President of Mark eting ■ David Scroggy, Wee President of Product Development * Dale LaFountain, Vice President President of Inform ation Technology • C a r a N i e c e , W e e P r e s id id e n t o f P r o d u c t i on on a n d S c h e d u l i n g N i c k M c W h o r t e r , W ee ee P r e s id id e n t o f M e d i a L i c en en s i n g • Ken Lizzi, G e n e r a l C o u n s e l ■ D a v e M a r s h a l l , • C h r is is W a r n e r , E d i t o r i n C h i e f • Da vey E strada, E d i t o r i a l D i r e c t o r • Scott Allie, Executive Senior Editor • * C a r y G r a z z i n i , Director o f Spec ialty Projects • Vanessa Senior Books Editor * Projects * Lia Ribacchi, A rt D ir ec to r • Todd, D i r e c t o r o f P r i nt nt P u r c h a s i n g * M a t t D r y e r , D i r e c t o r o f D i g i ta ta l A r t a n d P re re p re re ss ss * M a r k B e r n a r d i , D i r e c t o r o f D i g i t a l P u b l i s h in in g • Sarah Robertson, D i r e c t o r o f P r o d u c t S a le le s • M i c h a e l G o m b o s , D i r e c t o r o f I n t e r n a t i o n a l P u b l is is h i n g a n d L i c en en s i ng ng
L i b r a r y o f C o n g r e s s C a t a l o g in in g - i n - P u b l i c a t ia ia n D a t a N a m e s : R u s hk hk o ff ff , D o u g l a s , a u t h o r. r. | O e m i n g , M i c h a e l A v o n , ilil lu lu s t r a to to r . | Piekos, Nate, illustrator. T i tltl e: e: A l e i s te te r & A d o l f / D o u g l a s R u s h ko ko f f, f, s t o r y ; M i c h a e l A v o n O e m i n g , a r t ; Nate Piekos of Blambot, lettering. Des cription: First First ed ition. | M ilwa uk ie, OR : Dark Horse Books, 201 6. I d e n titi f ie ie r s : LC LC C N 2 0 1 6 0 2 1 1 1 3 | IS IS B N 9 7 8 1 5 0 6 7 0 1 0 4 2 ( h a r d b a c k ) Subjects: LCSH: Com ic books, strips, etc. j B I S AC AC : C O M I C S & G R A P H IC IC N O V E L S / Literary. C l a ss ss if if ic ic a titi o n: n: LC LC C P N 6 7 2 7 . R 8 4 A 7 6 2 0 1 6 | D DC DC 7 4 1 , 5 / 9 7 3 - d c 2 3
FOREWORD Douglas Rushkoff and Michael Avon Oeming's masterful A le is te r
& A d o lf peels
back the tattooed skin of history to reveal the intricate occult clockwork that secretly drives events and rem akes the lives lives of unsuspecting millions. W ith the the fizzing, urgent pace and p age-turning suspe suspense nse o f a Ho llywood thriller thriller and the sweeping scope of a postmodern historical novel,
A le is te r & A d o lf has
some
real philosophical meat at its heart, and its provocative themes speak directly to
th th e
tr tr a u m a t i z e d ,
hy pn otized
i n h a b i ta ta n t s
o f t he he
tw tw e n t y - fi fi rs rs t -c -c e n t u r y
hallucinosphere.
Rushkoff blends sex magic, death rituals, sigil warfare, and the insidious mindcontrol techniques of our corporate overlords into a slowly unfolding decades-old mystery, while his pitch-perfect dialogue brings to life a colorful cast that's big enough to include such real-world luminaries as Rudolf Hess, General Patton, and Ian Ian Fleming, the the crea tor of James Bond —w arrio rs all in a shad ow co nflict, waged in the epic darkness of the collective unconscious. Deploying impeccable historical research, Rushkoff Rushkoff an d O em ing lay bare in this this stark stark de piction o f W orld W ar II and beyond a monumental monumental clash clash of opposing magical viewpoints; an endless endless w ar between sex and d eath; Eros Eros and Th anatos; Victory and Surren der; the Scarlet W om an an d the Black Black Sun; Sun; Cro w ley an d H itler itler . . . A le is te r & A d o lf .
