Monday, September 17, 2018
Friday, September 14, 2018
"The Problem with Fantasy Flight Games." Or, “Board Game Culture Died When 'The Board Game Renaissance' Began.” An Outline.
Sunday, September 9, 2018
"People Who Want To Play a GM-less RPG are Transhumanist Cucks." Or, "If Everyone Is The GM, Everyone is Playing Dixit and Once Upon a Time, Which Are 'Storytelling' Games For Blue-haired Cat Ladies."
As a digression, the "LARP" genre itself is a novelty, and no cohesive group of "gamers" actually take things like it seriously. The niche scene of LARPing is made up of "cosplayers" and dysfunctional escapist. I remember watching a documentary film in high school called Darkon (2006) about a group of sincere LARPers. You observe that these "gamers" have emotional and mental baggage, and the "game" itself is an outlet for their shortcomings. There are avant-garde freak films out there by directors such as Harmony Korine, and Darkon gave me that same Trashhumpers vibe.
No one has ever asked a LARPer this simple question, "If you believe RPGs are better off being played IRL, then how come you are not a MGTOW-seductionist, reading Roosh V's Game or actually playing in an Olympian Sport instead?" If these so-called "games" are just a form of play based around it's culture, then why are you assuming everyone MUST like Depression Quest? (Yeah, I'm kind of sounding like TheQuartering and his lame anti-SJW excuse, "we just want to play our games!") "LARPing” is now a derogatory word. A simple term use to label someone that is taking things too seriously like a fictional protagonist in a fantasy or science-fiction novel. Often I use to say, "your life is an anime nobody is watching." Most Chads and Stacies think LARPing is cool because "nerds" do it. (White people need to feel that they had it worse than the popular kid) And nerds are the true underdogs that get social attitudes (Ironic, isn’t it?). I could go on about the recent Chad and Stacy normie invasion of cosplay (not that a Western appropriation of it was authentic in the first place, let alone Asian-Aryan in design), but it relates to the disease of LARPing over traditional games. (Yes, LARPers are "queers," but they are the worse kind of queers I have ever met, worse than the Wesley Willis kind). In a nutshell, LARPers make a game out of acting, since we are bombared with fake actors on television and in the movies all the time.
Now, I grew up playing video games. I had a Sega Genesis, a Neo-Geo, a Nintendo 64, you name it. I memorized and "beat" games like Gunstar Heroes, Dynamite Headdy, Tomba, Metal Slug, and some other fringe titles which are now considered sacred in video game consumer culture. Yet video game culture rules over us as the ONLY form of gaming culture in the mainstream, and these definitions are pushed by a decadent normie class. Of course I eventually grew out of video games, and the last video game I ever really played was Space Hulk 2013 (based upon a board game) and the new Doom game.
Board games and sports have much more in common with the human spirit than a mastermind computer ruling over us. These two genres are classified as the classic definition of "games," and humanity have been playing these games for a very long time. It is recent that "gaming" is used as an opiate for the masses? To sedate people and use it as a form of brainwashing? We play games, yes. But is it truly our natural lifestyle? Not everyone who plays games should be consider a “gamer,” and that those same self-identified “gamers" certainly don't want to hear their precious "life is a game" philosophy destroyed. LARPers will continue to be dysfunctional and play Ludwig Wittgenstein-style social games of masturbation.
But the normie-creeps are still preensters that make our lives worse. Such LARP philosophy has taken over all cultures of gaming. They are the egalitarians ready to force their daddy issues onto you.
The word "tabletop" refers to an intersectional definition of any game played on a table (why not the ground?). As such, "tabletop" games refers to board, card, tile, miniature, or whatever type of game sitting down. This recent definition and word choice is illogical and clunky, assuming I play Cosmic Encounter on a table, not the floor. In addition, those who like "tabletop" games MUST have an intersectional consumer interest with others. Must I like collectible card games and Warhammer 40K at the same time? Does this make me an open-minded person? I don't think a basketball player and a Dungeons and Dragons nerd have anything in common. Or that someone who plays Chess verse someone who only plays Cosmic Encounter should have the same shared interest. There is a reason why "chess" is a worthy game, while Cosmic Encounter is apart of an avant-garde art culture. Cultures can't just intersect with one another by force, but the term "tabletop" assures this. (Ben Shapiro’s "What Is Intersectionality?” on PragerU is a good example of the failed attempt of intersectionality).
I agree that traditional roleplaying games, like Dungeons and Dragons, is a dying industry. It is certainly generational. It has only been around for half a decade, while modern chess has been around over three centuries or more. The traditional pen-and-paper-sitting-in-a-room-together role-playing game will die once virtual reality takes us over. And already, the normie wants to escape the liberal hellhole of the Western world through consuming, and as well through some kind of ironic Asian-Aryanism where it’s ok to have that kind of authentic identity.
