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Radix Journal

A radical journal

Tag: Race

The TERFs to Dissident Right Pipeline

If you are at all active in right-wing online spaces, you may have taken note of an influx of women into dissident right political circles over the past two or three years.

If you are at all active in right-wing online spaces, you may have taken note of an influx of women into dissident right political circles over the past two or three years. In addition, there has been an increase in conversations surrounding the phenomenon of women within the political left who have rejected some of the more egregious elements of third-wave feminism, often at great personal and social cost. These women, who identify as second-wave or classical feminists, unequivocally reject transgender ideology – they are Trans Exclusive Radical Feminists (TERFs).

“TERFs” emerged as a slur by early 2010, as pushback against trans activism within feminist circles gained more visibility, along with the lesser-used Sex Worker Exclusionary Radical Feminist, or SWERF. With a major overlap, both groups reject the notion that sex is socially constructed and changeable, and both embrace that pornography and sex-positive feminism is a societal sickness and deeply exploitative of women.

These two core positions form the bridge between TERFs and the dissident right, with several other elements contributing to the exodus of women from the feminist framework altogether. TERFs aren’t necessarily “radical” in the sense that they are any more anti-male or passionate about their discourse than third-wave feminists, but for many, their adherence to the traditional feminist academic understanding of sex and gender earns them the label.

A surprising number of women involved in the dissident right admit to coming to their political stance from varying degrees of leftism. Similar to the “Libertarian to Alt-Right Pipeline” ubiquitous in 2016, the pipeline connects two diametrically opposed ideologies and makes converts out of an oppositional party. In order to understand this ideological leap, we have to understand what drives women to accept the core tenants of dissident right belief.

Gender as a Social Construct

Until the proliferation of transgender ideology in recent years, feminist academia understood gender as an entirely social construct distinct from sex, which is the unchangeable, biological basis of women’s oppression. Gender expression as a socially constructed phenomenon, or a product of an individual’s upbringing, is a concept undergoing a shift toward a more nuanced understanding of where and how the intersection of gender and biology occurs. The common dissident right position would be an unwavering view of immutable physical sexual dimorphism, a view shared by radical feminists, taken together with an understanding of gender expression as at least partly based in bio-psychological urges.

Feminists have long strained against the ties joining gender expression and a biological basis for gendered behavior, ardently arguing against the concept of a “woman’s brain” until recent developments in trans ideology have begun to repopularize the surprisingly regressive concept. In the midst of this confusion – a third position emerges. What if gender expression IS largely based on biology, and that’s perfectly alright? Why can’t we celebrate our unique aptitudes? Why can’t we accept what we cannot change, and advocate for women’s interests with this understanding?

Women’s Liberation to Corporate Slavery

The most severe catalysts for any women’s liberation movement are the immediate threats of physical and sexual violence and the lack of ability or opportunity for a woman to support herself or her children if her partner or guardian fails in his responsibilities or if he has passed away. Once these dangers were somewhat mitigated in the West, we see a shift from a genuine women’s liberation movement into the mid-to-late 20th-century Jewish-led feminist theory.

This movement and its development into third-wave intersectional feminism have helped to shape a society where violent pornography is encouraged for consumption and accessible to children, where mass immigration has caused rape epidemics in once comfortable European towns and villages, and women and girls are subject to unthinkable violence as part of a tradeoff for the supposed strengths of a diverse society. With self-identification laws and rabidly anti-woman LGBTQ activism, women have largely lost the right to privacy and the women’s only spaces vital for our safety. The freedom for women to work and support her family in a dire situation became perverted into a massive societal push for women to join the workforce en masse, resulting in what we now understand to be a wage-stagnating doubling of the labor pool and a generation of small children and infants raised in an often apathetic daycare system.

With this comes a new understanding of women’s oppression. We are torn away from our children by the new economic reality, sent into corporate slavery, and prevented from starting families. When the most natural essence of womanhood is discouraged and we are denied the fruition of our most basic biological instincts, we come to understand the current system as one dangerous to the feminine body and spirit, the family structure, and the backbone of western society. From this core realization onward, there are a number of factors that have caused the mass exodus of TERFs from the left into the dissident right.

Rejecting Degeneracy Depletes Social Capital

With countless women realizing that feminism, for all of its pro-women intent, has failed women and allowed these miserable circumstances to come to pass, nothing highlights this disconnect more than the social consequences of rejecting the trans and sex-positive narrative. The TERFs label results in the same personal or professional upheaval as being outed as a white nationalist, and trans activists use the same cowardly tactics as Antifa uses against suspected fascists. Women have lost their jobs, social circles, and families for failing to adhere to third-wave groupthink. They are subject to violent threats from trans activists and “feminist” men alike. These women become social pariahs and have simply already lost the social capital they stand to risk by getting involved in dissident politics.

TERFs Targets

Vancouver Rape Relief has been repeatedly vandalized, including a dead rat nailed to their doorway. The center provides support services to female victims of sexual assault.

Statistics and Race

Male violence is of unique interest when arguing the risks involved in allowing men into spaces where women are vulnerable, and one of the first steps in accepting the reality of male violence is actually viewing the statistics regarding male-on-female violence. Viewing the publicly available data with a critical eye reveals a truth known to anyone on the dissident right. It doesn’t take any thinking woman long to see exactly which men are committing violent crime and the majority of partner violence, and race realism is a natural next step.

Immigration

Another issue that sets most TERFs apart from intersectional feminists is their unflinching rejection of the Islamic encroachment on the West. Mass Islamic immigration is a grave concern to most women who value their safety over the social capital gained from intersectionality. Unregulated immigration from the southern border in the US continues to sacrifice female victims of illegal immigrant sexual violence on the altar of multiculturalism.

Certain sects of honest leftist politics have begun moving away from “woke” liberal discourse and into legitimate class struggle and economic analysis. Many have conceded the disastrous effects of mass immigration and an endless supply of cheap labor on wage stagnation and worker protections, and as these topics become less taboo in leftist dialogue, genuine leftist women feel more confident in questioning the diversity dogma.

Respect for Masculinity

Feminism creates a gender divide that doesn’t speak meaningfully to women who have healthy relationships with men. Anti-male rhetoric is toxically present in radical feminist spaces, and the most vehemently anti-male and anti-masculinity conversation pushes away women who have strong bonds with their fathers, partners, sons, and men in their communities, or even just the woman confident in her attraction to traditional masculinity.

Rethinking Patriarchy

Many women on the dissident right have come to understand patriarchy as a system of paternalistic male leadership, with the expressed goal of protecting women, families, and the larger societal structure. The adversarial understanding of patriarchal societies espoused by both MGTOW and third-wave feminism is both reductive and historically illiterate.

