by The Editor, empirestrikesblack.com

Warning: contains spoilers!

I write this article feeling a touch heartbroken and not a little stupid.  Like so many gamers I waited patiently for The Last of Us Part II, a highly anticipated game that follows on from its PS3 predecessor, The Last of Us.  Ordinarily I would not take the time to write an article about a video game but this issue is very important for reasons that I will discuss.

Let’s quickly rewind to part I.  The first game I genuinely enjoyed.  It was cinematic and had fun stealth gameplay. The story was original, poignant, emotive, gripping and apolitical. The ending was satisfying and it wrapped things up nicely, whilst leaving great potential for a sequel.  So far, so good.

Neil Druckmann Begins to Show his Hand in Part I

Then, I became somewhat suspicious of Naughty Dog and their ‘Israeli’ creative director Neil Druckmann when the DLC (downloadable content) was released for the first game.  This DLC, named ‘Left Behind’, filled the players in with more backstory from the young female protagonist.  What made me feel somewhat uncomfortable and suspicious was how Naughty Dog overtly sexualised the young female protagonist and also how they felt it relevant or even necessary to reveal to audiences that she was gay/bisexual.  It felt like they were being ‘progressive’ for the sake of it, rather than writing a story on artistic merit.  Even more worryingly the sexualisation of a young girl felt very paedophilic, very ‘Frankfurt school’, making me somewhat concerned for the direction part II would take.

I am sad to say that my worst fears were realised and then some. Though part II’s story is not terrible in and of itself, it is marred by the fact that it is replete with Zionist and cultural Marxist propaganda.

Aside from the fun stealth set-pieces which punctuate the game (and largely are a lift-and-shift from the first game), part II as a contiguous game doesn’t do a great job at holding your attention. The gameplay is more refined and fun but the playtime between the set-pieces is boring.  Yes, the enhanced hand-to-hand combat sequences are lots of fun, especially with the added dodge function, but this isn’t original – being ripped directly from Uncharted 4. Essentially you wind up travelling through a visually stunning game world, playing through some sequences that are beautifully animated and fun, but the overall experience is hollow because of a story that is mediocre and out of step with the first game. Crucially though – and this is the point of this article – there is a very ugly and ominous underside to this story that will leave a very bitter taste in your mouth. The narrative is a litany of cultural Marxist themes as well as Zionist propaganda (the two often go hand-in-hand for reasons we are never allowed to discuss).

The Last of Us Part II: A Masterclass in Jewish Propaganda

The story for part II makes a point of painting straight men as ‘bigots’ who are deserving of no forgiveness whatsoever.  Ellie – the gay female protagonist – refuses to accept an apology from a ‘bigot’ who ostensibly made an anti-gay comment, but she winds up forgiving the woman who murders her protector-cum-father figure, Joel.

In the game’s narrative the idea of a ‘strong’ woman is one that is gay, trans, or masculine, but never feminine. Masculinity is demolished too. Joel, the lead male character of the entire story – who is a wise veteran of the dystopian world – has been thoroughly emasculated. He is transformed into an unrecognisable naive idiot who is outsmarted, tortured and murdered by a young girl in the first hour of gameplay.

Jesse, an Asian character who is one of the main male protagonists, loses his bisexual Jewish girlfriend – after getting her pregnant – to a lesbian in Ellie.

Abby – one of the key female characters – is overtly masculine. She has an androgynous face and a muscular, masculine body that looks patently ridiculous, like she’s jacked on steroids. There is even a sex scene where she gets done from behind with her top off and strikingly, her body looks male. Her breasts do not even look like breasts; they resemble male pectoral muscles.

Male characters are killed off or are simply ‘bad guys’.  A transgender child is ‘rescued’ from a religious cult. In typical cultural Marxist style, religion is attacked, but tellingly the religion of the ‘chosen people’ is featured positively in a nauseating, hypocritical fashion that will leave you wanting to smash your controller against the wall from pure frustration.

Zombies and … Zionism?

The game contains a sequence where Ellie and her Jewish girlfriend Dina happen upon a Synagogue.  Totally random, right(!) During this scene, Dina makes the point of telling us that she is from a “long line of survivors” because her people survived the Spanish Inquisition and “the Holocaust”.  Dina neglected to mention that her people were responsible for the genocide of tens of millions during the Jewish Bolshevik takeover of Russia which precipitated the Kazakh genocide and the Ukrainian purge, two genocides carried out by Jewish extremists Shaya Itsikovich and Lazar Kaganovich respectively and which resulted in the deaths of untold millions.  Maybe Druckmann will mention that in the third instalment?  I won’t hold my breath.

The Synagogue sequence gets even worse when you travel upstairs in the building and search an office, only to find a letter from a Rabbi who fled Nazi Germany.  Really, Naughty Dog?  You make a Zombie apocalypse game set in 2030 and you just can’t help but trot out some dusty old Zionist tropes?  Is this really ‘art’ or is there an agenda?

As you continue plodding through the lacklustre story, the Jewish supremacist and cultural Marxist (two sides of the same shekel) character of the game comes to the fore in increasingly apparent ways.

The Demolition of Christianity and Gender

Ellie crosses paths with an extremist religious cult known as the Scars.  This cult – an obvious allegory of Christianity – strings people up and guts them from sternum to navel whilst saying “Amen”.  The demonisation of Christianity is overt.  Judaism good, Christianity bad.

