Monkey Hippo Like Goyim: What you get when you do a Google image search for “Cultural Marxism”

“#GamerGaters and MRAs: when you embrace the CM conspiracy theory, you’re getting into bed with the people who made these pictures.”

No really, aggrieved entitlement opens the doors to fascist thinking? Tell me it ain’t so!

we hunted the mammoth

Cultural Marxism in action. Cultural Marxism in action.

“Cultural Marxism” – the alleged conspiracy of alleged secret Marxists allegedly trying to destroy Western Civilization through Political Correctness and feminism and racial equality – is a favorite boogeyman of the far right.

That includes, of course, large sections of the “Red Pill” world. Roosh V’s Return of Kings site publishes reactionary diatribes with titles like Cultural Marxism Produces Matriarchy and Tactics For The War Against Cultural Marxism In 2015; Heartiste rails against the alleged evils of “cultural Marxism, feminism, equalism, and … racial self-annihilationism.”

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Musical Keys and Goethe’s Color Wheel

Goethe published Theory of Colors in 1810 where he explored the physical natures of colors and how people perceived them. He gave special attention to the “psychology” of colors, the unique and special character each color supposedly has. The keys of the 12-tone musical scale were often associated with colors and likewise with a certain character. Beethoven disagreed sharply with a contemporary about the issue, holding that each key had a unique character of its own and to carelessly change the key would completely change nature of the music. His contemporary disagreed.

Goethe classified all colors into six main colors, almost all of which match a musical key. Among the six main colors he gave a general character. Purple and red were beautiful, orange was noble, yellow was good, green was useful, blue was common, and violet (purple again) was unnecessary.


Goethe also assigned the temperaments and mental functions to the colors. Reason or the choleric temperament is given to red (beautiful) and orange (noble). Intellect or the phlegmatic temperament is given yellow (good) and green (useful). Sensuousness or the sanguine temperament is given to green (useful) and blue (common). Imagination or the melancholic temperament is given to purple (unnecessary) and red (beautiful).


Goethe heightens reason as the highest function and above the passions and imagination, a tradition of western philosophy since antiquity. But those priorities were challenged by many intellectual movements of the 19th century, such as Romanticism. Beethoven straddled the 18th and 19th centuries and gave voices to keys (and colors) that were not used so much before and considered inferior. Romantic composers after him like Berlioz, Chopin, and Wagner took his mantle in exploring new musical lands.

And now the keys. I often use Beethoven’s sonatas as an example because I’m very familiar with them and they are a very diverse literature where almost every key and almost every part of the piano’s potential is explored.

C Major has a definite, noble gold color. Like the sun it has an austere and grand quality, but at the same time can also be bright and hopeful. Mozart’s Jupiter Symphony evokes the stately, glowing, grand quality of C Major. Beethoven’s Leonore Overtures and other C Major works evoke a slightly different quality. This C Major is brilliant and breezy, and easily evokes the soaring skies and rising hopes. It has an airy quality has a slightly more blue hint in its color, and is very triumphant.

G Major is green, emerald in quality. It is not as bright as E Major, and so it cannot evoke nature as well. G Major isn’t a very strong key, but it makes up for it in subtlety and grace. Beethoven’s Sonata No. 10 is a good example, where green G Major is coy and comedic. Beethoven’s Piano Concerto No. 4 shows a deeper form of G Major, which isn’t as bold and heroic as C Major or Eb Major, but is both sweeping and gracious. It has a fresh quality that evokes newly sprouting green shoots.

D Major is a strong and dynamic key that can reflect many different moods. The color of D Major is red, sometimes it is a deeper shade and is even bronze. No matter what form flexible D Major comes in, it always has substance. D Major can have a stark and commanding presence, like in Mozart’s Don Giovanni Overture, and can be brilliant like in his Serenade No. 9. And in Beethoven’s Pastoral Sonata and Violin Concerto it has a deep, dreamy, natural quality.