There is no perfect patriarchy to draw from historically, and some reactionary traditionalist movements only seek to replicate an idealized version of gender relations that are more a product of the 1950’s advertisement and marketing industry than a genuine understanding of our history. A pro-family, pro-natalist movement requires some degree of female participation, and reframing the patriarchy paradigm is essential – toward a system where men’s urges and strengths are allowed to flourish and channeled into healthy outlets, and women are protected and respected for their material reality and the gifts our unique biology affords.

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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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Freedom & The State

In order to become free, we must free ourselves from the nightmare of modernity. We must free ourselves from the myths which are utilized in order to make Europeans feel guilty about a past that they should feel proud of, we should feel proud of both the good and the bad just as other races feel pride for their entire history.

In order to become free, we must free ourselves from the nightmare of modernity. We must free ourselves from the myths which are utilized in order to make Europeans feel guilty about a past that they should feel proud of, we should feel proud of both the good and the bad just as other races feel pride for their entire history.

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Richard Spencer’s Interview with Europe Maxima

This interview about Donald Trump, the question of identity, geopolitics, Islam, and other issues originally appeared in a French publication Europe Maxima. Richard was interviewed by Thierry Durolle.

This interview about Donald Trump, the question of identity, geopolitics, Islam, and other issues originally appeared in a French publication Europe Maxima. Richard was interviewed by Thierry Durolle.

Europe Maxima: First and foremost, thank you for answering my questions. To begin this interview, could you introduce yourself and the National Policy Institute to our readers?

Richard Spencer: The National Policy Institute is an independent non-profit think tank dedicated to the heritage, identity, and future of people of European descent in the United States and around the world. I am the President and Director of The National Policy Institute and Washington Summit Publishers. I am also the founder and Editor of Radix Journal, RadixJournal.com, and a co-founder of the recently-launched AltRight.com.

Europe Maxima: You are considered by the media as a kind of showcase or spokesman of the now-famous Alt Right. We know that the Alt Right is more of a nebula of different tendencies rather than a homogeneous movement. Where do you fit in this Alt-Right nebula?

Richard Spencer: I coined the term “alternative Right” in 2008 in order to differentiate myself from the failures of mainstream American conservatism. I saw the latter as a purely reactive form, seeking to preserve the status quo as opposed to focusing on passing down key aspects of our ancestral traditions to future generations. I have been referred to as the intellectual vanguard of this movement.

Today, Alt Right is, indeed, an umbrella term to describe those seeking the way out of Liberal Postmodernity dominating the United States and Europe through various means: culturally, socially, politically. Alt Right’s current diversity is a natural state in its early stages of development, as we consolidate our message and improve our communication with likeminded counterparts outside the U.S.

Europe Maxima: Several protagonists of the Alt Right seem to be influenced by the French Nouvelle Droite and particularly by Guillaume Faye and Alain de Benoist. As far as you are concerned, you invited the latter in 2013 to talk about the identity question. What did you learn from the French Nouvelle Droite and do you believe that its influence is that important among Alt Righters?

Richard Spencer: The so-called French New Right has left a tremendous impact on the Alt Right, as have earlier renditions of the Right in continental Europe: from Friedrich Nietzsche to the Conservative Revolutionary thinkers in the interwar period. One of the reasons for this influence is the fact that continental Europe has a rich tradition of right-wing intellectuals as compared to the United States, which has, relative to its population, few. Apart from a number of notable exceptions, today, the Right in the U.S. comprises neoconservatives, libertarians, and paleoconservatives, who either fail to address key questions of identity or do not go far enough in doing so.

Europe Maxima: Except the Nouvelle Droite and some famous thinkers like Julius Evola and Oswald Spengler, we don’t really know American thinkers who influenced the Alt Right. Could you name a few?

Richard Spencer: Some of the notable thinkers of recent times in the U.S. include Sam Francis, Patrick Buchanan, Murray Rothbard, and Paul Gottfried. In various ways, these thinkers criticized Washington’s foreign policy of chaos led by neocons and liberal interventionists, questioned the decline of the West, and examined questions of identity.

Europe Maxima: The Lügenpresse depicts you as a neo-Nazi and a white supremacist whereas you consider yourself a race-realist. Does this mean you want a « nice white country » or that you would accept living in a multicultural country as long as there is no racial and cultural mixing between its communities?

Richard Spencer: I consider myself an Identitarian. I have also repeatedly stated that to move forward, we must discard all ideologies of the past.

Proponents of Liberalism (even those who self-describe as the mainstream Left) refer to anyone who opposes them by using emotionally-charged keywords, including “Nazi.” This shows the power of such keywords to shut down rational discussion, but also the fact that globalist elites and their supporters have been in a state of hysteria about the slow paradigm shift toward identity-focused populism since Brexit and, especially, since Trump’s election and inauguration.

If you look at recent violent protests during Trump’s inauguration or those in Berkeley, you will notice that those who have been attacked—both verbally and physically—are not only people like me, with bold and radical ideas, but also mainstream conservatives wearing red Trump hats. This means that our attackers do not differentiate between us. The explicit nature of this friend/enemy distinction is good: our opponents are hostile and even violent, which should convert more open-minded people to our message.

Europe Maxima: Is race, as a concept, more than simple biological materialism to you? What would be the answer of the spiritual vacuity and nihilism the post-modern white man is afflicted by?

Richard Spencer: I do not subscribe to pure biological determinism. I believe that one’s identity is a complex interplay of nature and nurture: from one’s DNA to cultural and social interactions, and, of course, geography—the sense of rootedness in one’s native landscape.

Our European counterparts must understand the uniqueness of American development: our society is hyper-racialized because our history on this continent involved slavery, various waves of immigration, mainly from Europe and, more recently, from other parts of the world, segregation, and so forth. Whereas some older dwindling immigrant communities such as the Irish certainly exist, the majority of Americans of European descent is not only ethnically mixed but also self-identifies as simply White. This is both their reality in terms of self-perception and in terms of being the Other—when they encounter members of other groups.

In some ways, this perception is similar to Americans of African, Hispanic, and other backgrounds. Yet whereas these minority groups are encouraged to embrace their respective group identities through their own institutions and encouragement by the state, such as Affirmative Action in education, Americans of European descent do not have such mechanisms. It is true that up until recently, White Americans held social and cultural hegemony and did not need their own organizations. This, however, has changed: the combination of demographics, immigration, and Kulturkampf has left many Americans of European descent with a keen sense of dispossession.

