Aryanism in "Nausicaa of the Valley of the Wind" II

One of the more interesting ideas in the Nausicaa of the Valley of the Wind is that the film is actually about a return of Zion. The 7 Days of Fire were Zion's first, but ultimately vain, attempt to seize power - it was the unrestrained viciousness and wanton destruction that led the would-be conquerors to destroy themselves too. It wasn't even a Pyrrhic victory, but an entire reset of planet Earth - once before, life emerged from the seas onto cooled volcanic rock, but now the rock was cooling from a nuclear fire storm. There were survivors here and there and after a 1000 years of civilization in this limbo, society has once again grown into a complex phenomenon with both noble and evil elements.

Society in the Valley
The small city state in the Valley of the Wind has many Aryan aspects. Due to this being but one episode from this fictional universe, many of these are just implied.

First, the Valley is a limited space and we know that in this world resources too are very limited. Thus, to be able to survive, the inhabitants must have a defined codex of frugality and growth optimization. They can be seen living their lives with relative ease, not pre-occupied with these calculations and so the codex must have been around for quite sometime, perhaps a few generations.

Frugality
Ensuring no more resources are used than required to fulfill the purpose.

If in effect, this concept also affects the processes of creation, since if the optimal amount of resources are used, then that precise amount was initially created. Nausicaa's Mehve, with its propulsion and gliding capabilities, is this very idea as seen in one perticular device. However, to keep their population going, the inhabitants in the Valley have harnessed and applied this process all around, as can be seen in the windmills that provide much of their needed energy in the "Valley of the Wind."

Aryan Settlement

For the relatively small space that the Valley spans, there is a balance between nature and polis. Due to its size, it was probably not very hard to find and this balance and keep it up. The settlement in the Valley is what the mythical hero in the prophecy will bring to all of human civilization once he or she arrives. As we saw in the film, it was Nausicaa and it is no surprise that the one prophesized hailed from this Aryan Settlement.

Secondly, “growth” does not just mean crops and manufactured goods, but also population, which also must be optimized in this society. With limited resources and space, there is no way that the settlement would be able to survive with no regulations on procreation. This is a tricky aspect in that human procreation usually creates one child, sometimes twins, but there are instances of triplets and even larger nurseries from one woman. These get rarer as they increase in number, however, they cause notable differences. In theory, a twin nursery means an increase of 100% in resource consumption from that of a single child. Resources here would be food, space, and labor of care. In a tight situation as the Valley inhabitants are in, it would absolute disaster if population growth was without oversight. This is also a key aspect of authentic National Socialism. 

Other Societies
There are two other human settlements in the film: the Kingdom of Pejite and the Torumekian Empire.

Each has managed to raise a substantial armed forces with heavy ground vehicles and large aerial transports, in addition to smaller military aircraft. Their soldiers also have armor and sophisticated armaments. Basically, the arms industry in those city states is in full swing and they clearly use it for expansionist purposes.

Now, why would they want to expand? Well, with unregulated growth and production for the sake of keeping up with that growth, wanton expansion is inevitable to keep the city state sustainable. Regulation is also inevitable, but with the route that the Pejites and Torumekians are taking, they employ “sustainability,” which is defined in Aryanism as such:

Sustainability
Ensuring resources are not exploited so quickly that they will run out.

Sustainability is, in effect, violent compensation for too much violence. In Aryanism, “violence” is lack of consent, which may or may not be physical damage. Introducing new members into society for the sake of one’s own ego is violence against the rest of the population for they now have to give up resources. It is also violence against the newly born child since it has just been forcibly injected into a finite ecosystem. Thus, by employing sustainability, the Pejites and Torumekians expand into new territories to steal others’ resources that their own children stole from them when they were born. It is a ludicrous cycle of out of control violence that will inevitable result in blowback.

Pejite is a Gentile settlement that saw

the inevitable end of Gentile activity.

The Torumekian Empire is a slightly different case. The viciousness of Zion is reborn in Kushana, Princess of Torumekia, who seeks to rule over all and exterminate those defiant of her. After the 7 Days of Fire, the ideas of Zionism were able to hide and continue developing until Aryanism took hold in the form of Nausicaa. Kushana is probably not a Jew by blood due to this being 1000 years after the end of the previous human civilization, however she certainly is packed with the same ideas and approves the same methods. She is the ultimate example in in-group altruism in the film, and it is in her that we see a profound truth: Evil is not the Jews themselves, but their ideas and methods. That is the energy of Zion and some Jews throughout history have realized just how repulsive the cult that indoctrinated them is: Benjamin Freedman, Bobby Fischer and also Jack Bernstein are examples.

Interesting fact: Kushana’s name seems to be an allusion to the real Kushan Empire that eventually saw its decline due to many things, but its last traces were eliminated with the spread of Islam. In the film, Kushana’s further exploitations are prevented by the resurgence of Aryanism and the arrival of the mythical heroine.

The Toxic Jungle
The Toxic Jungle is what Kushana condemns with so much hate and no surprise that the Fukai (as it is called in the original manga text) is actually symbolic of what she despises in civilization. First, the Jungle can be seen as representing true freedom as it grows independently of external domination. Also, it is a representation of Aryanism as it selflessly seeks to purify the pollution that the humans' own decadence and hate had smeared all over the planet. It only appears as ugly, because people refuse to see it as anything else, yet it is the ohmu who take the final step and bring in the Golden Age. Kushana can’t see past simple racist barriers and would rather settle for this again:

The Golems of Zion

Today's World
While the film shows a post-apocalyptic world, it is also applicable to today's World, as it shows that in that distant future we are liable to repeat the same disastrous mistakes that led us there in the first place. However then, with such a fragile and small civilization, it will be our final bane. A key to overcoming this is to hit the Jew where it damages his forces most: his ideas and words, which involves countering the Jewish Business Model: “they just hate us for us.” They play the victim and the World believes them, yet they are the perpetrators of crime and decadence, something that the World does not see due to the distractions the decadence provides.

We also see disasters that are really just disasters of excess. A tsunami is not really a disaster, it’s a natural process. So are earthquakes. A parking lot of cars destroyed by a tsunami, now that’s a disaster. It would have been just a natural process if that excess of cars had not been there to begin with. However, in committing violence against nature, its natural processes turn into violence against us. This is perverse and needs to stop. Our own excess is our enemy and we don’t need 7 Days of Fire as proof.

One final sidenote: Nausicaa is also the name of a character in Homer's Odyssey. After Odysseus's ship is wrecked she helps nurse him back into well-being as he recounts the events leading up to the wreck. In this film, Nausicaa helps aid civilization back to nobility. In both instances, it allows for a key journey to continue.

See Also:
Equilibrium - another post-apocalyptic tale
My Neighbor Totoro - another work by Hayao Miyazaki

Part I

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.

The Irony of "Conspiracy"

The word "conspiracy" is most often heard today as being on the fringes of the information sphere. This is largely due to the nature of what a conspiracy is, something deliberately not made public, however it is also a way to prove arguments wrong: "it's just a conspiracy theory."

