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Lyssa
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Aug 21, 2013 10:55 am

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ELYSIUM MOVIE REVIEW - One of The Most RACIST Films in History

Despite the overt allusions to class warfare and a focus on a tarnished and out-moded socialist narrative of rich-vs-poor, Elysium is primarily about immigration "reform" and the stalled effort in Congress to pass legislation legalizing millions of illegal aliens. Idealized and romanticized pet liberal causes come in second.

Neill Blomkamp's science fiction action film, Elysium, scheduled for release on Friday, August 9, is slick New World Order propaganda. Although the film's director and star actor, Blomkamp and Matt Damon, disagree and say the film does not carry political weight, a number of commentators say this simply is not the case.

Scott Foundas, a film critic for Variety, characterized Blomkamp's effort as pushing "one of the more openly socialist political agendas of any Hollywood movie in memory, beating the drum loudly not just for universal healthcare, but for open borders, unconditional amnesty, and the abolition of class distinctions as well."

"It's not just hypocritical to say this movie isn't political, it's hilarious," Dan Gainor, VP of Business and Culture at the Media Research Center, told Fox News. "This is just the latest of several Hollywood movies this year to try and co-opt Occupy Wall Street plot-lines into their films. Filmmakers wear their politics on their sleeves, but it helps their careers to push liberal agendas."

Sean Smith, writing for Entertainment Weekly, casts the film in the context for class warfare. "If you are a member of the 1 percent, 'Elysium' is a horror movie. For everyone else, it's one step shy of a call to arms," he wrote.

Despite the overt allusions to class warfare and a focus on a tarnished and out-moded socialist narrative of rich-vs-poor, Elysium is primarily about immigration "reform" and the stalled effort in Congress to pass legislation legalizing millions of illegal aliens. Idealized and romanticized pet liberal causes come in second.

Elysium producer Simon Kinberg promised the film will address "immigration, health care, and class issues." Hollywood liberals know glitzy, action-packed Hollywood films and television shows are the most effective delivery vehicle for pushing their neo-Marxist idealism on the masses. "If you think you're actually going to make a difference or change anything, you're on pretty dangerous thin ice. But you can put ideas in there that are real issues that are happening in the world," Kinberg told Vulture's Kyle Buchanan in April.

Kinberg led off with immigration -- and that topic is at the very core of the film's message.

James Hirsen summarizes Elysium's plot-line: Those who are unfortunate enough to be located outside of the Elysium realm must endure an overpopulated, poverty stricken, crime ridden, disease-filled world positioned far below the orbiting "Valhalla" in the sky.
elysium movie film "elysium movie" blockbuster entertaining entertainment review 2013 finance production latin latino u.s. "united states" america liberty race racist racism hispanic communist white "matt damon" mexico mexican forces "south africa" france french people human humanity pride elite civilization west "third world" truth true rich wealth wealthy billionaire globalist diplomat expat google drone droid android slave hollywood positive beauty war ww3 "world war 3" control usa review premier 829speedy obama citizen citizenship illuminati alex jones infowars healthcare health society mark of the beast farrakhan lindsey williams gerald celente trends in the news david icke end game agenda 21 Residents of Elysium vigorously enforce anti-immigration laws to keep the earthbound masses from entering their immaculate biosphere.

The film will undoubtedly rekindle immigration "reform," legislation critical to the ultimate success of the globalist effort to destroy America and usher in an authoritarian one-world government and planet-wide serfdom enforced by a high-tech surveillance and police state.

The Elites are planning to build off-world, floating bases where they will run after they destroy the world. Could these plans now be in the works thanks to Amazon.com founder Jeff Bezos and Virgin airlines CEO Richard Branson?

Elysium, a new movie starring Matt Damon and Jodie Foster, depicts what many futurists have long predicted is mankind's ultimate destiny -- the division of the human race into two new class systems -- a transhumanist elite that centralizes technological progress to achieve utopia, and a massive underclass left to rot on a dying planet ruled by robotic drones.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Aug 21, 2013 11:05 am

Uniformity in practice.
How do you deal with genetic differences in intelligence?
You bury it, and dilute it away.

You begin with the generalization of the "human race,"  then inject the usual Judeo-Christian morals to soften resistance.
These are easily absorbed because the message is so seductively comforting on a personal level.
You use the individual's normal insecurity, and anxiety, in regards to life and existence, and you offer it a mind-numbing medication.

The Transhumanist component is quite interesting.
What it is proposing is a future where those with the means to purchase the technologies to cope with nature and to surpass other humans
Marxist class struggle for the futurists.

The liberals, sensing this coming division, while they have dominated over the other types of division on a memetic level, are now on a war path.
It is either ALL humanity or nobody.

The message was also included in the Superman movie where Krypton had to burn with all its inhabitants together, and no one or no group was allowed to save it if it means that they would dominate.
Of course the Jewish duplicity was also present.
Superman's father as he is declaring his opposition to this elitist plan is secretly sending his son on a space-raft, down the Nile, as it were, to get away from the Pharoes.
Superman is now a futuristic Moses.

Interesting that the creators of Sueprman, two Jews, originally made Superman into a Nazi-like villain.
Now he's a messianic character.

The web of brainwashing thickens.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Thu Aug 22, 2013 6:44 am

Elysium Review
Gregory Hood

No one will be allowed to escape. No one will get a separate peace. No one gets to have a good life. We’re going down, and we’re going down together – because in the wasteland of modernity, that’s what it is to be human.