Europe Maxima: For a couple of years in France, some people like Laurent Ozon created the concept/neologism “Remigration.” “Remigration” is the return of non-white French people to their countries of origin in a peaceful way thanks to bi-lateral state concords, for example. Do you believe something similar could be achieved someday in the U.S.A.?

Richard Spencer: The Alt Right is in the initial stages of political development. We must use our time wisely rather than biting off more than we can chew in outlining currently unfulfillable political goals. That said, I believe that we, as a group, must act solely in our own interests. By definition, this would leave out those outside it. In theory, this could be achieved by various peaceful and voluntary means. So I am not excluding concepts like re-migration from the list of possibilities.

Europe Maxima: What is your opinion on Islam?

Richard Spencer: In the best circumstances, we could both live and let live.

Framing the question of immigration—or mass migration—to Europe and the U.S. along the lines of Islam is incorrect. Islam is practiced in very different regions around the world: Indonesian Muslims are distinct from those in Lebanon and those in Nigeria. Saudi Arabia practices horrific beheading, while Tatar Muslims in Russians are largely secular adherents to generic Russian-European culture. Thus, this question should not only be framed along the lines of religion but also along the lines of ethnicity, culture, and geography.

That said, with some exceptions of historic, indigenous minority communities, large-scale Islamic migration has no place in Europe. At the same time, Washington and its European allies must stop the ongoing chaos and destruction they have caused in the Middle East, North Africa, and Central Asia creating a seemingly never-ending flow of war refugees and economic migrants, which includes serious criminal elements and even terrorists. It surprises me that when the question of refugees is discussed, virtually no one—not even the self-described Leftist antiwar activists—mentions that the best solution, after ceasing to aid the so-called “moderate rebels” and helping in the struggle against global terrorism, is resettlement of refugees and, perhaps, aid in rebuilding in their own ancestral lands, not in Europe or the U.S.

But then one wonders if it will ever be “live and let live” with Islam, and not “live and let die.”

I’ve generally turned up my nose at the “Islam debates” of the 2000s. On one side, liberals (including George W. Bush) claimed that Islam was a “religion of peace”; on the other side, conservative supporters of Bush and the War on Terror claimed that Islam was a maniacal religion bent on installing Sharia Law in Oklahoma—which is why we should engaged in endless wars for democracy in the Middle East.

Needless to say, both sides are wrong and misguided. But as much as I hate to admit it, because I opposed the Iraq War so vehemently, the conservative side does contain a kernel of truth. Islam—at its full flourishing (for instance, Wahhabi or Salafi Islam—Islam as a political ideology)—isn’t some peaceful denomination like Methodism or religion like Buddhism; Islam is a Black Flag. It is an expansive, domineering ideology, and one that is directed against Europe. In this way, Islam give non-Europeans a fighting spirit and integrates them into something much greater than themselves. Islam is a “civilization” in Huntington’s sense, and a grave danger for European peoples.

Europe Maxima: Racial and cultural tensions are growing more and more in both of our countries along with a general despondency, mistrust towards the political and media elite and the rise of populism. According to you is it because of an economical and social crisis, a political crisis, a crisis of identity, a crisis of Meaning or even everything all together?

Richard Spencer: Current crisis in the West has multiple causes—both immediate and deep-rooted. The former is obvious: the warfare-welfare state creates crises abroad, accepting the results of those crises—migrants and refugees—at home, while benefitting globalist elites with transnational capitalist interests. This perpetual cycle occurs against the backdrop of moral and cultural degeneration: from entertainment culture to suicidal “tolerance.” Even if it were possible in certain cases, refugees cannot be assimilated because there is no viable culture to assimilate them to. The results are horrific.

Yet many critics of our predicament simply want to turn back the clock to the time of three of four decades ago, when things seemed reasonably “okay,” without asking difficult—fundamental—questions. This is wrong. After all, it was that seemingly comfortable time that set us on the trajectory that led us to where we are now.

Others trace the decline of the West to the era of the Enlightenment that spawned ideologies of Modernity; others yet—to the origins of Christianity; while thinkers like Heidegger go as far back as ancient Greece and the framing of Being.

So this time around we must ask ourselves these difficult questions starting with, “Who are we?” and “What is our place in history?”

Europe Maxima: Do you believe the concepts of Left and Right are still valid?

Richard Spencer: On the one hand, the political spectrum that everyone is used to is largely outmoded. After the collapse of Communism, Liberalism became the only remaining ideology of Modernity with global aspirations, in which both the mainstream Left and Right represent two cosmetically different versions of the same fundamental trajectory. This is why, for instance, you see many Identitarians who would self-describe as Right with a keen interest in the environment and conservation, i.e. issues traditionally associated with leftist “greens,” or they subscribe to anti-interventionist foreign policy—another putatively “left-wing” cause.

At the same time, in a somewhat abstract, semantic sense we can speak of an eternal Left and Right, where the former is about horizontal movement, destruction of existent norms, decentralization, whereas the latter is about eternity, vertical movement, centralization, consolidation, creative spirit, and monumentality. These semantic forms are cyclical.

Europe Maxima: Donald Trump finally became President of the U.S. What do you expect from him in terms of domestic and foreign policy?

Richard Spencer: My expectation of Trump remains pragmatic and therefore modest. At best, he will face inward in order to attempt to solve a multitude of domestic problems, while adhering to Realpolitik in international relations. I do not expect him to dismantle NATO—despite the fact that this alliance is a Cold War relic—contrary to the paranoid theories of his opponents. But needless to say, the alliance needs to be radically rethought.

For me, Trump is more important as a symbol of the kind of energies he has unleashed instead of his actual policies. He, for instance, recently nominated an Anglo-Saxon Protestant, Neil Gorsuch, for the Supreme Court. In practice, Gorsuch’s decisions will likely adhere to examining Constitutional law. Symbolically, however he represents the founding stock of America as a nascent state, whereas none of the recent selections have been representative thereof. Similarly, Trump’s comments, ranging from those about a reasonable relationship with Russia to explicitly questioning immigration, have provided hope for a future paradigm shift.

Europe Maxima: As the name of our website suggests, we defend the greater Europe. What is your opinion on both Europe as a civilisation and as a (pseudo) political and economic structure names the European Union?

Richard Spencer: If you look at maps of, say, the Holy Roman Empire in the past and the European Union today, there will be quite a bit of an overlap. What this demonstrates is that there is a vast spiritual, geographic, and ethno-cultural entity that we could refer to as Greater Europe. Yet the form of this entity has been filled with different content throughout history. Today, the European Union is a symbol of all that is wrong: from its massive bureaucracy to its culturally destructive policies. What this means is that the form needs to be filled with correct content in line with true European identities and traditions.