A Major has a yellow tinge such as C Major. However, its color is lighter and more plastic. A Major is a bright yellow, sharp and cheery, similar to lemonade in color. When an instrument sings in A Major, its voice is especially crisp, even when an instrument as voluptuous as a clarinet plays it. Mozart’s Clarinet Quintet and Clarinet Concerto take A Major to its highest level, where it is especially poignant and lyrical, aided by its natural sharp quality.

E Major has a bright green color, and unlike G Major has an easier time painting the scene of a sunlit forest. It is especially lyrical and pleasing to the ear, but doesn’t have as much weight as G Major. However, that can be to E Major’s advantage, since its brighter shade of green allows it soar and waft dreamily in space. It is an otherworldly key, reflecting the legendary state of nature. Beethoven’s Sonata No. 9 and Sonata No. 30 reflect both qualities of E Major, both the bright and lyrical and the otherworldly.

B Major has an orange color, and with the adding of accidentals becomes especially fizzy and tangy, like a pop orange drink. Sadly composers haven’t explored B Major so much, instead opting for Bb Major. The only example I can think of is Brahms’s Piano Trio, and Brahms seems to go against the key’s natural inclination, if you could call it that. Going with what I have, B Major has a noble and solid quality; similar to the attributes Goethe gave to the color orange.

F# Major is a darker shade of orange. It doesn’t have the spark, zaniness, and excitement of B Major. Rather it is a more solemn character, but not dreary. Once more, I don’t have many examples to go by. I only have Shostakovich’s String Quartet No. 14 to go by. By his example though, I can deduce that F# Major has a decent singing quality, but a bit uptight and limited in its expression.

C# Major has an even darker shade of orange, so much that it is better to call it brown. People recognize this key more as Db Major, if you discount the fact that before keys were well tempered C# and Db were two different keys. They still are in modern times, not on the piano but on string instruments like the violin. Bach’s Prelude and Fugue in C# Major shows the lyrical potential of the key. If you immediately transition from C Major to C# Major it definitely sounds like a fizzier C major, not grand but wonky.

F Major has been compared to piousness and associated with the church and Pastoral for a long time in western music. It has the color of a pale blue, sometimes even with some beige, it reflect it’s innocent quality. However, it can also be nostalgic and sad like in Beethoven’s Piano Sonata No. 1, but also very tender and sweet like in Beethoven’s Piano Sonata no. 6. In Beethoven’s Pastoral Symphony, F Major is in its most natural environment, gentle and carefree. In the last movement, it evokes hope and soaring emotions of freedom and release. This is especially true in Beethoven’s Fidelio, in the aria for Florestan. But unlike in C Major, F Major is more passive, full of gratitude and piety, not force and conquest. In all cases, F Major is a naïve key, completely free of artifice.

Bb Major has the key of blue, baby blue, or turquoise. It’s color expresses area in that location. It is neither as sweet and endearing as F Major, nor as bold and profound as Eb Major. It is a sad fact that two more definite keys overshadow Bb Major, but Bb Major can make the best of both worlds and be especially poignant. Mozart’s Piano Concerto No. 9 is an especially good example. Bb Major is tranquil and poignant, and can also be elegant and subtle.

Eb Major is the heroic key, a dark blue, royal blue, or navy. Together, Eb Major, C Major, and D Major are probably the strongest keys on the entire scale. The key has a similar stately quality as C Major, except heavier. It is harder and mightier than C Major, as well as darker. Eb Major is heavily associated with heroism, especially in a mythic sense. It is not as versatile as D Major, but it can express a variety of different shades. It can be very uncompromising and thundering enough to make the earth shake as in Beethoven’s Eroica Symphony. When it is softer and chooses to be more lyrical it becomes contemplative and profound like in Mozart’s Piano Concerto No. 6, the second movement. The greatest strength, the most heroic feature of Eb Major is its power to resurrect music from death and give a sense of homecoming. Every key can do this, especially C Major and Eb Major. Eb Major is not necessarily the strongest reviver, neither can it necessarily do the job with the most finality as C Major can do, but it does the job most naturally. Mozart’s Piano Concerto No. 14 achieves the heroic, homecoming effect without any effort or need for a setup.

