Radix Journal

Radix Journal

A radical journal

Author: Hugo Adrian

Do Androids Dream of Electric Sheep? versus Blade Runner as Racial Esoteric Moralization

Table of Contents 1. Introduction2.Do Androids Dream of Electric Sheep? as anti-Semitic allegory3. Blade Runner as Jewish Esoteric Moralization4. The significance of numbers in Blade Runner5. Rick Deckard6. Eldon Tyrell7….

Table of Contents

Introduction

Jewish Esoteric Moralization (JEM) pops up in surprising places, including Jewish adaptations of non-Jewish works. In fact, Jews may be more likely to adapt stories that are perceived to be anti-Semitic, whereas the natural inclination would be to stymie or invert the subtext. Such a transformation is particularly well illustrated in Blade Runner, the film based on Philip K. Dick’s classic sci-fi novel Do Androids Dream of Electric Sheep? (abbrev. Electric Sheep).

Note that where JEM is based on existing stories (i.e. where names and other details are retained from the source material), the symbolism may be rendered imperfectly as a result. In such cases we may still detect the hand of the esotericist while allowing for some degree of inconsistency. As JEM analysis is not an exact science your mileage may vary; I encourage you to compare notes with me.

We’ll begin with an overview of Electric Sheep‘s subtext before applying Roman Interpretation to Blade Runner through the lens of Mark Brahmin’s Racial Esoteric Moralization. The reader should be familiar with the film, and with Brahmin’s thesis which can be studied at The Apollonian Transmission (and in his upcoming books). In particular, one should be aware of the practice of god-masking and the mutability of gods.


Do Androids Dream of Electric Sheep? as anti-Semitic allegory

Prior to writing Electric Sheep, Dick wrote The Man in the High Castle (1962). It’s a work of speculative fiction where the Axis defeated the Allies in the Second World War and divide America à la post-war Germany. It seems Dick’s fascination with the subject wormed its way into Electric Sheep (published in ’68); both are set mainly in San Francisco and background the colonization of other planets. Where they differ is that Electric Sheep camouflages its themes with a beguiling science-fiction setting. This distances us from the Second World War, such that we unhesitatingly slip on the boots of (what is essentially) an SS officer.

Following World War Terminus, the Earth is so polluted by radioactive fallout that humanity is forced to colonize other planets to ensure its long-term survival. We can think of these extraterrestrial colonies as the Lebensraum that Hitler wanted to procure for Germany. The bulk of the colonization work is carried out by a new slave underclass of genetically engineered humans called “androids.” In this reading, they personify European Jews who were treated as second-class citizens and put to work in slave labor camps by the German National Socialists.

Some androids manage to escape captivity and seek refuge back on Earth, where androids are verboten but easily blend in among people. They are the Jews who miraculously escaped the ghettos/camps and disappeared among native Europeans. Just as some Jews were sheltered from the authorities by so-called “Righteous Gentiles,” a man named John Isidore tries to do the same for a group of escaped androids (here Dick may be specifically referencing Isidore of Seville). And like Jews, the androids closely resemble one another. This is true to some extent of all races, of course, but is observably exaggerated among Ashkenazi Jews as supported by genetic studies.[1]

Some androids manage to infiltrate government agencies, posing a threat akin to Jewish spies and saboteurs in the Third Reich. Bounty hunters like our protagonist Rick Deckard are the SS officers or Gestapo agents tasked with hunting them down. A major clue is that his wife, Iran, has a name etymologically linked to “Aryan” (indeed, Iran means “Land of the Aryans”). Yet unlike typical two-dimensional Hollywood “Nazis,” Deckard is not pure evil: He’s disgusted by a fellow bounty hunter whose motto is “sleep with them before you kill them.”[2] And, like most German officers in the Reich – the majority being devout Christians – religion plays a role in his life.

A new-age religion called “Mercerism,” named for its Sisyphean messiah Wilbur Mercer, is a placeholder for Christianity: Mercerism enshrines empathy for all living creatures as the highest moral imperative, as most species have gone extinct due to the war. Adherents attend “church” via an “empathy box,” which generates a virtual reality-like experience of Mercer’s struggle. However, Mercer’s empathy does not extend to androids, no matter how human they might appear.

Just as Jews reject Jesus as their messiah and demonstrate animosity towards Christianity, the androids have no faith in Mercer. They’re legally barred from interfacing with him and cannot “convert.” When the television personality Buster Friendly “exposes” Mercerism as an elaborate hoax, the android Roy Baty and his wife Irmgard express they’d had their doubts. From their point of view, Mercerism and empathy are lies humans tell themselves to feel superior to androids. It’s implied that Buster and his cast of cronies are androids, hence they’re stand-ins for the Jewish media monopoly that regularly takes pot shots at Christianity. Despite Buster’s revelation, Deckard’s faith only intensifies; accordingly, Dick implies that Christianity fills a hole in people’s lives regardless of its veracity.

In contrast to humans the androids are incapable of empathy, even for one another. They admit this, and at one point commit the grave sin of torturing a spider for fun (perhaps Dick’s way of criticizing Jewish and/or Allied behavior during and after the war).[3] Thus, an empathy test – which measures minute physiological responses that only humans are capable of – becomes the primary method of identifying androids. This is the “Voigt-Kampff” test, which has a German name for obvious reasons.

In hunting some escaped Nexus-6 androids – the latest and most perfect imitations yet – Deckard is ordered to test some in person at their manufacturer, the Rosen Association. The name “Rosen” is a German/Jewish Ashkenazic surname, which is another important clue to the subtext. It turns out the company is waging an arms race against humanity as it attempts to design more perfect imitations, which are described as Caucasian in appearance. Dick appears to be commenting on the myriad forms of Jewish crypsis, while hinting that the humans of the future (Germans) want their androids to match the Aryan ideal.

The Rosen Association’s president and his niece Rachael (the latter another Hebrew name) personify the Jewish middlemen tasked with maintaining the ghettos/camps in the Third Reich, and they do so for profit. As to be expected of the Jewish Ghetto Police or camp kapo, the Rosen Association’s loyalties lie with the androids.

Initially, the Rosens fool Deckard into thinking the Voigt-Kampff is faulty in the hopes of abolishing bounty hunting permanently. The subplot calls into question the rudimentary tests used by German officers to identify and segregate Jews from the wider European population: Just as facial measurement tests might produce false-positives, humans are concerned that the Voigt-Kampff might incorrectly identify people with a flat affect as androids, resulting in their deaths.

Anthropometry was used to determine race under the Third Reich’s Nuremberg Laws. Prior to the Second World War, eugenics was a socially acceptable subject of research throughout the Western world. Credit: Universal History Archive Getty Images

When Deckard realizes the Rosens nearly outwitted him, he describes the corporation as “possessing a sort of group mind,” and that “his mistake (. . .) had been viewing them as individuals.”[4] This is perhaps the most biting commentary in the book; it implies Jews conceal an unflagging ethnocentrism under a veneer of individualism. Of course Jews have often been accused of having a hive mind, where most conflicts between them can be reduced to disagreements about “what is best for the Jews.” Thus, Dick seems to be advising his readers to err on the side of caution and never give them the benefit of the doubt.

Once the Rosens’ ruse has been uncovered they attempt to bribe Deckard, and when that fails Rachael attempts to seduce him. No bounty hunter has retired another android after having slept with her, or so she claims. She’s essentially a Jewish spy tasked with sexually compromising German agents (something of an Esther type). Alternatively, she personifies the imprisoned Jewish women who tried to win their freedom or favors by seducing German officers. She puts his loyalties to the ultimate test: “Some female androids seemed to (Deckard) pretty; he had found himself physically attracted by several, and it was an odd sensation, knowing intellectually that they were machines, but emotionally reacting anyhow.”[5] No doubt a similarly strange feeling came over German officers dealing with Jewish women.

Deckard tracks down the android opera singer Miss Luba Luft, but she turns the tables by calling the cops on him! He’s arrested by a parallel police force that he didn’t know existed. Here Dick plays on the mutual distrust between German officers of competing factions (i.e. the SA, Gestapo, and SS). Much to his surprise, the station’s police chief is one of Luft’s accomplices. Meanwhile, an officer named Phil Resch is paranoid that he’s an android with implanted memories. Dick uses these characters to explore Jewish subterfuge and the identity crisis facing German officers who possessed (or might possess) Jewish roots. Here, perhaps, “Phil” is an author surrogate.

Deckard and Resch return to the opera house where the latter executes Luft. The Russian name “Luba” and German word “Luft” hints that she was a Soviet Jewess masquerading in Germany under a false name (e.g. the reverse of Lev Bronstein becoming Leon Trotsky). Similarly, the android Sandor Kadalyi takes the name Max Polokov. Note that “Sandor Kadalyi” appears to be an anagram for “a.k.a. sly android.” Another solution is “yids load an ark,” possibly referring to the state of Israel (other words found in the name include “Alaska” and “Adonis” which find purchase in Blade Runner).

Dick even implies that Jews don’t want to work or build anything themselves, preferring instead to settle among established nations. The androids admit: “We came back (to Earth) because nobody should have to live (on Mars). It wasn’t conceived for habitation, at least not within the last billion years. It’s so old. You feel it in the stones, the terrible old age.”[6] Alternatively, this could describe the Jewish diaspora’s refusal to make aliyah given the harsh climate and desert conditions in Israel when compared with the creature comforts of Europe and the New World.

Despite Rachael’s best efforts, Deckard successfully retires all of the escaped Nexus-6 androids. She responds by killing his new (and expensive) goat in a petty act of revenge. In discussing this, Brahmin suggested the electric sheep and goat could be related to the story of the scapegoat in Leviticus, or to Matthew 25:31-46, the Sheep and the Goats. Humorously enough, because of the absence of a coherent shared symbol language, intention among goyishe artists can be harder to read.

If Dick is referencing the scapegoat, he may be mocking the accusation that Hitler scapegoated the Jews. Rachael’s killing of the goat suggests that scapegoating is a Jewish tactic. What’s more, in context, the implication is that the Jews scapegoated Germany as a whole. The Judeo-Bolsheviks were responsible for killing millions of Russians and Ukrainians before and after Hitler came to power, and National Socialism was – if anything – a reaction to the growing Communist threat. Thus international Jewry had every motivation to project its crimes onto Germany, as was attempted with the Katyn Massacre.

In the New Testament parable, those who do good deeds are “sheep” that go to heaven while those who reject Christ’s message are “goats” sent to hell. Rachael’s killing of the goat is self-destructive, for she is herself a “goat” according to the parable. On top of that, Deckard’s desire to care for a real animal rather than an electric sheep reveals his desire for true salvation; his purchase of the goat may prove his empathy for non-Christians as described by the parable. Alternatively, the purchase of a goat over a sheep may suggest an urge to reject the Christian “lamb” for something more authentic and “wild,” such as paganism, which aligns with the National Socialists incorporating pagan symbols into the Reich’s imagery.

In summation, Electric Sheep is a religiously-tinged allegory of the German-Jewish conflict during the Second World War. Note the “Germans” aren’t exterminating the “Jews” but put them to slave labor; this is closer to the truth than Jewish historians would like to admit. In 1968, the “Holocaust” had to yet to enter the vernacular, with the television mini-series still a decade away. Dick seems to sympathize with the Germans, likely due to their abhorrent treatment following the war, though his prose is not so artless that one can easily pin him down as anti-Semitic. Is he condemning the Jews by implying that those who lack empathy deserve none in return? Or is he criticizing Christianity and its message of love and tolerance as a farce, given the treatment of the Jews under the “Christian” Third Reich? Perhaps it’s a bit of both.


Blade Runner as Jewish Esoteric Moralization

We can be sure that Jews – adept at sniffing out even the faintest whiff of anti-Semitism – would have recognized Electric Sheep‘s subtext (especially following The Man in the High Castle). Thus we can assume it would have been a top priority to subvert its themes. Coincidentally, Electric Sheep was first optioned by the Jew Herb Jaffe, who pitched the story as a comedy in a likely attempt to neutralize its subtext. Dick put the kibosh on Jaffe’s screenplay, forcing the project into limbo for several years. Three of the four production companies that funded the final film were headed by Jews: Filmways, Inc. (the Ransohoff family); the Ladd Company (Jay Kanter); and Tandem Productions (Bud Yorkin, Norman Lear). As it was revived through this chain of investors and rewrites he was largely kept out of the loop.

Hampton Fancher wrote the first working screenplay. It’s unclear if he is Jewish but it was his script that changed “Rosen” to “Tyrell,” which Jewish critics note is “a case of whitewashing or a concerted attempt to de-Judaize the evil capitalists.”[7] Fancher (or the Jewish producers) introduced a number of other changes that are highly meaningful with regards to JEM. Some of these changes were the work of David Webb Peoples, a Jew hired to rework Fancher’s script. It’s also possible that Ridley Scott had a hand in the film’s symbolism.[8]

Even a casual analysis of Blade Runner reveals Biblical and mythological associations have been grafted onto Dick’s characters. Among these we find multiple name changes, and blatant name drops including Methusaleh, Salome, Lilith, and (Saint) Sebastian. Others, such as the introduction of a replicant named Zhora, can be as revealing as Dick’s “Iran.” Though it may initially seem like a tangled mess, in most cases the associations flow into one another in the manner established by mythographers. As such it’s something of an education in the evolution of world mythology or, as Brahmin puts it, Promethean Transmission.

The visual effects team refer to this opening shot as the “Hades landscape.” Perhaps the Greco-Roman references were a subject of discussion on set?

Most importantly, Brahmin’s framework reveals that Blade Runner has inverted the esoteric racial identities of Electric Sheep‘s characters: Deckard is now a Semitic cipher hunting Aryan replicants! The story encodes Semitic bride gathering as a central theme and operates as a rebuttal of the novel’s religious subtext, hewing closely to Brahmin’s thesis when properly understood.

The bride gathering element should be self-evident given Deckard’s arc has completely changed. Whereas before he was a married man and his primary goal was to earn enough money for an animal that he and his wife could bond over, now he’s a depressed bachelor. The story ends with him absconding with Rachael, who has been recast as a delicate virgin (i.e. the Semitic hero wins the day by taking an Aryan lover).

The film refutes Dick’s appraisal of Christianity through Roy Batty’s new arc, in which he becomes obsessed with his own mortality. As mentioned, in Electric Sheep Deckard’s unwavering faith implies that Christians would believe in Jesus even if he was a proven fraud because his message of love and empathy ring true. In contrast Blade Runner ditches Mercerism entirely, and reproaches the faithful as soothing their fear of death by deluding themselves with fantasies of an afterlife. This is clearly communicated when Roy takes on a Christ-like posture and is thereby pacified in the finale. This level-headed critique of religious faith aligns with studies showing that religiosity varies depending on mortality salience.

Whereas the novel impugns the Jewish character, Blade Runner ostensibly venerates Christianity. Roy saves Deckard’s life because of his newfound Christian morality (nothing like this occurs in the novel). Presumably Roy could even pass the Voight-Kampff! In some sense the screenwriters are asserting their moral superiority while patting themselves on the back for bringing out the best in the goyim. Of course the notion that “there is no difference between the Jew and the Greek,” or that one should “turn the other cheek” to one’s enemies are precisely the sort of lessons that have allowed Jews to dominate us. Roy’s parting words, “time to die,” round out his demoralizing arc.

When viewed as a microcosm Blade Runner depicts the religious conversion of the Ancient Roman/Aryan world. Jupiter, unlike Jesus Christ, does not promise salvation and immortality when his creation comes knocking. Disappointed by the natural order of things, and having lost faith in the cult of Jupiter, Roy kills his own god in favor of a foreign one. Hence Roy is a prototypical Roman (i.e. Aryan) who converts to Christianity after having bought hook, line, and sinker its promises of rewards to come. The subtext is a Jewish victory lap for having supplanted the Greco-Roman pantheon with their cult of Christianity, not unlike that discussed in my analyses of the films Deep Impact and Tron: Legacy.