Very odd then, that a film about the Sacred Cow of mainstream information, one that fully supports all of its absurdities, myths, fabrications and the like, all the while attempting to sell them off as perfectly feasible and even logical, is called Conspiracy. I am referring to the 2001 HBO production about what is commonly known as "the Wannsee Conference" where the "Final Solution" was said to have been concocted.

The very first frame of the film is the first oddity, it is the title card of the film. The letter "o" is also the wreath held by the Imperial Eagle on the NSDAP Emblem. My best guess is that the title "Nazi Conspiracy" would have sounded a bit lame, too much like pulp fiction, so they snuck in that notion with a small bit of graphics work. However, the thing that seals the deal with this film is the opening narration, which soon starts, and which states that "only one record of what was said and done here survives." Thus, within less than a minute the film admits to being highly speculative at best.

The next thing that happens is the third and final oddity, which is the entire rest of the film: the whole catalog of "evil Nazi" stereotypes. It is really quite amusing in a weird way. HBO is a major company and network, they hired some fine Shakespearean actors for this film and the production design is very good quality for a historical film; however all that is all just distraction from the sheer absurdity of what they talk about. You are supposed to be taken in by the dramatic performances so that you don't, by chance, happen to think that you could go and verify by yourself the information presented. The sights and wonders of good actors at work is supposed to be all that is required to convince viewers, and sadly, for the most part, it does.

NS Stereotypes
They were pretty unoriginal with them here. Adolf Eichmann, the man said to be responsible for scheduling all the trains to "death camps" as they are known by ZC, is shown to be a cold-faced, stingy bastard who is annoyed by the slightest mistake in order. We can see this right away as a kitchen worker drops some plates causing them to shatter. Immediately Eichmann barks in anger and orders that the cost of damage be taken from the worker's next paycheck.

The saying, "Heil Hitler," is used ad nauseam as the arriving NSDAP officials greet each other. They shout it repeatedly despite being indoors and each time they whip out the accompanying salute. Literally, the lobby of the mansion feels like a parade ground during this scene.

The most ludicrous, and also the most generic, stereotype is the portrayal of Gerhard Klopfer, who was a slender man, but in this production he is portrayed by the quite obese Ian McNeice. The actor plays his role as a perverse, gluttonous slob and the film's speculative nature begins to partly fade and be replaced with the sense of "deliberately misleading." In fact, the here fictional Klopfer very much resembles the real Ariel Sharon who is a bigoted war criminal, albeit with an efficient public relations department that covers up his and his fellow Zionists' crimes against the Palestinians and other groups. The film's portrayal of Reinhard Heydrich also bears a key element of ZC Propaganda - in the film Heydrich is shown as being blonde and blue eyed, the so called "Aryan ideal" of the Third Reich. The real Heydrich was blue eyed, but he wasn't blonde as many readily available colorized photos of him show. Even from the black and white photos we can see that his hair appears as too dark to have been blonde.

Racism and Bigotry
In compliance with ZC, the film portrays the officials meeting as quite racist. This comes in the form of intermittent spouts of bigotry. Many of these are anti-Polish. I found this odd, since the National Socialists of Germany were said to have hated everybody (but especially the Jews) so why do they seem to insult the Poles more than other groups? The answer is a simple Jewish manipulation. Poland had a large Jewish population and many Poles were put into the internment camps along with Jews where they suffered from the same typhus epidemic, many of them dying. Thus, when the Zionists pitched the "6,000,000 figure" the Poles were among their easiest to lure goys. The Jew had nestled his way into winning sympathy for fictional atrocities. The film's dialog just continues that myth: "You Poles should hate the Germans just as much as we do since they were trying to kill you too." To keep this myth in line, stories of dedicated soldiers like Herbert Kaminski and Gerhard Michalski are totally ignored in the mainstream sphere. Both men were ace pilots in the Luftwaffe and identified as Germans, but their names clearly show them to be of mixed extraction, thus exposing "German racial mania" as fiction. In a great irony, practically all of this German anti-Slavic bias is actually a Jewish creation; a false flag to gain support for policies and campaigns. I, as an ethnic Slav born in Poland, have never been discriminated against by Germans despite having come into contact with many over the years. I have, however, been insulted on basis of heritage by Jews from Russia and they were the only group to have spit bigotry in my face. This is also in contrast to ethnic Russians who have never directed any such remarks toward me.

It is also worth noting that the Wehrmacht was incredibly diverse on an ethnic scale. Many times more so than the Allied and Soviet armed forces.

In the film, the Germans at the table discuss all sorts of ways to isolate Jews and prevent them from mixing with ethnic Germans. They rant about statistics and fractions and "preserving race" and "not polluting blood" and basically everything that the Jews condone and actually do themselves today! They invented the Nazi myth to downplay the Israeli reality.

Excerpt from this IHR interview with General Otto Ernst Remer:

IHR: Is it true that the Germans referred to the Russians as "subhumans?"

Remer: Nonsense! The Russians are human beings just like everyone else.

Your question, whether we called the Russians "subhumans," is nonsense. We had a first-class relationship with the Russian people. The only exception, which was a problem we dealt with, was with the Soviet Commissars, who were all Jews. These people stood behind the lines with machine guns, pushing the Russian soldiers into battle. And anyway, we made quick work of them. That was according to order. This was during a war for basic existence, an ideological war, when such a policy is simply taken for granted.

There was sometimes talk about the so-called Asian hordes, and ordinary soldiers sometimes spoke about subhumans, but such language was never officially used.

General Remer was a top ranking NS official who knew Adolf Hitler very well.

Now, some words from influential Jews:

"One million Arabs are not worth a Jewish fingernail."
~Rabbi Yaacov Perrin, Feb. 27, 1994 (NY Times, 2/28/1994, pg 1)

"The nation of Israel is pure and the Arabs are a nation of donkeys. They are an evil disaster, an evil devil, and a nasty affliction. The Arabs are donkeys and beasts. They want to take our girls. They are endowed with true filthiness. There is pure and there is impure and they are impure." ~Rabbi David Batzri, head of the Magen David Yeshiva in Jerusalem (Israeli newspaper Haaretz, 3/21/2006)

So there you have it. Thoughts on racism from a top NS official and from top Jewish Rabbis. Predictably, the racism comes from the Jews.

The Big Deal
As with any "Holocaust" movie, the big thing here is the "gas chambers." These are also the film's biggest gamble, since if one manages to disprove this issue, then the whole films goes from highly speculative to definitely false.

Soon after the fictional film Nazis finish with their obligatory racist ranting, the "logical" conclusion of the evil Nazi mind is reached: extermination. This is ZC's key tool of attack in this film. First, they provide a slightly more sophisticated surface picture of the NS personnel, however the core of film's message it is just the same thing as Wolfenstein 3D. It is a clever move so as to make the demonization of the Nazi ideas and not the Nazis themselves. The more plausible than usual surface of this presentation makes for a greater chance that the audience will swallow the underlying falsehoods. Even if these are taken in subliminally, the job of the film to deceive is done.

