Perceiving Aryanism and National Socialism

I can imagine that one day long ago when a system of mathematics, that eventually became one of Persia's greatest achievements in the form of algebra, started to play a key role in various transactions and this made certain sneaky merchants angry as it is harder to lie with numbers than it is with simple sleight of hand. Perhaps many of these dishonest merchants saw the logic of mathematics as "evil" since their schemes were now easily disprovable.

An analogous situation occurred in Germany when Adolf Hitler rose to power and very quickly started to push out all the Jewish schemes from the economy. Hence, National Socialism has been branded as "evil," since it caused trade, culture and society in Germany to be truly of the people and by the people thanks to its revolutionary new system. Those who did not wish to participate in, as well as those who sought to subvert, the new order were detained and set on course to be re-educated in camps. Hitler knew the dangers of subversion as it was such actions that caused the German defeat in the First World War... a war during which not one shell impacted German home territory. Marxist organized strikes, engineered class conflict, crafted hate of the intelligentsia and ethnic groups in addition to other subversions caused rampant chaos in Germany and in the newly created eastern nations of Czechoslovakia and Poland - strife in the Sudetenland and uprisings in Silesia as people felt displaced or left out from where they wished to be. No doubt that the sloppy Treaty of Versailles was meant to cause all of this. If it wasn't proven before, it was proven now - the masses are asses.

Enter Adolf Hitler. He had been carefully watching events unfold since his first sojourn as a student in Vienna - the futility of the parliamentary system, the dishonesty of the Press, the decaying of culture all at the hands of puppeteers who relished in chaos amongst the Goyim for it allowed them to implement their own selfish solutions and appear to be like geniuses and saviors - a perfectly fitting solution for the Jewish ego.

He saw what needed to be done

Out of chaos cannot come an order, but rather an order must be made from the chaos, for the chaos was Germany herself. Hitler wasn't seeking to advance the country, but first revert it back to a stage from which it can successfully advance - he believed in the Original Nobility of the Germans.

However, he also displayed a belief in the Nobility of other nations, namely the Slavs, who at the time were a great nuisance to Germany. Russia was overrun by Judeo-Marxists, the Czechs and Poles were aggressive about their new borders and the regions from Pomerania down to the Sudetenland saw ethnic strife, but most critically, the Soviets had already launched a war, barely after the conclusion of the giant preceding one. The Bolshevik onslaught was pushed back by the Poles after going as far as the outskirts of Warsaw. From this the Poles saw the USSR as their enemy, but also, in one of their greatest blunders, didn't see their German ally who had put forth conditions for the co-existence of Poland (as well as the Czechoslovak state) next to Germany as a joint buffer against Judeo-Bolshevik terror. The wise Hitler recognized his nation's real enemy and the enemy of all nations of men: it was the Jew who out of the chaos of the Great War was still busy creating more and more chaos on all fronts - social, geopolitical, economic.

The sleight of hand of the ancient dishonest merchant had grown to horrific proportions. The ancient herder's manipulative tactics had adapted into an intimidating and complex force.

Adolf Hitler didn't back down in cowardice of it all, he wasn't baffled into fear by the sheer scope of it, he wasn't selfish and thus didn't keep the solution to himself for his own gain.

THE ANSWER

"I have no hesitation in saying that in those men who seek to-day to embroil the patriotic movement in religious quarrels I see worse enemies of my country than the international communists are." ~Adolf Hitler

It applies to every country and international relations.

Revert the mess of society back to this:

Thus, making it possible to progress forward to this:

The key perception that we must see is that National Socialism is as German as Algebra is Persian or Geometry is Greek. Each has its source and will forever be known as hailing from there, but the applicability of each is so universal that it should be absolute standard. Algebra and Geometry are standards, however, National Socialism is not. Algebra's application, though, has been corrupted by the Jew who is at the ridiculous point of pulling numbers out of thin air, or simply typing them into a digital interface, so as to push forward his false transactions - it's the same old lying merchant and manipulative herder at work.