It's It's the W icke de st Ma n in the W orld versus versus History's M ost Evil Evil Dictato r in an ap oc alyp tic strugg le for the sou sou I of hum anity, across a b attlefield o f storm storm and symbol! Place your bets! Your ringside seat awaits . . .
GRANT
MORRISON
March
J, 2 0 J6
f
Most of the stuff in this story really happened. The rest may as well have. It's all h ow you co nn ect the do ts. — D R
A/ctv Yo r k :
thats
WEIRD.
ca 7..t
NOT MY
FAn j LC . C A R , N A LOGOS
^ %
w o r
k s
ITS WAY OVER...
^ T P L AC E it RIGHT h e r e An d b e f o r e i CAN EVEN SAVE IT,,.
own VE
v
v c V .
orrupted JU ST —
HUH?
'
LY
^
TLOOKED SEE FOR
Y o u r s e l f ,
“ Д'икл С T0 <Й,Е GLJYS a t
° y i* 6 .
WHAT THE—?
i i i i v SOMETHING... F A M IL IA R ?
HO. NOTHING. Г
THEN ^ WHY ARE YOU CLUTCHING THAT F O L D E R LIKE J Л ^ THAT1
THOSE LOGOS... EVERYTHING—IS IT ALL REALLY . BASED ON...'? .
BUT WHO WOULD ARTISTS FIND N . HAVE...'? Г THEIR INSPIRATION INSTRANGE PLACES, SON. I GET THE V SENSE YO U DO, у V
too
.
У
^
THERE'S ^ SOMEONE YOU SHOULD SEE. HE'S BEEN WAITING A w L O N G T IM E . A
P-V:-'ł.V;
I • * * . J • /
HUH?AN HOUR AGO I COULD BARELY KEEP YOU WORKING AND HOW YOU'RE GOING W H E R E ?
LEMME SEE WHAT HE HAS TO . SAY. .
*
I DON'T CARE ^ WHAT HE HAS TO SAY GET BAC K HERE AND SCAN THOSE IMAGES. THE NEW NETSCAPE LAUNCHE S 4 ^ TOMORROW. A
Л
THE ARCHIVES GUY Л SENT ME UPTOWN. HE SAY S ROBERTS CAN EXPLAIN WHAT’S . UP WITH THIS . N . IMAGERY.
• • • . о % W { \
ROBERTS? I THOUGHT HE WAS DEAD HE HASN'T BEEN AT VICER OY FOR TWENTY YEARS, s-i L STUBBS SAID ROBERTS IS DYING FROM SOME KIND OF CANCER. THIS COULD BE OUR LAST К CHANCE TO FIND У ^ OUT...
FIND OUT WHAT?
I'LL BE BACK IN AN HOUR. . GOTTA GO. .
”1 WAS TWENTYTHREE, MYSELF. IN THE DARK ABOUT SO MUCH, LIKE YOU. AND, LIKE YOU, ABOUT TO BE ENLIGHTENED."
FORT MY£R , VIRGINIA. MARCH 1938.
w A
HEY! CLOSE THE DOOR!
*
r Ą. С II
SIAR TRI R
SORRY, VAN GOGH. THE GENERAL WANTS TO SEE YOU.
•>
B.S., STUBBSWHAT WOULD HE WANT WITH—
MOVE ГГ,
ROBERTS, OR IT'S MY ASS, TOO-
l» J
Щ
-
”1 HA.D ENLISTED TO GET
AWAY FROM HO W .S77?4V 6£
THE ONLY QUESTION THAT MATTERS INDESIGNING A SWORD IS WHETHER YOU FAVOR THE EDGE OR THE POINT.