Additionally, the film also says that "it is not the Germans that are bad, just Nazis who could potentially be of any ethnicity." It is a subtle distinction, more of a grey area really, but in demonizing ideas and not people, ZC effectively broadens its range of attack, yet hones its accuracy as well. For the most part, the guilt tripping of Germans is only a part of their propaganda, the biggest part is guilt tripping anyone who dares to think positively about National Socialism.

The irony is that in doing so, we can see that ZC fears that more and more people are realizing that National Socialism is not just a German thing. This means that they have effectively acknowledged the universal applicability of NS! Now, people just have to see through the morbid Jewish fiction, which comes next.

In the film, Eichmann states that with the building of a new camp at a location called Auschwitz, they will be able to kill 2,500 Jews per hour and 60,000 Jews per day. Many of the members at the meeting react in shock, except for the blonde, blue eyed fictional Heydrich who smiles coldly. The figures amount to just over 21,000,000 dead per year, according to the film. The shock is, of course, a positive and happy surprise as the fictional Nazis then proudly say that it will be like an assembly line to which Heydrich responds that "the clever Americans have taught us that one!" This particular line is nothing other than a stab at Henry Ford who wrote The International Jew and distributed The Protocols of the Elders of Zion after he saw how much of the text was reflecting what was really happening in the World at the time.

The film's discussion about gas chambers amounts to just sneering and throwing big numbers around, which is effectively just sensationalist entertainment and shock value. One should find it odd that the men in the film don't discuss where they'll get the equipment and how they'll construct it. They go into much detail about many other things, like the aforementioned racial issues, yet this key aspect of the film is totally ignored. It is as if they say: "I got it! Gas Chambers!" The End. The reason for this is quite simple once one has found where to look.

These photos are a start:

Note the caption: it's in German.

A German company's advertisement for industrial gas chambers:

Yes, that is an actual advertisement for a German company's product, which makes it something that Adolf Hitler would have had unlimited access to if he wanted. This is particularly true after Germany went into "Total War" with all of the country's production geared for war efforts, which supposedly included a "war on the Jews." Yet, never in any "Holocaust" movie do we see any of these REAL GAS CHAMBERS. Nor are they in any of the camps. I have been to Auschwitz and Majdanek and nothing of the sort pictured above can be seen there. "Holocaust Denial" is NOT the refusal to admit a painful truth, but the refusal to accept a lie.

Historian Friedrich Berg has compiled an excellent online library of information about this and other subjects from the Second World War. The above images are from his site.

One should also note this article that acknowledges that the "gas chambers" were built after the war under Soviet supervision (read: gun-point).

With all this in mind we can see the greatest irony at play here: it is the film itself that is the "conspiracy."

Let's take a look at the meaning of that word, it is defined as such:

con·spir·a·cy
n. pl. con·spir·a·cies

1. An agreement to perform together an illegal, wrongful, or subversive act.
2. A group of conspirators.
3. Law An agreement between two or more persons to commit a crime or accomplish a legal purpose through illegal action.
4. A joining or acting together, as if by sinister design: a conspiracy of wind and tide that devastated coastal areas.

This film production perfectly fits with #1 - it is wrongful and subversive. The filmmakers and the Allied and Soviet propagandists (with many Jewish racists on both sides) are #2. The Allied and Soviets are all guilty of #3 - accomplish a legal purpose (prosecution) through illegal action (with fabrication and falsehood). This process continues today with films like this that justify the previous lies. Lastly, these actions, and Jewish actions today, are most certainly a "sinister design" - they know that they are wrong and that is why they fear revisionist investigation. That is why the "Holocaust" is protected by law, because it cannot stand by itself, it needs a witch hunt to frighten people into believing it.

"As long as people believe in absurdities then they will continue to commit atrocities." ~Voltaire

Certainly we can see as that being the case with Israel, the self-proclaimed Jewish state, in today's world. Dropping illegal chemical weapons, in the form of white phosphorus, on innocents. Detaining people without trial. Lobbying their biggest guard dog, the USA, to shelter them from all international criticism and prosecution.

Conclusion
The film's epilogue is rather interesting in that it states that many of the men were released for "lack of evidence." This, once again, shows that the film is speculation for if solid evidence did in fact exist about the matters said to have been discussed here, then all involved would have been arrested and jailed if not executed. However, even after the supposed "one record" was found in 1947 (by that point Germany had been under occupation for 2 years by the Allies and Soviets) nothing changed in the men's fates. For one, Klopfer lived and worked freely until 1987!

There is an interesting anecdote at the end that Kritzinger tells to Heydrich: it's the story of a young man who detests his father so much, that when eventually the man dies, the son breaks down in tears, because his life is now empty of all purpose after having directed all of his energies into despising his father. This is Kritzinger's warning about the hatred that Heydrich and the Nazis feel toward the Jews. The brief story amounts to nothing more than yet another short chapter in Judeo-arrogance. The Jews cannot help, but place themselves in the center of everything. The study of World War 2 will soon simply be reduced to the sentence, "The time when 6,000,000 Jews were gassed." National Socialism will become, "The belief that all Jews should be killed via gassing." Etc, etc...

It is rather pathetic, but a rather perfect example of the self-centered nature of the Jewish mind, the morbidity of its beliefs, the aridity of its ideals and the parasitic persuasion that affects non-Jews and gets them to spread the Jews' lies. And it all goes back to the herder archetype.

A related essay HERE as well as a close analysis of the Wannsee Conference Protocol HERE.

"He-Man" was a Nazi - Part II

I remember bits and pieces of He-Man and the Masters of the Universe from childhood. One of the first comic books that I remember owning was one with He-Man. The show was being re-run at that point and this re-airing must have not lasted for very long, as I did not remember too much of the show. However, I distinctly remember watching G.I. Joe, which had numerous toys, games, re-vamps, and made-for-TV movies, as well as an overblown Hollywood movie in the summer of 2009 as part of its franchise.

However, due to YouTube and the official He-Man channel there, I was able to rediscover this show and I must say that it is a real hidden gem amongst the piles of garbage that can be found in TV land. Not surprisingly, the show ran for only 130 or so episodes, while other programs that had no intention of providing good social messages and/or teaching about ethical positives, tend to go on for season after season. He-Man also had its share of short-lived re-incarnations, but none caught on as well as shows like The Simpsons or South Park, which were of much better quality when they first aired, but have steadily slipped down into a fester-pot of tired unoriginality and blatant scatological humor. The latter goes double for South Park that is best described as an "equal opportunity ridicule machine" - the creators of the show, Trey Parker and Matt Stone, just pick up on mainstream media hot-topics and ridicule them into the ground. Many of the people they tear to pieces probably deserve it, but that doesn't mean that the show serves any useful purpose. By now the show is pretty much the equivalent of a dog passing gas - it only matters for a second and only a few other dogs will ever bother to notice. Pretty much all of mainstream TV is deserving of this anti-accolade.