Ab Major is a weighty, ponderous key colored a deep shade of bronze. Even in Beethoven’s day the key was said to have a particular gravity to it, a shadowy, melancholic character. Unlike Eb Major, Ab Major is ill-suited for grand narratives. It is not a very energetic key. It is much more useful for contemplation. The best example is Beethoven’s Pathetique Sonata, the second movement. Ab Major was Chopin’s favorite key, probably because of the contemplative and lyrical qualities. It is especially suiting for bass tones because of its richness.

Db Major has a brown color. It is similarly weighty as Ab Major, but to a much greater degree. It is even lower in tone, and even richer. However, it becomes even less diverse and more specialized than Ab Major. Because it is so low and rich it loses a lot of expressive capacity. It can only fulfill so many roles. As I move from Ab Major to Db Major it is similar to moving from F# Major to C# Major. The key grows darker and browner.

Gb Major turns into brownish orange. Here we reach a watershed where we overlap the sharp keys. It has a lighter quality than Db Major but doesn’t return to the austerity and weight of Ab Major. As Schubert’s Impromptu shows Gb Major is capable of agitation, and is capable of some limited expression like F# Major is.

Minor Keys don’t have such distinguished qualities. In the 18th century they were seen as “unstable” and so composers spent little time on those keys. The composers of the time are right in some respect because unlike major keys minor keys have a less discernable character. They sound much more the same and blend easier together. However, this could just be my own failing.

With all minor keys there is a dark and murky feel, as if you were trying to look through a basin of black and oily water. The color you see at the bottom is sometimes the same color as the relative major or the mutation. Through the black mist A Minor looks yellow, which reflects C Major or A Major. When you peer down at B Minor, it usually looks red or orange, either D Major or B Major. These are cases when the relative major and mutation have a similar color, but sometimes this is not always the case. Is the color of C Minor that of C Major or Eb Major? What of F Minor, F Major or Ab Major? In these cases the color you see at the bottom of the barrel is usually the mutation. This at least seems to make sense, since the major mutation is only a half step away.

If you have any input please write back? What colors do you associate musical keys with? Do you agree or disagree with my assessments and why?

YGO CoP – Prologue


It was the dead of midnight in the Valley of the Kings. The silence was so great it nearly matched the darkness in the ancient stone cliffs that slumbered, unwavering, with their secrets. The ancient pharaohs who slept there since time immemorial were beyond the world of light above them, beyond the busy potters and masons who sold their handiwork to tourists for their daily bread, beyond the incessant trade of the small villages nearby, beyond even the rise of modern Cairo in the last two centuries. The shades of the pharaohs lived in the earth itself, in the geological time of millions of years.

Or so they had thought. The pharaohs of the deep past, convinced of their immortality and the irrevocable legacy of their rights and traditions, were evicted from their tombs by robbers and archeologists. Even the most ancient and sacred things of this world lost their power to living humans who, restlessly, brutally, inexorably, carried the fiery torch of life. Life flowed forever onward as the Nile always had and always will, indifferent to the vainglories of one species. Now it was an age of darkness, of people reaching out blindly for their sustenance, not unlike the scorpions of the desert night, but how much electricity there was in the air!

The general of the Egyptian army, Muhammad Heishin Mubarak, contemplated all of these thoughts on his journey to the great valley. He did not so much budge from the occasionally bumpy ride of his army jeep. The only lights in the dark valley were the headlights from the jeep, and the only sound the patient rumbling of the jeep’s engine as the jeep trailed through the vast dessert’s sand and rocks. Near the tomb of Seti I, the driver and lieutenant in the army signaled to Heishin that they arrived, and so Heishin got off.

