Print this post Print this post

The Dark Crystal: Age of Resistance

2,026 words

Warning: contains spoilers.

The Dark Crystal: Age of Resistance is an incredible artistic achievement and one of the most ambitious puppet productions ever made. A prequel to Jim Henson’s The Dark Crystal (1982) consisting of ten hour-long episodes, the show is faithful to the spirit of its predecessor and explores the universe of Thra in breathtaking detail. Its debt to European folklore and its message of uniting against a common foe will resonate with ethnonationalists.

The show takes place in Thra, home to a race of fair elven creatures called Gelfling. There are seven tribes of Gelfling, each with distinctive strengths. The Gelfling produced an advanced civilization, exemplified by their architectural feats and complex writing system. Temperamentally, they are loyal, honest, and fair-minded. It’s hard not to see them as kin to Europeans. They also possess the ability to share memories with each other via physical contact (“dreamfasting”) and to transform thoughts into physical objects (“dreametching”). When they die, their essence returns to Thra, their ancestral homeland and the land of their birth.

The most prized object in Thra is the Crystal of Truth, whose essence is one with Thra and the Gelfling. A dark age dawns when the Crystal is corrupted at the hands of the Skesis, an alien race of hideous reptilian creatures with large beaks and fangs. They are terrified of death, unlike the Gelfling, and transfer the life-force of the Crystal to their own bodies in the hopes of obtaining eternal life.

When the Skesis find that they have exhausted the Crystal’s abilities to rejuvenate them, they turn to a new method: extracting vitality from Gelfling by exposing them to beams of light emanating from the Dark Crystal. The first Gelfling to be drained in such a manner is a fair-haired Castle Guard called Mira, who was exploring the catacombs of the Castle of the Crystal and happened to be in the wrong place at the wrong time. Her lover, a Castle Guard called Rian, was caught witnessing the procedure but managed to snatch the vial containing Mira’s essence and escape by the skin of his teeth.

Like a parasite’s exploitation of its host, the Skesis’ vampirism threatens to sow the seeds of their own destruction since their actions, if left unchecked, will destroy Thra itself. The corruption of the Crystal disrupts the balance of Thra and brings about the Darkening, a malign force that infects Thra and causes a blight throughout the land, but the Skesis are indifferent to this because their avarice blinds them to long-term considerations.

The Skesis hide their misdeeds from the Gelfling and brainwash them into believing that they are superior beings and honorable protectors of the Crystal. The Gelfling obsequiously obey their orders and grant them gifts. The Skesis accuse Rian of having murdered Mira, and he instantly becomes a pariah, shunned even by his family. The Gelfling are told that Rian has a mental sickness and would infect them if they tried to dreamfast with him, recalling Soviet psychiatrists’ attempts to pathologize dissent by diagnosing political dissidents with schizophrenia.

A metaphor for the herd mentality of the brainwashed Gelfling emerges in a later episode when the Skesis mobilize a group of spiders collectively termed the “Ascendancy” to control the Gelflings’ minds by affixing themselves to their eyes. The affected Gelfling form a hive mind and speak in unison, in a robotic voice.

The closest equivalent to Rian’s experience today is that of outspoken White Nationalists, who have faced persecution even from their own people and, in many cases, have been denounced by their own families.

With the exception of his trusty friend Gurgeon, Rian does not find a sympathetic ear until the fourth episode, when he encounters some Gelfling who have been chasing him in a Podling village. After a tense exchange, he displays the vial, and one of them agrees to dreamfast with him: “The Skesis may rule the land, but they do not rule my heart.” The rest follow suit and are later joined by Rian’s father. Rian and his father are reconciled, and they all vow to fight together. It is one of the most moving scenes in the whole show. No matter how brainwashed our people are, they still have an innate partiality toward us that cannot be eradicated.

The concept of dreamfasting comes from the 1982 film. Jen and Kira dreamfast upon meeting; their voices blur together as the two telepathically exchange childhood memories and achieve a kind of psychic oneness. In Age of Resistance, the act becomes a symbol of Gelfling unity and solidarity.

