Radix Journal

Radix Journal

A radical journal

Category: Identity

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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Nostalgia, Nationalism & Woody Allen

Nostalgia is the great opium den of Nationalist circles where many bright and energetic minds in dissident politics go to escape modernity and embark on a quest of contemplation and…

Nostalgia is the great opium den of Nationalist circles where many bright and energetic minds in dissident politics go to escape modernity and embark on a quest of contemplation and yearning for what “could have been”. Is this something that can be fully separated from radicals in our movement? Maybe not completely, however, just like the addict in the opium den, so too, are nationalists being consumed in reverie over any time period that they never lived in, and in place of progression is a great wheat field image induced stagnation that breeds depression and resentment.

Third position ideas do require reflection on our past, which can justifiably create immense admiration, but if only for the purpose of moving forward. Jewish Filmmaker Woody Allen, seems to understand the negative effects of nostalgia and seemingly gifts us with his 2011 film, Midnight In Paris. A film that displays how this trance-like state of yearning for the past can seriously complicate your present. The only problem is Allen, I feel, is speaking to a very specific audience and that audience is us. Thus, he is careful to not encourage us too much and, as you will read below, I believe he has a more nefarious purpose for this messaging.


OVERVIEW OF MIDNIGHT IN PARIS

 Midnight in Paris, written and directed by Woody Allen, is a quirky tale of a screenwriter seemingly at an impasse. Gil Pender (Owen Wilson), is vacationing in Paris with his fiancee, Inez (Rachel McAdams) and her parents John and Helen. As we can see right off the bat, Gil and Inez couldn’t be more different than one another. Gil is very lackadaisical while Inez is explicitly high maintenance and intense. Inez’s parents have nothing but disdain for Gil and his ostensibly aloof and unserious personality. Gil is almost finished with his first novel about a man working in a nostalgia shop. Inez is not impressed or encouraging with this novel and wishes he would stick to screenwriting due to to his success in Hollywood. Inez is also annoyed at Gils’ insistence that they should live in Paris indefinitely due to his nostalgic euphoria over the Paris of the 1920’s.

Paul, who is a friend of Inez, and his wife happen to be in Paris at the same time as them. She admits to Gil she had a “crush” on Paul in college to which a clearly jealous Gil describes him as “Pedantic” and “Pseudo-intellectual”. Inez is clearly infatuated with Paul while Gil cannot stand him. Paul is a very dapper man who speaks with confidence and with every chance he gets, he tries to be the smartest man in the room. Even when he is contradicted by a tour guide about the artist Rodin and his tryst with his wife and mistress, Paul will not relent and keeps insisting he is right (and as the viewer can find out if they look into the life of Rodin, the tour guide was correct).

Gil and Inez have a night of drinking with Paul and his wife until Gil opts for a walk around the city of Paris alone to take the city it all in while Inez leaves with Paul and his wife in a taxi. Gil stops on his walk to figure out where he is exactly and as soon as the clock strikes midnight, a 1920’s vehicle pulls up in front of Gil. The passengers, also dressed from the 20’s, invite him to join them. It is at this point Gil is transported back in time to what he sees as the Golden Age of Paris. The 1920’s. This allows for an entertaining list of famous characters from the time to enter the plot such as Ernest Hemingway, Salvador Dali, Luis Bunuel, Cole Porter, F. Scott Fitzgerald, and more.

Every night Gil transports himself back in time to meet all these artistic giants of the 20th century while his wife spends her time with Paul and, supposedly, his wife. After Hemingway brings Gil to Gertrude Stein’s flat so that he may have his novel analyzed, he meets Adriana (Marianne Cotillard). They have an instant connection and Gil becomes conflicted with this new flame that he has in the past and his current fiancee.

After visiting an Antique vendor in the present day, he finds Adriana’s diary where she has written a passage about her love for Gil. This encourages him to go back in time once more so that they may communicate their feelings for one another. They do so,and as they kiss at midnight, a horse drawn carriage pulls up in front of them and a well dressed couple invites them in. They are then transported to the 1890’s which is the true Golden Age, according to Adriana. After she is offered a job to make costumes for the theater, she decides to stay but Gil cannot. He realizes that everybody is bored with the age in which they live and they won’t find their meaning by going back. He decides the present is where he should remain and they choose to part.