Neill Blomkamp, late of District 9, returns to form in Elysium. Once again, the white South African (who lives in Canada, naturally) preaches the egalitarian gospel that has reduced his once proud homeland into just another failed state. The year is 2154, and Earth is an overpopulated, polluted wasteland. Los Angeles seems to be an almost entirely Spanish speaking Third World sprawl reminiscent of Mega City One – or some of the more “vibrant” neighborhoods of Venezuela. Animals like giraffes are gone, the American flag seems to have vanished (or isn’t even worth mentioning), and the intrusive “government” that rules over the proles seems to be administered mostly by droids.

Blomkamp achieves something important in this vision. As technology advances, it’s conceivable that neural implants, robotics, microtechnology, and 3-D printers could create people so improved and well supplied that a reckoning for decadence could be postponed inevitably. The Traditionalist cycle of History would be trumped, at last, by the power of technics, and the artificially powered Last Man would stand triumphant and unashamed at the end of History. This is the Whig Version of History taken to its logical conclusion, as propagated by pop scientists like Michio Kaku when they speak about the bored bourgeoisie harnessing the “Power of the Gods.”. It would be the values of modern America – only powered by technological wizardry and a godlike IQ.

Blomkamp gives us a more realistic vision. In his world, knowledge can be downloaded directly into the brain, droids can accomplish security tasks, and “Med-Pods” exist that can instantly cure injuries or disease. However, the world in general is populated by resentful nonwhite peasants waging their petty conflicts and indulging their lowly vices. Fantastic technology coexists alongside the ruin of the black and Hispanic slums.

In truth, the modern world is a race between global dysgenics fueled by egalitarian cant and the growth of technology fueled by the lust for profit and the love of innovation. We live in a world where poor Africans posses cell phones with more processing power than the craft America used to reach the moon – and the Sudanese use this technology to spread rumors about witches stealing their penis. In Blomkamp’s world, the race ends in stalemate, as humanity is neither exalted nor degraded by technology, but simply stumbles on as it always has.

Matt Damon plays Max, a blond-haired, blue-eyed throwback who has somehow survived in this new nonwhite world after being raised by nuns. A once legendary car thief, Max is now resolved to lead a normal life after a stint in prison. He pines after “Frey,” who despite the reference to the (male) Nordic god of fertility is the de rigueur intelligent, giving, and supposedly sexually attractive Hispanic single mother who can serve as the moral exemplar of the film. His childhood crush and best friend is now a nurse, selflessly catering to the faceless masses in the overcrowded hospitals of the hellish Los Angeles. Max himself trudges to and from his degrading but “respectable” job, to the mockery of the Third Worlders around him. The fist of the state is ever present in the form of droids, whose repression is made all the more unendurable by their use of bureaucratic politeness to conceal the (literal) iron fist.

Of course, Max also has to look upon the eponymous alternative – the heavenly otherworld visible even from the Earth. A vision of the celestial sphere itself, it’s very name suggests a divine way of life. In Alex Kurtagic’s Mister, the protagonist’s wife speculates that if Europeans had never crossed the Atlantic, “Africa and America would have remained sparsely populated by prehistorical tribes. Europe – if they ever got to know of it — would for them have been like Olympus, or Asgard: something they spoke about in their myths and legends, a land inhabited by gods and magic and extra-terrestrials” (224). Here, the products of the failed dysgenic experiment of democracy can actually look up and see the abode of the gods, a place where advanced “Med-Pods” can banish disease, injury, and even ugliness.

According to the expanded marketing material for the film, Elysium is headed by one “President Patel,” a denizen of the Davos type as a former Prime Minister of India and a globe trotting international do gooder. While he tries to put a respectable face on Elysium, it is Secretary of Defense Delacourt (Jodie Foster, hamming it up), who is the real power behind the throne. Delacourt, all power suits and feminine resolve, smoothly transitions from garden parties with Francophone, attractive white citizens of Elysium (and their blonde children) to shooting down “undocumented” aircraft and coolly ordering the deportation of survivors. While Patel worries about image and appropriate use of force, Delacourt is contemptuous of his kvetching about public relations and willing to do whatever is necessary to defend a habitat for Elysium’s citizens and their children. Strangely, we never see Delacourt’s own children, suggesting that Delacourt has a further developed ideology that allows her to be comfortable with her militant tactics.

However, it is more likely that Delacourt is simply intended to be evil and implictly racist by virtue of her willingness to defend her community with whatever means necessary. The weak leadership of Patel could be a subtle nod towards the criticism of President Barack Obama by Matt Damon and others who think America’s Commander in Chief has utterly acquiesced to the national security state and its “racist” tactics. In any event, Delacourt schemes with the CEO of the droid company to gain access to Elysium’s security codes and accomplish a coup d’etat. Just as in classical Marxist thought, the capitalists will use the forthright militancy of fascism to defend their interests.

Delacourt’s Sturmabteilung, is, of course, a team of white South African mercenaries led by “Kruger.” The Boers in space are all needlessly cruel, sexually perverted, greedy, and corrupt, in contrast to the moral exemplars like Frey. While the American flag may go unseen in this film, a small flag of Mandela’s South Africa is painted on Kruger’s ship – though the logo of an Oryx is more prominent.