The result:

Confinement

Aryanist solution and continuation of Hitler's Kampf:

FREEDOM

Starship Troopers: Spaced Out Fascists

If there is anything Hollywood hates more than anything else, it's fascism. The reason is very simple: fascism is de-humanizing and with Hollywood being obsessed with humanism, this makes fascism very evil. So they have to tell their audience just how very evil fascism is every few years. Usually this means making a movie about Nazis or the Ku Klux Klan, but more likely a movie about Nazis: you can have more kick-ass explosions that way so as to ensure that your audience is not only impressed, but also thoroughly distracted from a rational approach to the subjects of your film.

Every other blue moon or so, Hollywood actually gets creative enough to make a satire (something a bit more complex than just the straightforward goof-ball comedy), and wouldn't you know it, in the Fall of 1997 they did just that: they made a big satire. To be more precise they made a satire about fascism called Starship Troopers. The originality is just a thin veil here and it is quite obvious that the message still is: "just reminding you of how evil Nazis are." The only bit of true creativity here is showing this from an unconventional point of view, which is the one truly good thing about this film.

However, given the typical film audience, they'll be lost in the rest of the film's creativity, which is confined to the extensive special effects - sights and wonders meant to keep the brain confined to the predetermined arena of thought. Thus, all in all, this is just another serving of the same old fodder from Hollywood.

Subversive Engineering
The very first sequence of the film shows us an eagle logo and a propaganda commercial encouraging young men and women to sign up for military service. The soldiers pictured all wear grey uniforms and that eagle logo is their outfit's main emblem, thus from the very start it is not hard to put two and two together.

Funny thing is that the real version is so much better.

The film then cuts to a battle scene as seen by an embedded news crew. Things quickly go bad, as some horrifyingly huge insects start to dice everyone up. Eventually we see one of the wounded soldier's points of view as one of those bugs jumps on him, with his scream the shot fades to an image of space with the title card: One Year Earlier. However, this view of the stars is next seen to be, as the shot pulls back, a computer screen on which a student is drawing. Aside from a relatively standard way that movies employ to build suspense, this beginning is suggestive of an engineered reality. Namely, the news crew's imagery and the scenes of the battle have just been juxtaposed with a student's doodling in class.

This theme of staged and fake media is apparent throughout the entire film. There are frequent news flashes as part of the story and just like the opening propaganda ad, they seem very staged. Even when Johnny Rico, the main character, talks to his parents via video-phone, or when he gets video-mail from his girlfriend, the shots seem deliberately staged. And not staged by the people Johnny is stalking to or gets a message from; due to them standing far away from the camera and some pretty bad acting, the whole event seems deliberately and hastily put together. Now, some films have bad acting, but with these media sequences it's too consistent to be an actor's fault - so either the director specifically wanted crappy acting or edited the bad takes into the final cut - the pattern is intended.

One media clip shows a missionaries' outpost decimated by the Bugs (mankind is at war with this arachnid species) and there are numerous close-ups of mutilated bodies. This raises two questions: if the planet was crawling with the Bugs, how did the missionaries go so far as to set-up their outpost? Wouldn't they we attacked pretty much right when set foot on a hostile planet? And how is the crew filming so much footage? It all looks like it may have very well been staged to further the constant message of "fear the Bugs." After all, with such a large war and with so much military equipment, it would be very inconvenient to not have a use for it all of a sudden.

Not Exactly Fascism Either
Well, as it turns out, this vision of the future is actually a vision of Zion. In the aforementioned classroom, where the student, who ends up being Johnny Rico, was doodling, there is a philosophy class in session. Professor Rasczak giving the lecture makes on point very clear: "When you vote, you are exercising political authority, you're using force. And force my friends is violence. The supreme authority from which all other authorities are derived." In this world, only citizens can vote and citizenship is granted after military service with the idea that those selfless enough to put their needs aside for the preservation of the human race can make the best decisions about things. A seemingly good idea, but there is something critically wrong with the definition of "violence" used. Violence is not force, it can be, but at its root it is not. Violence is a "lack of consent" - the truest sense of the concept of violation.

