The Lone Wolf Archetype

The Action/Adventure Film is one of the most popular genres in cinema. Virtually every big studio regularly releases films that fit into this category. These films are relatively easy to market to a wide audience and have consistently provided big studios with huge returns on their investments. The James Bond franchise is the most successful series of films in history and is part of the action genre. Film stars like Arnold Schwarzenegger, Sylvester Stallone, Clint Eastwood, Chuck Norris, Wesley Snipes and Jet Li (to name a few) have the action film genre to thank for their hugely successful careers. The adventure film was never really anything new and goes back to some of the earliest days of Hollywood. It was a genre that was successfully transposed to the big screen from some very popular in literature; the works of Jules Verne come to mind. One of the famous early films is A Trip to the Moon, which can be seen as a loose adaptation of Verne‘s From Earth to the Moon.

The film adventure hero, mainly the archetype propagated by Hollywood, gradually took on a distinct shape of his own as more and more films came out. Due to film being a visual medium (in fact, the first films were silent and thus purely visual) the superficial characteristics of traditional hero archetypes came more and more to the front and by now have become a standard and mainstay of the male action hero. One does not need to look at any one film to see this at play, rather this phenomenon is prevalent over an entire spectrum. However, a good place to start would be the adventure serials that came out in the 1930s, by that point Hollywood was a booming film industry.

The action hero in these films was most often an Anglo-American male with the most basic male traits accentuated. Commonly these were: apparent facial hair, high physical strength and endurance, and sexual prowess. Later, as restrictions in the cinema-code became less puritan there was a steadily revealing display of male muscular build with the musculature of the hero steadily veering into the superficial with a body-builder, Mr. Olympia-look. At a glance, just think Bruce Lee of the 1970s (natural build result of ascetic motivation) to Schwarzenegger in the 1980s (artificially induced result of vanity). The hero’s sexual exploits also become more graphic with a high (sometimes absurd and even comic) dimorphism between male and female; the woman that the hero woos was often a coy, oversexed lass. Together with the overly macho male, it makes for an image that propagates the differences between male and female, instead of a profound unity leading to mutual respect.

Another key trait of the action hero is his “lone wolf” attitude. He does things his way. He is his own boss. Even if he is part of an organization, one with concise procedural rules, he still does things his own way and gets away with it. In fact, by the end, it has become commonplace for him to be applauded for what he was originally warned about, his recklessness. One of the first “rogue cop” films, Bullitt, has the hero facing the consequences of his tactics. It is not shown to be all his own fault, others too were reckless, but the point is that all around recklessness leads to all around destruction. The case Lt. Bullitt was working on doesn’t get solved and the film ends with him looking glumly into a mirror, most likely reflecting on his ways. Dirty Harry was another popular film in the same style with a rogue cop protagonist. It came out in 1971, three years after Bullitt, and has a noticeable increase in sensationalism with many crooks being gunned down by the lead character. In contrast, Lt. Bullitt only fired two shots resulting in one death. Though, Dirty Harry also ends on a glum note with Detective Harry Callahan somberly reflecting on his job and on his actions, he even throws away his badge, the film, however, spawned four sequels with each one more destructive than the last and it was in the 1970s that the “lone wolf cop” archetype had become a mainstay. John Wayne’s only role in a cop thriller, McQ from 1974, is also the lone wolf formula, but with some new details: not only does he gun down all of the crooks, but he acquires and illegal firearm to do it with after he is kicked off the police force. And he’s supposed to be the guy we’re rooting for: one who is effectively an impulsive vigilante murderer on the loose. The Dirty Harry sequels are much in the same light, gunning down crooks and breaking skulls all while looking “bad ass.” It isn’t impossible to imagine a scenario where violence is necessary to end some wrongdoing, but these films’ stories are designed in ways that connote violence as the inevitable answer to all wrongdoing.

Lone Wolf McQuade
A perhaps perfect example of the Lone Wolf archetype can be found in the very aptly titled film Lone Wolf McQuade with Chuck Norris. It has virtually all the characteristics that were described above. The “hero” J.J. McQuade is Texas Ranger who lives as a loner in a dirty trailer out in the desert; he is unkempt and rather arrogant. The film’s story is the basic good guys vs. bad guys deal that ends in a big shootout as well a martial arts duel between hero and villain. The film is not a standout movie in any way, it is just another product straight from the action movie assembly line at the Hollywood film factory. I only chose to talk about it since its name is so fitting to the archetype described in this post.

Take a look at one of the film’s promotional posters:

No caption needed

That pretty much says it all about the film and hero right there. It makes a good guy out of a vanity obsessed brute and glorifies his acts of excessive force and violence. His self-serving nature and macho image can also be seen as a corrupted image of Aryanism; he has some of the right traits, but virtually all the wrong motivations. He is a survivalist and self-preservationist. He doesn’t care about anything unless it comes riding up his driveway. He is disconnected from society in everyway almost, except to serve his needs.

Kamerad Delendaestziobot wrote an article about this archetype as it can be seen in real life.

Sowing Discord
Storytelling has always been a human mainstay of introducing ideas into society and with the effective industrialization of filmmaking in Hollywood, the introduction of ideas through story in the last 70 years has been going on overtime. The US Department of Defense even regularly helps productions that are military oriented and many of these promote the reckless Lone Wolf Archetype, which seemingly goes against military procedure. One film of note here would be the 1987 action film Death Before Dishonor, in which a US Marine goes on a vigilante rampage after some of his men are killed. Featuring cartoon cut-out Arab villains and, of course, innocent Israelis that are victims to Arab terror, the film is nothing but propaganda once examined rationally.

This archetype is meant to appeal to base human instincts, and especially pride, in order to sow discord in society. Weekend Warriors, Closet Commandos and survivalist types are undoubtedly influenced on some level by these kinds of films. It’s the much propagated “American can do spirit” that promotes individualism so much so that the message ends up being comprehended and acted out as arrogance. The aforementioned Chuck Norris has often made public his anti-statist and wild west orientated political views thus it is no surprise that he made his career playing like-minded characters. Upon rational examination the libertarian ideals that such an archetype preaches are almost pure folly. It’s as if the people believing in those ideals are denying the existence of a state and government. They want to be in their own little comfortable Hobbit-hole. “The Lone Wolf dies. It’s the Wolf Pack that lives.” Some are arrogant lone wolves, many are just naïve little pups, but both are effectively pulled apart by their own doing thanks to propaganda and thus prevented from uniting to achieve goals that benefit the noble in society and punish the ignoble.

The Lone Wolf is motivated by vanity, is bound to himself, he lives by false honor. He will DIE.

The Noble Warrior on the other hand:

He is motivated by Honor and Duty.
He is bound to his Kameraden and to his society by it.
He lives by it. He is an Aryan.

Which One Are You?

ZC Hounds Unleashed: Persian Demonization and the Perversion of Aryanism in "300"

The film 300 is one of the most powerful examples of Zionist propaganda to come out in recent years. Also, in contrast to the other films I have looked at here, this was a big budget blockbuster with cutting edge filmmaking techniques and massive ad campaign before release. How convenient that it fits right along the rails of ZC: demonizing Ancient Persians, twisting history, glorifying war and most important, it’s all done to fit into today’s political unease between East and West.

Most viewers were undoubtedly lost in their enthrallment with the film’s striking visuals. The film on a technical level is quite well done with first rate special effects, impressive battle choreography and a music score that really amps up the excitement in the viewing experience. The film’s director, Zack Snyder, comes from a background of directing music videos and commercials. Such a career path leading to film direction is not uncommon these days, but it makes apparent on why special effects are getting better, while the honesty in story-telling is slowly festering. Commercials aren’t meant to be intelligent or though-provoking, they are meant to instill product loyalty in consumers, which in turn, sells more and more material products and generates more and more profits for the corporate owners. 300 is just that - a well-made commercial. But what is it selling? Well, upon closer examination that shouldn’t be too hard to figure out.