As the story progresses Androgynous Abby finds herself strung up by the Scars with a noose around her neck, as they are poised to gut her with a knife for being “nested with sin”. Ludicrously in this moment she is saved by yet another androgynous character, this one a young, apparently genderless Asian child named ‘Lev’. As it transpires, ‘Lev’ is a young girl who was born ‘Lily’ who then decided that she identified as a boy, so she shaved her head and changed her name to ‘Lev’. Interestingly ‘Lev’ is a Hebrew Jewish name that essentially means ‘lion’, ‘lion-hearted’, or ‘brave’. The message here is that, for a woman or girl to be ‘brave’ they should abandon femininity, chop their tits off and masquerade as a man.

Don’t get me wrong: as a video game it does have some redeeming factors. The game is visually stunning and beautifully animated, and there are some enjoyable and fun extra touches added compared to the first game. The stealth gameplay is fun. The silencer is a nice touch, as is the ability to jump, swing and climb. The player can go prone in long grass for an added stealth dimension. The gameplay is more refined than that of part I but it has the same general feel. The problem is, none of this really matters in the grand scheme of things.

Superficially the narrative is about revenge being pointless and the idea that ‘violence begets violence’. This is how the game is sold to the general public.

When you boil it down however this game is a bloody, violent, nihilistic gorefest that makes a mockery of human moral values. Players are taught that traditional moral values are hateful, inhumane and somehow irredeemable. And anybody who upholds those ‘hateful’ values (specifically Christians, but never the tribe), well you should do the right thing: drive a spike through their skull, blow them to pieces, or stab them in the throat leaving them a gargling bloody mess on the ground.

There are also – in my opinion – thinly-veiled references to Islamist terrorism in the game. Abby and Lev share dialogue about people ‘killing in the name of the prophet’ et cetera. What is notable is that there are absolutely no allegorical references to Zionism or Judaism, apart from the explicit mentions of Jewry which nurture a sense of victimhood and righteousness. Meanwhile in the real world, global Zionism spills more blood and causes more human suffering than any other ideology on the planet. The Zionist false flag terror attack of 9/11. Iraq, Libya, Syria. These are merely the tip of the historical iceberg, yet in terms of bodycount (does this even matter any more?) they make any and all religiously-inspired terrorism look puny by comparison.

This game is a political statement that leaves a bitter taste in your mouth. It’s like driving a Ferrari F40 through some beautiful Alpine passes, with the stench of manure assailing your nostrils the whole time. You just can’t quite enjoy it. At least I couldn’t.

Druckmann Abuses Naughty Dog’s Artistic Licence to Degrade Culture

Video games are art, but this game is pure preachy trash.  Gratuitous lesbian sex scenes, vengeful violence and gore, transgender characters in a zombie apocalypse, Zionist propaganda, the demonisation of Christianity, the death of masculinity and femininity.  We have been assailed by this kind of Hasbara by Hollywood for years and the Last of Us Part II is a watershed moment because this cultural rot has entered the artistic space of video games in an alarming way.

The Nefarious Nature of Cultural Marxism

Cultural Marxism aims to dismantle Western societies by demolishing the family unit – the very foundation stone of society. There is no bond stronger than the familial bond and without the family as a basis, a society becomes pliant and toothless. There is nothing wrong with being a gay person (live and let live is my motto) but what immature, virtue-signalling leftists fail to understand about cultural Marxism is that it is a generational attempt to dismantle the family and by extension Western societies. Genetics loads the gun but environment pulls the trigger.

This kind of ideology rides roughshod over the rights of traumatised children, encouraging them to make irreversible changes to their very self by scalpel and syringe, instead of counselling, love and understanding. Is this kind of ideology a beneficial environment for the human spirit, for developing children, for the family?

My message to the players is this: I feel your pain, disappointment and frustration.  We all wanted this game to be a faithful follow-up to the original but instead we got this preachy, disjointed cultural Marxist/Zionist trash.  I will never be giving Naughty Dog another penny of my money as long as I live and neither should you.  If you want to play this game, get it second hand instead of giving Zionist Neil Druckmann and his merry band of cultural vandals any more encouragement.

If you want to play genuinely cultured games, buy Japanese.

My message to Neil Druckmann is this: you dun fucked up.  The Last of Us Part II is not in the artistic spirit of video games.  Instead of creating the work of art that part I set us all up for, you chose to ram cultural Marxist politics down our throats.  It’s not even subtle. You cynically label any and all of your detractors as ‘bigots’ or ‘sexists’ but we see you. It is you that is the supremacist, disguising your subversive propaganda as ‘art’.

Druckmann Shoots ‘the Tribe’ in the Foot

That being said, there is a delicious irony to this situation. Cultural Marxism is so often labelled as an ‘anti-Semitic trope’, and as something which does not even exist. Yet here we have an ‘Israeli’ in Neil Druckmann proving to all of us that it does exist and that it is not an ‘anti-Semitic trope’. In your Zionist arrogance you’ve just done ‘the tribe’ a big disservice, Druckmann.

Video games are an artform and ideological hacks like Neil Druckmann have no place in this sacred space.

Update: 30 June 2020 – Did Druckmann Force Amy Hennig out of Naughty Dog?

Given the sorry state of Naughty Dog’s creative output it is perhaps relevant to draw attention to the departure of erstwhile Naughty Dog Creative Director and Writer, Amy Hennig.

It did not go unappreciated by myself that Amy had the integrity and courage to depict Palestine on the world map (instead of the illegitimate, racist settler colony known as ‘Israel’) in her game Uncharted 3: Drake’s Deception. Is it at all surprising then, that according to IGN sources, ‘Israeli’ Druckmann forced her out of Naughty Dog?⁽¹⁾ Excerpt below:

Sources claim Hennig was “forced out” by The Last of Us’ Neil Druckmann and Bruce Straley, and explained that Uncharted may now come under their control.

Notes

(1) ‘Uncharted PS4 Writer Amy Hennig Leaves Naughty Dog’ – IGN.com, 5 Mar 2014