THINGS HAD GOTTEN AT HOME. BUT THE U.S. ARMY WAS ABOUT TO PUT ME IN THE MIDDLE OF SOMETHING EVEN STRANGER."
-
o
I
NAPOLEON UNDERSTOOD"THE OBJECT ISN’T TO HACK UP MORE BODIES. IT S
THEN HE’S ALL YOURS.
v ic t o r y ; p u r e a n d
SIMPLE. RECEIVE MY MEANING'?
THANK YOU, GENERAL. CORPORAL, OUR BEST INTELLIGENCE ESTIMATES BRITAIN WILL BE DECLARING WAR WITHIN THE WEEK. SO WE WANT SOME MEN ONTHE GROUND THERE NOW.
SIR, UM , FOR A PORTRAIT? YOU WITH THE SWORD YOU DEVELOPED, SIR? NO, CORPORAL. SABER STRATEGY IS A MICROCOSM FOR C O N F L IC T I T S E L F YOU LEAD THEIR EYES WITH THE POINT. ONCE THEY’RE LOOKING WHERE YOU TELL THEM, YOU’VE ALREADY WON.
I UNDERSTAND, SIR. YOU NEED STORIES GAINING SUPPORT FOR AMERICAN PARTICIPATION, SHOULD IT COME TO THAT...? WE’RE READY, GENERAL PATTON.
NO, YOUR ASSIGNMENT AS A NEWSPAPER PHOTOGRAPHER FOR STARS AND STRIPES WOULD |
THE BRITS ARE UP TO THEIR ASSES INTHE OCCULT AND SECRET SOCIETIES, THEY
THEY K N O W , ROBERTS, THEY KNOW ABOUT YOUR PARENTS, IT'S ALL INYOUR FILE, THAT'S WHY THEY CAME ALL THIS WAY, THAT'S _ WHY YOU’RE STANDING A HERE INMY STUDY, <Ш .
U S B IT-? YOU WANT TO DO M A G IC AGAINST THE NA£IS?
B B U B V B in it t o o m u c h
TO USE IT AGAINST THE KRAUTS,
ij H i MAKE HITLER THINK SO, ANYWAY,
PROPAGANDA ISN'T JUST FOR CIVILIAN POPULATIONS, SON,
WE WANT YOU TO GO TO ENGLAND. THERE’S AN ECCENTRIC OLD MAN THERE—ONE A L B IS T G R CR OW LBY— WORKED FOR OUR INTEL HERE INTHE GREAT WAR.* HE KNOWS THE SCORE-
M
SO HE’S A SPY, PRETENDING TO BE A MAGICIAN?
OR A MAGICIAN PRETENDING TO BE A SPY. DOESN’T MATTER.
V ,
WE WANT YOU TO ENLIST HIM IN OUR EFFORT TO DEFEAT HITLER MENTALLY. SPIRITUALLY.
/ .
SOME SORT OF CONJURING J WAR? PROPAGANDA
WAR.
BEATS A
R B A L WAR,
i
CORPORAL. ALWAYS REMEMBER THAT.
^ ЛуД
ii ii THE BEAST WAS A SHOWMAN, BUT HE COULDN’T READ HIS AUDIENCE, HE WENT ON ABOUT SYMBOLS INANCIENT EGYPT, BUT THE LADIES HAD PAID FOR G O RE NO MATTER HOW THEY PRETENDED OTHERWISE,"
THE WORD OF THE LAW IS 0Е Л П
Ц
-
WHAT DID HE SAY"? THE LIMANS'? DID THEY DO CHILD SACRIFICE'?
THE-LEE-MAH, IT S MY SPIRITUAL PHILOSOPHY BUILT ONTHE W I L L . DO WHAT THOU WILT SHALL BE THE WHOLE OF THE LAW...THOU HAST NO RIGHT BUT TO DO THY WILL. DO THAT AND NO OTHER SHALL SAY NAY. FOR PURE WILL, UNASSUAGED OF PURPOSE, DELIVERED FROM THE LUST OF RESULT, IS EVERY WAY PERFECT. THIS IS THE LAW OF THELEMA.