The film is very striking from the very start, it hits the viewer. The colors, the music and whole look of the film is unlike our real world thus it hits the senses like a good advertisement. The film is also a quite faithful adaptation of the source material, thus doubly impressive for fans of Frank Miller’s graphic novel. Visually it is also a very faithful adaptation of the source and Snyder and his team actually scanned every frame in the book and put them into a computer program, after which they added simple animations. This was part of a demonstration given to studio executives meant to show that the novel could be successfully adapted into film. Thus, the focus of making this film can be rightfully determined as visual impact. It was the main convincing point to gain funding from a studio and so the themes conveyed in the visuals are the main intended message. Now, if a commercial and music video director actually knows that he is telling a story and not just presenting some exciting visuals is a bit beyond the examination of this essay, however, whether in full knowledge or in ignorance, the makers of this film have sown some very potent seeds of hate.

Scary Middle Eastern Demons


This is the film's most vital propaganda aspect. The action sequences may be “kick ass” and intense, but they are taken in as such because the film conditions the viewer to identify only with our highly fictionalized Spartan heroes as they destroy hordes of vile creatures that are said to Persians. Many representations of war are one sided, but because they show a war from one side’s point of view. ZC propaganda, however, goes out of its way to over sensationalize the whole spectrum; the side ZC supports is shown as innocent and defending itself from some impending doom, while the other side is demonized. The Lord of the Rings also had this good vs. evil arrangement, but that story relied purely on symbol and metaphor and there was no mention of real world groups, thus cannot be seen as propaganda. Though, inevitably, Tolkien was writing with an unconscious Euro-Centric bias as Europe was where he had spent most of his life and where he did his writing.

The so-called Persians in this film are so vile and disgusting that they cannot be seen even as evil humans, maybe as humanoid demons, at best. The initial Persian characters have the most traces of humanity, such as the Persian messenger, but even he exhibits ignoble traits of misogyny (being impolite to his host’s queen) and relishing in his own pomp and material vanity (that costume). The portrayal of the Persians gets worse and worse as the film goes on. The agent who bribes the Spartan ephors with gold and whores is a bit more menacing and the fade to black that ends the scene accentuates his glaring eyes. A Persian emissary that comes to the Spartans and urges them to lay down their arms so that they may live shows even more vanity as his vehicle is a throne carried by slaves. He is also noticeably obese and overflowing with materialistic pomp. His arrogance leads him to having one of his arms severed as tries to whip the Spartans for disrespecting him. The ensuing battle scenes can be best described as wholesale slaughter akin to most Hollywood “war movies.” In the first battle scene, the Spartans slice and dice their way through countless ranks of faceless enemies, however there isn’t yet a really outright demonization at this point, but a strong desensitization toward the Persians. We are supposed to enjoy watching them be dismembered and massacred.

The likening to demons begins with the second battle. The Persian King Xerxes has dispatched his most elite fighting force and personal guard, the Immortals, to deal with the stubborn Spartans. These soldiers initially wear masks that bear a grim expression and they are also barefoot (a subtle detail), which is odd for a military unit, let alone an elite force. But it is this small detail that leads to the revelation of what these soldiers really are, when one has his mask knocked off, we see a monstrous face. This demonic visage goes hand in hand with their blunt aggression and obvious lack of tactics in battle. So much for “elite fighting force.” This scene also has a large humanoid mutant creature that is unleashed onto the battlefield, a foreshadowing of what is to come, as the Persians are shown to be in possession of massive beasts of war and other abominations.

Persian Soldier seen through ZC filter

One that sticks out is a huge, fat being with some sort of blades for arms and Xerxes uses him to behead some of his commanders after they repeatedly fail to break the Spartan lines. This executioner creature is packed with so many absurdities that it must have been specifically made (or bred) for that role, for it cannot be a natural creation in any sense of the word.

It is this image that is the main ZC point on Persians; they are not just war-mongering, vanity obsessed, and militarily incompetent beings, they are demons not of this Earth and thus rightfully annihilated.

King Xerxes
The portrayal of Persian King Xerxes is worth noting. He is shown as an androgynous man laden with gold and piercings. Despite his unbelievably lazy lifestyle he has a toned body. Right before the second battle he approaches the Spartans whilst being carried on a mammoth throne by many slaves and he even uses their backs as steps to get to the ground. The film's Xerxes is a self-proclaimed god-king who promises to Spartan king Leonidas fame and fortune as long he kneels in reverence at his feet. Should Leonidas refuse, he and his men will be slaughtered, Sparta pillaged and the city state's memory shall be forever erased from the historical record and officially never existant, while uttering anything to the contrary will be a crime punishable by death.

ZC and Reality

This is almost pure absurdity. It was commonplace all over the world for the ruling class to view itself as superior to their subjects, so it is not like Ancient Persia is some exception to the matter. Conquest was rampant in the ancient world and practiced by virtually all major civilizations. In fact, ancient rulers are often praised, not demonized, for their feats of conquest, but they are also remembered in a much more complete fashion. King Xerxes accomplished much more than just the destruction of one small city state in southern Greece. In contemporary Iran, the Achaemenid Empire of which the real Xerxes was ruler, is seen as a noble part of the country’s history.

The Perversion of Aryanism
The Spartans are also shown in a highly inaccurate manner. Sparta had strong militarist tradition, but was far from the beacon of rationalism and law as shown in 300. For example, soldiers were deliberately underfed as part of their training so that they master the skill of stealing food and familial relations were viewed as a necessary institution, not at all as compassionate and ultimately voluntary. While the Spartan military and society as shown in the movie seems to have many Aryan qualities there are several key factors that go against this.

First and foremost, the society of the film is purely preservationist. Given that the story here is but one episode from a presumably longer history, however opening scenes show that all young Leonidas learned was how to fight and survive, not to be a true Aryan leader that leads his society forward with vision and one who encourages action in his folk. The other Greek volunteers who offer their swords in service to Leonidas are poked fun at for not being “real soldiers.” Would a real Aryan insult his fellow folk from a different trade? Most definitely not. The film also gives the impression that the biggest and absolutely most important institution is the military, thus taking away from the true diverse and varied nature of folk and institutions in a real Aryan society. So not only is the ZC enemy shown to be vile and coming from the Middle East, the film also encourages Gentiles to praise blatant machismo, which can be easily exploited by manipulator for it is a servile mentality. The so-called Spartans in the movie are goys who have been manipulated into believing a threat from the Middle East. The surreal nature of the film is pretty much just a brutish macho fantasy that was inspired by propaganda meant to rouse subjects into war. The movie Spartans saw the propaganda before they marched off to fight, the viewers are seeing it as they watch the movie. Notice that the film is narrated by Dilios who left the battle before final defeat. He is a goy telling other goys about the necessity of fighting against ZC enemies and even says that dying in such a battle is “for glory.” One of the film’s many promotional taglines was “Prepare for Glory.”