Rasczak also describes how democracy failed and the military veterans swooped in and created the current order that has kept stability for a long time, presumably several generations. This draws a parallel to the film Equilibrium where there is a strong suggestion that the war that brought about the creation of Libria was engineered so that a Zionist system could be put into place with the impression that it "saved" humanity from total destruction. In this film, the background course of events is also the "order out of chaos" routine, however, in this vision of Zion there is less flavor of 1984 as in Equilibrium and more of Brave New World as there are enough pleasurable distractions in the Federation so as to make no real need for a brutal, ever-present police force. Still, the root of this fictional state is un-Aryan and therefore not National Socialist, and so the film's satire of the Third Reich is just spawned from ignorance. "Fascism" (as seen in Hollywood movies) is the ZC approved version of National Socialism as it exaggerates certain traits (e.g. militarism) making them seem all pervasive in their most basic form, distorts some of them (e.g. duty) giving the impression that people are motivated by promises of greater comfort and/or fear, and just outright lies about the rest as we see in the society's approach to science and the military. There is no mention of Aryan ideals, let alone how people can work to achieve those goals, which is something that Adolf Hitler made a major, if not the most all-encompassing, part of his platform as Fuhrer of the Third Reich.

With all of this in mind, the film is really not a satire and we can see that it was not really made out of ignorance, at least not on part of the producers. The director, Paul Verhoeven, may very well be a useful idiot who grew up "hating Nazis" and was employed for his approved views and ability to put a film project together, however the producers in Hollywood, from whom the $100 million budget came from, knew what they were doing. They presented a careful distortion of the thing they fear most.

Irrational Science
For a large future state that seems to be enjoying prosperity, it's quite odd that its approach to science is so base and primitive. Right after the philosophy lecture, the students go to a science class where they dissect large bugs. Not the ones the humanity is fighting a war against, but also a species alien to Earth. The professor here, a stereotypically geeky looking science teacher, is talking about how wonderful and perfect examples of evolution these creatures are and names that one of their admirable traits is the ability to reproduce in large numbers, thus ensuring the survival, or rather preservation, of the species. This idea is a key as it is an apt concision for the principle motivations of the Human Federation and this is another element that makes the fictional state thoroughly un-Aryan - one of the film's planned distortions.

Next, there is a scene where Johnny and his friend Carl are attempting mind reading and psychic tricks. In the background is a picture of Albert Einstein, who has been hailed as a king of reason and has become the face of scientific progress during the 20th Century. Only Jews would boast about such a man who was nothing more than a plagiarizing Zionist racist. Carl then places a kernel of popcorn at the entrance of a maze and watches his pet ferret navigate its way out and eat the little treat. He says that he trained the critter for this and even shows that he can "dispatch" it to run upstairs and annoy his mother. The ferret goes upstairs because Carl has conditioned it to believe that there is a treat up there. Carl states in this scene that he wants to experiment on people, the card trick he attempts with Johnny is his own pilot project for this goal. Effectively, this brief episode is an allegory for the rise of Zion - from controlling small creatures and then working its way up to dominating mankind. The appearance of Einstein suggests manipulative Jewish science, more than anything else, and of course, in this scene they are basically doing the classic carnival card trick, the only thing that's missing is the "pay to play" robbery scheme. With Johnny getting every card wrong (and Carl even making fun of him for it) he would have lost a lot of money.

Of course, the filmmakers didn't intend this scene to be read this way - Einstein is practically a saint to scientists - and the intention is to show the audience how cool all this is. Things get even more ridiculous as we see military science and technology.