I’ve expressed skepticism of “Brexit,” as well as all forms of ethnic nationalism, that is, nationalisms that view fellow Europeans as “The Other.” Whether we like it or not, the fault lines of the 21st century—and beyond—are racial and civilizational. We must address issues and crises on this level; in this sense, we must think and act racially.  How exactly this Identitarian spirit would express itself in terms of political structures remains to be seen.

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“Interstellar”: Finding A New Telos

We’ve forgotten who we are: explorers, pioneers… not caretakers.” (Joseph Cooper)

We’ve forgotten who we are: explorers, pioneers… not caretakers. (Joseph Cooper)


There’s an unwritten rule with movies: the more you expect from one, the less you get from it. Another unwritten rule is that a remake is, in most cases, not as good as the original.

Christopher Nolan seems to be the great rule-breaker of today’s film industry. When he took on the project of salvaging the Batman franchise after Joel Schumacher had almost destroyed it (Batman Forever and Batman & Robin), who could have predicted he would release a trilogy that would almost completely eclipse Tim Burton’s two first opuses (Batman and Batman Returns), which were actually really good?

When Interstellar‘s trailers started to catch my attention, and it was evident that Nolan was attempting a remake of Stanley Kubrick’s 2001: A Space Odyssey, I thought that the stakes were too high this time. How dare Nolan challenge The Master?

Interestingly, Christopher Nolan has often been described as Kubrick’s heir, partly because of the two directors’ common propensity to cut the Gordian Knots of established filmmaking. Kubrick was one of the very first moviemakers to use a nonlinear narrative, in The Killing (1956), and Nolan went even further in Memento (2000), which recounts the fragmented story of an amnesiac whose memory is rebooted every five minutes.

The comparison between Kubrick and Nolan is even apter in the case of Interstellar. Indeed, Interstellar is more than a remake of 2001. It is 2001, only way, way better. If Kubrick was film’s Copernicus, then Nolan is its Galileo.

Before raising Radix readers’ eyebrows, I should mention that Nolan’s improvement upon Kubrick’s 1968 movie is not due to technology. Unlike many futuristic movies these days, Interstellar is two-dimensional, and though there is, of course, an important use of CGI, it is not what defines the movie (and it is worth noting that in technical terms, 2001 has aged quite well). I could go as far as saying that Alfonso Cuarón’s Gravity (2013) was graphically much more audacious than Interstellar. But it would be missing the point: though Interstellar takes place in outer space, it is not about space conquest. Much like 2001, Interstellar is about biological evolution, the meaning of human existence, Mankind’s destiny, and God.

And though there is an important reflection on artificial intelligence in Interstellar, supercomputers are here reduced to the status of farm animals. There is no equivalent of “HAL,” arguably 2001‘s central character.

The prominence of humans in the scenario made the casting a matter of ultimate importance. Whereas the actors of 2001 could easily have been replaced with others, Matthew McConaughey’s performance in Interstellar already is, and will remain indispensable.

Though not as famous as Leonardo DiCaprio (Inception), and still mostly known for starring in a string of interchangeable “rom-coms,” McConaughey has recently proven as a man of both wit and emotional depth. With only a few minutes of screen time in Martin Scorcese’s The Wolf of Wall Street, released last Winter, McConaughey managed to play the movie’s most famous scene with a simple “money mantra” (or whatever it’s supposed to be).

McConaughey also appeared on TV this year. In HBO’s True Detective, he plays officer Rust Cohle. Down in Louisiana’s post-industrial rubble, he and detective Martin Hart (Woody Harrelson) are investigating a series of murders committed by the local elite in a ritual, Satanic fashion, leading some website editors to analyze True Detective as a “conspiracy theory” series. Commenting on the “tomb of the American Dream” he and Hart have to muddle through, Rust Cohle has some lines that echo those of Nolan’s comic-book heroes and villains: “The world needs bad men. We keep the other bad men from the door.”

In Interstellar, McConaughey, starring as Joseph Cooper, doesn’t fail to provide the spectator with catchy lines. But before I start quoting, perhaps some contextual elements are in order.

The story takes place in the United States, or rather what used to be the United States. Joseph Cooper, a former engineer and pilot who had to retire after a crash, is now growing corn to provide for his two kids and his father-in-law. Cooper’s wife died a few years before the story begins. She had a tumor that, had it been diagnosed in time, would have been curable. But the lack of proper medical devices and qualified physicians sealed her fate.

Cooper was wise enough to plant corn instead of wheat, corn being (for now) the only crop which resists a blight that is ravaging plantations.

The earth, both with a small and a capital “e,” is dying. The rotting plants turn into dust, which, due to frequent windstorms, makes it harder and harder for people to breathe. Field fires are commonplace. Harvests hardly reach survival levels. Apocalypse has come, not with a bang but with a whimper.

Though early 21st-century technological devices keep being used as long as they work, civilization has globally reverted to a pre-Industrial Revolution level: most human activity is oriented towards food production. Cooper’s elder son, Tom, whose intelligence is only slightly above-average, will have to study how to grow corn in high school. More and more, boys learn their fathers’ trade, as it used to be before the 19th and 20th centuries’ division of labor.

Cooper’s daughter, Murph, is much more like her father. She seems to be endowed with a kind of “shine” that allows her to feel a part of reality that the five senses cannot detect. Unlike her brother, she knows that “something is wrong” in the present state of affairs. She doesn’t live by the rules, because she feels that rules are dooming her family. Though—or rather because—her intelligence is vastly above-average, she has troubles with her teachers at school. On her spare time, she tries to figure out what “ghosts” want to communicate to her. Although Cooper doesn’t believe his daughter’s “ghosts” stories, he supports her in her personal experiments. One day, she detects a signal that resembles geographical coordinates.

Cooper, who has noticed anomalies in his automatic ploughing machines’ functioning, believes it is due to a magnetic field, whose center has been located by Murph. He decides to go there, and his disobedient daughter manages to hide in his pickup truck and go with her father. (Promethean Nolan likely means that all evolutionary leaps are made by rebels, like Columbus in his time.)

It turns out that the mysterious site is nothing less than a covert NASA base. Once the pride of the world, NASA has gone underground since government credits have been cut in favor of agriculture. (But as “Paul Kersey” wrote, in today’s “real world,” space conquest has been abandoned to the benefit of “Diversity.” At least humans in Interstellar have the excuse of starvation.)