Political Engineering
The film’s political intentions are not just obvious upon viewing, but have been confirmed by many of the people involved in its creation. During an interview on the radio program Talk of the Nation on NPR, Frank Miller stated: "For some reason, nobody seems to be talking about who we're up against, and the sixth century barbarism that they actually represent. These people saw people's heads off. They enslave women, they genitally mutilate their daughters, they do not behave by any cultural norms that are sensible to us. I'm speaking into a microphone that never could have been a product of their culture, and I'm living in a city where three thousand of my neighbors were killed by thieves of airplanes they never could have built." A most ZC statement that also implies that Persia, which is contemporary Iran, was responsible for the 9/11 attacks. Just over a year before, and a month before the theatrical release of the film version of 300, Miller, during a BBC interview, was talking about his new story idea that involved Batman foiling an Al-Qaeda plot on Gotham City and had this to say: "It is, not to put too fine a point on it, a piece of propaganda … Superman punched out Hitler. So did Captain America. That's one of the things they're there for." Superman was created by Jerry Siegel and Joe Shuster (both Jews) and is best known fighting a super-villain named Lex Luthor. “Lex” means “law” and “Luthor” almost definitely refers to Martin Luther, since the founder of the Lutheran faith proposed laws to keep Jews from exploiting his fellow Germans, thus Superman is fighting the “Law of Luther.” A little Jewish inside joke. Next we have the reference to Captain America, another comic book hero, who was created by the Jews Joe Simon and Jack Kirby. It doesn’t take much examination to see that Captain America promotes nationalist tribalism and allegiance to a colorful banner instead of Aryanist ideals.

The film also met its share of ZC approved criticism. The New York Post had a review which stated that the film would please “Adolf’s Boys” and the film was also compared to “The Eternal Jew” in terms of race-baiting. Thus we can see where the ZC Talking Points are: if it is good it is because it is pro-American or pro-West. However, anything bad or hateful it is immediately compared to anti-Zionist images from the past since that is the ZC standard of evil.

Are the film's ideas and images a possible primer for something?

Look past the artificial facade

The snake-like sneakiness and overall thorough coordination of the ZC Propaganda Front makes it difficult to point out crystal clear motives in any one place, but the overall movement can clearly be seen as heading in one direction and herding the rest of the world with it.

Here are some other ZC details:
The Spartan ephors that accept the bribes are diseased and disfigured and so is the only Spartan soldier who ends up as a traitor; the ones who ally themselves with beasts are beasts themselves.

The Immortals are said to be Xerxes’s elite guard and given their color scheme, they are a not so subtly shown to be much like SS Men, just through the ZC filter. This reinforces the Spartan King as being like Hitler who has become in Jewish lore the epitome of all evil. Frank Miller mentioned Hitler in the BBC interview quoted above, thus the connection to Iran and the main Jewish boogeyman is being slowly, but surely, woven in the ZC web of deception.

Don’t let the ZC Hounds lead us to war,
Don’t serve that thing that they all so adore.

Wolfenstein 3D or: How I Learned to Start Worrying and Hate the Nazis

One of the most influential computer games of all time would have to be Wolfenstein 3D, which was developed by ID Software and released in May of 1992. The game was a sort of revamp of a game released in 1981 for Atari and Commodore 64 called Castle Wolfenstein; the game involved sneaking out of a Nazi prison with combined tactics of stealth and violence. A sequel to that game was made in 1984 called Beyond Castle Wolfenstein, which had the player sneaking into a bunker in order to place a bomb so it can take out Hitler; a kind of recreation of the Rastenburg Assassination Plot of July 1944. Originally, Wolfenstein 3D was to have many of the elements from the games that inspired it (switching uniforms, unlocking boxes, hiding bodies, etc…), but in a first person perspective. However, many of these were thrown out during development and after 6 months of work in an apartment in a Dallas suburb, the tiny company ID Software launched to major success with the game that was effectively the original first person shooter, Wolfenstein 3D.

The player had 4 weapons to choose from and scores of Nazis to kill as they made their way through the levels. The game’s first episode is a prison escape, while the other 5 episodes involve taking down the unspeakably evil Nazi War Machine before it unleashes a chemical attack along with battalions of engineered mutant soldiers onto the free World. Episode 3, which is chronologically the last, even has the player sneaking into the Fuhrer Bunker to kill Adolf Hitler, who is the only authentic Third Reich figure to appear in this game, although it’s a hilariously comic bookish version of him. An expansion pack for the game called Spear of Destiny was released in September of 1992. It had more levels, more boss characters, and a final showdown in Hell with a Nazi demon called The Angel of Death. I am not kidding.

Cartoon Nazis

Basically, Wolfenstein 3D was a pixelated rehash of every single Nazi stereotype and cliché that existed at that point, which was more or less all of them, since they haven’t really changed all that much since 1945. Only their presentation has gotten noticeably slicker over the years.

Slick and oh so Evil

With great anticipation from gaming fans, the Wolfenstein franchise was rebooted in 2001 in the form of Return to Castle Wolfenstein, which was actually 3D. The game, in its first few levels, reiterates the escape from the titular fictional Nazi prison. The remainder of the game has the player infiltrating secret labs and destroying monstrous creations as well as foiling “Operation Resurrection,” a secret plan put together by Heinrich Himmler (who is the second authentic Third Reich figure to be mentioned in the whole Wolfenstein series, albeit only in a small cameo) to revive and old Germanic warlord so he can lead the Nazis to victory over, you guessed it, the entire free World. This game was immeasurably more sophisticated than its famous predecessor in virtually every aspect, but was still just the same old thing at its core. The game also proved popular online with an add-on called Enemy Territory in which it was possible (a great rarity in a war game) to play as the Germans! Presumably this was to make combat scenarios more realistic than US Army soldiers fighting each other and more interesting than players having to go against bots.

In 2009, the franchise continued with a new game called Wolfenstein. Yes, just Wolfenstein, no “3D” added after or “Return to Castle” put in before; just Wolfenstein. This latest entry was a lot more science fiction oriented than the previous games. The main storyline was a secret Nazi plot to channel a mysterious and newly discovered power source known as The Black Sun in order, get ready for the surprise, to be able to unleash conquest on the entire free World. How original. The game’s action takes place in a highly alternate 1943 right after the events of Return to Castle Wolfenstein and apparently totally disregarding the plot of Wolfenstein 3D and its expansion pack.

Still slick, still evil, and still wanting to kick your ass

This brings us to the question: what does this mean? The answer is quite simple really: the vast majority of the “free World” doesn’t have the first clue when it comes to understanding National Socialism - not as it was envisioned by Hitler, not as it actually functioned in the Third Reich (or anywhere else for that matter), not how it continues to be developed and discussed today by its authentic scholars and thinkers. The games are blunt sensationalist entertainment derived from Zionist controlled Allied and Soviet propaganda that capitalizes on outlandish myths and even fabricates, from the ground up, a good deal of its own Nazi-mythos. Quentin Tarantino did the same thing (just without the sci-fi) with his ZC propaganda vehicle, which was an immensely primitive, self-indulgent, brutish fantasy called Inglorious Basterds. A movie that I just might be taking a look at again sometime in the near future.

Wolfenstein 3D was the first color computer game that I saw as a kid, which was right around the time I saw the first Indiana Jones movie. I was in elementary school at the time. This was the earliest instance that I remember of seeing Nazis or anything related to Germany, for that matter. So, it can be said, without much reservation, that my introduction to the Third Reich and “German things” was right along the rails of ZC; two popular mediums gave me a visually striking indoctrination to the “absolute epitome of evil.” Without a doubt, many other people wound up at the same terminal, they may have taken a slightly different train in, but the final message was just as clear.

Now, nearly two decades later, my view of National Socialism has changed greatly. I am confident about this change due to it spawning from my own intuitive search for information, thus making it antonymic to my initial exposure to the subject. Perhaps it is odd that I still view the Wolfenstein series of games in much the same light, but now with a much different comprehension. Their message is still very clear, but in taking to consideration how ridiculously over the top the games all are: winding windowless mazes with vicious mutant soldiers, sprawling underground bases with mad science labs and horrific fictional technology, Swastika banners everywhere and well, just take a look at some of those pictures again to see my point. I particularly like the one of the soldier with the flame-thrower: it seems to combine the very cool Allgemeine-SS uniform with that of an Imperial Storm Trooper from Star Wars.