Once in the present, Gil realizes Inez may be cheating on him with Paul (a discovery made by Hemingway after he reads Gil’s novel; Gertrude Stein then relates to Gil that Hemingway could not believe the protagonist did not see his fiancee was having an affair right before his eyes with “the pedantic one”) and when he confronts her, she admits to doing so but that he needs to just “get over it”. Gil seems rather pleased and takes this moment to tell her he will stay in Paris and they are not right for one another. In the end, we see Gil walking, yet again, through the city of Paris and at midnight he bumps into a young beautiful antique vendor he met earlier in the film. They walk off together through the streets, in the rain, which is where Gil always felt happiest.


WOODY ALLEN & THE ARYAN

 What does this film mean, and more importantly, what does it mean for nationalists? In a way, Allen is giving an honest critique of reactionary thought. Not living in the now and spending ones time only in the past can produce untold unhappiness in the present. Gil is frustrated with how he is presently living. He dreams of a before time when to him everything was great. We see this many a time in politics. For a typical Republican, perhaps it’s America in the 50’s. To some 1930s Europe. To others medieval times and there are even those that believe that in the days of cavemen things were far more ideal. Which ever time one finds themselves pining for, Allen is telling the viewer that it is the present we should be focused in but how exactly is he portraying the present?

The film opens with a series of static shots that appear almost like paintings to display the very best of Paris. Throughout the film, the city is always ever present as another character in the story. While indeed very inspiring and breathtaking, it is obvious Woody Allen has only picked very select parts of the city. What we know of Paris today is that it is a shell of its former self. Even in 2011, during the films release, migrant hell holes burrowed their way into the city along with the trash that covers the streets. Culture in Paris is waning and the very best parts of the city are only preserved for the sake of tourism and not for the French soul. I doubt Allen is ignorant to any this. Quite the opposite. I believe this was a calculated decision on his part to ensure that we don’t spend much time in the past but to also accept our present as being more than sufficient, therefore we have no need to look to our future. As Nationalists, we are inspired by our past which Allen is more than aware, and as I’ve stated before we take elements from our Golden Age (whenever that may be) so that we may apply it to our lives in order to create a different future than the one that has been currently decided for us. Allen is careful to not encourage us too much. He wants you to stay forever in the present and to imprison your passion within the confines of a “this is good enough” type of attitude.

How do we know Allen is speaking to us? Some subtle clues in his body of work, as well as Midnight in Paris specifically, give us an indication of who he is speaking to. One of the ways we can find these clues is through name recognition which you can learn through the work of Mark Brahmin and his work in Jewish Esoteric Moralization also known as JEM. Many Jewish filmmakers pick very specific names in order to indicate who is an “Aryan” and who is a “Jew”. Gil can be translated to a few different meanings. Foolish, simpleton, and happy (which can hint at a happiness out of ignorance) are among those meanings which makes sense when you view this blonde and blue eyed character in the film. JEM often portrays the Aryan figure as gullible and generally oblivious.

It’s not that Gil is an ignorant man by any means it is more that he is a bit unaware of his surroundings and can be easily manipulated. Two women in his life that are Jewish signifiers, Inez (Who’s father is a Jewish figure named John who is also a neocon) and Adriana (meaning black, which is a Jewish signifier), merely have Gil around for their temporary entertainment. Adriana, for example, writes in her diary that her reasons for loving Gil are that he is “naive and unassuming”. Paul Bates, being short for Bartholomew which is a Jewish signifier, even cuckolds Gil. The Jewish figure steals the Aryans woman away from him.

While there are several symbols and other names that we can delve into, the point is that Allen is giving, in my opinion, a direct message to the “goy”. Jews are very fearful of an inspired Aryan people which may lead to uprisings as we have seen in the past. Since film is possibly the most versatile art form in history, it would behoove one such as Woody Allen to not only entertain his audience but to also influence them in a way that he feels benefits him through subversive means.


CONCLUSION

Nostalgia, while being quite natural, can be a trap. Gil experienced this well enough. While its aroma can be alluring, it has been the great motivator of inaction among Nationalists currently. I cannot emphasize enough that we can, and should, look to days gone by to find inspiration and ideas that we can use or even update to create a future. But A movement must have vision. Vision requires forward thinking. There is no return to tradition and Nostalgia is by no means meant to be our end goal.