The catalyst for Max is a workplace accident where he receives a lethal dose of radiation poisoning. Out of simple fear of death, Max approaches “Spider,” a kind of space “coyote” and human smuggler, about getting a ticket to Elysium. The weakened Max is fitted with an exoskeleton to give him superhuman strength and told to rob the CEO, along with a small team. The mission goes wrong and the CEO (and most of Max’s team) is killed, but Max is able to steal the security codes for Elysium itself so they are stored in his brain. As Spider puts it, “We can save everyone.” Max’s next mission is not just for himself – it is an invasion.

What fuels this, as you may have guessed, is Frey. Wounded in the robbery, Max goes to Frey for help and is introduced to her sick daughter. In the most unnecessary sentimental scene since the little girl talked to Stonewall Jackson in Gods and Generals, the dying girl tells Max a story about animals and the importance of sharing and helping. Max says he can not help Frey and her daughter – but Kruger and his Afrikaner barbarians raid the home after Max leaves, pointlessly kidnap the “family,” and treat the audience to veiled threats of rape, violence, and weird promises of marriage.

None of this makes tactical or moral sense behind simply creating a caricature of Afrikaners as evil, but it still vaguely fits the Zeitgeist of our world. After all, in modern America, what could be more oppressive to a “strong, single Hispanic womyn” than marriage to a white man? Still, such pointless cruelty fills the necessary plot hole, as Max has a reason to board Kruger’s ship under an uneasy truce, and Frey and her daughter have a reason to accompany the evil mercenaries to Elysium.

After the predictable betrayal, Max and Kruger are free to do exo-skeleton powered battle within Elysium. Kruger stabs Delacourt and seeks to take over Elysium for himself — true to the last, Delacourt dies rather than accepting help from Frey. Meanwhile, Spider uses the confusion to raid Elysium himself in order to use Max’s codes. After predictably dispatching Kruger, Max overcomes his own fear of death and allows Spider to use the codes embedded within him to instantly make everyone on Earth a “citizen” of Elysium. No one’s undocumented now! Medical robots fly down to Earth to heal everyone instantly, the military power of the old regime is destroyed, and presumably we live happily ever after.

Steve Sailer has argued the egalitarian fairy tale is so simplistic that Blomkamp is actually playing liberal film critics for fools by showing the consequences of open borders ideology. Such a reading is too clever by half. The portrayal of Dellacroce, Kruger, and the Afrikaners is entirely unsympathetic, even sadistic. The virtuous single mother Frey, the Holy Harlot of modernity, is the moral center of the film.

More importantly, although in interviews Blomkamp openly discusses the decline of the United States into a “Third World deathbed,” there is no alternative offered or even hinted at. Though Blomkamp concedes that opening scarce resources and First World living standards up to everyone eventually drains the host nations, there is no choice. To save humanity you have to “somehow overpower certain parts of that mammalian DNA and try to give some of your money out, try to take your wealth and pour it out for the rest of the planet.” Blomkamp just is pessimistic about the feasibility of this, which in Hollywood, makes him a steely reactionary. However, his principles are the same as everyone else’s.

Critics like Sailer also underestimate how culture creators and culture consumers have internalized anti-white, anti-Traditional, and anti-hierarchy messages. The people of Elysium are attractive, wealthy, and stereotypically blonde. This automatically makes them evil, despicable, and uncool. It is the hellish Third World Los Angels that is more vibrant and morally superior precisely because of its ugliness. After all, as any activist will tell you at an Ivy League campus, beauty standards are fascist. Just because Los Angeles is portrayed as terrible doesn’t mean that those who made, finance, and see the film don’t long to see it spread over the world. After all, liberals today glory over the “new” South Africa or the “new” American South, even though Johannesburg or Birmingham are ruins compared to the peaceful, orderly, attractive cities that existed before.

Max’s sacrifice for the Third World masses is not meant to be ironic. It is meant to be aspirational. In the secular theocracy of post-Christianity, that which is high must be destroyed for the benefit of that which is low. It is not about raising people up, but bringing the great down. Thus, the blue eyed white man, steeled to his duty since youth to do something “great” by Spanish speaking Catholic nuns, kills himself for the direct benefit of a mestizo woman and another man’s child. In a broader sense, he dies for all those who are not like him. More importantly, this is portrayed in quasi-religious, Christian terms, as the representatives of Holy Mother Church from his childhood are portrayed as inspiring or at least identified with Max’s suicidal mission. The more things change…

However, this should not be seen purely in just racial terms. After all, the nominal leader of Elysium is President Patel, and his background is that of something out of the Open Society Institute, not the Revolutionary Communist Party or the Black Panthers. Elysium’s social critique is fatalistic, almost exhausted. Hierarchy of any kind, even that which is nominally colorblind or done in the name of some kind of greater good, is inherently unjust. It’s not that destroying it leads to a better world for anyone, except in the short term, it’s simply something we must do.

The movie somewhat dodges the moral implications of radical egalitarianism through the apparently limitless resources of the Med-Pod. Rather than the deus ex machina, we get the machina ex deo, as the robots running on autopilot can apparently cure everyone in the world without any regard to cost. Of course, unless the people in Elysium were just sadistic, why wouldn’t they do that in the first place? Kruger notwithstanding, why wouldn’t the UN types like Patel simply mandate health care for everyone if it is essentially free? Obviously, there are some kind of costs involved, which the movie just wants us to ignore. The overpopulated, dystopian nightmare of Earth probably just got a whole lot worse.