WHAT ABOUT WHEN Y O U R WILL CONFLICTS WITH G O D ' S WILL?
EACH OF US IS IM B U E D
WITH GOD S WILL,
s; A
A\
&
m CHRISTIANITY TEACHES THAT MAN IS CREATED IN GOD’S IM A G E . ARE YOU A SATANISTY
YOU KNOW NOTHING OF JESUS CHRIST, THE MAGE. T S P I T ON YOUR CRAPULOUS CREEDS. THEY ARE IRRELEVANT INTHE QUEST TO REVEAL ONE’S TRUE WILL.
,
MY DEAR AMERICAN, X NEVER MET SOMEONE SO DEMONIC AS HERR HITLER.
«п 14 UP
REALLY MORE THAN THE TYPICAL TYRANT? YOU'VE MET HIM, HAVEN’T YOU?
WHY DO YOU THINK I SPENT SO MUCH TIME WITH HIM? AND WENT WHEN HE BADE ME ? X TELL YOU ONLY THE U N I V E R S E CAN PREVAIL AGAINST HITLER. BUT THE UNIV ERSEMEANING GOD—DOESN'T
IF YOU CAN UNHARNESS THE WILL, NOTHING COULD STOP YOU. COULDN'T THELEMA DEFEAT HERR HITLER?
"HE SAW RIGHT THROUGH ME."
1
Z
AND FROM WHICH AGENCY DO YOU ENTREAT THIS OLD BEAST, MY SON? "X MAINTAINED THE CHARADE. AS IF IT MATTERED."
i
AGENCY? I 'M A FREELANCE PHOTOGRAPHER. I DON'T REALLY HAVE AN AGENCY.
u n l
EXCELLENT. I ’M IN NEED OF A PROPER PORTRAIT FOR MY NEW BOOK. BRING YOUR EQUIPMENT TO THE FLAT. MY CHARGE, DAPHNE, WILL GIVE YOU THE ADDRESS.
П
"X STEPPED OVER THE THRESHOLD INTO A DIFFERENT WORLD-ONE FROM WHICH THERE WOULD BE NO TURNING BACK."
COME ON, ^ HE’S WAITING FOR YOU v UPSTAIRS,
r
WHAT’S ^ GOING ON"? WHAT IS THIS ^ PEACE"? л
IT’S GOING TO BE OKAY.
1
'т Гл
^тыжт
li xfź ■^чХГ Ь^" ш Л-
UGH!
WHAT WAS ^ INTHAT DRINK? I THOUGHT X SAW HIM V TURN INTO... ^ г
SWA/ .-.DON’T TRY TO THINK TOO MUCH.
“IT WASN'T JUST THE ABSINTHE.-OR THE MESCAUNE. SHE WAS AN ANGEL."
WHO ARE YOU, ROBERTS? WHO ARE YOU , REALLY? ^
" I DIDN’T EVEN KNOW, MYSELF.
BUT HIS > INTERPRETATION .COULD VARY- >
YOUTHINK THE STARS CAN PREDICT HIS TROOP MOVEMENTS? YOU'RE k AS MAD AS > HITLER.
HESS'S ASTROLOGER—KARL GERMER—IS A MEMBER OF MY ORDER. I KNOW 4. HOW HETHINKS. ^
^ THE STARS DO NOT PREDICT THE FUHRER'SSTRATEGY. FLEMING—THEY HE BASES N ^ I N F O R M IT. / f HIS TROOP 1 MOVEMENTS ONASTROLOGY CHARTS? . THESE SAME , Sw CHARTS? A
я ш т т "
ч тту4 OR BETTER—YOU CAN TSLL HIM WHAT TO THINK. HOW TO . INTERPRET THE A PLANETS. r
/ r
6
1
< ■ ► к? ^ rf l
IS HE STILL LOYAL TO YOU? >
X ALEISTER...YOU > COULD INVENT THE FORECASTS FOR HIM. FROM GERMER TO . HESS, TO HITLER HIMSELF.
