Stan Lee’s Mar Vell is intended esoterically as a Jew. We know this for several reasons. First a common Semitic bride gathering theme appears in Mar Vell’s first appearance. Here ethnicities are indicated contextually, through color symbolism and, of course, by names. In his first appearance, Mar Vell, unlike the rest of the Kree, is clad in Green.
Mar Vell is sent to earth by his sexual competitor Yon Rogg on the pretext of determining whether or not earth should be destroyed. Again, Yon Rogg will sport a blue suit featuring a white chest adorned by a yellow or golden planet. Rogg’s intention is to maroon Mar Vell on earth so that he can have ready access to their mutual love interest, Una.
Una, already in love with Mar Vell, wears a red suit. This is a common color symbolism discussed in this study where the color red suggests racial or blood access. Mar Vell’s love interest Carol Danvers, esoterically indicated a Jewess as we have discussed, naturally wears various outfits in the series. However in her first appearance, as illustrated by Gene Colan, she’ll appear in a red shirt and green pants. Perhaps here Lee is indicating the admixed nature of Jews, a phenomenon well known to Jewish Esotericists as this study indicates.
The name Mar Vell, clearly an effort to imbue the pre-existing brand name of Captain Marvel with JEM, is not a reference to the Aryan God Mars as one might first guess. No the word use of Jewish esotericists tends to be much more precise and coherently rendered. Rather names become as words. The word mar means to ruin or spoil.
Vell is likely a reference to vellum which means “calfskin, lambskin, kidskin, etc., treated for use as a writing surface.” Vellum is commonly abbreviated by “vel.” Possible the double Ls were an attempt to clarify this connection. Vellum comes from the Old French word velin. It’s the vel, veel, veal element that means “calf.” Hence Mar Vell means “spoil calf.”
What is the corroboration for this? It is found quickly in Una’s name. Una is an Irish name meaning “lamb.” Yon Rogg’s name also appears to carry an animal theme. The Polish surname Rog means “animal horn.” This suggests a phallus and a sexual competitor as horns do appear to carry this significance in JEM as this study covers. Of course, as well, these names suggest the Aryan figures as livestock or resource in contrast to Mar Vell, the destroyer of these resources.
The name Yon, יון, appears to be a shortening of the Hebrew name Jonah. The Modern Hebrew indicates it as meaning “mud,” ”mire,” and “sludge.” The names Jonathan and Jonah, both Aryan identifiers, are related to this word and doubtlessly as well, its meaning. Kindly this study suggest perhaps the defeated Aryan is considered the “mire” from which a “Jewish vine” rises.
Una the Replenishing Aryan Eve, Pneuma, Spirt or Psyche
Una, the vied for Aryan love interest, is a synonym for the Aryan Eve or Psyche in Mar Vell parables. Here she is indicated as a “medic” among the Kree. Her role in the plot is especially as follows. She replenishes Mar Vell with “breathing potion.” Without this breathing potion Mar Vell cannot survive on earth. Very likely this “breathing potion” is related to the concept of spirit as breath or “pneuma.” When we investigate the figure Eve we see just how closely she resembles Una. Elsewhere in the broader study I write:
“The Hebrew name for Eve, Chavah, חַוָּה means “farm”, “farmstead”, “statement” and “ranch.” This may be suggestive of the Aryan agricultural figure of Kore whom is understood as having been abducted by the Semitic Pluto. It connects her as well to Adam who, again, is understood as a gardener and farmer. Hence she becomes the Aryan “farmer’s wife.”
The Hebrew word for Eve, “Chavah, חַוָּה is often thought derived from the closely related hayah, הָוָה, which means “to breathe” in the ancient Hebrew. This might make Eve a reference to the clearly Aryan figure of Psyche whose name means “Soul” or “Breath of Life.” Likewise Chavah is considered related to chayah, חיה, on the premise the latter means “to live.”
“Chayah, חיה, may also be translated as “animal,” “beast,” “brute,” “spirit of life,” “life, “midwife,” “tribe” and “crowd.” Here we get a sense, not merely of Psyche, but of an animalized breeding stock not necessarily of one’s “own tribe.”
