Youtube user
Yellow Flash, creator of hit videos like
"America is back, and pushing more far left trash!",
"TRIGGRED SJW ComicPro attacks fans" and
"More evidence SJW Star Wars agenda over entertainment" had a two and a half hour chat with Jon Malin about his work on the
Cable comics, the comic industry, and their shared, innate fear of the world outside their limited lives squashing everything they hold dear as they let out their dying whimpers in sad little corners of the internet.
Among other things, they discuss:– How comic creators are starting to fire people over their political beliefs, including Trump voters.
– Malin (barely) disapproved of the Captain America being a nazi twist.
– Family values have disappeared and white privilege doesn't exist.
– College brainwashes its students to liberal thinking.
– Racism doesn't exist anymore and SJW are just looking for something to fight.
– Homophobia is also over and transphobia never existed to begin with.
– Malin quotes something from an Ayn Rand novel he hasn't finished on audiobook yet.
– SJW comic journalists are just as bad as Ardian Syaf sneaking in anti-semitic messages.
– Briefly brings up his Blink cover where Malin drew her with large boobs, turns into blaming comic journalists for attacking Stan Lee (re: the sexual harassment) who doesn't deserve the hate.
– Defends Marvel's Ethan Van Sciver repeatedly (who's also garbage).
– Compares the SJW craze to Russian propaganda and reefer madness in the 1950's.
– Endorsing punching Nazis is just as bad as saying punch terrorists because the far left and right are the same, wishing violence upon Nazis (who are "unfairly" labelled Nazis) is a sign of prejudice over political differences.
– The end game of SJWs is to enable"some kind of toltalitarian state" where people police each other and personal liberties and freedoms are revoked.
Transcript of 25:00 onwards: (my own comments in parentheses; I needed to free myself eventually)
YF: That seems to be the problem – the strong family backing isn't as prevelant anymore. And I think with my generation, the generation that's coming in and all that stuff, I think that the broken family, taking away from family values, is what's really making – making our society kind fo sick in many ways, because it kind of goes against the nature of the naimal that we are, the social animal, the family, it's what makes you a good person and you know, it's unfortunate – I grew up with my family, my parents are still married, and it's such a rarity, you know.JM: Yeah, mine aren't.YF: Go ahead, what were you gonna say?JM: Oh you know, mine aren't, my parents divorced at the age of five, my dad had drug problems, my grandma had drug problems, and uh – I'm lucky I don't, so. There's a whole different side to uh... the reality of this supposed "white privilege", um, you know. I've been on welfare as a kid, you know, so, I had to have hand-me-downs throughout my younger life. My brother's jeans, my brother's shirts, Salvation Army, all that stuff. But my point is that social justice warriors have come in, and – not even through the industry, just in general – I find more and more often these people come from a area where their parents worked hard and got themselves in good positions, and they end up living in these suburbs, or these very nie and sometimes very white areas, and they get it in their head, 'Oh, all white people live like me.' Well no, 'cause there are plenty that didn't, but you're probably the person that ignored the poor white kid because he was being beaten by his dad or couldn't make it to school, so. [laughs]YF: He was ignored, he wasn't wearing those high-end clothes.JM: Yeah. Yeah, he wasn't wearing the good stuff, and he didn't get to go to college. But, you know –YF: That's another thing, college. I went to college and – you talked about before, these people that are going to college, I can tell you that's definitely true,in college it's a one way street thinking-wise, ideology-wise, it's almost like a brain-wash in a lot of ways, and the views that you have to have to be there– for a long time, when I was going through there, I was going there supporting those views and I didn't really wake up until I left, and just kind of started coming across stuff on the internet – and you know, what the hell is wrong with me? And I think some people just get stuck in the uh, the vacuum, and you see what it does to people.JM: Yeah.YF: But you know, a funny thing that's going on – and we're talking about sales...this "don't buy my book if you don't agree with my politics," or you know, going on there, I see one criticism – and you know, I think anybody that's in this whole #comicsgate thing that's going on now – I'm sure there's three or four trolls that have gone onto these people's twitter feeds and said racist stuff, but for the majority of us, nobody is complaining about what an artist looks like or