"I HAD WON HIM OVER-
MAXWELL'S RIGHT. WE WOULD BE IN A POSITION TO LEAD HITLER'S TROOPS WHERE AND WHEN V WE WANT THEM. ^
нк
“THE PLAN WORKED. THE BRITS DETERMINED THE WORST POSSIBLE MOVES FOR HITLER, THEN CROWLEY DEVISED THE ASTRAL MUMBO JUMBO TO SUPPORT THEM HE LED THE NAZIS INTO TRAP AFTER TRAP.”
HE TAKES IT SO SERIOUSLY. WHY GO THROUGH ALL THIS TROUBLE TO MAKE THEM CONFORM TO REAL ASTROLOGY ^I F THE FORECASTS ARE FAKED, л ANYWAY? DON'T YOU SEE, ROBERTS? HE'S M A K I N G THEM kJ REAL.
r WHAT CAN YOU POSSIBLY MEAN BY THAT, ^ DAPHNE? .
“I LOST TRACK OF TIME. AND THE MISSION. I HADN'T REPORTED BACK IN WHAT MUST HAVE BEEN WEEK S.
“I BEGAN USING DAPHNE AS AN ANCHOR. SHE WAS THE ONLY CONSTANT INTHE SWIRL.
“X COULDN'T TELL IF SHE WANTED ME, PITIED ME...OR DESPISED ME.
"SHE WAS EVERYTHING X WANTED, BUT—n
^ JUST LOOK ^ AT ME, FOCUS ON ME, THINK OF NOTHING, AND NO v ONE ELSE.
Е Л Н П
г \ / Т ^ HAPPENED TO THE . GOAT? A
LOOK HERE--T HERE- -THIS HIS ONE ASKS ABOUT THE SPEAR PEAR HITLER HITLER SNATCHED FROM THE AUSTRIANS. TRIANS.
I THINK THE UsAERICANSARE AERICANS ARE RIGHT HESS IS THE KEY.
Ш
THE CHRISTIAN RELI RE LIC? C? IT S WORTHLESS WORTHLESS. A REPUCA REPUCA . MEDIEVAL AT BEST.
JII L ГBUT IF IF HI T LE R! L BELIEVES... A
К
TOO MUCH EFFORT. > Y. CHASING T TH HE SPE ONLY CONFIRMS CONFIRMS ITS ITS POWER.
Ш
"HESS SPENT THE REST Of HIS UfE IN A BRITISH ASYLUM. CROWLEY WAS BLAMED fOR BLOWING THE OPERATION—AND THEY CUT HIM Off."
r IN ~ HOC SIGNO ^ VINCES' .
X
'
WE
WHAT'S HE SAYING?
“„.BUT THE BEAST WAS THE HAPPIEST I ’D EVER SEEN HIM.”
WILL X
DEFEAT 4 HITLER S SIGIL WITH A COUNTERSIGN. IT MUST BE AS OLD AND AS \ POWERFUL у AS HIS. /
^
AS
TRIUMPHANT
AS THE SWASTIKA v IS E V I L , ^
IT'S LATIN. INTHIS SIGN, YOU WILL CONQUER.1’
Г
LETTER V. X HEBREW VAV—PHALLIC S INMEANING AND \1 V IMAGE—THE NAIL INHITLER'S I COFFIN. V' j EGYPTIAN DEITIES APOPHIS AND I TYPHON. TAROT I CARD OF THE £ DEVIL! THE MOON / AGAINST THE Л SWASTIKA’S J Fs Ш к L SUN!