The point is: Satire.

Robo-Hitler. Just admit it: it's funny.

The Jews made their main boogeymen out of Adolf Hitler and the Schutzstaffel. A fictional enemy from the likeness of someone real, one whose image can be molded accordingly, is the perfect enemy to keep their legions fighting for them.

Du bist tot, Schwein!

However, this point is not a satire of the Nazis, rather it’s a satire of the Jewish and Gentile perception of Nazis. The games simply show the Zionists’ and Jews’ worst nightmares of their chosen enemy who is now technologically superior and wreaking havoc all over the World that they want to control for themselves. This goes back to a point of mine (in an earlier post) of the Jewish-mind being totally empirical and fabricating its own demons in this World… well the Wolfenstein series is just that: a self-inflicted nightmare analogous to the ones that Elie Wiesel keeps perpetuating and making his living off of them by giving speeches and publishing writings. “The myth of persecution is the adhesive and cement of Judaism.” Wolfenstein is a horror story within that myth as well as a huge perversion of everything National Socialist and Aryan. The Jew’s self-serving propaganda is his religion, therefore he needs to maintain not just his own image as a victim, but that of his enemy as an oppressor in order to make the story seem rounded and realistic.

The Nightmare within the Myth

Now, if Jews want to live their lives with these nightmarish images as the thing that brings them together, well there is not much that we can do about that. We can, however, change it so that they keep their bogus interpretations of these equally bogus horror stories to themselves, thus allowing us rational people investigate history and plot our course into the future based on logical knowledge.

Anti-Elitist themes in "They Live"

Time to look at another film. This time around it’s the 1988 science fiction/conspiracy film They Live directed by John Carpenter who also wrote the script under the pseudonym Frank Armitage and co-composed the score. Carpenter shot to fame with the classic horror film Halloween in 1978 and even during his years with bigger budgets and studio backing he was always a more innovative-than-usual film director. Avoiding sensationalism in the form of excess gore and nudity, his films were driven by atmosphere, as well as by storytelling and filmmaking creativity. They Live is no exception to this and it comes from a time in Carpenter’s career when he went back to making lower-budget independent films after lackluster performances at the box-office with studio productions. It all worked for the better since there is no way a big budget movie studio would produce a film like this: it has one of the most effective anti-Zionist metaphors of all time. Of course, there is no way to prove that his intentions were anti-Zionist, but that just might be Carpenter making a clever chess move.

MAJOR CHARACTERS
Nada - a drifter who winds up in Los Angeles. Discovers a special set of sunglasses and soon links up with a revolutionary group on a mission to save the city, and maybe even, all mankind. His name is a witty take on the “man with no name” or nameless hero archetype who sweeps in and saves the day. Appropriately so, Nada’s name is not mentioned once in the film and we only learn it in the end credits.

Frank - works at a construction site and helps Nada find a place to stay. Thinks Nada is nuts when told about the truth about society and even takes a bit of convincing, but eventually teams up with Nada.

Holly - initially taken hostage by Nada when he needs to escape undercover. She lives in a posh house and has a well paying thus hasn’t even considered the possibility of society being endangered. Her character is ripe material for a standard love-subplot, but unlike Hollywood cheesefests, the film here takes a much different direction.

SUPPORTING CHARACTERS
Man watching TV - an interesting though very small role. He becomes the film’s ultimate example of a sellout.

Gilbert - volunteer working who helps out around the shantytown, but also works with the revolutionaries.

Revolutionary Group - all glance roles, but they show that a militarist movement is in operation.

A DEGENERATED WORLD
The world is in a state of decay. Nada mentions that many banks in Denver have closed. Lower-class people have trouble finding work in a packed jobs office. A street preacher in the middle of a sermon about how civilization worships greed is suspiciously taken away by cops. Note that what this preacher says, using a venomous snake tongue metaphor, is very similar to Christ's words to the Sanhedrin Jews. -[Thanks to Delendaestziobot for this elaboration]- Frank mentions that in Detroit many steel mills closed and despite workers taking many cuts to their pay and benefits, but the corporate owners just “gave themselves raises.” Around the city people can be seen to be entranced by television sets that play pointless programs and show dull ads all appealing to vanity and desire for longevity. The world seems to have lost purpose and direction with the rich milking all resources for their own benefit while keeping the lower classes entranced in a servile (goy) state of mind.

At one point a TV ad mentions “divine excess” which, reflects the street preacher's example of how much of a religion materialism has become. Peoples' lives consist of just spending and comsuming, which are the sustaining processes of their society and they cannot see past this. Their frustrations as to why things never get better have no rational answer, at least not one they can see. Nada says, "I believe in America" and that he is sure a chance will come for him if he waits, while Frank seems to see this hope as naive. Later, when Nada wants to look into something that may provide some answers, Frank tells him to "leave it alone" as he has a job and just walks the white line doing his job, while Nada responds, "white line's in the middle of the road, that's the worst place to drive." Their respective attitudes seem to have switched.

Note that Frank's mentioning a white line, effectively means he is going along a path that has been drawn out for him, which is analogous to Nada "believing in America." So sometimes they may feel that something is not right, however what is likely true is their attitudes sway back and forth from day to day or week to week, but the end result is they remain servants locked in am empirical prison with glimmers of false hope here and there.

SEEING IS BELIEVING
The central idea of the film can be seen as a slam on the myth that White Nationalists love to preach, which roughly sums up as: "Wake up!" Meaning, we’re asleep and the Jews (and also all non-christian non-whites, according to false-Aryan white nationalists) are robbing us of our freedom and rights. The movie does cater to this by using the "wake up" message in several forms, for example Nada sees a sign “They Live We Sleep” - an elaboration on the title and an indicator that Nada is learning more about the reality of his world. However, these references to waking up and sleeping are well outnumbered by film’s references to sight.

His afternoon just got a lot more interesting

The first hint of this is in the opening shot: we get an oddly framed title card with the film’s title off to the bottom left written in what looks like hand-writing. The first shot fades in and we see a graffiti covered wall and the movie title is actually written on that wall… it is part of a bigger picture and the film has just very specifically pointed it out. In approaching such a large mural, one bit of writing off to the side is not likely to be noticed first if at all. This is the key idea: “seeing” isn’t enough, “seeing the right thing” is what matters; the right patterns so that the right conclusion and right course of action can be taken.

In the shantytown where Nada settles down some people are watching TV, which is showing some dull programs. Then suddenly a signal comes on that warns people that they are slaves and talks about some mysterious conspirators: "They are safe as long as they are not discovered." The "Man watching TV" mentioned above is in this scene and he gets annoyed by this transmission: “it must have taken the hackers months to do this.” He is simply writing off anything different in the status quo as a violation or annoyance of some sort. The transmission reappears the next morning calling once again for revolution to the annoyance of the people watching. Nada, however, doesn't just disregard it, in fact, he looks very curious. This is the first indicator that he will break the status quo.

His curiousity takes off, because soon after Nada starts to suspect something is going on in the church next to the shantytown. When he brings it up to Frank is when he is told to "leave it alone," but he goes to investigate. There he finds that it is not just a church, but also a lab where sunglasses are made, ones with so called “Hoffman lenses.” An exact spelling of the lens name isn't given, but it may be a reference to, Albert Hofmann, the creator of LSD. A drug which doesn’t "wake" the user, but alters their perception, makes them "look along a different plane of reality" so to speak, which is akin to what the glasses let the wearer do. The glasses are the central element to the film and once Nada puts them on “seeing is believing” is taken to a whole new level.

The world is not at all what it seems. All billboards, ads, newspapers and signs that make up the corporate-run world contain subliminal commands to be obedient. The glasses allow the wearer to see this, but without them, everything looks normal, "normal" in the sense of how we've been conditioned to perceive it.