For now, enough ripping on the media, let's take a look at some of the first episodes of He-Man and the Masters of the Universe.

The Cosmic Comet - Skeletor attempts to use a magic comet against the good beings on Eternia. The job of stopping such a powerful force is too much for He-Man alone, so he seeks helps from an old wizard. The "evil comet" doesn't end up destroyed but paired with another magic comet and this stops it from wreaking havoc. This plot element is very interesting as it shows that He-Man and the good-guys on Eternia do not seek to destroy evil, but rather to ameliorate it. The magic comets, are perhaps more aptly described as some sort of celestial beings or life-forces, that have taken comet form. Skeletor attempts to use this power for evil, while He-Man for good. This doesn't mean reining in the comet-being, but rather letting it make its own choice, and once it sees that Skeletor is using it for his own ends, it stops serving him.

This episode is a good display of one of the show's major themes and over-arching conflicts: Honor - symbolized by He-Man - versus Dishonor - symbolized by Skeletor. He-Man uses his magic, namely his sword, to be able to directly deal with the enemy and he never initiates violence with it. On the other hand, Skeletor constantly schemes with magic to be able to get an upper hand and to avoid dealing directly with his enemies.

The Shaping Staff - Evil-Lyn, one of Skeletor's closest allies, uses a magic staff that can change someone's appearance in order to sneak her way into the Eternian Royal Palace. This is a very direct continuation of the scheming with magic theme. This plan also allows for the planting of a parasitic advisor as Evil-Lyn, posing as a traveling magician, makes King Randor disappear and reappear, but this was just a quick ruse to replace Randor with Beastman (another one of Skeletor's key allies) who is in the semblance of the King due to the staff's magic. This move is really a combination of the parasitic advisor and Manchurian candidate tactics.

In this episode, Skeletor also creates a being in the semblance of He-Man so as to fool the Eternians, which is just another parasite-placement tactic; they are literally the mainstay of Skeletor's battle with He-Man and Co. The creation of mindless servants to do his bidding also mirrors the golem from Jewish lore - it is an example of avoiding direct conflict by orchestrating puppets.

The Disappearing Act - The subversive tactics of Skeletor continue in this episode as he kidnaps Prince Adam and sets him as bait with the hope that He-Man will rescue him. Of course, Skeletor has no idea that Prince Adam is actually He-Man. Other than Adam, only Man-at-Arms, Orko and Cringer the Tiger know of this warrior alter-ego.

This episode demonstrates that without trustworthy allies, even the strong He-Man would not be able to effectively fight - camaraderie is essential for a Kampf to go forward and succeed. This notion also effectively makes He-Man antonymic to the Lone Wolf archetype that seems to be so popular in most superheroes - he is not arrogant, not a loner, nor does he project his eccentricities (when he is Prince Adam) - He-Man is pretty much the essence of honor, helping anyone and everyone without expecting anything in return. He possesses many traits that can be seen in the stories of Christ, Mohammed and Buddha.

Man-at-Arms (whose name is actually Duncan, but he goes by his title for the most part) is head of the Royal Palace guards. The plural of that title, Men-at-Arms, could be seen as a translation of "Schutzstaffel," which means "Protective Echelon" and the SS was set-up as a guard unit for an authoritative and militarist leader, Adolf Hitler. Note, Man-at-Arms's helmet design.

Freies Eternien!

He has two S shaped Bolts on either side of his helmet and the same type of helmet is worn by all Eternian Royal Palace Guards. The S-bolts often seem like one band that stretches around the back of the helmet, but in several close-ups Man-at-Arms can be seen looking down or turning around and this always reveals that it is actually two identical bolt shapes.

Diamond Ray of Disappearance - The ever scheming Skeletor has cooked up another plan to subversively take over the rule of Eternia. He has found the long lost gem of the episode's title that causes all who look into to it to be transported into some other dimension. Once again, this is all to avoid direct engagement with his the Noble Eternians. In one scene of this episode, Skeletor even brings rocks to life and they take a humanoid form and this is yet another golem summoned by the main antagonist.

Oddly, Skeletor is shown as being quite muscular, yet he almost never uses his physical strength, which suggests that these muscles are just another illusion. He looks intimidating and strong, but the fact is that his power is actually quite easily sapped, since it has no real foundation - just smoke and mirrors.

Each He-Man episode presents a relavant lesson at the end. This is always seen in the form of a brief scene that brings the episode's events into real World context. These coda scenes were one of the show's main ethical positives and they are something that practically all contemporary TV programs lack. The one presented here is about how quick routes to riches and power are almost always wrong. Thus, He-Man stands for honest work so as to provide honest results.

The She-Demon of Phantos - This episode contains some very interesting images. Skeletor has decided to subvert Eternia's weapons production by infiltrating the refinery in Phantos where Man-at-Arms acquires the metal needed for his workshop and forge. Skeletor hides behind a curtain and it is revealed that the supplies that the Eternians just bought are a fraud - worthless and frail ore - and that Skeletor blackmailed the Queen of Phantos, Elmora, to get his way.

Back on Eternia, Man-at-Arms has made some weapons, which includes a shield with an Iron Cross design, much like He-Man's breastplate. The fake metal soon becomes apparent when the newly forged weapons fall apart. Our clever heroes soon figure out Skeletor's newest parasite tactic and the coward antagonist immediately folds in fear as he is found out.

The interesting thing is that the spell that Skeletor puts on Elmora makes her see her friend, He-Man, as her actual enemy, Skeletor. This is really interesting, as Elmora knows that Skeletor is her enemy, but he just uses misdirection here and doesn't at all try to hide his guilt, just deflect attention away from it. The criminal Jew does this the same way by making Adolf Hitler seem like a mass-murderer when it is actually the Jew and his puppet Gentiles that are to blame.

Teela's Quest - This is an interesting episode in that it provides a side-track to the main storyline. We learn a bit about the background of Teela, whom Man-at-Arms raised as his own daughter, but she is actually adopted. Skeletor hardly plays a role in this episode, he just sends out Mer-Man to capture Teela as she travels to an oracle.

There is also a great scene that shows He-Man for the honorable warrior that he really is. He-Man actually saves Mer-Man, a sworn enemy, from certain death after the villain loses control over an ancient beast that he had magically reined, but soon it broke out into a rampage.

"In this war – as almost always – the unjust are known by their arrogance, their pride and their bullying nature. In this war – as almost always – the just are known by their honour, and by their noble behaviour." ~David Myatt

He-Man, most certainly, possesses the honor of which Myatt speaks. Letting Mer-Man die would have been an unrighteous act, but one that could easily be written off as a convenience. This is such a favorite tactic of the Jew, that he has gone so far as to orchestrate these kinds of "conveniences" as well as having a whole brigade of public relations officials that help pave over the resulting criminality.

