So HBO's first season of their adaptation of the hit video game, The Last of Us, has finished airing, and I've collected my thoughts (most of them anyway) and put them into an hour long video.

Recently I played through the Dead Space Remake and made some notes. It turns out that the Remake is a very good example of how Leftists subsume everything with their worldview.

I watched Neil Blomkamp's Elysium (2013) again recently, and it prompted some thoughts. There's seriously a ton to talk about regarding this film, but I kept it short.

Recently comedian Louis CK went on Joe Rogan and advocated for Open Borders. Said it was wrong for Americans to "sequester" themselves. I was curious, so I looked into where Louis lives....very interesting.

Recently, the German outlet Deutsche Welle wrote a piece about a supposed powerful dark skinned European shaman, and it made me remember Ubisoft's 2016 title Far Cry Primal, which somehow managed to foreshadow the 2018 "discovery" that WHGs all had black skin.

Great article debunking "dark-skinned" Cheddarman with lots of sources:
https://tomwalker.substack.com/p/the-cheddar-man-scam-indigenous-western?r=jnw21&utm_medium=ios&utm_campaign=post

There's a lesson to be learned from the reaction of people toward French goalie, France Hugo Lloris, for "losing" the Cup to Argentina.

US Senator Hassan of New Hampshire wrote Gabe Newell of Valve Corporation a letter asking him to do something to combat online "Nazis." She, like the ADL, all too often mistakes antisocial Zoomer nihilism as a genuine desire to spread actual ideology.

PC Gamer article about the letter:
https://www.pcgamer.com/us-senator-asks-gabe-newell-what-valve-is-doing-to-fight-nazis-on-steam/?utm_campaign=socialflow&utm_source=twitter.com&utm_medium=social

Vice article about the letter:
https://www.vice.com/en/article/dy79na/senator-asks-gabe-newell-why-steam-hosts-so-much-neo-nazi-content

Vice article about "Hate Groups" on Steam:
https://www.vice.com/en/article/d3dzvw/steam-is-full-nazi-racist-groups

Just some quick thoughts on Jordan Peterson again, after hearing about his DailyWire+ deal with Ben Shapiro and Benjamin Netanyahu.

This video will address the historical revisionism within Activision’s Call of Duty: Vanguard, but it will also “veer off” into other historical topics such as the UK Race Riots of 1919, the Rhineland Occupation after WWI, and French Colonial Africa in the 1890s. In fact, the bulk of this video will center on this "side" topics. Some of the segments are quite long and information dense. While they could be separated into their own documentaries, I’ve chosen to include them all here, because Call of Duty Vanguard does reference them directly or indirectly. Moreover, doing the video this way gets so-called "gamers" more involved in their history, and it grants nationalists and pro-White activists a better understanding of how nefarious the gaming industry is today.

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Far Cry 6, Ubisoft's latest installment in the franchise, is basically an extremely woke nightmare of cognitive dissonance that scapegoats a fictitious fascist boogieman for Communist Cuba's sins.

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I came across some footage a few weeks back of Australians being interviewed by the Australian Broadcasting Corporation in 1962 and figured I'd make a quick unscripted video about it.

Here's an Occidental Observer article on how the White Australia Policy ended:
https://www.theoccidentalobserver.net/2018/10/01/the-war-on-white-australia-a-case-study-in-the-culture-of-critique-part-1-of-5/

Despite the fact these videos amount to over 6 hours of content, in some ways they just barely scratch the surface of what can be explored and said. That’s because the series taps into a lot of extremely broad and complex historical themes and events. The games themselves are actually not very good, but their narrative designs are highly informative about the 20th century Jewish intellectual milieu and White America’s pathological trajectory. I’ve broken “Part 2” into four Chapters and an Epilogue. To the extent that I cover historical material and events, my intention was not to provide a full breakdown, but rather to show how BioShock weaponizes a carefully curated and one-sided presentation against the player.