Some signs Nada sees:
“Marry and Reproduce” is behind an ad about travelling to the Caribbean, which features a woman in a bikini. All in all, with the hidden message it is suggesting hedonism and base-sexual behavior.

“No Independent Thought” is behind a sign for men’s apparel suggesting that all people buy the same clothes, which draws a connection to uniforms, but more precisely, and given the film's context, prison uniforms.

“Consume” is behind a sign for a “close out sale” which is just fancy capitalist jargon masking very blunt capitalist jargon.

Then when Nada looks down a city avenue...

Consumerist Civilization

Notice that all the signs are in all capital letters and one font, in other words, as blunt and direct as can be. It is not just ads and billboards, magazines that are usually filled with useless news stories, soft porn and other interruptions have like-minded commands behind them. Even money has “this is your God” on it. One magazine on the street stand Nada visits has “let TV teach you” written on it and this is seen without the glasses, which suggests that the propaganda is so rooted in, it is becoming less and less necessary to disguise. This little detail is visible when Nada sees the real shocker about his world, thus it was most definitely a detail the director wanted the audience to see. The real shocker, however, is that aliens live among us and they’re only seen for what they really are through the glasses, otheriwse they appear human. They hold the positions of power and influence and to be blunt, they are the “they” of the title and the “they” the man on the intruding TV signal was talking about.

They are elitist minded creatures claiming to be inherently better than us, using the most elaborate manipulations to herd us, stealing wealth from our planet’s resources, enjoying a life of materialist hedonism as the honest of us suffer, bribing some of our own to help them maintain control and showing perhaps the ultimate example of in-group altruism through their selfish actions.

Note how the film's many political, economic and imperialist references reflect this.

ARYAN MILITARIST REVOLUTION
Nada, shocked and in some disbelief, tries to figure out what to do. His struggle is reflective of the Aryanist struggle in that he has trouble convincing anyone; partly due to his inarticulate communication, partly due to people’s stubbornness in their comfort, partly due to being hunted by the aliens' enforcers. The comically over-the-top fight between Nada and Frank is an example of this: Frank is comfortable working (life ain’t easy, but it’s steady) and it takes a lot of convincing to get him to go on the militarist route to actually change the world for the better, hence the fight. What finally gets Frank convinced that Nada is right is when he sees the aliens, Nada puts the glasses on him. Again, the "wake up" notion is totally ignored in this key scene. Seeing the truth is also dangerous, since the minute the aliens know that someone can “see” they call in their enforcers. Nada learns this the hard way during his first walk with the glasses.

Nada and Frank figure that they can’t be the only ones with the glasses and they soon locate some revolutionaries. The group is meager, but well armed and planning a blend-in strategy while they acquire more numbers, however, the aliens enforcers crash their meeting and start to kill everyone. In that moment, Nada and Frank basically realize the situation: we fight now or never.

Holly, who has a subplot with Nada (which I didn't go into here), helps them determine that the alien signal must be coming from the TV station where she works. The relation between Nada and Holly is interesting in that it avoids almost all cliches. The three sequences that Holly is in all take a drastic unexpected turn. I don’t want to reveal all twists here so as not to spoil the entire movie.

Note that as the film progresses, Nada starts to make more and more calculated moves. This goes back to his first walk with the glasses. First he found the aliens just plain ugly and started to insult them, funny, but it gives him away. He next used a bit of cleverness to get out of being cornered by two cops, but shot up a bank killing several aliens right after. However, he escaped the bank scene using a bit of cunning once again and from that point on all the violence that Nada causes is to serve the goal of revealing the aliens. What starts as a simple-minded revolt takes on traits of an Aryan Militarist Revolution. By the end Nada and Frank willingly go against great odds since as Aryans the only death they’ll let their oppressors exact on them is one in which they were fighting out of oppression.

In trademark Carpenter form, the movie’s ending is a bit open ended, but that’s one of the things that makes it interesting to talk about.

BITS AND PIECES
The opening shot, after fading in, tracks left and we see a freight-train rolling by with sun-wheel designs on the cars and after it passes we see a Nada, which links him to the Aryanism. Also when first at the construction site he says he has his own tools, he is a reasonably self-sufficient worker.

Frank, in turn, is linked to Aryanism when he tells Nada, “you’ll meet some of the folk” when showing him the shantytown.

Right before the police raid, Nada is looking at the church, but then he looks up and sees a helicopter and only then does he hear the engine roaring. Why didn’t he hear it when it first arrived if it's that loud? Because the world is in a trance and under illusion, things have to be specifically concentrated on to break the spell.

A trash truck “appears” in a similar way to the chopper mentioned above. This is right before Nada fights with Frank, in watching the scene it is plain to see that there is no way Nada could have not seen it unless there was some sort of illusion going on.

The "Man watching TV" and complaining about program being interrupted shows up at the end. Note this key scene.

Holly’s house is located on Circle View Drive… and interesting name considering that the essence of maintaining an illusion is keeping people looking around in circles and away from the source.

Also, something very important in the film is, quite unexpectedly, very fragile. I do not want to give away all the details here and it should be rather obvious once it comes up on the film. Take note of how this relates to the arrogance of the aliens. On how they must have totally counted on it not being discovered. On how seeing the right patterns and taking the right course of action can easily ruin even the most elaborate illusion.

The music in the film is pretty interesting and not a very typical film score. John Carpenter almost always at least co-composes the scores for his films. Thus his ideas and metaphors from his direction of the film as well as his writing of the script are directly linked to the film's music. The music here is largely composed of bass sounds; low, subtle sounds. This reflects the film's message of important things being largely hidden and not out right obvious.

The film's poster also underlines the important of "seeing" not "waking up."

CONCLUSION
This film doesn't make very many direct references to Zionism and I do consider it more of a broader anti-elitist themed film, though it is interesting to see how well an anti-Zionist interpretation fits here. Henry Ford only started to distribute the Protocols of the Learned Elders of Zion after he saw how similar the course the world was taking to what was described in the book. Can you, reader, see any parallels with this film and our world?

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They Live IMDb page
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ZC Weapons: Vilification and Demonization

The Zionist machine’s most active set of gears would have to be the one that spouts information. It is active everyday all day all the time. The information that this massive contraption produces is its own special brand of information we call “Zioninst Correctness” (ZC) and it completely engulfs the more known type of information known as “Political Correctness” (PC), which is meant to be spread by servile Gentiles. The corporate-owned news networks, cable channels, popular newspapers, and major entertainment producers are all subject to ZC. Entertainment most often manages to break PC for the simple reason of it being the easiest to excuse (“it’s just a movie”), but despite this, even most hard edge and darkly humored satire (eg. Fight Club) is still bound by the shackles of ZC.

The “correctness” in ZC is only “correct” in that it is subservient to the Zionist agenda and in agreement with their view of history. Political Correctness is just about not offending anyone. However, the truth behind the curtain is: not offending anyone whom ZC doesn’t want to offend. That is the hidden string.

Upon examining war films from the late 40s to the late 60s we can see whom the ZC puppeteers were ok with offending. Aside from rare, semi-honest portrayals, the soldiers of the Wehrmacht were mindless killing machines that were deservedly gunned down by heroic Americans. This increased dramatically with the birth of the action film genre that was basically an offshoot from war films. In order to make things just a bit more exciting, the filmmakers took creative license and effectively departed from reality. This was the start of all the action film cliches we know so well: guns that don’t run empty, badguys who can’t aim, exaggerated explosions and physics, and so on.