Just as Roy has seen things people wouldn’t believe, it is difficult for most Europeans to begin to imagine life in the pre-Christian era. We can only speculate what was discovered and lost by the ancients (if not outright suppressed by Christianity). This, I believe, is the subtext of Roy’s poignant soliloquy in which he reminisces only to mourn that “all these moments will fade in time like tears in rain.” The implication being that Christianity purged the Aryan’s collective memory (at times by the sword). In contrast the Jew fanatically records and embellishes his own history, including – if not especially! – the crimes committed against him.

When Roy dies, he releases a dove symbolizing his attainment of inner peace, or his spirit ascending to Heaven. Esoterically it also symbolizes the loss of his consorts Aphrodite (Pris) and Venus (Zhora) – for whom the dove is an important symbol, as discussed in the character analysis. These women could have given Roy children, descendants being the next best thing to immortality. In other words, Roy had what he was searching for all along but let it slip through his fingers. The film’s last lines, “Too bad she won’t live. But then again, who does?” underscores the pragmatic and sober attitude towards life and death that pervades the JEM. The lesson being that one should live this life to the fullest; focus on having children and raising a family rather than succumbing to fantasies of heavenly rewards.


The significance of numbers in Blade Runner

Dick may have assigned the number six to his androids in reference to the mystical six million Jewish victims of Hitler’s regime. Here we begin to understand why a Jewish esotericist might find Electric Sheep a good candidate for adaptation: When viewed through the lens of Jewish symbolism, Dick has unintentionally contradicted himself by applying Aryan numbers to his Jewish ciphers.[9] Consequently, Blade Runner needn’t alter the Nexus’ model number to invert their racial identity.

Six may also represent the Aryan as a solar resource, thus the Nexus-6 slaves gel with the Jewish worldview that the goyim were created to serve them.[10] Errors like this are one of the reasons why Brahmin argues we need an agreed upon, shared symbolism.

The screenwriters emphasize the Aryan nature of the replicants via repetition of the number: We’re informed that Leon had been working at the Tyrell Corporation for six days before Holden tests him; and Roy interrupts Tyrell in the midst of buying or selling “sixty-six thousand” stocks.

Note that the sequel Blade Runner 2049 retcons Rachael as a Nexus-7 (Fancher’s invention). Ostensibly she’s been redefined as a uniquely advanced model replicant, but Brahmin’s study reveals that the number seven is the most important number in Judaism, so it raises some suspicion.[11] In accordance with the JEM number symbolism seven would presumably define her as a Semitic cipher, or perhaps an especially lucky match for a Semitic male. The latter interpretation relates to the Biblical Rachel, discussed in the character analysis.

Another “happy accident” for the filmmakers is the androids’ four year lifespan. The number four gained symbolic significance through its association with Enki, an Aryan Sea God central to ancient flood myths. Writes Brahmin: “During the second millennium BC, Enki was sometimes referred to by the numeric ideogram for ’40’, a ‘sacred number.’”[12] Thus it rained for forty days and forty nights in Genesis. Note that adding or subtracting zeroes does not change a number’s symbolic meaning, so 4, 40, 400, and so on are all aqueous symbols. Moreover “water, especially freshwater, (is) a symbol that commonly indicates Aryan blood” in the JEM.[13] Hence the replicants’ four year lifespan is consistent with the Aryan lifeblood.[14]

Lastly, Blade Runner appears to encode Hebraic gematria in numbers exceeding twelve (e.g. 995, seen on the side of the spinner vehicle, coincides with a Hebrew word meaning “the sanctuaries of Israel”). Gematria is an aspect of Jewish mysticism and encryption that falls outside Brahmin’s study, partly because its interpretation is highly speculative. Those interested may want to investigate the numbers in the film for themselves using Bill Heidrick’s gematria website to see what connections might be there.


Blade Runner character analysis

Rick Deckard

“Rick” is cognate with Dick, so our protagonist may be something of an author surrogate in Electric Sheep. However, his given name goes unmentioned in Blade Runner (Bryant refers to him as “Deck” for short). Its absence may be explained by its ambiguity: Brahmin advises that “Rick” may function as a Semitic identifier due to its phallic connotations,[15] or as an Aryan identifier in line with the Consumption motif (from its association with the word hayrick). Thus the filmmakers may have avoided it so as not to muddy Deckard’s new Semitic identity.

As for the surname Deckard, Dick allegedly chose it in relation to the French philosopher Descartes, famous for his statement: Cogito ergo sum (“I think, therefore I am”).[16] Obviously that and Descartes’ mechanistic worldview relate to the question of what it means to be human vis-à-vis androids. Given Descartes’ low opinion of animals and Electric Sheep‘s emphasis on empathy, Dick seems to be saying the line ought to be: “I think and feel, therefore I am.” (In the film Pris parrots this line to Sebastian.) In fact “Descartes” literally means “dweller at the outskirts of town.” This is useful as it may describe Deckard as the stereotypical Jewish outsider vis-à-vis an Aryan populace.

As most of the characters in Blade Runner possess connections to Greco-Roman deities, I suspect the writers delighted in a more esoteric reading of the surname: In the ancient world Saturn was the most distant planet yet discovered, thus in celestial terms it was the “dweller at the outskirts of town.” Indeed Tacitus suggests that Jews worshipped Saturn specifically because of its perceived “highest orbit,” which they interpreted as Saturn’s dominion over all other gods.[17]

Deckard’s occupation and conflict with Roy also tie him to Saturn/Cronus: To wit, he’s the personification of death, Father Time, or the Grim Reaper coming to collect his dues. Note that Father Time and the Grim Reaper are often conflated with Saturn as Reaper,[18] and that the film’s new term for bounty hunters may describe these figures cutting down lives with a scythe. Indeed upon retiring Zhora, Deckard is described as a “one man slaughterhouse.”

Furthermore Scott famously suggested that Deckard is himself a replicant; as a replicant killing other replicants, he becomes Saturn eating his children. Obviously I’m not suggesting that Scott is to be trusted on that point, so take it with a grain of salt. Yet Deckard is rendered speechless upon Roy’s death; his empathy mirrors that of Saturn as the “patron of cripples” (Saturn gained this designation in the Medieval period, where he is often depicted with a peg leg). Moreover, his hesitance to take on the assignment and his reaction to Roy’s death aligns with Brahmin’s concept of the “Melancholy of the Shohet.” Thus Deckard may be recast as a god-masked Saturn/Cronus, one personification of the Jewish god and people.[19]

As a blade runner Deckard can be interpreted as the Grim Reaper, Father Time, and/or a god-masked Saturn/Cronus.

… as Semitic serpent

Putting that aside, we may infer that Deckard is a Semitic cipher from his repeated juxtaposition with dragons and snakes in combination with other contextual clues. These are used interchangeably in the JEM as symbolic synonyms of the serpent in the Garden of Eden, the Vine of Bacchus, and the Vine of Judah. In short, they represent the Jewish deity and by extension Jewry. None of the following details originated in Electric Sheep, so we can be fairly confident they’re examples of the Serpent motif encoded by the filmmakers.[20]

Early in the film Deckard eats at the “White Dragon” noodle bar, topped by a large neon sign of an Oriental dragon. This is, in part, a reference to the white dragon of Arthurian Legend,[21] where we find a quest for the Holy Grail that grants immortality. Clearly this relates to Roy’s quest for an extended life, and to Deckard’s conquest of Rachael as a rejuvenating, eugenic resource. Perhaps the “white dragon” here also implies that Deckard is a Semite of Aryan appearance or a crypto-Jew.

Deckard eats at the “White Dragon” noodle bar, esoterically alluding to the white dragon of Arthurian Legend and by extension the Grail quest.

Deckard finds an important clue in the form of an artificial snake scale left in a bath tub by Zhora. The snake scale, deposited onto her body by an artificial snake, has been metaphorically “shed” in the shower in the manner a snake sheds its skin. The ancients believed the snake’s unusual ability to shed its skin meant they were immortal.

An early example of this is the serpent in the Epic of Gilgamesh.[22] Like Roy, Gilgamesh goes on a quest to obtain immortality. He finds an underwater plant that can rejuvenate him, but before he can use it it’s stolen by a serpent which leaves behind its skin (indicating that it had eaten the magical plant and was reborn). Deckard effectively becomes this thieving serpent – a synonym of the seducing serpent in the Garden of Eden – when he scores with Rachael.

Deckard finds artificial snake scales in the bath tub of the hotel room, metaphorically “shed” by Zhora when she took a shower.

Tracing the scale’s maker’s mark to an animal market, Deckard interrogates an Egyptian man who specializes in making the snakes. His ethnicity and snake-related occupation alludes to the Ouroboros – the snake eating its own tail – an important Egyptian symbol associated with the world serpent, eternity, and immortality later adopted by Alchemists.[23] This further emphasizes the film’s themes.

Deckard interrogates the snake maker to learn Zhora’s whereabouts. Here we see blue and yellow neon signs reflected in the storefront window; Aryan colors per JEM symbolism.

 

Deckard finds Zhora at “The Snake Pit” strip club, and ends up chasing her out into the streets where he retires her. As he stands over her dead body we see another serpent symbol above him, this time a neon sign in the shape of a green Chinese dragon (green is a Semitic identifier in the JEM color symbolism).[24] We also see female mannequins nearby with snake-like tubes coiling around them. As mentioned, these tubes may equally represent a parasitic vine.[25] And there’s another dragon in the form of a statue at the street side bar where Deckard stops for a drink following the killing; random prop, or more esoteric symbolism?

Deckard is juxtaposed with a neon sign of a green dragon when he kills Zhora. He then gets a drink at a bar which features another dragon prop.

Eldon Tyrell

As mentioned, Fancher’s script renames Rosen to Tyrell in a clear attempt to distance the character from his implied Jewish ancestry. “Tyrell” is believed to derive from the Old French tirel from the verb tirer meaning “to pull.” Possibly this suggests that Tyrell is a puppeteer pulling the strings of his replicants by giving them false memories. More likely, Brahmin suggests the name is a reference to Tyr – the Aryan God of War in Norse myth – who is associated with both Jupiter and Mars. The latter half of the name sounds like El, a generic Semitic word for god. Indeed, contextual clues imply that Tyrell is a god-masked Zeus/Jupiter, an Aryan god.

The first clue is that one of the escaped replicants was electrocuted while trying to infiltrate the Tyrell Corporation’s headquarters (Zeus/Jupiter is associated with lightning and therefore electrocution). The second clue is a pair of eagle statues marking the entrance to the meeting room where Deckard tests Rachael. Another eagle statue sits over Tyrell’s shoulder in his bedroom (the eagle is Zeus/Jupiter’s sacred animal). More clues appear when examining other characters.

A pair of eagle statues guard the Tyrell Corporation meeting room. Another eagle statue seems perched on Tyrell’s shoulder in his bedroom. The eagle is Zeus/Jupiter’s sacred animal.

The name “Eldon” is itself an English habitational name for someone who lived on a “sacred hill.” In context, this could be taken to mean Mount Zion or Mount Olympus. Indeed the Tyrell Corporation headquarters resemble a hill, mountain, ziggurat, or pyramid. Fancher likely kept the name because it implies Tyrell’s godliness: As mentioned “El” means god, and “Don” or “Donald” means “world ruler” or “world wielder.”

Rachael

Dick likely thought that a common Jewish name like “Rachel” was appropriate for his Jewish vixen, yet Brahmin’s study reveals that the Biblical Rachel is understood to be Aryan by Jewish esotericists! There she is Jacob’s more beautiful second wife following his marriage to the “unloved” and “hated” Semitic Leah.[26] In Blade Runner, Rachael effectively becomes Deckard’s second wife, as his first wife (Iran) is mysteriously absent. Alternatively Rachael becomes Iran, his “Aryan” wife.

“Rachel” literally means “ewe” (female sheep) in Hebrew, so characters bearing this name in the JEM often personify desirable females to be poached from the Aryan flock.[27] Naturally Fancher retains the name, but transforms Dick’s backstabbing Jewish femme fatale into a delicate, virginal, Aryan flower to be plucked by Deckard. She no longer tries to deceive him or prevent him from doing his job, at one point retiring one of the runaways herself!

Notably the Biblical Jacob had to wait seven years before he could marry Rachel, which gels with our Rachael being a Nexus-7 if we go with the sequel’s retcon. And in keeping with an important strategy of the bride gathering cult, Deckard is a “neg-ing” Jewish suitor who initially mocks Rachael for believing her implanted memories are real.[28] In effect, he is the Jewish husband converting his Christian wife to Judaism, having convinced her that her most cherished beliefs are false. This does not occur in the novel, where she knows she is an android.

Left: Rachael wears a big fluffy jacket, her “wool” as a female sheep. Right: Rachel’s blouse features a floral pattern typically worn by fertile, young, Aryan women open to admixture in the JEM plant symbolism.

… as Eve and Psyche

Peoples’ script inserts a wrinkle into Rachael’s backstory that is highly revealing: We learn that Rachael’s implanted memories once belonged to Tyrell’s deceased niece “Lilith.” This is a bald-faced reference to the Biblical Lilith whom Adam rejects in the Garden of Eden. As “Lilith’s replacement” Rachael is conflated with Eve, Adam’s more beautiful and compatible second wife. Yet Adam is an Aryan figure cuckolded by the serpent,[29] hence Rachael-as-Eve is seduced by Deckard-as-serpent.

Eve, as a figure, is also conflated with Psyche. Writes Brahmin:

“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.’”[30]

… as Athena/Minerva

Brahmin also reminds us that the “breath of life” or “pneuma” of Psyche is mirrored in the animating breath of Minerva.[31] Indeed Rachael can be understood as a god-masked Athena/Minerva, as she’s the “daughter” of Tyrell-as-Zeus. Corroborating this reading is the presence of an owl during her introduction, a bird associated with the goddess (granted, an owl is also present in this scene in Electric Sheep, so it may simply be another gift that Dick accidentally dropped in Blade Runner‘s lap). It’s an advantageous detail given the subtext:

Recall that Minerva/Athena was “born” when the Aryan Zeus/Jupiter had a headache and the Semitic Hephaestus/Vulcan split his head open, freeing her. This correlates with Tyrell creating Rachael, who is then “extracted” from him by the Semitic Deckard.[32] Pertinently, the man who actually helped Tyrell “birth” Rachael (and the other replicants) is in fact the geneticist J.F. Sebastian (see Sebastian as Hephaestus/Vulcan, below).

“Do you like our owl?” purrs Rachael as Deckard enters the room. Note the art deco pattern on the walls in this room may represent the skyward-facing Aryan half of the interlocking triangles of the Star of David, symbolism mirrored in the conjoining of the upward-pointing compass and the downward-pointing square in Masonic imagery.

Roy Batty

Whereas Roy is simply referred to as the “leader” of the android escapees in Electric Sheep and is not particularly well-defined or charismatic, in Blade Runner he becomes a highly sophisticated and sympathetic character. The name “Roy Batty” appears to be a play on words meaning “crazy king,” but there’s much more here. Of course the name Roy, which may come from the French word roi (lit. “king”), is useful as names referencing nobility often identify Aryan characters in the JEM.[33] Additionally he is now listed as a “combat” model for “colonization defense” of Mars, a martial occupation further painting him as Aryan.[34]

Indeed Roy’s occupation, in combination with his flight from Mars and other details, implies that he is a god-masked Ares/Mars (an Aryan figure). Mars’ consort was Nerio or Neriene who became syncretized with Athena/Minerva. Thus Deckard’s eventual coupling with Rachael-as-Minerva further emphasizes the theme of racial cuckoldry, a central aspect of the JEM. Other clues explored below suggest Roy is a complex composite drawing from additional religious and mythical sources, but his primary identity appears to be Aryan.

Roy is identified as a “combat” model for “colony defense” of Mars in his file, suggesting that he’s a god-masked Ares/Mars.