Midnight in Paris interested me because on one hand Woody Allen is acting as if he is giving us good advice on this matter. On the other hand, making sure we are stopped in our tracks. This is one of many ways our opposition tries to control us. The film is well done, entertaining, and quite funny. With that being said, Allen wishes to make you feel like you are progressing while in reality keeping you in a perpetual hamster wheel. It is all too Caducean. We need to spot this effect in every aspect of our lives. We need to break free of not only the prison our opposition has created for us but the one that we, as nationalists, construct for ourselves. Move forward. Not backward.

 

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Myth, Mental Illness, and Political Extremism

Editor’s Note: This is an excerpt from the forthcoming book “American Extremist: The Psychology of Political Extremism”.  An unfortunate consequence of the medicalization and naturalizing of the mind (and the body)…

Editor’s Note: This is an excerpt from the forthcoming book “American Extremist: The Psychology of Political Extremism”. 

An unfortunate consequence of the medicalization and naturalizing of the mind (and the body) has been to view cognitive dysfunctions and personality disorders almost exclusively in terms of biological causes.  In those situations where thinkers dare to look beyond the biological, the tendency to consider environmental and even political causes will emerge.  So too, will these theorists turn towards explanations that emphasize various technological and cultural innovations (the omnipresence of visual and auditory stimuli), narcissistic industries (the arts, including fashion, music, and cinema), and the demands that changing work environments have on psychomotility), share in contributing to the phenomenon of human psycho-social dysfunction.  To the credit of such thinkers, new disciplines have emerged in the last century to address these problems.  However, this too has proven insufficient.  This is not to say that theories of physical trauma, congenital disturbances of neurobiological processes, rapidly changing technological and environmental demands, and considerations relating to the individual’s political circumstance are not significant, but should we consider the explosion of mental health problems in industrialized and modernized societies – in particular over the last quarter century – as well as our failure to treat persistent psychiatric conditions, then we must admit that something is awry in our analysis.  Thomas Szasz wrote of the myth of mental illness in 1974, but in this work I would like to discuss myth and mental illness.

Medicalization of the Mind

The how of human behavior throughout most of our history has been relegated to the domain of religion, in particular through the use of myth and parable to convey truths about our nature, and as such, to provide archetypes or models which we can then internalize and embody in our actions.  Throughout our history these archetypes have provided the form for consciousness (we could also call that ‘personality’), and the use of myth and parable has served as a kind of moral and ethical education.  During that time, we regarded these societal tools with great care and as such they were not easily dismissed by past regimes; when new mythical systems were adopted, almost always for the purpose of political consolidation and expansion, the most successful societies either retained significant features of the existing system, and if pressed, wiped out any trace of their existence (including the people who held on to them).  What we see in our current situation is a covering, an overlaying, of the existing mythic and parabolic foundation upon which America was founded.  An analogue to this may be found in Christopher Caldwell’s recent book The Age of Entitlement, where he pointed out that America is presently divided between the founding constitutional document and its mid-twentieth century legal replacement (brought about by the civil rights movement); we are not only contending with dueling legal understandings, but dual and incompatible understandings of our own mythical, historical, and parabolic origins.

Stepping aside from the technical and historical implications of that statement and moving directly to its psychological consequences, we can say that perhaps to a greater extent than people are a product of their race, ethnicity, or geographical origin, they are the result of their mythological and parabolic inheritance.  If a people can be ripped from their inherited narratives, which are best understood as a true collective fiction or ideology, or merely have their narratives re-written in a way that is disempowering, then they necessarily become psychologically vulnerable to the slings and arrows of malevolent narratives and cognitive colonization.  New narratives emerge which provide a different set of ethical and moral codes, which, as we can plainly see, do not foster the development of agency, maturity, and eusocial intimacy.  Rather, they engender quite the opposite.

