A Propaganda War on The West

Narrative and the Shaping of Collective Destiny

Narrative serves as a fundamental mechanism for psychic conditioning, consciously manipulating archetypes, symbols, and allegories to guide a people's attitudes, behaviours, and collective trajectory.

This process is a mass psychic conditioning program, and aims to pacify and control targeted populations by deactivating their racial survival instincts and conditioning them into psychological passivity and deracinated atomised individualism.

Such narratives also function as predictive programming, designed to engineer future conditions and outcomes and pre-emptively frame emerging events in the collective consciousness.

The pervasive nature of these cultural products ensures the diffusion of White self-preservation impulses, particularly within White audiences perceiving a threat to their collective existence.

The Archetype of Western Man and His Predicament

The White man, or Western man, is consistently depicted as a figure in decline, often portrayed as "dying or maimed," "incurably sick," or suffering from a "tainted ancestral inheritance".

This archetypal representation suggests a fundamental flaw or original sin, implying that the White race is inherently unwell and can only find purpose through assisting the "racial other" in their triumph.

Their achievements and prosperity are frequently lampooned as products of Materialism and greed, reinforcing a narrative of collective guilt. Anger or self-preservation instincts are framed as a "disease" that strips them of logical faculties and humanity, leading to a fear of becoming a monster.

This inherent sickness is symbolised through various allegories. For instance, a terminal illness in a protagonist symbolises the inevitable decline and death of the White man, who is portrayed as a racial stranger in a world he once knew.

His initial struggles for power, often associated with forbidden desires and "dangerous ideologies", lead to his downfall, as his aspiration to secure a future for his people is presented as a catalyst for evil and corruption.

Western wealth and legacy are allegorised as a lost birthright, willingly sold or abandoned, implying a deserved dispossession from the civilisation created.

The "Rage Virus":

28 Days Later- This metaphor symbolises "White rage" or "White backlash," representing the fear and anger of White people towards their racial disempowerment and replacement by non-whites. This anger is presented as a destructive force that strips those it infects of their humanity, with its containment depicted as justified and necessary.

The "Zombie Myth":

In its modern incarnation, this myth serves as a coded critique of White consumption and reproduction.

Zombies, consuming to reproduce and acting collectively against an out-group, represent a destructive force perpetuating itself through infection, reproduction, fed by relentless violent consumption".

The "inhuman horde of White Undead" is pitted against an eminently human black hero figure, literalising the suggestion of White rigidity and coldness against black vitality.

The "Contaminant":

The White man is portrayed as a contaminant, polluting the world through a desire to cling to life, power, and control, ultimately signifying a state of being already dead.

The "White Whale":

The White man is depicted as "America's White whale," hunting himself, with his poisoned consciousness striving to slay the primal, untamed life force within. This internal conflict arises from a false moral system that condemns his uninhibited inner nature, driving him to self-mutilation through endless self-critique and submission to systems that chain him.

The Dynamics of Racial Replacement and Dispossession

A pervasive theme is the metaphorical representation of racial competition and the racial disempowerment and replacement by non-Whites. 

This involves the systematic transference of wealth, property, and power from a formerly homogeneous White population to racial outsiders, who become culturally, socially, and politically ascendant.

The original group faces decline, disempowerment, and ultimately extinction if current trends persist.

Narratives depict a profound displacement, where the original protagonist is removed from its own story, leading it to perceive the hero in its usurper.

This shift is illustrated by:

• The transferral of the Western patrimony from its White owners to the racial other. An act framed as an incitement to White civilisational self-sacrifice, where the symbol of power and prestige is willingly given to the racial other and their posterity.
• The concept of a former master trading places with a former slave, signifying a loss of power and privilege for the original group.
• The Trojan Horse of non-White immigration, where resistance to this influx is depicted as leading to destruction.

The White man goes the way of the Indian, passing from life into history as replacements build a new world around him.

This engineered transformation, often imposed from the top down, would not have been possible had the indigenous population not first been targeted with cultural programming designed to deactivate their racial survival instincts.

Narrative Mechanisms of Control: Guilt, Self-Sacrifice, and Moral Inversion

Narratives are meticulously crafted to induce a state of amplified out-group empathy and corresponding in-group hostility. This is achieved by framing in-group prejudice as the primary evil and portraying those who betray the in-group to assist the outsider as righteous, while loyalists are deemed unrighteous. This process leads to demoralisation and an incitement to racial self-erasia through "sacrificial self-emulation" or "suicidal altruism".

"White racial guilt" is a potent weapon, used to attack a people for a distorted past by those holding cultural power.