… as the Biblical Adam or Esau

The name “Roy” is also a nickname for a person with red hair, stemming from the Gaelic ruadh (lit. “red”). Names meaning “red” or implying ruddiness are Aryan identifiers in the JEM naming convention, particularly as it relates to “Adam the Red.”[35] Hence the name suggests that, having been exiled to an off-world colony by his maker, Roy is an Aryan Adamic figure cast out of Eden by Tyrell-as-God. Likewise he is set up to be cuckolded by Deckard-as-serpent where Rachael is Eve.

This reading jives perfectly with the changes to the story. In Electric Sheep, Roy never meets with Eldon Rosen, as he’s unperturbed by his limited lifespan. Yet in Blade Runner the meeting between Roy and Tyrell couldn’t be more important. Here Roy remarks, “it’s not an easy thing to meet your maker,” underscoring that he is akin to Adam and Tyrell akin to God. Yet unlike the Christian God, Tyrell offers no hope of eternal salvation and simply advises Roy to live his life to the fullest. This is the pragmatic worldview of the ancients. Disappointed, Roy symbolically turns to Christianity in hopes of resurrection or an eternal afterlife in the finale.

As the name may refer specifically to those with red hair, it posits Roy as akin to the Aryan Esau (whose name is etymologically close to Adam and Edom), who is especially the red haired one as he is described as being covered with red hair at birth. Esau, of course, is a well known and accepted symbol of the goy while the Edomites, related to Amalek, become the hated Aryans that must be destroyed in the Jewish worldview. Note that Germans in particular are often posited as Amalekites by Jewish “scholars” as part of Israel’s twentieth-century foundation myth.

… as Dumuzid/Tammuz

Saliently, Fancher alters Roy’s surname Baty to Batty. Though the names may be interchangeable in some instances, the addition of an extra “t” can change the origin and meaning of the name. Baty – cognate with names like “Beatty” – stems from the Aramaic “Bartholomew” (which may imply the Biblical figure). In contrast “Batty” can mean “fisherman” or “boatman” where the Old English “bat” means “boat.” To the extent Batty means boat and is JEM, this may be a simple vaginal reference as boat and ark symbols appear to be vaginal symbols dating from Sumer, and emasculating goyishe characters in this manner does occur in the JEM. Alterantively, this new occupational surname may explain why Roy and the other replicants shacked up at the Yukon Hotel (a setting inserted in Blade Runner). “Yukon” comes from the Gwich’in word Yu-kun-ah which means “great river.”

It is my suspicion that the hotel is a reference to “the house (called) ‘The River Ordeal’” mentioned in Mesopotamian myth and later Israelite literature.[36] “Trial by river ordeal was a widespread phenomenon, in which the accused was plunged into the river, where his success in withstanding the rushing waters was supposed to determine his guilt or innocence.”[37] As a Christian convert Roy will certainly be judged. Here it’s worth noting that the sinuous Oriental dragons seen alongside Deckard are traditionally associated with rivers, suggesting he will do the judging.

“Yukon” comes from the Gwich’in word Yu-kun-ah which means “great river,” so the Yukon Hotel may relate to the house called “The River Ordeal.”

In the mythological subtext, the meaning of “Batty” ties Roy to the Mesopotamian Dumuzid/Tammuz who was also called “the fisherman (su – ha = bayaru), and later ‘the herdsman.’”[38] Tammuz’s flock is compared to that of the Greek Sun God Helios (cognate with Apollo) – suggesting Tammuz has stolen the Aryan’s flock – though here it simply suggests Roy shepherds an Aryan flock, as he’s the leader of the escaped replicants.[39]

As a Dying and Rising God and God of Spring who becomes a shepherd, Dumuzid/Tammuz is considered a synonym of Adonis. These Dying and Rising Gods are Semitic or proto-Jewish in origin – the Hebrew calendar even has a month named in honor of Tammuz – and they share much in common with Jesus Christ.[40] Hence we have what appears to be the first link in a chain describing Roy’s union with Semitic gods that will pacify his fear of death.

When taken together “Roy Batty” literally means “King Fisher.” This further conflates Roy with Dumuzid/Tammuz, as the latter is transformed into an allalu bird with a broken wing in tablet six of the Epic of Gilgamesh.[41] The allalu bird, belonging to a family called Coraciidae, are related to kingfishers and “share the colorful appearance of kingfishers and bee-eaters.”[42] Thus on some level the bird set free in the finale may symbolize Roy’s transformation into this allalu bird.

And like Dumuzid, Roy is a man with no children; tragically, his genetic legacy dies with him. In Dumuzid and Ĝeštin-ana 33-46,[43] we learn that Dumuzid is a man “who has not fulfilled those days and years” because he has no wife, no children, no friend, and no companion. As such Roy-as-Dumuzid has failed to live his life to the fullest as per Tyrell’s advice. For this reason, Dumuzid’s sister Ĝeštin-ana describes her brother as “the lad who is not a comfort to his mother,” presumably because he has provided her no grandchildren. Ĝeštin-ana’s “lament of misfortune” relates to Roy’s death before he can pass on his genes – a fate Deckard seeks to avoid with Rachael.

… as “King Mad” or Apollo Lycegenes

In the climax it seems Roy is going insane when he howls like a wolf and engages in a game of cat-and-mouse with Deckard. The wolf howling was added by Peoples, and fits a surface-level reading of “Roy Batty” as “king mad” or “king insane.”[44] As wolves howl at the Moon, this may relate to the lunacy caused by the Moon or the Moon God Sin.

However, the wolf howling also dovetails with Brahmin’s observation that the wolf is an animal totem projected onto the Aryan in the JEM.[45] This is seen most clearly in the Biblical Benjamin (the ravening wolf), as well as with the epithet Apollo Lycegenes (lit. “born of a wolf”). Apollo in particular is understood to be Jewry’s archnemesis, hence Roy may personify Apollo Lycegenes in his duel with Deckard. This could be hinted at when Tyrell tells Roy that he “burns brightest” (i.e., like the Sun God Apollo). Alternatively, the wolf howling serves as a reminder that Roy is an Aryan figure despite taking on the posture of a Dying and Rising God in the finale.

… as the Fisher King of Arthurian Legend and Caelus

If we reverse the meaning of Roy’s name we get “Fisher King,” suggesting the character of Arthurian Legend (also known as the “Wounded King” or “Maimed King”). Brahmin doesn’t encourage reordering names in this manner when translating the JEM, yet it seems applicable given the inclusion of the “White Dragon” noodle bar discussed earlier. Fittingly the Fisher King is the last in a long line of men charged with keeping the Holy Grail, a vessel that grants immortality. Clearly he and the Grail quest in general find a parallel in Roy’s quest for an extended life.

Brahmin argues that “holy vessels” (including the hearth, tent, temple, ark, or house) are symbols of the Aryan vagina or womb in the JEM.[46] If this seems bizarre, note the connection is spelled out directly in the Mesopotamian mythology, where Inanna refers to her vulva as “the Boat of Heaven.”[47] What is a “Boat of Heaven” if not a holy vessel by another name (i.e. a “Holy Grail”)? With this understanding the Holy Grail can be considered another Aryan vaginal symbol. Also note that a wine glass is traditionally smashed during a Jewish wedding ceremony (a symbolic breaking of the hymen, perhaps?). Related to this, it is customary for a newlywed Jewish couple to produce a bloodstained sheet soon after the wedding to prove the bride’s virginity.

Hence it is Roy-as-Fisher King who, as the last man charged with the Holy Grail, loses possession of the Aryan womb to Deckard. Deckard has killed Roy’s two female consorts, so this loss is depicted symbolically as a dove escaping Roy’s grasp (recall that the dove is an avian symbol associated with Aphrodite [Pris] and Venus [Zhora]).

Moreover, Roy’s kneeling death in the finale and the dove’s release conflates the “Wounded King” (as “wounded in the legs or groin, with him unable to stand”) with Caelus’ castration. Here, of course, Deckard-as-Saturn performs the deed from which Venus (as the dove) is “born” or “released” from Roy-as-Caelus.

Roy releases a dove in death. Note the TDK sign in the background; in Hebraic gematria TDK = 114, which corresponds to a Hebrew word meaning “to shed tears, to flow away,” perhaps revealing that Roy’s famous line about memories being lost like tears in rain was not improvised by Rutger Hauer.

… as Adonis and Christ

As mentioned the myth of Dumuzid/Tammuz and Inanna/Ishtar is believed to have directly inspired the story of Adonis and Aphrodite. Thus Roy may also qualify as a god-masked Adonis. His “kingly” name aligns with the Canaanite word ʼadōn (lit. “lord”) which became the Hebrew “Adonai,” from which Adonis takes his name.

In turn Adonis is believed to have inspired the story of Jesus Christ, hence Roy Batty as “King Fisherman” becomes suggestive of Jesus Christ as both “King of Kings” and “Fisher of Men.” This connection between Roy and Adonis/Christ is echoed in their female companions: Venus and Aphrodite find parallels in Mary, who shares the dove and rose as important symbols.

Indeed in some sense the addition of an extra “t” to “Baty” is like Fancher assigning the cross to Roy. Roy quite clearly becomes a Christ figure in the finale when his body undergoes rigor mortis shortly before his expiry date. He succeeds in briefly reviving his fading physical sensations by pushing a nail through the palm of his hand in an echo of Christ’s crucifixion and resurrection. Nothing even remotely like this occurs in the novel. Further, recall that Fancher had introduced a replicant named Mary in an earlier script; presumably she was a veiled Mary/Magdalene figure.

Roy pulls a large nail out of the floorboards and penetrates the palm of his hand in an echo of Christ’s crucifixion.

It is worth remembering that while the puncturing of the hand is a clear reference to Christ, symbolically it may represent something more elemental. After all, it appears the Christ myth is a reference to earlier developed symbolism that is completely opaque to the average person. For example, when Christ’s crucifixion is depicted in the form of a pentagram “the Five Wounds of Christ represented by the pentagram is a reference to ‘sexual union’ with ‘the evening star’ or the Aryan Venus/Ishtar.”[48] In this instance, Roy’s penetration of his palm evokes the stabbing of the Evil Eye of the Hamsa, [49] As the blinding of the Evil Eye can represent phallic destruction and/or the Jewish possession of the Aryan sexual resource, Roy has castrated himself. Perhaps the implication is that he has joinied a celibate priestly class, effectively removing himself from the arena of sexual competition. Here we understand Brahmin when he suggests that Semitic figures, whether Tammuz or Christ, are shepherds presenting their flock with a negative or passive role to follow.

This connection between the vagina and hand is implied when Roy grabs Deckard and breaks two of his fingers as punishment: One for Pris’ life and the other for Zhora’s. Why not a finger for Leon and the other (unknown) replicant(s) killed? Because they were not Roy’s female consorts!

In the end Roy is cleansed of his sins when he saves Deckard’s life in the ultimate act of grace. This allows Roy to achieve inner peace before death, where the Christian’s reward for good deeds and suffering in this life is an eternity in paradise. Of course, the novel ends very differently with Deckard simply shooting Roy.

Pris

The name “Pris” is ultimately derived from the Roman priscus meaning “ancient” and “primordial/primitive.”[50] In turn, she becomes a combination of ancient and primordial female goddesses. In the novel she sneaks into J.R. Isidore’s building unannounced, but in Blade Runner she pretends to be a prostitute down on her luck in order to trick J.F. Sebastian into letting her in. The name “Isidore” literally means “gift of Isis” which may have inspired Fancher to recast Pris as a god-masked Isis, a sacred prostitute figure. In turn, Sebastian becomes Pris’ gift to Roy, as it is through her seduction of Sebastian that Roy obtains his coveted meeting with Tyrell.

In Electric Sheep Pris is merely friends with Roy and his wife Irmgard, yet in Blade Runner Irmgard is discarded and Pris becomes Roy’s lover. Further, she is designated a “leisure/military” model replicant. As a prostitute and the lover of a god-masked Adonis, Pris appears to be a god-masked Aphrodite (the patron goddess of prostitutes). We can be reasonably certain she is not Venus, as that role has been given to Zhora (see below). Incidentially, both Aphrodite and Venus are syncretized with Isis, Inanna, and Ishtar (all Aryan goddesses).

As a nice little touch, Pris’ incept date is Valentine’s day in Blade Runner, befitting a goddess of love. Note the neon blue (Aryan color symbolism) in these shots, as the replicants are introduced.

In Homer’s Iliad Aphrodite is one of Zeus’ daughters, which aligns with Pris being manufactured by Tyrell, whom we take to be a god-masked Zeus/Jupiter. Moreover, Aphrodite was married to Hephaestus but “was frequently unfaithful and had many lovers; in the Odyssey, she is caught in the act of adultery with Ares.”[51] Hence Pris-as-Aphrodite cuckholds her “husband” J.F. Sebastian (a god-masked Hephaestus) by inviting Roy (a god-masked Ares/Mars) into his apartment without his permission. Sebastian is visibly perturbed by this development.

Sebastian is visibly perturbed by Roy’s unexpected arrival. When Roy and Pris kiss, he immediately gets up and interrupts them, announcing he will make breakfast.

… as Mary

Continuing with the theme of prostitution, Pris becomes a Mary Magdalene figure. Writes Brahmin: “Ishtar was also Mary, mother or lover of Christ.”[52] Hence Pris is also compatible with Roy-as-Christ. This likely explains why the Mary character was removed from later scripts, as she was somewhat redundant (besides her name being far too obvious).

Pris is introduced as a street walker wearing a collar necklace of zigzagging triangles, and a tiger-striped gold and black jacket. These are examples of JEM symbolism suggesting she’s a corrupted or Semitized Aryan akin to a “Mary Magdalene” figure.

… as Fortuna Primigenia

As priscus means “primordial” we might also infer that Pris is conflated with Fortuna Primigenia, as Primigenia means “primordial.”[53] Fortuna Primigenia was represented as veiled and blind, akin to Lady Justice. It appears Peoples incorporates these details into Pris’ character, such that she initially hides from Deckard under a veil, and paints a black band of make-up across her eyes as a symbolic blindfold. The latter detail is particularly odd absent this understanding.

In addition, Fortuna Primigenia is believed to be one of Hephaestus’/Vulcan’s lovers which further connects Pris to J.F. Sebastian. Primigenia also came to represent life’s capriciousness, and the name Pris itself relates to the word “caprice.”

Pris paints a symbolic blindfold over her eyes, and hides beneath a veil, details likely inspired by the etymological link between “Pris” and “Fortuna Primigenia.”

… as Prisca of the Montanist movement

Last but not least, Peoples appears to reference Prisca, the “charismatic female prophet of the second century Montanist movement.”[54] The Montanist movement preached that the Holy Spirit could enter the body, causing it to twist and spasm. In Eusebius’ Ecclesiastical History, she’s described as a “pawn of the devil who spoke and acted in ‘a frenzied manner.’”[55] These anecdotes seem to explain Pris’ bizarre, spasmodic death when Deckard shoots her (i.e. he puts the Holy Spirit into her). In Fancher’s earlier script it was Deckard whose body jerked spasmodically after killing Roy (again, all details foreign to the novel).

Incidentally, the Montanist movement was declared heretical by Catholic scholars in the fourth century, who described Prisca and Maximilla as “seductresses.” This description further dovetails with Pris and Zhora as sacred prostitute figures.

Pris screams wildly and thrashes spasmodically in death, like Prisca of the Montanist movement possessed by the Holy Spirit.

Zhora

Fancher appears to recast the android opera singer Miss Luba Luft as the replicant stripper Zhora. “Zhora” is a corruption of “Zohra,” the Arabic name for the planet Venus.[56] This appears to be the intended reading: Outside Zhora’s changing room we see a neon light in the shape of a five-pointed star which relates to Venus as the “evening star” as well as to the “pentagram of Venus” (a.k.a. the “five petals of Venus” or the “dance of Venus”). And inside her room we spy a clam shell decoration on the wall; the scallop shell is one of Venus’ symbols (famously seen in Botticelli’s “The Birth of Venus”).

The five-pointed star marking the entrance to Zhora’s changing room relates to Venus as the “evening star” and/or the “five petals” or pentagram of Venus, while the clam shell decoration evokes one of Venus’ other symbols.