Moreover, such people become alienated from their own identities, the result of which is a kind of false consciousness and the development of an othered self-concept.  Natural instincts honed over generations of natural and sexual selection thus become problematized.  Conformity to a set of mythical and evolutionary behaviors, themselves finely tuned and highly adaptive are now indicators of repression, trauma, or worse, fascist tendencies.  Seen in this light, mental illness can be understood as the result of a conflict between a dysgenic mythos and the natural psychological tendencies which seek realization within an orderly mental framework.  While it is not ideal to describe the resulting psychological deficits using the language of mental illness (a concept so bound up in pseudo-medical and pseudo-scientific complications as to be unwieldy in helping us to achieve greater clarity), understood in its conventional sense it does give us a point of discursive origin – the dysfunction of human thought and action.  Operating from the insights afforded to us by narrative theory – stated simply, the idea that storytelling is an essential component of human cognition – we would be better served to work with a parabolic and mythological conception of psychological dis-ease.

In short, the subversion of religious, national, and ethnic mythos grants a tremendous capacity for political and social control.  Much of contemporary discourse is itself a fight over the rights to our foundational myths, so that they may be used to combat the social and political ills of our time – namely racism, anti-Semitism, fascism, inequality, misogyny, colonialism, imperialism, and homophobia (to name a few).  One such example of this contest for cultural supremacy may be found in the work of Donna Zuckerberg who wrote the book Not All Dead White Men, partly with the intention of de-fanging classic texts (such as those of the Stoics) who, in her view, served as a legitimating force that aided far-right misogyny.  In a 2018 interview with The Guardian, Zuckerberg was quoted as saying,

The ancient world was deeply misogynistic – it was a time when there was no word for rape, feminism did not exist and women’s actions were determined by male relatives.”

Other choice quotes from the same interview bemoaned the fact that white supremacists and racists:

“…long appropriated the history, literature and myth of the ancient world to their advantage. Borrowing the symbols of these cultures, as the Nazi party did in the 1940s, can be a powerful declaration that you are the inheritor of western culture and civilisation”; that these texts were being “distorted and stripped of context”;

And that furthermore,

“Classics are wrought with histories and narratives of oppression and exclusion.” 

While universities make progressive attempts to broaden the canon so students aren’t simply reading one dead white man after another,

“the manosphere rebel against this. They see themselves as the guardians of western civilisation and the defenders of its cultural legacy.”

One last statement, simply to punctuate the point,

“By quoting Marcus Aurelius – as Steve Bannon is known to often do – Red Pillers perpetuate the idea that they, white men, are the intellectual authority under threat from women and people of colour.”

We can find countless examples of this phenomenon, though I won’t go into quite as exhaustive an investigation here (but a few more will further illuminate the point I have already made).  In her 1976 work, The Laugh of the Medusa, Feminist theorist Helene Cixous reinterpreted the Perseus myth as an expression of male fragility and terror.  In her own words:

“Too bad for them if they fall apart upon discovering that women aren’t men, or that the mother doesn’t have [a penis].  But isn’t this fear convenient for them?  Wouldn’t the worst be, isn’t the worst, in truth, that women aren’t castrated, that they have only to stop listening to the Sirens (for the Sirens were men) for history to change its meaning?  You only have to look at the Medusa straight on to see her.  And she’s not deadly.  She’s beautiful and she’s laughing.  Men say that there are two unrepresentable things: death and the feminine sex.  That’s because they need femininity to be associated with death; it’s the jitters that gives them a hard-on! for themselves! They need to be afraid of us.  Look at the trembling Perseus moving backward toward us, clad in apotropes.  What lovely backs!  Not another minute to lose.  Let’s get out of here.”

A pioneering moment in what would later develop into the discipline of Queer Theology, Hugh William Montefiore wrote in 1967 of Jesus Christ’s obvious homosexuality.  In the paper titled Jesus, the Revelation of God, Montefiore wrote,

Men usually remain unmarried for three reasons: either because they cannot afford to marry or there are no girls to marry (neither of these factors need have deterred Jesus); or because it is inexpedient for them to marry in the light of their vocation (we have already ruled this out during the “hidden years” of Jesus’ life); or because they are homosexual in nature, in as much as women hold no special attraction for them. The homosexual explanation is one which we must not ignore.”

Bishop Hugh William Montefiore, author of “Jesus, the Revelation of God”.