Army Toys
For a state that was founded by veterans and is in a life-or-death war against another species able at combat, the Federation's Military is absurdly insufficient. We start at basic training and first get our obligatory scenes showing us just how evil and brutal fascists are: Drill Sergeant Zim breaks a recruit's forearm and pins another recruit's hand to a wall with a throwing knife just to make a point. It is procedural for military instructors to take their recruits to their max in physical endurance, but this is just absurd. Military training is just that, training, the teaching of skills, not blunt sadism and pointless machismo. Added to the fact that such traits are the base Gentile tribal preservation mechanisms and would have no place in a true Aryan National Socialist State.

Not exactly a subtle difference

The characters in the film can be seen on the right of the above photo with one exception: there are no white supremacists in the film, which is a good thing (and true to authentic NS), but everyone is still brutishly stupid. Also, the Federation's military is so equal that even women train along side men. While it is true that women are very able to serve in the military, even in combat roles, but full training equality is absurd. This goes back to the fundamental anatomical differences between the sexes and in the real World, to this day, basic training is kept gender segregated for this reason. Note that even sports events have different categories for male and female athletes - this is a fundamental law of nature, but Zion apparently thinks that it can break it or convince us to break it. Well, as with most things, it's a lie.

The training that the recruits do is also fairly ridiculous. Not only does the basic training facility look like a cheap movie set (continuing the media deception theme) but the recruits engage in no exercises that seem anything like the real combat that they will go on to face. Boot Camp cannot fully simulate combat scenarios, but they should at least engage in drills that resemble fighting giant bugs. Here, they play capture the flag with laser-tag guns and do a live-fire exercise that is so ridiculous that the accident that happens during it (a recruit gets his head blown off) should have been seen from a mile away. Also, the instructors should have been considered negligent for authorizing such a thing.

Things get even worse when we find out that the Federation's scientists actually know how to effectively combat the Bugs. Carl, who went into Military Intelligence, appears in a media clip, and this scientist quickly and effectively blasts a Bug's limb off and then gets a kill shot, while shooting from a distance at a Bug in a cage. He even says, "here's a tip, aim for the nerve center for a quick kill" before killing the caged creature. It sounds like he's giving advice on how to beat a video game. Not surprisingly, we next see a propaganda ad with kids squashing roaches as their mother fanatically cheers them on. Killing bugs, it's kid's play.

More Than A Bug Problem
This is then very much contrasted in the film's long and extremely gory combat scenes where apparently trained soldiers can't kill the Bugs in any sort of swift way, thus proving their training was poorly designed. The scientist took out the caged bug in two quick, well-aimed bursts of rifle fire, but the troops in the field literally spend hundreds of round on just one bug. And there are swarms of these things.

What's more, is that the Federation's military seems to fight by 1915 standards: deploy soldiers to a field, line them up, and charge! No tanks, no air support, no artillery, just rifles, grenades, though they do have nuclear powered bazookas. Once again, the educated National Socialist will see past the folly of this Zionist slam on what was without a doubt the best designed military of its time. The only one that didn't resort to blunt force trauma in both of the wars that have been used to label it as "infamous." If anyone still doubts that this is a slam on the German Military, then may they read this official trivia entry from IMDB: Nearly every military uniform has WW2 German military and SS paramilitary uniform references.

And this is a table with the shoulder boards of the Starship Troopers uniforms.

Hmm... guess to what they are alluding...

It is not just the training, but also the general activity that the soldiers engage in. When Johnny meets up with Carmen, who had gone to flight school, he is a bit jealous of her co-pilot, Zander who just so happens to be a former sports rival of Johnny's. The main thing here is the fact that Zander also clearly likes Carmen and proposes that he and Johnny duke it out to resolve their differences. Zander is clearly drunk in this scene as he hands off a whiskey glass to Carmen before the two start fighting in the middle of a crowded bar. Considering that Zander is an officer, this is shockingly bad conduct and would have seen him demoted if not booted from the service. The fight ends without another officer breaking it up (oddly, there's none in the huge crowd) and the two brawlers go their separate ways. To be more precise, Johnny goes to a tattoo parlor with some of his comrades and they all get skull tattoos with "Death Before Dishonor" written on them - another base reference to the Schutzstaffel. Perhaps this next part is coincidental, as it is a bit of a stretch, but Death Before Dishonor is a also an action film from 1987, one that vilifies Islam - ZC makes many such films!