Only intellects that are passionate about preserving the written word of ludology, narratology, and esoteric subjects like game design will keep traditional roleplaying games alive. Only human beings have an unlimited imagination, and games can only be enjoyed with other human beings, not with a cold computer ironically created by humans. Dumb people cannot enjoy the rich entertainment of chess. It requires a certain intellect. The same is said about an advance sport which requires athleticism. When a dumb, normative person is in the room, all he want’s is all "games" to be like his. And this results in the cuckholded nature of the “game design” industry and the corrupted consumers who run it (see http://deepfreeze.it and Tom Vasel/Eric M. Lang).
By definition, game design is the art of variant creation, rules, and player interaction expressed through culture. No game is alike, and it is inhumane to teach one person to get accustomed to a different game. To reference TheQuartering again, "we just want to play our own games." This theory that everyone has their own game aligns with the theory of ethnonationalism, a theory against the neoliberal and globalist invasion of the world and the creation of the self-autotomize future.
The culture of Lake Geneva, the very people from the Midwest that created the role-playing genre of games are dying and with it are losing it's history and meaning. The millennial generation will have to relearn these rules and cultural expressions again, for better or for worse. More good people will die out, and the isolated intellect who remembers the past will be very lonely (like myself).
When so-called "roleplayers" want to play a role-playing game without a game master, I cringe. I cringe because it's not possible to do it. Either one should read a gamebook, use tables to make the game act like a robot, play a board game with cooperative challenges, or maybe just a simple video game. People who assume roleplaying games are better off with a game master are delusional, since they are the egalitarians that are arguing "it's not fair!” (Huge respect towards Lewis Pulsipher). These idiots rather want a robot playing god, ironically pushing their precious ethics of equality they project onto one another like a preening moralist. People who assume role-playing games are unfair or "not balanced" shouldn't being playing those games then (plebeians should be playing Eurogames).
The SJW scene of nerds have lost of sense of a natural patriarchal influence. It takes a patriarch, a god, to implement rules and challenges and the imagination onto the players. I cannot name a single game without a game master. When a visiting baseball team visits another team's field, the "home" team itself is the game master, and should uphold the rules accordingly. Rules are only guidelines, not the truth. It takes one human to introduce another human into a game. Yet game designer Lewish Pulsipher has notice that there is certainly a "cult of the new" consumer culture that will only play a game once and then forget about it and then buy the next worthless game. Pulsipher argues that millennials "have favorite games," but not a single “favorite" game that they have time devoted to. This is similar to the promiscuous porn-star "hookup" culture that millennials casually daydream as "the life to live."
Then there are those who assume that everyone should be a game master so the game can be "fair." There is a good roleplaying game called Ars Magica that lets players shift the game master role every turn, and is truly a unique game of it's own (take note, one of the designers of the game, Jonathan Tweet, is an annoying anti-racist boomer hippy). Other games that let people be imaginative gods are Dixit and Once Upon A Time. These games are intended to be played by families, and women seem to enjoy these games. Are they roleplaying games? Maybe one mechanic is in use, but the games become a silly postmodern irony fest where nothing creative is truly accomplished. Other normies under the cultural marxist spell will express their "feelings" with one another while playing these games. It’s a culture that can only play games to express animalistic emotions. A trivial affair for an intellect above animal instincts.
I have become an elitist over the years playing games, and I only play certain games I associate with and people who I admire. Sometimes I will play with strangers, but only as a teacher to enlighten a student. There are those fake board gamers that will bring up lame games like “Ticket to Ride" and “Betrayal at House on The Hill," and assume they are "great games." I follow the wisdom of the Antifa, who end relationships with any punk rocker that flirts with Nazi imagery. Except that I end relationships with people who play bad games. Similar to a liking in music, a bad taste in art is a bad soul in general.
The first step saving roleplaying games requires a cultural vanguard or society willing to protect games from the depraved normie class of LARPers. Slowly have I realized that sports and chess are the ultimate games to play. But everyone has a favorite physical game, and I have a list of esoteric games I prefer to play and enlighten others with.
My culture and my interest must be protected in the muddy waters of the pozzed "gamer" fad. An interest in ludoloy is only for an elitist.
Saturday, June 30, 2018
Spencer J. Quinn wrote a review about the new Incredibles 2 film. What did you expect from him?
“The Incredibles, in my mind, is a perfect gem of a film which transcends the artifice of merely excellent film making and enters the realm of timeless art.”
And then leading up to his climatic persuasion,
“It should be clear to all who watch The Incredibles 2 that when the man was the center of the story the women were treated realistically and with respect. But now that the woman is the center of the story, the men get nowhere near the same level of respect and behave quite unrealistically.”
There is a limit in the far-right intellectualism, and as well with this Žižekian style criticism, that popular culture, in all actuality, is bad. No need to bring up Evola, Derrida, or some observe philosophy talk promoted by these computer geeks, what they are doing is justifying bad art for normal people.