The central focus of BioShock is the Cycle of Oppression. Ken Levine, the games’ director, takes the player on a journey across time and space, and concludes that historically there are “constants and variables.” White people along with their sense of nationalism and religion are always the prime movers of the Cycle of Oppression, while Jews and people of color are their victims. The latter may periodically engage in immoral behavior, but it is always in response to past oppression inflicted on them. BioShock Infinite uses a meta-design to attack the player both directly and indirectly, stating essentially that even if the player believes himself to be a good person who consciously adheres to the tenets of the new-age religion of egalitarianism, evil still resides within him waiting to be unleashed. He is in fact the very thing, he believes to be fighting against. In brief, BioShock Infinite conveys the message that the White male gamer’s only path to redemption is death.

The central focus of BioShock is the Cycle of Oppression. Ken Levine, the games’ director, takes the player on a journey across time and space, and concludes that historically there are “constants and variables.” White people along with their sense of nationalism and religion are always the prime movers of the Cycle of Oppression, while Jews and people of color are their victims. The latter may periodically engage in immoral behavior, but it is always in response to past oppression inflicted on them. BioShock Infinite uses a meta-design to attack the player both directly and indirectly, stating essentially that iven if the player believes himself to be a good person who consciously adheres to the tenets of the new-age religion of egalitarianism, evil still resides within him waiting to be unleashed. He is in fact the very thing, he believes to be fighting against. In brief, BioShock Infinite conveys the message that the White male gamer’s only path to redemption is death.

Despite the fact these videos amount to over 6 hours of content, in some ways they just barely scratch the surface of what can be explored and said. That’s because the series taps into a lot of extremely broad and complex historical themes and events. The games themselves are actually not very good, but their narrative designs are highly informative about the 20th century Jewish intellectual milieu and White America’s pathological trajectory. I’ve broken “Part 2” into four Chapters and an Epilogue. To the extent that I cover historical material and events, my intention was not to provide a full breakdown, but rather to show how BioShock weaponizes a carefully curated and one-sided presentation against the player.

The central focus of BioShock is the Cycle of Oppression. Ken Levine, the games’ director, takes the player on a journey across time and space, and concludes that historically there are “constants and variables.” White people along with their sense of nationalism and religion are always the prime movers of the Cycle of Oppression, while Jews and people of color are their victims. The latter may periodically engage in immoral behavior, but it is always in response to past oppression inflicted on them. BioShock Infinite uses a meta-design to attack the player both directly and indirectly, stating essentially that even if the player believes himself to be a good person who consciously adheres to the tenets of the new-age religion of egalitarianism, evil still resides within him waiting to be unleashed. He is in fact the very thing, he believes to be fighting against. In brief, BioShock Infinite conveys the message that the White male gamer’s only path to redemption is death.

Despite the fact these videos amount to over 6 hours of content, in some ways they just barely scratch the surface of what can be explored and said. That’s because the series taps into a lot of extremely broad and complex historical themes and events. The games themselves are actually not very good, but their narrative designs are highly informative about the 20th century Jewish intellectual milieu and White America’s pathological trajectory. I’ve broken “Part 2” into four Chapters and an Epilogue. To the extent that I cover historical material and events, my intention was not to provide a full breakdown, but rather to show how BioShock weaponizes a carefully curated and one-sided presentation against the player.

The central focus of BioShock is the Cycle of Oppression. Ken Levine, the games’ director, takes the player on a journey across time and space, and concludes that historically there are “constants and variables.” White people along with their sense of nationalism and religion are always the prime movers of the Cycle of Oppression, while Jews and people of color are their victims. The latter may periodically engage in immoral behavior, but it is always in response to past oppression inflicted on them. BioShock Infinite uses a meta-design to attack the player both directly and indirectly, stating essentially that iven if the player believes himself to be a good person who consciously adheres to the tenets of the new-age religion of egalitarianism, evil still resides within him waiting to be unleashed. He is in fact the very thing, he believes to be fighting against. In brief, BioShock Infinite conveys the message that the White male gamer’s only path to redemption is death.