In a very short-sighted manner, what remains of the government thinks that Mankind’s dire situation justifies that “frivolities” like space exploration make way to more essential endeavors like farming. (History school books are orwellianly rewritten to describe Apollo 11 as a hoax.)

Slipping the “Surly Bonds of Earth”

Here I am reminded of an episode from TV animated series Archer. In the twelfth episode of the third season, Commander Tony Drake (with Breaking Bad‘s Bryan Cranston’s exalted voice) explains to curvy quadrooness Lana why space colonization is the right answer to “here and now” problems:

Drake: You think space exploration is a boondoggle?!
Lana: Well, come on, in this economy?!
Drake: Exactly! Now, more than ever, is when we need to look to space for the solutions to Mankind’s problems. In just two hundred years, Earth’s population will exceed her capacity to produce enough food. And even as the famines begin, global war will erupt as fresh water becomes scarcer than gold. But if we begin now, using the lessons learned aboard Space Station Horizon, a small group of brave colonists can terraform Mars. And Mankind can finally slip the surly bonds of Earth, to live forever… AMONG THE STARS!!!

“Slipping the surly bonds of Earth” is exactly what Professor Brand (Michael Caine), a NASA researcher, has to offer Cooper. Brand wants Cooper to lead an expedition with Brand’s daughter (Ann Hathaway) to a black hole located near Saturn’s rings (which is reminiscent of 2001‘s black monolith revolving around Jupiter). Beyond this black hole is another stellar system, in a faraway galaxy, with three planets apparently similar to Earth both in gravity and atmosphere composition. The expedition’s mission is to find out whether one of these exoplanets can be terraformed.

Cooper faces Ulysses’ dilemma. Should he stay in Ithaca or should he go conquer Troy? And Penelope’s dead anyway. As painful as it is for him to leave his children and his home, Cooper decides to go. He begs his daughter to forgive him and explains to her that he has to live at last. To live, that is, to exist beyond food, shelter, and reproduction. To put the Greater Good above one’s family’s interests (or rather to understand that the latter depends on the former). To follow one’s Destiny, even if said Destiny is tragic. And, for those who have that rare power, to bring Mankind to a higher level of consciousness, mastery, and being.

Cooper knows when he leaves that his chances of seeing his family again are very thin. Not only is the journey long and dangerous, but spacetime is different on the three exoplanets: one hour there amounts to seven years on Earth.

Which means that the expedition, named Lazarus after the Christian saint who came back from the dead, is a race against time. Even if Cooper manages to make it, he might be back when there’s nothing left to save on Earth (a little like in the first Planet of Apes). And, of course, when his kids are dead.

But he accepts the challenge, which appears to be Mankind’s last chance. Pr. Brand informs Cooper that corn will also die out eventually. Even worse, the Noah’s Ark-like vessel ready to follow Cooper’s pioneer expedition is, for now, too heavy to overcome Earth’s gravity.

NASA’s calculation is that Cooper will get back when the scientists on Earth have managed to make the vessel fly, due to the spacetime difference between the two stellar systems.

If this “Plan A” doesn’t work, they’ll turn to “Plan B”: a light shuttle with fertilized eggs aboard will leave with a few colonists to the New Earth; the rest of Mankind will be left to die. (I wonder what will annoy conservatives most this time: surrogate motherhood or the idea that not all human lives have the same value?) Thanks to these eggs, a new Mankind will be recreated. As Brand puts it, “We must think not as individuals but as a species.”

Later in the movie, Cooper will throw the line that prompted me to write this review: “Mankind was born on Earth. It was never meant to die here.”

A Philosophical Challenge to Identitarians

Interstellar is problematic for Identitarians, who follow two simple principles: Blood and Soil. If the former is only shaken by Nolan (more on that below), the latter is completely crushed by the British Faust.

Indeed, space conquest means that Man will not dance around the same wooden totem pole for Eternity like Hobbits, which Identitarianism often boils down to.

But I think Instellar is a challenge rather than a stop sign to Identitarians, at least for (Pan-)European ones. As I mentioned in my debut article at Alternative Right (my very first article in the English language, by the way), this “Let’s do as our ancestors have always done” motto may suit Indian tribes, but it is unworthy of Sons of Europa, whether the “European New Right,” which is neither European in spirit nor New nor even right-wing, likes it or not. “We are the heirs of conquerors,” fellas. Our distant ancestors had to “slip the surly bonds” of the Pontic steppe so they could reach a higher stage of evolution in their millenial upward journey.

Of all people, Americans should understand that reality better than any of their European brothers, which is actually the reason why I decided to “slip the surly bonds” of my beloved Hexagone two years ago (which answers the usual question I’m asked: “Why are you doing all this?”; that’s why).

The real founding of America—when the Mayflower left Plymouth, not when the “Holy Scrap” was written down—is not even four centuries old, a period of time, in strictly evolutionary terms, that’s merely a blink-of-an-eye.

If evolution keeps its course (I think it will), there will be a Mayflower spaceship someday. Let’s just hope that it won’t be crammed with Puritans.

As for the “Blood” part of the Identitarian motto, it is also challenged by Nolan, but in a more subtle way. Viewers will have noticed that the Lazarus expedition comprises one Black man, and a woman whose name could be Jewish. Well, call me a “race traitor” (but again, traitors are firstly those who betray Europa’s spirit) if you will, but I didn’t hide under my seat in terror. Let’s not forget that Art shouldn’t be confused with Politics, something the Right has never understood, and the Left less and less understands, which is why its works of art are getting embarrassing.

The second reason why I don’t mind seeing non-Whites in a European expedition is because as Oswald Spengler put it, “those who talk too much about race no longer have it in them.” What is more traitorous: non-Whites appearing in a clearly European movie, or great-grandsons of Acheans, Romans, Franks, and Vikings placing their hopes in this or that model of car?

(“Both are equally abhorrent” is an easy, common, but… wrong answer.)

There are, in my opinion, two competing strains of Identitarianism, whose opposition can be summed up thusly:

“What is Mine is Fine” VS. “What is Fine is Mine”

(Due to Prince Harold’s history-shifting shipwreck on Picardy’s shores and the Battle of Hastings that ensued, the rhyme also works in French: “Ce qui est mien est bien” VS. “Ce qui est bien est mien.”)

I explained that in an interview at AltRight with Alexander Forrest:

We can recognize the various strengths of [other] civilizations and take inspiration from the noble and inventive things they engendered. That is exactly what the West used to do best. To use a very basic example… the Arabs produced coffee long before the West adopted it and transplanted it to the Americas. Today, the most refined coffee is brewed in Italy. It is the essence of our civilization to take what is best in other civilizations and improve upon it.