The theme of unity over division is prominent throughout the show, which could plausibly be interpreted as an allegory for the importance of racial unity. Rian crosses paths with Deet, a humble girl hailing from the Caves of Grot, and Brea, a Vapran princess and daughter of the All-Maudra (the leader of the seven clans), and the three set off to find a sword prophesied to defeat the Skesis, accompanied by a Podling called Hup, a dwarf-like creature who looks like a potato. They each hail from different clans – Stonewood, Grottan, Vapra – but are united in their quest.

As news spreads of the Skesis’ crimes, more and more Gelfling join the Resistance. The All-Maudra is not initially convinced, but sees the light when she and Brea enter the “dream space” and encounter Mother Aughra, an oracle who is the embodiment of Thra. Brea’s sister, Princess Seladon, however, remains stubbornly loyal to the Skesis. The Skesis general thus murders the All-Maudra, allowing Seladon to become the new leader of the Gelfling.

Seladon is a good example of the sort of white people who ingratiate themselves with Jews and non-whites. Lacking Brea’s intelligence or her sister Tavra’s grace, she feels inadequate and unloved. She craves her mother’s approval, but the All-Maudra rarely praises her. But the Skesis reward Seladon for serving them and betraying her people. Her treason gives her a sense of power that she would not otherwise have. She goes as far as to spite her own mother by burning her and refusing to adhere to Gelfling burial rites. She winces when a Skesis eats the sigil of the Vapra clan, but says nothing.

The portrayal of Seladon is psychologically astute. People generally betray their own not out of love for the enemy (unless there truly is something wrong with them), but out of love for their own gone awry. Seladon allies with the Skesis out of resentment and wounded pride. Her bitterness causes her to retaliate not just against her mother, but against all Gelfling.

It takes a brush with death to convince Seladon to join the Resistance. She attempts to compromise with the Skesis, but they do not want compromise. They want to drain the essence of every last Gelfling, even Seladon herself. They come close to draining her, but are stopped by Mother Aughra, who trades her own life for the lives of the Gelfling about to be drained. Seladon is forced to confront the fact that, at the end of the day, her loyalty to the Skesis makes no difference. They see her as simply a Gelfling, and therefore an enemy.

The Skesis frequently quarrel among themselves. The Emperor and General are aggressive in their dealings with Gelfling, while the Chamberlain (voiced brilliantly by Simon Pegg) is a more slippery character who tries to trick them into believing that he has their best interests at heart. But despite their differences in opinion, they all support their own interests and want to drain Gelfling, much like how both liberal and neoconservative Jews support whatever they think is best for Jewish interests.

The conflict between the Skesis and the Gelfling culminates in a battle at Stone-in-the-Wood in which Rian and his friends are joined by the seven tribes. The mere specter of their unity causes the Skesis to shrink in terror and retreat. The contrast between the Skesis’ ugliness and the Gelfling’s nobility and beauty is particularly potent here.

Age of Resistance (and The Dark Crystal) should be viewed by all white children. It is both a visually stunning and imaginative fairy tale and a fable that can be used to illustrate the principles of White Nationalism. It is certainly dark, but so are the tales of the Brothers Grimm. Children are not as innocent as they seem.

Many prequels and sequels today are little more than third-rate knockoffs that disfigure the spirit of their predecessor and exploit fans’ affections in the name of profit. Age of Resistance does no such thing. It plumbs the depths of the universe introduced in the film without erasing its sense of wonder and mystery. (Two prequels that achieve the exact opposite: The Phantom Menace and Ridley Scott’s Prometheus.) The stylistic and spiritual continuity is remarkable. Jim Henson’s children run the company he founded and have kept his legacy alive. Brian Froud, the 1982 film’s concept artist and the illustrator of its companion volume, The World of the Dark Crystal, returned to work on the designs for the show (this time joined by his son, who played the baby boy in Labyrinth). Even the designs of the plants were preserved.