But we aren’t supposed to think about it. For all it’s skillful cinematography, beautiful imagery, and even the occasional insights, Elysium represents a failure of imagination. Even though Blomkamp and other artists of our day know at some level the cost of turning the First World into the Third, they don’t see any alternative. They don’t acknowledge the moral right to survive. Furthermore, moral perfection is achieved by dying in the attempt to speed this transition. Better to die than to become a Kruger. Let egalitarian justice be done, though the heavens (in this case literally) fall. If a mestizo is sick, the country has to be destroyed.

Of course, the moral and metapolitical revolution must precede the artistic one. Today, educated opinion acknowledges no ethical alternative to dystopia than what is addressed in Elysium. The cultural heights (or the literal heavens in the minds of liberal theologians) demand our destruction.

In the real world, we are not the citizens of Elysium — we are stuck in the Third World with Max. And ironically, our mission is much the same as his, though for a different cause.  We must wage war on the heavens where our rulers have taken refuge. After all, if we can be free of them, we can build Elysium on Earth.

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sun Sep 01, 2013 8:55 pm


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 11, 2013 8:35 am


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:15 pm

Keanu Reeves? No ways!!!

47 Ronin



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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:15 pm

This was expected...

Her

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:16 pm


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:17 pm

Sounds coy already...
Individuality is just being different...

Divergent


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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:17 pm


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:19 pm

Lyssa wrote:
This was expected...

Her
This one looks interesting.
I see it happening soon.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 13, 2013 7:27 pm

Satyr wrote:
Lyssa wrote:
This was expected...

Her
This one looks interesting.
I see it happening soon.
Indeed it is; scary and funny...

Programmed to fall in love

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue Sep 17, 2013 8:50 pm



Into the Grim Darkness...

Quote :
“It is the 41st Millennium. For more than a hundred centuries the Emperor of Mankind has sat immobile on the Golden Throne of Earth. He is the master of mankind by the will of the gods and master of a million worlds by the might of his inexhaustible armies. He is a rotting carcass writhing invisibly with power from the Dark Age of Technology. He is the Carrion Lord of the vast Imperium of Man for whom a thousand souls are sacrificed every day so that he may never truly die. Yet even in his deathless state, the Emperor continues his eternal vigilance. Mighty battlefleets cross the daemon-infested miasma of the Warp, the only route between distant stars, their way lit by the Astronomican, the psychic manifestation of the Emperor’s will. Vast armies give battle in His name on uncounted worlds. Greatest amongst his soldiers are the Adeptus Astartes, the Space Marines, bio-engineered super-warriors. Their comrades in arms are legion: the Imperial Guard and countless planetary defence forces, the ever-vigilant Inquisition and the tech-priests of the Adeptus Mechanicus to name only a few. But for all their multitudes, they are barely enough to hold off the ever-present threat to humanity from aliens, heretics, mutants – and far, far worse. To be a man in such times is to be one amongst untold billions. It is to live in the cruelest and most bloody regime imaginable. These are the tales of those times. Forget the power of technology and science, for so much has been forgotten, never to be relearned. Forget the promise of progress and understanding, for in the grim dark future there is only war. There is no peace amongst the stars, only an eternity of carnage and slaughter, and the laughter of thirsting gods.“

The Official Introduction to Warhammer 40,000

Quote :
Dystopia incites a person to fight. Dystopia incites a person to face the ever-present possibility of death. Dystopia incites pessimism, but it also incites feelings of courage and martial virtues. In other words, Dystopia is Cryptofascist. Judge Dredd, Frank Herbert’s Dune, Niven and Pournelle’s The Mote in God’s Eye, and of course, George Orwell’s 1984 are all good examples of dystopian fictions, and they can be said to have Fascist, or at least, anti-modern themes. The following article will deal with one of the most popular Dystopian fictions in popular culture, and that is Warhammer 40,000.

If you’ve been around the nerdy parts of the internet, you would know what I’m talking about. Warhammer 40,000 (sometimes called Warhammer 40K, Warhammer 40 gay, Warhammer or simply Nazi Medieval Fascist North Korea/Medieval Europe/USSR in Space) is set 40,000 years in the distant future, where war is constant and humanity – ruled over by a crumbling and hyper-militaristic empire – is on the brink of extinction.

Games Workshop, the company that owns Warhammer 40,000, first introduced this franchise as a tabletop game in the 1980’s, and since then, it has expanded into a complex story that can be said to have a fanbase every bit as dedicated as the two royalties of Science Fiction: Star Wars and Star Trek. These days, Warhammer exists in various mediums – in video games, in books, in movies, and of course, in tabletop gaming.

However, the importance of Warhammer 40K goes beyond its more obvious characteristics as a dystopic version of Lord of the Rings set in outer space. One also needs to consider the appeal that Warhammer 40K has with regards to its overall aesthetics, its values and the worldview that it represents. Warhammer takes the values usually associated with science fiction (e.g. technological progress, material progress, social progress, interstellar cooperation, and interspecies sex) and inverts them in the most painful and ridiculous ways possible. My purpose here is to analyze this inversion as well as the overall appeal of the entire franchise.

What is Warhammer 40,000 About?

War.

The setting of Warhammer 40,000 is one of constant warfare. The aliens, the human “protagonists,” the worlds they fight on and even the galaxy itself is in a state of constant and unremitting war. There are no Rebel Alliances, Galactic Republics or Interstellar Federations for fair minded egalitarian liberals to identify with – only various empires trying to exterminate each other, each one every bit as brutal and ruthless as their enemies. There’s even a joke in the fandom that Warhammer is not a setting where the conflict is between good and evil, but between evil and blood-thirsty maniacal sadism.