Jef Costello as well wrote a piece for Counter-Currents titled, “Our Sheep Are The Best,” arguing that a love for normal people is a must, because it’s family!
While the editor Greg Johnson will say that every author on his website will conflict with one another, the main argument found at Counter-Currents is that (to paraphrase) “there will still be a world that will have both the left and right, but white suicide will be off the menu.”
Johnson has declared himself “a man of the right,” even though his publications has to deal with being stuck in a “right-wing ghetto.”
It’s hard to imagine that the far-right a few decades ago was classified as an evil child molester movement full of crackhead rednecks and James Bond super villains. Neo-Nazis were side attractions for a liberal circus, and gave normal people a good reason to be normal. Meanwhile, another movement, strongly influenced by punk culture and the decadent avant-garde art scene, published Apocalypse Culture and Answer Me!. Although these two books did not make an open association with the far-right, they had their best sympathies with Neo-Nazis because they had a common hatred of liberal normies. These individuals, from Jim Goad to Margot Metroland, have been published on Counter-Currents. (Although Goad has denied wanting to be published on a scary far-right website and has even called Johnson a faggot).
There was something interesting happening in the 1990s. Young people wanted to feel emotions from bands like Whitehouse and Anal Cunt. Now, millennials have cracked the liberal code that boomers find national socialism the most disgusting sin of all. And eventually, with the help of Richard Spencer’s webzine “Alternative Right,” and with the aid of Jack Donovan, the far-right became cool. And within the past four years, the “Alt-Right” movement grew as an exciting intellectual and hip movement of “far right intersectionality.” Boomers didn’t get it, but young people sure loved reading about Savitri Devi while being ironic by laughing at jokes from The Daily Shoah.
But ever since Unite The Right, the Alt-Right became a household name, and normies shunned it forever. The hipsters realized that the alt-right wasn’t giving them the street cred they needed, and so the most “innovative” bloggers and e-celebrities disavowed both Unite The Right and the Alt-Right altogether (although they were invested in the scene, they will make a casual “I hate jews” remark once in a while for browny points). The far-right scene has became nothing more than a sad Verso books knock off cashing in on “dank Hitler memes” and “esoteric” nonsense that popular culture is somehow innately fascist.
And I declare the far-right scene dead after Spencer J. Quinn’s horrendous approval of the Incredibles. To quote him again,
“Whether the film makers realized it or not, The Incredibles struck a blow for the Right in the culture wars, and a brilliant one at that.”
I simply cannot take Counter-Currents seriously if they continue to publish “Buttercup Dew” style arguments about far right trojans. There is absolutely no substance in these articles, but boring, New-York-Times-Sunday-Morning-opinionism.
Since the left died over a century ago, the Frankfort School took is over. So now the so-called “left” is what we call cultural marxism. The actual right-wing is also dead because it too is now a “cultural” ghost.
Young people, though radical and political, get caught up in Wikipedia definitions of how they should act in life, have a few things in common.
Preening, fitting in, finding meaning, and growing up.
Academics know that young students are open vessels. As once said by holocaust revisionist Bradley R. Smith, “I want to go to students. They are superficial. They are empty vessels to be filled.” Young people will believe in anything so as long you persuade them an agenda. But once they grow up, they grow out of the ideology that made them inexperienced and young.
People evolve, and so does both art and ideology. And this leads to something more important in the next era of the shock art scene.
Something I call, “fast-food fascism.”
There was another writer during the 90s by the name of Shaun Partridge, who later became obsessed with psychedelic rock, the 1960s, corporate logos, Hanna Barbara cartoons, lame sitcom shows, dated popular culture, and Anne Frank.
To make sense of this new collage art, Shaun Partidge, Boyd Rice, and Brian M. Clark created a movement called Unpop.
The rules of the movement follow:
“pop: adj. -- Of or for the general public; popular or popularized; Of, relating to, or specializing in popular music; Of or suggestive of pop art. n. -- Popular music; Pop art; Popular culture.
un-pop-u-lar: adj. -- Lacking general approval or acceptance; Regarded with disfavor or lacking general approval. u
un-pop: adj. -- The application of pop aesthetics, stylings, or techniques to unpopular, unpleasant, repressed or otherwise censored ideas. n. -- Unpop art; Unpop music; Unpop writing; Unpop films.”
Ironically, the movement ended in 2010, because “it stopped being Fun and groovy. [Perhaps Unpop will return some day? Today is not that day].” Like a fashion sense and a hipster’s concerns of being cool, the movement was thrown to the side because of normie liberals “not getting it.” (Or that they were just being jerks and offending people). However, Shaun Partridge still practices fast-food fascism under The Partridge Family Temple or The Church of Anne Frank.
But more importantly, what is fast-food fascism? And what is it’s esoteric meaning behind it?