ZioDelusion
The film's first major combat scene, which is also part of the introductory sequence, but cuts to "One Year Earlier" as a soldier sees his last. Well, it actually ends that said soldier is Johnny Rico at the end of a disastrous assault on a bug planet. Johnny is listed as KIA yet we see him to be alive in an advanced healing facility, more specifically in a pod that resembles a womb in which he floats and is reconstructed from his injuries. This also serves as another indicator of technological absurdity - advanced healing technology contrasted with the pitiful weapons technology that the soldiers use. However, there is another thing at play here: Johnny may very well be dead and living out a dream as this seems to suitably explain the rather ridiculous happy ending. The film's ending is also shown as a media event, and we already know that all media in the film is staged. Thus, Johnny is dead, but reborn via media propaganda and this allows him to carry out some of those crazy heroics that we see him do: like single handedly taking out that thing in the background.

Big Bug Problem

On the day that Johnny, Carmen and Carl agree to sign up for military service, they promise each other that they'll "always be friends." Given the large scale events that go on throughout the movie, the events that bring them together once again, are fairly far-fetched and seem more like a dream playing out. A dream where ZioFascism triumphs over disgusting bugs - Johnny's own media-deluded mind is just playing out a fantasy.

The reporter who dies in the very beginning of the film, and later when the sequence replays from Johnny point-of-view, is also the only one in the film who questions the purpose of the war on the Bugs. The invasion in the film starts when a large meteorite destroys Buenos Aires. We get the "news" from one of the many media clips throughout the film and it is obviously engineered with fire graphics to make an impression. Then graphic clips of destruction are used to pump everyone up for a war. It is pretty ridiculous to think that a meteor, from half a galaxy away, could be set on a course to impact Earth. Given the anti-meteor technology that the humans have (boasted about in one of the media propaganda clips) it makes one wonder why it conveniently failed to work this time. The one reporter who questions the Bugs' real motivations (the same one who gets diced in one of film's more graphic deaths), says that the Bugs only attack human settlers after they've stepped onto a Bug planet - hence, with the Aryan definition of violence, it is the humans who are guilty of it here and it is initiatory violence, which makes it all the more un-Aryan and not true National Socialist. This key part is, of course, not addressed by the film and we just see pumped up Ziofascists scream "kill 'em all!"

Conclusion
This was meant to be a slam against National Socialist Militarism, but it obviously is just a self-defeating flop from ZC Propaganda Inc. The film wasn't a hit at the box-office so at least this is one pack of lies that ZC didn't profit from. However, due to the high gore content, as well as some nude scenes, this film has found a niche in cult following and several video game versions have been made as well. Basically, something dumb has been made dumber, but with the current low state of the World's masses what can you really expect? The film just focuses on blunt sensationalism. Director Paul Verhoeven was born in 1938 in the Netherlands, thus had first hand experiences with Nazi occupation, though seeing that he was just a young boy, it is no surprise that he misunderstood pretty much everything that was going on around him. The impressionable young mind of his was then molded by decades of Zionist propaganda that made each and every hardship suffered during the occupation and war years seem like deliberate German treachery.

This film version also deviates considerably from the source novel, which goes into much more depth and discussion of the fictional world, the politics and philosophies of the Federation and the like. The book is often called more daring than the film for it examines a bit more thoroughly the concepts of fascism and the potential values of militarism (instead of just straight up vilifying it), but it is still far removed from being an Aryan literary work as it doesn't see the ideals let alone provide thoughts on how to work toward them as Hitler and the NSDAP did.

