Eric Harris drawings & Nazi essay added to Columbine Guide
Updated: Jan 2
I just loaded up The Columbine Guide with Eric's sketches, and his school essay on "Nazi Culture"--which was very revealing in retrospect.
That's a napalm tank on Eric's back, which was one of his many grandiose ideas. He laughed about creating human matchsticks running around, but of course he couldn't invent the flame-throwers he envisioned. He couldn't even get the Napalm recipe to work, thank God.
The Nazi essay is revealing in very different ways. Read in retrospect, you can see how he is using the cover of the Nazis to turn in his own gory fantasies as school assignments. The opening paragraph about a stadium stacked to the top with dead bodies is his own fantasy and has nothing to do with Nazis, but they provide great cover.
Here's the first page. The whole thing is here, and many more of Eric's sketches here:
It is truly sobering to see these original sketches and the essay added to the guide. Preserving such primary sources is vital for historical researchers and documentary filmmakers trying to unpack the complex psychology behind such tragedies. When creators produce video essays or educational documentaries using these visual artifacts, cleanly overlaying documents or isolating specific elements from archival footage is crucial for a professional presentation. Using a web-based AI tool to easily remove backgrounds and export alpha channels (like transparent WebM or ProRes) can save editors a lot of time while handling visual evidence. Thank you for keeping this invaluable archive accessible and updated.
Adding the sketches and essay to the guide gives readers important primary-source context for understanding the warning signs and the retrospective analysis. Resources like this Picture to Drawing online tool also highlight how visual materials can be handled and studied alongside written records.
Adding the sketches and essay gives readers a more direct way to examine the material alongside the broader Columbine Guide. When documents like these are presented online, tools that edit text while preserving the visible lettering style could also be useful for clearly labeling archival images without losing their original visual character.
It’s chilling to see the duality Cullen points out here—how Eric used historical cover to indulge his own destructive impulses while daydreaming about weapons he couldn't actually build. It really makes you reflect on human nature, shadow traits, and how people try to understand their own internal drives. When stepping back from analyzing such dark psychological profiles to explore more constructive models of personality and archetypes, mapping out birth energies with the Mayan Astrology Calculator offers an intriguing, reflective contrast based on the ancient Tzolk'in calendar. Truly sobering documentation—having these unedited artifacts accessible adds invaluable context to Cullen's research.
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