Saint Sebastian, the early Christian saint and martyr who was killed during Diocletian’s persecution of Christians has since enjoyed a second life as a symbol for the pain of closeted homosexuals.  Richard A. Kaye wrote that

“Contemporary gay men have seen in Sebastian at once a stunning advertisement for homosexual desire (indeed, a homoerotic ideal), and a prototypical portrait of a tortured closet case.”

The 1619 Project, begun by New York Times reporter Nikole Hannah-Jones (and which recently was awarded the 2020 Pulitzer Prize for Commentary), is another such example of narrative-based political action heavily dependent on myth as a means for influencing thought and action.  The project argued, among other things, that the American Revolution was fought to preserve the institution of slavery on the freshly settled continent.  While I do not intend to rebut the arguments and reinterpretations presented in this paragraph, they do serve to underscore my position – myths make the people.  Ayn Rand was alleged to have remarked positively at the release of the 1977 television series, Roots, arguing that it was an important work which provided African-Americans with a sense of myth and history, having lost this connection as a result of the slave trade.  Clearly we can see what we may call mythic competition, as the story of the African slaves has been transported from a peripheral, though integral, part of American history to the front-and-center position it currently enjoys.

To quote Derrida from his lecture “Structure, Sign, and Play in the Discourse of the Human Sciences” (who in turn was quoting Levi-Strauss),

“The myth and the musical work thus appear as orchestra conductors whose listeners are the silent performers. If it be asked where the real focus of the work is to be found, it must be replied that its determination is impossible. Music and mythology bring man face to face with virtual objects whose shadow alone is actual…. Myths have no authors”.

And because myths have no authors, they can be seen as part of the commons – belonging to the public domain – and therefore subject to an unending sequence of reappropriations.  An unwillingness to secure a ‘rightful’ interpretation, or at least designating an interpretative or priestly class of sufficient loyalty, thus opens the populace up to powerful and unrelenting psychological manipulation.  Not all political power comes from the barrel of a gun; often we find the pen to be just as mighty as the pistol.

The appropriation of myth has powerful implications for the development of a secure identity. Mythical reevaluations are to large degree the unavoidable consequence of both cultural evolution and involution; the more a people migrate from their formative circumstances, the greater is the need for their myths and parables to be recontextualized so they may make sense of new challenges and circumstances.  There may be a political dimension to this process or it may reflect simple pragmatic necessities, sometimes both at once.  In our present situation it is difficult to deny the political motivations behind the repurposing of Western and American mythology.  Whether owing to the desire to suppress political opposition, or as the logical result of a democratization of the arts, whereby marginalized peoples seek to break the yoke of oppressive, supremacist, and phallogocentric narratives (itself a revolutionarily political act), we see in all instances a will to power seeking its own exertion and preservation.

Persecution and Suffering as foundational myth.

Persecution and suffering, being so central to the founding mythology of many Americans (be they English, African, Irish, Jewish, or otherwise) thus provides a wellspring of resentment, angst, and terror with which to be drawn from and marshaled for reasons of political efficiency.  By no means are these the only themes to be found in our myths, nonetheless they have proven the most enduring and politically expedient for the achievement of control and subjugation.  Consider the following realities of victimhood: The Jewish-American fears an inevitable persecution at the hands of his Gentile neighbor.  The African-American fears he will never free himself from the slavery of his Caucasian oppressor.  The European-American increasingly suffers under the weight of his own mythical tyranny, for increasingly his narrative is one of original sin, situating him as the sole agent of evil in the modern world.  Woman, too, anguishes at her inability to escape man’s cloying grasp.  And as the revolution of human rights continues its march into the adolescence our new century, homosexuals and transsexuals find themselves similarly – and in their view, most significantly – suffering victimhood for the mere crime of existing.  Resentment, that rich and eminently minable psychological resource, may be the prevailing feeling of our time; so long as this remains the case we will find ourselves helpless to improve our current circumstance and realize the ambitions of the last century.

Fellow Radix stalwart Dr. Edward Dutton would tell us that political extremism and its concomitant psychological maladaptations find their origins through the evolution of the spiteful mutant.  And this may be true to a very large degree.  But a mere bad roll of the genetic dice alone could not account for the unprecedented level of cultural and political turmoil that the United States is presently confronted with.  Amassing large swaths of human capital (be they spiteful mutants or otherwise) will aid the pursuit of political power, but as Gustave Le Bon showed us, they are not in and of themselves sufficient to achieve any purpose.  They must be guided, massaged, spellbound before they may become useful political golems.  Mental illness and political extremism go hand-in-hand; while evolutionary pressures integrally set the stage for psychological and political development, we must understand as well the role that myth – be it through religious, poetic, literary, cinematic, or musical transmission – plays in giving shape to the mind of man.