Zhora’s occupation may define her as a god-masked Venus Erycina, whose cult “was considered suitable for ‘common girls’ and prostitutes.”[57] That she’s a freed slave may indicate she is Venus Libertina (“Venus the Freedwoman”). And just as Aphrodite was in an adulterous relationship with Ares, in the Roman tradition Venus would become paired with Mars. Hence she may be Venus Obsequens (“Indulgent Venus”), whose shrine was “supposedly funded by fines imposed on women found guilty of adultery.”[58]

Gaff leaves this effigy of a man in the hotel room where Deckard discovers Zhora’s snake scale. This may relate to Zhora as a god-masked Venus, goddess of love, sex, and desire, or to Roy and Leon as “burnt offerings.”

As Venus is syncretized with Aphrodite, she can be considered coupled with Roy-as-Adonis. And as mentioned earlier, the dove and rose are symbols Venus shares with Mary, so she can also be coupled with Roy-as-Christ.

Speaking of birds, there’s a prominent flamingo decoration in Zhora’s changing room. The flamingo bird’s name literally means “flame-colored,” which may relate to Zhora being a redhead. And according to Wikipedia, “the generic name Phoenicopterus literally means ‘blood red-feathered’” and “Phoeniconaias. . . means ‘crimson red water nymph (or naiad)’,” meanings which may relate to Venus as born from a mixture of Caelus’ blood and sea foam (i.e. the dove released by Roy-as-Caelus when castrated by Deckard-as-Saturn).

… as Demeter/Ceres or Feronia

The name Zhora is itself descended from the Ancient Greek from the element geōrgós ‎(γεωργός) meaning “tilling the ground, fertilizing.” Essentially it means “farmer,” which is an occupational Aryan identifier in the JEM. As a reference to fertile soil it may suggest she’s a goddess associated with agriculture and/or fertility such as Demeter/Ceres.[59] Somewhat like Venus, Demeter/Ceres is a daughter of Saturn. Here, however, the inference may be to Feronia – a goddess who came to be worshipped by farmers – as she was also the patron goddess of slaves. As with Venus Libertina, this esoterically ties into Zhora’s backstory as a freed slave.

… as Salome

Zhora works under the stage name “Miss Salome,” a Biblical figure related to Zhora’s original function as a trained political assassin. Wikipedia states that “in the New Testament, Salome was the stepdaughter of Herod Antipas who demanded, and received, the head of John the Baptist.” John the Baptist is frequently referenced in the JEM naming convention to identify Semitic ciphers, hence Zhora’s stage name foreshadows her attack on Deckard (our Semitic hero). Of course, “John” gets his revenge by retiring “Salome” as she runs for her life.

Zhora attempts to throttle Deckard, true to her stage name “Miss Salome.”

… as “false Eve”

Zhora works at “The Snake Pit” parlor and performs a sex act with an artificial snake as part of her act. Nothing like this occurs in Electric Sheep. She also has a cobra tattooed on the side of her face. Consequently she gives us an allusion to Eve seduced by the serpent in the Garden of Eden. However, just as her snake is artificial, she is an artificial or “false Eve.” As mentioned we know that Rachael – the new-and-improved version of Tyrell’s niece Lilith – is the true Eve of the story. Hence her act and tattoo may simply indicate that she is a Semitized or otherwise corrupted female figure (akin to Hecate/Trivia).

The Snake Pit, Zhora and her snake, Zhora’s snake tattoo, and female mannequins near her murder wearing coils convey Eve and the serpent in the Garden of Eden.

J.F. Sebastian

Fancher renames John Isidore to J.F. Sebastian. As he was originally a John, we can reasonably assume his initials stand for something like “Jean-François,” where both John and Frank are Semitic identifiers in the JEM naming convention (the former stemming from John the Baptist, the latter related to the Frankish motif). Perhaps the initials intentionally obfuscate the colloquial term for a man who patrons prostitutes, as “John” might be a bit on the nose given his relationship with Pris.

In Electric Sheep Isidore was the incompetent and semi-retarded assistant to Hannibal Sloat at the Van Ness Pet Hospital. In Blade Runner he works for Tyrell as a gifted geneticist. And in stark contrast to Isidore’s apartment which is full of “kipple” (junk), Sebastian’s place is overflowing with his fantastic animatronic creations. These are rather significant changes, and they strongly suggest that Sebastian is a god-masked Hephaestus/Vulcan, an inventor and tinkerer. As Vulcan is a volcanic deity closely associated with Yahweh this might explain the new surname, as “Sebastian” (from the Greek sebastos) means “revered.”[60]

Alternatively, the surname may be a reference to Saint Sebastian, who was supposedly shot with arrows but survived. He was rescued and healed by Saint Irene of Rome. Remarkably, Pris’ surname “Stratton” (which goes unmentioned in Blade Runner) means “Roman road” + “enclosure” or “settlement,” a name connecting her with Irene of Rome.

Furthermore in the medieval tradition Saint Sebastian is invoked as a defense against the plague, and it is believed the story Christianizes aspects of Apollo as an archer god who, “at times destroys his enemies by shooting plague-arrows from the heavens, but is also the deliverer from pestilence.”[61] In this case the callback may be an esoteric slight against Apollo, as it implies his plague arrows were unable to kill Saint Sebastian (though perhaps they’re the source of our Sebastian’s illness). Alternatively we might infer that Sebastian escapes Roy-as-Apollo Lycegenes’ murderous rampage, as we never see what actually happens to him.

J.F. Sebastian is greeted by his animatronic “friends”; a bear wearing a Napoleonic uniform and a wind-up soldier. These may represent the French, Russian, and/or Prussian Empires respectively, reduced to mere “playthings” in Jewish hands.

Strangely Sebastian still lives alone in an abandoned apartment building. Why wouldn’t Tyrell provide him accommodations inside the massive corporate headquarters? Perhaps Tyrell-as-Zeus has exiled him from Mount Olympus! We might even infer that Tyrell sleeps in J.F. Sebastian’s old room, as there’s a folding screen behind the former’s bed decorated with cranes (a bird sacred to Vulcan). That Tyrell-as-Zeus has gained the upper hand on Sebastian-as-Vulcan is also implied in their chess game, in which Tyrell is always winning (more on that near the conclusion).

Inside Tyrell’s inner sanctum there’s a folding screen decorated with cranes. Cranes are sacred to Vulcan, so this might suggest that Zeus has exiled Vulcan and taken his place.

Instead of suffering a mentally debilitating radiation poisoning, Sebastian is rapidly aging due to Fancher’s fictitious genetic disorder called the “Methusaleh Syndrome” (Methuselah is the oldest Biblical figure, said to have lived to the age of 969). As such he’s a prime example of the esotericist admitting that Jews are an aged race in need of genetic renewal.[62] That he’s “saturated with years” like Saturn/Cronus indicates a shared ethnicity.[63] Here the dilapidated apartment building echoes his physical deterioration.

As Brahmin has suggested, Jewish esotericists can be complimentary (as they evidently desire admixture with us). Roy asks, “Why are you staring at us, Sebastian?” He replies, “’Cause. . . you’re so different. . . You’re so perfect. What generation are you?” Roy replies Nexus-6, to which Sebastian exclaims, “Ha! I knew it! ‘Cause I do genetic design work for the Tyrell Corporation. There’s some of me in you.”

In Electric Sheep the bullied Isidore empathized with the androids as social outcasts. In Blade Runner, his disorder now mirrors the replicants’ limited lifespan. Further, Sebastian-as-Vulcan was “wounded” or “maimed” and is often depicted sitting in a wheel chair; he’s the mirror image of the “wounded” or “maimed” Roy-as-Fisher King. Also, Vulcan was exiled by Jupiter in the same way Roy-as-Adam was exiled from the Garden of Eden. Thus Sebastian may have been motivated to help Roy as an act of personal revenge. However, Roy apparently kills Sebastian, the lesson being that Jews mustn’t aid Aryan men.

Sebastian surrounded by his creations. Note the large vase in the background, which may represent Vulcan’s cauldron. Possibly it is a volute krater, traditionally placed in the center of a room and used to mix wine and water, with all that that entails in JEM symbolism.

… as Erichthonius, son of Hephaestus/Vulcan

Another intriguing possibility is that Sebastian references Erichthonius, one of Hephaestus/Vulcan’s sons.[64] In this interpretation, Hephaestus/Vulcan has simply been exiled altogether. Erichthonius was born with two serpent’s tails for legs, a kind of genetic deformity in line with Sebastian’s disability. In this case, Peoples may be knowledgeably corroborating Sebastian’s Semitic identity in line with the Serpent motif.[65]

Moreover Sebastian’s disorder relates to Ovid’s description of Erichthonius in Metamorphoses as requiring “new life.” This led the gods to grumble “why others should not be allowed to grant such gifts (the rejuvenating power of the goddess Hebe) . . . Mulciber (Hephaistos) required new life for (his son) Erichthonius.”[66] Additionally Zeus had a friendly relationship with Erichthonius.[67]

Hannibal Chew

Hannibal Sloat, originally a vet at the Van Ness Pet Hospital, is a minor character but one worth examining due to the changes in Blade Runner. The name Hannibal literally means “Baal is gracious,” where the last part of the name refers to Baal, a Semitic deity. Dick probably knew this, so we can guess that Hannibal Sloat is another one of his Jewish ciphers.

To a Jewish esotericist, however, “Hannibal” implies subservience to an Aryan god. Writes Brahmin: “The title Baal appears to be an Aryan identifier. . . equivalent to Jupiter at least to the extent this title appears alone without modifying additional names that may indicate it Semitic.”[68] Thus Hannibal now works for Tyrell-as-Baal/Zeus/Jupiter making replicant eyes at his lab, “Eye World.”

The exterior of Chew’s shop “Eye World” is colored green (a Semitic color) with a red “eye” in its signage.

On its face Hannibal’s new surname seems to be a minor change to better suit the Chinese character actor playing the role. In the Chinese it’s a name related to bows and archers and so doesn’t seem applicable, however the Chinese word “chú” (厨) means “kitchen” and may well describe Chew’s laboratory. In fact “Chew” is an English surname possibly meaning “fish gill.” Perhaps this identifies Chew as Baal/Zeus/Jupiter’s loyal “fish” to be caught by the “King Fisherman” Roy Batty. Notably, the two never meet in the novel.

However there is a far more interesting interpretation of “Chew” as it relates to Hannibal, the famous Carthaginian general. The religion of Carthage was largely based on that of the Canaanites and Phoenicians. There we find a smith, craftsman, engineer, architect, and inventor god similar to Hephaestus/Vulcan yet notably one who was subservient to Baal/Jupiter called Kothar-wa-Khasis. Strikingly, in the Phoenician Greek he was called Chusor. Thus it appears that Fancher took his cue from Dick’s Hannibal but squeezed him into the subtext with a more logical surname and occupation!

As a Smith God Chusor/Kothar could easily be mistaken for Hephaestus/Vulcan. Hence the filmmakers distance Chew from Vulcan’s fiery forge by placing him in an environment of extreme cold. The blue-yellow (Aryan) color symbolism in his laboratory further differentiates Chew from the Semitic Vulcan. Incidentally, Blade Runner has alerted Apollonian artists to a salubrious replacement for Hephaestus/Vulcan should they require such a craftsman in their work: Leave Vulcan in exile and god-mask Kothar/Chusor instead!

The blue-yellow (Aryan) color symbolism in Chew’s laboratory differentiates him from the Semitic Vulcan.

… as Ptah

Significantly, both Chusor and Kothar mean “the Opener” as it relates to Baal’s “window” in the sky through which he sheds his life-giving rain. By extension, this connects Chew to the Egyptian god Ptah, who was also known as “the Opener.” With Ptah it’s a reference to the opening of the mouth, though in Blade Runner it’s a reference to the eye or pupil as Chew specializes in making eyes. Indeed Ptah is a craftsman of bodies; he fashions “the divine bodies of royalty, and the bodies in which dwelt the souls of men in the afterlife.”[69] This relates to Roy’s kingly name as well as his newfound belief in the afterlife.

… as Thoth

The above reading may suffice but the specificity of Hannibal’s occupation seems to indicate yet another layer. In Egyptian mythology we find a god named Thoth who restores Horus’ eye when it is torn out by Set. Horus is a Sky God akin to Baal/Zeus/Jupiter who became associated with the Sun God Ra, hence Chew may be a god-masked Thoth (providing eyes as apparently required by Tyrell-as-Horus). This connection would also relate to Tyrell’s eyes being gouged by Roy (discussed in further detail below).

Gaff

Gaff is another curious character introduced in Blade Runner. The name means “one who made or used iron hooks, or a staff armed with such a hook.” A “hooked staff” might be interpreted as a shepherd’s rod, which is likely the intended reading as shepherd figures appear frequently in the JEM. Indeed, in the German-Jewish criminal lingo of the nineteenth century a crowbar was known as a Rebbmosche (lit. “Rabbi Moses”),[70] no doubt because it superficially resembles the Staff of Moses. This seems to explain why Gaff walks with a cane (i.e. his “shepherd’s rod”).

Related to this, Brahmin writes: “Frequently (the Romans) understood (Hermes/Mercury) as the Prophet Moses himself.”[71] Indeed, it seems as though Gaff rounds out the Greco-Roman subtext as a god-masked Hermes/Mercury – a shepherd, messenger of the gods, and soul guide. Consequently his cane is his caduceus or herald’s staff. As a messenger or herald he serves a summons to Deckard early in the film, effectively issuing what Joseph Campbell terms “The Call to Adventure.”

As a soul guide Gaff can read Deckard’s internal monologue. First he makes a chicken to mock Deckard when he initially balks at the assignment (Deckard’s “Refusal of the Call”), though strikingly the rooster happens to be one of Mercury’s symbols. The matchstick man, as mentioned, appears to reference Venus as a goddess of love or the replicants as “burnt offerings.” The unicorn implies he somehow knows Deckard’s dreams, and simultaneously suggests he approves of Rachael as a rare catch.

Of course, many interpet the unicorn as proof that Deckard is a replicant with implanted memories, but perhaps Gaff is simply a fairy godfather! It bears mentioning that “Gaff” may be a contracted form of “godfather” or “grandfather.” As a beneficent, Moses-like “godfather,” Gaff sets Deckard on his journey and allows him to escape with Rachael in the end.

Gaff walks with a cane, which might be interpreted as a shepherd’s rod or caduceus. He leaves origami figures as messages as if reading Deckard’s innermost thoughts.

Leon Kowalski

In Electric Sheep Sandor Kadalyi/Max Polokov is the Nexus-6 android who injures Holden and attacks Deckard. Fancher replaces him with Leon, though like “Max” this is probably a false name. “Leon” means “lion,” an Aryan animal symbol sometimes applied to Jewish ciphers in the JEM. His surname (seemingly inserted later by Peoples) is taken from the Polish “Kowal” meaning “(black)smith,” and therefore an occupational name associated with Hephaestus/Vulcan. Taken together, the name may be Leon’s unconvincing attempt to conceal his Aryan identity among the Semitic blade runners hunting him (akin to “Luba Luft”).

As mentioned earlier “Sandor Kadalyi” appears to be an anagram, so perhaps so too is “Leon Kowalksi.” In that case the solution is likely “solo weak link,” as Leon does not appear to have an esoteric identity. He’s simply a dumb Aryan male, as implied in his case file as a “combat/loader” with a mental level of “C,” in addition to his occupation as a janitor at the Tyrell Corporation. Another solution might be “kills on awoke,” a programming reference, as he almost gets the better of Holden and Deckard.

When Deckard encounters him on the street Leon reveals he fears his own mortality. Thematically he’s another Aryan in need of Christianity’s promise of an eternal afterlife. Notably it is Rachael who – as deus ex machina – appears just in time to kill Leon and save Deckard’s life. She will soon provide Deckard with the meaning and purpose that Leon lacked.