In this bleak age, the focus of much of the story is centered around the Imperium of Man, a dystopian, totalitarian, xenophobic, theocratic and heavily militarized galactic super state that spans countless worlds. During this “grimdark” age, science and technology are all but forgotten and all thoughts of progress or individual rights are considered ridiculous, if not dangerous. Most of the citizens of the Imperium are (by our standards) oppressed and abused by their leaders. Plague, insurrection, death, genocide and most of all, war are the norms for those who live in the dark millennium of the year 40,000. For a more detailed explanation on how messed up being a citizen of the Imperium is, read this.

But wait. It doesn’t end there. Aside from looking like a crumbling, oppressive and totalitarian bureaucracy, the Imperium is also at war with:

Extra-dimensional entities that wish to corrupt and devour the souls of all life
Ancient robots that seek to harvest all life
Space bugs that will consume all life
Green skinned sentient space orcs who wish to maim all life
Powerful psychic space elves who look down on all life
Powerful space elves who who want to torture and rape all life
Blue skinned space communist aliens
Every other non-human sentient species in the galaxy and beyond

The Imperium fights against these enemies… All at the same time, and in some cases, they even win (at the cost of several millions of men in mass attrition warfare).

As you might guess from this presentation, the setting of Warhammer is so over the top that it’s considered by many of its own fans to be a joke, a cynical ploy by Games Workshop to get nerds to buy overpriced plastic figurines, and pretend for a few moments that they are Space Napoleon. However, what makes Warhammer relatively unique as a fictional setting is that it is the direct opposite of those sci-fi settings which project an optimistic and happy future for the whole human race. By trying to find a niche that is outside of the optimistic milieu of conventional science fiction, Warhammer has created a cultural space where certain repressed emotions of modern society (e.g. tribalism and religiosity) are given expression, albeit in a caricatured manner.

This is expressed in the story of the Imperium, which is the story of a fallen empire. The Immortal God Emperor of Man, the founder of the Imperium, had actually intended to create a totalitarian atheist human supremacist superstate as opposed to a totalitarian theocratic human supremacist dystopia. He carried out his plans by launching a galaxy-wide military campaign to subjugate all the far-flung human colonies and also to eliminate or neutralize all of humanity’s foes (e.g. aliens). Unfortunately, after a terrible event known as the Horus Heresy, the Emperor was reduced to a half-dead corpse, and from that point on the Imperium began its painful decline into oblivion.

This decline is what makes the Imperium interesting. It’s like staring at a train wreck, and seeing artistic tragedy. So in order to explain the appeal and significance of this particular train wreck, I will now describe the three most important aspects of Warhammer 40,000 as I understand and perceive them.

The Boundaries of Human Civilization – Unlike most other science fiction settings, the Human Imperium is not an expanding state. Its boundaries are determined by a powerful psychic beacon which is the basis of space travel, the Astronomicon. Beyond the Astronomicon is Astra Incognita, the empty reaches of space, offering not promises of glory, prosperity or brave new worlds, but death, terror and demonic monsters.

The limits of the Imperium are symbolic of the limits of the human will and of the human intellect in the face of nature. As such, it is the direct opposite of other science fiction settings that promise endless discoveries and possibilities. This inversion however, goes much deeper than the distinction between optimism and pessimism. It also touches on the nature of nature itself.

Modernity treats nature (including human nature) as a malleable object that is subject to the will of the human mind. This is true for numerous science fiction settings. A good example of this is the world of Pandora in the sci-fi movie Avatar, where despite the threatening nature of the world, it is still presented in the movie as being at the mercy of stereotypical corporate fat cats.

However, for a fictional setting to present nature as hostile, powerful and un-tamable creates an alternative narrative where technology, and by extension human civilization, are presented as weak and ephemeral. In a universe where humanity is presented as weak and at the mercy of aliens, morality ceases to be the issue, and survival takes center stage.

Indeed, in Warhammer, the Imperium, despite its military might, is presented as a besieged state that is fighting a losing war against the terrors of space (i.e. nature). This decline as well as the limits of the human Imperium can be thought of as a cautionary tale for all civilizations. Decline is inevitable. Empires fall, but only nature remains. In the end, morality, ethics, science, peace and politics do not matter. Only that which is primal matters. For the Imperium, it’s not technology or space ships that’s keeping it alive. It’s the ruthless, primal brutality of its soldiers.

The Regression of Technology amd the Cyclical Narrative of History – Warhammer can be called an Archeofuturist setting in that it integrates the high powered technology of science fiction, and combines it with pre-modern values. The Human Imperium, through the Adeptus Mechanicus and its Techpriests, treats technology as a religion, calling Artificial Intelligence “machine spirits,” and using complex rituals to operate technological devices. This is because most of the technology found in the Imperium is left over from a previous age, the “Dark Age of Technology.” The Dark Age of Technology ended with the Artificial Intelligence centuries and a massive rebellion which ended with the technological and scientific regression of the entire human race centuries before the rise of the Imperium.

However, Warhammer’s Archeofuturism exists mainly because of the nature of the setting itself. The universe in 40K is unstable, and is often hostile. Even the alien empires which had preceded humanity have fallen, thus setting the precedence for humanity’s own inevitable decline and those that would succeed it.

This narrative is contrasted with the technological optimism which exists in most sci-fi settings, and where science and technology are seen as the solution to all of man’s problems. Without this type of optimism, expressed in materialistic and technological terms, science fiction could hardly exist, but then again, one can also say the same about modernity. For how can modernity exist without the vision of the future that it strives to create.

