Devil: Microcosm of Zion

"Be sober, be vigilant; because your adversary the Devil walks about like a roaring lion, seeking who he may devour." ~Peter 5:8

This quote (which should be noted as "1 Peter 5:8") opens the film Devil, in which 5 people, apparently total strangers, get stuck in a malfunctioning elevator, but soon realize that there is an even greater problem present. Those trying to get the stuck passengers out - some of the building's security personnel and a pair of police detectives - also see that something else is not right and it is soon suggested that the Devil has planned all of this to happen. Overall, the film plays out as a good horror film and is very far removed from the gratuitous slasher nonsense that seems to permeate the genre. And wouldn't you know it, in this film's interesting portrayal of lurking evil and subversion of spirit, there are some solid anti-Zionist themes.

That was one of the first images used to promote the film, a rather bleak and dark poster, but there is a subliminal hexagram there in the form of the elevator buttons. The "down" button acts as the V, however when put together with the "up" button we get a six-pointed star and not the usual Satanic pentagram. These two buttons are the only actual objects in the poster, the rest is writing - credits and the tag-line "Bad things happen for a reason," which suggests an ominous plan slowly coming together.

The film's opening sequence is a series of upside-down aerial shots of Philadelphia, the final of which enters a building, travels down an elevator shaft, where we'll spend most of the film, then flows into the building lobby, where the first key event takes place: a man falls onto a van parked outside. The janitor cleaning the lobby doesn't notice as he has head phones on and he is facing away from the windows. Odd, perhaps, but plausible. When the police begin to investigate the scene, the truck has rolled down the street and into an alleyway. The investigating detective even says that it must have bounced off of a concrete barrier before coming to a crooked stop at the end of the alley, thus it must have been a noisy trip, and here the real oddity plays out: no one noticed this. There are no witnesses in the middle of a big city and the detective himself figures out that the truck must have coasted down here. This was early morning, but any modern downtown has all sorts of business in which employees arrive to prep for the day before business hours, such as the janitor cleaning the lobby, but certainly not everyone was so distracted so as not to notice an out of control truck careening down a street!

This either means that the forces, which had propelled the previously described events were supernatural or that people just didn't bother care. Both notions will soon come into play.

No Coincidences
During a mundane week day, it's even raining outside, five people trickle into an elevator presumably to get to an appointment or work. Soon things start to go inexplicably bad and fear sets in and they all start to turn on one another - each one cares only about their own skin - and there are, most definitely, supernatural forces at work. The building's computers display information contradictory to what is happening, a mysterious face flashes on the security camera's display, and the elevator's lights flash on and off for no reason intermittently with the trapped people emerging from the darkness, first with wounds, but then they wind up getting killed off one by one. All of this seems to be contained within one elevator and everyone swears that that hadn't touched anyone else.

There is a narration in the film that tells, in episodes, a story about the Devil in which he rounds people up into one place so that he can torment them before taking their souls.

"When I was a child, my mother would tell me a story about how the Devil roams the Earth. Sometimes, she said, he would take human form so he could punish the damned on Earth before claiming their souls. The ones he chose would be gathered together and tortured as he hid amongst them, pretending to be one of them. I always believed my mother was telling me an old wives' tale."

This is basically a continuation of the idea presented in the opening quote. One of the security guards mentions to the detective a legend called "a Devil's meeting" which is essentially a template for the situation unfolding before them. Earlier in the film, the detective was having breakfast with a friend who told him "to truly feel free, you may have to start believing in something greater than yourself." If all goes well, this would be the realizing off greater ideals. However, all does not go well and the "greater thing" encountered is the Devil who seeks to make people into puppets and victims.

The detectives, the security officers and the building engineer all work to free the people trapped in the elevator, but things seem to get worse and worse. First, one of the passengers is wounded with what seems to be a serrated blade, then one of them dies with a shard of glass in his neck and the nerves of the survivors get worse and worse. The building engineer falls down the shaft, as he tries to make his way from the top of the shaft onto the top of the elevator car. Firemen are called in to hack through the wall so as to access the shaft from the side at the level where the car is stuck at. Yet, as everything seems to progress, though at a cost of life in certain instances, it doesn't seem to progress fast enough! The malevolence in the elevator car continues to torment the people and snuff them out.