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The Absolute Essence

What lies buried shall be unearthed, and who has been rendered oblivious shall be invited to remember. Working towards this is the main task imposed on us.

What lies buried shall be unearthed, and who has been rendered oblivious shall be invited to remember. Working towards this is the main task imposed on us.

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Death by Modernity: Michael Haneke’s “The Seventh Continent”

What should one do when they feel dead on the inside? When yesterday, today, and tomorrow all bleed into one another and when society ceases to provide any kind of…

What should one do when they feel dead on the inside? When yesterday, today, and tomorrow all bleed into one another and when society ceases to provide any kind of meaning?

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On Conservatism, Identity, Heidegger and Archeofuturism

Conservatism cannot deliver what is needed, it is opposed to radical changes, it is opposed to radical ideas.

Conservatism cannot deliver what is needed, it is opposed to radical changes, it is opposed to radical ideas.

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“Keep In Mind” by Xurious & Hiraeth

Recently Dissident Right musicians Xurious and Hireath have combined on a pair of excellent music tracks.  The first called “Keep in Mind” can be found below on Hiraeth’s channel. The…

Recently Dissident Right musicians Xurious and Hireath have combined on a pair of excellent music tracks.  The first called “Keep in Mind” can be found below on Hiraeth’s channel. The equally stirring “We’re Gonna Make It” can also be found there.

We hope this new power duet of nationalist music continues to collaborate.  Enjoy.

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Why I Can’t Stand St. Patrick’s Day

I’ve always instinctively disliked St. Patrick’s Day. Growing up in the ‘80s and ‘90s, I was inured to the multicultural calendar of ethnic holidays I didn’t resonate with or understand….

I’ve always instinctively disliked St. Patrick’s Day. Growing up in the ‘80s and ‘90s, I was inured to the multicultural calendar of ethnic holidays I didn’t resonate with or understand. But no one ever expected me to actually celebrate Rosh Hashanah—or wear T-shirts that read “I’ve got a little Jewish in me” or pinch anyone not donning a yarmulke. At one point, I started wearing Orange on March 17 . . . though the message was seemingly lost on most everyone I encountered.

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The God of White Dispossession

“MLK Day” has become the high holy day of the American liturgical calendar. No other statesman, not Washington, Jefferson, or Lincoln, is deemed worthy of a holiday all to his own. And no other national holiday seems to carry such relevant, pressing *meaning* for Americans as the third Monday in January.  The 4th of July has become an excuse for a backyard barbecue. The MLK anniversary, on the other hand, inspires Americans to ask who we are and what our higher ideals should be.

“MLK Day” has become the high holy day of the American liturgical calendar. No other statesman, not Washington, Jefferson, or Lincoln, is deemed worthy of a holiday all to his own. And no other national holiday seems to carry such relevant, pressing meaning for Americans as the third Monday in January.  The 4th of July has become an excuse for a backyard barbecue. The MLK anniversary, on the other hand, inspires Americans to ask who we are and what our higher ideals should be.

NPI’s co-founder, Samuel Francis, who was active in the debates about the institution of the holiday in mid-’80s, recognized then that the significance of Martin Luther King Jr. stretched far beyond the legal and political technicalities of the Civil Right Act.  The celebration of the man represented a great change in how Americans understood their nation.

[T[he true meaning of the holiday is that it serves to legitimize the radical social and political agenda that King himself favored and to delegitimize traditional American social and cultural institutions — not simply those that supported racial segregation but also those that support a free market economy, an anti-communist foreign policy, and a constitutional system that restrains the power of the state rather than one that centralizes and expands power for the reconstruction of society and the redistribution of wealth. In this sense, the campaign to enact the legal public holiday in honor of Martin Luther King was a small first step on the long march to revolution, a charter by which that revolution is justified as the true and ultimate meaning of the American identity. In this sense, and also in King’s own sense, as he defined it in his speech at the Lincoln Memorial in 1963, the Declaration of Independence becomes a “promissory note” by which the state is authorized to pursue social and economic egalitarianism as its mission, and all institutions and values that fail to reflect the dominance of equality — racial, cultural, national, economic, political, and social — must be overcome and discarded.