Indeed, this begs the question that if one were to take away all of modern man’s fancy gadgets and fast cars, what would be left of him? In the Human Imperium, technology plays a secondary role, for in a galaxy where space demons exist, and where the ephemeral nature of progress is revealed for all to see, faith and instinct are more important tools for survival.

The Overcoming of Man – Despite the name “Human Imperium,” the humans of the Imperium are very inhumane, both on an emotional level as well as on a physical level. The soldiers, citizens, priests and even bureaucrats of the human Imperium can be called to some extent super-human in that they engage in genetic enhancement and robotic augmentations.

However, what truly makes many of the people in the human Imperium inhumane is that they do not equate human with “humane.” “Man is something that shall be overcome,” as Big N would say. In a galaxy where humanity is at the brink of extinction, humanity defines itself in terms of brutality and ruthless will. This is what allows them to survive physically and psychologically in a galaxy plagued by aliens and demons.

This has a revolutionary subtext in that it presents human nature beyond the confines of modern values, and replaces it with a Hobbesian outlook. Thus, due to the necessity of survival, the very concept of humanity ceases to have a moral or ethical definition. For in a hostile universe, only hostile and dangerous humans can survive, and that certainly requires a reassessment of what it means to be human.

Comparing Warhammer With Star Wars and Star Trek

In order to better appreciate the uniqueness of Warhammer as a pop-culture internet phenomenon, it’s important to compare it with the relatively optimistic settings of Star Wars and Star Trek. Both franchises allow their respective fans to immerse themselves in an imaginative galaxy that is vastly more exciting and entertaining than our own.

In the case of Warhammer however, it’s not just a matter of stepping out of our everyday lives into a galaxy far far away. It’s also about stepping into a new metaphysical and moral system, along with the new collective experiences that go along with them. One of the most important characteristics of Star Wars and Star Trek is that they are both a projection of Americanism and Liberal Modernity onto space. For one thing, they took many of the experiences of 20th century America, such as economic and industrial expansion as well as the civil rights movement, and projected them onto outer space, with aliens taking on the role of the “other” (i.e. people from different cultures, races, religions and nationalities), and the galaxy took over the place of the wild west. Star Trek was even called “the wagon train to the stars.”

In contrast to this, Warhammer’s morality must be contextualized within the setting, a setting that is brutal and where happy endings, like Luke Skywalker blowing up the Death Star with a lucky shot using the Force, are not allowed. Moreover, the “other” are not aliens who are open to diplomacy, but inscrutable monsters (with few exceptions) which are so inhuman that they exclude the possibility of long term interstellar diplomacy.

In contrast to Warhammer, in the original series of Star Trek, Gene Roddenberry could afford to have his characters wag their fingers at all the strange customs of racial stereotypes/aliens that they met on their long voyages, because the set up is structured in such a way that the heroes and the values that they represent are always right, whereas the values of the Klingons, the Romulans, the Cardassians, and all the other bad aliens are either wrong, or at least misguided. Likewise, Picard, Kirk and the Jedis almost always win, and even if they don’t win the battle, there is always the implicit recognition in their respective settings that they’re right, and the enemies are wrong.

Star Wars and Star Trek are more conducive to a liberal and modern mythos because their stories take place in settings which are conducive to a particular type of story telling. In both Star Trek and Star Wars, it is assumed that in the future, science and technology would have the same role and impact on the galaxy as it does in our present world, that material progress can be sustained, and by extension the values of progressivism. Also, in both stories, it is widely assumed that the galaxy will be able to support the consumption of an ever expanding human race, and that warfare would be an anomaly and peace would be the norm. In Star Wars and Star Trek, it is assumed that aliens have a lot in common with human beings, and that expansion into the outer reaches of space will have the same outcome as the expansion of the entire human race throughout the entire world. This is an obviously optimistic worldview, rooted in the idea that the galaxy could be explored, understood, and ultimately subdued, mainly through the application of human understanding (i.e. science), not unlike the worldview that is being fostered on a global level today.

It’s easy to identify with the heroes of Star Wars and Star Trek because they have the same values as peoples of the modern world. One can even say that among the reasons why Star Wars and Star Trek have become so famous is the fact that they are projections of modern culture into a wider and more exciting setting (i.e. a technologically advanced galactic civilization). They are the myths of globalism and Americanism.

This is not the case with Warhammer 40K. Most of those who deplore the ideas of Right would most likely consider the Imperium as the archetypal manifestation of those ideas: brutal, pitiless, hierarchical, militaristic and reactionary, and they would be correct. However, even though Warhammer 40K and the Human Imperium are mere caricatures of these values, the appeal is still there, and this appeal represents the human will to fight and overcome mediocrity, stagnation and defeat. These values – even in their twisted forms – say no to those values presented by Star Wars and Star Trek. It is traditionalist counterculture at its finest.

I believe that the brutality of Warhammer is among the reasons why it has become so famous as of late. People’s instincts in the West, at least on a subliminal level, are fascinated with what’s beyond modern values and modern morality, which is to say the “galaxy far far away,” with the battle between the Forces of Light and the Dark Side getting a little old now.

The “grimdark” setting of Warhammer, aside from presenting and justifying an anti-liberal morality, also presents a particular worldview. A worldview that is centered around the idea that the galaxy is hostile, that the world is hostile, and that it cannot be conquered. Death is a constant threat, and the new worlds and new life that humanity will encounter are likely to try to slaughter humanity itself.