AND THAT'S IT? THIS—SIGN WILL BEAT ^ HITLER? A
NOT A SIGN— r OFF WITH A S I G H . NOW YOU, ROBERTS WE MUST NOT THIS . CHARGE IT. л ^ TIME- A
‘SOMETIMES X HATED HIM-'
? c a V
I STILL- THINK HE SHOULD PRESENT THIS HIMSELFHE’S THE ONLY ONE WHO UNDERSTANDS HOW IT REALLY WORKS-
1 * * a r n
"WHEN HE DIED, WELL, WHAT CODED SHE SAY ? I HATED HER. HER LAYING ON OF HANDS, HER PATHETIC INCANTATIONS, AND EVERYTHING ABOUT THESE MYSTICAL ORDERS."
V IS FOR VICTORY! The PrimeMinister announces effort to promote “V Is for Victory”throughout Europe, urging people to use the V symbol whenever possible, paint it on walls and on streets, to undermine German morale while solidifying anti-Nazi
CHURCHILL LAUNCHE S “V” CAMPAIGN
“The V sign is the symbol of the unconquerable will of the occupied territories and a portent of the fate awaiting Nazi tyranny. So long as the peoples continue to refuse all collaboration with the invader it is sure that his cause will perish and that Europe will be liberated.”
> :
"BUT THE. HORRORS OF THE BATTLEFIELD PALED INCOMPARISON TO THOSE OF THE R E A L WAR- THE MAGE WAR-"
"BEYOND THE PHOTO OP, PATTON COULDN'T HAVE CARED LESS ABOUT THE SPEAR, HE MADE ME A MAJO R ON THE SPOT AND CHARGED ME WITH BRINGING THE SPEAR BACK TO THE MUSEUM INAUSTRIA WHERE IT RESTS TO THIS DAY.
‘BUT THERE WAS SOMETHING T HAD TO DO FIRST.
JMlirrflJb
\
A
THE AMERICANI GOOD! I NEED YOU TO SPEAK TO YOUR GOVERNMENT,
*
X DID ГЕ HITLER IS DEAD, THE WAR IS WON, Y ES- BUT THE AMERICAN CONSULATE WON'T APPROVE MY VISAOLD MISUNDERSTANDINGS FROM THE FIRST WORLD WAR, ГМ SURE IF YOU CAUL THE RIGHT PEOPLE— YOUR FRIEND GENERAL PATTON, PERHAPS,.
LOOK! THIS IS
ГГ,
V -
•
THAT S WHY I WANT TO GET TO AMERICA, OLD BOY. "DO WHAT THOU WILT "IS THE TRIUMPH OF THE INDIVIDUAL! THE ANTITHESIS OF FASCISM- AMERICA IS THE FUTURE!
4
HIS HEALTH HAS BEEN FAILING. WE THOUGHT THE WARMER, DRIER CLIMATE OF CALIFORNIA MIGHT—
DO YOU HAVE ANY IDEA WHAT X HAVE SEEN? WHAT X HAVE D O N E
HI
У '6 l <
У / X
_______ "V IS FOR VICTORY. INDEED-.AND INTHAT ONE HEINOUSBUT NECESSARY ACT. I CLAIMED THE POWER OF BOTH MAGES. CROWLEY 'S SIGILS AND HITLER S BLACK MAGIC. I WAS NOW THE ONE TRUE MAGE."
THE. DECOMPOSING ^ BODY WASN'T EVEN FOUND UNTIE AFTER CROWLEY 'S DEATH, OF COURSE HE WAS BLAMED . FOR IT POSTHUMOUSLY, . L THE DOUBLE V WAS A STILL INTACT,
TUP
VICEROY LOGO.
r DRAWN Л INHER BLOOD, HER CORPSE GAVE LIFE TO ALL THE CORPORATIONS WITHIN THE VICEROY SIGIL. DEATH TO . ^ LIFE, A
LOOK, MR, ROBERTS. I 'M SORRY FOR WHAT YOU HAD TO GO THROUGH, AND I WON’T TELL w ANYONE, BUT...
BUT DON’T ^ YOU SEE? NOW THAT YO U ^ KNOW... >!