After the Germans become too much of a retread, it was by the 1970s that some new groups started to also appear as “the bad guys.” These included Soviet and Vietnamese Communists as well as Arab Terrorists. The first two groups were just convenient propaganda for the American side of the Cold War. Notice that after the Cold War ended, so did the action films exploiting it for the most part. However, the portrayal of Arabs was part of a scheme already in place long before, but now there was fresh wood for the fire, so to speak.

The following documentary goes into detail about the portrayal of Arabs and Muslims in US cinema. It was first a book by the narrator, Dr. Jack Shaheen, before being made into this short documentary film that was only released online as far as I know. Note the section on the production company called Cannon starting at the 23 min mark and the part on the film Rules of Engagement.

DOCUMENTARY: REEL BAD ARABS

The documentary makes many good points, even some against Zionist crime, but seeing that it was so far from the mainstream and does its little mandatory share of comparing National Socialists to evil, it was most definitely under the reins of ZC. But still, only truly intuitive viewers managed to find it and see it when it first came out, while most just ate up the daily cable news bulletins.

This brings me to the main point here, the ZC weapons of Vilification and Demonization. These are essentially increments along the ZC-hate-meter. Vilification is the first stage; it is achieved by repeated negative and/or antagonistic portrayals of a group. Once the association of a group with villainy becomes automatic and second nature from an audience, the conditioning has worked. Demonization works the same way, but the demonized subject is only shown as an antagonist (villains may be shown as protagnist anti-heroes such as MacBeth or Scarface) and they are almost always responsible for premeditating some awful crime that their villainous henchmen go on and carry out.

Can the reader guess to whom I might be referring?

Of course… who else, but Adolf Hitler. The man has repeatedly been portrayed in a way best summed up as “the incarnation of absolute evil” - a phrase that appeared in this TIME magazine article by Elie Wiesel. A very similar phrase describing Hitler was used in the game Wolfenstein 3D where the player destroys a very cartoon looking version of Hitler at the end of Episode 3. More on this highly influential game coming up in a later post. The first time Hitler was shown in a German film played by an actual actor (as opposed to stock footage or implied prescence) was in the 2004 film Der Untergang. However, even this dramatic and very detailed reenactment of Hitler’s last days succumbs to common myth and ZC: the Soviet war crimes in Berlin were ignored and the “six million figure" is reiterated at the end despite not having anything to do with the film’s story. Interestingly, the only numbers given at the end are 50 million (as "total dead during WW2") and 6 million (as "exterminated Jews"), yet the other groups who suffered don’t seem to be worth mentioning. Seeing that the film is about Germany's defeat from the German point of view, why not mention how many Germans died? Because that would be a “heresy.” Demonization carries the “heresy virus.” Meaning, any positive notion that someone gives about a “demon” makes them a “heretic” and a more-than-likely victim of character assassination, or as they used to do in the medieval times, burning the stake, or as the story of Christ goes, public crucifixion. In fact, “public crucifixion” is a phrase sometimes used to mean “character assassination.”

Now, why do the Jews unleash the ZC Hounds whenever their worldview is perceived by them to be threatened? Simply because “the myth of persecution is the adhesive and cement of Judaism” as the narrator states in the documentary Who Brought the Slaves to America?

Here are slight elaborations from two famous minds:

“In the Aryan mind no religion can ever be imagined unless it embodies the conviction that life in some form or other will continue after death. As a matter of fact, the Talmud is not a book that lays down principles according to which the individual should prepare for the life to come. It only furnishes rules for a practical and convenient life in this world.” ~Adolf Hitler

“While all other religions endeavor to explain to the people by symbols the metaphysical significance of life, the religion of the Jews is entirely immanent and furnishes nothing but a mere war-cry in the struggle with other nations.” ~Arthur Schopenhauer

The Jewish mind is completely empirical and that is why they fabricate demons in this world from the likeness of their opponents and sanctify their fallen kin and make demi-gods of their martyrs before arrogantly projecting these delusions unto all. Like all inhabitants of this Earth, they also have this need for the metaphysical, but cannot (or choose not to) break out from their Talmudic prison; like a pitiful child too afraid or too stubborn to be independent in the world beyond home. Gentiles are their prisoners, their herd, either bought out or successfully connived into being goys.

We Aryans know that the human mind cannot live healthily as such and thus we explore the Greater and the Metaphysical with eagerness, but without forcing our subjective viewpoints onto others.

“Belief is a matter for each one to resolve in the light of his own conscience.” ~Rudolf Hess

A Revisionist Documentary

In light of my last post, here is an example of some solid historical revisionism. It is a documentary talking about a subject that we all learned about in school with the same (more or less) story being given each time the subject was touched upon and with some added complexities once we were in High School. College history majors got an even more detailed version, but at its core it was the same old thing again.

This documentary adds all the details that even the most advanced academic course wouldn’t dare mention. This is not one of those sensationally themed Alex Jones style documentaries that says “forget all that you know” and then claims to show the viewer the actual full picture. No, this is a sober and enlightening look into history. The subject is the African Slave Trade, one of the most heinous, thoroughly premeditated, and longest lasting crimes ever perpetrated on this Earth.

The reader is, by all means, encouraged not to forget everything they know, but to actually keep it in mind so they can see how this information closes many gaps and paints a much fuller picture.

Who Brought the Slaves to America?



This is Part 1 of 6, the rest can be found on YouTube. Also, the film is in its entirety on Google Video.

NOTE: I do not take credit in any way for creating this documentary, I am just promoting it. But that was probably obvious.

Some Thoughts on Revisionism

As Aryanists, in order to accurately and honestly portray our history and our Aryan folk, there are many key things that need to be done. Many of these objectives are all ready rolling forward with increasing success, but at the same time coming into more friction from opponents. The key issue here is Historical Revisionism. The popularly accepted version of history does its best to vilify all things Aryan, but especially all things National Socialist; it’s as if the Devil himself wrote a political theory.

This notion continues to be accepted as the actual course of history despite an incredible wealth of information suggesting otherwise. This information is of high scholarly quality, both in its presentation and documentation, and everyone who has read it can clearly see that, including the information’s many deniers. Naturally, those deniers simply do what they do best: promote their policy of ignorance since slandering is becoming increasingly difficult and refuting the aforementioned information with equal scholarly quality is simply too hard, if not outright impossible, so for them the most efficient thing is sweeping it under the rug. I would like to bring the reader’s attention to this particular article that so thoroughly addresses key issues about supposed policies of National Socialist Germany that it should be a required reading for history scholars. However, if it in fact was required reading in academic circles, then it wouldn’t be “revisionism” anymore, but “truth.” As long as it can be grouped elsewhere than truth the establishment is satisfied enough.

Revisionism is not limited to 20th century history or even to the entire field of history, it can be found in a wide variety of subjects. As Aryanists, we should promote a “Universalist Revisionism” that encompasses and addresses issues and topics across the real worldwide spectrum. This will only be possible under a solid and united movement with Aryans of various skills and from many fields of study working together.

The idea of revisionism is nothing new, only the here suggested new way of implementing it is. For example, one of the great minds of the Renaissance, Copernicus, proposed an entirely new way of looking at the universe with the Sun at its center and not the Earth as according to Vatican dogma. He came to this conclusion after years of observation and study, which are empiricist methods, however, we know that no one could have controlled the information that he was looking at, the night sky. We also know that he was ready to accept something new altogether since he recorded his work and published it (albeit on his death bed), thus there was a bold step that he took, one of intellectual innovation (thinking outside the box), that resulted in a vital piece of revisionism, which he then shared with the World. Copernicus’s own theory would go on to be honed and revised by scientists like Brahe, Galileo and Kepler (who actually published the first defense of Copernican Heliocentrism). None of these men had any vicious or selfish motivation (if anything their lives were endangered by their “heretical” ideas), they were men of logic in search of Greater Truth.

