Aleister & Adolf, story by Douglas Rushkoff, art by Michael Avon Oeming, lettering by Nate Piekos. Dark Horse Books, 2016. 9781506701042.
A graphic artist in the early days of the web goes in search of the original paper files on the design of a corporate logo, after the digital files he needs to build a web page start to misbehave by refusing to stay put on the screen. He’s horrified to find images of torture and death that played a role in the logo’s development. He meets with an elderly man, now dying, who explains what it all means: in his youth, during World War II, he was tasked by American military strategists to recruit British magician Aleister Crowley because the Americans wanted to find a way to use Hitler’s interest in the occult against him. Instead of completing his mission and reporting back, as ordered, he ended up overwhelmed by Crowley’s ideas and in danger of losing himself to the powerful magicks at play. Crowley became obsessed with creating a symbol powerful enough to defeat the Nazis.
The story is based on real-life strangeness and occult beliefs during WWII, with a story of personal obsession and loss woven throughout. Crowley thinks the Nazis are adding power to the swastika through their horrifying medical experiments and mass murders. His efforts to create a rival symbol involve sex magick and sacrifice. This isn’t just a Hammer style occult horror story, it’s about the power of symbols and how they permeate of our lives. In the notes on his art at the end of the book, Oeming comments that while he usually sells his original cover art, he thinks he will burn the cover of Aleister & Adolf rather than unknowingly sell his depiction of Hitler to a neo-Nazi for any price. The symbols in this book are still powerful, generations later.
*a nerdy footnote: Aleister Crowley in the book (and probably in real life) would strenuously object to someone calling what he did Satan worship or black magic. Then he would give you a long-winded explanation as to why. But that’s what people who will want to steer clear of this book would call it, which is why I’m calling it out with those words.