Daily Stormer The Most Censored Publication in History
Eric Striker
Daily Stormer
November 8, 2017
I don’t play video games much anymore, but even though Call of Duty: WWII is a story told from the American point of view, it looks like it might be an interesting historical experience.
But not everyone feels that way.
One Jew who played through the game has written an angry and unhinged rant about how it doesn’t include gas chambers and it shows a few (of millions) German soldiers as human beings. He furiously juxtaposes Call of Duty with the perverse sadism-infused J-left fantasy game Wolfenstein II (which has seen abysmal sales compared to COD: WWII).
It’s fitting that he makes this comparison. Call of Duty: WWII is a game attempting to tell a believable story based on real life events, so of course there is no mention of gas chambers. Maybe this Jew reads the term “historical fiction” literally? What Jews claim happened in World War II is a fantasy tale that can only be portrayed in a whimsical and transparently white-hating political universe like (((Robert Altman’s))) latest iteration of Wolfenstein.
The butt-hurt Jew Alex Kubas-Meyer at J-left astroturf site Daily Beast is literally shaking!
Only in 2017 can a video game advertisement proclaiming, “Make America Nazi-Free Again” provoke controversy.
Only now could a new game from a decades-old series spark a backlash for the celebration of what it has always been: a Nazi murder simulator. World War II fell out of fashion as the setting for first-person shooters ever since Call of Duty 4: Modern Warfare set its sights on the present day, and that was largely because it seemed like the Nazi-fighting thing was all played out. This was for the best, since Nazis in video games are generally just lazy shorthand for “bad guys.” You don’t need to develop your antagonists if they’re Nazis because everyone knows they’re evil. Eventually, players realized how uninteresting this was, and the Third Reich disappeared from the mainstream for about a decade. But then Nazis came back in the real world and have been pushing to make themselves mainstream, so it’s fitting that they are now, again, digital enemy No. 1.
Wolfenstein II and Call of Duty: WWII are the latest installments in storied franchises. Wolfenstein 3D popularized the first-person shooter genre, and Call of Duty has largely defined the genre as it exists today. Released within a week of each other, these games come saddled with political context that neither developer could have foreseen. I will admit that, while America is having conversations about whether it’s OK to punch a Nazi in the face, it’s nice to have new games that let me punch them in the face with bullets.
The two are about as different as first-person shooters can be. Call of Duty is historical fiction, more or less following actual battles across Europe; Wolfenstein takes place in an alternate 1960s where Nazis not only won World War II but have since taken over the United States. One documents a platoon of men who storm the beaches of Normandy, and the other follows a man who single-handedly brings a nuclear bomb into a Texan Nazi base and detonates it. Over the past few years, Call of Duty has gone in some crazy directions, culminating in last year’s space-set Infinite Warfare, and those games look more like Wolfenstein than they do this new back-to-basics Call of Duty. It’s a conflicting change, though, because while it was probably necessary to tone some of the craziness down, WWII goes too far in the other direction. In trying to hark back to the old days, the game arrives staid. And by featuring violence that feels sanitized compared to recent entries, WWII does little to portray the real evils of the Third Reich.
…
I imagine that the script of Call of Duty: WWII was written in a different time, one long before a white supremacist plowed his car into a crowd of protesters in Charlottesville, Virginia, and before the president of the United States said there were “some very fine people on both sides” of that incident. I like to imagine that someone looked back on the script after Charlottesville and cringed when they remembered the line “They’re not all bad.” Your character says it after driving by a group of dead Nazis. Someone makes a joke, and you cut them off to give the dead Nazis some credit. Because… what? Why? Maybe there could be something interesting there, were someone daring enough to dig into it, but it’s just thrown out there, everyone sort of agrees, and then we get on with it. What a pull quote: “Nazis. They’re not all bad” —Call of Duty: WWII.
In Wolfenstein, on the other hand, the earliest moments feature the half-Jewish protagonist’s not-Jewish father attacking him for playing with an African-American girl. He is a monster. So are the Klansmen who openly and eagerly wear their hoods around the Nazi-occupied American towns. So is the Nazi official who kills someone trying to help you while you’re tied up, forces a gun into your mouth, and asks how the gunpowder that killed your friend tastes. In Wolfenstein, they are the same. No subtlety. No shades of gray. It’s so over-the-top that it stops being funny and starts being disturbing again. And that’s what it should be. It should be uncomfortable to watch awful things; to pretend that they don’t exist is worse.So, we return to Call of Duty, which shies away each time it hints at the true horrors of Nazism. A mission titled “Death Factory” might lead one to believe that it takes place in a concentration camp but instead, it’s just a forest. I continued to hold out the slightest bit of hope that Robbins hadn’t misled us all. After hours of waiting, the liberation came. Here, I thought, it must be time. But alas, no. Over a digital map and a few small images, you hear the same bad voice-acting you’ve been dealing with all game: “I thought I knew what cruelty was.” That’s all he could come up with. In the epilogue, you do see a camp, but it’s deserted. It’s been set on fire. “They wanted to hide whatever happened here,” someone says. But “they” aren’t the Nazis; “they” are WWII’s developers. They chose to use a POW labor camp, where there are implications of atrocities aimed at soldiers, not civilians. They chose to depict a World War II without gas chambers.
So in case you didn’t realize it by now, Jews who make games like Wolfenstein II see the 1-dimensional “bad guys” as stand ins for you, me and any white person (including Trump Deplorables) who isn’t a tranny or a Shabbos-Goy (Jews will kill them last).
Jews fantasize about slowly torturing us to death and seek to get enough people in the real world used to the idea through stupid video games.
Remember, all of this hate sprouts purely from the fact that we reject what Jews have planned for us and want them to leave us alone. Jews believe it is their god-given right to exploit, rape, and kill us, and that an objection to this is a default on our right to live!
But Jews better watch out. Now that they are in power they refuse to even recognize that we’re human, much less that we have grievances that are both logical and morally sound. But can this power dynamic last forever? History is fluid.
Jews love to pretend they are unique victims of history, but if you don’t consider non-Jews to be human, why complain about the taste of your own medicine? Jews are a numerical speck that behaves like Darth Vader. But just because we Westerners restrain ourselves from showing you a mirror doesn’t mean our patience will last forever.