A much more recent example or revisionism can be found in some Westerns from the 1960s. Before Westerns were largely “black hat, white hat” with villains and heroes as obvious as can be. These were the films that made John Wayne famous. By the mid 60s Sergio Leone created some influential films with a young Clint Eastwood that challenged the conventional Western; they presented a much more ambiguous moral landscape, in such a wild, and often savage, place as the West, “good” and “bad” are not the only two archetypes are work, Leone introduced the “ugly” archetype, one driven by impulse that does both good and bad depending on what serves its needs. This idea was most famously put forth in the aptly titled film The Good, the Bad and the Ugly from 1966. Due to Leone’s being Italian, his films were labeled as “spaghetti westerns” due to their more complex, and often convoluted, drama as well as a humorous take on Leone’s heritage.

A film that presented a really radical (at the time) view on the Old West was Sam Peckinpah’s The Wild Bunch from 1969. Utilizing revolutionary filmmaking techniques in camera work, sound, and editing the film caused a great stir in the film world. It was a uncompromisingly grim depiction of the life of outlaws in 1911, when the Wild West was largely coming to an end. Notable is the fact that John Wayne detested the film saying that it “destroyed the myth of the Old West.” A statement that is so very true on so many levels. The film is about a time when the Old West was coming to an end as well as it changing the entire depiction of the genre, thus Wayne could have just as well have said that it “destroyed the myth of the Old Western.” The rough and ugly reality of not just outlaw life, but of life in general in the Wild West, would become a topic for many years to come with revisionism being the primary drive.

Not surprisingly, Clint Eastwood, who had risen to fame by the late 1960s, made his own revisionist Western in 1973 called High Plains Drifter in which a small town’s ugly past catches up to it with violent consequences. After the film was released, Eastwood wrote a letter to John Wayne saying that he’d be interested in making a Western with the legendary star, but Wayne responded by angrily criticizing the revisionist portrayal offered by High Plains Drifter.

Thus, it is plain to see that revisionism is met with opposition in every field that it enters. In an established system where people are comfortable (especially comfortable financially), they’re more than likely to protest a change even if said change seeks to bring the truth.

As Aryans, it is our duty to bring the truth to light.
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My Honor is Loyalty
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Anti-Zionist themes in "Equilibrium"

An interesting and often overlooked film is Equilibrium directed by Kurt Wimmer and released in 2002 for a very limited theatrical release. The film’s production budget is estimated to have been $20 million, which is pretty meager by big studio standards, though there are several names attached to the project that have reasonable clout in Hollywood and thus were able to garner the money to make it. Most notably is actor Christian Bale, a talented actor, though not yet the superstar that Batman Begins made him into, and even after the release of that film, Bale is among the few high paid actors not swimming in Hollywood vanity and keeps a relatively humble profile. Actors Sean Bean, Emily Watson, Taye Diggs, Angus MacFadyen and Sean Pertwee are all relatively established names in the film and theatre acting world, though far from Hollywood superstars. Klaus Badelt composed the film’s unique score. Jan DeBont, who was first a cinematographer then director who shot to fame with 1994s thriller Speed, produced the film. Hardly an A-list series of names, though respectable they are… perhaps this can be explained when we look closer at the actual film that these people using their talents have created.

The film is science fiction and takes place sometime in the 21st century, it is not said exactly when, but from the opening narration we know that “during the first years of the 21st century a third world war broke out.” Mankind was left in ruins and the main culprit of this disastrous conflict was deemed to be “man’s ability to feel.” It was determined that our own “volatile natures” simply “cannot be trusted” and that human emotion, with symptoms of anger, hate, and greed is a disease that was rightfully eradicated. And a new form of law enforcement was put into place, the Grammaton Cleric, to ensure that the new human civilization called Libria would be safe.

I do not wish to go through the entire film scene by scene and I encourage the reader to actually get a hold of it. It’s pretty rare, but the bargain bin in Best Buy might have it and ordering online (or torrenting) will probably also work. I will, however, go over the themes that I think are very much anti-Zionist. These are not that hard to see, but what is really clever about the film is that is actually presents a degenerated form of Aryans… how? We’ll get to that shortly.

MAJOR CHARACTERS
John Preston, the protagonist, is an elite law enforcement officer in Libria. In the beginning he executes his partner, Errol Patridge, who had started to see past the oppressive façade of Libria. Later he misses a required dose of the pacifying state mandated drug and himself begins to question his reality and eventually aids the start of a revolution.

Vice Consul DuPont, the highest government official that Preston interacts with and most likely a close aid of Father, who is rarely seen in public. DuPont acts as Father’s representative in most cases.

Father, the leader of Libria, who gives speeches from a protected booth in major city squares, but is most often seen on the many imposing monitors around the city.

Brandt, another elite law enforcement officer who becomes Preston’s partner after Partridge is executed.

Mary, a sense offender that Preston and Brandt arrest, and after missing his dose Preston slowly develops feelings for her. Through these brief interactions guised as interrogations Preston finds out what it is to be human.

MINOR CHARACTERS
Errol Partridge, an elite law enforcement officer and Preston’s partner at the start of the film. Preston executes him for reading a book of William Butler Yeats’s poetry.

Preston’s son and daughter. The boy is in training to become an enforcer like Preston and the girl looks like she is not dosing and thus confused and dissatisfied with life… we’ll get into why she is not given away soon.

Preston’s wife, appears in a flashback on the night of her arrest for sense offense. Desperately kisses her husband as she is dragged away, as far as is shown in the film, that is Preston’s earliest “feeling moment.”

Jurgen, a member of the underground resistance. He is on the dose so he can safely enter society and report to the underground members who are totally off the dose and thus unable to go to the surface. He tells Preston about the lie that has been perpetrated on humanity.

THE WORLD OF THE FILM
The world shown in the film is almost purely empirical and therefore un-Aryan. When the Gun-kata fighting style is described in a scene, it is said that the base of information that was used to create this combat technique was derived solely from video analysis of gunfights and the statistics that were drawn from them; meaning solely on experience, there was no real innovation involved, just persistent, though admittedly quite acute, observation.

This theme can also be seen when Preston drives into the city with Partridge at the very start, they are driving along wasteland and then come upon the city gates. Why would a civilization able enough to construct a massive city not clean up around itself? Because, this world has no will of creation or greatness or innovative drives, it is just configured to be convenient to live in. Only the immediate area matters.

The title that the elite law enforcers in this future world hold is "Grammaton Clerics" which means "Clerics of the Word." The organization they serve in is called the "Tetragrammaton" which means "Four letter word." In Judaism that term is used as a substitute for "YHWH" - the main Jewish idol. Thus, it is the Tetragrammaton YHWH that is behind the entire deception and oppression in the film. This is the key Aryan idea in understanding the film as from it most other things become clear. For instance, a "Third World War" was mentioned in the opening narration and that it was used as a pretext to create the society of Libria… now let’s look at a basic outline of how Zionists deceive the masses.

Summary of Zionist trick:
1) Promote a policy that they know most people are too degraded to successfully execute.
2) Blame the policy instead of the people for the failure, allow their agents to reverse the policy and thus gain public trust.

With this in mind it is not unreasonable to believe that it was the Tetragrammaton YHWH that engineered the war or the policies that led to it in order to be able to sweep in with the all remedies after the massive conflict had killed untold millions, and maybe even billions, of people.

Summary of Aryanist countermeasure:
1) Blame the people instead of the policy for the failure.
2) Make the policy work by gathering sufficiently capable people.

It is precisely this that the underground resistance movement is doing and Preston joins them, he uncovers his true inner-Aryan

The full article with the quotes above can be found HERE.