Despite the fact these videos amount to over 6 hours of content, in some ways they just barely scratch the surface of what can be explored and said. That’s because the series taps into a lot of extremely broad and complex historical themes and events. The games themselves are actually not very good, but their narrative designs are highly informative about the 20th century Jewish intellectual milieu and White America’s pathological trajectory. I’ve broken “Part 2” into four Chapters and an Epilogue. To the extent that I cover historical material and events, my intention was not to provide a full breakdown, but rather to show how BioShock weaponizes a carefully curated and one-sided presentation against the player.

The central focus of BioShock is the Cycle of Oppression. Ken Levine, the games’ director, takes the player on a journey across time and space, and concludes that historically there are “constants and variables.” White people along with their sense of nationalism and religion are always the prime movers of the Cycle of Oppression, while Jews and people of color are their victims. The latter may periodically engage in immoral behavior, but it is always in response to past oppression inflicted on them. BioShock Infinite uses a meta-design to attack the player both directly and indirectly, stating essentially that iven if the player believes himself to be a good person who consciously adheres to the tenets of the new-age religion of egalitarianism, evil still resides within him waiting to be unleashed. He is in fact the very thing, he believes to be fighting against. In brief, BioShock Infinite conveys the message that the White male gamer’s only path to redemption is death.

NOTE: This was originally intended to be "part one" of two videos, but for various reasons I had to split the subequent "part two" into five videos. (Four chapters and an epilogue)

If I were to distill what the intent of this video down to a few simple lines, it would be this: The first BioShock had two distinct, yet interwoven narratives. In the background was a Jewish narrative in which notions of victimhood and genius were explored and displayed. In the foreground was a narrative about Objectivism/Libertarianism/Individualism vs Socialism/Collectivism/Religion. Most consumers focused on the latter, and almost no one focused on the former. It is my belief that most “gamers” were simply not equipped to detect, interpret or digest the former, and in addition, the game is exceedingly subtle about it to the point where it’s almost "hidden." Undoubtedly such will invite accusations that I am inventing it, despite the numerous quotes and citations I provide.

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Description:

Well…Ubisoft never ceases to impress with its wokeness. This time they curated the 9th century Viking invasion of Britain to suit their 21st century social agenda, which for some reason, includes a real hatred for British Nationalism and sovereignty. I’m not interested in delving into the inaccuracies of weapons and armor etc. If you want that, go elsewhere. This video is almost exclusively about their distortion of historical narratives.

This was a lot of work. I had to make >3TBs of proxy video in Premiere. While this wasn’t over 100 hours worth of research, this still took a lot of time to make. First, I had to play this stupid game, which was about 40-50 hours. Then I had to scrub through the footage, and write the script. Maybe another 40-50 hours. I really don’t know. Lost track. Please consider donating, if you want these sorts of videos to continue being made. I currently need to buy a new graphics card and a very large SSD.

You can donate either via SubscribeStar or PayPal. Both on linked on my main channel page here.

Limited Bibliography:

Mark Smith Edward’s “China’s Cosmopolitan Empire: The Tang Dynasty”
https://www.amazon.com/Chinas-Cosmopolitan-Empire-Dynasty-Imperial/dp/0674064011

Information on Hjorr and Ljufvina:
https://avaldsnes.info/en/informasjon/hjor/

Bergsveinn Birgisson’s book on Geirmund Heljarskinn:
https://booksfromnorway.com/books/610-the-black-viking
(You can find the Italian translation in PDF format, if you search the web)

Anglo-Saxon Chronicle Wiki: https://en.wikipedia.org/wiki/Anglo-Saxon_Chronicle
I used the John Allen Giles translation: https://www.gutenberg.org/ebooks/657

Alfred the Great: War, Kingship and Culture in Anglo-Saxon England:
https://www.amazon.com/Alfred-Great-Kingship-Culture-Anglo-Saxon/dp/0582040477
(You can find a PDF of it if you search the web)