what their background is. The common complaints are, 'You're making the characters not what they should be', but – you can go on there and say a logical statement, and they'll start going left when you're going right, and calling you a racist. And you wouldn't have said like, one bad, nasty comment. JM: Yeah, um... it's because there's no battles to fight anymore. Um, when there is no racism, there must be racism, and it must be everywhere. Um, if not, you take away their purpose. And without their purpose, they have nothing. Especially college kids – they have to fight something, they won't fight in a war, they won't put themselves on the line for anything, so this is what they're gonna do. And, you know, it's a lot of cowardice, but it's a lot of people who, and, you know – all cultures, all races, everybody – that never challenge themselves. Never actually put themselves in a firing line where they personally could be harmed. They think a protest is, you know, a war. It isn't. I mean, you're standing there with a stick, not with an M-16. And uh, they have to feel that they're part of a civil rights movement, or a million man march, they need something for purpose.And all these issues that they raised – they were solved, for the most part, a long time ago. And uh, the newest thing, after the gay rights and all that was settled,and I – I support it 100 percent, you know, if you wanna be in any kinda contact with another human being I don't think anybody should be able to stop you, and if you wanna be married, more power to you, find a church that will take care of that for you. But, uh, yeah... they need to have something to stand for. And when you look at the newest one, which I, I think it's the newest one – I'm not, you know, the most in-depth on what all these social issues are (lol)but when you get into the trans issues, now it's like, oh, the gays are good but now what about the trans? And it's like, okay, what about them? Oh, everybody's transphobic. And I say, "What, how?" Because when I was growing up in the 1980's, every cool rock star that I was banging my head to was dressed like a woman, so, um – [chuckling]
YF: [chuckling]
JM: Molly Cruise, Bon Jovi to an extent, Twisted Sister, these were all straight men – well, maybe not all straight men, but these were all men dressed as women, and nobody gave a fuck. At all. Nobody cared. And nobody does care. You see somebody say, 'Huh, well maybe that's odd but, hey, whatever, it doesn't affect me, what do I really care?' And I think that's really the attitude that most people have, and uh – there's a line, um –I was listening to the audio book of 'Fountainhead',and it's very conservative, it is Ayn Rand, and there's a quote in there somewhere, and it's a female character, and I didn't finish this, and I'd like to (lmao I was losing it at this point with anticipation), but I recommend it, because what I've heard on The Fountainhead, maybe I got halfway through on it, audio, uh... It's a lot about how somebody finds a vision and how you stick with it. You need to, uh, you need to – if you feel you're an artist, if you feel there's something out there you wanna be passionate about – The Fountainhead is really kind of the story of a guy who's – everything is just going bad for him, but he's trying to do everything for the right reason, but he's trying to... lose his own way while doing this. It's really almost a depressing story about how difficult it is for this guy to get through, so – into architecture. But there was one line in there I heard (FINALLY omg), and it really stuck with me, 'cause I mean, this was probably written 30's or 40's (1943), it's old, and uh – the lady, this lady is a lady of privilege, and you know, her father, I believe her father is very well to do, and she's kinda like a troublemaker.And there's a quote in there, and it's like, "I'm offended that I have nothing to be offended about."
YF: Oh, absolutely. Absolutely! (lol the excitment in his voice)
JM: And I just keep hearing that whenever I see these new topics that are coming out, you know, again, there are definitely –
YF: ...Something to be mad about.
JM: Yeah, there are millions of things to be mad about, but for the most part, S-J-W first-world problems. It's so barely significant, it's absurd. And you know, you go into other countries, the middle-east(oh boy), where, you know, gay people are being thrown off buildings, hey, there's a fight for ya. You know?
YF: You can't drive a car if you're a woman in Saudi Arabia, oh I think they changed that...
JM: Yeah, so there are definitely – there are fights that should probably still be fought, but it's not here. Not in any real, significant way, not anymore. You know – we're one of the best countries in the world. So. Uh. People for the most part treat people very fine (very fine people there lol) and – there are so many things that happen in this society.