Additional JEM tropes & symbolism

The Triple Goddess in Blade Runner

Rachael, Pris, and Zhora may represent the Triple Goddess, a common motif in the JEM. As a virgin Rachael is the purest and thus most desirable form of the goddess (Selene). Pris would be the middle form (Artemis/Diana) that is on her way to becoming fully Semitized/corrupted – this is indicated in her occupation and costume. Zhora is the oldest and most Semitized, to the point she engages in bestiality with the snake and has a snake tattoo on her face, becoming the corrupted Persephone or Hecate/Trivia.

Water and blood symbolism in Blade Runner

Following Deckard’s violent altercation with Leon, he and Rachael retire to his apartment. Here Deckard sips a drink causing blood to mix with the clear liquid. He then massages his sore gums over the bathroom sink. This is likely JEM water symbolism – where blood mixing with water represents Semitic-Aryan admixture (see footnote 14) – as it immediately precedes Deckard and Rachael’s first lovemaking, and presumably her deflowering.

Deckard’s shirt is red and blue, JEM color symbolism related to racial admixture. When his blood mixes with his drink, and he washes the blood from his mouth, this is likely JEM water symbolism foreshadowing the love scene that follows.

The Evil Eye and the Blinding motif in Blade Runner

The film shows us a close-up of an eye during its introduction. From there we see the Voight-Kampff actively monitoring Leon’s left eye. Many have commented on the unique glow visible in the replicants’ eyes throughout the film. These allude to the eyes as the “windows to the soul,” but may esoterically convey the Evil Eye. In Jewish and Middle Eastern tradition the Evil Eye – whose pupil is typically blue (and thus Aryan) – is warded off or blinded by the Hamsa charm. Consequently the blinding of the Evil Eye becomes a common motif in the JEM.

There may be three examples of the Blinding motif in Blade Runner. The first is a female bartender who wears an eyepatch over her left eye. The connection between alcohol and blinding is suggestive of the intoxicating wine of Bacchus/Dionysus/Christ. The second is when Roy pushes his thumbs into Tyrell’s eyes while crushing his skull, perhaps an echo of Samson’s blinding. As with Roy pushing a nail through his palm, penetrating a man’s eyes carries sexual connotations suggesting a homoerotic decline or degeneration.

The third example occurs when Roy fights Deckard in the finale. In my experience it is typically a character’s left eye that is blinded in the JEM, hence the streak of blood over Roy’s left eye may subtly suggest his blinding in line with the motif. Here the inference is that Roy has been blinded by Christianity’s promise of an eternal afterlife. A related but less common motif is the deafening of opponents in what might be called something like “the Hamentasch motif.” In the climax Roy’s ear is grazed by a bullet, possibly conveying this.

Left to right: A bartender wears an eyepatch over her left eye. Roy gouges Tyrell’s eyes. And blood runs down the left side of Roy’s face, possibly a subtle example of the Blinding motif.

The Biblical flood and the world of Blade Runner

Blade Runner predicts an America hopelessly divided along racial, cultural, and linguistic lines. Thus it promotes the Jewish mantra of “inevitable diversity,”[72] a fairly common demoralization tactic in the JEM. Los Angeles is unrecognizably American, playing on fears of the “Asian Invasion” that was affecting the automobile and electronics markets of the 1970s and ’80s. Indeed Deckard needs a Japanese chef to translate for Gaff, because the latter speaks a new language that is replacing English as the vernacular. However, he doesn’t seem all that interested in escaping to the “off world colony,” which in the film may be a reference to Israel.

Note that Blade Runner‘s third world conditions are the complete opposite of Electric Sheep‘s barren, lonely, and depopulated Earth. This correlates with Brahmin’s concept of the Biblical flood, Bacchus’ Elysium, and Zion as a time and/or place of racial decadence. Again we note that the Oriental dragons appearing alongside Deckard “traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, typhoons, and floods.”[73] Indeed, we recognize the “flood” of diversity as one weapon in the Jewish arsenal.

Related to this, while Mercerism goes unmentioned, we see what appears to be an Orthodox Jew wandering the crowded streets. It seems the filmmakers wanted to comfort Jews in the audience by letting them know that Judaism persists in the world of the film, particularly as something separate from the androids/replicants. As Brahmin elucidates, Jews view themselves as the “abiding stone” that can weather all challenges, including the Biblical flood.[74]

Mercerism has replaced all other religions in the world of the novel, yet we spy an Orthodox Jewish man in the crowded streets of the film as Deckard hunts for Zhora.

The chess match in Blade Runner

Finally we can discuss an important detail invented for the film: The fateful chess match between Sebastian and Tyrell. Roy picks up where the two left off and sacrifices Sebastian’s queen to win the game. This impresses Tyrell such that he grants access to his inner sanctum. Others have pointed out that this may reference a famous match played in 1851 known as “The Immortal Game.” Scott has stated that any connection is “purely coincidental,” yet the reference would fit the film’s themes perfectly.

Here we find the “eternal duel” between Semite and Aryan. Here we find Jesus Christ outwitting and defeating Zeus/Jupiter through an act of self-sacrifice. Here we find Roy surrendering his Aryan queen to achieve a Pyrrhic victory. And the name of the game itself relates to Roy’s quest for more life. Roy, the Christian convert, is the naive rube who doesn’t realize that Jesus is a recycled version of Tammuz, Dionysus, and Adonis. He has been reduced to a pawn in an age-old race war.


Conclusion

Blade Runner‘s story doesn’t appear to be very sophisticated, but it has been layered in such a way that it is easy to get lost in its web of esoteric symbolism. Indeed it has puzzled critics since its debut, though perhaps Brahmin’s framework has finally solved it. It certainly seems the writers were attempting to confuse or out-do Philip K. Dick, whom we understand was a race-conscious parabolist in his own right. Brahmin notes that there was an uptick in the number of racially and/or politically motivated White authors in the wake of the Second World War (e.g., J.R.R. Tolkien, Robert Heinlein, and Frank Herbert), and Dick appears to fall into this category. Sadly he died before the film was finished, which was rather convenient for the filmmakers.

According to Blade Runner‘s IMDB trivia page, Dick approved of what little he saw of the film – primarily the special effects shots of the city – and the script (it’s unclear which version this is referring to). The latter anecdote seems to be contradicted by his refusal to write the novelization of the movie, a contract worth four hundred thousand dollars. Were the filmmakers hoping that an official novelization of Blade Runner would replace Electric Sheep, and thereby snip its anti-Semitic themes in the bud? And there are two other bits of trivia that stand out:

“(At around one hour, twelve minutes) In the Japanese advertisement shown on the side of a blimp, in which a Geisha-like woman is swallowing a pill, the loud speakers play a line from a Japanese Noh play, saying “Iri hi katamuku”, literally “the setting sun sinks down.” According to special photographics effects supervisor David Dryer, the pills being swallowed are birth control pills.”

Thus the advertisement appears to contain an esoteric message that the Aryan sun is setting as its men and women choose not to have children. Of course, the message of the film is that having children is life’s purpose and the only real form of immortality. And then there’s this knee-slapper:

“Ridley Scott has always maintained that this movie is a piece of entertainment, nothing more. In fact, when he met Philip K. Dick during post-production, he specifically told Dick that he was uninterested in ‘making an esoteric film.’

Mr. Scott doth protest too much, methinks.


Notes and citations

[1] Nicholas Wade, “Studies Show Jews’ Genetic Similarity,” New York Times, June 9, 2010.

ii. William Cobbett suggested that due to intermarriage Jews “have all one and the same face, one and the same pair of eyes, and one and the same nose” in the Political Register of December 6, 1817.

[2] Dick may be referencing a statement given by Walter Bruns while imprisoned at the London Cage – a notorious British prison where P.O.W.s were tortured (the torture did not become public knowledge until years after Electric Sheep had been published). Bruns claimed that “at Riga they first slept with (Jewish women) and then shot them to prevent them from talking.” (Hadding Scott, “Talking Frankly about David Irving,” p.11, CODOH).

[3] Given the novel’s animal-related themes, Dick may be specifically criticizing the Jewish practice of kosher slaughter. Alternatively, he may be criticizing Jews for working with the National Socialists and doing their dirty work, particularly in the ghettos and camps. Or, he may be criticizing the torture of German P.O.W.s (of which there were many firsthand accounts by Americans following the war, e.g. Judge Edward Van Roden’s “American Atrocities in Germany,” The Progressive, February 1949, p. 21f).

[4] Philip K. Dick, Do Androids Dream of Electric Sheep? (New York: First Ballantine Books Trade Paperback Edition: 1996), p. 55.

[5] ibid., p.95

[6] ibid., p.150

[7] Seth Rogovoy, “The Secret Jewish History of Blade Runner,” Forward, October 5, 2017

ii. David Desser (1997:114), via A Critical Look at Race and Socio-politics in Two Dystopian Films: Blade Runner (1982) and In Time (2011),” Poison Apple, June 2, 2012

[8] Note that Scott and the screenwriters took an odious ownership of Dick’s work in the years since: Scott is an executive producer on the Amazon adaptation of The Man in the High Castle; Fancher wrote Blade Runner‘s sequel and a pair of shorts; and Peoples wrote Soldier as a “side-quel.” There are several notches on Ridley Scott’s belt that appear to contain JEM. In particular, I would point the reader to Matchstick Men. What could have conceivably attracted him to an otherwise insignificant and mundane character study, other than its JEM? Further commentary is beyond the scope of this essay, but I would encourage anyone studying REM to investigate that book and film for themselves.

[9] M. Brahmin, ibid., book #, chapter: “The Parabolist’s and Propagandist’s Quick Reference Guide for Creating A.I.M.

[10]Sephardi leader Yosef: Non-Jews exist to serve Jews,” Pittsburgh Jewish Chronicle, October 19, 2010

[11] M. Brahmin, ibid., book #, chapter: “Saturn, A form of The Jewish God. Seven, a Reference to Saturn

[12] M. Brahmin, ibid., book #, chapter: “The Promethean and Atlatean: terribly abused and misused words

[13] M. Brahmin, ibid., book #, chapter: “The Infamy of Crete Part I: the Problem of Being ‘European’

[14] M. Brahmin, ibid., book #, chapter: “Baptism and Anointing: Symbols for Copulation and Sexual Interaction

[15] M. Brahmin, ibid., book #, chapter: “Names Part II: The Importance of Names in REM, Common names & Exoteric Alibis

[16]Deckard: Baby Name of the Day,” Appellation Mountain, January 14, 2016

[17] Tacitus, Histories 5.4

ii. Note, however, that names meaning “stranger” probably indicate an Aryan cipher in JEM as the Modern Hebrew word, נוֹכרִי, means “alien,” “stranger” but also “gentile.”

[18] M. Brahmin, ibid., book #, chapter: “Circumcision, Saturn, Kumarbi, Foreskins & the Human Gelding

[19] M. Brahmin, ibid., book #, chapter: “Saturn, A form of The Jewish God. Seven, a Reference to Saturn

[20] M. Brahmin, ibid., book #, chapter: “Garden of Eden Part II: The Jewish Serpent & Jewish Tree of Knowledge

[21] M. Brahmin, ibid., book #, chapter: “Arthurian Legend as Deleterious Myth

[22] Watch “The Epic of Gilgamesh,” a lecture by Andrew George, or for a shorter version “The Epic of Gilgamesh: Crash Course World Mythology #26

[23] See the Ouroboros tattoo in Annihilaton for another example of its use in JEM.

[24] M. Brahmin, ibid., book #, chapter: “The Color Green, Robin Hood & May Day

[25] M. Brahmin, ibid., book #, chapter: “‘Blood Magic’ in Plant Color Symbolism: the Rose, the Holly and the Mistletoe

[26] M. Brahmin, ibid., book #, chapter: “The Bride Gathering Cult Part VI: Jewesses as ‘Hated’ ‘Leah’ and Auxiliary Women

[27] See also Rachel Amber, a god-masked Persephone, in Life is Strange.

[28] M. Brahmin, ibid., book #, chapter: “The ‘Neg-ing’ Jewish Husband and the Christian Wife

[29] M. Brahmin, ibid., book #, chapter: “The Garden of Eden Part I: Adam the Aryan Cuckold

[30] M. Brahmin, ibid., book #, chapter: “Captain Marvel Part III: Carol Danver’s love interest, Mar Vell, the Christian Crypto-Jew

[31] M. Brahmin, ibid., book #, chapter: “The Racial Identity of Christ’s Parents Part II: The Annunciation Proof

[32] See Brahmin’s take on “owls” in the comments of “Esoteric Apollo: The Crow or Raven, Symbol of Racial Cuckoldry

[33] M. Brahmin, ibid., book #, chapter: “Names Part II: The Importance of Names in REM, Common names & Exoteric Alibis

[34] M. Brahmin, ibid., book #, chapter: “The Martial and the Apollonian

[35] See “Adam the red,” M. Brahmin, ibid., book #, chapter: “The Garden of Eden Part I: Adam the Aryan Cuckold

[36] Iddin-Dagan A 169-172, The Melammu Project

[37] P. Kyle McCarter, Harvad Theological Review, Volume 66: “The River Order in Israelite Literature” (Charlottesville, VA.: University of Virginia), October 1973

[38] James Hastings, Encyclopædia of Religion and Ethics, Vol. 12, Suffering – Zwingli (Edinburgh: T&T Clark), p.189

ii. There is some dispute over Dumuzid’s connection to Tammuz. Dumuzid the Fisherman is now believed to be the fourth king of the first Dynasty of Uruk and Gilgamesh’s predecessor.

[39] ibid.

[40] M. Brahmin, ibid., book #, chapter: “The Bride Gathering Cult Part II: The Origin of the Semitic Bride Gathering Cult called Judaism

[41] Dumuzid, Wikipedia

[42] Coraciidae, Wikipedia

[43] Dumuzid and Ĝeštin-ana, The ETCSL project, Faculty of Oriental Studies, University of Oxford

[44] At one point Roy smashes his head through a wall, breaking checkerboard tiles in the process. Possibly this detail relates to the checkerboard floors seen in Masonic symbolism, suggesting a “mad king” at odds with the secret society. Though which king is being referenced here is beyond me.

[45] M. Brahmin, ibid., book #, chapter: “Esoteric Apollo: the totem of Wolf as pseudo-praise

[46] M. Brahmin, ibid., book #, chapter: “Nuns, Vestal ‘Virgins’ and Aryan Lioness as ‘Altar-Hearth’

[47]See passage no. 4, The Courtship of Inanna and Dumuzi, K. Dickson, Comparative Mythology: Near Eastern, Myths of Inanna 1 (Sumer)

[48] For more on the crucifix as copulation with Venus, see M. Brahmin, ibid., book #, chapter: “The X-Rated Crucifix

[49] M. Brahmin, ibid., book #, chapter: “The Micro-aggressing ‘Evil Eye,’ the Hamsa, the ‘mark’ and the third eye

[50] Priscilla, Wikipedia

[51] Aphrodite, Wikipedia

[52] M. Brahmin, ibid., book #, chapter: “Etymology, mythography and the ‘Promethean transmission’

[53] Fortuna, Wikipedia

[54] Prisca, Wikipedia

[55] ibid.

[56] Compare with Zoran Lazarević as a reference to the Morning Star in Uncharted 2.

[57] Thomas A. J. McGinn, Prostitution, Sexuality, and the Law in Ancient Rome, Oxford University Press, 1998, p.25.

[58] Staples, Ariadne, From Good Goddess to vestal virgins: sex and category in Roman religion, Routledge, 1998, p. 89.

[59] Compare with Chloe in Life is Strange, Josie Radek in Annihilation, and Chloe in Deep Impact.