The look and overall ethos of Age of Resistance recall ‘80s dark fantasy films like Legend (1985) and The NeverEnding Story (1984). There are also echoes of Lord of the Rings (LOTR). Froud and Alan Lee (one of LOTR’s concept artists) actually collaborated with each other on a book of faerie illustrations. As in LOTR, Froud’s work is steeped in British folklore and mythology.

The show brims with strange, mythical beasts, including Nurlocs, giant worms with many limbs; Landstriders, towering quadrupeds with rabbit-like ears; and Crystal Skimmers, enormous stingray-like creatures that the Dousan clan use to travel through the desert.

The craftsmanship that went into making Age of Resistance is astounding. Virtually everything was hand-crafted. Even Brea’s tiny journal is filled with hand-drawn hieroglyphs and designs. CGI was used only in a minor capacity, such as to remove the presence of the puppeteers in certain scenes. Initially, they experimented with computer-generated Gelfling; a sample of this is shown in the documentary The Crystal Calls: The Making of The Dark Crystal: Age of Resistance. There is a huge difference between the computer-generated version and the puppet version. The puppets feel much more tactile and alive. This quality really enhances the humanity of the story and its relevance to the human world.

The puppets are capable of exhibiting an impressive breadth of emotion. Blinks and head tilts are deftly deployed to convey emotional nuance, fulfilling Jim Henson’s wish to depart from the exuberant gesticulation characteristic of the Muppets and use the Gelfling to experiment with subtler, less cartoonish movements.

The Crystal Calls is an interesting look at the challenges involved in shooting and handling puppets. Holding a heavy puppet above one’s head while manipulating its limbs and facial muscles and maneuvering a narrow space below the set is no small feat.

Puppetry is an ancient art that has long been synonymous with folklore and folk tradition. Skomorokh theatre in Russia was the art of the common people and was performed in the streets. Pulcinella is a symbol of Naples and her people, and his English equivalent, Punch, is likewise a populist icon associated with British folk culture.

Puppetry also played an important role in the Czech national revival. Under Hapsburg rule, German replaced Czech in schools, institutions, and theaters, and large numbers of Czech-language books were burned. Puppeteers continued to perform in Czech, thereby contributing to the preservation of the Czech language. Puppetry became a symbol of Czech identity and a means by which to communicate the ideals of Czech nationalism.

Puppetry has the power to captivate large audiences and strike a chord with the average person in a way that few art forms can. I propose that White Nationalist artists look into making puppet productions.

I highly recommend Age of Resistance. It is both a richly imaginative work of fantasy and a fable that can be used to illustrate the principles of White Nationalism. It hearkens back to an age in which entertainment for children was actually serious, both morally and artistically.

This entry was posted in North American New Right and tagged , , , , . Post a comment or leave a trackback: Trackback URL.


  1. Chess Player
    Posted November 26, 2019 at 5:11 am | Permalink

    Does it have the Mystics? Idk, it seems like it gets away from the underlying mythos of the original, that the Skeksis and mystics are two halves of the human spirit.

    Can you guys explain the name of Thra? Why the e is lacking?

    • Vauquelin
      Posted November 26, 2019 at 9:39 am | Permalink

      The mystics and skeksis still have their traditional Platonic role to play of a greater being split in half. It is a central point of the series, which itself is sort of a prequel to the film.
      I’m also glad to see CC’s pop culture department shed a light on this great little show. It was a feast to see the entertainingly wretched, beaked, hunchbacked Skeksis revel in their villainy and subversive nature while complaining about their sinuses and bygone beauty in a crude Brooklyn accent. One would hope that somewhere someone deep down in the production of this show knew what they were doing.

      • Chess Player
        Posted November 26, 2019 at 11:06 am | Permalink

        I think there’s no doubt their appearance is pointed. It’s just so funny and entertaining. Love the chamberlain.

        But explain the name of Thra, what’s it stand for? $20 to cc if someone does! It dismays me that people can’t answer these simple questions even to save the white race.

