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Abdul Mukthar's avatar

The World of Islam and Orthodox Christianity has to unite and fight if we are to defeat before western civilization's immorality take overs the world.

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Melvin Clive Bird (Behnke)'s avatar

This text, deeply embedded in conspiratorial geopolitics and apocalyptic determinism, is an incendiary political-theological treatise drawing from Alexander Dugin’s neo-Eurasianist philosophy (Dugin, 2012), end-times eschatology, and hyper-nationalist, anti-liberal narratives. It weaves current events real, exaggerated, or invented into a larger eschatological drama of civilizational warfare and cosmic destiny, framed within a quasi-religious vision of Russia’s salvific mission. It should be read not as sober analysis but as a form of political Gnosticism, enacting what Eric Voegelin described as the “immanentization of the eschaton” (Voegelin, 1968).

The essay opens with a melodramatic framing device: the U.S. bombing of Iran’s Fordow facility is cast not as a regional escalation, but as the trigger of World War Three. The invocation of Chekhov’s dramatic principle that a pistol hung on the wall in Act I must be fired in Act III becomes a metaphysical claim: the mere existence of nuclear weapons necessitates their eventual use. This is a classic instance of teleological determinism, foreclosing contingency, restraint, or diplomacy. It mirrors Carl Schmitt’s notion that sovereignty lies in the power to decide on the exception (Schmitt, 2005) here, the nuclear exception has already been declared inevitable. By reconfiguring the Cold War’s balance of terror into a theological necessity for nuclear apocalypse, the text mimics a political-theological dramaturgy that dissolves complexity into fated eschaton.

At the center of this vision is a stark binary between “globalists” a deliberately nebulous term conflating liberal elites, technocratic futurists, LGBTQ advocates, international finance, and AI theorists and the defenders of traditional sovereignty and multipolar order. The globalists are depicted as engaged in an ontological war against humanity itself, seeking the elimination of national borders, gender, identity, and finally human beings, in order to replace them with artificial intelligence and post-human governance. This vision is directly inherited from Alexander Dugin’s warnings about liberalism as an ontological dissolution of Being itself (Dugin, 2012). Yet it also echoes Hannah Arendt’s account of totalitarianism’s drive toward a world “in which everything becomes possible” (Arendt, 1973). However, the author moves from critique to cosmic conspiracy: the globalist elite is simultaneously orchestrating MAGA, neo-Nazism in Ukraine, Zionist militarism, radical Islam, Hindutva nationalism, and AI research into a single program of post-human planetary control. This level of coordination and intentionality is implausible; it reflects what Richard Hofstadter called the “paranoid style” in political thought, wherein disparate forces are imagined as puppets of a single omnipotent hand (Hofstadter, 1965).

One of the essay’s most ideologically consequential reversals lies in its claim that globalists are no longer resisting nationalism, but harnessing it for their own apocalyptic ends. In this retelling, Trump, Netanyahu, Hindutva forces in India, and Ukrainian ultranationalists are not true resistors of globalism, but are either co-opted or naïvely serving globalist designs. This is an ingenious but unstable dialectic: nationalism becomes both the instrument of resistance and of domination, both a threat to the globalist order and a tool of its advancement. The ideological sleight of hand here is to preserve one pure form of nationalism Russian nationalism as the only remaining source of authentic metaphysical resistance. All other forms are either debased, corrupted, or compromised. This is in keeping with the messianic tendencies of Eurasianist thought, which casts Russia as the katechon the eschatological force restraining the coming of the Antichrist (Shlapentokh, 2007). Within such a vision, the world is not composed of competing political systems or ideologies, but of cosmic archetypes locked in eschatological combat.

The essay’s use of moral inversion and symbolic reversal is particularly extreme. Israel is cast as the new Nazi regime, while Palestinians are reconfigured as their victims. Ukrainian nationalism is collapsed into neo-Nazism, itself framed as a tool of the globalists. The nuclear arsenal, once imagined as a deterrent, is now transformed into an inevitable weapon of planetary cleansing. Even Trump, who once stood for a multipolar order and anti-interventionism, is said to have “unleashed World War Three.” These rhetorical strategies serve not analytical but mythic purposes, in which guilt, violence, and resistance are redistributed along metaphysical, not political lines. Slavoj Žižek has argued that such symbolic inversions are typical of ideological fantasy, where the victim is cast as the aggressor and the aggressor as the savior (Žižek, 2008). This rhetorical strategy inoculates the author from critique: any contradiction becomes proof of deeper conspiracy, any act of war an act of defensive eschatology.

The concluding appeal to embrace a new, totalizing Russian ideology serves as both a call to arms and a theological imperative. The author explicitly rejects both the liberal humanitarianism of the post-Soviet Russian state and the class-based totalitarianism of Soviet Marxism. What is proposed instead is a fresh ideology sacred, aggressive, uncompromising. This recalls Dugin’s advocacy for a “Fourth Political Theory,” one that fuses elements of Tradition, mysticism, and radical political mobilization (Dugin, 2012). But what the author is ultimately proposing is not theory but myth: the activation of an ideological will that fuses military force, sacrificial destiny, and redemptive sovereignty. Umberto Eco’s warning about “ur-fascism” is apt here he described it as an ideology without coherent doctrine, defined instead by emotional commitment to struggle, victimhood, and sacred violence (Eco, 1995).

The essay is riddled with factual distortions, illogic, and rhetorical manipulation. It conflates conventional military strikes with nuclear escalation; it fabricates a seamless continuity between disparate nationalist movements across geographies and ideologies; it assumes a world-historical coherence in events that are plainly contradictory. Furthermore, its elevation of apocalypse as the necessary horizon of politics eliminates the possibility of diplomacy, peace, or ideological hybridity. It demands total war in the name of metaphysical purity. This is not analysis, but political Gnosticism. It presents evil as a global code, war as an ontological necessity, and ideology as salvific flame.

This text is not merely dangerous for what it proposes, but for the form it takes: it replaces reality with myth, analysis with eschatology, history with fate. It should be read alongside the warnings of Arendt, Schmitt, Eco, Hofstadter, and Snyder, who all in different ways identified the signs of a totalitarian imaginary masquerading as political clarity. What we are witnessing in this document is not prophecy, but performance the resurrection of an old fascist script dressed in the language of AI, transhumanism, and multipolarity. Its call is not for sovereignty, but for sacred violence. It is the paranoid sublime made legible.

References

• Arendt, Hannah. The Origins of Totalitarianism. Harcourt, 1973.

• Dugin, Alexander. The Fourth Political Theory. Arktos, 2012.

• Eco, Umberto. “Ur-Fascism.” The New York Review of Books, 1995.

• Hofstadter, Richard. The Paranoid Style in American Politics. Vintage, 1965.

• Schmitt, Carl. Political Theology: Four Chapters on the Concept of Sovereignty. University of Chicago Press, 2005.

• Shlapentokh, Dmitry. Eurasia: Between Illusion and Reality. Brill, 2007.

• Voegelin, Eric. Science, Politics and Gnosticism. Regnery Gateway, 1968.

• Žižek, Slavoj. Violence: Six Sideways Reflections. Picador, 2008.

• Snyder, Timothy. The Road to Unfreedom: Russia, Europe, America. Tim Duggan Books, 2018.

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