Aryanism in He-Man
It is an unmistakable set of parallels that He-Man and the Masters of the Universe shares with National Socialist Germany. However, He-Man also fits as a part of a much grander mosaic - that of Aryanism. He-Man's appearance has been described as "Germanic" and this is quite appropriate, since historically, out of all the European peoples, it was the Germans who were the best example of Aryanism, particularly after Germany had become united in the later 19th century. Other nations only had the odd Aryanist individual here or there. However, German thinkers like Martin Luther, Arthur Schopenhauer, Friedrich Nietzsche and eventually Adolf Hitler all spoke out, in their own way, against everything that Jewry stands for.

The Jew is well aware of this and it is no mistake that one of the leading Zionist apologists had this to say:

"Every Jew, somewhere in his being, should set apart a zone of hate -healthy virile hate- for what the German personifies and for what persists in the German." ~Elie "I might have survived exactly four or five death camps" Wiesel

If you think about it, that makes sense from the Jewish point of view. The German has repeatedly advocated against every major Judaic poison - Luther against the corruption of Christianity, Schopenhauer and Nietzsche against materialism, and Hitler was essentially a grand culmination of all this. He took it to the next exponential level - a nation-wide re-Germanization of all major aspects of society, and this was to then permeate down into each household and family member. He addressed both general concepts and took direct action. Essentially, Hitler held out a nice big silver mirror to the Jew, who then saw his own ugly character right in front of him. And it is for this that the Jew will never forgive Hitler. Not with the Talmudized ego that he possesses.

Today, Hitler’s concepts are being studied by members of practically every ethnic group and those people are seeing how Der Fuhrer’s ideas apply to their own nation. Perhaps this is why the Jew is becoming increasingly volatile in his actions, but often just plain old careless. War crimes, such as those in Gaza (a small piece of land that is essentially being used as an "internment territory") are being harder and harder to defend - shamelessness is no longer enough!

Story Dyanamics
This publicity image for He-Man shows some of the main story dynamics.

On the edges we have the animal-like characters: One bad - a crude beast. One good - a graceful bird with divine knowledge.

Then, the women-warriors, note that their breastplates and collars are very similar. The bad uses magical schemes to fight. The good uses her own wits and weapons in battle.

This is taken to the next level with the male warriors. The bad, Skeletor, creates many of the schemes and magical devices used by his allies, and he also summons golems to fight. The good, Man-at-Arms, forges weapons and commands actual troops in battle to help his allies. Orko's placement right above Man-at-Arms is accurate as he is the good side's magician, thus both these characters form the opposite to Skeletor. Orko also provides much of the show's humor and makes his friends laugh, while Skeletor's laughter usually comes when he feels like one of his schemes will work, it is a self-serving laughter.

Then, the apex of power is only attainable to the good, though the bad try and clamor up there every chance they get. He-Man is the ultimate combination of magical power and physical fighting ability. This is a dangerous combination, so only a few are privy to it, the noblest stock of Eternia. Ironically, this doesn’t include the King, but King Randor is highly respected and gives orders to Man-at-Arms who works closely with He-Man. Thus, the titular hero is like a secret guardian angel - all effort, no reward, and it's all fine by him - a true Ubermensch and even an Arhat.

Part I was a reply to that one particular video, but with this much closer examination of the show's content, I must correct my previous statement that the show "contains allusions to National Socialist ideas, though just on simple level" -- the allusions are not so simple! They actually permeate the show and reflect NS ideals close enough to make the show a good element on The Storytelling Front.

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He-Man and the Masters of the Universe fan site
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SEE ALSO: ThunderCats review

"He-Man" was a Nazi - Part I

I was given a link to a particular video not too long ago. This four minute video was basically a simple video-essay on how the cartoon character, He-Man, was a drawn from Nazi images and themes. The ominous music accompanying the piece seems to suggest a steadily creeping evil. The ironic part is that the video, on a simplistic level, is quite true - the show He-Man and the Masters of the Universe did align for the most part with much of the image of National Socialist Germany as propagated by the Allied and Soviet propaganda machines. However, the people behind that propaganda painted the Nazis as Devil Incarnates, but in the show, "the Aryan barbarian," He-Man, is the good guy of the series. We'll get into why in a little bit.

First, the video: Nazi He-Man!

The video is a rather lame propaganda vehicle, at best. Let's identify its weak points.

Target One: The Opening Quote
The opening quote is by Robert E. Howard, who was the American author who conceived the character, Conan the Barbarian. So it is not unreasonable to associate his writing with He-Man who is quite similar in appearance and general mythos. He-Man creator, Louis Scheimer, even based his character on Conan, though he opted for a less violent protagonist by writing He-Man as character that delivers a positive social message. The end of each episode features a short lesson or moral derived from the episode's themes. Robert E. Howard wrote in the 1920s an 1930s when racism, especially white supremacy, was rampant in the United States, thus the quote from one of his works is really a product of its time. When the video's author links the quote to the Nazis, however, he mysteriously does not provide any source nor does he provide proof that any leading Nazi Official admired Howard's fiction or anything of the like. If the Nazis were so obsessed with blonde-haired and blue eyed people, they wouldn't have approved of Hitler as their leader since he had dark hair. Thus, this video's attempt at connecting Nazism to racism is just a bridge to nowhere.

This point is further weakened by the fact that the video then shows a dark-eyed He-Man. He doesn't have blue eyes!

Target Two: The Iron Cross
The video then links He-Man to Nazism by pointing out the cross on his breastplate. It does, in fact, look like an Iron Cross, but the Iron Cross is not a Nazi creation. The Iron Cross became a military decoration and recognition of a soldier's valor in Prussia in 1813. The design was by Prussian architect Karl Schinkel, who based his design off of the cross of the Teutonic Knights. The Iron Cross also bears a strong resemblance to the Maltese Cross, which has its origin back in the Crusades when the Knights of St. John engaged the Saracens on the island of the Malta. The Saracens had weaponized fire, which proved to be a very effective weapon. The many knights in that battle who had saved their comrades from fiery death were award badges of honor, and these featured the cross that eventually became knows as "the Maltese Cross" - a recognition of bravery in the fires of war.

Hint: they're not all Nazis.

The design from the 1770s in the Polish-Lithuanian Commonwealth appears to be the oldest of the Iron Cross variants, but it was actually a hoisted banner used by the Hussar Cavalry and was known as "Husarski Krzyż" (Eng. - "Hussar Cross"). The first time it was used as an award was with the 1813 Prussian variant. Also, the 1920s Polish version of the Iron Cross was a unit insignia, of the "Death Hussars," during the Polish-Soviet War and not an award.

The basic design for this military icon is far from being exclusively Germanic. The pictures above are only a fraction of badges/military decorations that employ the Iron Cross/Maltese Cross motif. Note that even US Fire Departments make use of a similar design for their badges, this refers back to the story from Malta. Also, the German Armed Forces today, the Bundeswehr, not only use the Iron Cross insignia on vehicles, but also award a new variant of the Cross for valor.