The worst aspect of “Blood and Soil” rigidity is that it deprives those who stick to it of a telos, of a final cause that would transcend their individual lives and therefore enable them to pass their dreams down to their descendants, until the time when these dreams can be put to practice.

I believe such a dream should be space conquest. I obviously won’t live it, nor will my children, and I don’t think my grandchildren or even my great-grandchildren will. And therefore, in the meantime, a European Home should be established so as to make the carrying out of this dream possible and even thinkable (the rewriting of history books about Neil Armstrong’s giant leap is one of Interstellar‘s most important scenes).

But this European Home would’t be sustainable—it wouldn’t even see the light of day, since its founding is, in itself, a project involving several generations from conception to realisation and therefore requires transcendence to survive the bite of time—if there wasn’t an idea bigger than us, an idea that will mean the same thing in one century as it now does. It is time we cultivate this idea instead of doing as if it was still “five to midnight” and we had to “act before it’s too late.”

It is not five to midnight. It is five past midnight. The night is still dark and cold. Predators of many kinds prowl around the camp. Ghastly screams echo in the void. Waiting for the Dawn, torch-bearing guards keep the fence, and poets recount glorious tales around the fire, while everybody looks to the stars.

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Patriot Games

Nations are defined through war.  Phony nations are defined through phony war – namely sports.  And in a time devoid of meaning, a corporate spectacle with flags is the closest the modern world can come to providing most people with a sense of identity. 

Nations are defined through war.  Phony nations are defined through phony war – namely sports.  And in a time devoid of meaning, a corporate spectacle with flags is the closest the modern world can come to providing most people with a sense of identity.

Most nations are less a creation of peoples than a creation of armies.  The multinational, multilingual monarchies of the Middle Ages slowly transitioned into the national armies unleashed by the French Revolution, who were gathered by conscription to spill the “impure blood” of the foreigners. “Us” and “Them” were determined on the battlefield.

However, the postwar world saw the end of “blood and soil” nationalism in the West. Nations transformed into units of economic competition, vaguely linked by international finance and watery doctrines of “human rights.” Mass immigration further complicates the process, as citizenship no longer reveals anything about a person’s race, religion, cultural heritage, or even language.

Yet nationalism persists – largely because we have nothing else to fall back on. Race is socially unacceptable and religion (at least Christianity) is dead as an organizing force for society. And so even as it is unimaginable that European youth will soon be drafted and sent forth to fight for their country, a rudimentary patriotism is still required to link the masses in the developed world together in a more or less orderly fashion. The flag and some vague concept of “values” usually serves, but underneath, the ghosts of Blut und Boden still linger. And this needs an outlet.

Enter the World Cup. The players sing the anthem of their fatherlands, echoed by hundreds of thousands of screaming fans.  Fans dress in their national colors. The game itself has a kind of mythic quality (outside the United States anyway), as fans will casually speak of games that took place decades ago or even refer to a single incident (like Maradona’s “Hand of God” goal). Rivalries, heroes, and cultures develop in a dull echo of the warlike past.

Absent war, concepts such as “national honor” are identified with the outcome of soccer games.  Sometimes, it is almost equivalent to war, with Argentina’s victory over England in 1986 interpreted as “revenge” for the Falkland Islands.

Germany’s crushing 7-1 defeat of Brazil (with the Netherlands putting the boot in 3-0 in the third place game yesterday) is seen as a national disgrace in the host country. Pictures of Brazilian fans giving rise to guttural cries of despair and horror could be mistaken for something coming out of Gaza.

Of course, these nationalist impulses are smoothly sublimated into the global governing census.  The stadium is festooned with appeals to “Say No To Racism.” FIFA investigates fans for chants that cross the line into politically incorrect territory. And frankly, it’s a good thing they did not see the danger of “offensive” WWII humor on Twitter during Brazil vs. Germany – though the Parasitic Class is whining about that now too.

Many of the players from historic European nations are non-White. Some of the players on the American team have almost casual connections to the United States, and even the coach is a German who formerly represented his real country both as a player and as a coach. As with professional sports in America, most players have nothing to do with the community they are ostensibly representing racially, culturally, or even geographically. The pageantry and patriotism of a World Cup is equivalent to the usual penalty in the Beautiful Game – it’s a big showy fake.

The flag waving is consciously used as a way to reconcile the White West to making peace with demographic dispossession, and the need for “us” to “win” is used as justification to dilute identity. The tactic has already been used successfully with rugby in South Africa and college football in the American South.

After France won the World Cup in 1998, the heavily non-White team was used as an argument to promote more immigration into the Republic and portrayed as a triumph of assimilation. Today, American politicians such as Nancy Pelosi argue that we need immigrants – because otherwise, we would have a terrible soccer team.  And reporters attack the – as of yet –unassimilated nations of Eastern Europe where players still have something to do with the country, and their fans haven’t learned that patriotism is supposed to be ironic.

Faux patriotism is even used to keep countries together.  Spain’s World Cup victory in 2010 presented a problem for Catalonians who wanted independence.  Belgium, the soulless husk at the center of the European Union, uses its soccer team as a club to beat Flemish nationalists and promote the continued existence of the phony kingdom.  And the reason Brazil has been hit so hard by its soccer defeat is because soccer was all they had to show to the rest of the world.  The country is the very exemplar of the multiracial nightmare White advocates have been warning against for decades, plagued with crushing social divisions, crime and inequality.  No wonder they care so much about kicking a ball around.

And yet, even people who should know better fall for the appeal of faux nationalist pageantry.  Websites from around the racialist right rejoiced at the German defeat of Brazil, as if the Bundesrepublik of Merkel was still the Fatherland of Bismarck, or as if winning the game meant that Turks would have to leave.  White racialists can even tell themselves that soccer possesses a more “White” and European sensibility than American basketball, and therefore give themselves approval to identify with certain teams.

Despite it all, faux nationalism tells us something, speaking to the deep roots of identity that can’t be explained, defended, or even described—only felt.  It means something that Mexican-Americans still can’t bring themselves to root for the American team.  It means something that Algerians in France riot after the Algerian team plays a game, even with the historic prominence of Algerians on the French team.  And it means something that many Europeans, especially Germans, feel it is permissible to be proud of their ethnicity in a sporting context—although they are ashamed of it in other circumstances.  Indeed, already the opinion monitors are cautioning people that Brazil feeling “national humiliation” because of a soccer loss is only a short jump away from countries adopting fascism, or something

Nationalism remains.  The old symbols still speak to the hearts of the masses.  What they mean to different people will always be fought and argued over but they have not lost their power.  The World Cup is a safety valve and a corporate scam – but it is also an expression of a force that is not yet spent.