JM: Like – if you have a room full of a hundred people, and lets say they're dressed in white, and then – or 99 or all dressed in white, and then all of a sudden one's all dressed in black, now – there's a million years of human evolution that says, "This is odd." So what you do is, you discover this thing, you talk to this this thing, you say, "What's going on with you?" and some people aren't gonna be agreeable with that. And you say, okay, maybe five of you guys aren't really accepting of this thing, and we say, instead of eradicating you from our group as a whole, we say, "To what extent are you really not jiving with this?" And like, well, "I just can't stand that there's this person in the room wearing black when we're all wearing white." And I say, okay, on a scale of 1 to 100, what is your offense?" "Eh, maybe, a 5." "Oh, so it just kind of annoys ya?" "Yeah." "Are you gonna assault this person for that?" "No." "Are you gonna... kill this person? Being a 100." "No." And I say, Okay, as long as you're in a 5, and you recognize this is happening, and it doesn't really jive you one way or another to where you're gonna become violent or oppressive, I say, okay." But there's one person, you know, that probably is, you know, "Argh, I can't this!" – You know, it's gonna happen. And that's human nature, that you can't stop it, eventually there's going to be somebody that cannot jive with something being different. (lol this is the worst analogy I've ever heard in my fucking life)
And that's for everything. Children are the worst. So you go into elementary, middle school, and if you have a zit on your nose, you're getting informed on it, during that day, so, they're gonna let you (where is this going lol). And if anything else happens to you, if you have, if you stand out, once you get into middle school, high school – you decide you're punk rock, or whatever, hey you know, people are gonna notice. But that's kinda part of the game, is you kinda want people to notice. So, when you have people in societies who have differences, there's definitely gonna be a very, very small percentage that would want to do harm to somebody because they're different. But how much of a problem, societally, is that really? You know, definiitely, if there's somebody that wants to harm somebody, it needs to be recognized, they need to be evaluated, and everybody should be like, "Look man, you can't fuckin hurt people because you don't like the way they look, dress, skin color, whatever!" But if they just annoy you? Then whatever. I don't care. I get annoyed by people on TV every day, but it's. Human. Nature.
But the trans fight and all that stuff, I just don't understand. You know, you've got one out of a million people that would want to do harm to somebody that's less than one percent of the population? I don't understand that. I don't want anybody to be harmed, at all, um... but not just because you're trans, I don't want you to be harmed because you're gay, I don't want you to be harmed because you're, uh, a different skin color, I don't want you to be harmed because... I dunno, you have a big nose! You know. Or your eyes are a little funny. Or... your pinky's longer than your ring finger. I don't want people to be harmed for any reason. But it's a very, very, very, very small percentage of people – it's gonna happen (oh?),someone's gonna harm somebody, and you know – that's the price you have to pay in a society – but to act like that is a, an epidemic? No. And uh, to the S-J-W, it's definitely... everything is an epidemic. And it's –
YF: Everything is offensive. Everything is racist –
JM: Yeah.
YF: These people – and that's the thing too, they seem to equate criticism to... that's some kind of racist thing. Especially if they are someone that's different (lol), they seem to think if you're criticized, they automatically think that it's because they're this, when it's not because of that. And they get really sensitive, and seem to just go on long tangents, they'll just – if it was in any other career, I feel like when they do this, they would be fired, and it doesn't happen over in this industry. And it definitely, entertainment-wide – but the S-J-W thing, from what I've noticed, as far as the way they treat the customers, the fans, it's definitely a more vocal thing in the comic industry.
JM: Yeah. A lot of it comes from the ideological bubble that is building in the comic book industry. When we look at what happened with Ardian Syaf, the X-Men artist I believe it was who put in anti-Christian, anti-Jewish propaganda –
YF: Oh, yeah, yeah!
JM: He did lose his job, and rightfully. And –
YF: It took some outrage for that to happen –
JM: Yeah, a lot of outrage. A lot of outrage. It took a lot. And the editor may have lost his job as well, I do not know, but I know that was a common rumor that was going around online. So. My point of what's going on in the industry is – what he did was pretty inexcusable, and... on one hand I really wanna say I believe in second chances, and, hey man, glad you're not gonna do anything crazy like that again, but I don't think you could really take someone like that, I don't think you could take his word for it. Because at the end of the day, it becomes – it's his religion(Mako Mori enters the arena). He's never gonna turn his back on god because this is the one thing he does truly, truly believe in. So – even if you wrote it down, because you know, that's what I keep saying, "He was so talented!" Why would you do that?
YF: He was. His artwork was really good.
JM:Yeah. And uh – but he had to go, and rightfully. But – how does something like that happen? And I think how something like that happens is, a certain amount of acceptance, and I mean just like the people on the Youtube videos, you know, probably yourself, Diversity In Comics, Captain Cummings, all these guys started noticing, like – "Hey, what the fuck is going on with all this stuff?" Uh... I lost my thought. (keep it)
YF: You've come under fire for this for something I wanna talk about.You've come under fire for that Blink cover, which I remember people talking about, but it wasn't until I was kinda looking into stuff for the stream, that I looked into that Blink cover, where you drew her breasts a little too large, and Bleeding Cool attacked you? Just like they have done recently to Stan Lee, which I think is ridiculous.
JM: Yeah, I don't support that either.
