After a stretch of horror and subversion, it is now time for some positivism. Surprisingly, this comes from the Pixar film, Wall-E, but it is true: a big budget, American production house (that is owned by Jew dominated Disney), has created a quite remarkable children’s film with a story arc that has many elements of Aryanism and even some not so subtle references to National Socialism.
Living In Desolation
The story begins with Earth in a state of total desolation. The buildings are wrecked, there is trash strew about, and everything just sits lifelessly and slips ever further into decay. The Buy n’ Large company logo is visible in many places and on many objects and it is also in a state of erosion. This set-up strongly resembles the fall of an empire with its banner now as decrepit as its ruins. The Buy n’ Large was a worldwide corporate monopoly that produced everything that human consumed, but then it collapsed under its own weight and excesses leaving behind a trash covered Earth. Amidst all of the refuse we can make out that some of the “buildings” are really carefully piled trash heaps made from cubes.
This is the work of Wall-E (Waste Allocation Load Lifter – Earth Class), a BnL robot meant to clean up BnL’s mess. He was once part of a huge fleet that was certain to succeed in its mission while Earth’s population vacationed on a BnL sponsored holiday on the Axiom, a huge spaceship. However, something went wrong and only one “Wall-E” is left. He is dutiful, but stuck in desolation.
Wall-E’s daily routine consists of making endless cubes of trash and organizing them into neat piles. A seemingly futile task that is occasionally accentuated by surprise when Wall-E finds something amidst the trash. Usually this is nothing too exciting, though there are several hints to Wall-E’s quality of character in addition to his sense of duty. One day he discovers a cockroach and befriends it and even lets it live in a corner of his improvised home. In this shelter, Wall-E has collected various objects and seems to have catalogged them in a makeshift archive space. This strongly suggests that he his trying to make greater sense of his existence. Also in this archive, he has spare parts for self-maintenance and self-repair. Part of Wall-E’s daily routine is recharging himself by basking in the sun with his solar panels extended. With all of this considered, Wall-E seems to be more of a metaphor than just a straightforward robot; he is self-reliant and self-sufficient, dutiful and persistent, and he also shows a concern for caring for others, namely his new roach friend.
This idea goes to the next level when Wall-E dicovers something that he has never seen before, a plant. It is one, tiny little stem with miniscule leaves and unmistakably green. Wall-E is dazzled by it, baffled by it, and fascinated all at the same time. He has never seen anything like it.
Wall-E’s solar powered system is a mirror of the plant, which is solar powered life. What’s more is that Wall-E puts his new find into a work boot. A plant – symbolizing life – is now in a work boot – symbolizing labor and productivity – it is a bit of hope from amidst all the desolation. Additionally, when the plant first appeared, it was obscuring a BnL corporate logo in the background. The symbolism is unmistakably Aryan.
The Other Half
Things change dramatically for Wall-E with the arrival of another robot. This new machine seems to be radically advanced (it flies and has some strong firepower), equally persistent as Wall-E, but it doesn’t share his friendliness. Rather, it goes from place to place searching for something and ignoring Wall-E who is as fascinated with it as he was with the plant. Wall-E eventually wins the trust of the new robot, named EVE, when he saves her from a sudden sandstorm. The relationship between Wall-E and EVE starts as a straighforward “boy trying to woo the girl” story, but soon takes a much different path.
Like Wall-E, EVE is a metaphor and not a literal robot. She is shaped and colored like an egg (spawner of life) and, as it turns out, EVE is an Extraterrestial Vegetation Evaluator robot. The target of her search was evidence of life on Earth. When Wall-E shows her the plant and boot that he had gathered, she scans them like everyhting else, but now the light that had been flashing red with each previous reading flashes green, just before a bigger green light appears and begins to pulse in a rhythm akin to a heart beat.
This new green light has a plant icon in the the middle. The light is placed right above EVE’s heart given that she has a very basic anthropomorphic structure. This location is only part of its symbolism, the other half is the design of the symbol itself. It appears below at left.
At right we have the logo of the Reichsarbeitdienst, or the Reich Labor Service, a workers’ organization that operated under NSDAP guidance in Germany. This is the final connection. Between Wall-E and EVE, the boot and the plant, there is a metaphoric scenario for the start of an Aryan settlement amidst the desolation of Earth. However, we soon see that discovery is not enough, since upon finding this harmony, EVE’s programming goes into effect: she takes the plant, hides it inside herself and goes idle with that one green light flashing.