        Gee, to think there was such depth and beauty even in a little fairy tale like that back then. Why has our culture so decayed?

    • Hugo Adrian
      Posted November 26, 2019 at 12:20 pm | Permalink

      Thra comes from Mithra. Jim Henson originally titled the Dark Crystal script “the Mithra treatment” and was interested in mythology.

      I suspect that the urRu (mystics) take their name from Ur, an ancient Mesopotamian city, and that the Skeksis take their name from Kek, the Egyptian god of darkness. Their theft of “vital essence” mirrors the Egyptian concept of the “double,” one aspect of the soul as understood by the Ancient Egyptians which is called the vital essence. The division of the urSkeks into good and evil halves mirrors both the Jewish Tree of Life’s sephiroth and qliphoth (note the very similar Tree of Life diagram in the book studied in episode one), but also the Egyptian Ogdoad which Kek is closely related to.

      The new show has a Jewish director, Louis Leterrier, and there are several Jewish elements indicated in the names of characters and settings. For example, the mountain capital Ha’rar is most likely taken from “Harari.” Harari is a Jewish habitational name for someone from Montpellier, France, a mountainous area where many Jews settled (Leterrier is himself a French Jew). The word stems from the Hebrew charari meaning “mountaineer,” and is related to the name Haran meaning “mountain people,” and Harel / Harela meaning “mountain of God.”

      One of the clues that the writers are engaging in esotericism is the name of the Grottan clan leader Argot, which means “a secret language used by various groups to prevent outsiders from understanding their conversations.”

      The “Spriton” clan is ruled by Mera, whose name means “aristocratic lady,” and is related to the Hebrew name Amira meaning “princess.” The “Sifa” clan is ruled by Ethri, another example. The first google search result for “Ethri” (after links related to Age of Resistance) is Horvat ‘Ethri, or Ethri Ruins, “a sprawling archaeological site that features the remains of a now partially restored Jewish village which dates back to the Second Temple period,” located in modern Israel’s Judean Hills. The “Dousan” clan is ruled by Seethi, whose name is likely a play on the the Hebrew seeth meaning “high position,” “majesty,” and “uprising,” the former relating to a Maudra’s status, the latter uniquely tying into the series’ title and plot.

      The “Grottan” clan’s expansive underground city, “Domrak,” sits within a large hollow. Its name is a portmanteau of “dome” and “rock.” If Ha’rar, Mera, Ethri, and Seethi are Jewish references, what else besides the Dome of the Rock might Domrak allude to?

      Also note that the series introduces seven Gelfling clans. In Age of Resistance’s world, the seven clans are highly suggestive of the seventy descendants of Israel, which begot the seventy nations of humanity in the Jewish worldview. I strongly suspect that these Jewish names and other wrinkles are an attempt by Leterrier (and possibly other Jews on the project) to distance the Skeksis and their theft of vital essence from the Jewish blood libel.

      • Chess Player
        Posted November 26, 2019 at 6:16 pm | Permalink

        This must be right because it’s what’s on the internet. I was thinking of something else but I’ll honor it. Why do you know so much about dark crystal?

        • Hugo Adrian
          Posted December 2, 2019 at 2:29 am | Permalink

          What with the new series I was going to analyze both the film and show for CC. But with this review published, I thought I’d share some preliminary thoughts on the show. As for the meaning of Thra, what were your thoughts?

          • Chess Player
            Posted December 3, 2019 at 3:09 pm | Permalink

            Thra=Thrae minus e, earth spelled backwards without the final “e”, like the shard that was splintered off the crystal! Could still be right partly.

            I agree it’s a great movie. Everything from that period—Conan the barbarian, heavy metal, clash, Star Wars… Will there ever be such fantastic movies again? Just the music, god!

          • Hugo Adrian
            Posted December 3, 2019 at 8:41 pm | Permalink

            There’s some indication in the names and lore that certain names can be read backwards or function as palindromes, so you could certainly be correct. Another possible interpretation is that it references the Egyptian sun god Ra, due to the importance of the eye-like sun formation in the film.