Because of this worldview, the liberal morality widely used in Star Wars and Star Trek, would not apply in Warhammer 40K. In truth, the application of liberal and egalitarian morality in Warhammer renders a person susceptible to death, at best, and Chaos Corruption by interdimensional entities, at worst. It is for these reasons why those of us who subscribe to anti-modern and anti-egalitarian values should take these stories seriously.

At the core of one’s feelings towards a particular overarching fictional setting are these two questions: “How does the world work?” and “What kind of world do you want to build?” Star Wars and Star Trek gives one set of answers to these questions, while Warhammer gives something else entirely different.

“Every doctrine tends to direct human activity towards a determined objective,” as Mussolini said. Although very few people would want to live in the Human Imperium, I also believe that there are also a lot of people who don’t want to live in Gene Roddenberry’s Federation or George Lucas’ Galactic Republic, yours truly included. Despite its obvious caricaturization, the Human Imperium represents a society where courage, valor, instinct and the will are more valued than equality, compassion and progress. It is a society that is not driven by the shallow morality of egalitarianism and individuality, but by the Will to Power as expressed by the Will to Survive.

The Significance of Warhammer 40,000 in Pop Culture

Warhammer 40,000 is what right wing science fiction ought to be. What this means is that the characters and personalities which exist in the 40K universe are an extension of the setting in which they play their parts. It’s basically fictional Dasein, because the cruel and brutal nature of 40K as a setting is reflected by the brutality of its own characters – one reflects the other. In other words, the stories are harsh, and the characters are often subjected to certain death and defeat. One cannot approach or appreciate such a setting with a liberal mindset because it is too alien for contemporary modern society. So for people to start appreciating or empathizing with the characters of Warhammer also means that they have stepped out of the liberal worldview, and that is very important.

Although many fans of Warhammer 40,000 understand that the Imperium is evil or at least brutal and cruel to the extreme, such brutality is also justified given their circumstances. This results in the relativization of modern morality, because given the nature of the Imperium’s enemies, fans are introduced to a setting where the moral values of more liberal science fiction settings simply do not apply. Without this moral dichotomy of Good and Evil as expressed by liberal morality, those who immerse themselves in the lore of Warhammer 40,000 are forced to approach the values and mentality of the Impreium from the perspective of the Imperials themselves: Kill or Be Killed. Indeed, any system which relativizes modern morality opens up niches for anti-modern and anti-egalitarian values to come in.

And it’s not even about morality alone. Even though it is widely acknowledged that the Imperium is evil by modern standards, a lot of fans still can’t help but feel a sense of affinity for the soldiers and warriors of the Human Imperium, many of whom fight against impossible odds and are driven exclusively by a fanatical will to fight and survive. I suspect that this is because 40K, like any good fiction, allows us to go beyond ourselves and our everyday lives to embark into an experience that is profoundly different to what we are used to. This experience is crucial, because it offers a vision of a society that may be created in the future. In other words, it inspires, and that is one of the key functions of any culture.

So, despite its terrors, the Warhammer galaxy calls forth instincts of glory, courage, faith, and transcendence. Warhammer allows the expression of those instincts of man that have been repressed by modern liberal morality. It is a galaxy where the raw, animalistic rage, and the deep yearning for transcendent courage, hidden deep within modernity’s civilized veneer, is given full expression; where prosperity and progress must be contextualized within the rise and fall of societies; and where peace, plenty and technology are not enough to keep humanity alive. Warhammer 40,000 may be a caricature, but it is a caricature of those aspects of humanity that seek a path beyond the confines of modern consumerism, egalitarianism and globalism.

“Praise the Emperor and Strike Down His Foes!”



War Hammer: Into the Grim Darkness


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Thu Sep 19, 2013 11:17 am

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Sep 20, 2013 4:00 am

^ I liked that game.

If I remember correctly then the W40K world, all those stories and so on, were invented after the board game was released. Bit by bit that 'mythological' background was established.

Quote :
                    IN THE GRIM DARKNESS OF THE FAR FUTURE THERE IS ONLY WAR
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Jan 14, 2015 11:32 am

Watched Homeland...
A propaganda series, where the "bad" elements in the CIA are blamed, and the "good" ones are augmented as being the norm.
The President has a godly figure, underneath whom the daily services of human, all too human agents and agencies, battle to maintain the American illusion of benevolence.

In the meantime, subtle messages as to who really bombed the twin towers are reinforced, and the "evil" Muslims, versus the secular "freedom loving" Westerners, with a Jew included in the predictable role of excluded, but righteous, firmness, is repeated.
Other than that it was a terrific thriller with many twists and turns to keep the bored dullard excited.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue Jan 20, 2015 9:18 pm

I liked the first season of Homeland, the devotion of Carrie to Brodie despite everything, the ending was really good.  But once that love story died off, the story became more of another CIA drama without some sort of transcending element...However, now that Saul( the Jewish father figure) has turned on Carrie at the end of season 2, I imagine Quinn will come back and they'll become closer as now they'll only have each other to fight the "bad" CIA elements.  A better show than Sleeper Cell, but all the same stuff.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue Jan 20, 2015 9:37 pm

"American Sniper," Now that movie laid the propaganda on thick

A quote from the movie:

“There are three types of people in this world: sheep, wolves, and sheepdogs. Some people prefer to believe that evil doesn’t exist in the world, and if it ever darkened their doorstep, they wouldn’t know how to protect themselves. Those are the sheep. Then you’ve got predators, who use violence to prey on the weak. They’re the wolves. And then there are those blessed with the gift of aggression, an overpowering need to protect the flock. These men are the rare breed who live to confront the wolf. They are the sheepdog."
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Jan 21, 2015 3:32 am



Best recent Hollywood. Just through and through a great satirical thriller. As it would turn out corporations are literally people my friend.

