Jesus

Jesus is invoked across the book as a symbolic adversary in Black Metal and far-right anti-Christian rhetoric, rather than as a character with an independent narrative presence. The references frame him variously as an absent opponent, an emblem of alleged historical persecution, and a target of provocation; together, they show how religious language is repurposed to express hostility toward Christianity and its institutions.

The Song's Challenge

In Absurd's song "The Gates of Heaven," written some months before the band killed Sandro Beyer, the speakers ask where Jesus is and why he is not at war against them. The question is presented as a taunt: Jesus is imagined as the absent champion of the opposing side, while the song's speakers cast themselves as his enemies. The book notes that their mockery continues despite their temporary confinement in prison.

Political Accusation

A report on the desecration of Yvonne Foin's grave in Toulon connects Jesus to a political leaflet found among Anthony Mignoni's belongings. Published by Napalm Rock, the leaflet depicts Jesus as responsible for persecution and mass murder. This is the leaflet's accusation, not a factual finding established by the book. Napalm Rock is described as an underground magazine for heathen and revolutionary music and as connected with Nouvelle Résistance, placing the image of Jesus within an explicitly political attack on Christianity.

Provocation and Cultural Reclamation

In England, Paul Timms wore a Cradle of Filth T-shirt bearing an insulting slogan about Jesus during a court hearing over church and graveyard desecrations. The episode makes the figure a deliberately provocative emblem in the public aftermath of the crimes, without establishing that the shirt itself explains the group's actions.

A different account appears in the comments of Thomas Thorn, singer and lyricist of the band discussed in the book. He supports Norway-style church burnings and describes Christian missionaries as having displaced Nordic gods and Scandinavian culture, sometimes through force. In that argument, the church represents a legacy of cultural dispossession, and attacks on it are presented by their advocates as political statements and acts of reclamation rather than mere vandalism. Jesus thus stands at the center of the rhetoric as a symbol of Christianity's claimed historical power, even when the immediate target is the church as an institution.