FSTDT

Brian Niemeier #wingnut #mammon kairospublications.com

When an elite feels threatened, it promotes order. When it feels secure, it can afford to promote disorder. A class that believes its position unassailable no longer needs art to uphold its authority; it uses art to erase the notion of authority. That’s why the postwar West abandoned beauty in favor of irony, worship in favor of mockery, and heroism in favor of cynicism. Cultural Ground Zero wasn’t an accident; it was the victory lap of a ruling class that had consolidated total control over politics and culture.

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Always remember that we are going to win. And when we do, leaders who actually share our values will, at long last, not just level the cultural playing field, but tip it decisively in our favor. So keep creating. Don’t wait for permission from institutions that no longer believe in their own mission. Because when this decrepit cultural order finally collapses, we’ll need new books, new songs, and new stories ready to take its place. Empires may commission art, but art outlasts all empires. And when this one falls, the creators who kept their craft alive will inherit the ground on which the next civilization will be built.

For action-adventure that defies genre labels to bring you a thrilling vision of the post future, read my military SF epic Combat Frame XSeed!

Brian Niemeier #fundie kairospublications.com

There’s a deeper reason why these stories resonate with Postmodern Hollywood: They dramatize the Devil’s fantasy. What is [Harlan] Ellison’s computer if not a stand-in for the Adversary—a mind bent on tormenting men forever; not because it has to, but because it hates the God who made them? Black Mirror is a hall of mirrors, yes, but what if in it man sees not only his own corruption, but diabolical hubris, reflected back? Lucifer cannot create. He can only parody and gloat. His dream is not annihilation but endless desecration; souls kept in perpetual torment, not for justice but for mockery.

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The real problem with dystopia porn is that it boxes the viewer into a lie: that hopelessness is the truest picture of reality.

But despair is not realism. It’s propaganda. Worse, it’s Lucifer’s propaganda. Writers who want to make a lasting mark on the culture should take [Sam] Hyde’s advice. Stop fetishizing man’s weakness. Stop pretending that watching ugly people in ugly situations is “brave.” And stop serving up Hell’s fantasy as entertainment. If you must write about horror, write it honestly; never as a pornographic thrill, but as a backdrop against which light shines brighter.

JD Cowan #fundie kairospublications.com

[On fantasy fiction with sympathetic demons as characters]

From my experience, when the Japanese do it they are translating their race of Oni/Youkai as another race of beings since they do not have the understanding of what demons are (Just as their version of God is usually just a guy who happens to have powers and can therefore be replaced) so I don't tend to take their stories to being about redemption for demons to begin with. They are never treated as demons truly are to begin with, but, unlike westerners, they also aren't doing it for the same reason. They see youkai as no different from dwarfs or elves.

Westerners, however, don't have any excuse for their swill. There has never been a story with an outright demon as a good guy that wasn't complete garbage (Milton is not the same thing, we all know what he was doing) because it always involves overturning Good and Evil in ways that turn the story into an incoherent mess. If you want to create an "evil race" of beings and have them be redeemed, you CAN do that; they just can't be demons, because that isn't what demons are to begin with.

Brian Niemeier #crackpot #sexist #conspiracy kairospublications.com

A central appeal of anime for many male fans lies in its depiction of women. Anime heroines frequently adhere to traditional beauty standards and embody traits like gentleness, kindness, and loyalty. These characters are designed to be visually and emotionally captivating, with exaggerated features such as large, expressive eyes and delicate proportions that cater to long-standing cultural ideals of beauty.In contrast, modern Western norms often celebrate traits that deviate from these traditional standards. Media and pop culture emphasize empowerment, independence, and assertiveness for women, which can alienate men seeking relationships that reflect more natural dynamics.For certain men, anime provides a safe harbor for engaging with representations of femininity that better align with male preferences, free from the complexities of real-life interactions. This growing preference could be driving them away from forming real-world relationships.

The decline in marriage and birthrates may be linked to this escapism. While it’s simplistic to blame anime alone, its role as a cultural phenomenon that offers an alternative to real-life relationships cannot be ignored.Consider that Japan, the birthplace of anime, has one of the world’s lowest birthrates. The West, too, is seeing a decline, particularly among younger generations who are less likely to marry and have children compared to their predecessors.

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So as the West continues to embrace anime, it’s worth reflecting on how cultural phenomena shape personal choices—and what the anime girl depopulation psyop may mean for the future of civilization.

Brian Niemeier #fundie #conspiracy kairospublications.com

Last time, we covered how American parents have been trained like lab rats to assume that animation is a juvenile art form. That misperception isn't just a harmless error; it’s cultural deformity. No serious civilization treats its mythic traditions as disposable commodities. But Disney conditioned Americans to do just that, and the results have been catastrophic.

Most people think of Walt Disney as a harmless showman; a P.T. Barnum of cartoons with a castle instead of a circus tent. In reality, he was more like a cultural conquistador. Uncle Walt didn't just make movies, he replaced longstanding stories.

You can see the bait and switch in real time. Ask a child—or an adult, for that matter—to describe the main plot and themes of The Little Mermaid. You won’t hear a word about Hans Christian Andersen’s deep Christian allegory or its tragic ending. You’ll get a pitch for Disney’s 1989 cartoon musical, complete with talking crabs and a happy ending. And you’ll see an iconic tale’s total replacement with a corporate artifact. Nor was that usurpation an accident. It was Disney’s business model.

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In other words, he turned myth into self-help gruel. This cultural strip mining has had consequences. When you hollow out your folklore, you gut your civilizational immune system. Because stories are how a people pass on their values; how they teach the next generation to endure, strive, and build. So if your mythology is reduced to stuffed animals parroting ad pitches, you get a society incapable of defending itself. That, by the way, is why supposed culture warriors browbeating you with the hackneyed line that fiction is worthless while insisting that art isn’t real aren’t just wrong; they’re fifth columnists.

It wasn’t always this way. In a Christian culture, children were initiated into the moral order through tales that acknowledged suffering, death, and divine justice.