Verdict: The film is calculated reverse bluff from the minds of Zion. They try to show the audience how evil "fascists" are, but by breaking their empirical information monopoly, it can be seen that the Zionists are just trying to cover their own asses. And they fail.

Original Nobility in "My Neighbor Totoro"

Most of the Aryan themed works that I have examined here tended to focus on the militarist aspects of Aryanism. High adventure makes for exciting storytelling, however the extent of Aryanism is much farther and more diverse. A key aspect that I have not yet covered would be the concept of Original Nobility, which is defined as such:

Original Nobility
Belief that nobility is the initial condition of all sentience, lost over time in the world. Implies Arya as process of reversion rather than process of advance. Implies high opinion towards children and their perspectives.

The 1988 animated film My Neighbor Totoro shows this idea very well as two young sisters move into a countryside home with their father after their mother is hospitalized. The woods surrounding the home have some very interesting beings living in them and these particular entities can only be seen by children.

The film starts with Mei and Satsuki, along with their father who is driving, on the road in the countryside to a new home. This immediately ties into Aryanism as they are making their to what is clearly a farming community and they have come from a big city, which ends up making only one, very brief, appearance in the film. The young girls are filled with a genuine children's enthusiasm as they wave and greet the people they pass. When they reach the house, the girls' gusto doesn't pause for a second as they explore each and every corner.

Discovering The Past
Things start to get interesting when they open the house bath. As the door opens and daylight streams in, a black mass of what initially appears to be vermin, scatters away into cracks in the wall and back to darkness. The girls are slightly hesitant about entering, but this feeling clears quickly and they begin to look for signs of the little creatures they had just seen. This is a key moment, as I have a feeling that most grown people (as I did) would react with disgust towards what they saw in the bath. It would be taken as a "bug problem" and an exterminator would be called to look the house over. This spawning of disgust is absent from girls' dispositions towards this unexpected sight. When they go to open the windows upstairs, Mei goes so far as to try and capture one of the scurrying black puffs before it makes it into a crack in the wall. She succeeds and this scene has yet another important bit: the little dark puff is shown to have eyes and a reaction of fear as it sees that it is unable to make it with the rest of its crowd. By now it is certain that whatever these little creatures are, they are not "vermin."

Downstairs, the girls meet "Granny" - no relation to their family, but the elderly lady will serve as their caretaker and says that Mei and Satsuki can call her "Granny." This initial extension of warmness to people one has just met reflects the gestures of the girls as they waved to people in the countryside during their ride over. Granny also knows about the "soot gremlins" and explains that they live in uninhabited houses, but may peacefully move out if the new residents prove to be good people. She also says that only children can see these soot gremlins, and that she used to be able to see them when she was a child. In the woods near the house, there is a very large camphorwood which seems to have magical qualities. When Mei and Satsuki appear to be used to their new home, the soot gremlins drift in the wind and end up at the tree.

One gets the impression that these opening scenes focus very much on Mei and Satsuki. So much so that some viewers may be wondering where the "plot" is. Plot usually centers around a conflict or a problem, yet here, the most dramatic story element - a mother ailing in the hospital - is only in the background. The film is decidedly much more about discovering and exploring (especially the past, which ties in with Arya being a reversion) rather than dealing with problem or conflict. Nobility, as defined by Aryanism, is very much about preventing conflict and, more importantly, preventing the seeds that will lead to such confrontations from ever even sprouting. Thus, with their Original Nobility still strong, Mei and Satsuki don't see and or even feel need for conflict in this story. In fact, they approach all of life with a great enthusiasm - both help Granny clean the house, there is even a great comedic shot of Satsuki dashing back and forth, in and out of frame, as she sponges the floor; Satsuki also makes lunch for everyone in the morning and is mindful about being in school on time; the younger Mei stays home and explores the woods; while father works, either at home or at a university in the city.

One morning Mei sees a peculiar creature in the garden and happily chases after it. Much like her and Satsuki's reaction the soot sprites, she isn't afraid or distrusting of it, there is no negative reaction on her part and there is no need for one in her young state.