Near the entrance, a tall and monstrously fat man and a pale young woman with long dark hair patiently waited for him as vipers do before striking at their prey. The strange couple was surrounded by unsavory characters in dark cloaks, people Heishin recognized as Ghouls, the vast crime syndicate that used Duel Monsters as their main racket.

Heishin greeted the large and fat man, who went by the name of Gernand, and shook his hand. Heishin was tall and muscled, hardened by years in the army, but even the vast Gernand with his mighty hands could break him like a twig. With the introductions out of the way, they went to business and discussed their terms.

Heishin, hungering for the glory we wanted, replaced contemplation with impatience. “I want to clean the corruption of Egypt and expunge the decadent West once and for all. Give me the power so I may rule Egypt as mightily as a pharaoh and forge her into a great caliphate. In the future I may unite all the Middle East so the princes of an unborn age may take part in a new world.”

The small and fair woman tried to suppress a few laughs but failed, chocking a snort. Heishin glared at her. The small creature was not amusing. Something about her, the way the torch lights illuminated her face in the darkness, casting her dark eyes into a glowing hue of red, made her look familiar to the snakes and other desert predators of the night. He wished he could strike her in the head the way he would finish off any other venomous predator.

Gernand was quick to admonish her with a stern rebuke. Then, he delivered his argument to Heishin. “If you examine my proposal closely you will see that you have every good reason to accept my turns. My apprentice and I will generously provide you with the Ghouls that constitute the majority of criminals in Egypt. They not only bolster over several thousand members but they rule Egypt’s black market, holding an enormous supplies of weapons and drugs. Not only will they strengthen your army aboveground, general, but they will give you access to the underground, with all of the wealth of Dis at your command. You will control Egypt at all levels.”

Hieshin was about to speak up but Gernand interrupted him. “What do you owe me? Nothing! All you need do is let the Ghouls do their business as usual. Turn a blind eye to their crimes – and why should you not? Their crimes profit you. – and all will be well. With the Ghouls by your side the Egyptian President’s corrupt regime will fall under your superior strength. You will rule Egypt as a new caliphate, as a new pharaoh, and Egypt will enjoy an era as peace and prosperity she has not been privileged to in the last three thousand years.”

Heishin knew the terms already, but he still needed time to think them through. He sat on a dark stone near the valley cliff. It seemed so clear! Ultimate power was in his grasp! And yet…

“You hesitate. You exercise caution in spite of your ambitions. Let me explain to you the frustration and weakness you will forever be privy to if you do not accept the terms to my most liberal proposal.”

But before Gernand could finish the pale, small woman spoke for the first time. “Don’t nag him, master. You’ll make him cooperate even less. He needs more to convince him.”

Heishin rubbed his long, braided beard. “There’s more?”

The woman gestured for him to come close, a faint smile caressed her face. “Follow me into the tomb. Alone.”

Heishin’s soldiers, their suspicions aroused, cocked their guns only slightly higher, but the body language was obvious. Heishin waved his hand and his solder’s fell at ease, but their faces still showed their nervousness. He followed the woman into the tomb, alone, carrying only a pistol on his hip in case something happened. Gernand did not join them. Deep inside the tomb the woman gestured to a narrow corridor winding downward into the earth. Heishin recognized it as Corridor K. It was too small for Gernand.

With only their torches to guide them, they descended downward. The torches with their faint red light only revealed the bottomless hole ahead, and the air was boiling. Heishin had good reason to hesitate. The Ghouls spanned the whole globe, yes, but ever since Yugi defeated Malik at Battle City the Ghouls fractured into national syndicates. He knew the boss of the Egyptian Ghouls, but Gernand and his apprentice weren’t them. Who were these people? It was like they had a different agenda. For a moment the gravel beneath his heavy wake gave way. He slipped down the corridor a meter and gripped the stone wall for dear life. A torrent of gravel and rocks fell on foot, breaking it, but he shrugged it off.