Chronicle of Princes:
https://play.google.com/store/books/details?id=CZAbAQAAIAAJ&rdid=book-CZAbAQAAIAAJ&rdot=1

Ashraf Ismail , Creative Director of AC:Valhalla fired:
https://www.bloomberg.com/news/articles/2020-08-14/ubisoft-fires-assassin-s-creed-director-after-misconduct-claims

Cheddarman stuff:

New Scientist article explaining how the original story may not be true:
https://www.newscientist.com/article/2161867-ancient-dark-skinned-briton-cheddar-man-find-may-not-be-true/

Reddit post with full text of the New Scientist article:
https://www.reddit.com/r/unitedkingdom/comments/7zi904/ancient_darkskinned_briton_cheddar_man_find_may/duohm8i/

American Renaissance article on Cheddarman:
https://www.amren.com/news/2018/02/ancient-dark-skinned-briton-cheddar-man-find-may-not-true/

Sources curated by SurviveTheJive on Cheddarman:

The evolutionary history of human populations in Europe: https://arxiv.org/pdf/1805.01579.pdf
The genetic history of Ice Age Europe: https://www.nature.com/articles/nature17993
Survival of Late Pleistocene Hunter-Gatherer Ancestry in the Iberian Peninsula: https://www.cell.com/current-biology/pdf/S0960-9822(19)30145-9.pdf
Population dynamics and socio-spatial organization of the Aurignacian: Scalable quantitative demographic data for western and central Europe:
https://journals.plos.org/plosone/article?id=10.1371%2Fjournal.pone.0211562
Upper Palaeolithic Siberian genome reveals dual ancestry of Native Americans:
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4105016/
Carvings on Mesolithic idol were made with beaver jaw tool:
https://www.archaeology.wiki/blog/2017/06/16/carvings-mesolithic-idol-made-beaver-jaw-tool/
The Genomic History Of Southeastern Europe:
https://www.biorxiv.org/content/10.1101/135616v1
Mesolithic Art:
https://courses.lumenlearning.com/boundless-arthistory/chapter/the-mesolithic-period/
Star Carr pendant
https://www.york.ac.uk/news-and-events/news/2016/research/mesolithic-shale-pendant/
Mesolithic And Neolithic, Of Cheddar And Bread
https://www.gnxp.com/WordPress/2018/02/22/mesolithic-and-paleolithic-of-cheddar-and-bread/
Ancient DNA reveals how wheat came to prehistoric Britain
https://www.nature.com/news/ancient-dna-reveals-how-wheat-came-to-prehistoric-britain-1.17010

Description:
Watch Dogs: Legion is Ubisoft’s attempt to manufacture animosity against British nationalism. In the near future after Brexit is fully realized, there will be a "fascist" police state run by big tech, capitalist oligarchs. Immigrants will be deported, enslaved, and even have their organs harvested on the black market. Automation will take everyone's jobs, and Britain will somehow not be able to procure enough food, yet also have free driverless cars and ubiquitous autonomous police drones. The NHS will collapse, and homelessness will increase. And of course, immigration will have had nothing to do with any of that...because, after all...Britain "was built by immigrants." The grand irony is that not only would a fascist government never allow “capitalism” to destroy British jobs and industry, but it wouldn’t tolerate individuals putting profit above the collective interests of the people. It’s almost as if Ubisoft has no idea what fascism is. Or maybe they do, and it's in their interests, as a giant capitalist corporation, to mislead people.

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Desc:
Perhaps it wasn't consciously intended as such, but the Krogan ended up as a bait and switch. They hooked young males in with a large, muscular, manly avatar that spoke to them the same way He-Man might've. Then the writers used that avatar to encourage them to smash "the patriarchy" that built our civilization, by conveying that 'you're not a true Krogan, unless you believe in sexual equality.' It sounds pretty absurd, I know, but that's basically what's going on. The writers dressed up a series of progressive and feminist narratives in a super masculine veneer. As the saying goes, "a spoonful of sugar helps the medicine go down."

