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The Post-Masculine Mind
Strength is Evil, Submission is Noble: Nerd Horror, The Walking Dead and the Death of the Soul
On the eve of this, our national holiday of criminal pagan horror, in which we have invested our increasing sense of Christian helplessness, I saw a truly disgusting episode of what I am told is the most popular TV series in human history—and if this is true it is apt as well. For never have more been so fitted to receive its neutering message. Indeed, the regular viewers of this crap are the true walking dead.
A man of faith might turn away in disgust from a gore-obsessed nerd-fest like The Walking Dead, which began as a masculine-oriented testing of family values in an apocalyptic setting. Having not seen this show for years now, I sat through one episode and two scenes of the next episode, that reveled in the suburban bitch-mentality of the post-masculine male mind.
I was expecting the elements of feminist super-woman heroism.
I was expecting the multi-racial, mono-cultural, try-gender, liberal view of life embodied in the cast.
I was expecting to see amorally crazed white men and morally stayed black men, playing their bad guy good guy cartoon roles.
I saw all of these things.
I did not expect a sadistic version of the Old Testament story about God demanding that Abraham sacrifice his son as a test, played out in a most beastly manner by an actor convincingly portraying a strong white man as the only thing a strong white man can be—a monster, part biker and part pro-wrestler.
The underlying message was not all racial—this beast chief had black soldiers in his gang—with the racial element used more for evil emphasis than presented as a causal element, as if the viewership can be trusted to equate white with evil and black with virtue.
In the first two scenes of the next episode a splinter group of the “fellowship of gore” stumble upon a bucolic kingdom of stalwart knights—male and female—dispensing equestrian justice from horseback. These white nights are ruled by an eccentric black king, who sits on a throne and can be spoken to, where his white counterpart roaming the woodlands with his barbed wire baseball bat cannot be negotiated with, though he has somehow acquired a large gang of dangerous men who are loyal to him. Suspension of disbelief crashes right here in the utter misunderstanding by the sissy mind of how men are welded together for effective aggression.
This TV show represents a view of a dark future in which the only virtue is shown by those who submit to uncontestable gross-masculine authority figures that behave in very un-tribal ways. Above all is stressed the powerlessness of family men to protect their own, that the father figure can be no better than the slave of an uncontestable power—once represented by a cosmic force, but now represented by a white man behaving exactly like a pro wrestling icon—and that that living god who abides not mortal rules and operates according to no honor code, comes in but to varieties:
The regal man of another race who represents abstract power in such a way as to put it out of the reach of his subjects accept as accessed through submission to him…
And the insane white tyrant, who paces about very much like Donald Trump when he speaks.
This Walking Dead TV series has gone exactly where I expected it to go, to a journey to negate masculinity in two ways: by demonstrating that the traditional decent notion of an honorable fighting man is entirely impotent in the cause of defending his people and that the effective use of force by men outside of the machinery of mass government, is done in a moral vacuum, according to no code of behavior, no code of honor and none of the reciprocal relationships that have buoyed informal groups of men in bad situations since the beginning of our kind.
This terrible season of The Walking Dead could have never been written before this time, before the epoch of drone warfare and the bombing of funerals, weddings, medical personnel and innocent children as an acceptable form of government action. And, inevitably, the evil wrought by the soulless machine is laid at the foot of the rotten soul of the strong man. The one thing that might hold out hope against such a lethal collectivism is depicted as the evil of masculine action, with the heroes and heroines of the story line all groveling on their knees for an entire episode. Our nerd heroes embody weakness. The strong man faced with man’s greatest enemy—the risen dead—is more concerned with sadistically flamboyant murder than building an effective force. That the strong leader of men wants broken people is an inherently nerdish notion born in various ages in times of civilized decay, and which is entirely alien to those people that have generally been labeled barbarian.
This brings me to Robert E. Howard, and the traditional brand of Aryan fiction which he unearthed from beneath the groveling rubble of the collective notion of the submissive sacrificial hero. The Aryan hero strives unto death without submitting to evil, all the way back to the Epic of Gilgamesh. The insertion of any Howardian character in the sissy story line of passive collective sacrifice that my eyes were so pornographically subjected to last night would utterly ruin the story. Watch this episode and image Conan or Bran Mak Morn or Solomon Kane in Rick’s biblical place and the story of a tormented, kneeling father reeling in mortal helplessness evaporates. Nerd horror is predicated on an addiction and even worship of powerlessness—powerlessness of those who know what is right and what is wrong. The Walking Dead is merely an extreme elevation of the theme of helplessness that is the basis for slasher horror flicks like Halloween and Friday the 13th. I avoided these movies as a youth and young man. When people asked me why, I’d say something like, “If you put Clint Eastwood or Charles Bronson in one of these movies, it’s over in one scene, and there’s no sequel, because Jason or Michael have lost their power over your imagination once you see them get crushed by some old man.”
Such apocalypse fiction is in effect the yearning of the inauthentic sissy soul of civilized man that his baby-crib existence not be imperiled by a call to masculine action. For, as this fiction of mobs of dead attacking random people proliferates, actual mobs of soulless living are attacking in a very similar fashion on a day-today basis. The denial of such realities in the street, as the reader or viewer cringes indoors, even as he views something similar attributed to something fanciful, is what comic books and such video tales are made to serve, to kill the hero, for the hero can only function if he is a superhero, and we aren’t super after all, just the sheep in the flock of The God of Things.
As a counterpoint to nerd horror, I suggest the following masculine horror tale, recently made available in this very good audio-recording.
Robert E. Howard - Worms Of The Earth
Nathan Kloske
Thanks to Tex for this link.
He: Gilgamesh: Into the Face of Time
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winter of a fighting life
god of war
yusef of the dusk
taboo you
behind the sunset veil
your trojan whorse
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Jeremy BenthamNovember 2, 2016 4:41 PM UTC