Matt P. wrote an article about “Neonnationalism” describing an alt-right that is based around old popular culture aesthetics. While Brandon Adamson describes movies from the 1970s and old American malls as the pinnacle of a movement called the “Alt-left.” And Adamson notes how cool it was walking into an outdated Arby’s restaurant. Surely fast food fascism is not legitimate fascism, but apart of something bigger going on.
(I made up my own term called “Asian-Aryanism,” describing a future where Eurasians reign supreme. This and the word “islamofascism” are not to be taken seriously. Muslims are not fascist, and Asians are not “aryan.” However, Asians will become like an Aryan nazi solider in the future if currents trends continue, and radical islamic terrorist have similarities to actual fascist).
Such origins can be traced back to the art of Frank Kozik and Ron English, where they juxtapose childhood cartoon characters mixed with political activism and punk culture. The vinyl toy scene was an extension of the low-brow art scene they were in. It was an appreciation of the kitsch and quirky children’s toys of the the past decades, found in cereal boxes and candy stores.
Fast food fascism is certainly a variant of Unpop art that it mixes popular culture with controversial subjects. If you can think of a “cringe” worthy character, like Chuck E. Cheese, singing “smile America” while in front of a flag from Nazi Germany, then you might be able to understand fast-food fascism.
Postmodernist claim no attachment to the work they present. A victorian poet would say, “I love you madly, my dear.” But this indicates that the poet sincerely loves a woman he is willing to die for. He has to commit and be authentic with his actions. But how does the new poet say he loves someone without being a fuddy-duddy victorian? As Umberto Eco writes, “Like a famous romance writer, i love you madly.” This way, the poet removes himself from his claim and puts his commitment to someone else. This not only makes him sound witty, but denies any association of sincere authenticity.
Chuck E. Cheese with a Nazi flag could be ironic, the same way the band Killing Joke flew a Nazi flag next to the image of the pope and got banned from playing in Scotland.
…But what if they are really sincere with such an action?
Since the alt-right has dissolved, fans who love far-right imagery still want to be appreciated without being labeled as a right-winger or nazi for it (most of them are not actual nazis anyway). While juxtaposing popular culture from the 1960s though the 1980s (and only those periods), could this art of symbolism be authentically appreciated.
Here is some fast food fascist art I made. I have juxtaposed the following,
1. A Chuck E. Cheese Pizza Time Theater banner above a Volkswagen eagle.
2. Chuck E.Cheese Pizza Time Theater being blessed with the Dukhanen gesture.
3. A Totenkopf being compared to CalArt faces.
4. The Hindu deity Vishnu compared to Huckleberry Hound.
And 5. How the new Mellow Yellow logo looks like the Othala rune.
As you can see, juxtaposition has a lot to do with the creation of fast-food fascism and it’s esoteric nature. Doug Pearce of Death in June doesn’t claim to be an actual fascist, but a gay hipster that loves the ancient and forgotten esoterica, which he realizes that certain symbols causes offense against normal people.
Isn’t it odd that a jain swastikas causes offense, when it is actually a symbol about life and death? This is the point of fast-food fascism.
Shaun Partridge also has taken fast-food fascism to a sincere point of actually making prayers and worshipping food institutions like McDonalds. Watch this video,
It could be a performance art, but in all respect, this is very similar of the alt-right belief of a problem solving “ethnostate.” A sincere belief can be absurd as worshipping Mcdonald’s. So why not worship fast food?
Big corporation are just as offensive as the far-right, as it is uniquely hated by every liberal white person. Movies like Super Size Me demonize McDonald’s while rival corporations like Panera Bread and Surf Shack shape their store to be a safe space for white yuppies. But when taking a closer look at “the golden arches,” we can make assumptions that the logo has some kind of innate fascist wisdom or some ancient hindu symbolism beneath it.
Two revered symbols in fast-food fascism are the NBC Peacock and the CBS Eye. The peacock’s feathers introduced America to the world of color TV, and the CBS Eyes is actually the eye of god that looks after us (and god actually could be something like of Cthulhu and the CBS corporation knows all about it). A blogger actually has an entire blog why he fears the peacock!
In the neofolk movement, there is a fascination with everything from ancient Europe to esoteric Asia. Dead Can Dance still plays on this motif and has opened up the viewers conscious to whole new levels of artistic exploration. However, in the “post neofolk” movement, where fans of Death in June are afraid of being called racist or Nazi smyphtatizers, Jamie Stewart’s band Xiu Xiu mixes imagery of pornography, shock art, sitcom weirdness, and Asian culture to create a neofolk that is based in both transgressive art and true unpop art. This is very similar to the post neofolk style of Shaun Partidge, who mixes the “Far-out, radical, and groovy,” nature of the hippies, with the up-to-date style of the “hate scene gang of the hardcore 90s.” Boyd Rice will concentrate on the neo-nazi and serial killer collage art, while Partridge keeps it cool with drug-tripping memorabilia, lost television programs, goofy commercial products, and Peter Max style art.