The background narration at the point, when the fire department arrives at the scene, states that sometimes people would try to fight with force, but "some battles cannot be fought with weapons." This is a virtually exact transposition of Adolf Hitler's idea of "where we lack weapons, we must compensate with will power." It is the struggle of the spirit that makes men succeed - slowly the characters begin to realize this. Bowden, the main detective, even tells of a incident that happened 5 years ago and in which his wife and child were killed by a hit-and-run driver. This has led him to not believe in the Devil, for "people are bad enough by themselves." His idea of what goes on in the World has been entirely reduced down to people either doing good or bad, but now that's changing.

Bowden's background story becomes a key aspect of the film's action when the last remaining survivor in elevator ends up being revealed as the one who was the hit and run driver 5 years ago. At this point, the Devil makes his presence known, he is in the form of the older woman who was in the elevator and thought to have been the second one killed. By now, all the characters in the film have been revealed as having done bad deeds in the past and thus were slyly hoarded into this one place. Then, for what must have been hours of tension and mental strife that have led to nothing but violence and now culminate into an encounter with the Devil himself - "the lies we sell ourselves introduce us to him" is part of the narrated background story.

However, now the lies stop and the last one alive sees what he must do to get out: repent. He thinks back to the time when he committed the hit-and-run, he remembers the moment when saw the dead mother and child, and when he cowardly drove off leaving only a crudely written note. In realizing his past wrong doing, his past selfish actions, he takes the responsibility that was once avoided. For that, the Devil can't claim his soul for it is a soul that is actually struggling to be free of evil.

"God only helps those who are prepared to help themselves." ~Adolf Hitler

By stopping the lie that he has been living with, the man helps himself become of better moral conscience. This does not mean being let off the hook for his previous doings, but the important thing is that he puts an honest effort to set things right, though late it may be. As Detective Bowden drives the man to the police station and when they are driving down a long, dark stretch of road, a place where Bowden could easily have vengeance and fake a story (who wouldn't believe a cop?) and thus have simple satisfaction, he says that he forgives the man for what he did 5 years ago. In this scene, through the back windshield of the car we can see a V-shape of lights fading away in the distance as the car drives on. The V was the first introduction to the Devil on the promotional poster, but now it is a parting with the Devil as Bowden does the honorable thing.

The film's closing narration: "After my mother would finish her story, she would always comfort us. 'Don't worry,' she'd say. 'If the Devil is real, then God must be real, too.'"

Mainstream Evil
The film employs much mainstream imagery to convey its notion of evil, but it remains interesting nonetheless. For instance, the truck on which the suicide jumper lands is from a company called, Bethel Bread Co. and Bowden's family died on Bethlehem Pike, which tie in together - "Bethlehem" means "House of Bread" - as well as allude to the story of Christ. The building that serves as the film's setting is located on 333 Locust St; this can refer to the biblical story of plagues, but there is a real street of that name in Philadelphia, however the portrayal of it in this film is fictional. 333 is half of 666, the Number of the Beast.

The film's first shot in the opening sequence is the same shot that ends the film, however, the opening is upside-down, while the ending is the same shot, but now right side up. These are shots of the Philadelphia cityscape, which includes many pointed buildings, just like the triangles on the promotional poster. Thus, we have an upward triangle and a downward triangle - put those together and there is a hexagram. 333 + 333 = 666.

Numerology tends to lead to obsession and inevitable folly, so it is only good to briefly entertain it. In all probability, the filmmakers included it to have an easy understanding of the film be possible. Everyone "knows" that 666 = Devil. It's practically a selling point in pop-culture.

Visions of Zion
On this aspect the film is a bit more creative. In the opening sequence, as the shot travels down the elevator shaft, it is neither right side up nor upside down. In this location the triangles coexist and point both up and down - and this is where the Devil eventually appears. Then, right when the shot travels to a particular door in the shaft, it spins so as to come out right side up for its travel time in the lobby.