Una’s role as “medic” may be a reference to the plant genus Medicago, a plant genus that includes most saliently alfalfa. The word Medic is treated as a synonym of Medicago. Medicago ultimately derives from the Greek medica. Possibly a common consumption motif is indicated here where the Aryan woman is understood as consumable resource. In Modern Hebrew Chavah, חַוָּה means “farm,” “farmstead,” “statement” and “ranch” and tends to conjure, this study argues, a figure like the Greco-Roman grain goddess Kore.
Regardless the metaphor understanding Mar Vell as a Semitic figure who must return to an upper, celestial world to replenish “spirit” or “breath” is a powerful one. Here the Semitic, earthbound Carol Danvers is the Proserpina or Earth mother while Una the celestial Goddess of Air and Breath.
When Mar Vell reaches earth for the first time he thinks, “my strength will decrease in exact proportion to the time I am exposed to this alien atmosphere.” The line out of context, might suggest a reference to the power of Jewish crypsis being disrupted by exposure. Yet, in context, we understand it as indicating a Jewish racial strength diminishing in the absence of Aryan “spirit” or Aryan genes. That the Aryan Una is the Jewish Mar Vell’s first choice, when compared to the earthling Jewess Carol Danvers, is without question.
When first Mar Vell is sent to earth he thinks “you think you’re sending me to my death, Yon-Rogg. But nothing will keep me from returning to Una—nothing.” It is the sentiment of a common Semitic Dying-And-Rising God, from Dumuzid to Christ, seeking forever Venus’ hand in a Semitic Spring, when the “Green Man” returns. As Mar Vell describes it, under the pen of the Jewish writer Arnold Drake and the editorship of Lee, his love for Una was “complete and exquisite…Camelot alone could match it’s majesty—and nothing equal its power and permanence.” Moving poetry for the “spoiled lamb.”
Mar Vell the Jewish Magnes and the conquering of Christian “Technology”
Mar Vell’s existence as a crypto-Jew among the Christian Kree is as complex as one might expect. This is seen especially, of course, in struggle to win the Aryan breeding stock Una from his sexual competitor Yon Rogg. As a Jew, though, he’s especially adapted for this cryptic war.
Indeed, one early scene will see him succeed in destroying a Kree Sentry, symbolically a Christian Angel, when it attempts to destroy and detonate a human nuclear facility. An observing Yon Rogg is shocked. Formerly he had believed “not even a Captain of the Kree can defeat such an indestructible living weapon!,”a weapon “designed millennia ago by the masters of our science.” In this context, science may even be a reference to Torah.
Indeed in the Modern Hebrew Torah, תּוֹרָה, translates as “Pentateuch,” “theory,” “doctrine,” “lore” and “science.” Mar Vell tends to agrees with Yon Rogg’s assessment. Nothing can destroy a Sentry “save one of the same eternal race that created the Sentries in Eons past,” which, presumably, would be Yahweh or a Jew, like Mar Vell.
Indeed Mar Vell succeeds in destroying the Sentry by modifying the Kree “uni-beam,” a weapon to which the Sentry had formerly been immune. Specifically he gives the beam a “magnetic charge” so that “a magnetic fusion” takes place within the Sentry. “I am being destroyed from within!,” the Sentry will cry. Here we may find a metaphor for a crypto-Jewish element managing and destroying rouge, effectively anti-Jewish Christian movements from “within” the Church.
The symbol of the magnet is one reoccurring in JEM. It becomes itself a symbol of Jewishness. It is perhaps especially a reference to the mythological figure of Magnes who we can understand as a Jewish or proto-Jewish figure as this study explores. It may as well be related to the symbolic concept of “Greatness” as this concept appears in JEM.
In Lee’s own work he uses the symbol with the Jewish figure of Magneto, a figure who is, like the mythological Magnes, himself a human magnet or controller of metal. Lee also uses the symbol with the character of Iron man. In the early Iron man parables a magnetized plate or a magnet becomes the element keeping the Aryan Tony Stark alive. Here it is initially assumed that Stark will live out the rest of his days in the iron suit. Symbolically he becomes the enslaved robot or golem of a Jewish God.