Often Partridge will remember “the good old days” of an obsolete decade of masculine, beer-drinking white handymen, without SJWs or liberal feminism. This is the genius behind Unpop art, that is takes the viewer back to a time where their suburban parents were both verbally and physically abusive, mixed with the psychedelic attitude of the very first youth movement of hipsters. A shock art that is both truthful to the past, esoteric in juxtaposition, and introducing new ways of thinking for the viewer.
Art has became incredibly stale in the far-right (and the left) is because the only thing they can write about is truth, justice, and a nice white country from the perspective of a cookie-cutter Disney film. The very notion that they take this normie art as sincere! No new feelings are expressed. You might as well say that Moana promotes child pornography because the movie shows topless little CGI girls in Trevor Brown fashion. Quinn’s is using normie art to proselytize norms onto the far-right, but ironically will get offended over a cool, communist fruit drink. (Which is a product of fast food fascism. Note, that the term “fascism” is used facetiously).
Quinn is a square! And not even radical one bit. It’s conformist, and sounds like he is developing a new type of normie that will hate on “degenerate” art. The avant-garde arts is against the interest of what normal people want, and I disregard Jef Costello’s article on the subject completely.
You can collage the Incredibles as a “fascist” family with swastikas all you want. But what point does it prove? Where is the meaning behind this text of nothingness? What is left is the juxtaposition of images. The feeling when a normie is scared of a swastika for no apparent reason.
The problem with Quinn’s piece is not acknowledging the absurdity of The Incredibles mixed with the message of white survival, but taking the movie as a “sincere” form of art that will help a dying movement called the Alt-right. A fast-food fascist would see the Incredibles for what it is. A crass, family-value cash-grab. …Now mix it with pictures of totalitarianism, esoteric religious art, or offensive symbolism or subjects. The work of Trevor Brown is controversial because he likes drawling little underage Asian girls in bondage or in violent positions. This is the real mind opener. The Alt-right is afraid to promote such art in fear that it will be called “degenerate.” Yet such art is true and authentic to a majority of intellectual individuals in the far-right.
Is fast-food fascism degenerate? It certainly is both offensive and mind expanding. This juxtaposition, similar to what the work of vaporware is doing, will reinvent the shock art scene, the far right, and the punk scene by going forward by appreciate the thing we all hate, …consumer culture. Consumer culture itself becomes a truth. And fast food fascist will sincerely like it!
National Socialism would borrow many of it's imagery through a mix Heideggerian philosophy, which came from Human Bio-Diversity and a Western admiration of Eastern culture and religion. Hence, the swastika was used as a symbol describe the super man, going through life, dying, and creating a new people over again. The greatest meaning of life. And this imagery is ancient wisdom. One day, the CBS eye will be on the coat of arms in 2200. And will the symbol be offensive after a certain political party commits an atrocity as well?
Consider the genre of vaporwave. 식료품groceries is a vaporwave act that mocks the mindless consumerism of food shopping in a grocery mart. The feeling, the “aesthetic” that we must embrace through consumerism, can be appreciated as a fine art.
Now add that with the 90’s hate scene, 60’s hippy movement, and 10’s anti-liberalism. You get the “picture.”
Move away from "The Incredibles is fascist," and lean towards "The Incredibles is our consuming doom."
Tuesday, June 5, 2018
I have been lazy in the past six months. Disappointment from work? Yes. I mean, getting rejected from JET is one thing, and working at Home Depot is another. Why would such a turn of events happen like this? However, things like getting my cassettes out, performing live, relationships, and published works have improved. I write this with two bandages on my palms, one on my knee, and two scabs on my elbows and one around my stomach. I fell off my bike, listening to The Orb. Ouch.
I really only have the time to write when I get on my typewriter. This typewriter, an Alphasmart Neo2 (a digital one to be exact). If I am going to upload this piece on my blog, I have to attach this into my computer and send the text. It was nice having a cloud button on the Freewrite, but it was for show. This device is better to use. My writing has improved using this typewriter.
Now what I really wanted to write about was actually an update on my existence. I will upload some of my other writings to my blog as well, just will take some time. I am the introverted type, and tend to leave the work I made hidden from the public until I (or someone) gets the work up online.
I swear a month ago I had some good ideas to write about. I wrote a “to-do” list like I always do. However, my ideas are still “blocks.” Only did I start to recently figure out that the action of writing breaks down this block into comprehensive meaning. The less I write, I will decay faster. Writing preserves my 26 year old self on a canvas. So many people live their life without recording the past. Yes, we have social media, YouTube, cooperate watchdogs farming us as capital. My blog is owned by Google, I can’t do anything about that. This blog is digital, not physical. Their is a high chance the internet goes down, and everything we uploaded is lost. It is why I published my books so that I have piece of the past recorded.