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NOTE: Regarding the Asari, the insult is "pure blood" not "blue blood." (You can even hear this in clips taken from the game.) I have no idea why I kept wanting to say "blue blood." I recorded a couple different takes of the voice over and picked up on my own error early on, but it seems to have slipped through on the final take.

For some people, it was always blatantly obvious that Mass Effect was "woke," but for others, I think it's been very easy to cope. This video is meant to get those people thinking about the path that's led us to the social politics of 2020 and the role Mass Effect has played. That said, this video doesn't include everything I could say about the original trilogy, for example, if you guys want, I can make a video about how Krogan society is modeled around a gynocractic fantasy of overcoming patriarchy or I could discuss the Semitic undertones of the Quarians.

In terms of pinpointing where the "progressive disease" originated in the Western world, I could have compared and contrasted the roles of the French Revolution, 19th century Suffragettes and Abolitionists with those of 20th century Boasian Anthropology, Judeo-Bolshevism, and Neo-Liberalism, but that might have been a bit excessive, considering what the scope was here. It certainly would've added another 30-40 mins, and I wanted to keep this video under an hour.

In any event, if you enjoy what I do here, please considering donating to my paypal or subscribestar. (Click on the green circle with the white dollar sign next to the subscribe button) I currently need to buy some new equipment. Editing this video was a nightmare, because I had to pull from several TBs of compressed footage, and the lag was excruciating.

Viewers should probably watch the other video I did first, but in short, it turns out that Druckmann's lynching story was the 2000 killing of two IDF soliders in Palestine, and both games were deeply influenced by Israeli politics.

The VICE Magazine Article:
https://www.vice.com/en_us/article/bv8da4/the-not-so-hidden-israeli-politics-of-the-last-of-us-part-ii

The Washington Post Article:
https://www.washingtonpost.com/graphics/2020/video-games/news/the-last-of-us-part-2-ellie-evolution/

The GQ Magazine Piece
https://www.gq-magazine.co.uk/culture/article/the-last-of-us-part-ii-neil-druckmann-interview

The Official The Last of Us Podcast: Your Watch is Broken - Summer Part 1
https://open.spotify.com/episode/4EFzUuaauWtnr4FxERTRRT?si=eBZ2kIHHSh-p23eqXTtqBA&t=0

Ramallah Lynching:
https://en.wikipedia.org/wiki/2000_Ramallah_lynching

The Sergeants affair:
https://en.wikipedia.org/wiki/The_Sergeants_affair

Jewish insurgency in Mandatory Palestine:
https://en.wikipedia.org/wiki/Jewish_insurgency_in_Mandatory_Palestine

1948 Palestinian exodus:
https://en.wikipedia.org/wiki/1948_Palestinian_exodus

Druckmann could've drawn on his experiences as an Israeli Jew to have an honest, interesting and open conversation about vengeance and cyclical violence. Instead, he pandered to Jewish tropes of unquestioned victimhood and destroyed a fairly wholesome relationship between a father and a daughter in a war against subjective identity.

I made this video more for personal catharsis than anything else. I am under no illusion that I'm making some big difference by putting this out. But with that said...

Daniel Lombroso has a new documentary coming out about his time "embedded" within the "Alt-Right." Quite shockingly, he found out that White people are uniquely evil, so we can't be allowed to live together undisturbed. But it's okay, because he's figured out as well that White Nationalism is just incoherent babble from lost souls who can't find meaning on their own.

The documentary comes out this Saturday, June 20th.

Here's a link to the article:
https://www.theatlantic.com/politics/archive/2020/06/white-noise-documentary-alt-right/612898/

Here's Daniel's other documentary on Israeli Settlements:
https://www.youtube.com/watch?v=Mnf0w9UuV4s

No, I don't like Charlie Kirk. But...I did like the tone of his Jared-Taylor rant, so I used it. Also, this is NOT a call to counter protest or form another retard rally. This is exactly what they want us to do. Our focus right now should be on explaining to as many confused White people as possible what is happening and why.