The red glare creates an inverted cross that goes "into" the V, reflecting the inversion of the original teachings of Gnostic Christanity into corrupt form of Judeo-Christianity. The elevator buttons are on the right and a number 6 is right above the door. In effect, the final moments of the opening sequence seem to revert the above cross and suggest that the film's outcome will ultimately be good. These opening shots are a small representation of what will now happen throughout the rest of the movie. And wouldn't you know it, the fist major event is a suicide by falling down, while the last event is an act of forgiveness and mercy, the sparing of a life.

The film's abundant triangle/mirror images all point to the hexagram and there are many notions to "flipping" in the film: the first of the main characters to die, a salesman of mattresses, suggests that it is a good idea to "flip" your mattress every 3 months so as to lessen the effect of sagging. He says this while standing in front of a mirror, which flips images. He had been looking into this mirror for a while before this moment and then dies by getting a triangular shard of the mirror in his neck. Seems like the Devil killed him first for a reason. By looking into the mirror he saw an entire false dichotomy, the same one that is making the people in the elevator lose their nerves and turn on each other. By instilling hate and distrust, the Devil is making it seem like the people are killing each other.

The kicker is that the elevator is a microcosm for Zion: people trapped, with no hope of escape, in a space controlled by the Devil. This microcosm can be seen in greater form in the shape of the entire building - it literally has the same shape as the elevator and when the police shut the building down and tell everyone to stay in the lobby they have just created an identical, but larger, situation as that in the elevator. One of the building's security guards goes to the basement at one point to fix something, but ends up getting shocked by a faulty cable and collapses out in the lobby. With this dead body, the lobby is now a macrocosm of the elevator.

Microcosm - a small part representing the whole.
Macrocosm - a large-scale reproduction of something small.

Put these together in a continuum and you have a fractal, a repetition of subdivisions that are identical to the main shape. In the film, this pattern is just elevator < building. However, theoretically this could continue on to: city < county < state < nation < ...etc... < Zion. The last repetition is the ultimate, though still theoretical, compartmentalized prison complex that would spread on forever and last indefinitely. It is the absolute killer of freedom with all of the inmates' identities erased and replaced with small sections of slaves toiling away for the Devil.

Devil = microcosm for (ZION) = macrocosm for Devil

With these two shapes locked together in coexistence, for they truly are one, we get the configuration whose only goal is to grow so as to contain and dominate all.

RIGHT NOW:

There is still a chance to escape the grid and fight.

IF THE DEVIL WINS:

The fences close. Reality is redefined.

Right now, the film's closing narration still applies to our real World: if Zion's forces are at work, then so are the forces of Arya. Joining the right side is each individual's choice.

We must believe that we can win.

We must not assume that we cannot lose.

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

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

Some four years before he made My Neighbor Totoro, Hayao Miyazaki created another Aryan-themed work called, Nausicaa of the Valley of the Wind. He put a tremendous amount of energy into this piece, as it was a completely original story with no pop-culture tie-in, and Miyazaki even crafted a manga series with the characters first. This film is an adaptation of the first two volumes. While it sacrifices much of the written works' intricacies and scope, the film version is still a great piece of storytelling. 


Sometime in the Future...
...the World's is forever changed by an event that now, 1000 years after the fact, is remembered as "The 7 Days of Fire." During the opening credits sequence we get glimpses of what when on during those days, these are quick images in a montage that seem to be resemble the memory jog of someone pondering the event. We see huge golem like figures march and unleash wanton destruction upon everything in sight. Eventually, after the chaos settles down, Earth is forever transformed with human settlements few and far apart from one another with a "Toxic Jungle" inhabited by giant insects covering the rest of the planet. Those regions are lethal for humans and can only be entered with special masks. Contact with the insects is almost completely avoided as any sort of combat results in unstoppable swarms.