I had many good ideas back in February, but I think I lost those theories. I wake up one day, write it on a post-it note, and tell myself I can forget it forever now that it has been written down. Too late, I did actually forget about it.
I have been spending more of my time filming myself than writing. I can improve upon my acting. Improvised ideas come out naturally when I film myself for 10 minutes. Those 10 minutes speaking could actually be written on my Alphasmart. I could use my fingers and type out the words, by QWERTY standard (I gave up on COLEMAK two years ago), and get out the same thought, yet with bigger words and comprehensive logic. The latter makes me sound like a Harvard graduate, yes? Much of creative writing today has been boiled down as a transcript for those who speak. Logical writing is used as instructions and in academia. Too bad the system is becoming more depraved by being “creative.”
Old people read. Young people watch. Yet as I watch, I am becoming more passive.
…That one thought that came back to me. Why am I glued to my smartphone? Why, for the past three months, allowed myself to write “good morning” for a girl I am not so sure I will be with? Why, in my spare time, is binge watching random videos about how to work Reason and political echo chambers? There are good amount of projects I am getting out by the end of June, but in these past 6 months, have I changed into a passive consumer. I need to step out of the internet world and back in the physical.
Working the internet is a job. It’s a drug. It’s also a mind killer. Instead of becoming an artist, I am joining the millennial collective as passive consumer, consuming things I could possibly do by action. Action means work, and work causes pain. This is a common translation for most people. Yet action creates art. It’s a matter of me getting off my smartphone and getting onto this Neo2 and writing something.
Always that thought crosses me by as I write, “Why didn’t I write earlier? I feel so much better about myself. Starting today, I will create a new habit where I will write every day, until 2020, when I will become an expert.”
Everyone has those thoughts. I been doing those habits for quite some time now. But again, it’s about action, not consumerism.
Right now, I am going to clean my room.
Saturday, April 14, 2018
In a board sense, universalism accepts the notion that people can have the same access to one practical thing. Christianity is universal on the fact that Jesus accepts the sins of any believer. Universalism in the material world suggest people can buy the same things and achieve the same greatness. While the reality of the world is deeply biological and innate, white people can be stuck in the middle of nowhere, working on a farm and suffering through the harsh reality of labor and survival. They can escape this through universalism. White people have build cities throughout no-mans land. To name a few; Cincinnati, Austin, Nashville, Topeka, and Las Vegas. These cities offer economic and (most importantly) cultural centers for white people to enjoy and achieve greatness. Along the way, most black Americans live in the cities, as some liberal whites feels it’s an obligations to keep their once pet slaves alive. The city is a place where white people can live out their dreams by becoming paid intellectuals and artist. The city liberates the farm boy and makes him become a hipster. It is through universalism that white people can have access to the bourgeoise life. White people also have a selection of many different things to consume at their disposal. For example; anime, black music that black people don’t like anymore, exotic food, art galleries, and exotic nonwhite women to have sex with (and lets forget about how these exploited girls will commit suicide a few decades later). White people will grow entitled to the sense that universalism creates more then free food, but creates cosmopolitanism. Cosmopolitanism makes white people feel that they are the “citizens of the world.” White people can do to a different city and still feel a greater uniting universalism, known as cosmopolitanism. In fact, white people will even go to Hong Kong, Tokyo, (city in South Korea) and even Dubai and still feel a sense of universalism from people unlike themselves. They have to justify this cosmopolitanism through a bigger ideology, namely egalitarianism. Egalitarianism argues that every human being on this planet are in same structure and intellect as white people. All of these philosophies; universalism, cosmopolitanism, and egalitarianism and innate with in the Faustian spirit of western civilization. However, this in turn can only be achieve through two opposing white people systems; capitalism and communism. Communism lost the war, but seethes through the culture that capitalism has one. But cultural capitalism is alive, and white people lives are determined by the things they buy and money they can can make. This has created a superficial reality of dishonestly, which confuses and upsets white people’s nature of universalism. So white people then want to push a democrat socialist environment so everyone can be liberated through egalitariansim. Because nonwhite people want universalism too, yes? It is through a screwed system called “social justice” where white people can serve this kind of “justice” to nonwhites. Justice is the act of serving what is right and wrong for society. But when it comes to something so artificial like “social justice,” it is only justice to serve universalism for nonwhites, ultimately advocating cosmopolitanism under the egalitarian religion. And one day, when white people and nonwhite people get so advance, whites will advocate for trans humanism, which will kill our natural biological realities and whites and nonwhites will be transplanted into Fankenstien-like monsters. No natural connection to mother earth anymore, but space marine robots, without a real biological identity, flying through space to create one big Borg empire. What kind of future that? Just so white people take on their own burden and beat mother nature? Isn’t that what western civilization wants?