Very likeable main characters as it were. I think partially because so clearly their virtues and thus utility are set up as dependant on their perceived vices, hence they become knowable, realistic and non-disapointable to the mind. People never really change, or at least the fictional ones that do seem annoying.

Aspect of the intertwined message kind of reminded me of this article:

http://www.radixjournal.com/journal/keep-calm-and-ride-the-tiger
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed May 13, 2015 10:37 pm


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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat May 16, 2015 3:15 pm

Saw the new Mad Max movie last night... Like everyone has raved, it is a visually stunning, post-apocalyptic desert fever dream, complete with giant dust storms, flaming tornadoes, and the monstrosity of demonically customized moving machines.  The main "bad guy" is some sort of heavy metal villain ( the "father") who hoards the only remaining resources in this bloody and barren world.  His warriors, his "war boys," will ride with him "forever on the highways of Valhalla."  The war parties (thundering masses of various cars and trucks) are complimented by heavy drumming and distorted electric guitars.  Life in this world is short but incredibly loud.  "I live, I die, I live again!" is the philosophy of these hyper-inflated viking hybrids, calibrated to meet a messy and violent end with the enthusiasm of a PCP user who doesn't fear being on the wrong side of the law.  They live a hard life and go out harder.  

Now, our hero, Max.  He's typically handsome with "easy eyes" in contrast to his flesh-modified, ghostly pale captors who fashion a deeply panicked look, hollowed out by repeated exposure to death.  But max has a dark mystique all his own as he shoulders the weight of a haunting past and a family tragedy.  While the war boys are intensely focused on a jacked up moment, Max battles his inner demons with a slowly churning rage and brooding intensity.

Max soon teams up with the female lead, Furiousa, who has just rescued the father's prized "breeders" (a group of well-nourished, almost angelically touched women with the most healthy milky skin (a veritable human oasis in a world battered by the intense heat of the sun and the unchecked violence of man).  They're headed toward the "green place of many mothers" to start again.  The Father is extremely protective of his "property," making clear to his war boys that no harm should come to them (this soft spot only serving to make him even less redeemable, the tyrant with a gross appetite for beautiful things).

Basically, the movie starts with the fury of the father and ends with the return of the loving mothers(assisted "naturally" by the most handsome and capable male).  What could of been a truly badass journey to hell with motorized viking themes and those notorious Australian tempers, becomes another lesson on the redemptive powers of the liberated woman.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed May 20, 2015 11:10 am


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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Thu May 21, 2015 5:30 pm


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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Thu May 21, 2015 7:10 pm

This one looks good.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri May 22, 2015 10:05 pm

Lyssa wrote:
Mad Max, a feminist trick?

What a hack.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Jul 11, 2015 8:27 am

My Jurassic Park review


Genius children
Know how to survive in the Jungle
Bad ass man with connection to animals
Control-freak woman becomes good shooter
Nice pure negro man
Evil White money-orientated fat man
Chinese and Indian geniuses knowing how to create dinosaurs but genetic differences do not apply to human breeds

Genetically-modified Dinosaur
Raised in complete isolation due to protective measurements for the caretakers
No connection to other animals
Pretends to have escaped and through such pretence escapes
Due to not knowing otherness it does know what it is itself
Needs to find its place in the food chain
Bloodshed

Bad ass man has connection with his raised Raptors
Hunts down monster dinosaur
Monster dinosaur becomes new alpha – reversed hunt
Bas ass man regains status – Raptors attack monster dinosaur

Control freak woman releases T-rex to lead it to monster dinosaur
She can run very fast on heels
All dinosaurs turn against monster dinosaur
Out of the sudden a Mosasaurus, like how an Orca hunts seals, cast itself upon the land and swallows monster dinosaur

The end
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Aug 05, 2015 6:45 pm

Far From the Madding Crowd

It is a good movie for a one time watch. bascially about the attraction a few men have along the way they meet her, for a woman who can take care of her own responsibilities and isn't afraid from dirty hands.

Three men; 2 you can see as the artificial men and one as the Natural.
One uses guilt and shame to try to get the woman and even admits it to her; another performs a whole act with his sergeant's mannerism (playing with a sword he probably had never used in an actual fight) and gentleman pretence. The Natural man is the one who is calm, has emotions but is not steered by them, his still to be trained shepherd dog directed his sheep into death; he, without feeling for revenge shot the dog without making the dog know that he did wrong, what use would it be if you will shoot him anyway. He lost his property and has to sleep on the streets, has been offered to join the army but instead of joining the army and have a ''safe haven'' (increased probability on what to expect) he wanders on.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Aug 05, 2015 9:32 pm

I'd like to watch it, but with those inchoate host servers coupled with Southern California internet connectivity, it is proving futile.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Aug 14, 2015 4:47 pm

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sun Aug 16, 2015 6:07 pm

perpetualburn wrote:
http://polarcosmology.com/essays/vertiginous-twisted/

Interesting bits on the green. In pdf?

That looks a lot influenced by Joscelyn Godwin's Polar Myth.

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