By: Jay Dyer
I thought when I was going to see Assassin’s Creed it was a film about the attempt on 90s phenom frontman Scott Stapp’s life. I was in for something quite different, as this video game-turned film blended everything from transhumanism to Templarism. It seems Hollywood and the video game industry are now obsessed with conspiracy culture, and as we will see, this not an organic, happenstance development. In The Kingsman, we saw how Templarism related directly to British Intelligence operations and Freemasonry, but also since the release of the endless groaners from Dan Brown, “Templarism” continues to spin conspiracy webs (and Box Office profits), as well as fascinate profane, outer portico audiences.
Here, the Templars search for the “mythical Apple of Eden,” a new twist on the standard fare paleotechnology we generally see heroes searching after, like glowing blue cotton candy cubes, shards of mystical space essence and whatever else Nikola Tesla might have dreamt up on acid. For the Templars in this incarnation, we have the bold presentation of Luciferianism. “Free will” is said to be bound up with the “Apple” of disobedience from Adam and Eve’s Fall, and finding this old rotten apple core with the aid of some other mystical cipher code device will result in the power to “control all freedom of thought.” Perhaps the original Pentagon makers of the Internet itself, as well as video games really did discover a means to control free thought – and it’s called video games (which, in my view, will eventually morph into virtual reality, which will then morph into full immersive Matrix-like interfaces).
Our Brotherhood of Assassins stand in the way of the secrets of free will and mind control, we are told, but I was feeling more and more like I was watching Indiana Jones and the Last Crusade. Weren’t those “brothers” guarding the Grail, too? Indeed, it seems more and more as if films in our day are re-presentations of 80s and 90s movies that are video games. Callum (Michael Fassbender) is death row convict sentenced to death who is saved by the Abstergo Foundation (a modern Templar front – very similar to the Umbrella Corporation in Resident Evil). Interestingly, corporate shells and fronts for the CIA and the upper echelons of the Illuminati, so to speak, do use foundations, as we discuss here.
In a Matrix-like uplink, Callum enters the animus, which are the memories of select people long dead, based in the encoded information in their DNA. Dr. Sofia (Marion Cotillard) reveals that Callum is being sent back to search for said “Apple” that is the secret to free will. The gnostic elements here are blatant, as both the Sophia principle and the Luciferian doctrine that evil is a necessary corollary to the good form the basic story arc. In the Pistis Sophia, the gnostic principle of Wisdom, or Sophia, is the syzygy or supposed feminine side of God and Christ. Sophia is generally presented as fallen in some sense, having a role in the manifestation of the material world and is often considered a lesser aeon.
What if the secret to all reality is not an ancient apple core, but instead a primeval banana peel? The real, true mystical core.
At this juncture the anima mundi should be mentioned, as the concept relates to both Platonism and Jungian archetypes. In Jung, the anima and animus are the corresponding archetypes in the collective unconscious – in a male, the opposite feminine appears as the anima, in a female, the masculine appears as animus. In the film, the animus is the masculine representation of the ability of logic and technology to re-present and re-create the genetic memories of the past, and Callum is the chief subject.
The Abstergo Foundation is involved with the United Nations and “fixing” man’s anti-social behaviors, and like the social programs in Clockwork Orange seeks to “cure man” from his violence. The “elders” in control of the Abstergo Foundation are the Illuminati, who fund and direct the Foundation’s research into bloodlines to ultimately find the Apple, the genetic code for free will. Free will, the (female) Elders decide, is the problem in man who must be controlled, and the infiltration and usage of religion is now obsolete due to the prevalence of “science” (i.e., scientism). Callum is believed to be the “living link between heredity and crime.”
“Can you take me higher? To a place where blind men see?”
Callum descends from Aguilar, the Assassins, who was burned by the Inquisition for being a murderer. Dr. Sofia informs Callum he is genetically predisposed to violence and crime, as she discourses on the how the Apple of Eden is an ancient technology to discover man’s genetic dispositions. Violence is explained to be a disease, like cancer, and curable through external stimuli. While the plot of the film is largely ridiculous and yet another of infinite retellings of gnosticism, one insight that is correct is that the formerly Christian West has shed its religious veneer for scientism, while retaining many of the inconsistent moral goals and purposes that only make sense in a Christian worldview. Since God was jettisoned, “Nature” and her secrets are the new god, embodied in technology and genetics.
As a side note, isn’t it interesting that Hollywood and the mass media indoctrinate the masses with the notion that one’s lineage, heritage and bloodline do not matter, and to have any concern for those ideas is jingoism, racism and Nazism, while at the same time lauding the mysteries of genetic memories and esoteric bloodlines. The reality, of course, is that bloodlines only matter when they are the bloodlines of the elite, while these oligarchs are hell-bent on genetically ruining yours (or making sure you have no offspring).