DEGENERATED ARYANISM
This is perhaps the most unsettling theme in the film. How can noble people be brought down while still retaining some of the characteristics that made them noble in the first place? The answer can be one of two things. Either the masses, after the war, were engineered to be strong and healthy, but passive by way of drug (like in Huxley’s Brave New World) in order to serve the elites; OR they were precisely degenerated from Aryanism and are kept in their limbo-like state with the drug. Note that Preston is very fit, clean, methodical and, at a glance, seems to be an Aryan, but the drug Prozium keeps a veil over his perception and he doesn’t see beyond the programming of his indoctrination. He is an Aryan kept at an empirical level; practically cattle.

This is a nightmare vision of a future in which Aryans failed to unite and were overpowered by the Tetragrammaton YHWH and made to serve it.

Notice that the main emblem seen flying throughout the film is similar to an Aryan Swastika as seen on the flag of National Socialist Germany. The whole city looks Art-Deco in style with Albert Speer motifs, but it is bland enough to obviously not have been made by Speer. This is a key part of the illusion that keeps the degenerated Aryans in servitude, they believe they are in an Aryan society.

When speaking with Mary, Preston is asked a key question about what he lives for… after thinking about it, or running through some key memory jogs, he blurts out a propaganda sounding message: “to safeguard the continuity of this great society.” Mary, the Aryanist, responds with the cold hard truth: “You exist to continue your existance.” She sees that society has been tuned to be purely preservationist.

Note that the Prozium dosage method resembles suicide by self-inflicted gunshot. The capsules containing the drug look like rounds in a magazine that are chambered into a barrel and injected with a trigger-like device. Symbolic suicide.

A question to ask: Is it possible in our real world, as depicted in the fiction of the film, to be able to break the Aryan will so precisely so that we the noble become slaves while thinking that we are still noble? Sadly, yes. The greatest indicator of this is the many White Nationalist groups and neo-Nazis that drive this possibility forward. They spout their hate speech, march around with swastika banners wearing cheap mock-ups of SS uniforms and all the while believing that they're doing good.

THE METAPHYSICAL ARYAN DRIVE
The scene where Preston misses his morning dose of Prozium is some sort of anomaly. He places the capsule on the counter next to the sink, then splashes cold water on his face and dries up with a towel which he places on the counter but… the capsule he placed falls and shatters. How can a man trained to basically be a robot, a man with a nearly flawless service record for his whole life, a man so bound to routine that by now it must be forged deep into his subconscious, suddenly flub a basic everyday action? Preston even says that he never takes the capsule out until after he brushes his teeth, so it was not just the placing of the towel that was a change of routine, but the order in which he did a standard procedure. This anomaly, this out of place occurrence, is his true inner Aryan breaking out. He is slowly, first subconsciously, breaking the indoctrination of the Tetragrammaton YHWH.

Due to the fundamental nature of Aryanism stretching beyond the empirical, it is therefore impossible to fully suppress the Aryan will with purely empirical methods. The film shows that this suppression can be engineered in ways that greatly prolong it, but it is inherently impossible. This is also why Preston and his son, indoctrinated servants, don't give away their kin, the girl mentioned before. Their family drive, despite conditioning, is strong enough to continue to maintain their family unit. This need was perhaps intensified after the mother was executed. Tetragrammaton YHWH, no matter how hard it tries, cannot break all the compassionate bonds of its servants.

As Preston stops taking his dose his world view slowly changes. One key scene is when he wakes up from a nightmare (dreams indicate thought and imagination), he frantically tears down the translucent film on his window and sees something he has never yet looked at directly before, the Sun. Why look at the Sun? Why didn’t his conditioning to get a replacement kick in after he broke his first dose? People dependant on drugs can get very impulsive and dangerous when they don’t take their fix. The answer is, once again, his inner Aryan. This being a film, a work of story and fiction, not all events that take place need to conform to our reality as symbols and metaphor are key to the art. The metaphor of Preston looking at the Sun is him for the first time seeing the enlightenment of the Swastika. Realistically, it would have probably just dawned on him as he woke up, but the film shows the event in a more poetic way, a scene with several metaphors at work that outline the themes being communicated throughout the film.

BITS AND PIECES
I do not wish to spoil all the detail of the story so that the reader can view the film and enjoy a real first viewing, but here are several things to keep an eye out for.

Sense offenders are said to be incinerated in a combustion chamber. The Tetragrammaton YHWH is exterminating its dissenters with industrial efficiency.

When arresting Mary near the film's start, the still loyal slave Preston states "We're the Tetragrammaton, there's nothing we can't do." The scene of warrantless arrest suitably sums up the attitude of the Protocols of Zion and their thirst for power and control.

There are many hints throughout the film as to the deception that has been placed into society. Keep an eye on how major characters behave and what color schemes and music the film uses in those scenes.

Preston’s Dual Pistols that he is seen firing throughout the film sometimes display a Tetragrammaton logo as their muzzle flashes. Note key scenes when this happens, especially at the end.

A key traitor is killed in a symbolic way… they’re “unmasked.” Watch to understand.

Also there is a scene that heavily resembles Sergei Eisenstein’s Odessa Steps sequence in the famous film Battleship Potemkin. That film was used by the Soviet regime to demonstrate the cruelty of the Russian Czar as the Czar’s troops march abreast down a large stairway shooting innocents. The film glorified the Communist Revolution… however, in this film, it is the revolutionaries who do the shooting and the rank of soldiers tumbles down the stairs riddled with bullets as rebels run up past them. In true Aryan form they don’t run from their oppressor, but meet him head on. This is an Aryan Revolution.

REACTION TO THE FILM
One last thing of note is the criticism that this film received. Its fan base was, and still is to this day, largely on the internet. Most mainstream critics that reviewed it during its limited theatrical release panned it. IMDB forums were packed with supporters and haters. My guess is that the anti-Zionist themes were picked up quite early in production, hence the smaller than usual budget, limited release, and outside funding for the film; it was decidedly not a mainstream film.


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Equilibrium IMDb page
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An update of "Die Fahne Hoch"

On my other blog I am doing a bit of translation work in order to expand the reach of Aryanism. However, there is a bit of translation that I found appropriate to put here since the result was in English. Simply put, it is my update of the NSDAP anthem, "Die Fahne Hoch" or, as it is sometimes referred to as, "Horst Wessel Lied." I got this idea after seeing that many of the English versions of this anthem are rather bland with just straight forward and very literal translation; the beat, the rhyme and whole poetic nature of Wessel's lyrics have been lost with only the basic idea being put forth.

I tried to compensate for much of that and created a version that fits much more to the beat of the music, retains some of the rhyme scheme, but also, most importantly I think, uses current Aryan terms. This is not the 1930s after all; Aryanism is in a new era.
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With Flag up High

With Flag up high our ranks are firmly led,
S.A. Troops march with bold and solid steps.
Comrades whom the Red Front and reaction'ries shot dead
Now march in Spirit within our Aryan ranks.

The streets are clear for all the brown battalions,
The streets are clear for all the Storm Troopers,
Full of hope they look up to the Swastika in millions,
The day for freedom and Folkdom now dawns.

For one last time the rally will now be called,
For our Noble Kampf we all stand ever ready.
Soon Aryan banners will fly over all the city halls,
Slavery's binds are at their last dying grasp.

With Flag up high our ranks are firmly led,
S.A. Troops march with bold and solid steps.
Comrades whom the Red Front and reaction'ries shot dead
Now march in Spirit within our Aryan ranks.
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Best recited or sung when listening to an instrumental version of the anthem which the reader can find HERE. There is a little intro to this rendition and the lyrics should enter at 0:17.


NOTE: This version of lyrics was edited on 9-17-2010. The new construction of the title/first line seems to make more sense in English this way.