YF: Comics journalism – one thing I agree with that you said, is a complete joke. It's a dumpster fire. There's no ethics (lol , there's no un-bias, they're all biased, they've thrown Eaten Van Skyer under the rug – and uh, they'll totally say things out of line. I don't know where these people – I don't know where they ever took a journalism class, they'll go there and they'll say, "Ethan Van Sciver's good, and then they put in parentheses, 'despite what you and I might think about him'... why would you even say that?
JM: Yeah.
YF: That's not what a journalist does. It's so biased. I don't understand –
JM: They're trying to influence people's opinion. But I mean... Bleeding Cool? I mean, is there a journalist there? I personally would want to see some real journalism happen, but Bleeding Cool is almost The National Enquirer to me. but other sites I would hold to a higher standard I guess? And uh, they're clearly in the tank, and they don't want to rock any boats. So you know, and – Oh, this brings me back to my point, when Diversity Comics and Captain Cummings are noticing all these things going on in the industry, they're saying, hey guys, you know, this is something going on here. This may not be full-blown, but it could be something dangerous as we continue to move along here. And you know, it took regular, normal, non-journalistic, on some degree goofy goofballs, you know, to recognize these problems coming out. And to start voicing em, and – where has the comics journalism been on this? They haven't been anywhere. And that's – this is just as bad to me – the material that they're covering, when you deal with a lot of the uh... S-J-W, clearly running through these titles, why aren't they being called out? This is every bit as bad as Ardian Syaf, saying, "Hey, don't trust Christians and Jews, because, you know... whatever!" (lol) You know, they're not going to do that. These guys, Diversity Comics, Captain Cummings Frugal, all these guys, Ethan, Van Skyver, to a lesser extent, you know, but he's part of the people saying, "Hey guys, you know, lets just stick our head up here a little bit and just make sure everything's not going into fucking Crazyland. You know. We can keep everything sane, keep everything careful, and uh, the comics journalists have no care to, uh, get in here – because they're all part of the same – I think, for the most part, part of the same ideology, and that ideology is, "Turn a blind eye to the best you can, and uh... it really bothers me that when these things get out into press, and then they're brought into the attention through these Youtube channels, again, just like Ardian Syaf, there has to be something in the system, in the editing system, that says, "We're gonna look out for you in a way that might embolden you to get a little risque on the political." And – so by nurturing that environment, you let more and more people, get crazier and crazier. So I think people and creators are saying things online, to their fans, that I don't necessarily think they would've been saying five years ago.
JM:So they went from saying loudly, you know, "Hey, punch Nazis!" and then they started naming all their detractors to be Nazis.
YF: Anyone who criticizes them is a Nazi.
JM: Yeah, so they're wishing violence upon people, and I don't think that's good, I don't think that's healthy, I think what happens when the pendulum swings around... and then somebody changes that narrative to where it becomes from a far-right point of view, and they say, "You know what? If you wanna punch Nazis, we're gonna start saying 'Punch a terrorist'. So what does that mean? What's the between the lines on that? If punch a Nazi means kind of frame people to be what they're not so you can cause violence against them, then if people on the right start saying "Punch a terrorist", what happens then, in society? Well I'll tell you, they will start going out to places like Michigan, Dearborn, where there are large amounts of Middle Eastern people, and they'll say, "You're a terrorist!" You disagree with me, ideologically, you must be one of these, you know, explatives... and then you start having violence. Is that – I don't want violence to be going on to the Middle Eastern population just because you have political disagreements. And I don't think it's any better to be wishing violence upon, uh, oh – Caucasian audience, because you have a political difference of opinion.
My concern is, look man, if you're gonna be fucking racist, and lets say, five percent racist – if you're gonna be five percent racist, and I would say Richard Pryer is five percent racist, I would say Eddie Murphy is five percent racist, Dave Chappelle is – you know, etc. etc. If you're gonna be five percent racist, I don't care, because you're not a threat, you're not out to actually hurt anybody, I'm sure you have friends and family who are of different races, of different cultures - it's when you're that really hard-edge racist.It's when you're willing to say, "Punch Nazis, and by the way, you're a Nazi" – that's when it's like, scary. Because you're really starting to cause violence upon people based on their race, and because of political differences, not necessarily because they're a harmful person, or somebody that would ever do harm to anyone else... any other minority, or, another white person, in general.
YF: I think it harbors a little bit of prejudice. It is what it is.
JM: Yeah. Sure.
YF: It's just how people – it's just how humans operate. (oh?) It doesn't mean that people are bad, it's just humans are humans. But this whole going after everybody, it seems like, you know, the end game for all these S-J-Ws is some kind of toltalitarian state that we all live in. I don't think they understand that this push to control everything, it infringes on personal rights, eventually, there's no other way around it.