Or am I taking this too seriously, and what really happening is that all these inner-city hipsters are dying by committing hedonism and nihilism, where all white people will die out, and the world will be left to overfed and pampered nonwhites (where ironically white people thought could be trans humanist robots). The world continues, while all nonwhites practice ethnonationalism, and white people have committed suicide or have become the second-class elite jews.
Either way, all of these problems are the root of every millennial’s miserable existence. They just want to run away from it all. But it all starts with having pride in your city. That is the first step towards universalism. This by the Heideggarian standard is called inauthenticity. If this is not checked, whites will develop cosmopolitanism, then egalitarianism, and finally, transhumanism.
But why do whites fall for universalism every time? This is the real tragedy. Is universalism only acceptable when thinking in terms of other white people? And nonwhite people can never truly become universalist?
So are we just going to uphold this religion of universalism so we can have sex with Chinese girls and watch lo-fi rap concerts on Saturday night? Just to escape our own boring replies? To live a life that is all in our heads?
Take on the white man’s burden.
Friday, March 30, 2018
D.W. Grifftn once said that film would replace the written word and libraries would be on-demand computers where film would be at our disposal. Yes, we now have YouTube.
But have people learned anything from these formats? I causally watch youtube from my iPad, and have I retained much of the images I passively observed. In fact, what is the information I am consuming?
I was at my community college library signing up for Japanese 101 again, and I grew a nostalgic feeling for the library that I was in. I remember I use to spend my study time getting lost in the library and avoiding homework. It was almost like a “live-action” internet website. I remember trying to get into Arts and Letters daily, but it turned out the entire website is for baby-boomer professionals. In the library, I could just pick up the latest issue of National Review, read H.L Menckens diary, read a collection of Issac Asimov stories, or discover a new book that might spark my interest. I remember reading a book about Richard Wagner’s antisemitism while my friends would talk to me in the library. Those were good days of my youth, where I took care of my brain and spent my time in education wisely. Now, I have graduated, and I earned the shallow piece of paper degree, “English and Communications.” If there was one thing I did not pick up when I ws 21, is that knowledge is not an accomplishment. It is a struggle, like lifting weights to grow bigger muscles. My parents told me nothing about this. My brother didn’t know either. It’s like I spent five years of my life locked up in a prison sentence full of knowledge that could benefit me. But did I learn any wisdom from this? No. I had to learn wisdom from social outings, which college does not give.
Much can be said about reading books. I am losing my vision as I grow older. Books do not help my vision, but hurt my eyes. Smartphone technology is smooth on the eyes, and encourages better readers. I am in favor of education liberation across the internet. It’s true that the internet has replaced academia. Liberal society realizes an “educated” mass of people cannot enlighten society. Some values, like book culture, vinyl culture, and steampunk fashion is becoming obsolete. Post-postmodern society is accelerating because technology is making our lives more progressive.
But back to the real question, I should I spend my time reading more physical books than viewing youtube? Already I spend my time writing, making music, and listening to great albums (like movies without visuals). If I took time out to read a book a month, or two a month, could I gain some new perspective in life. It’s just not possible to read every single book out there. Henry Rollins once said he was angry he could not read every book he saw at the book store (what a flaming liberal).
Not everyone is an “intellectual.” Liberal society wants to “uplift” every individual to the standard of a philosophy professor. Already we see anti-SJW Youtubers and the skeptic community. Academia does not control this. At the same time, normal people with no intentions of aiming for anything greater in life, become ideologues for the cultural marxist regime. They get out of college with a degree in English and work in a cubicle for Wal-mart. Did reading Derrida liberate their existence? No.
There is the normie class, and there is an elite class. Intellects are born, not made.
Normies still have the audacity to role-play their degrees (girls do this a lot). This is the superficial nature of our society. The youth has been corrupted.
…So should I read a book? it’s a maybe. I will pick one up and scan the words. There are books that have changed the way I think about things. I am looking to read a book that could change my perspective on life.
I may have an IQ limit. I’m not so sure that I could gain more knowledge as I get older. Maybe that is wrong. I could possibly learn a new language within a decade. …But then there’s atrophy.
If school taught me anything, I was looking into a mirror that looked right back at me. I am alone. And this society lies to me that I should be dependent on others. I am in my own jail sentence without my will. There is no outside help that can get my out of this prison. So like many other suburban millinials, I suffer. Where should I go?
No one told me rules about life. My parents have failed me. This society is becoming more transhumanist as we all plea for help.
Is anyone out there?
Thursday, March 15, 2018
There are a few individuals in the far right that are gay. All of them are quiet about it. Milo Yiannopoulos once stood out as being the alt-right faggot. Not anymore.
Gays in the far-right are an extroverted class. No one online proclaims themselves as “the gay alt-right guy.” But when you meet these guys at weirdo events, I’m sure they are happy to tell you how gay they are (and how cool it is).