They reached the very bottom of the one hundred and ninety four meter drop. It was a dead end, as Heishin knew. No secret burial chamber. But then the woman pushed hard on the wall It opened! The door was very small just above the floor. The woman easily slithered through it, but Heishin barely made it through, choking on the dust beneath him. Then they walked through a narrow dark corridor for about three hundred meters and a door that was thankfully larger.

Heishin couldn’t believe it! It was one of the lost Ozymandias Tombs, or so they are called! They’re the stuff of legend like Atlantis! But he could not deny his eyes. The floor and walls were entirely made of sparkling emeralds, and carved within the walls were reliefs of twelve colossal beasts. Despite the miracles he saw, Heishin made sure his stern, hooked face was unmoving.

The woman gave him the same sweet smile as before, so sweet as to be almost maternal. “All of this forbidden power will be yours. Use it to secure your future. Use it to secure the future of your son. Give him what only you as his father can give.”

“My son…” Heishin grew up in the Egyptian wilderness, shooting desert foxes and rabbits to stave off hunger. He climbed through the ranks of Egyptian government and sired a son. But he knew that any political turmoil could take all that away from him and his son. He wanted Hassan, Prince Hassan, to be the Prince of Egypt.

“I accept.”

The woman offered him her white arm. “Take my hand and I will give you the powers of darkness. The monsters of the Dark Games will be at your command.”

Heishin grabbed it, and his lower arm burst into flames. None of the hard life and army discipline he endured prepared him for this! He winced but then finally gave in and screamed in pain. He doubled down, collapsing on the floor while the woman kept his hand locked to hers in a superhuman grip. While his arm burned his blood boiled in his veins, pricking him a thousand times as if every cell was a hornet. He was bitten by a cobra! No, worse than that!

When the bristling, fiery pain finally passed away, his arm was burned black, and a scaly claw replaced his hand. The forbidden treasure of the ancient sorcerers was finally his.

Yugioh! Children of Prometheus
A New Dawn Continue reading

Forbidden Memories Meteor B. Dragon Deck


The irony I have with Yugioh is that I am pretty terrible when it comes to the official card game. But when it comes to alternative Yugioh games (like Forbidden Memories, Dungeon Dice Monsters, or Capsule Monsters Colliseum), I reign supreme. Forbidden Memories has always been one of my favorite Yugioh games. I always like old school Yugioh (the original series), and I often think GX took Yugioh in the wrong direction.

Enough of these musings. I present to you my Forbidden Memories deck. Two things I want to say from the outset. 1) My actual deck falls short of this list only by a few cards. Yes, I’m admitting this deck is an ideal, but I am pretty close to it. I want to present the highest potential I can reach with this deck. 2) I did not use Gameshark to make this deck. It looks like I did because I have an abundance of powerful monsters. What I actually did was use three memory cards to copy rare cards into multiples. I will elaborate on that when I get to my deck’s details.

3x Meteor B. Dragon
3x Red-Eyes Black Dragon
3x Meteor Dragon
3x Thunder Dragon
3x Curse of Dragon
3x Baby Dragon
3x Oscillo Hero #2
3x Labyrinth Wall

3x Megamorph
3x Bright Castle
3x Dragon’s Treasure
3x Raigeki
2x Mountain

2x Widespread Ruin

So how did I get three Meteor B. Dragons and Megamorphs? I used three memory cards to copy a rare card into three copies. I would copy data from Memory Card 1 to Memory Card 2. Then, I would start a new game on Memory Card 3 with a different character name. I would give the rare card (let’s say Meteor B. Dragon) from Memory Card 2 to Memory Card 3. Then I would give the rare card from Memory Card 3 to Memory Card 1. That way, I can bypass the game’s programmed restriction of trading with someone with the same username. I actually used this method from the very beginning of the game. That way I was able to get multiple copies of Raigeki and fusion material for Twin-Headed Thunder Dragon before I even started to duel seriously. Still, I had to do a lot of grinding to get other my rare cards, but it was eased up a bit.