Since Mar Vell pierces the Sentry with a beam that he must make especially narrow to breach the Sentry’s armor, possibly a phallic power is indicated here as well. It would fit with the Biblical narrative of the Watchers. After all the Watchers are effectively understood as destroyed through admixture with humans in the Old Testament Narrative. This would also fit with salient phallic symbols in this narrative as this study will discuss.
Walter Lawson, the Goyish cover and moral scapegoat for Mar Vell
Mar Vell’s human name is also worth evaluating. It is Walter Lawson. The name Walter meaning “warrior” appears to be a common, martial Aryan identifier. The name Lawson however is more interesting. With the name Lawson we discover that its earliest origination is from a town in Italy famous for its Laurel trees called Laurentum.
As the broader study discusses, references to Laurels, especially in character name meanings, are a common motif appearing in JEM. The reference here is to a famous Semitic rejecter of Apollo, Daphne. Daphne, often a daughter of Gaia or Terra, was turned into a laurel tree to escape a pursuing Apollo. Hence in this regard it is similar to the raven motif.
Here it is important to understand how Walter Lawson acquired the pseudonym Walter Lawson. In Marvel Super-Heroes #13 after Mar Vell has been sent to earth by his jealous Aryan competitor Yon Rogg, Rogg attempts to kill him with a laser beam fired from the Kree spaceship.
The deadly laser beam is intercepted though by a man named Walter Lawson who haplessly flies into its path in a red plane. Though ostensibly this was a chance accident, there appears to be hints that it is by design. “An unfathomable fate” sees the plane suddenly “swooping out of a nearby cloud bank.” Clouds become a symbol of the Jewish God in JEM as this study discusses.
Clouds appear to be a reference to the shrouding cloud the envelops Peter in the NT as well as a reference to the column of smoke that appears in Exodus as a symbol of the Jewish God. For example, Lee makes references to them with the esoterically indicated Jewish figure of Foggy Nelson in the Daredevil series. The last name Nelson may mean “son of cloud,” the nickname Foggy becomes a “clarifier.” Kirby’s Golden Age version of the superhero known as the Vision from “Smokeworld,” clearly a reference to the Jewish God, contains similar references. Certainly clouds and smoke her relate to a theme of obfuscation. 
Likewise it may be the case that Mar Vell deliberately intended to shield himself from the laser with the plane. In an aside to the reader, Mar Vell describes how the Kree ship is visible only to Kree eyes. The final panel of page 7 of Marvel Super-Heroes #13, shows the Kree spaceship, visible, beyond the red plane, while Mar Vell flies upward on a path toward both. As the narration describes it “the earthly pilot” has only a second to stare at the alien Mar Vell as he zooms “upward toward him.” This maneuver may be similar to a September 2018 incident in the middle east where Israeli jets deliberately drew deadly Syrian missile fire on a Russian military plane, according to Russian complaints.
Indeed, Mar Vell will assume the identity of the dead Walter Lawson, a “missile specialist,” shortly after this incident so as to infiltrate human society. Hence possibly a theme of crypsis is indicated where the Christian crypto-Jew avoids detection by hiding behind an Aryan or non-Jewish persona.
Certainly there is a theme of racial replacement or a Jew displacing the WASP. But more, as the plot develops, we see remarkably that Mar Vell’s “White Guy” persona, Walter Lawson, becomes a fall guy or moral scapegoat for Mar Vell. This is shown most clearly in the relationship of Carol Danvers to both personas.
In a common superhero trope, Carol Danvers quickly develops “endless trust in (the superhero Mar Vell),” while an “equal distrust of Dr. Lawson.” She will even ask Mar Vell to investigate Lawson’s background. Indeed, when few records can be found of the real missile specialist Walter Lawson, Danvers, the “head of missile security” will grow suspicious. Here we find a Jew, Mar Vell, entrusted with relying “reliable information” about the “moral character” of Aryan man to a Jewess or women more generally. And, of course, as well, as is commonly the case in JEM, the Jewess is, sexually, the Jewish Mar Vell’s second choice.