Target Three: The Tiger
Prince Adam has a humble cat companion named Cringer. When Prince Adam assumes his warrior form of He-Man, the normally calm Cringer becomes Battle Cat, whom He-Man rides into battle. The main German battle tanks during the Second World War, were named after large cats - the "Tiger" and the "Panther." However, the connection to Nazism is, once again, totally superficial. The Bundeswehr's main battle tank today is called the Leopard... yep another big cat. Also, the video makes the point that the Tiger symbolized the Nazi Military as a whole, but this image was the product of Allied and Soviet propaganda. Thus, the video just effectively contradicted itself.

Target Four: The Lightning
When Prince Adam transforms into He-Man, he does so but drawing a sword and taking on his powerful alter-ego with a flash of lightning, which also transforms Cringer into Battle Cat. The video then states that the "Nazi military" was so effective due to the use of "Blitzkrieg" (Eng. - Lightning War) tactics. In a way, this is true as the Blitzkrieg was a revolutionary general attack strategy that coordinated ground and air forces, as well as gave officers in the field much more flexible orders for how to command their own soldiers and how to approach objectives. All this amounted to rapid military advances, but also allowed for quick, coordinated fall back moves as well.

The Blitzkrieg was conceived by the military strategist Heinz Guderian who served in the regular army and not the Schutzstaffel as the ominously placed SS Bolts seem to suggest. By war's end, Heinz Guderian was not convicted of war crimes and his conduct was deemed that of a professional soldier. His military theories went on to redefine war strategy and, like the cat names for German tanks, as well as the Iron Cross, those theories are still in effect today and are used by every modernized military.

The maker of this video must see Nazis in his sleep, since a warrior figure with thunder and lighting reminds me more of the Norse god Thor than anything else. The Scandinavian countries, to this day, have big cats as centerpieces for their national emblems.

Target Five: The Eagle
One of He-Man's key helpers is the Sorceress, who is said to be "an Aryan woman who dresses as, you guessed it, a Bundesadler Eagle." Actually, the Sorceress's bird form is a falcon, but I suppose that we could let that one slide. What we cannot let slide, however, is that the hopelessly naive out there (among whom the video maker can be found if anyone cares to look for him/her) will never comprehend the fact that "Aryan" does not mean "ethnic German" or "Germanic" or anything ethnic specific. Two of the largest ancient Aryan sites are not located anywhere near Germany - one is in Russia and the other one is in Bulgaria. Russia and Bulgaria are Slavic nations. According to Allied and Soviet propaganda that has become so firmly entrenched in peoples' perception of the Third Reich, the Nazis were said to have detested the Slavs right down to their core. Thus, news stories about archeological sites like this don't ever make mainstream news, since they effectively put a huge hole in the established lies and perpetuated illusions.

Also, it is down right to ridiculous to say that the Eagle logo is exclusively Nazi, since there are a great many countries that use an eagle for their Coat of Arms. The Great Seal of the United States also features a large eagle with wings spread out.

Target Six: The Protocols
The text, The Protocols of the Learned Elders of Zion (there are some variations as to the exact title) is said to be the "Anti-Semitic, Conspiracy Theory manifesto." The video then states that said manifesto "paints its 'Jewish conspiracy' as a Snake eating the world, as orchestrated by a Secret Society called Skull and Bones." The Skull and Bones is a secret society from Yale University and it has many pro-Zionist politicians on its exclusive list of members, including former Connecticut Senator Prescott Bush, father of former U.S. President George H.W. Bush and grandfather of yet another man to hold that office, George W. Bush. Massachusetts Senator John Kerry, who ran against George W. Bush in the 2004 U.S. Presidential Election, is also a member. However, this one society, based in one university is hardly worthy enough to be blamed for all of the Jewish subversion in the World. Thinking along the lines that this video proposes will result only in foolishness. One must actually apply what they learn to the real World. And one famous American did just that.

"The only state I care to make about the PROTOCOLS is that they fit in with what is going on. They are sixteen years old, and they have fitted the world situation up to this time. THEY FIT IT NOW." ~Henry Ford, as quoted in an interview in 'New York World' on 17/2/1921

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Henry Ford didn't start to circulate and print copies of this text out of unprovoked hatred for the Jews. Though, the expert victim Jew likes to see it that way; he likes to paint his opposition as irrational so that anyone who speaks out against Jewry can be easily just branded an "anti-Semite." This goes for people that possess numbskull hate (as seen in neo-Nazis and racists) as well as people utilizing rational observation and application of knowledge like Adolf Hitler and authentic National Socialists, the latter to this day. Additionally, the term "anti-Semite" is intrinsically absurd as Arabs are also Semites and the main source of anti-Arab hate in this World are none other than Zionist Jews - thus they brand themselves with their own malicious label! Just don't expect them to admit that. It would be too much of a hassle for them to see past the illogic of their own arid hate and think of something rational to call their enemies.

Of course it is not just the Jews that fall into this self-perpetuated pit of folly. Long before he became Der Fuhrer, Adolf Hitler had noticed this in a great number of people. His thoughts are aptly summarized in the following passages from Mein Kampf:

"I know people who read interminably, book after book, from page to page, and yet I should not call them 'well-read people'. Of course they 'know' an immense amount; but their brain seems incapable of assorting and classifying the material which they have gathered from books. They have not the faculty of distinguishing between what is useful and useless in a book."

~Adolf Hitler    

"The material which one has acquired through reading must not be stored up in the memory on a plan that corresponds to the successive chapters of the book; but each little piece of knowledge thus gained must be treated as if it were a little stone to be inserted into a mosaic, so that it finds its proper place among all the other pieces and particles that help to form a general world-picture in the brain of the reader. Otherwise only a confused jumble of chaotic notions will result from all this reading." ~Adolf Hitler

This idea of applying knowledge was also something Tolkien wrote about in relation to his great work, The Lord of the Rings. He didn't want people to see it as an allegory for Europe and European nations - he preferred "applicability."

"I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its prescence." ~J.R.R. Tolkien, forward to 'Fellowship of the Ring'

The Protocols of the Learned Elders of Zion is routinely called a "forgery" and "a fraudulent text" by the mainstream press. About six months after Henry Ford, a famous and influential person, went on record as supporting the distribution of the text, an Irish journalist named Philip Graves, who worked for The Times, a London-based newspaper, "uncovered" that it's actually a hoax. The nature of this connection is about as solid as the "proof" for homicidal gas chambers in Auschwitz. The story took a while to invent, note that they didn't just automatically refute Ford, but needed time to cook up the right story. Eventually, a newspaper from one of the main hubs of the International Bankster Jews, produced the "refutation" that was immediately taken as "sacred truth."

FEUER FREI!
Well, there you have it. The weak points of this enemy vehicle. You know what to do with that Panzerschreck.