“Don’t fear the Apocalypse, fear the people who survived the Apocalypse.” – Comet TV

Looks to me like “The Walking Dead “has “jumped the shark” as they say. In other words the writers have run out of fresh ideas, but the series is still doing so well in the ratings that the network doesn’t want to pull the plug on it just yet. One of the most attractive things about the show from the very beginning is that you never know whether a character will survive the episode or not. Like on “24”. This builds up suspense and holds your interest, despite a premise that requires more than the usual “willing suspense of disbelief” in order to enjoy it. So they killed off two main characters to liven things up. Modern PC sensibilities dictate that you cannot have a sausage fest, like on the old TV show “Combat”. You ALWAYS have to include the girls. And mostly slender, good-looking ones too, since women as well as men prefer attractive heroines. Although I must say the writers have been fairly even handed in the manner in which they have eliminated characters over the past six seasons. Naturally, once Rick and his merry band of survivors find a safe haven where law and order prevails and they can live happily ever after, the story is over. Therefore the situation has to go to hell at the end of each season so the struggle to survive against both zombies and predatory humans begins anew the following year. The predatory human characters are of necessity going to be more colorful, more devious and have more dialogue than the zombies. Does this saga finally end with Rick dead? We’ll have to keep watching to find out, won’t we? And now a word from our sponsor…

Oh, some food for thought here. On the 20 November, 2011 episode of “The Talking Dead” interview program that followed “The Walking Dead” episode where Hershel orders Rick and his family and friends to leave Hershel’s farm, they held a poll asking viewers to select a response to Hershel’s ultimatum (i.e. What would you do?). The results: 21% voted for “Leave peacefully”, 33% voted for “Tell him you won’t leave without a fight” and 46% voted for “Kill him and take over”. Wow! Be careful who you invite to spend the weekend.
DellNovember 1, 2016 12:53 PM UTC

I only knew he was mine; the first scents he knew were the scents of the heather; the first light he saw was the sunrise on the pictish hills. he belong to me , not to Rome. If punishment was just, then none but me should have dealt it. If he were to be tried, none but me should of been his judge. The same blood flowed in our veins; the same fire maddened our brains; in infancy we listen to the same old tales, and in youth we sang the same old songs. He was bound to my heartstrings, as every man and every woman and every child of Pictland his bound. It was mind to protect him; now it is mine to avenge him. If I were to have to have a leader, are could elect a man such as this as our president, this is the type of man I would follow. This is a passage from Worms of the earth when King Bran was talking to Gonar.
UlricKerenskyOctober 31, 2016 7:19 PM UTC

Modern western thought is that progress is linerar, and that our ancestors were not mearly behind technologicaly, but culturally and spiritually.

Accordingly, we reduce our modern retelling of barbarians to "Noble Savage", "mindless zombie", or "mad sterotypical dictator". Except Idi Amin, it's hard to imagine a self made dictator who would engage in such madness, let alone survive more than a winter. Even the Boxer Rebellion wasn't as eratic as you describe above.
Nero The PictOctober 31, 2016 10:26 AM UTC

Funny that you make these observations. The Walking Dead has been the only TV I have watched for the past 6 or 7 years. Mindless sort of BS that the lady and I can enjoy together. Especially if belief is suspended. What struck me about the episode that you speak of was that it appears that the producers of the show are setting this up to be some sort of womens day time TV show. What was left after the Trump archetype had his way with the kneeling heros? A pregnant women, a female black avenging angel, a broken white father, a latina, a gay dude and a kid...A punch line to a joke. Or a casting call for "The View"??

Advertisers know that women are the main drivers of the consumer economy at this point. Hence, the tailoring of story lines to fit the feminine collectivist mind.