This is a problem for a Dissident Right which is already moving beyond the old borders and identities of the past.  The Dissident Right in America has practically reached an intellectual consensus on an un-American position, from those who think the American Revolution was a mistake to White advocates pursuing the Sorelian vision of the ethnostate.  European Identitarians are working hard to transcend the national rivalries of the past.  And secession movements, in many cases supported by right wingers, are challenging the very existence of some of the most established and prominent countries in the world –from the United Kingdom to Italy.

However, most people opposed to the status quo are still nationalists, fighting to defend a romanticized past based on an already existing national institution.  The Americans opposing their own government in Murietta, CA wave the Stars and Stripes or even the flags of the military.  Parties like UKIP and the National Front pledge to defend the UK and France from a grasping European Union.  And Eastern European nations such as Hungary or Poland still have strong patriotic movements with mass constituencies that define their goals in terms of national independence, rather than some sweeping ideological revolution in the West.

Sports fandom is often expression of that peculiarly pathetic race cuckoldry that many White males seem comfortable with.  And it’s easy to simply say “Don’t watch the World Cup.”  But the faux nationalism of the World Cup is as much a reflection of the suppressed identity of the European peoples of the world as a perversion of it.  And it reflects the political and emotional reality that God may be dead in a historical sense, but the Nation lives.

Unfortunately, the nation-state of the modern West is as much an enemy of White people as a political expression.  We are supposed to believe that a country is somehow still the same even if the entire population is replaced – so long as the new population waves the same flag.  Yet at a gut level, one senses that people know what it is to be a real German, a real Frenchman…and even, (with apologies to Hulk Hogan) a real American.

The problem we face goes beyond either surrendering to soccer hysteria or congratulating ourselves for ignoring decadent mass culture.  It is about whether the Dissident Right can somehow build off populist patriotism and transform it into a true ethnonationalism, or whether the nations themselves should be discarded as reactionary debris obstructing the development of a new vision.  The former is largely the approach taken during the past six decades of failure.  But the latter, although more intellectually compelling, is likely to produce a “movement” with no resonance among the larger population.

The answer may be found in your own reaction over the last few weeks.  When you see a crowd overwhelmingly of your own race, waving the flag of your country, you may feel pride.  You may feel sickening disgust, knowing how your country is being betrayed, or how it betrayed you.  Or you may, like me, feel some kind of combination.  But the Dissident Right needs to make sense of that confusion because it’s not words or even philosophies that govern the world, but symbols and identity.

Their power is terrible.  Despite despising the values of the Bundesrepublik, despite raging at the weakness of the Last Men of the former Fatherland, despite my disgust for the whole politically correct spectacle… I can’t help but cheer for Die Mannschaft.  And hate myself for it.

And that’s not the worst of it.  I’m glad Team USA didn’t make it to the finals.  Because if they did, I know I’d be pulling for them even more.

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Summarizing Descent

Marxism, despite its best efforts, is a mega-structure of ‘social constructs’, it is the tenets of Communism implanted onto culture and human interaction and is the source of the modern ‘social justice’ movement prevalent among youths and in universities.

Originally published at Sigurd-Strong

Liberal society strives for equality in all social and political areas, but fails itself in the economic department, though democratic governments practice welfare systems and equality in regards to work and education opportunities, it continually fails to practice true equality within economics. So although liberal society practices ‘Cultural Marxism’, it fails to put into practice the natural (historical) conclusion to the question of economic ‘equality’, which is Communism. Communism is an economic system rather than a political system – modern liberals seem to believe that economics will solve all problems within society, the redistribution of wealth, the levelling of material possession and the stripping of old concepts of (racial and social) superiority will cease conflict and ensure the abstract idea of equal human rights. It is true that communism does in fact strip the individual of his identity; it removes the natural element of competition and makes each man indistinguishable from the next, ultimately unveiling a sort of democratic totalitarianism – and if the isolated man has no rights (Rougier) until relationships are created, then the people under communism, as interchangeable outlines of men certainly have no ‘rights’. 

Marxism, despite its best efforts, is a mega-structure of ‘social constructs’, it is the tenets of Communism implanted onto culture and human interaction and is the source of the modern ‘social justice’ movement prevalent among youths and in universities. The focal points are that gender and race are constructs built to discriminatorily divide people and every person ‘deserves’ universal human rights (which contrarily is not a social construct). This process of unblinking despotism succeeds through firstly encouraging one to willingly throw off one’s oh so oppressive, presumptuous characteristics and either acquires new vetted titles or else entirely denies nationality, race, gender etc. Unfortunately these advocators are misty eyed over ‘equality’ and cannot see the ‘double-think’ for the teetering manipulation of words – “we are all the same, but different”.

So how do you convince a young person to throw off their identity? You baffle them with biased history lessons and sentimental ideas. You lead them to believe that their natural attributes are a representation of historical persecution (i.e. all white males were slave traders), so upon this illogical guilt they attempt to align themselves with the ‘persecuted’ by putting themselves in an ‘oppressed minority’ or as we’ve suggested, denying themselves, this then rids them of their guilt. ‘Oppressed minorities’ i.e. women, then convince themselves that they need to rid themselves of the memories of their collective oppression, i.e. femininity, which is a relic of the past –equally, men who’ve adopted this neurosis, rid themselves of masculinity which again is a reminder of patriarchy and the pattern continues. Their behaviour is self-destructive, akin to caged animals, performing obscenities in affront to their ‘persecutors’.

Alienating the individual is not nearly enough, however. The ‘diversity through homogeny’ stint must permeate all institutions, in every group imaginable – political, social, cultural is the apparent need for a universal attitude within (the group) regardless of its aim. It must allow representatives from every category; every gender, race, age and religion must be heard and represented. Exclusivity, pride and success are sins which create resentment, instead of dealing with conflict the natural way – division (tribal and national) or competition, we insist that that is wrong but what is more humane is making the two agitators more alike, and then surely they will cease fighting?

It’s widely believed that Judaism and its sequel Christianity are the progenitors of egalitarian thought and ‘human rights’ since ‘all men are equal under God’. The modern distaste for competition and pride, and the seemingly impossible task of accepting a plurality of truths, or rather ideas as well as the thinning integrity of borders (globalisation) is evidence enough that liberal ideas stem from the universalism of these Asiatic religions. To reverse to a time when these thought structures were not neatly entrenched, we’d end up at our pre-Christian ancestors who worshipped a pantheon of gods and spirits and competition and pride was at the centre of culture. Victory was its own justification and life was sacred for its ephemeral nature and not clung to, to the detriment of growth.