Unbeknownst to EVE, her progress was being monitored, and when she finally found the pieces to the Aryan puzzle, of which she herself was a part, she get’s locked away along with her findings, which leaves the other remaining elements of Aryanism separated and seemingly hopeless. In effect, sinister forces have let these elements meet so that they could then separate for good. It was a ruse. Thus, we see that discovery of Aryanism is not enough. Struggle, no matter how benign the scene may seem, will be essential.
Taking the Reins
The same space craft that initially dropped off EVE now comes to pick her up. Wall-E manages to grab onto the the rocket that eventually ends up at the Axiom, the ship containing the remainder of Earth population. The step to be taken here is key. Though, it only makes the situation seem even more hopeless, but it is a step that must be taken. The Axiom is comprised of two parts. One is run by robots that move along predrawn lines and take care of everything with the most impeccable, mechancal precision. The second is populated by humans that the robots serve. These humans are morbidly obese and cannot even move on their own. They are permanently sitting in hover chairs (that travel along predetermined lines) and press buttons to receive service in the form of engineered food or on screen entertainment. These humans do not even communicate with each other face to face, but only through computer screen interaction. The ship is one large vacation cruise with the humans reduced down to the most basic (and pathetic) desire: a want for good food. Even their clothes are engineered to change color with the press of a button so that they don’t have to waste time shopping, but can just sit on their hover chair/computer/prison bubble. Of course, they only change the color of their clothes (all in unison) when an announcement shouts out a consumerist slogan: “Blue is the new red!” The slaves obey and press a button and the clothes change color.
The fact that the clothes change color with one press of a button seems to suggest that this function was already programmed into the machinery. The humans were not excercising free choice, or even following orders, since orders can be disobeyed. Rather, the press of the button was a simple reaction mechanism, as that is what these humans are, the simplest of reactionaries that have succumbed to fate so much that they have even forgotten that such a concept exists, let alone that it is possible to influence it. The sugars and salts of their food substances please them, the voice of the omnipresent annoucements guides them, the pervasive visual stimulats lock them down and focus their perceptions, and their bodies are practically vegetative. They are the best kind of prisoners: totally ignorant and complacent. An interesting visual detail here is that the section of the Axiom that simulates a large outdoor pool resort has the BnL logo as an artificial Sun.
Corporate and consumerist symbols permeate the landscape. They block windows and sunlight and constantly pry peoples’ brains with base commands: Consume. Watch TV. Borrow Money. Be Complacent. Times Square in New York City is also filled with monstrous corporate ads that block windows to buildings. The landlords agree since it the ad companies compensate them with money. The tenants agree since their rent is lower than it would be otherwise. But they willfully live in darkness. That is Zion in a nutshell.
National Socialist Germany was in complete opposition to this. The Swastika emblem was seen everywhere on flags, banners, sculptures, uniforms, etc… However, it didn’t block, but rather pointed at the Sun. A wide boulevard with Swastikas is a cured blood vessel of civilization that is rid of its previous consumerist cancer and clots.
The huge fleet of robots aboard the Axiom shows signs that they are like Wall-E in that they appear to have personalities and are thus also metaphors, as are the humans. The greatest prison is that of the mind and that is what all of these characters represent: sets of mind. The dutiful are represented as robots and it is their sense of duty that is used to trap them, in otherwords to keep them working, but their productivity is all channeled to the top of the pyramid and not to a folk. The hedonists are represented as the obese humans and it is their vice that is used to keep them trapped. A prison so fluid and varied is then used to simulate a convincing reality.
The computer that runs the Axiom is represented by Auto, which is an interesting metaphor in its own right. Its name, “Auto,” can refer to “autopilot,” however this autopilot decided to become the only pilot, which shows the danger of over-reliance on machines. Otto is a reference to the computer HAL from 2001 with the red light being the visual connection. Auto is motivated only by total control and has six points making him more than a subtle reference to Zionist obsessions.