Carol Danvers the circumciser of Missiles and Cape Canaverals
As we shall discover, Carol Danvers, more than a feminist figure, emerges as a castrating or circumcising figure in the narrative. In this way she resembles the Biblical Jewesses Delilah and Dinah, both closely connected to the circumcision and the emasculation of non-Jewish or Aryan sexual competitors.
Delilah, the cutter of the Samson’s hair, is understood esoterically as the emasculator or circumciser of an Aryan Samson. Dinah, through sexual interactions with the Canaanites, is likewise understood as instrumental to their emasculation and defeat before Judah and Israel.
Dinah is perhaps even being referenced in Carol Danvers name. Indeed, Dinah may be understood as a feminine form of Dan, דָּן. Dan means “he judged” and Dinah means “Judged.” Its doubtlessly meaningful as well that Samson, descended of an Aryan angel, is raised by the tribe of Dan.
What suggests Carol Danvers specifically as a castrating or circumcising figure? In her first appearance she is introduced as “the finest head of security a missile base could want!” In the series she is the security chief of a NASA base on Cape Canaveral which is referred to in the series simple as “The Cape.” Hence she is referred to as “head of security for the cape.”
Cape here, of course, means: “A point or head of land projecting into a body of water.” Missiles and cape are introduced here as phallic symbols. “But surely this is Freudian interpretation!” the reader may object. Indeed, a Freudian interpretation of a Freudian mind. Finally Freud gains his value.
But what is the evidence? In the first issue of Captain Marvel, Mar Vell appears astride a missile-like Kree spaceship in a highly suggestive fashion. In the image the ship is suggested as his phallus. The headline caption of the comic is equally suggestive. It is “The Coming of Captain Marvel.” The word “come” has had this slang sense since the middle of the 17th century.
As the green clad Mar Vell descends to the earth in his first appearance in comics the humans attempt to test fire a red missile but have to abort the mission based on the interference of some new and foreign radiation. The radiation is emitting from Mar Vell’s suit. The color red, seen here, in Una’s attire and with the plane containing the real Walter Lawson is, of course, meaningful. As this study indicates, red in JEM is a reference to the racial woundness and sexual accessibility of the Aryan. Circumcision as well, as this study explicates, is also related to these ideas.
Similar motifs where missiles or phallic vehicles are indicated as clear phalli appear early in the Golden Age Green Arrow series developed by Mort Weisinger. There Green Arrow and the “esoteric catamite,” Speedy, race around in an especially phallic looking Arrow Plane car while practicing their “archery” in the secret Arrowcave.
In Broome’s Hal Jordan Green Lantern, we see missiles in particular indicated as phalli. This may be especially meaningful as it seems evident that Stan Lee drew inspiration from this comics series when developing the Mar Vell parables. Again, Hal Jordan’s love interest, Carol Ferris, is a sort of exaggerated version of Carol Danvers. There, as described, a battle of the sexes is especially pronounced. The important difference between the two series lies in the ethnicity of the male superhero and thus also the final message of the parable.
Hal Jordan is indicated there an Aryan Angel serving the Jewish God and especially through Freemasonry as this study explicates. Hence the parable, featuring an impossibly difficult and adversarial Jewess, relates the risible idea that Judaism is effectively continued through a matrilineal line. It likewise relays the castrating or emasculating effect that admixing with the Jewish Delilah or Jewry in general has on the Aryan competitor.
In “Menace of the Runaway Missile,” at the very beginning of the Hal Jordan series, Hal must prevent a yellow missile from striking a military research facility. However his Green Lantern powers, inherited from the Jewish Freemasonic figure of Abin Sur, can’t directly affect objects that are yellow. As this study discusses, yellow or gold are Aryan identifiers in the color symbolism. Hence a theme of Jewish or Freemasonic crypsis and indirection appears. He is eventually able to stop the missile with a net created by his power ring when he notices the missile has a red tip. Likely this is a reference to a circumcised or emasculated Aryan penis.