Note the inverted cross imagery, moving in descent away from the Cathedral.
Genetic memories are a fascinating aspect of the biblical notion of passing on traits to one’s offspring and represents cutting edge research. The absurdity of Darwinism is once again immediately evident, as such notions are utterly incompatible with mainline reductionistic materialism and the faux science the masses are fed, while at the same time goofy pop culture projects like Assassin’s Creed will explore the idea of genetic memories. The masses are told this is “pseudoscience,” while at the same time positive research is conducted on the topic. Indeed, most scientists cannot replicate the so-called findings of their peers!
Darold Trefert at The Scientific American writes:
“Wilder Penfield in his pioneering 1978 book, Mystery of the Mind, also referred to three types of memory. “Animals,” he wrote, “particularly show evidence of what might be called racial memory” (this would be the equivalent of genetic memory). He lists the second type of memory as that associated with “conditioned reflexes” and a third type as “experiential”. The two latter types would be consistent with the terminology commonly applied to “habit or procedural” memory and “cognitive or semantic” memory.”
I thought “race” didn’t exist? Anyway, genetic and racial memories make perfect sense in a worldview other than mainstream scientism and materialism presents. And once again we see Hollywood discussing these matters in the context of ridiculous pop fiction, while deriding and denigrating those who would dare to discuss them in the “real” world. I’m reminded of Hollywood’s obsession with gun control, while simultaneously filling every action film with countless gun-blasting babes and brutes.
The “assassins,” we are told, are the descendants of the medieval sect of Hashshashin, who were dedicated to principles and were able to cloak their hidden agenda under the guise of being bands of rebels, drug addicts and miscreants. Naturally, so movie logic goes, all medieval Catholic theologians and Dominicans were power-mad monsters, while sects of Islamic Assassins were noble warriors. I guess the Arabic slave trade didn’t exist in the world of Assassin’s Creed. No one is more critical of Thomism than me, but I have to admit they at least got Dominican garb right – and not much else (though one could argue the Spanish Inquisition, which was distinct from the Roman Catholic, was a different ballgame in terms of abuse). Regardless the absurdity is brought home in the fact that if the Dominicans are “evil” for seeking to kill heretics, why are assassins “good”?
In any case, Callum and his team of ghost assassins, Callum receives the revelation from his mother that “nothing is true, everything is permitted,” the supposed dictum of the ancient order of Hashshashin. Other men are limited by their attachment to “morality” and order, while the Assassins are beyond good and evil. As we stated at the beginning, the film is purely Luciferian, and here it admits it is so. Callum pledges his service and allegiance to “the Light,” which is a war of “free will” (nihilism) against moral absolutes.
The Edenic imagery is appropriate, since this was the message of the Serpent – you shall be like God, knowing good and evil, meaning you will determine for yourself what is right and wrong, true and false. Relativism is the Luciferian Gospel of the Serpent, and it has not changed one bit in the millennia since the Garden. Ironically, this itself is a powerful testimony to the veracity of the biblical texts! The “Gospel” of Lucifer is still the message of being one’s own moral arbiter, a manifestly self-destructive and disastrous worldview, yet is a scam that never ceases to allure man with the hope of becoming divine through some artifice of his own.
Masonic Gobbledygook.
Most surprising in the film were the sequences at the Grand Templar Hall (the head Masonic Lodge) in London, where the secret scientific “elders” council that runs the Vatican also controls world freemasonry. Dr. Sofia learns that the discovery of the secret of free will in the Apple will mean the end of free will. What is fascinating about this is the revelation that “science” is actually subservient to a higher, more elite council located in London. Indeed, I have been talking about the control of science through the Royal Society for a good while now. Inadvertently hitting on truth, the film is correct in presenting western scientism and genetic determinism as covertly ruled by a higher society of initiates who understand that scientism is false.
Assassins enter the Masonic Hall – the pillars Jachin and Boaz, images of controlled dialectics, are seen to the right. Appropriate, given that is the message of the film.
The false dialectic presented in the film is that the solution to man’s ills is now a battle between Masonic pseudo-Christian scientism, and nihilistic Luciferianism. In reality, Masonic and Luciferian scientism controls and manages dialectics of faux-Christianity and gnostic-Luciferianism. Neither rationalistic scientism nor nihilistic Nietzscheanism can liberate man – give him true free will. The close of the film shows Callum and his secret order atop skyscrapers holding the seed – carrying the torch of Luciferian “free will.” At what point will we consider that perhaps the nonsensical gnostic mythos is incapable of showing man the way to “freedom”? Nihilism is not a transcending of moral order, but rather, a manifestation of controlled dialectic.
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