By placing King — and therefore his own radical ideology of social transformation and reconstruction — into the central pantheon of American history, the King holiday provides a green light by which the revolutionary process of transformation and reconstruction can charge full speed ahead. Moreover, by placing King at the center of the American national pantheon, the holiday also serves to undermine any argument against the revolutionary political agenda that it has come to symbolize. Having promoted or accepted the symbol of the new dogma as a defining — perhaps the defining — icon of the American political order, those who oppose the revolutionary agenda the symbol represents have little ground to resist that agenda.

Sam is all too correct that “MLK writ large” has become the foundation of American identity; in many ways, the situation is far worse than the one he depicted in 1998.

At the time, Sam described a pitched battle between MLK’s egalitarian “Dream” and “traditional American social and cultural institutions,” which he describes, in Cold War language, as “anti-Communist foreign policy,” free-markets, and the Constitution.

What Sam might not have grasped in 1998, but understood fully later, is that by the turn of the 21st century, the MLK counter-culture was (and is) the Establishment. There are precious few “traditional American social and cultural institutions” that do not honor MLK or treat “The Dream” as informing their missions.

And this is not solely the case for the more overtly liberal ones like the Department of Education. No less a putative bastion of conservative values than the U.S. Army is led by men like Four-Star General George Casey, who in 2009, in response to a Muslim Army Major who murdered 13 of his fellow soldiers as an act of jihad, averred,

What happened in Fort Hood was a tragedy. But I believe it would become an even greater tragedy if our Diversity becomes a casualty. And it’s not just about Muslims. We have a very diverse Army; we have a very diverse society; and that gives us all strength.

MLK unites the Left (tactical disputes between Malcolm X and the pacifist reverend have long since gone by the wayside). And in a strange way, he unites the Right as well. “Judged By The Content Of Their Character” is the central (if not sole) argument against multiculturalism and affirmative-action offered forth by self-styled “conservatives.” And King is counted as an American icon and hero not only at left-wing and liberal gatherings but at those of the “Religious Right” and Beltway Republicans.

Glenn Beck—who, in his radio and television programs and mass rallies, has created a kind of religion of MLK—might actually turn Sam’s polemic on its head and claim that MLK is the hero of American foreign policy and Constitutional government. And he would, in a sense, be correct—even in the matter of foreign affairs. Washington’s violent incursions into the Middle East are invariably accompanied by promises that all shall vote, women shall attain undergraduate educations, and minorities shall be empowered.

Despite conservatives’ wishful thinking, The Dream—in all its manifestations—is the antithesis of a free society. Government’s enforcing that all people and businesses make judgments non-racially is, in itself, a totalitarian notion and has, in fact, resulted in a massive interventionist infrastructure and bureaucracy. (Rand Paul tepidly hinted at as much during his 2010 Senate campaign.) The costs of the industry of “civil rights” and “diversity training” in the workplace can be measured in the hundreds of billions, if not trillions, per year. (And pace conservative revisionism, the actual Martin Luther King Jr. unequivocally advocated most all of the measures done in his name.)

More deeply, “non-discrimination” as a value is the enemy of all tradition, not just the Anglo-Saxon American society it has helped destroy. The version of The Dream that conservatives like—that of interracial hand-holding and vague libertarianism—is ultimately a vision of race-less, family-less, class-less, history-less individuals, happily experiencing equality with other individuals of various shades, all integrated by the marketplace and government. Tradition is, at its root, about being a part of something larger than oneself. The Dream is about becoming a self-contained atom.

Conservatives might think it cute to quote some of King’s more libertarian utterances back at liberals, as a form of “PC Judo.” But in the end, they will be the losers of such a gambit.
Martin Luther King Jr., a fraud and degenerate in his life, has become the symbol and cynosure of White Dispossession and the deconstruction of European civilization. We shall overcome!


This essay was first published on January 20, 2014, at RadixJournal.com and NPIAmerica.org.

 

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