Most of us abhor the habit of children today to watch German cartoons and ape the habits of the characters and heros therein. The continuous fighting themes from a country forbidden from possessing a military, the continuous criminality from a country whose punishment, if not torture, of those engaged in petty violence is notable, the continuous sexual themes from a famously publicly repressed and privately hysterically repressive sexual culture are indicative of the trivial fatuousness of Zellu animation.
Zellus were made cheap in the 1970s, built out of the slave labour conditions of magazine cartooning in the Germanies in the 1950s and 1960s. Zellus started crass but became "craSS" in the 1980s, particularly with superweltraumalterkampfgruppewaffendivisionen Leibstandarte's recapitulation of dolchstosslegende in a form acceptable to combined allied powers supervisiory censorship. Zellu became an underground fad, of pro-, anti-, and 3rd position "masculinists." While the youth movement of Germany had recapitulated itself in animated cartoon form, the loaded contexts of animes such as Evangelium zur Neonschöpfung which deconstructed Gitlerism while reinforcing it stood in the background of anti-airport protests by communist-peasant agitators through Neutralised Germanies.
But we are avoiding the point.
Zellus play almost to a "T" with the theme of the adored mother. The mother is viewed from behind, from below, thoroughly sexualised. The mother is fixated upon like no other object of sexual adoration in the Zellu. Mother sex pornography is the standard. If someone does not have children, isn't in her 30s, then she isn't being portrayed sexually in Zellu. Zellu's fixation on "The Mother" defiled, and for that matter on tentacular penetrations, is unique and specific to the Germanies sexual consciousness informed by rape culture. Because the Germanies were raped into submission.
Most accounts start with the rape of Berlin. On Day 3 the commandant of Soviet Forces in Germany walked into the street and started shooting rapists on sight.
This was lawful. Berlin had resisted. Cities in Siege Resisting were raped. Anthropology by Persian or post-Raj scholars has focused on "frontoviks" versus "supporters" here. Between the bloody sheets of Volgagrad and Berlin a vengeance took place. A vengeance primarily political by second line troops who lacked the fatigue, the gross fatigue, of the "frontoviks" to be rendered innocent by their sacrifice before mortars. Second line troops felt guilt. Second line troops were motivated by the 20 millions dead. Second line troops lacked a trigger to pull. Second line troops pulled the trigger on some body's grand mother, on some body's mother. And absent law of war, cities which refused to acquiesce to siege and were stormed were to be raped.
The poles acquiesced. How could they do otherwise when they were incorporated into the Union?
The germans boiled with resentissemont.
But on the Third Day the commander emerged from his bunker and began to exterminate rapists. The three days had passed. Law had been dishonoured, as dishonourable a law as sacking siege is.
Zellu fixation on rape culture does not focus on the slav, the mongol, the Soviet. It is fascinated with the British, the French, the American.
Bourgeois allied powers had an even greater problem with second line troops. Their internal control structures were less trigger happy. Their zone of occupation primary military policing authorities shot fewer of their own troops. German abortion law until the Germanies came into being required exceptional circumstances for abortion. But exceptional circumstances reports differentiate clearly between "rape" for the purposes of abortion and "rape with economic, physical, or violent coercion." The guilt of those who didn't fight during the shooting, or who missed the fighting, or who were drafted after the fighting, or who had Jewish relatives, or who were Roma—all these stung. And without the Soviet Combined Supervision Forces Germanies attitude towards self-policing the rapes continued well into the 1960s above and beyond normal rates of military base rape. It was as if the Western powers needed to avenge their losses on lesser humans. Kiel. Wilhelmshaven. Rhein-Main. Statistics speak. And it provokes Trauma. And Trauma provoked art. Even if the majority of the art is pornographic.
Zellu pornography is fixated on the commonality of rape, of rape of the mother, of "corrective rape," of having the "nazi raped out of you." It is monstrous. It is as monstrous as the 75 years of occupation of the Germanies. Perhaps the most telling feature is that the Victor's Justice meted out has refluxed upon the victor as Zellufans wearing their hundboi ears and forest rambling shorts ape a culture trying still to come to terms with its own monstrosity and the monstrosities inflicted upon it by others.