Mei chasing the sprites

Mei chases the little creatures down a hidden tunnel in the brush and to the base of a large tree, the giant camphorwood seen before. The shot when the sprites rush into a crack in the tree bears a strong visual resemblance to the black puffs scurrying into cracks in the house walls suggesting that Mei is now seeing a more clear (and more complex) version of the entities. This is then taken to the next level when she falls down the hole, after looking down it, and sees an even bigger version! This new creature virtually identical in composition to the others just much bigger. Mei names him "Totoro" - this is said to be a mispronunciation of the Japanese word for "troll" - however, given the theme of Original Nobility, there is another consideration for us to make. This is that it's the word "troll" that is actually inaccurate, while Mei, with her unspoiled perspective, sees the magic beast more clearly and honestly than any modern language can.

Later, she tries to lead Father and Satsuki to Totoro, but now the hidden tunnel doesn't seem to lead where it did before. The way has been lost for an unexplained reason... this apparently turns into a non-issue when they find the tree, but the hole in it is gone, much to Mei's disappointment. Satsuki even laughs a little at Mei for being childish at this point. Father tries to calm her and says the "the keepers of the forest" are only seen when they want to be seen. This is, in a sense, accurate as the sprites Mei initially chased turned invisible in effort to hide, but even this didn't allow them to escape the keenness of a child. Father's explanation of "the keepers of the forest" is also interesting. He is an adult and long passed from his state of original nobility, but he still retains some memory of it, however it is only the young Mei who sees the spiritual energies of the tree in the clearest way. Satsuki is older and, at this point, has yet to see the sprites and Totoro.

She does in the next key scene as the girls wait for Father at a bus stop. Note that they decided to wait out here due to the rain and they brought an umbrella for him - a nice bit of selflessness. Father seems to be late as he is not on the first bus to come by. It is getting dark and late and Mei falls asleep on Satsuki's back. It is then that Totoro appears. This is an interesting scene visually, as it is rainy and dark and the girls stand under one street light, effectively a small bright bubble in near total darkness, when Totoro makes his appearance by stepping into the lit part of the country road. The brightness is representative of Original Nobility as it can be seen in today's world: a small field of light that will soon disappear, but from which profound insights can be spawned - the only true bit of Arya in today's callous World. In this small field of light, the girls receive a small gift from Totoro - a little bag - before he rides away on a cat-shaped bus!

Re-Growth of Idealism
The bag contains little golden kernels, which the girls had seen laying around the garden before. The first sprites that Mei chased also had these in a little bag. They plant these seeds, which at first don't grow. Father explains to them that it takes time, but the girls are not content. One night they see Totoro and the sprites dancing by where they planted the seeds, so they go out to them and get taken for a wild flying ride and back to the garden where the seeds grow into a group of trees including what appears to be another huge camphorwood. This ends up being only a dream, as the next morning the new trees are gone, however, there are young sprouts in the garden and it is suggested that the trees will eventually grow. Seed symbolism is very relevant to Aryanism and the golden seeds indicate the mythical golden age - gold has no monetary or materialist connotations to Aryans, but rather symbolizes fields of fertile crops basking in sunlight - in other words, under the Swastika. On a side note: a degraded version of this notion appears in the national anthem of the USA as "amber waves of grain" - amber is a precious stone and a symbol of vanity, thus connecting fertile crops to the idea of an exploitable resource. Aryanism is not confined to such base calculations.

Idealism takes Flight

Up to this point in the film, idealism was seen mainly on a symbolic and metaphorical level - sprites, Totoro, magic trees. However, with the sprouting of the kernels in the garden we begin to see that this idealism starts to crossover into girls' real world. The inciting incident here is actually some bad news: Mother cannot make a scheduled weekend visit due to some complications in her treatment. This upsets Mei very much, while the older Satsuki tries to deal with the problem in a "mature" way. She even yells at Mei, "Grow up!" She seems to be abandoning ideals for empirical methods. On the other hand, Mei, though distressed she may be, decides to go on her own to the hospital with some of Granny's garden vegetables in order to cure her mother. This is interesting as it carries on the seed symbolism as plants are essentially mature seeds and vegetables are cultivated plants; Aryan symbolism once again.