  2. Schneiderich
    Posted November 26, 2019 at 10:17 am | Permalink

    “Under Hapsburg rule, German replaced Czech in schools, institutions, and theaters, and large numbers of Czech-language books were burned.”

    This is just an excessive simplification! German prevaled in time almost organically as a languague of educated people. Almost every single czech institution was founded (!) under the rule of Habsburgs. It was empress Maria Theresia, who instituted (1774) the duty of school education in Bohemia. The main contributor for our National theater was actually our emperor Franz Joseph I. The so called “book burning” (yet agian!) was mainly a religious attack against protestants/reformists. The czech older literature was actually preserved by jesuits in the time of recatolisation, when bohemian protestant nobility – predominantly german-speaking! – was expelled to emigration after the so called “Bohemian estate revolt”. Josef Dobrovský, the first persona of the Czech national revival, was a catholic priest. Author of the first czech dictionary and grammar, Josef Jungmann, was german native speaker – same as later his kids (the fact, that his son had a russian-like(!) patronim “Josefovič” is almost laughable: Jungmann’s slavic virtue-signaling at its finest)… The first version of the main work of our nationalistic interpreted history, was František Palacký’s “Geschichte von Böhmen”, later “The history of the czech (sic!) nation in Bohemia and Moravia (Dějiny národa českého v Čechách a na Moravě)”. The Polaks, Slovaks, Hungarians – they have a history, we only have the pleasant half-lies and such… Prag was a capital of German Reich several times afterall.

    Yes, as you can see, I am more of a “white” than a “czech” nationalist. Under the motto: “amicus nationalismus, sed magis amica veritas.”

    “Puppetry became a symbol of Czech identity and a means by which to communicate the ideals of Czech nationalism.”

    I can only recommend the movie “Staré pověsti české”, “Old Czech Legends” by master Jiří Trnka, about our national myth. It is the nicest puppet animation I have ever seen. It was made in the most nationalistic epoque of our history – the “communist” ’50, when we became for the first time in our history something as a nationstate (if one can use the term: we have genetically more in common with Germans than with Slovaks)..

    The last 15min. sequence of the movie is about our “national wetdream” – a futile war against Nazi Germany under command of our covardly president Beneš, which actually never happened (the crows are an alegory of Luftwaffe, after the fight there is a visualisation of burning skies over Dresden, as it was seen from Bohemia over the horizon that very night, the “stalinist” optimistic ending with fields and blue skies and the birth of a new generation is actually the good old czech national-socialism: yep, we were the first). The original myth is actually about a fight with Lučans: who were – believe it or not – Slavs.

    Please pardon my English.


Post a Comment

Your email is never published nor shared.
Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.
Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


This site uses Akismet to reduce spam. Learn how your comment data is processed.

  • Our Titles

    White Identity Politics

    Here’s the Thing

    Trevor Lynch: Part Four of the Trilogy

    Graduate School with Heidegger

    It’s Okay to Be White


    The Enemy of Europe

    The World in Flames

    The White Nationalist Manifesto

    From Plato to Postmodernism

    The Gizmo

    Return of the Son of Trevor Lynch's CENSORED Guide to the Movies

    Toward a New Nationalism

    The Smut Book

    The Alternative Right

    My Nationalist Pony

    Dark Right: Batman Viewed From the Right

    The Philatelist

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    Venus and Her Thugs


    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics


    The Importance of James Bond

    In Defense of Prejudice

    Confessions of a Reluctant Hater (2nd ed.)

    The Hypocrisies of Heaven

    Waking Up from the American Dream

    Green Nazis in Space!

    Truth, Justice, and a Nice White Country

    Heidegger in Chicago

    The End of an Era

    Sexual Utopia in Power

    What is a Rune? & Other Essays

    Son of Trevor Lynch's White Nationalist Guide to the Movies

    The Lightning & the Sun

    The Eldritch Evola

    Western Civilization Bites Back

    New Right vs. Old Right

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles


    The Node

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Gold in the Furnace