There is another reference to Kubrick’s famous film as the Axiom’s human captain (obese like the rest) finally sees past his bubble and tries to stop Otto, which involves walking on his own two legs. In this scene, Thus Sprach Zarathustra plays, a piece that symbolized biological evolution in 2001, but here is symbolizes the struggle to abolish Zion. This scene is also the triumph of Original Nobility, since despite being conceived and nurtured in a hedonistic, materialist, artificial world, the Captain realizes his true calling: he turns into a real leader, a real captain, and actually takes charge.
Auto had monopolized his control over the systems of the Axiom. Every computer process is under the watch of his eye. Thus, when the Captain starts to fight Auto from outside the system, by taking his own steps, Auto becomes increasingly powerless – the monopoly that he imposed never predicted force from outside. Wall-E, too, does not and cannot manipulate or reprogram computers, but only work with his own two robotic hands and move on his treads. We soon see that authentic and determined struggle cannot be stopped, but this does not make it easy or even enjoyable.
Return to Arya
The film’s overall theme is a reversion back to an agrarian state of civilization. First, we see Wall-E as a robot bound to futile duty in a desolate world, this is the farthest progression of Zion. Second, we see the humans as goys bound to hedonism and too distracted to do anything, though it is possible to put up a fight in this field. Third, we see struggle and the overthrowing of a materialist, hedonistic prison. Then finally, we see the characters return to Earth and begin farming settlement. They are free from manipulation and begin a purposeful existence. Generations ago and back on the Axiom, Auto had a similar realization, but his purpose became “sustain” and this quickly turned into “keep enslaved” as that is the inevitable result of empirical thinking.
The revolution on the ship Axiom started with so much as a nudge, literally. When one of the hover chair riders fell off, due to Wall-E bumping into him, he suddenly realized that there is a world beyond his computer screen. The trick here is that if it wasn’t for further and more persistent effort from Wall-E, the people would have still been trapped on the Axion, albeit out of Auto’s reach for some, but presumably brief, time. The nudges must go on and on with persistence until a sensible goal is reached with complacency being an enemy. In this film, where everything falls into place nicely, that is just what happens. The man freed from the hover chair then nudges another rider and their hands touch and thus they realize that humans are not just on their computer screen.
The Captain also was nudged by a piqued curiosity and began to search the Axiom’s computer archive. Amidst an incredible mass of useless information, he found that life is possible in a completely different form. Wall-E, too, had a realization of a purposeful life when he first saw EVE. The relationship between Wall-E and EVE plays out like a typical boy-meets-girl romance, but it is right along the film’s major story arc of realizing purpose. In effect, the robots in the film willfully overcome their programming and go on to acheive something new and transcendent of their previous mundane existence.
Overall, this is a very apt elaboration and bringing up-to-date of Plato’s classic cave metaphor – once people stop seeing projections and start seeing the real thing, a serious phase of disbelief and disillusionment follows. When the truth is first seen, it is as blinding as one’s first glance towards the Sun. Along with the plant in the boot symbol of life and work, the film’s presents new forms containing eternal truths that our consumerist, materialist, survivalist and mere management orientated civilization has hidden or simply fallen ignorant of.
At the film’s conclusion, with everyone on Earth, the former goys march out of the Axiom and see the Sun for the first time with their own eyes. The walk on real land with their own two legs. They plant the first seed of their new folkdom. The plant in the boot is akin to the NSDAP concept of Blut un Boden – Blood and Soil, which was symbolized in the Odal Rune. The humans and the robots are not goys anymore, the work that they will do now will be service to their new folk.
“A solid stock of small and medium farmers has at all times been the best protection which a nation could have against the social diseases that are prevalent today. Moreover, that is the only solution which guarantees the daily bread of a nation within the framework of its domestic national economy.
With this condition once guaranteed, industry and commerce would retire from the unhealthy position of foremost importance which they hold today and would take their due place within the general scheme of national economy, adjusting the balance between demand and supply. Thus, industry and commerce would no longer constitute the basis of the national subsistence, but would be auxiliary institutions.
By fulfilling their proper function, which is to adjust the balance between national production and national consumption, they render the national subsistence more or less independent of foreign countries and thus assure the freedom and independence of the nation, especially at critical junctures in its history.” ~Adolf Hitler, Mein Kampf