The opening credits may have very well been the thoughts of one Lord Yupa, a figure similar to Gandalf in Lord of the Rings, who sees a village that has succumbed to toxicity in the very first scene. He picks up a doll whose head crumbles to dust; the doll was a child's toy and this suggests the death of Original Nobility. Has life been so violently beaten and transformed that it has lost all of its previous Nobility? The World's forest before the apocalyptic events provided Earth with oxygen, but now the jungles are toxic. This is a strong indicator of such major aberrations that they might as well be considered absolute and fundamental change. However, as we soon find out, it is a lack of hope that is the most demoralizing of illusions.

Enter a Heroine
Nausicaa is a princess in one of the few human settlements, each of these is more of a city state with government and economy, however, the Valley of the Wind is an exceptionally humble place  when compared with the others. We first see Nausicaa exploring the Toxic Jungle and finding an ohmu's (one of the huge species of insect) shell that has been shed. Knowing that this will be a valuable resource she decides to take a piece of the shell back, when she senses someone's distress. Off in the distance, someone is being chased by an ohmu and Nausicaa immediately goes to their rescue and non-violently stops the ohmu from chasing the person who is actually Lord Yupa from the opening scene.

The angry ohmu

This is a great introductory scene for the film's main heroine; she is not the stereotypical lazy aristocrat, but one committed to Aryan struggle - exploring the World and not hesitating to help someone. Note that the ohmu in this scene is blind with rage as it's home must have been disturbed accidentally by the passing Lord Yupa, but Nausicaa stuns the beast briefly with flashbangs and then soothes its anger and the bug's eyes go from bright red to a calmer blue and it makes its way back into the jungle. This scene is a total inversion from macho Lone Wolf heroics in which a muscled brute of a male takes one some beast or wrestles it away in a show of strength - here we not only have a woman but also non-violence resolving the issue; all suggesting quality of tactics and persona as opposed to quantity of strength and pure physical endurance. These themes will carry on for the rest of the film.

Also is worth noting that Lord Yupa, who has traveled far and wide in this world, still doesn't know just how Nausicaa was able to calm the ohmu. Lord Yupa unleashed the rage of the ohmu when he fired upon an insect in effort to rescue a small mammalian critter, a fox-squirrel. Yupa gives the animal to Nausicaa who is also able to calm it with some unseen force, it seems to be just her gentleness. Apparently, Nausicaa has a connection with all living things.

Enter Hope
Lord Yupa says that he is on his way to the Valley of the Wind and Nausicaa rides ahead on her glider. Interesting that her glider looks like a white wingspan and is called "Mehve" which immediately made me think of the Polish word for seagull, "mewa." As it turns out, the German word here would be "Möwe" and in the original manga written by Miyazaki, it is that word which is used for name of Nausicaa's glider. The glider is a symbol of a harmonious existence of nature and technology, of humans and animals, as well as being a fine piece of engineering - it can propel itself if need be, but usually glides so as not to waste energy.

Nausicaa flying over the Valley

Soon after Nausicaa's return, Lord Yupa rides into a valley with many windmills and green fields. Children happily rush out to greet Lord Yupa and the whole scene bears a strong resemblance to Gandalf's entrance into the Shire at the beginning of Fellowship of the Ring, both the scene and the scenery are parallels with similar themes being communicated, albeit transposed from the rolling hills that are typical of the English countryside to mountainous landscapes of Japan. This is the Valley of the Wind.

The Valley is one of few places not yet consumed by the ever spreading Toxic Jungle, which is also degenerating human civilization as its pores cause, among others, premature aging. It seems that the Jungle's take over is inevitable.

Here we are introduced to Obaba, a wise woman who recounts a prophecy of a mythical hero's arrival; "Clad in blue and surrounded by fields of gold to restore mankind's connection with the Earth that was destroyed. He will guide the people at last to a land of purity." The Aryan symbolism here is unmistakable. A more subtle, but also effective, way that the film communicates Aryanism, and even alludes to the Aryan race, is the fact that the characters have a rather general and undefined complexion overall. Some look Asian, but many have beards that make appear like Old Germans or Slavs. Added is that there are no mentions of real world geography, we can only assume that the film takes place on Earth, but it may as well be in the same sort of realm as Lord of the Rings - a realm of universalist applicability that has been intentionally created separate from our current world so as not to be burdened by any of its constraints.