Personally, I have met five closeted homos in the far-right sphere. Note: not “alt-right” scene. Right-wing gays are perhaps the most intellectual of all right-wing thinkers. It’s like being a monk. Women are sexual demons, and these sensitive men are favoring the bond of intellectualism.
Alisdair Clarke was one of the only esoteric gay people in the far-right, and did a good job fighting for a new Männerbund homosexuality. I will repeat, there is an esoteric reason for being gay in the far-right.
…Death in June anyone?
But let’s get to the bottom of this. You are a snowflake for being in the alt-right.
I don’t want to hear how cool you are for hanging out with James Allsup, attending Unite The Right, and keeping up with the latest Murdoch Murdoch cartoons. Chances are, you’re a special individual. You’re a typical millennial. Your life depends on being special.
And that’s exactly what queerness is about.
Being “queer” does not mean having a deviant sexuality. A few decades ago, if you were some avant-garde beatnik into Ellsworth Kelly and Richard Williams, you were strange. You had feelings against the “squares” and the normative society. If only things were more about freedom of expression and complete liberalism.
The next thing you know, NAMBLA supporters, promiscuous flower children, and punk rockers all hijacked the word “queer.”
Face it. You are in the alt-right because you want to be strange yourself. It’s what empowers you. Your life is like a Steven Universe drama. This is the true meaning behind queerness.
Yet some have the audacity (and stubbornness) of thinking that being homosexual and associating with a movement that would literally throw them in an oven is not wrong at all.
…I know all you fags love the attention. You love this paradox. It makes your traumas more justified and your personality spicier.
Keith Haring would once plaster New York with his “Go Home Clones,” graffiti, because he believed there were “clone” gays and authentic ones. He apparently believed he was the authentic one (or so he thought).
Young people are in a high-school preening contest. And all of you homonationalist want a world without globalism just to sound cool. You know that being gay is a white virtue. You don’t want black cock, small Asian cock, or foreign cock that is scary (It feels like rape, I know). You want nice, ethical and charming white cock. You know if there are no more white people, there is no more gay culture. You are homosexuals that discriminate in favor of daddy rape fantasies, dressed in Nazi uniforms.
You get high off this stuff.
…But you’re also an anti-liberal.
We can all agree we hate SJWs. We hate our baby boomer parents. We want a world without public education teaching about the holocaust. Yeah, yeah, yeah.
“So that is the narrative for all normies in the alt-right, isn’t it?” You see, the glacier gets deeper.
The left is all about progressive stacking, that is, letting the black tranny speak first. And how ironic is it, when the new “based” gay guy will make a new progressive stacking technique for all the far-right to see. “How about we let the cis-gendered white man speak first! Then let us cool faggots speak at a private invite-only freemason event. You wouldn’t think of us as normal gay people, because we are all about making society normal in favor of protecting our own queerness!”
Blaire White, a right-wing tranny, is only saying the things he says for fame. Just like how XXXtentacion, Lil Pump, Liluzivert, Slim Jesus, and other Soundcloud rappers get into their own drama.
Google forces us to appreciate some bizarre artist every other day on their front “Google doodle” page to make even the dumbest normie feel enlightened. Some on the esoteric far-right are hard at work trying to dig up snowflakes that have been buried in the past for being too fringy (Miguel Serrano, Savitri Devi, Julius Evola). Is this good? Or is just another hipster outlet of finding “that really good record?”
Imagine one day, in 2050, when the new elite have Camille Paglia as a Google doodle.
If the millennial generation is defined by a trait, it is that we are a generation of hipsters, whether we admit this or not. Young people only care about impressing their social peers. It’s cool to be the black guy, asian girl, tranny, or gay guy in the far-right.
Oh well, Orwell! What have we gotten ourselves into?
I strongly believe that there needs to be a party for open far-right homosexuals. They have remained in closet because it is now actually “cool” to be a closet faggot again. However, it’s only “cool” to let the normie white guy speak, and ironically let the underground gay guys be hipsters again. Gay people always feel like outsiders (just like you, dear reader). This is the snowflake mentality.
I dare you! Take a step out of the closet and create a gay party for the far-right. Identity politics is inevitable. If human bio-diversity and the philosophy of Martin Heidegger is to flourish, then I suggest we end all white lies (pun intended). Truth lies in authenticity. Inauthentic people beat their wife and cheat on them (Matthew Heimbach).
The far-right in the coming decades will morph into cultural fascism, and all inner city hipsters will create a new “fashy” subculture. And it will be full of “poz,” contradicting that the introverted alt-right hates.
We can keep our unique homonationalism, but let us admit to the fact that we are all queer people, wishing to overthrow the neoliberal elite. If you can imagine a right-wing version of The Wild Boys: A Book of The Dead, so be it.