So this simplified explanation of Cultural Marxism aims to enlighten the individual, who finds the communistic ideas appealing on a superficial level, because ‘equality’ is an obvious truth in a society that revolves around money. When money and equality are synonymous, we have the growth of global trade and larger bodies of power to oversee it. We have Westerners involving themselves with ‘less’ civilised parts of the world to spread the truth (spot the Christianity again!). What is the result? Large corporations who own a complete trade where the cogs are paid little and the product is equally cheap, this causes the deterioration of local industry and ambition. This makes it increasingly difficult for people to own their own businesses, houses etc. This is where Cultural Marxism and Economic Marxism cease mirroring each other and actually meet to form all-inclusive Communism. There is no middle ground on the path we are on, because in the society that values ‘progress’ over sustenance (and tradition), there will reach a pinnacle of extremism.

Communism does not see the individual, you are interchangeable, replaceable and therefore your national identity matters little, your national identity encourages exclusivity which is detrimental to the growth of global economy. Your countrymen could be easily replaced or mixed with that of another, and the cogs would continue. There is no place for ‘aiming higher’, the schooling system and therefore public expectations are lowered to accommodate the lowest common denominator, the message is uniformity masquerading as tolerance and equality.

Your best form of defence is quite simply to value your national identity, your local community and its smaller businesses. Cultural Marxism is the process of willing Communism – so revolt against it by embracing tradition and your natural identity, changing your priorities from the materialism that sedates you to your innate spirituality. Enhance your self-esteem, not by demanding others opinions accommodate yours, but by arming yourself with intellectual and physical strength. What is popular is rarely there to inspire success, cultural Marxism is not a system of elevation but of degradation, encouraging the belief that self-destruction and lewd behaviour is ‘empowering’, in open revolt against healthy tradition.

Support true identity, not the merging and watering down of it.

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One Small Step For Marine, One Giant Leap to Nowhere

Several American and British friends asked me to comment on this “earthquake” that no less than shattered the foundations of La République. That such an insignificant event can make the headlines of the Western media tells you much about how increasingly insecure our ruling class is, however wrongly so. 

This article was originally published in October 2013.


Being the House Frog of this august assembly, I’m often asked what I think of France’s Front National, despite the fact that I made quite clear, in my debut article here, how negative my opinion of that party is (if it has changed in a year, it’s not for the better). 

Last week-end’s by-election was no exception to the rule: several American and British friends asked me to comment on this earthquake that no less than shattered the foundations of La République. My real surprise was that people outside France would have heard of it at all. Not only was it a by-election, but what was at stake was merely one seaton a département‘s council (the département is the French equivalent of the county in the U.S. or the borough in Britain, though it is directly controlled by Paris).

That such an insignificant event can make the headlines of the Western media tells you much about how increasingly insecure our ruling class is, however wrongly so. 

Jim Goad, who forgot writing a few months ago that he wouldn’t mind if all French people died overnight (suffocated with freedom fries, maybe), saw Front National’s “victory” as “a step in the right direction.” I’m heartened to see that Jim came back to his senses, but what if Goad wasn’t  one of us? And what if these “victories” were not good news for those who genuinely want our race and civilization to have a future?

I’m not sure words are sufficient to make people understand how terrible this party is. I have written many times against stato-nationalism. I have argued numerous times how any organization that places the “nation” above the race and civilization is as much an enemy as any mainstream party. Yet even people with whom I have exchanged hundreds of emails and met with in real life continue to define Front National‘s Marine Le Pen as a “white nationalist.”

Two factors explain why even people with whom I agree on so much else get this wrong:  

  1. We rely on (liberal) national media from our country to know what’s happening in other Western countries. In France, right-wing people I know look at America with envy because you have… Sarah Palin (!). Since many right-wingers merely invert the liberal worlview to define theirs, the fact that liberal journalists depict Palin as the new Eva Braun is enough for them to like her. As a Swiss friend of mine says, leftists would just need to state publicly how they hate excrement for righties to stuff their nose into a pile of turds at once.  
  2. Relatedly, many in our circles believe that if a politician is hated by “the Left,” who of course is our only enemy,“he must be doing something right.” By this idiotic standard, Dubya was doing something right when he made up the WMDs thing to justify his invasion of Iraq, right?

If words are not enough, will pictures suffice? Here are two campaign posters and a press picture of three candidates, the first one for the general elections in 2012, the two others for the municipal elections next year.

Elie Taieb: 

“For a Real National Assembly!”

Mungo Shematsi:

Mungo Shematsi is the one on the left.

Mungo Shematsi is the one on the left.

Sofiane Ghoubali: 

Now, has this appeasement been fruitful? Besides this totally unimportant by-election last Sunday, Marine Le Pen got 17.9 percent of the vote in the last presidential election. Which obviously means that 82.1 percent of the electorate didn’t vote for her, without taking into account the 22 percent who didn’t vote (I was one of them, of course) at all.

One can wonder what the next step in this normalization process is before Front National can not only have a candidate in the second round, like Jean-Marie Le Pen in 2002, but in the presidential palace, and whether the party will still be remotely national when it happens (if it does).

That, of course, is if one believes that actual power lies in public office. Ironically, right-wingers seem to be the last democrats. Only on the Right can one still find this naive belief that the President, or Prime Minister, has a kind of control panel in his office where from everything bad in the country can be solved with a simple tap of the finger.

But let’s be serious with politics, will we? When syndicated columnists define the American president as “the most powerful man in the world,” only eunuchs and morons can be impressed with that phrase. Who with a three-digit IQ seriously thinks that Barack Obama is more powerful than, say, George Soros? Or Lloyd Blankfein?

Even if nationalist politicians managed to get elected at “top” positions in the Potemkin political system, it wouldn’t change a thing since there’s nothing at the other end of the wheel. Yet even that is impossible since the real rulers (bankers, bureaucrats, CEOs, media owners) need the democratic fiction to go on, as the victory of a nationalist party, even one as castrated as Front National is, would prove that no actual power is in the ballot.

And this would make their situation sensibly more precarious than what it is now. 

The predictable outcome is as follows: Front National will gain votes in the years to come, and what is taboo on the mainstream Right for now (an alliance with the “Far Right”) will become possible, with a victory of this awkward coalition in the process.

Marine will get a ministry, which of course won’t help her in any way to fix France’s problems, in the unlikely hypothesis that she still knows what they are and how to fix them. I’m not sure if Mungo Shematsi or Sofiane Ghoubali wouldn’t be a better choice than her.

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