JM: Yeah.
YF: And they talk about, you know, "We want everyone to be happy" well at what cost?
JM: Yup. At the cost of everybody else's fredom. Freedom to be a little insufferable. Because what's gonna happen is – you're gonna build a society – I keep thinking, you know back in the 80's it was a pride of America – we were like the main influence of the world – musically, our entertainment, all this stuff, and I wonder how much of that had to factor in with the fact that – we would let people like Richard Pryer speak, or Eddie Murphy speak, or Andrew Dice Clay speak, or Dennis Leary speak, you know, half his jokes are like pro-Tobacco. But I think when you look at what was going on in the other part of the world in the 80's and 90's, you know, they were very European, they were very English, like, "Oh no no no, let's not be too offensive. But those Americans, those guys are funny!" You know? So because of that edge, you know, I think that gave us a little bit of credential with the world, and now people don't see American entertainment like that anymore, because it gets more and more watered down, very less offensive. Rock video girls are almost non-existent. Rap video girls are all over [laughs] So you know, good for that.
YF: There's no. I don't know. There's no, if you show any, if the woman is sexy, or shows anything, which jsust blows my mind, that's terrible. You've talked about the panty line on Wonder Woman, whic was just ridiculous, that that was even a big deal. What is the difference if she's in a swimsuit?
JM: Yeah, and I say this, I've said it in the last one, is like, if anybody was looking in on the comic book industry from the outside, and they were seeing what we were doing to censor ourselves, they would laugh because it's ridiculous. They would look at that frame chow cover and go, "What? Why would you do that?" They'd look at my Cable cover and go, "What? Why would you do that? These things are ridiculous. No one wants to even borderline offend anybody, beause you know, reasons. And it's like look man –
YF: Why is that you wanna – it seems to be for the left, the extreme left, that for a woman to be strong, she needs to be more like a man. Seems to be the narrative I'm getting. Like why can't a woman be feminine and strong? I don't understand this, that's going on, they wanna make all the women more like masculine and all the men more feminine.
JM: Yeah.
YF: And it seems to be something going on. I don't know exactly what the end game is there, but to not say that there's something going on is just crazy. It's definitely buried. It' not just in comics, I saw in Star Wars, I see it in everything. And I think it's because the majority fo the people in this industry and in the movies and even somewhat in video games now is all far-left people.
JM: Yeah. Yeah, and that's what's concerning to me, is that it isn't just a comic book thing, it's a video game thing, it's an ideology, and ideology is always what always brings about this ideologicca specifically, is what ends up bringing about the desctruction of freedoms and societies, you know, we're dealing with what is essentially socialists, communists, and uh – they don't care, they don't care what they do to this industry or film or whatever because it – the ideology is what's important. And this is, again, the same reason why you would look down on like, some propaganda from like Russia or something like that, or even when you look at the marijuana, the anti-marijuana from the 50's. Reefer madness.You look at it and say, this is just ridiculous. It's so... obvious what you're trying to do here, and we're getting back to that, abd everybody's trying to pretend like they're not doing that to you, but you're like, "Yeah, they're doing that to you!" You're trying to feminize men, you're trying to masculinize women, and that's – thats fine, and you know, uh, do that with original characters, not that you do that with characters that ar elong-esbtalished as being certain ways. So you wanna feminize madness? Fine, bring one in, let the market see how it handles it. If there's a big audience just waiting for a brand new superhero that's a man but yet, you know very submissive and whatever, hey, good, let that book do it's thing.
But right now in this industry like I said earlier, it needs to become steel sharpening steel. We need the best, the best, just like DC has been building up its people, Marvel needs to be building up its people with just killers on the commercial art side. (lmao good luck with that)
And once everybody's in their own company just goinz at it with each other and trying to better their co-workers, essentially, when that team – DC ran out as very strong, and when Marvel gets very strong with their artists, then let Marvel VS DC, steel vs. steel, let it be competitive, let people make it fun to be like, "Hey guys, look what we're doing! Look at your sales" But I think in the end, that creative competitiveness is going to make for better art, and hopefully better stories. Which brings me to my other point on that, is that the stories in comic books outside of certain exceptions, they're terrible. Just fucking garbage. And it's – instead of writers aiming to tell very grand or great stories they're – it's WWE lite. And all you have to do to convince editorial is to say, "We're gonna punch somebody in the face. Hey, you guys wanna see some face punching?" "Oh yeah, that osunds great! Lets make that a new book. And it's like, no man."
When Malin was criticized by Bleeding Cool over his objectification of Blink for the cover of