[60] M. Brahmin, ibid., book #, chapter: “Vulcan as an Important Form of the Lesser God

[61] Saint Sebastian, Wikipedia

[62] M. Brahmin, ibid., book #, chapter: “The Apollo Cult

[63] M. Brahmin, ibid., book #, chapter: “Saturn, A form of The Jewish God. Seven, a Reference to Saturn

[64]Hephaistos family,” Theoi

[65] M. Brahmin, ibid., book #, chapter: “Garden of Eden Part II: The Jewish Serpent & Jewish Tree of Knowledge

[66] Ovid, Metamorphoses 9. 420 ff

[67] Erichthonius, Wikipedia

[68] M. Brahmin, ibid., book #, chapter: “Red herrings in Leviticus and Moloch as example of Jewish ‘Projection’

[69] Ptah, Egyptian Gods

[70] J. Keller and Hanns Andersen, The Jew as Criminal (translated by R. Belser), p 13.

[71] M. Brahmin, ibid., book #, chapter: “Mercury: The Philosopher, Priest, Prophet, Apostle, Wizard and Deceiver

[72] M. Brahmin, ibid., book #, chapter: “The Promotion of ‘Inevitable Diversity’: An Ancient Pattern

[73] Chinese dragon, Wikipedia

[74] An Egyptian television series called “The End” sparked uproar in Israel in May 2020 for depicting a “post-Israel” vision of the future. It just goes to show how sensitive and hypocritical Jews are when it comes to ethnic demoralization when they’re the targets.

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The Hidden Meaning of the Uncharted Video Games

The Uncharted video game franchise is a flagship of the Playstation brand, having sold more than 41.7 million copies. They’re among the most impressive, lavishly produced, movie-like video games ever…

The Uncharted video game franchise is a flagship of the Playstation brand, having sold more than 41.7 million copies. They’re among the most impressive, lavishly produced, movie-like video games ever made. The player’s avatar is a globetrotting treasure hunter clearly inspired by Indiana Jones. Just as Indiana Jones was co-created by Steven Spielberg, Uncharted was co-created by the Jewish Neil Druckmann, and these aren’t the only things they share in common.

Druckmann is an Israeli whose family immigrated to America when he was eleven-years-old. In college he co-created his first video game, an 8-bit demo called Dikki Painguin in: TKO for the Third Reich (which appears to be a hack of Act 2, stage 1 of Ninja Gaiden 2). It stars a cartoon penguin fighting Germans in World War Two. Suffice to say, Druckmann’s Jewish identity has informed his game design from the very beginning.

Druckmann’s first video game starred a cartoon penguin fighting the German National Socialists.

Druckmann joined Naughty Dog – the Sony-owned subsidiary that created the Crash Bandicoot games – in 2004 after meeting its co-founder Jason Rubin at an industry conference. Rubin is also Jewish, so perhaps that played a part in his hiring.[1] Rubin has since left the company and Druckmann is now vice president. Yet despite being born in Israel and repeatedly referencing the German National Socialists in his video games, Druckmann has attempted to downplay his ethnicity.

In an interview with The Frame Druckmann said, “I see myself as a pretty progressive person and yet (as a writer) my default (character) is a white, straight, christian [sic] male. That’s interesting because I’m Jewish and yet that’s the norm for me right now.”[2] He’s right, that is interesting considering he surreptitiously casts Jews in leading roles! For example, the protagonist in Druckmann’s The Last of Us is evidently Jewish. This detail is never explicitly emphasized in the games’ surface narrative, but was confirmed in an official holiday illustration.

An official holiday greetings card published on Naughty Dog’s official Twitter account shows The Last of Us’ Joel in a Hannukah sweater.

Like his peers in Hollywood and advertising, Druckmann has been keen to insert a radical left wing agenda in his stories. He inexplicably decided that an interracial lesbian romance between teenagers would appeal to his largely “White, straight, Christian male” audience, and doubled down with The Last of Us Part 2 (just released this month). In addition to promoting homosexuality, the company has hired a transsexual actor and made his/her character a transsexual, and one of the antagonists has been made more muscular since she was originally revealed, in order to be more “trans friendly.” In the aforementioned interview with The Frame, Druckmann confirmed that his games will feature fewer heterosexual White men moving forward:

“When you make a game, you have these different pillars that you’re trying to balance. It’s graphics, it’s gameplay, it’s story and you’re trying not to let any one pillar overwhelm the other. . . Recently, I realized that there’s this other pillar of diversity. That’s just as important as any one of these other pillars. I’ve kind of empowered people on the team that have made this their top priority. . . Can this be a person of color? Can this be a woman?”[3]

Incredibly, the above examples merely scratch the surface of the subversiveness of Druckmann’s games. What follows is an analysis of the four main Uncharted games (not including the PS Vita sequels or spin-offs), where we find clear examples of Jewish Esoteric Moralization (JEM), a subset of what mythologist Mark Brahmin calls Racial Esoteric Moralization (REM).

Abby, a character in The Last of Us Part 2, was “beefed up” in order to be more “trans friendly.”


What is Jewish Esoteric Moralization?

JEM is a bit like Joseph Campbell’s The Hero’s Journey but with archetypes specifying racial groups. Whereas Campbell’s framework applies more or less universally, JEM encodes an incredibly specific racial subtext that champions Jewish men in resource competition with vilified White/European men. Often the battle is over sexual access to Aryan women. We refer to these groups as Semitic and Aryan (or Dionysian and Apollonian) respectively to clarify that this isn’t just a religious division.

That Jews have hidden a complex symbol language from us is not without precedent. The reader will no doubt be aware that they successfully hid the existence of the Talmud from their European hosts for hundreds of years, and are experts at crypsis. However, it should be stressed that not all Jews are cognizant of the symbol language or would necessarily identify with its message. Indeed it appears that Jewish women are as benighted as Gentiles, as they are often the target of hatred and rejection in the JEM.

If every Jewish work of art was as obvious as Portnoy’s Complaint, The Graduate or Meet The Parents, even the dullest of Gentiles would catch on. With JEM, Jewish artists enjoy(ed) the freedom to subtly communicate and reinforce their worldview, safe in the knowledge that Whites would be blind to it. Take, for example, this ill-informed piece about Uncharted 2 celebrating its supposed reinforcement of White endogamy. As will be demonstrated, precisely the opposite is true. Fittingly, the blinding and/or blindness of their enemies is a common motif.

Sometimes even non-White actors/characters portray an Aryan or Semitic cipher to camouflage the true meaning of a work. Brahmin emphasizes the importance of researching names when examining esoteric art, as they’re often the key to identifying who is who. This is what we’ll be doing with Uncharted, as names cognate with Biblical and mythological archetypes (God Masking), or that describe animals, plants, elements, colors, and other descriptors, can tell us if a character is Semitic or Aryan. For example, Apollo, Ares/Mars, and Zeus/Jupiter are archetypes that personify the Aryan male.

Today anti-White hostility is readily apparent in the media, but if you want to know when crafty Jewish authors are giving you the middle finger behind the curtain you must read Brahmin’s groundbreaking thesis at The Apollonian Transmission and in his upcoming books. It will open your eyes to a whole new world. The following analysis assumes you’re completely new to JEM, so you can pick it up as we go along.

Naughty Dog vice president Neil Druckmann accepts awards for best writing in a video game at the 2014 and 2017 Writers Guild Awards for his work on The Last of Us and Uncharted 4. It must be easy to win awards when you’re part of a secret club!

I’m confident that Druckmann is Naughty Dog’s resident esotericist after having studied his work. It’s possible that none of his coworkers know about the subtext discussed below, but multiple Jews have held key positions on his titles. I bring this up not to suggest some sort of Jewish conspiracy (besides, perhaps, the oft-observed ethnic networking), but rather because JEM is more likely given the circumstances. For example, lead writer Josh Scherr and lead designer Emilia Schatz are self-identified Jews. Several others have names and appearances that suggest Jewish ancestry (such as co-president Evan Wells).

Druckmann is curiously absent the third installment, Drake’s Deception, but I will touch upon aspects that appear to retain his signature. It follows that he made contributions given his involvement with the franchise. My guess is that he helped lay the groundwork but refused to put his name on it due to artistic differences with writer/director Amy Hennig, whom he later allegedly ousted from the company.[4] When he replaced Hennig as writer/director on the fourth game he scrapped much of her work, causing one of the key voice actors to quit due to “weird changes” to the script.[5]


Nathan Drake, a crypto-Jewish hero

The Indiana Jones of the Uncharted games is Nathan Drake ( Morgan). Note that on its own, a Biblical or Hebrew name does not guarantee that a character is a Jewish cipher in the JEM. The given name Nathan means “he gave,” while the longer Nathaniel means “god gave.” This is similar to the meaning of the Hebrew name John (lit. “graced by Yahweh” or “Yahweh is gracious”), the patronymic surname of Indiana Jones (lit. “son of John”). In other words, Yahweh has favored our protagonist.

Ironically, the Old English surname Drake is what gives Nathan’s racial identity away; it’s a byname meaning “snake” or “dragon.” Ostensibly he adopted it after his childhood hero Sir Francis Drake, similar to Jones’ adoption of the nickname “Indiana.” Yet the serpent is one of the most important animal symbols in Jewish art – vines and dragons are variants of it in the JEM – and these identify Semitic (or Judaized) figures.[6] Incidentally, Indiana Jones’ ophidiophobia (“Why does it always have to be snakes?!“) serves as an irreverent in-joke to cognizant Jews.

The surname Morgan isn’t mentioned much in the games. It appears to be a reference to Morgan le Fay of Arthurian legend, particularly “the unpredictable duality of her nature, with potential for both good and evil.”[7] Indeed Drake’s penchant for murdering hundreds of men over the course of his adventures makes him the posterboy of what Clint Hocking terms ludonarrative dissonance. Druckmann has addressed and rejected this criticism,[8] as Drake’s real surname is an esoteric admission that he was never intended to be a paragon of morality.

The name Morgan has its own meaning which relates to Drake’s Jewish nature. It stems from the Old Welsh “Morcant” meaning “sea chief,” “sea protector,” “sea defender,” or “sailor/captain,” which may be a Biblical reference to Noah and Noah’s Ark. Indeed, both Uncharted 1 and Uncharted 4 begin with Drake aboard a boat, and water-based settings figure throughout the franchise. This is significant as water is an Aryan element in the JEM related to blood and admixture.[9] Hence the surname implies that Drake is the master or shepherd of the Aryan flock and that he’s a casanova among its female sheep (his “ark”). This interpretation is corroborated by plot details discussed next.

Nathan Drake, our crypto-Jewish hero, as seen in Uncharted 4.


Nathan Drake’s Aryan love interests

Before we continue, neophytes should understand one of the key themes of the JEM. Namely, Jewish authors such as Druckmann are encoding a “mating call” in their work, which is well illustrated in Uncharted. The objects of their desire are blonde, blue-eyed (Aryan) women. The Jewish obsession with blondes is well-documented,[10] and it is why Brahmin proposes that Judaism is a Semitic bride gathering cult. For example, the name “Indiana” is another Jewish in-joke alluding to sexual intercourse with the Greco-Roman goddess Artemis/Diana, the personification of the coveted Aryan female. Imagine the chutzpah of marketing a film/character to a mostly White male audience that covertly boasts of their racial cuckoldry!

In the first game Drake becomes romantically involved with an attractive independent journalist named Elena Fisher. Her given name is cognate with the Greek name Helena, which in the JEM is a reference to the unmatched beauty Helen of Troy.[11] Additionally, when paired with a Jewish suitor their relationship becomes an esoteric celebration of the proto-Jewish or Semitic infiltration of Hellenistic Greece. As such, this name is usually – but not always – reserved for Aryan women and Elena fits the phenotype exactly (though, inexplicably, her eyes will change from blue to brown or gray in the third and fourth installments).

Elena Fisher personifies the coveted Aryan female, referencing the legendary beauty Helen of Troy. Her eyes inexplicably changed from blue to brown-gray as the series went on.

 The surname “Fisher” may class Elena as Christian, where references to fish often connote Jesus Christ as the “Fisher of Men.”[12] Fish are also an Aryan aqueous resource in the JEM (one ingredient in the Consumption motif). If perhaps a bit of a stretch, Elena’s hunt for news scoops can be interpreted as a reference to the Goddess of the Hunt, Artemis/Diana. All things considered Elena is a distinctly non-Jewish love interest, while Drake is akin to the seducing serpent in the Garden of Eden. Drake even engages in “neg-ing” when he cruelly abandons Elena part way through their first adventure together.[13] When they reunite she eventually forgives the betrayal, accepting that his aloofness is part of his roguish charm.

The sequel takes place sometime later when their relationship is on the rocks. In Elena’s absence Drake has teamed up with a fellow thief named Chloe Frazer; she’s an auxiliary woman – and they rekindle their romance. Her given name is a cognate of Demeter/Ceres, the Greco-Roman goddess of agriculture, itself a common archetype in the JEM associated with Aryans and fertility.[14] This is emphasized by the surname Frazer, which is “the Anglicized form of the Gaelic personal name Frasach (meaning) the generous/fruitful one.”[15]

Chloe Frazer references Demeter/Ceres, the Greco-Roman goddess of the harvest. As an Indian-European mix (or the daughter of Saturn/Cronus, a Semitic deity), she’s not as desirable as a full-blooded Aryan.

 When Drake and Chloe unexpectedly run into Elena again mid-adventure, she’s accompanied by a cameraman named Jeff Wynis. Jeff is a potential rival for Elena’s affections, but he’s immediately eliminated when he’s shot and killed by some enemy soldiers. Thus we’re not terribly concerned if he was an Aryan or Semitic sexual competitor. What’s important is that with Jeff out of the picture, Druckmann has set up a love triangle between Drake, Elena, and Chloe. Given that Elena is a blonde, blue-eyed woman and Chloe is an Indian-European mix with black hair and tanned skin, no points for guessing who he ends up with. The bride gathering cult is, at its heart, a eugenics cult desiring Aryan features.

Chloe and Elena meet in Uncharted 2.


 Cassie Drake & the Cassandra of Greek myth

Drake and Elena have more adventures together in the third game, get married, and by the end of the fourth game have a daughter named Cassie. She’s an example of the Cassandra archetype,[16] a character from Greco-Roman myth who rejects Apollo’s romantic advances. To be clear, the JEM archetype differs from the prevailing “Cassandra metaphor.” The archetype is deployed to demoralize White men as Cassandra(s) reject them in favor of non-White sexual partners.

Hence Drake and Elena’s daughter Cassie, although just a child, has been set up to reject a White suitor in line with the archetype. This is the sort of subtle racial slights that Jews can incorporate into a story; should Cassie feature in future installments, I predict that she’ll be paired with a Jewish or non-White love interest.

In fact, there are two examples of the Cassandra archetype in the Uncharted series as Drake’s mother is also named Cassandra. Thus, we infer that she was an Aryan woman who chose to marry a non-Aryan man. This tells us that Drake inherited his Jewishness from his father, an arrangement not uncommon in the JEM,[17] which reinforces the notion that Jews are inherently admixed while simultaneously corroborating Brahmin’s concept of the matrilineal ruse.

Drake’s mother and daughter reference the Greco-Roman figure Cassandra, who famously denied Apollo’s advances. Note the subtly Jewish features of Cassie’s face. Her t-shirt shows a golden flame surrounding a blue lotus flower, an esoteric “blending” of the Jewish Fire God with an Aryan color symbol.


Sully the trickster & Sam the king maker

Drake’s mentor and father figure is the veteran thief Victor “Sully” Sullivan. His given name is self-explanatory, but the nickname Sully means “south meadow,” where the South is typically understood as a non-Aryan realm (in contrast to the Hyperborean North). The same designation applies to the East versus the West, hence “Sully” seems to be a Semitic ally.

This is corroborated by the meaning of the Irish surname Sullivan, which stems from the basic word súil (lit. “eye”). The latter half of the name is contested; in full it can mean “one-eyed,” “quick eyed,” “little dark-eyed one,” or “hawk eyed.” This ambiguity is actually handy from the esotericist’s point of view, as the name can reference multiple mythological figures to convey Sully’s personality and archetype.