The Struggle
That night, Nausicaa, with her heightened sense of the world, detects that something is not right. Sure enough, she's right, a large crippled ship is on a crash course with the Valley. Jumping in the Mehve, she approaches the ailing vessels and attempts to warn them not to crash into the people below. We see that the ship is being attacked by insects and is soon brought down resulting in a fireball and the toxic pores of the Jungle and insect life now threaten the Valley's agriculture. Nausicaa finds a survivor amidst the wreckage, this is a princess from another settlement, Pejite, who soon dies. This will lead to complications later. This scene also shows Nausicaa's Aryan qualities as the masses are highly impulsive and in panic about the insects, and even more so when a bigger one emerges from the downed vessel's hull. The people panic and aim to tear it up with gunfire, but Nausicaa intervenes and encourages it to leave with her unique communicability. The insect flies away with Nausicaa escorting it to the edge of the Jungle where and ohmu waits for its kin. The ohmu seems baffled as to why a human, an enemy species, did not unleash the usual rage and violence, but proceeds peacefully back into its home domain.

The next day, more ships arrive at the Valley. They land and unload soldiers who begin to secure the area, including the ailing King's quarters. Nausicaa returns from a flight when the apparent invasion is underway and rushes to her father's room only to find him surrounded by the soldiers and dead. This scene is Nausicaa's only fit of rage as she engages the soldiers with a fury, but is soon stopped by Lord Yupa. This stopped what would have been a spiral of cataclysmic violence.

The newly arrived army is from yet another state, Torumekia, and the Torumekian Princess Kushana explains that they are here to help reclaim Earth for humanity for the transport that crashed last night was carrying a developing "god-soldier" - one of the golem-like beings seen in the intro, one of the beings that caused the 7 Days of Fire 1000 years ago. However, Kushana is convinced that the golem may be used to destroy the Toxic Jungle so that the remaining humans on Earth can live without constant alarm of the pores or of the insects. Kushana decides that the best place for the golem to finish developing will be right in the Valley. She decides to take Nausicaa and some of her confidantes hostage so as to ensure the good behavior of the Valley's inhabitants.

Before they leave, Nausicaa reveals to Yupa that she had been secretly growing a garden in the basement of her building, but one with non-toxic soil. The resulting plants did not give off the lethal spores and she hoped to find a cure for the ailments humans inevitably face due to the pervading toxicity. The reverting of the garden to natural states also suggest a reversion to Original Nobility.

To the Brink of Annihilation
When they leave the Valley to head towards Torumekia, a single fighter craft attacks the Torumekian ships destroying several. Nausicaa climbs out onto roof of her own ship and her presence seems to dissuade the pilot from attacking the ship, but in his moment of hesitation his own craft is hit and goes down. Nausicaa then gets everyone off of the ship, including Kushana, and they glide down to the surface, but wind up in a swamp. Kushana does not value any act of kindness and is only driven by selfishness (she was even baffled, like the ohmu from before, when Nausicaa allowed her to escape with them from the crashing ship) draws a gun and states "I give the orders around here!" She lets her impulses get the best of her. The insects in the jungle sense anger and immediately rise up from the swamp, but Nausicaa with her communicability manages to calm them.

The insects seem to communicate with Nausicaa by some sort of glowing yellow tentacles and Nausicaa has a vision of golden field for a few moments. It's a peaceful vision. Another contrast, slightly more subtle than violent outbursts, is that Kushana regularly insults her subordinates and they her behind her back. It's another aspect of their volatility.

The previous scene also demonstrated that the air above the clouds of the jungle is clean and breathable. This is a first major indicator that there are certain things yet to be explained about the dynamics of the Toxic Jungle. Not surprisingly, it is closest to the source of the Swastika symbol that the pollution is not present.