The aforementioned one appearance of the city is right before this sequence when Father learns that Mother will not becoming home for the weekend; he is in his university office at the time and hence, the big city is linked to depressing news, while the countryside is linked to idealism in the film. The hospital where Mother is staying is not quite in the big city, but also clearly not fully in the countryside, it's in a small town, an intermediary region. Interestingly, in an earlier scene when Father and the girls went to visit Mother, a picture on the wall of a tree can be seen. This suggests that, like Father, she is still aware on some level of "the keepers of the forest" - she cannot see them as Mei and Satsuki can, but her Original Nobility is not fully lost.

While searching for Mei, Satsuki gets really distressed, but doesn't give up; she literally runs and runs and runs, looking here there and everywhere she can. This drive of hers was seen earlier when they were cleaning the house and when she made lunch for everybody - she has a strong commitment to helping others - a sense of duty to family and community. After much searching her feet are dirty and this mirrors the scene where Mei had dirty hands after catching the soot sprite. Not surprisingly, in the very next scene Satsuki goes to the camphorwood and down the hole where she falls and lands on Totoro. Here the Cat-Bus is summoned and takes Satsuki to Mei and then takes them to see Mother at the hospital. They look, from a distance, through the window and see Father and Mother talking and learn that Mother was only kept in the ward due to a cold and will visit next weekend. The picture of the tree can be seen once again in this scene.

Idealists making Noise

The Cat-Bus is an interesting character. Not only can it be seen by children, but also by animals, suggesting that mankind's materialistic existence, to which animals are not as confined to, has blocked it from seeing true ideals. The Cat-Bus's travel routes are also completely unconfined to roads and it makes its way through the countryside any which way it can; it can cut across and over predetermined and conventional boundaries to achieve its goal - something Aryanism must do to succeed.

The term "Aryan" is inexorably linked to the concept of "Aryan race" about which there are enormous misunderstandings, most of these are deliberately calculated and propagated by Zionists. The fact is that Aryans define their racial idealism as such:

Racial Idealism
Sense of belonging with a race according to relation to an abstract ideal that cuts across conventional categories.

Conventional categories being skin color, ethnicity, religion, etc...

It is with this symbolic idealism that Satsuki finds Mei. It also allows the girls to leave an ear of corn, one from Granny's garden, on the hospital window sill where it is seen by the parents. Once again, the line between idealism and current reality is blurred with the two fields moving still closer together.

Other Matters
There is another child character in the film, Kanta, who doesn't seem to notice Totoro and the other magical beings. This seems odd as he lives in the countryside, away from the pressures of the megalopolis Tokyo. However, this once again suggests cutting across conventional lines: a person doesn't see or not see Totoro based on where they're from, but from the sense of nobility they possess. Kanta doesn't seem to have it, he doesn't treat his work very seriously and he thinks that the house that Mei and Satsuki explore with such enthusiasm is actually "haunted." Thus, Kanta is a Gentile and for all intents and purposes has been brainwashed beyond reversion. The closest thing he does to a truly good deed is offer his umbrella to Satsuki and Mei in one scene, but then immediately he nervously runs off. Just like he is scared of the house, he is scared of the people around him who possess noble traits. Many real World Gentiles are like this as they succumb to defensive tribalism.

Conclusion
Given what comes out of Hollywood these days, this is a very unique film. It is originally from Japan, but it did get a US release in 2005 with popular American actors supplying voice talent, however, it did not have a major theatrical run. Thus, as with virtually all other works that have similar themes, it was lost amidst the babble only to be seen and understood and appreciated by a few.