If Sullivan means “one-eyed,” he’s likely channeling the one-eyed Norse god Odin. However, if the name means “hawk eyed,” Sully is posing as the Arthurian wizard Merlin (there’s a species of pigeon-hawk called the merlin). Indeed Druckmann may be intelligently referencing both of these figures, who, like Sully, are wizened tricksters. Frequent references to Norse myth (handed down to us from the Church) and Arthurian legend appear in the JEM, and these myths appear to hew closely to the symbol language. Later, we’ll see the odd reference built upon symbols from Incan mythology as well as Hinduism/Buddhism, but these are outliers/one-offs from my personal study of JEM.

Victor “Sully” Sullivan is Drake’s mentor and partner in crime, a trickster like Odin and Merlin. Note the encoded Ouroboros symbol on the door in the background ( see my analysis of Annihilation for how it relates to JEM).

Drake’s older brother Samuel is introduced in the fourth game. The sudden appearance of a down-on-his-luck older brother brings up an interesting motif in the JEM whereby siblings (especially brothers) may be racial rivals.[18] However, the name Samuel tends to be a Semitic identifier in the JEM so the Drakes don’t appear to follow this pattern. His Hebrew name means “God listened” or “God heard,”[19] suggesting God has answered Nathan’s prayers with Samuel’s reappearance.

The Biblical Samuel is the “king maker,” and Sam fits this role perfectly. Nathan has given up “treasure-hunting” (having married Elena) and is living a mundane existence; it is Sam’s return that coaxes Nathan into joining one last adventure. Sam surreptitiously collects some pirate gold during their quest, which is later used to purchase the company that Nathan works for (Nathan takes over as boss, becoming “king”). As a result, Nathan and Elena are set for life when they complete the treasure salvage in Malaysia that his former boss had been planning.

Sam, the “king maker,” rescues his brother from his life of doldrums.


The Frankish motif

In Uncharted: Among Thieves, Drake befriends an old German explorer living in the Himalayas who was originally hired by the German National Socialists to find the entrance to Shambhala. His name is Karl Schäfer, which reveals that he’s another Semitic cipher. Characters named Karl and its cognates compose what Brahmin terms the Frankish motif. His surname means “shepherd,” an occupation that aligns with Semitic archetypes such as Moses and Hermes/Mercury. As the latter was a “soul guide” to the Underworld or afterlife, Karl’s role is to guide Drake towards Shambhala, which is synonymous with Heaven or paradise.

It’s possible there’s another example of the Frankish motif in the third game, where we find the Englishman Charlie Cutter (Charles is a cognate of Karl). Despite his Anglo-Saxon name and appearance, Charlie is Drake’s trustworthy brother-in-arms. His surname, originally an occupational name for a cloth cutter, may also suggest a woodcutter. Wood is a symbol representing the Aryan as a consumable resource for the Jewish Fire God, wood that Charlie metaphorically “chops down” when killing foes.[20]

In the fourth game, we learn that Drake’s employer Jameson is married to a woman named Karla. It’s a minor detail for a character we’ll never meet, but it’s patterns like this that confirm the symbol language is at play. What’s important here is that these characters are Drake’s allies, which is why Brahmin suggests the Frankish empire was either Jewish, philo-Semitic, or inadvertently aligned with Jewish interests. We’ll see several historical references to anti-Semitic figures next, in the manner of Indiana JonesBelloq (a reference to the writer Hilaire Belloc).

Karl Schäfer and Charlie Cutter, possible examples of the Frankish motif. Note that Charlie wears black and green, Semitic colors in the JEM symbolism.


Antagonists in Uncharted: Drake’s Fortune

Atoq Navarro, a Peruvian Mestizos archeologist – and thus Drake’s treasure-hunting rival – is the main antagonist in the first game. His given name stems from Incan astronomy where a dark constellation called Atoq represents the fox.[21] The fox may function as a Semitic identifier related to the Teumessian Fox of Greco-Roman mythology, while the surname “Fox” and its cognates are also common Jewish names (note that Drake thinks Crash Bandicoot is a fox in Uncharted 4). In Incan mythology the fox is a thief that is said to have deceived the gods. Wikipedia states:

“(T)he deity Cuniraya Viracocha was angered by a fox and stated that, ‘As for you, even when you skulk around keeping your distance, people will thoroughly despise you and say ‘That fox is a thief!’ When they kill you they’ll carelessly throw you away and your skin too.’ In other narratives, the fox is said to have tried to steal the moon but the moon hugged the fox close which resulted in the spots on the moon.”[22]

These details are thematically appropriate. The latter anecdote arguably posits Atoq as a Semitic figure via an association with the Moon God Sin.[23] Alternatively the fox and Moon’s embrace dovetails with Atoq’s kidnapping of Elena, as she is associated with the Moon via the Artemis Daphnaia motif.[24]

“Navarro” is a Spanish and Sephardi Jewish surname, further hinting that he’s a Semitic figure. Thus we have what appears to be a Caducean Conflict wherein both protagonist and antagonist are esoterically indicated Jewish bride gatherers attempting to obtain El Dorado.[25] Essentially they are both after gold as a symbol of the Aryan’s blonde hair.[26]

The secondary antagonist is a man named Gabriel Roman. His given name is taken from the archangel, where, writes Brahmin: “Angels, in general, as figures, are Aryan with a few exceptions.”[27] The surname Roman ties him to the Roman Catholic Church.[28] Atoq kills him when he’s overcome by the corrosive power of the game’s MacGuffin, the cursed mummy inside the El Dorado sarcophagus.

Atoq Navarre and Gabriel Roman. Note Atoq wears black (a Semitic color) while Roman wears white and blue (Aryan colors).

The tertiary villain is an Indonesian treasure hunter named Eddy Raja. Raja is an Indian name meaning “king,” where names indicating royalty commonly identify Aryan characters in the JEM.[29] Thus despite his surface-level race, Eddy can be read as a historical reference to King Edward I, who famously issued the Edict of Expulsion in 1290. Hence he’s an inherently anti-Semitic villain! Indeed Raja manages to capture and imprison our hero, but Elena breaks Drake out of his prison cell (a bit like Oliver Cromwell “freeing” the Jews).

Eddy Raja is a reference to King Edward I. Note that he wears bright yellow and gold jewelry (Aryan colors/metal).


 Antagonists in Uncharted: Among Thieves

The main villain in the second game is a Serbian war criminal named Zoran Lazarević. Zoran is a common Slavic name, the masculine form of Zora, which means “dawn” or “daybreak.” It comes from the Zorya of Slavic mythology, “the two guardian goddesses, known as the Auroras. . . the Morning Star and the Evening Star.”[30] To wit, Druckmann is drawing a line between these Slavic goddesses and their Greco-Roman counterparts Eos/Aurora (the Goddess of Dawn), and Hesperus/Venus (the Evening Star). Indeed the Slavic name Zora is etymologically linked to Zohra, the Islamic name for the Planet Venus!

Saliently the masculine form of the name is linked to Lucifer (also the dawn-bringer and Morning Star). Brahmin argues that Lucifer is an epithet for Apollo,[31] implying Zoran is a god-masked Apollo. The smoking gun? Zoran’s official bio in Uncharted 4 informs us that he had a “love for the writings of Neitzsche,” whose philosophy famously proposed the Apollonian Dionysian dichotomy. That Apollo is repeatedly vilified as the personification of the “anti-Semitic Aryan” by Jewish authors is one of several reasons why Brahmin suggests we should embrace Apollo as our representative God.

The Serbian surname Lazarević is derived from the Hebrew name אֶלְעָזָר (Elʿazar or Eleazar), meaning “God has helped,” likely because Zoran manages to obtain the power of the story’s MacGuffin in the finale (though Drake still manages to defeat him). This heals Zoran’s burn scars which covered part of his face (an allusion to a fateful encounter with the Jewish Fire God, perhaps?). Alternatively the surname may describe Apollo as naturally gifted.

As a Serbian war criminal we can assume that Zoran is guilty of ethnic cleansing. This is likely a veiled criticism of the Apollo Cult’s eugenic Thargelia rituals, yet constitutes what Brahmin calls Conscious Ethnic Projection (CEP) given Israel’s crimes against the Palestinians. Indeed in December 2019 the International Criminal Court in the Hague announced that would investigate Israeli war crimes, which was predictably met with accusations of anti-Semitism.

Zoran’s name is a reference to “dawn” and “daybreak,” and the Slavic Goddess of the Morning Star, esoterically connecting him to Lucifer, and, by extension, Apollo.

The power of the Cintamani Stone of Buddhist and Hindu mythology is what heals Zoran. Here the stone is depicted as a blue orb in the center of a white tree referred to as the Tree of Life. The sphere’s blue coloration, which matches the sky and the Aryan’s blue eyes, indicates it is an Aryan power source.[32] This plot device strikingly communicates the bride gathering cult’s obsession with the Aryan as a rejuvenating genetic resource. Given its color, power, shape, and position within the tree, this MacGuffin is the physical manifestation of the Tiferet, the sixth Sephira on the Tree of Life representing the planet Jupiter in Jewish mysticism.

The Cintamani Stone in the Hindu/Buddhist Tree of Life, a stand-in for the Kabbalistic Tree of Life.

Zoran’s left-hand man is the treaure hunter Harry Flynn. He’s another Aryan villain: the name Harry (as distinct from Harrold) is cognate with Henry, ultimately stemming from the Old German “Haganrich,” where hagan means “enclosure.” Names referencing enclosures often indicate a god-masked Apollo, whose name originally meant “wall,” “fence for animals,” and “assembly within the limits of the square.”[33] Here we gain further insight into Indiana Jones’ rejection of his given name Henry; he is, in effect, rejecting the implied association with Apollo!

Things get even more interesting: The surname Flynn, which means “reddish” or “ruddy complexion,” is another Aryan identifier in the JEM related to Adam the Red.[34] In other words, the enclosure referenced with “Harry” is the Garden of Eden. Thus Druckmann has strongly corroborated what Brahmin calls the Eden Proof (feel free to pause here to read this essential article).[35]

Harry Flynn, an esoteric reference to Eden and Adam, strongly corroborates what Brahmin terms “the Eden Proof.”

 Zoran’s right-hand man is a black man simply named Draza. His race in the surface narrative appears to camouflage a historical figure, one Draža Mihailović, a Yugoslav Serb general who was convicted of high treason and war crimes by the Communist authorities during the Second World War.[36] As a staunch Royalist and Nationalist, the anti-Communist Mihailović is thus another villainous anti-Semite, from which we infer that Druckmann stands on the side of the Judeo-Bolsheviks and their unparalleled atrocities.


Antagonists in Uncharted: Drake’s Deception

Despite Druckmann’s supposed sabbatical from Uncharted‘s third chapter, we find what appears to be more JEM symbolism within it. The main antagonist is Katherine “Kate” Marlowe, the English leader of an over 400-year old hermetic Order. Katherine would follow JEM naming convention as a reference to Hecate/Trivia,[37] as “Kate” (and its cognates) are believed to stem from the latter half of “Hecate.” As the third aspect of the Triple Goddess, the old crone, Katherine is an older woman who personifies a corrupted, witch-like, and/or Judaized Aryan female. She metaphorically enters the Underworld when she’s consumed by quicksand in the game’s finale.

The game helpfully informs us that Queen Elizabeth I, Francis Walsingham, John Dee, Walter Raleigh, and Francis Drake belonged to Kate’s Order. This is an allusion to the Illuminati,[38] and corroborates Brahmin’s observation that the JEM outs historical crypto-Jews.[39] This also seems to apply to the game’s mention of T.E. Lawrence (a.k.a. Lawrence of Arabia) whose surname is cognate with Stephen (these identify Semitic ciphers in the JEM). Here the age of the Order may imply an Aryan organization due to the symbolism of the number four, though typically the Illuminati/Freemasons are depicted as subordinate to Jewish interests.[40]

The surname Marlowe is a habitational name for someone who lived in Morlaix, Brittany, a peninsula in the northwest of France. This may indicate her family (or the Order itself) came with the Norman Invasion of England in 1066. Alternatively the name Morlaix sounds like mort lait which is French for “dead milk.” Jewish esotericists may imply “the milk has gone sour” or “has run dry” with such female characters.[41] Just as the crone represents the end of the life cycle, the implication here is that Zionist Freemasonry has “run its course” or has become corrupted.

As Katherine appears to have been consciously developed within the JEM framework, it seems likely that Druckmann conceived her. In contrast, Marlowe’s second-in-command is a man simply named Talbot, which means “messenger of destruction.” It seems to me that Talbot is one of Hennig’s creations, named in homage of David Talbot, the head of a similar secret society in Anne Rice’s The Tale of the Body Thief. Hennig had previously worked on games starring vampires, so it follows that she’d be a fan of Rice’s work.

Katherine “Kate” Marlowe is likely an allusion to Hecate/Trivia, a witch-like archetype in the JEM. Sister Catherine, seen briefly in Uncharted 4, is another example. She’s a strict nun who watches over the young Drake during his stay at a Catholic orphanage.


Antagonists in Uncharted: A Thief’s End

Druckmann was back in the driver’s seat for the fourth game. Here we find an imaginary villain named Hector Alcázar. In Brahmin’s estimation Hector – the legendary Trojan killed by Achilles – is a Semitic figure.[42] The Spanish surname is a word for a type of Moorish castle or palace, as well as a habitational name for someone from Spain, suggesting perhaps Sephardi Jewish roots (indeed Hector looks as though he could be Drake’s father!). Alternatively, it may suggest the infamous island prison Alcatras, as Sam supposedly befriended Hector while the two were inmates in prison.

It is my suspicion that Alcázar, as “Butcher of Panama,” is a historical reference to Manuel Noriega Moreno. “Moreno” is a Spanish, Portuguese, and Sephardi Jewish surname, possibly a derivative of the classical Latin “Maurus” meaning “Moor” (which would tie into the aforementioned meaning of Alcázar). Perhaps Druckmann is telling us that Noriega was a Jew. Alternatively Noriega’s ties to the United States intelligence agencies made him a puppet, an “imaginary villain,” just like Alcázar. This relates to Brahmin’s concept of the Caducean phenomenon.

The real villain is a White man named Rafe Adler. His given name (pronounced like “safe”) has multiple origins, the most likely being the Old Norse variant which means “counsel of the wolf,” or “wise wolf.” The wolf is an animal totem commonly assigned to Aryan characters in the JEM.[43] Here it is paired with a German surname that means “eagle.” This is revealing, as both the wolf and the eagle are among Zeus/Jupiter’s sacred animals. Thus at bare minimum Adler is a clearly defined Aryan villain, if not a god-masked Zeus (Zeus is an Aryan god hated for having exiled Saturn and Vulcan, the latter two being important Semitic deities in the JEM).

Nadine Ross and Rafe Adler in Uncharted 4.

A black woman named Nadine Ross is Adler’s accomplice. Her given name is of Arabic origin meaning “admonitory/messenger,” which is contradicted by its secondary meaning of “Showerer of blessings.” Thus she’s indicated as neither good nor evil, or someone between an ally and a villain. Indeed she does not seem terribly concerned with killing Drake, and would later star in the spin-off Uncharted: Lost Legacy alongside Chloe as her partner in crime.

Her surname may descend from the Gaelic word for “headland,” which is “a narrow piece of land that projects from a coastline into the sea.” This clearly relates to her paramilitary outfit “Shoreline.” It can also mean “a strip of land left unplowed at the end of a field,” which implies she is neither sexually penetrated nor inseminated, i.e. a virgin.

These clues imply that Nadine is a god-masked Athena Parthenos, virgin goddess of war (and one of Zeus’ children). More specifically, as a black woman Nadine appears to venerate Martin Bernal‘s (discredited) theory of “Black Athena,” which is based on Plato’s notion that Athena was originally inspired by the “war-like” Egyptian goddess Neith.

Moreover these meanings imply Nadine is a lesbian: In the JEM symbolism, water represents the Aryan as an aqueous resource, so if “Ross” means something like “peninsula,” Nadine is posited as the hard, masculine, earthen element penetrating the sea. The sexual connotation of “unplowed field” still applies as fully compatible with lesbianism.[44] Athena mourned the accidental killing of her beloved friend Pallas by taking her name, becoming “Pallas Athena,” the implication being they were more than friends. Indeed an official holiday illustration depicts Nadine and Chloe blushing under the mistletoe.