As you can see with my deck, Meteor B. Dragon and Twin-Headed Thunder Dragon are the core of my deck. I refrained from just stuffing the deck with a lot of big generic monsters for a reason. Just like with the official card game, with Forbidden Memories speed and consistency are important. A great way of making your deck fast and strong is by putting monsters that are compatible for big fusions. Not only do I have Meteor B. Dragons I have a lot of material that can make more, and A LOT more material to create Twin-Headed Thunder Dragons on top of that.

I also added weaker monsters like Baby Dragon and Oscillo Hero #2, not just for compatible fusions but to make 3-card fusions. In the past, I would stuff my deck with only big fusion material for Twin-Headed Thunder Dragon. This caused my deck a lot of problems. I could only make a 2-card fusion, otherwise I would end up throwing away a Twin-Headed Thunder Dragon I just made. Adding weaker monsters allows a 3-card fusion to happen.

My spells are overwhelmingly equip cards because they keep the deck fast and can power up my Meteor B. Dragons and Twin-Headed Thunder Dragons to very high ATK very quickly. It is easy to get a Meteor B. Dragon or even a Twin-Headed Thunder Dragon to get above 4500 ATK, the ATK of Blue-Eyes Ultimate Dragon, the strongest monster you’ll probably ever face. It is easier still to get my monsters to 3800 ATK and above, well enough to beat Gate Guardian, the next strongest monster in the game.

Mountains exist to give me a field advantage, and to take away the field advantage of any high mage I’ll face. The three Raigekis are in order to nuke my opponent’s field whenever I can’t beat them with raw ATK. And Widespread Ruin is a great card to set once you have at least a decent monster presence on your field. It can kill whatever strong monster your opponent brings out and will shift the tempo to you. Because you can play only one card at a time, tempo is extremely important, just like in chess. If you can’t gain tempo you’ll keep losing field advantage. Because Forbidden Memories is a such a cut-throat, fast-paced game with a lot of strong monsters, it is easy for your opponent to take advantage and take out your Life Points.

Blitzkrieg Dice Pool


Dungeon Dice Monsters is one of my favorite Yugioh games ever. I enjoyed playing it ever since I first bought it when I was twelve. As I write this blog I am twenty-four, so I had quite some time to work on a great dice pool. I call my dice pool Blitzkrieg, because it is heavy on warriors and focuses on low-level monsters and high speed.

3x Karbonala Warrior
3x Battle Warrior
2x Energy Disk
2x Thousand Dragon
2x Knight of Twin Swords
2x Strike Ninja
1x Explosive Disk

I usually specific script when playing with this dice pool but thankfully I can adapt if I need to. I usually summon Karbonala Warriors first because they increase the ATK of all warriors by 10. Next I usually play Battle Warriors next. They have an impressive 20 ATK and can attack flying monsters. Furthermore, when he is summoned, he adds 1 Attack Crest, so I can attack with him already. With multiple Karbonala Warriors out his ATK can go as high as 50. So we already have a Level 1 monster that can seriously damage even Level 4 monsters out there.

Energy Disk can increase the ATK of any monster that uses it by 20. Plus it has a lot of Movement Crests. In addition, Battle Warrior itself has a lot of Attack Crests, so already while we roll we ready ourselves with a lot of handy crests.

Knight of Twin Swords is the next line of attack. He has a decent 3 HP, and 20 ATK. But what makes him truly impressive is that you can use many Attack Crests to double his ATK power. His true power is revealed when he already gets a huge ATK boost from Karbonala Warrior. If his base ATK starts at 50, then you can boost him up to 100 and even 200. If Battle Warrior was rough, then Knight of Twin Swords is this dice pool’s ultimate weapon. Use 2 Attack Crests and he can plow through almost any monster your opponent may have. Use 4 Attack Crests and he kills anything.