Conclusion
Basically, He-Man and the Masters of the Universe contains allusions to National Socialist ideas, though just on a simple level. The maker of the video above undoubtedly noticed this, but they can't get their head around all the anti-Nazi propaganda that they've been fed since grade school. In fact, given the intelligence level of most anti-Nazi information, I was expecting that at some point, someone was going to label Skeletor as "the evil Nazi," since his face is like the SS Totenkopf, his castle represents the snake that corrupted Adam and Eve, and his cohorts are brutes - that image is actually how Nazis are most often represented - "the incarnation of absolute evil." It is, in a way, ironic that the video's creator saw Skeletor as the Jew; it was a keen observation, but they took the final step, applying the story's symbols to the real World, the wrong way and saw He-Man as subversive evil.

SEE ALSO: Part II, review of the actual show.

Fatherland: An Alternate Version of Popular Absurdity

In 1994 a made-for-TV movie called Fatherland was shown on HBO. It was based on the "alternate history" novel of the same name by Robert Harris, which had been published two years prior. The film adaptation has many differences, but the general story arc, along with all of its tired Nazi cliches, is quite the same. The movie also takes the ending one step further and this is the film's most absurd moment. It is so ridiculous that it actually works as a satire on the Mother of all 20th Century lies.

The Alternate Version of History
The main story of the film takes place in 1964 in days prior to Adolf Hitler's 75th birthday celebrations, but the introductory sequence gives an overview to the film's alternate history.

We learn that the Normandy Landings in June 1944 were a disaster for the Allies, which caused Eisenhower to resign in utter shame and for the US to pull out of the war. This left the UK to be overrun by the Axis Powers, but Churchill had managed to flee to Canada. With the western front secure, the Wehrmacht turned its full strength to the east and steadily took back lost territory, eventually making it to Moscow. Though, Stalin had fled to an undesignated hiding spot and continues to rule a Soviet rump state. There is also a seemingly endless guerrilla war going on the Urals between the Wehrmacht and pockets of Soviet soldiers and/or Russian partisans.

In Berlin, however, there is peace, though an uneasy one. Albert Speer had built his long planned Volkshalle and the grand Arch of Triumph to commemorate the victory in 1945. The SS is now a police force under jurisdiction of the Gestapo, which is shown to be a typical dystopian police, power-hungry and ruthless. The book gets into more details: Reinhard Heydrich (having survived the mid-1942 assassination attempt that in reality had killed him) is now the SS Reichsfuhrer after Heinrich Himmler perished in a plane crash. It is strongly suggested that Heydrich had the crash orchestrated so that he could become head of the Schutzstaffel.

Germany, now called "The Empire of Germania," which is something that Hitler never had planned; he planned on giving Berlin the title "Welthauptstadt Germania" once Speer's architectural projects were completed. This film version of "Germania" is hollow and cynical, it is shown to be just like an Orwellian Dystopia. There is even a "Ministry of Information" that tightly controls all the media - this mirrors 1984's "Ministry of Truth."

Portrayal of Adolf Hitler
Hitler is shown in a typically approved and wholly ZC way. Early in the film, there is the notion that Hitler wants Germans to abandon all religion and worship him instead. Xavier March, the main character, notices this when his son doesn't say Grace at the table, but a lyric about the Fuhrer. Considering that the actual Hitler had a whole personal library that he amassed over many years, with many books on religion, this notion is sheer nonsense. That article is from 2003, while the film from 1994, but Adolf Hitler never hid his religious views. Mein Kampf makes it clear that Hitler considered the metaphysical just as important, if not more, than the physical.

The scene where Hitler appears in the film makes him seem like a blabbering robot as he repeatedly shouts "SIEG!" to the crowd, which then replies "HEIL!" This goes on and on and on. In fact, in this highly fictional Germania, people don't even seem to say "hello" anymore, just "Heil Hitler." The culture conscious Hitler would have never allowed this to happen. It also makes it seem like all Germans were devoted party members, when in actuality NS Party membership totaled at around 6,000,000 out of a population of 80,000,000 in the Greater Reich. State and Party posts were also separate, thus not that many people wore a black uniform with SS Totenkopf and red Swastika armband. The Nazi Emblem may have been a pervasive visual in NS Germany, but it's not like every corner was a decorated military parade ground.

A lenghty interview with Heinrich Himmler discussing the NSDAP and its functions in Germany in this Institute for Historical Review article.

The portrayal of Hitler as an old, arrogant and cold-faced man is also wholly false. In fact, this fictional Hitler in the movie is an apt reflection of the Jew who cannot bear to look at his own ugly nature and tumbles into a fury over criticisms of his people's historically documented crimes. The Jew simply paints over the mirror in front of him and says, "see that's your enemy, through that window!" And even today most of us are tricked into looking with disgust at one of history's greatest men as we chase ZC created phantoms into the mountains of Afghanistan.

Authentic Hitler
“None of our projects of a practical nature will be completed in less than a period of ten to twenty years. None of our tasks of an ideal kind can be completed before fifty or a hundred years have passed. I started the National Socialist Revolution by bringing the movement into being, and since then I have guided its actions. I know that none of us will live to see more than the very beginning of this great revolutionary development. What then could I desire more than peace and tranquility? But if it is said that this is merely the desire of the leaders, I can reply that if only the leaders and rulers desire peace, the nations themselves will never wish for war.” ~The Real Adolf Hitler. 

Leader. Hero. Legend.

The self-centered nature of the Jew is also apparent in the way he writes history, always putting himself in the center. Hitler didn't care about Jews as much as he cared about the German people. He wanted to get the Judaic mindset out of them, their society and their culture. The Jews were definitely not at the center of Hitler's efforts, though they love to see it that way. Hitler did what many people have done before him: shut the Jew out, along with all of his manipulations, so that society can be free and so that culture can be unblemished. Hitler's focus was reform in Germany. The Jew was but one obstacle in the way.

Film Plot Overview
The plot of Fatherland is a rather simple thriller/conspiracy plot, just with cartoonish Nazis as key players. Xavier March, an SS officer and homicide detective, is investigating an unusual murder which leads him to smell a cover-up. The dead man was a formerly prominent NS Party member who had retired. The Reich is in general excitement as Hitler's 75th birthday is coming up as well as a visit from the US President, which will hopefully ease the Cold War between Germania and the USA. March's investigation uncovers some startling information after he meets with a US reporter who hopes to cover the story of the Fuhrer meeting with the US President. Maguire, the American reporter, had received some mysterious information from a man named Luther who asked to meet her. She warily accepts and Luther gives her evidence of a horrible crime that took place during the war.

March's investigation ends up becoming linked with the many other murders that have recently taken place and he realizes that the Gestapo is secretly killing all those who attended the Wannsee Conference in early 1942 - they are trying to forever bury all evidence of the "Final Solution." Naturally, March turns "true patriot" when he realizes the crimes his country has committed and out of the blue decides to defect to the USA! Maguire sneaks her way to where the Fuhrer and US President are to meet and hands the President the "evidence." And so once the "secret" is out, the USA severs relations with Germania and Hitler's empire collapses.

Yeah, ok.