Carol Danvers role as a circumciser or emasculator of the human missile base is made clear by her adversarial relationship to Mar Vell’s human persona Walter Lawson. As Lawson, Mar Vell treats the prying female security officer in a way that today, certainly would be regarded as “sexist.” When she demands answers about his past, he tells her he doesn’t have time for her “professional conflicts” and that she’s suffering because she’s been “given a very masculine role in life! Naturally psychological conflicts must arise when a beautiful young woman is asked to play at policeman!” Indeed, “policeman” will become a term Lawson will use to describe the security head, Danvers.
What appears here is very important. While Carol Danvers is at odds with Mar Vell’s Aryan or “human” persona, she is allied with his Jewish persona as Mar Vell, whom she worships. This resonates with us. Whence indeed comes this enormous blind spot among Jewish feminists, or feminists more generally, when it comes to the notable power seeking of Jewish men? Ultimately together Jew and Jewess work to circumcise Aryan potential and success. Mar Vell is, of course, depicted as a “moral figure” in the series. His allegiances though, despite everything, are to the Kree and the Jewish “Supreme Intelligence.”
After all, at the end of the day, Christianity is a Jewish phenomenon understood as beneficial to Jews by Jewish Esotericists like Stan Lee. It appears as well to be understood as infiltrated and essentially controlled by them. Hence the Kree or Christian competition with “mankind” is an effort to topple or circumcise the “Tower of Babel.” And truly, is there a clearer tower of Babel than Cape Canaveral and all that it represents?
In his second appearance, Mar Vell puts in thusly “so rapid is their rate of technological progress that they may one day challenge the Kree themselves if they are not stopped!” On some level we see here Aryan science versus the “science” of the Torah. In the end it is simple racial and sexual jealousy and competition.
 Roy Thomas, Marvel-Super Heroes #13, Marvel Comics, March 1968
 This name is distinct from John, a reference to John the Baptist, and a Jewish identifier in the JEM.
 Stan Lee, Marvel-Super Heroes #12, Marvel Comics, December 1967 pg. 5
 Stan Lee, Marvel-Super Heroes #12, Marvel Comics, December 1967 Pg. 4
 Arnold Drake, Captain Marvel #11, Marvel Comics, March 1969, pg. 8
 Roy Thomas, Captain Marvel #1, Marvel Comics, May 1968, pg. 7 * Stan Lee editor, Gene Colan artist
 Roy Thomas, Captain Marvel #1, Marvel Comics, May 1968, pg. 20 * Stan Lee editor, Gene Colan artist
 Roy Thomas, Captain Marvel #1, Marvel Comics, May 1968, pg. 4 * Stan Lee editor, Gene Colan artist
 Roy Thomas, Captain Marvel #1, Marvel Comics, May 1968, pg. 20 * Stan Lee editor, Gene Colan artist
 Roy Thomas, Captain Marvel #1, Marvel Comics, May 1968, pg. 19 * Stan Lee editor, Gene Colan artist
 Roy Thomas, Marvel-Super Heroes #13, Marvel Comics, March 1968, Pg. 7
 Jack Kirby/Joe Simon, Marvel Mystery Comics #13, Marvel Comics, November 1940.
 Scapegoat is a fine colloquial term but “Burnt offering” or Sacrificial Ram becomes the more technically accurate term as this study discusses.
 Arnold Drake, Capitan Marvel #7, Marvel Comics, November 1968 Pg. 8
 Roy Thomas, Marvel-Super Heroes #13, Marvel Comics, March 1968, pg. 13
 Roy Thomas, Captain Marvel #3, July 1968, Pg. 15
 Stan Lee, Marvel-Super Heroes #12, Marvel Comics, December 1967
 John Broome, Showcase vol 1 #22, DC. Comics, October 1959
 Arnold Drake, Capitan Marvel #5, Marvel Comics, September 1968, pg. 9
 Roy Thomas, Marvel-Super Heroes #13, Marvel Comics, March 1968, pg.11