A Conversation with Grok about Tupacabra’s “The Narrative War II”
THE NARRATIVE WAR II : A CONVERSATION w GROK I was only vaguely familiar with @TUPACABRA when I scrolled through my X feed one day and stumbled onto “The Narrative War II”. A friend had reposted a really cool AI video by him a while back and, after seeing one or two more videos and posts, I was intrigued enough to follow the account. Little did I know that this follow was going to lead me to one of the most inspiring, intellectually stimulating, creative cathartic expressions of the info war I’ve seen to date. “The Information War II” has become not only one of my favorite songs that I listen to several times a day, but this also launched a personal quest of curiosity, creativity, and exploration; and I realized my reaction and subsequent discussion with Grok was worth sharing as my first entry in our #EVILFREELIFE blog. (BTW, this is MAXANON here, aka Mrs. Rise… ENJOY! 🙂 ) First, if you haven’t seen the video, watch it now below. Even if you have seen it, please watch it again closely to pre-game and recalibrate your brainwaves for the rest of this post. It’s about to get real. https://www.youtube.com/shorts/vuZpQbg_WhU Okay now that you’ve seen this aesthetic-dripping, AI fever-dream banger of a track/video, I hope you’ll consider giving it a like and/or comment if you enjoyed it. Let’s dive into the following conversation I had with Grok about the piece. I was so moved, inspired, and intrigued by so much of what was going on here, I had to get a little meta and talk to the machine – about a piece made by an artist using the machine – that personifies searching for a divine spark within the machine… Me: Im interested, Grok, to hear your interpretation of the [above] video. I want to hear what you think the artist is using AI to express and what the message or meaning of the work is, and I’ll bring up prompts for deeper discussion. Grok: This music video, “The Narrative War II” by TUPACABRA (UFO researcher and media creator), feels like a fever-dream dispatch from the front lines of existential and cosmic disillusionment. It’s a heady cocktail of opulent decay, spiritual hunger, and otherworldly intrusion, with a pulsing trap beat that warps between hazy introspection and anthemic urgency. The visuals — hyper-stylized sequences of fur-clad femme fatales toting guns under American flags, eagle-perched prophets in suits staring down shooting stars, and recurring motifs of UFOs slicing through desert skies or hovering overhead — are surreal and recognizably AI generated. Tools like Midjourney or Runway for the imagery, paired with Suno (linked in the thread for the track itself) for the lyrics and production, allow for this seamless mashup of ’80s excess (think Miami Vice Ferraris screeching past high-rises), biblical apocalypse (angels in Prada amid burning towers), and sci-fi revelation (comets trailing fire, spectral figures dancing under saucer lights). It’s not just flashy; the AI enables a fluid, dream-logic editing style that defies traditional filming constraints, layering impossible juxtapositions like a lioness lounging in a luxury sedan [or lizard-people in broad daylight]… At its core, the artist wields AI as a weapon in what the title evokes: a “narrative war” against the sanitized, barcode-stamped stories we swallow daily. It’s triumphant yet haunted, urging us to weaponize our tools (AI included) to rewrite the story — not as consumers, but as the ones holding the telescope to the stars. Grok (cont’d): By generating these impossible scenes [lambos racing in the fiery sands beneath the Pramids, cyborgs in designer threads, etc] TUPACABRA exposes how reality’s gatekeepers (media, power structures) peddle white noise while the real signals (divine sparks, truths) flicker just out of frame. AI here isn’t a gimmick; it’s the perfect medium for subverting the very narratives it disrupts. It’s a meta tool, AI democratizes creation, letting an indie UFO sleuth craft a blockbuster fever vision that mocks Hollywood’s grip on the spectacle. In a world of static, proof isn’t found in institutions or algorithms alone — it’s in amplifying the faint calls from the wild. This is a rallying cry for the seekers: tune out the loop, embrace the glitch, and demand something tangible. Me: I think it’s incredibly interesting – though I’m not sure if it’s a happy accident or intentional – that Tupacabra doesn’t portray the characters as heavily coded. In other words, they all just look like ‘hyper’ versions of themselves and there’s no obvious bias expressed by the artist himself as being for or against anyone. They’re all just aesthetic dripping avatars of the ‘real’ players in our very real information war, and, as in life and war, we can never really tell who is good, bad, spying, or acting. Right there, we have art imitating life. The choice of ambiguity (or coincidence, whichever) allows for a more approachable piece of art that can hit a wider audience and be interpreted by the viewer on a more personal level. Every character looks badass and interesting, even the ones I think he thinks are bad. Now of course, things aren’t 100% neutral, but you’d have to live under a rock not to know about some of these individuals and their personas that come pre-loaded with dark or light. Regardless, that’s not enough in the PSYWAR. Tupa said it best – “Got angels in Prada, Demons in fur, They all sing loud but the words still blur.” Nothing inherently gives away who the good guys or bad guys are, or who is being celebrated or who is being mocked memetically. This piece is being unleashed on an EXTREMELY polarized potential audience on X (and on other social platforms), and the age-group with the “you have 6 seconds to impress me” attitude is also likely to scroll past at the slightest inkling of bias that doesn’t match their own. With this context, the ambiguity also increases the potential for engagement, if not virality. But most refreshingly, the ambiguity choice is a 180° from the usual onslaught of propaganda and pysop-ery