Unintended (or ingeniously subversive) Satire
It is worth noting that the main character, an SS Officer and Kriegsmarine veteran, is named "March," which is not a German name. He also doesn't speak with that cheesy Hollywood German accent, but guess who does? The "evil" Nazis do! So German sounding people are bad, but Anglo sounding people are good? Ok, right.

This becomes most apparent when Maguire conveniently hears the confirmation for all the "evidence" - a slimy voiced lady with a thick German accent tells her all about the "resettlement" program - "vee resettled dem... een to ze air!" This lady is said to be an actress who didn't find success in Hollywood due to all the studios being "run by ze Jooz." We are supposed to think that this is just another sterotype, yet Jews themselves boast about this fact. Also, given her profession, acting, she wouldn't have as thick of an accent in a foreign language as, say, Xavier March, but since March is good and she is bad, the "evil German voice" must be spoken by her.

After that incredibly useful and spontaneous confession (known in screenwriting as "a plot device") we get to what just might be the best H'c0$t satire ever. Note that in the scene "where the truth is finally revealed" takes place at a huge ceremony in the middle of an empire's capital city with the leader and an all important international visitor present, thus security would be very strict and with good reason. Yet, Maguire manages to run through the crowd, through the rank of soldiers keeping the crowd in line, through the US Presidential limo's security, and right up to the US President and Ambassador to whom she hands an envelope, which they take and get back in the car without even looking at it or with a greater reaction from the "security." This would be just another lame plot device, but it gets better. The President then looks at the few muddy photographs of dead people and this convinces him of the awful truth.

The genius of this moment is that this is exactly how the "Holocaust" has been "proven." First, there was "testimony" and "confession" - parodied with the slimy accented lady's impromptu war crime confession dialog. Second, there were plenty of muddy and staged photographs that "prove" every single claim of Axis crime - parodied in the opening of the envelope with the few pictures. The film first mentions the "evidence" as "documents, photographs and signed orders." But they only end up showing some photographs, since that is the only "evidence" that actually exists! This is because photos can be taken out of context very easily, while with documents this is not so easy to do on such a wide scale. Documents have a trail, classification, stamps, signatures, etc... However, with a photo of typhus victims, it can just be said: "Look, dead people! PS: the Germans killed them all."

Really? Dead people? After a war that lasted 5 years and starved an entire continent? You're kidding right?

Other Issues
Germania is said to utterly collapse after the US severs relations. Pure fiction, since the real Hitler had made his country economically self-sufficient, by releasing Germany from the death grip of Jewish usury and by putting together a very sound economy that was based on work and progress, rather than pure profit and funny money. Thus, March is simply the stereotypical "good German" who loves the Jews, despite the fact that they raped his country economically.

Early in the film, as March first goes into the Police Headquarters building, some of his colleagues are discussing a sexual crimes arrest: "a pure Aryan woman and a Polack caught right in the act." So the woman gets resettled and the man gets 10 years hard labor. This brief scene serves the classic lie that "Aryan" means "ethnic German," as well as underscores the National Socialists' supposed race/biological obsessions. One only needs to look at the roster for the Waffen SS to see that the Nazis were more tolerant of different ethnicities than the American Armed Forces, which were segregated along racial lines. Also, Hitler may have encouraged cultural purity and thus discouraged mixing (in all cultures, not just his native German culture), but it is hard to believe he approved laws condoning draconian punishment for what may as well have been teenagers having a romp. In fact, from the start he was encouraging a sense of austere and if this film is supposedly about a Germany 29 years after it won the War, there would have already been at least one generation raised completely on those values.

This bit also serves as a good example for that fact that NS Germany is not so much outright lied about, but rather it heavily distorted via strawman arguments:

Aryanist: "Aryans seek to re-create the ideals of the Aryan Race through unity and nobility."

Jewish Strawman: "Aryans like Hitler want to breed a ‘Master Race’ based upon racial ideology."

Hitler's goals were rooted in much more in social order than in manipulating genetics. Though, Hitler's plan for a healthy society would inevitably affect genetics in the long term.

On the flip side of things, Dresden is mentioned and 100,000 Germans were said to have died there. That only begins to show the truth: in reality, at least 300,000 people died in Dresden - they were burned alive, a literal "holocaust." Also, this scene mentions that Germany threatened to drop the A-Bomb on the USA: Germany having the A-Bomb is not unreasonable in this alternate history, however Hitler made it clear that he didn't want war with the West and offered the UK seven peace offers which the stubborn Zionist lapdog Churchill did not accept. Similar conditions were offered to Poland's leadership, but Marshal Rydz-Śmigły was as much of a dupe as the rest of his Allied counterparts. So, in reality, it's the Allied Powers who wanted war. Or, since they were dupes, maybe it is more accurate to say that they were manipulated into war to bring down Adolf Hitler. That is no excuse for their crimes, but as Carl Jung said, “The greatest and most important problems of life are all fundamentally insoluble. They can never be solved but only outgrown.” Thus, it is the duty of all honorable people today to not only learn the truth, but to join the movement to spread it and abolish the established lies.

The ending of the book is slightly more ambiguous than in the film. Maguire is on her way and escaping Germany by fleeing to neutral and still independent Switzerland as a step in getting the "evidence" into the US Government. March distracts her pursuers by leading the Gestapo tail to where Auschwitz once stood. There is nothing there, but he finds some overgrown bricks. The end. Gas chambers, as that is what I presume the book is hinting at, were for the most part not made from bricks - Degesch, a German company, made metal gas chambers and US gas chambers from that era were very similar. Both were used to fumigate cattle cars to prevent disease, but smaller versions, such as in Dachau, were used to fumigate clothes. Also, the small brick building in Auschwitz that has the most Zyklon-B stains has been determined to be a more primitive fumigation chamber. It was built that way, since resources were very tight and virtually all metal was going towards production of military equipment.

There is also a scene that condemns the evils of euthanasia and sterilization as practiced by the Nazis on the sick and crippled. The problem is that they forget to mention that every Western nation did that at the time and many continued to do so well after Nazi Germany had been defeated. In fact, Jews themselves are willing separatists: they see themselves as different and superior. Such blatant and outright supremacist arrogance that leads to hate and violence on a Worldwide scale is praised by Jewry. They really do just look into the mirror and can't bear to see themselves, so they paint over the reflection and call it a "Nazi" so as to get the rest of the World to destroy the best remedy is has against all the aforementioned Jewish poison.

Conclusion

So overall, this is just a film that hates you. It's pure nonsense. Or what I call "Historical Escapism," since it effectively departs from reality as much as the James Bond movies, which are popular "escapist entertainment." The closing narration even bashes "holocaust deniers" and this closing narration (same voice as the opening narration) is revealed to be March's son, Pili, who escaped to the USA. He is proud of what his father has done and is happy that he can "follow his father's example" as all boys want to do. Thus, we have the final ZC Propaganda point - "honor your father by believing in the H'c0$t."

I will not be doing any such thing, thank you. Never.