After the ohmu leave Nausicaa goes to see if the pilot from the down fighter is still alive. Sure enough, he is and fighting with the insects, which in turn causes them to rage. This is the gentile way that inevitably leads to a spiral of violence. It is not unreasonable to believe that it was such thinking and such a course of action that lead to the 7 Days of Fire. The golems were created to wipe out all the enemies of a nation or of an alliance, but unleashed a worldwide inferno.

Nausicaa saves the pilot with her glider, but they are then pulled down into quicksand and Nausicaa has another vision. Back in her childhood, in a golden field, she had come across a baby ohmu, which was soon killed by adults. The young Nausicaa saw no reason for the violence and this is yet another suggestion that the ohmu are not what people think they are. In fact, as it turns out, peoples entire perception of the Toxic Jungle is wrong. Nausicaa and Asbel, the fighter pilot and Prince of Pejite, have been pulled down under the jungle, but are now in a clean environment. The jungle is toxic, because it is cleaning all the pollution that people had caused during the 7 Day of Fire. The insects are so protective of the jungle, because they are guarding this secret and keeping a violent species, humans, away from it. In effect, the jungle is reverting the Earth back to Original Nobility - it's a natural process if allowed to go uninterrpted - and thus, Nausicaa's attempt to control this process back home wasn't necessary. Though, she was doing it with good intention. However, Nobility cannot be "created."

In this scene, Nausicaa tells Asbel that his people are just like the Torumekians and he reacts in rage, which is a typical gentile reaction that prevents the transcending of tribal boundries. Back in the Valley, Lord Yupa discovers the Torumekian plans to unleash the golem and leaves to find Nausicaa. The villagers start an uprising then - the spiral of violence is beginning to spin. Nausicaa and Asbel reach Pejite, but it has been destroyed by the ohmu, but because they soon find out from some surviving Pejites that it was the Torumekians who lured the insects there. A deviously clever exploitation. The ohmu, when their eyes glow red, are said to be able to fight until they starve, they literally wear themselves out with their own treachery. People, it seems, are on the same track for the Pejites get the brilliant idea of now luring the insects to the Valley to conveniently wipe out all the Valley people and the rest of the Torumekians, then they will take the golem and destroy the Toxic Jungle, which they refuse to see as anything other than wretched despite Nausicaa's and Asbel's pleas. Asbel is knocked unconscious by his fellow soldiers, while Nausicaa in imprisoned on their transport. People are really on the same track as they were one millennium ago, it seems. They just want to make treachery work for them and only for them.

The leaders man be corrupt and blind with hate like the ohmu, but some of the people are not. A few noble Pejite civilians help Nausicaa sneak out so that she can find the lure being used on the ohmu swarm. While everyone prepares for some of the biggest combat to come yet, Nausicaa finds the lure, with her keeness that allowed her to spot Lord Yupa in the very beginning when he was running from the ohmu. She ends up wounded, like the baby ohmu being used for the lure as it had hooks in its body so that it could be transported. She uses her communicability to talk to it and the prisoner ohmu sees that Nausicaa is not an enemy. It heals her using its tentacle-like antennae. Then, in her last attempt to stop the ohmu horde from killing the rest of the Earth's human's Nausicaa orders the stunned Pejite soldiers to transport her in front of the charging ohmu.

The way of the Aryan

The way of the Jew

Meanwhile, Kushana unleashes the unfinished golem and it manages to fire off some terrifying laser blasts before completely falling apart. Her dreams of cataclysmic victory instantly shatter and crumble to hopelessness. The charging ohmu cannot be stopped by anything at her disposal now.

Nausicaa is set down right before the ohmu charge and it plows right into her, sending her high up into the air and back down into the midst of charging insect feet and kicked up dust.

For a few terrifying moments everyone prepares for mutually assured destruction, but then, inexplicably, the ohmu then stop... from high up in the air we see the raging red glowing of the swarm's eyes starts to turn into a calm blue from one spot that soon spreads throughout the entire giant multitude of ohmu. They lift Nausicaa on their glowing yellow antennae, whose clothes are now blue (from the blood of the wounded ohmu) and she appears to be walking in a golden field - Nausicaa is the mythical hero that found the link between humanity and nature so as to herald in a new Golden Age. She is the embodiment of the symbolism of the Swastika.