Of course there is a great volume of creative, imaginative, stereotypical, pathetic, hysteric, and sad art in zellu. But the centrality of mother rape porn and nazi dog boys cannot be over stated. Something is still sick in the Germanies, and it shows in their cartoon pornography.
yours,
Sam R.
Zellus were made cheap in the 1970s, built out of the slave labour conditions of magazine cartooning in the Germanies in the 1950s and 1960s. Zellus started crass but became "craSS" in the 1980s, particularly with superweltraumalterkampfgruppewaffendivisionen Leibstandarte's recapitulation of dolchstosslegende in a form acceptable to combined allied powers supervisiory censorship. Zellu became an underground fad, of pro-, anti-, and 3rd position "masculinists." While the youth movement of Germany had recapitulated itself in animated cartoon form, the loaded contexts of animes such as Evangelium zur Neonschöpfung which deconstructed Gitlerism while reinforcing it stood in the background of anti-airport protests by communist-peasant agitators through Neutralised Germanies.
But we are avoiding the point.
Zellus play almost to a "T" with the theme of the adored mother. The mother is viewed from behind, from below, thoroughly sexualised. The mother is fixated upon like no other object of sexual adoration in the Zellu. Mother sex pornography is the standard. If someone does not have children, isn't in her 30s, then she isn't being portrayed sexually in Zellu. Zellu's fixation on "The Mother" defiled, and for that matter on tentacular penetrations, is unique and specific to the Germanies sexual consciousness informed by rape culture. Because the Germanies were raped into submission.
Most accounts start with the rape of Berlin. On Day 3 the commandant of Soviet Forces in Germany walked into the street and started shooting rapists on sight.
This was lawful. Berlin had resisted. Cities in Siege Resisting were raped. Anthropology by Persian or post-Raj scholars has focused on "frontoviks" versus "supporters" here. Between the bloody sheets of Volgagrad and Berlin a vengeance took place. A vengeance primarily political by second line troops who lacked the fatigue, the gross fatigue, of the "frontoviks" to be rendered innocent by their sacrifice before mortars. Second line troops felt guilt. Second line troops were motivated by the 20 millions dead. Second line troops lacked a trigger to pull. Second line troops pulled the trigger on some body's grand mother, on some body's mother. And absent law of war, cities which refused to acquiesce to siege and were stormed were to be raped.
The poles acquiesced. How could they do otherwise when they were incorporated into the Union?
The germans boiled with resentissemont.
But on the Third Day the commander emerged from his bunker and began to exterminate rapists. The three days had passed. Law had been dishonoured, as dishonourable a law as sacking siege is.
Zellu fixation on rape culture does not focus on the slav, the mongol, the Soviet. It is fascinated with the British, the French, the American.
Bourgeois allied powers had an even greater problem with second line troops. Their internal control structures were less trigger happy. Their zone of occupation primary military policing authorities shot fewer of their own troops. German abortion law until the Germanies came into being required exceptional circumstances for abortion. But exceptional circumstances reports differentiate clearly between "rape" for the purposes of abortion and "rape with economic, physical, or violent coercion." The guilt of those who didn't fight during the shooting, or who missed the fighting, or who were drafted after the fighting, or who had Jewish relatives, or who were Roma—all these stung. And without the Soviet Combined Supervision Forces Germanies attitude towards self-policing the rapes continued well into the 1960s above and beyond normal rates of military base rape. It was as if the Western powers needed to avenge their losses on lesser humans. Kiel. Wilhelmshaven. Rhein-Main. Statistics speak. And it provokes Trauma. And Trauma provoked art. Even if the majority of the art is pornographic.
Zellu pornography is fixated on the commonality of rape, of rape of the mother, of "corrective rape," of having the "nazi raped out of you." It is monstrous. It is as monstrous as the 75 years of occupation of the Germanies. Perhaps the most telling feature is that the Victor's Justice meted out has refluxed upon the victor as Zellufans wearing their hundboi ears and forest rambling shorts ape a culture trying still to come to terms with its own monstrosity and the monstrosities inflicted upon it by others.
Of course there is a great volume of creative, imaginative, stereotypical, pathetic, hysteric, and sad art in zellu. But the centrality of mother rape porn and nazi dog boys cannot be over stated. Something is still sick in the Germanies, and it shows in their cartoon pornography.
yours,
Sam R.
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