III;
ov COURSE
.'
I ^ ' ^ L you ar e :Л&‘, \
" Y O U ’ R E
DOUGLAS
RUSHKOFF
Douglas Rushkoff writes comics when he wants to tell the truth. The renowned author of books about media and technology including Cy beria , M ed io Virus, Program or Be Programmed, Present Shock, and Throwing Rocks at the Google Bus, Rushkoff is the winner of both the Marshall McLuhan and Neil Postman Awards and was named by MIT as one of the world's ten most influential intellectuals. Rushkoff also makes television documentaries for PBS, including Merchants of Cool and Generation Like, appears on shows from N B C Nightly News to The Colbert Report, and hosts the podcast Team Human. But when Rushkoff wants to get serious about something, he turns to comics. He created the Harve y Aw ard —nom inated V ertigo series Testament, in which gods live outside the panels, influencing action from the gutter. He also wrote the graphic novels A .D .D . (Vertigo) and Club Zero-G (Disinformation), which both explore teens, media, and cultural mutation. With Ale ister & Adolf, Rushkoff risks his psyche and those of his readers by contemplating the real lesson of Aleister Crowley , the m agick al intent of the Holocaust, and —perhaps wo rst of all — the true origin s o f bran d icon og raph y.
MICHAEL AVON OEMING
Mich ael Avon O em ing began his career in comics at the age o f fourteen. D edicated to his craft, Mike was eventually kicked out of high school for skipping class to stay home and draw. His first big break was as an inker on Daredevil, and shortly after he was hired as a penciler/inker on DC's version of Judge Dredd, then Foot Soldiers and Bulletproof Monk, which became a film, Michael was nominated for an Eisner for his work on Powers with Brian Michael Bendis. Other notable titles involve his love of mythology, such as Thor, Ham me r o f the Gods, and The M ice Templar with Bryan J, L. Glass. He has worked on several works with his wife, Taki Soma, such as Rapture , Sinergy, and United States o f M ur de r Inc., written by Bendis. Michael is an executive producer on the Powers TV series from Sony/PlayStation. His interests in mythology,
J
the occult, and conspiracies have led him to the book you currently hold in your hands. Yes, we can see you.
Я
A ll IST€R S4D0LF SKETCHBOOK Notes by Michael Avon Oeming
Here is an ea rly sketch of Roberts. He we nt through several different looks. I was looking at a lot of actors from the '40 s and '5 0s . I looked at a lot of Howard Hughes (especially
w ith his o ccu lt and co ns pira cy ties), but eventually we landed on a sort of young Ca ry G ran t as a direction,
I think I figu red ou t ev en tua lly that I kep t dra wi ng his face very long. I also discovered I do that with a lot o f noses I d ra w ; most noses, even prominent ones, are pretty short. On ce I figured C row ley had a sort of bullet shap ed he ad, I kne w I was on to some thing. He's so fun to draw.
Daphne. Oh, Daphne. She is the heart of the book. Caught between whatever the truth of Cro wley is and her feelings for a young, naive man she could have loved. т not one for drawing glamour women, but once I go t her hair, that was the key.
Early version of Roberts, Previous page was Jack Parsons, my most favorite bizarre and strange person of modern times. Read all about his evil occult plans and how they formed JPL and NASA, It all grew out of the
occult. I believe there may still be some secret cult w ithin N AS A tha t believes this shit/ beca use like it or not, the fou nd er o f JPL worshiped demons, and that is a fact.
I had m ixed feelings ab out draw ing some of this stuff. Wa s I pr ofiti ng of f evil men and the ir deeds? I dr ew H itler here on the co ver; no rma lly I can sell orig ina l cove r art for a good price, but I might just burn this. He's part of this overa ll story, but I d o n't w an t to unknowingly sell this cover to some Hitler lover, not for any amount of money. I'm still not sure if Crowley was truly evil or just a performance artist looking to exalt himself through sex, drugs, and shock, trolling society for reactions.