Thousand Dragon exists to give you the necessary Attack Crests to use Knight of Twin Swords to his highest potential. In addition he has some Defense Crests and Trap Crests. He also is a very powerful Level 2 monster in his own right, with 30 ATK and 20 DEF. Knight of Twin Swords himself gives you some Attack Crests and Movement Crests. (I sometimes consider using Ryu-Kishin powered instead. He doesn’t give so many Attack Crests but he does give some Movement Crests.)

Trap Crests are the third most important crest type in my dice pool. Both Energy Disk and Thousand Dragon have them. Therefore, I use Strike Ninja as my third line of attack for the late game. Strike Ninja is incredibly fast, able to use 1 Movement Crest to move 3 spaces. He has a decent 3 HP, and he can use Trap Crests to evade any attack. Even if your opponent’s monsters are ridiculously powerful you can use guerrilla tactics, having Strike Ninja attack and then back away where your opponent can’t touch him. Or you can just have him go straight to your opponent’s Dice Master. Explosive Disk only exists to give you Movement Crests and Trap Crests to help the deck out.

The weakness of this dice pool is it hardly has any Defense Crests. Only Thousand Dragon gives you any amount. So while you have an amazing and quick ATK, your monsters are vulnerable and can be killed easily. So you must be paradoxically bold and careful at the same time.

Yugioh BAM! Eternal Return


Since my last YGO BAM post I got the change to upgrade my deck a little. Eternal Return is the best deck I have been able to create for this game. I tried to beat my opponents in the Arena with a 50 duel winning streak. Much to my disappointment, I couldn’t. I got up to 32 wins a row but lost once. I am upset, but it does illuminate my priorities a bit. I have gotten to the point in the game where I expect multiple wins in a row and become angry at just one loss. It does speak of my skill.

3x Zombie Master
3x Curse of the Vampire
3x Vampire Gensis
3x Hieratic Seal of the Sun Dragon Overlord
3x Jinzo – Lord

The deck is extremely simple but is very effective. I decided not to play any spells because they are too easy to destroy by your opponent. Plus they don’t give you any life points by adding them in the deck. So I reasoned that my deck should only have monsters.

The deck works by using Hieratic Seal to destroy your own Curse of the Vampire and Vampire Genesis and gain 4000 LP for each DARK monster killed. Curse of the Vampire destroys your opponent’s monsters and gives you 1500 Life Points. Vampire Genesis gives you 3000 and recycles zombies in your graveyard. Hieratic Seal and Jinzo – Lord are not zombies, which is where Zombie Master comes in. Since it’s a zombie Genesis can also recycle it. And finally, Jinzo – Lord is a powerful 3000 ATK beater, which gains immunity and destroys your opponent’s spells. It also breaks the immunity of your opponent’s monsters.

The biggest nemeses this deck faces are Immunity Decks, all the more reason for Jinzo – Lord. Blackwing – Aurora the Northern Lights is the supreme immunity monster. I am able to beat this monster by getting out a Jinzo – Lord and have Curse of the Vampire destroyed, and usually I do. But I am not always so lucky. Sometimes I can’t get out Jinzo – Lord and Curse of the Vampire on time.

Every other deck falls down easily enough. Most other decks simply run out of cards to play and I outlast them. Because of Vampire Genesis and Zombie Master I can keep recycling my monsters, over and over and over again. Never was I out of monsters to play. Other Immortality decks especially suffer because Hieratic Seal gobbles them up and gives me over 10000 LP to work with. But there have been a few smart Immortality Players that gave me a hard time.

New Blog!!!

hello-worldHey everyone! This is my new blog. I created this blog as an extension of my previous blog, which can be found here. Originally I intended one blog to be about the atheist movement and activism and the other to be about art and philosophy. Well, both blogs will be dealing with both. They got mixed. 😛 I hope I gain many readers, I learn new things, and discuss substantial topics with many interesting people.