Supremacist Ideologies in Joseph Conrad's Heart of Darkness colludes with the ethnocentric attitude of Europeans towards the native peoples of Africa. At the turn of the century, European imperialism was seen as "a crusade worthy of this century of progress" by King Leopold of Belgium. Although Conrad was critical of imperialism, his tale reveals to the reader an undeniable Victorian provenance. It supports the cultural myths of the period and reinforces the dominant ideology of the British gentleman. Its Victorian provenance is revealed in the representation of race, constructed through the character Marlow. His powerful narrative point of view reinforces what Chinua Achebe called Europe's "comforting myths" about Africa and Africans. The text consistently constructs blacks as “other.” This is achieved primarily by Marlow, who acts to reconstruct the natives from the British gentleman's point of view. When he "looked at them," he looked not only for their "impulses, motives, abilities" but also for restraint, a value he defends throughout the telling of his story. When he can't find it, he remarks "Restraint? What possible restraint?" Marlow's first encounter with the natives occurs at Outstation, where his ambivalence towards them is foregrounded by his obsession with the miraculously efficient first-class agent. Natives are effectively dehumanized by being presented as nothing more than "black shadows" and "sharp angles"; and Marlow is much more interested in the fact that the accountant kept his books "in order" than in the dying boogeymen outside. Likewise, when Marlow comes across "a middle-aged negro, with a bullet hole in the middle... in the center of a sheet of paper... he inexorably associates the continent and its people with darkness. We have the natives described as “black shapes,” “rows of dusty negroes,” and “a swirl of black limbs.” These images also often associate Africans with supernatural evil near the inner station: “A black figure stood up, walking on long black legs.” , waving long black arms, through the light. He had horns... some sorcerer, some sorcerer, no doubt; seemed quite diabolical" The African landscape is not only guilty of Kurtz's mistakes, but is also a place of darkness and evil, a place of paganism, with "the beating of drums, the hum of strange incantations"; place of "death lurking", cannibalism, disease and madness: Marlow's entire reality is filtered through the European consciousness and his entire narrative serves to support European supremacist ideologies.