Arya Returns

Part II

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 Nazis" as a Showpiece

Recently, I have covered historical white washing propaganda and Allied boasting by looking at three films about World War II. However, this propaganda technique is actually more prevalent on the peripheries of the media/information sphere. There are actually many more films that merely reference the Nazis than are actually about them specifically. Kamerad Elysium made an interesting point in a comment on my Battle of Britain article:

"The West generally, but particularly the Anglosphere, and to a lesser degree Russia, made 'the Nazis' an integral part of the national mythos, becoming even more important than any other myths surrounding the nations' histories. It is for this reason that today we see 'the Nazis' and NS Germany as merely the context of the storytelling of the West. It is only a reference point to demonstrate the victor's moral superiority and vision for a liberal future for the world. I believe this is why NS Germany has been stripped of its place as a historical period to become something of a showpiece; like the Romans reenacting their victories against Thracians, Gauls, Germans, etc., in gladiatorial contests. Increasingly, especially since the focus on Israel and the Middle East has been important to foreign policy in the eyes of the public, 'the Nazis' have come to form THE pivotal reference point for Westerners."

~Elysium

The "Nazis as a showpiece" idea can be seen practically everywhere, it is so prevalent that people by now take it for granted. Remember the "Soup Nazi" from the show Seinfeld? A stubborn restaurant owner refuses to sell Jerry Seinfeld soup after the two of them have a misunderstanding about what comes with the order. The Jew Seinfeld promptly starts to call the man "the Soup Nazi" and this is an example of some of the most potent ZC Propaganda: it is degrades National Socialism to the point of ridiculousness. Jews have been doing this on a regular basis. Note: the linked article contains much foul language, thus it ironically works for the Jews despite having information that also accurately criticizes Zionism. The end result is "plus one, minus one, back to nil." No effect.

The Blitz Again
The same type of deal can be seen in the opening to the film version of Chronicles of Narnia: The Lion, the Witch and the Wardrobe. For some odd reason, the film starts with a whole scene of the Luftwaffe bombing London! This is indeed very odd, since in the source material, there is only a brief mention in passing of "air raids" and the story as C.S. Lewis wrote it starts with the main characters arriving at their countryside sanctuary.

The film version is just pure sensationalism that reinforces all of the common ZC approved myths about the Battle of Britain. There is ominous music, men speaking a language that most children watching would not understand, and just as the bombardier pulls the switch to drop the bombs, the shot cuts to an external of the bombers and we get a quick, almost semi-subliminal, glimpse of a swastika on a bomber's tailfin as it flies by. Then, in a quick shot-reverse shot combo we see the bombs fall and impact the city below. Only after this brief scene, that is utterly pointless within the film, do we first see the main characters.

Given the focus of the whole story, the London Blitz should have been a tiny part in the background, mentioned in passing at the film's start. However, the big film studio just couldn't resist showing a scene with ominous music, a flight of grey planes and the symbol of "absolute evil" to set the mood. The story then goes on to a fantasy world with a good vs. evil motif and we can bet that young viewers will make the appropriate mental association of what "real evil" is. The whole point of the first scene is to continue the subversion that Allied and Soviet propaganda began in the early 1940s. Or probably even earlier than that, after all, Judea did declare war on Germany in 1933.

The message from Hollywood is: "Hey kids! We're going to show you a fantasy epic about good and evil, but first, we must remind the Germans in our audience of what their nation did in 1940."

Kids will eat this hogwash up without knowing better, and should they ask any questions, their long since deluded parents and teachers will likely just confirm all the Zionist mythos for them. This even goes for German kids who would understand the non-subtitled dialog, but likely not receive the proper historical clarification from an adult. Interestingly, it is probably those German kids that would ask about why there are Germans in that first scene and not in any of the others. Thus, the chessboard has been set up to deceive all, but especially them.

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.