The Jewish experience in microcosm

Often JEM takes the form of a parable where important historical conflicts are reduced to a microcosm. Let’s explore a simple example from Uncharted 4, when Drake spends some time in a Panamanian prison. This section of the game begins with a fist fight between him and a Spanish-speaking prisoner named Gustavo. “Gustavo” is the Spanish version of the Old Swedish name “Gustaf,” meaning “staff of the Geats.” To wit, Drake’s conflict with this “Spanish” thug is a parable of the Jewish struggle for dominance in Visigothic Spain reduced to a microcosm.

The fight is interrupted by a crooked prison warden named Vargas, who’s a minor villain. His is a Spanish habitational name stemming from a knight named Iván de Vargas who “distinguished himself in the (re)conquest of Madrid,”[45] allowing Christians to supplant Muslims at the center of the city. The reader will be aware that Jews opened the gates to the Moorish invasion of Spain, so Vargas is yet another reference to an historical anti-Semitic villain. Both Gustavo and Vargas will meet their demise as Drake escapes – effectively a “dunk” on Catholic Spain, which is a sore spot for Jews due to the counter-Semitic measures taken during the Spanish Inquisition.


Apollo versus Jesus in Uncharted 4

As we saw in Uncharted 2, names cognate with Henry often indicate a god-masked Apollo – Jewry’s archnemesis. This appears to be the case with Druckmann’s reference to Henry Avery, a legendary pirate, in Uncharted 4. In the game’s plot we learn that Henry Avery founded a pirate utopia called Libertalia with the help of eleven other legendary pirates. The “twelve pirates” who pooled their gold together are possibly the deities of the Greco-Roman pantheon related to the Zodiac.[46]

Henry tried to take the colony’s treasure hoard for himself, and poisoned the other pirates with the help of an accomplice named Thomas Tew. This may represent Apollo supplanting the other gods to become the most important deity. However, he failed: Thomas stabbed Henry in the back in an attempt to take the treasure for himself. In the finale we learn that Henry and Thomas killed one another.

Characters named Tom are often Christ figures in the JEM where the apostle “Doubting Thomas” is considered the “twin of Christ” (indeed Thomas means “twin” in Hebrew).[47] Thus the rise and fall of Libertalia, with its ill-fated Apollo and Christ figures, may be a parable of Christ’s victory over Apollo and the collapse of the Ancient Roman Empire.[48] Of course, Christ was crucified by the Romans and so Thomas Tew never made it out alive, either.

However, there may also be an encoded political message here. Note the similarity between Henry Avery’s pirate sigil and the Skull and Bones society’s logo. Iconography present in Henry’s mansion points to his organization being something akin to Freemasonry, which would apply to Skull and Bones. Also note that Skull and Bones was started by two key figures, and had twelve original members. Hence the game’s backstory may communicate that Skull and Bones was an Aryan movement attempting to rob America that collapsed due to the Christian beliefs of its members.

Skull and Bones (a.k.a. Order 322) is an important organization in American politics and one that seems to be referenced in films. Take the famous football scene from The Dark Knight Rises for example, in which a luxury suite numbered 322 explodes. The stadium where this scene was filmed does not contain a suite with that number, suggesting the detail is a deliberate reference. See also the Prescott family (i.e. Prescott Bush, a member of Skull and Bones) in Life is Strange.

Henry Avery, whom Drake refers to as a “paranoid psychopath,” has a golden harp in his mansion. The harp is one of Apollo’s symbols. Also note the sunbursts on the floor and the golden suns on the doors in the mansion, more Apollonian symbols. On the doors, beneath the sun, there’s an encoded Masonic compass which is missing its partner, the square.


Other JEM symbolism in Uncharted

There is much, much, more to explore, but for brevity’s sake I will highlight only a few examples. In many areas the correct path forward is subtly marked with yellow, which guides the player as if on a “yellow brick road.” Yellow, like gold, is an Aryan color corresponding with blond hair and the sun. Blue is also an Aryan color due to the Aryan’s blue eyes. Take note where blue and yellow are combined in props or costumes. Green,[49] on the other hand, is a Semitic color, while “purple is where an Aryan blue meets red, the color of vulnerability to admixture.”[50] Thus Drake wears a green shirt and Elena wears a purple shirt as they share dinner and a passionate kiss in Uncharted 4.

Costume colors matching the esoteric racial identities and themes appear in this scene from Uncharted 4.

 JEM number symbolism is also present (keep your eyes peeled for the number six), as is Hebraic gematria. For example, in Uncharted 4 the Saint Francis cathedral – the orphanage where Drake stays as a boy – is addressed 1016. In Hebraic gematria, 1016 corresponds to a Hebrew word meaning “what is redundant or overlapping.” This is a religious slight describing Christianity from a Jewish perspective. Other associations with 1016 appear in 366, where we find “Alliance” (describing Drake and Sam or St. Francis as a crypto-Jew allied with the Catholic church) and 456, “an orphan; a fatherless child” (reflecting Drake’s childhood).

The Saint Francis cathedral is addressed 1016, corresponding to meaningful Hebrew words via gematria.

Eagle-eyed players could have a field day sifting out all of the JEM tropes. Perhaps the most noteworthy motif is the franchise’s general focus on flashy water effects. Throughout the series, Drake will navigate river rapids on a sea-doo, infiltrate a tanker as it’s tossed about at sea, escape a sinking cruise ship, and so on. Ostensibly Naughty Dog’s designers wanted to show off the technical power of the Playstation with their visual effects wizardry. Yet as mentioned earlier, water (especially fresh water) is an important symbol representing the Aryan as an essential resource (Semites are a desert-dwelling people, after all).


What this means for Sony, Naughty Dog, and Amy Hennig

That Naughty Dog’s games contain Jewish Esoteric Moralization raises serious concerns about Druckmann’s leadership. Dissidents will certainly want to boycott the company, but what about the studio itself? Can straight, White, Christian men working under his regime truly expect fair and equal treatment, given his deep-seated racial/religious bias? How many non-Jewish employees have been passed over for promotion, simply because they’re the “enemy”? And has he made any passes at blondes working there, such as the actresses he hires to portray his characters?

Of course until JEM becomes a widely known phenomenon Druckmann can deny and deflect with exoteric alibis. Yet the scandal surrounding Amy Hennig’s departure from the company seems to be the clincher. As mentioned, despite her industry experience Hennig was allegedly “forced out” by Druckmann and Bruce Straley. This analysis reveals the likely motive: Her ideas were simply incompatible with the esoteric subtext Druckmann sought to insert! Hypothetically, he could rally his co-ethnic male peers to his side but had to leave her in the dark. And so he and Straley allegedly “stonewalled” her, which must have been personally and professionally devastating to her.

Three’s a crowd: Amy Hennig was allegedly forced out of the company by Neil Druckmann and Bruce Straley.

Hennig is a cut above most video game writers, but like most non-Jewish authors she probably thinks of her work as having no purpose beyond entertainment. It should be self-evident that the intricacy and purpose behind Druckmann’s work is, in its own way, impressive and imitable. If left unchallenged, he will no doubt become something like the Steven Spielberg or Stan Lee of video games. His other baby, The Last of Us, is widely acclaimed – despite its many shortcomings in game design – purely because of its production value and story.

Brahmin argues we must treat our own Art with the same care and respect because of its power to shape the culture and attitudes of our people. A “return to sophistication,”[51] both in how we write stories and interpret them, will inevitably require “the establishment of an agreed upon, shared symbolism.”[52] Race-conscious White writers can begin the process of moralizing our people by simply reversing the way in which Greco-Roman archetypes are deployed in the JEM (for some quick tips, click here). Applying Roman Interpretation to Jewish art is an education in itself that will yield many important building blocks.

Lastly, I feel Sony should send in a Japanese task force to radically restructure Naughty Dog from top to bottom. This likely won’t happen, but the debacle surrounding The Last of Us Part 2 and its bizarre political agenda would provide the perfect cover for terminating Druckmann’s employment. Hennig could be invited back as the lead writer/director, which would signal a return to form while pleasing stalwart fans. At the very least Sony should audit the software marketed by former Naughty Dog employee Andrew Maximov called “Promothean A.I.” to determine if he has stolen any of the studio’s intellectual property. Prometheus is, after all, a Semitic figure who stole fire from the Gods.


Notes and Citations

[1] Rubin directed the original Crash Bandicoot games, which are legitimately good, as well as the Jak & Daxter trilogy (which are solid if not spectacular). His games were more about fun than politics, and many fans have been unhappy with Naughty Dog’s direction since his departure.

[2] Michelle Lanz, “A peek into Naughty Dog game creator Neil Druckmann’s creative process,” the Frame, July 13, 2016

[3] ibid.

[4] Paul Tassi, “‘Uncharted’ Writer/Director Amy Hennig Reportedly ‘Forced Out’ At Naughty Dog,” Forbes, March 5, 2014 (archive link)

[5] Kyle Orland, “Alan Tudyk: I left Uncharted 4 over ‘weird changes’ to script,” October 20, 2015

[6] Mark Brahmin, REM: Racial Esoteric Moralization (Washington Summit, 2020) book #, chapter: “Garden of Eden Part II: The Jewish Serpent & Jewish Tree of Knowledge

ii. M. Brahmin, ibid, book #, chapter: “Garden of Eden Part III: Seth as Serpent Seed and Sargon of Akkad as Serpent

[7] Morgan le Fay, Wikipedia

[8] Chris Suellentrop, “‘Uncharted 4’ Director Neil Druckmann on Nathan Drake, Sexism in Games,” Rolling Stone, May 24, 2016.

[9] M. Brahmin, ibid., book #, chapter: “Baptism and Anointing: Symbols for Copulation and Sexual Interaction

[10] See also Yaron Ben-Naeh, “Blond, tall, with honey-colored eyes: Jewish ownership of slaves in the Ottoman Empire,” Springer Science + Business Media B.V., 2006

[11] M. Brahmin, ibid, book #, chapter: “The Value of Homer

ii. See also Lena in Annihilation, Ellen Biederman in Deep Impact, a character originally named Helen in Super Bad, Ellen (“The Lady”) in The Quick and the Dead, Helena Harford in Eyes Wide Shut, and so on.

[12] M. Brahmin, ibid, book #, chapter: “Homosexuality Part VII: The Aryan Jonah and the Pederastic Synagogue

ii. See the obvious Christ figure Spurgeon “Fish” Tanner in Deep Impact.

[13] M. Brahmin, ibid, book #, chapter: “The ‘Neg-ing’ Jewish Husband and the Christian Wife

[14] See also Chloe Price in Life is Strange, Chloe in Deep Impact, and Josie Radek in Annihilation.

[15] Frazer, Wikipedia

[16] See “Names referencing racial cuckoldry against Aryans” in M. Brahmin, “Names Part II: The Importance of Names in REM, Common names & Exoteric Alibis

ii. See also Cassie in Annihilation, and Cassidy in Life is Strange 2.

[17] See also the admixed Leo Biederman in Deep Impact, whose mother is named Ellen (also a reference to Helen).

[18] M. Brahmin, ibid, book #, chapter: “Aryans as ‘First Born,’ Jews as ‘Second Born’ & The Curse of Cain

ii. See Shaun and Daniel Diaz in Life is Strange 2 and Kain in Annihilation.

[19] See also Sam in The Last of Us and Sam Flynn in Tron: Legacy.

[20] M. Brahmin, ibid, book #, chapter: “Semitic Fire Gods

[21] Marina Jones, “The Dark Constellations of the Incas,” Futurism, August 10, 2014

[22] Foxes in Inca mythology, Wikipedia

[23] M. Brahmin, ibid, book #, chapter: “‘Sin’ as an Original Jewish God?

[24] M. Brahmin, ibid, book #, chapter: “The Daphne Motif and the problem with Laurels

[25] M. Brahmin, ibid, book #, chapter: “The Caducean phenomenon

[26] M. Brahmin, ibid, book #, chapter: “Star of David, Power Rings, Crowns and Gold

[27] M. Brahmin, ibid, book #, chapter: “The Racial Identity of Christ’s Parents Part II: The Annunciation Proof

[28] See also Roman Castevet in Rosemary’s Baby.

[29] See “Names Indicating Aryan Characters or ‘Aryan Identifiers'” in M. Brahmin, “Names Part II: The Importance of Names in REM, Common names & Exoteric Alibis

[30] Zorya, Wikipedia

ii. See also Zhora in Blade Runner as a reference to Venus.

[31] M. Brahmin, ibid, book #, chapter: “Esoteric Apollo: Lucifer, an imperfect name describing an Aryan God

ii. See also CLU in Tron: Legacy.

[32] See color symbolism, M. Brahmin, “The Parabolist’s and Propagandist’s Quick Reference Guide for Creating A.I.M

[33] M. Brahmin, ibid, book #, chapter: “Apollo, the Wall, the Enclosure, the Garden, the Assembly and the Eden Proof

ii. See also Henry in The Last of Us, Little Henry in American History X, and Coach Harris in Revenge of the Nerds.

[34] See “Adam the red,” M. Brahmin, ibid., book #, chapter: “The Garden of Eden Part I: Adam the Aryan Cuckold

[35] M. Brahmin, ibid, book #, chapter: “Apollo, the Wall, the Enclosure, the Garden, the Assembly and the Eden Proof

[36] Draža Mihailović, Wikipedia

[37] M. Brahmin, ibid, book #, chapter: “The Underworld as non-Aryan, ‘Sacred Prostitution’ and Jewess as ‘Trivia’

ii. See also Kat in The Last of Us Part 2, Kat in DmC: Devil May Cry, Trinity in The Matrix, the Trent sisters in Rosemary’s Baby, Adele Lack in Synecdoche New York, Kate Marsh in Life is Strange, Karen Reynolds in Life is Strange 2, Caitlin Stanley in Deep Impact, Catherine Langford in Stargate, Kathleen “Kitty Kat” Cleary in Wedding Crashers, and the company ‘Cathi Sue’ in Heist.

[38] M. Brahmin, ibid, book #, chapter: “Illuminati confirmed

[39] M. Brahmin, ibid, book #, chapter: “Historical Crypto-Jews Identified in JEM and History as Propaganda

[40] See number symbolism, M. Brahmin, “The Parabolist’s and Propagandist’s Quick Reference Guide for Creating A.I.M

[41] Another tantalizing though perhaps unlikely association occurs in a local legend of Morlaix, which is home to the “so-called Duchess Anne’s house,” named for Anne of Brittany. She was Duchess of Brittany from 1488 until her death in 1514; readers will no doubt be aware of the significance of the number 1488 which is alluded to (perhaps) via this villain’s surname.

[42] See Hector, M. Brahmin, ibid, book #, chapter: “The Value of Homer

[43] M. Brahmin, ibid, book #, chapter: “Esoteric Apollo: the totem of Wolf as pseudo-praise

[44] A somewhat similar euphemism may be implied with the Marvel character Carol Danvers, where “Danvers” may mean something akin to “dyke.” See M. Brahmin, “Captain Marvel Part I: The Jewish Feminist Carol Danvers a.k.a Ms. Marvel

[45] Madrid (Middle Ages), Wikipedia

[46] See the number twelve, M. Brahmin, ibid., “The Parabolist’s and Propagandist’s Quick Reference Guide for Creating A.I.M.

[47] See Tom in 1917 and President Tom Beck in Deep Impact.

[48] See also Tron: Legacy.

[49] M. Brahmin, ibid., book #, chapter: “The Color Green, Robin Hood & May Day

[50] See “purple,” M. Brahmin, ibid., book #, chapter: “Captain Marvel Part II: The Christian Kree and The Jewish Skrulls

[51] M. Brahmin, ibid, book #, chapter: “A Return To Sophistication

[52] M. Brahmin, ibid, book #, chapter: “Myth and Symbol Language Part I: The importance of establishing an Agreed upon, Shared Symbolism

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