Analysis

Striking behavioral patterns are revealing, they expose a continued lifestyle. One cannot help but attribute to this concept of life the characteristics of deception, of fraud – of a villain. The end-time villain is alive. Villains, braggarts, no matter what they are called. They are morally reprehensible characters, posing as erudites who use the works of others to plagiarize, to deceive the public about their inabilities. He boasts of knowing what he does not know and of having what he does not have. Those who submissively serve him as an audience have long crossed the boundaries of ignorance towards stupidity.

Projections

In the villain’s core sits an inner void that can often be traced back to childhood. He tries to conceal that void in many ways. Over the years a facade is created, with which he tries to shine in the light of others. 
The figure of the end-time villain depends on the acceptance of the outside world allowing him to present his illusionary greatness, by which he aims to gain profit. 
He hides his inner void by adorning himself with the positive traits of others. 
Early in life, perhaps as early as adolescence, he perceives that he has nothing and is nothing. Maligning others becomes his strategy to conceal insecurity and anxieties and gives him temporary satisfaction. By doing so, he rejects himself and enlarges his inner void and the pursuant, painful non-existence that he tries to fill with projections. 
The extreme idealization of his facade literally aims at incorporating the ideal parts of others. He tears away the cloak of those he envies. Someone else’s cloak is now his garment and someone else’s property he passes off as his own. 

Enemy Images

The envy grows. Experiences, events, or neutral conversations are interpreted as being hostile by the villain. Envy breeds hatred. He turns people whose nature, values, and capabilities he secretly admires into enemy images. A power of destruction forms against the alleged enemy. What did he do to the villain? What does he even have to do with him? Nothing! The alleged enemy even fostered him, helped him to discover his worth, and fill the void in his soul with life. All in vain. The villain doesn’t care about it. Truthfulness, decency, and honesty are values that he claims to possess, but he neither has, lives nor knows them. 

Ever More Effort

Calculatingly subtle and always mindful of their tactical application, he uses two psychological tricks to control his environment for his profit. With a friendly facade, seemingly encouraging and yet always demonstrating the inferiority of the other, he demands ever more and harder performance with the prospect of reaching a new level. 

A situation during an attempted CD-production with Ron Kenoly’s songs, in BGG Amberg:

The musicians are trying their best. Practice, practice, practice, more work, more prayer. Night after night. Christian, at that time worship leader under Remdisch, squeezes them like lemons, demanding ever more. He preaches obedience and dictates “keep at it”. Push and cajole. Stick and carrot. 

He alone knows, that the performance he demands piece by piece from the throne he pretends to not sit on, will never be enough.

The rehearsals last late into the night, even though the goal has clearly proven to be unreachable. Late at night, one of the musicians lies down on stage to show his complete exhaustion. He falls asleep.

Theft and Spoil 

What he wants is the greatness, the calling, and the anointing in which others live, work, and minister. The money that he “doesn’t want”, he demands. 
The blasphemer scorns, tramples down and wants to have what he cannot have. 
His view is a fixed stare. Arbitrary twitches are the outlet for pent-up fears. The foray revolves around his narcissistic self. 

Isn’t there something historical about this method? 

Many a German has nothing and is nothing, but he needs money to finance his economy. The seizure of others’ resources proves the existence of a ruthlessly damaging and pathetically empty soul. What they need is looted. Meticulously they take notes and carry off. In the world of the Germans, they do not have to buy, they take. They do not have to pay, they steal.
The obvious goal is to feed their assets and capital into the Reich.
The looting climaxes in the Shoah. Calculatingly, the German population enriches itself with other people’s farmland, houses, vitality, their ideas, the value they have created, their creativity, and their achievements, while destroying their lives by the millions.¹

Another’s property is also the villain’s gain. Again, he meticulously takes notes and ruthlessly carries off: Bible school, courses, seminars, and sermons. With the looted goods, he stands behind the pulpit and collects alms. His economy is the spiritual fraud, informers deliver it “out of nowhere”. The cloak of another that he clothes himself with, that he enriches himself from, is his only cover. Underneath loom the misery and the glaring emptiness of an ugly soul. 

Imposture

All of Chrisitan’s sinister traits have one thing in common: to seek his own advantage. The  terrible truth at the foundation of his life is that he is a liar and his life is a terrible, fabricated story. 

His religious cynicism reveals abysmal depths that he feels. They give him a place that he uses to spit his derision on everything that is holy. His life cannot bear up under his fabricated stories. That is embarrassing and harmful to an impostor and his henchmen, who supply him with loot in order to reach the falling stars for themselves.
The rungs of the ladder to the top are bones of different victims.

Sadism

Turning their powerlessness into the experience of omnipotence is the addictive craving that drives the two villains from Upper Palatinate.

Power over other people’s souls, controlling others’ behavior, and manipulating it to their own advantage gives them a ritual sense of satisfaction in their disordered emotional world.

Sibling rivalry and fear of losing significance cause Christian to develop behavioral disorders, which earn him the term “scandalmonger” among his peers in Amberg. In adulthood, his self-assertion is compulsory. Fearing competition, he fights everyone and he vies for the support of his father, a choleric with psychopathic traits. He deliberately uses other people’s distress to exploit it. The fun-trips to visit refugees in Ukraine reveal a ruthless, calculating tactic of self-assertion.
The striking frequency with which he addresses “ovaries, pelvic floor muscles, underwear, and married women’s fertility” is another symptom of it and reveals how obscenity rules his mind. 

Bianca Scharnagl’s stories are repulsive and horrifying at the same time. They raise the justified question: How can someone manage to go around with such dirty lies and manipulative tricks for years? 

Appearing religious, they demand of their listeners to suffer like Christ – to the point of death, while exempting themselves and their three daughters from the demand, of course.

And as Volker says so aptly: Both possess the ability to tailor a distasteful facade, fabricated of suggestive phrases, to the respective circumstances.

A changing facade, cunningly crafted and used to disguise this perversion and this abuse.

Wanting to attribute such methods to the Holy Spirit is more than utterly blasphemic.

…

Epilogue

The brutality and the ego of Amberg’s male chauvinism go hand in hand with the submissiveness of the woman; using each other, cleansing themselves again and again to the point of vomiting. This is the never-ending addiction to perversion, to sexual perversion of “counseling” between man and woman from Upper Palatinate to Hesse.

^{1 Arte-TV: Die Nazis, die Arbeit und das Geld; France, directed by Gil Rabier, 2020, Arte F}