Atonement is depicted as requiring the shedding of blood, thus, accepting collective guilt means offering the blood of one's people. "White self-annihilation" is framed as the "heroic path to salvation," where their suffering is deemed redemptive and even desirable. The more terrible the fate, the higher the heroic calling in submitting to it.

Traditional values are inverted and weaponised:

Selflessness and generosity:

These qualities, particularly in the context of charitable acts, are leveraged to induce the targeted group to divest themselves of their civilisational inheritance and transfer their patrimony to others. Appeals to compassion are used to disguise a call for submission.

Surrender as victory:

Capitulation is presented as a triumph, and cowardice as courage, granting audiences permission to abandon the fight.

Moral inversion:

The transfer of a symbol of power and heroism not just to the racial other but to the villain signifies the surrender of good to evil, inverting traditional mythological tropes.

Any action serving the interests of the tribe is stigmatised as inherently negative, creating alienation from one's own people.

The concept of a "White saviour" is reinterpreted. Instead of a figure who rescues, this archetype is transformed into a "White sacrificial lamb," whose suffering cleanses the guilt of the "host" population and facilitates the triumph of the racial other.

This sacrificial role is presented as the only possible end point of mythological subjugation, with induced racial guilt being the means of bringing this narrative arc to completion.

The Orchestrating Forces: "Culture Controllers" and Their Objectives

A "hostile out-group" (JEWS) and their collaborators have seized control of the "engines of thought control" in the Western world.

They consciously manipulate narrative tropes, symbols, allegories, and archetypes that correspond to real-world racial and ideological counterparts, pursuing predatory ends.

Their methods include:

Covertly fostering sympathy for outgroups:

This is done over and above the in-group, morally justifying hatred and aggression towards the targeted population, and concealing their true nature and motives.

Targeting the host population with misleading moral ideas:

These ideas are mediated through an audience avatar, designed to "mislead, enfeeble, and demoralise".

Subliminal messaging and predictive programming:

Narratives contain hidden messages and prefigure future events, shaping how they are perceived.

Pathologising natural instincts:

The concept of "racism" is a conceptual contrivance, designed to frame Western man's natural racial instincts and prejudices as immoral and irrational, thereby preventing collective racial survival.

Exploiting empathy and desire for virtue:

A false ideal of moral righteousness is set before the targeted group, used as a bait-and-switch to induce them to relinquish tangible material goods in exchange for a worthless abstraction of the moral good.

This often involves convincing White's that their material interests are fundamentally opposed to their moral and spiritual interests, when in fact they are inextricably bound.

The ultimate goal of these orchestrating forces is Global control. 

This is achieved by making ethnic Europeans a global scapegoat, uniting disparate peoples in their destruction, thereby obtaining political power.

This villain-victim dynamic is intended to signify an engineered binary between Whites and "people of colour", justifying the mass mobilisation of the third world as immigrants into Western lands and their systematic empowerment by controlled institutions.

The Inevitable Choice and Future Trajectory

The narratives present a stark and seemingly inevitable choice for Western civilisation.

If its fear of inflicting suffering through triumph cannot be overcome, there is no future.

The "lure of death" is presented as a powerful weapon, framing surrender as a victory and cowarice as courage.

This constant conditioning ensures that the targeted group yields to the rule of those who openly pursue their erasure, willingly submitting to hatred and vengeance, as their pain and death are portrayed as fulfilling a modern West's allotted "sacrificial purpose".

The current trajectory points towards the extinction of the indigenous population if demographic and cultural trends continue.

However, if a people are to live, they must have the will to fight and the will to hate, embracing instincts that empower them, rather than despising them as monstrous.

A breaking of the parasitic dynamic, where the host population allows others to feed and holds them above itself. The alternative is to let them stand on their own feet again so that we can stand upon ours.

The historical period following the mid-20th century saw the consolidation of a new mythos, The WW2 Consensus and The Boomer Truth Regime - designed to frame White collective self-interest as a moral evil, aided by the global reach of cultural institutions.

This has led to a situation where the suffering of the "racial other" became a cause for shame and contrition, while White were conditioned to feel their own pain as redemptive, desiring it even to the point of embracing destructive fates.

This cultural paradigm presents a near-inescapable binary: either participate in one's racial destruction or submit to it, as resistance has been rendered morally unthinkable.

The narratives assert that their true purpose is to convince the White man to abandon the fight against his own decline and death, passively accepting it as an inevitable part of a cycle of growth and decay. To oppose this is depicted as opposing the course of nature, and thus, "Original Sin".

Ultimately, the present age is characterised by a "poisoned mythology" where the very strength of a culture's creative power has been weaponised against itself. If a people are dying, it is because they have first died in myth. To live again, they must live in myth again.