حين أطلقت رئاسة أمن الدولة تحذيرها بشأن وجود «سردية موجهة ضد السعودية»، لم يكن ذلك مجرد توصيف إعلامي عابر، بل كان كشفاً لآلية خفية وذكية تُستخدم لمحاولة التأثير على وعي المجتمع السعودي، وتفكيك منظومته الفكرية من الداخل. فالسردية، بطبيعتها، ليست هجمة مباشرة، بل منظومة سردية طويلة الأمد تُعاد صياغتها عبر قوالب متجددة، ومضامين متراكمة، تتسلل ببطء إلى ذهنية المتلقي.
هذه السردية الموجهة لا تظهر في هيئة عدو صريح أو خصم معلن، بل تتسلل في شكل قصة مشوقة، أو محتوى ساخر، أو وثائقي مزيف، أو تقرير مدسوس يُبنى على أنصاف الحقائق. تكمن خطورتها في أنها لا تطلب من الجمهور أن يصدقها فوراً، بل تهدف إلى إثارة الشك، وبث الارتباك، وإعادة تشكيل الصورة الذهنية عن الوطن وتاريخه ورجاله وحاضره.
السردية الموجهة هي أشبه برواية كبرى، يتم بناؤها عبر سلسلة من الرسائل التي تتراكم وتتشكل، إلى أن تتحول إلى «قناعة» غير واعية في أذهان البعض. ليست هجوماً فجاً، بل استنزاف طويل للثقة. تبدأ بسؤال مشبوه، تمر بتقرير متحيز، تتردد على لسان مؤثر مغمور في بودكاست، ثم تنتهي بمشهد سينمائي أو إنتاج درامي يُقدَّم كأنه حيادي، بينما هو يُغذي سردية مغلوطة عن المجتمع أو القيم أو القيادة.
ما يجري ليس مجرد «تشويه صورة»، بل إعادة تشكيل وعي. فالسردية ليست في ظاهرها عدوانية، بل تستدرج العقول تدريجياً إلى أن تتبنى رؤية منحرفة دون مقاومة. هي لا تصرخ بالكراهية، بل تهمس بالتحريف. ولذلك، فهي أخطر من الحملات الإعلامية المباشرة، لأنها تلبس ثياب «التحليل» و«الطرح الموضوعي»، بينما هي محمولة على نية خبيثة وأجندة خارجية.
السرديات الموجهة غالباً ما تستهدف القيم التي تُشكّل أساس اللحمة الوطنية، كفكرة الانتماء، والاعتزاز بالهوية، والثقة في المؤسسات. هي لا تُنكر هذه القيم علناً، بل تُفرغها من مضمونها، وتُعيد تقديمها بعيون الخارج، أو بلغة تثير الريبة في جدواها. تارة تُقدّم المواطن كضحية، وتارة تُصوّر الدولة كغول، وتارة تُشيطن التحولات التنموية بوصفها «تغريباً»، أو تُبَسّطها بوصفها «مشروعاً تجميلياً».
وما يزيد هذه السرديات خطورة، أنها تستثمر في أدوات الثقافة الشعبية الحديثة. لم تعد تعتمد فقط على المقال أو التحليل السياسي، بل تغلغلت في الترفيه، والإعلانات، والميمات، والأفلام، والمواسم، والتغريدات، والحوارات العفوية التي تُبث على نطاق واسع وتُستهلك على أنها «محتوى عادي»، بينما هي رسائل موجهة تخاطب الوجدان وتُحرّك المشاعر.
ولأن السردية ليست حدثاً لحظياً بل «مسار زمني»، فإن مقاومتها لا تكون بشعار لحظي أو تغريدة تصحيحية، بل برواية مضادة، أصيلة، تنبع من الداخل، وتُروى بلسان الوطن لا بلسان الوكلاء. إن تحصين المجتمع ضد هذه السرديات يتطلب وعياً متقدماً بطرق تشكيل الرأي، ونقداً ذكياً للمحتوى، وتدريباً على كشف المكر في لغة الصورة والكلمة.
رئاسة أمن الدولة حين أشارت إلى هذا المفهوم، كانت تدق ناقوس الخطر، وتوجّه البوصلة إلى معركة ناعمة تُخاض في ميدان الوعي، لا في ميدان السياسة أو الحرب. ولهذا فإن الانتصار فيها لا يكون بالقمع ولا بالصوت العالي، بل ببناء وعي جمعي قادر على تمييز النية من النغمة، والحقيقة من التحوير.
إن السردية الموجهة ضد السعودية ليست اختباراً للدولة فحسب، بل امتحانٌ لذكاء المجتمع، ونضج أفراده، وفطنة نخبته، وصدق مؤسساته الإعلامية والثقافية. وهي دعوة مفتوحة لكل مواطن أن يُعيد التفكير في المحتوى الذي يتلقاه، لا بعين التسلية فقط، بل بعين الوعي والتفكير الناقد. فالوطن لا يُحمى بالسلاح وحده، بل بالحكاية التي نرويها نحن عن أنفسنا، قبل أن يرويها غيرنا.
تابع قناة عكاظ على الواتساب
When the Presidency of State Security issued its warning regarding the existence of a "narrative directed against Saudi Arabia," it was not merely a fleeting media description, but rather a revelation of a hidden and clever mechanism used to try to influence the consciousness of Saudi society and dismantle its intellectual framework from within. The narrative, by its nature, is not a direct attack, but a long-term narrative system that is reshaped through renewed templates and accumulated content, slowly infiltrating the mindset of the audience.
This directed narrative does not appear in the form of an explicit enemy or declared opponent, but rather sneaks in as an intriguing story, or sarcastic content, or a fake documentary, or a planted report built on half-truths. Its danger lies in the fact that it does not ask the audience to believe it immediately, but aims to provoke doubt, sow confusion, and reshape the mental image of the homeland, its history, its people, and its present.
The directed narrative is akin to a grand novel, constructed through a series of messages that accumulate and take shape until they transform into an unconscious "conviction" in the minds of some. It is not a blatant attack, but a long-term draining of trust. It begins with a suspicious question, passes through a biased report, is echoed by an obscure influencer in a podcast, and then concludes with a cinematic scene or a dramatic production presented as neutral, while it feeds a distorted narrative about society, values, or leadership.
What is happening is not merely "image distortion," but a reformation of consciousness. The narrative is not overtly aggressive; rather, it gradually lures minds into adopting a skewed perspective without resistance. It does not scream hatred, but whispers distortion. Therefore, it is more dangerous than direct media campaigns, as it wears the clothes of "analysis" and "objective presentation," while being driven by a malicious intent and an external agenda.
Directed narratives often target the values that form the foundation of national cohesion, such as the idea of belonging, pride in identity, and trust in institutions. They do not publicly deny these values, but rather drain them of their substance and re-present them through the eyes of outsiders or in a language that raises doubts about their validity. Sometimes they depict the citizen as a victim, sometimes portray the state as a monster, and sometimes demonize developmental transformations as "Westernization," or simplify them as a "cosmetic project."
What increases the danger of these narratives is that they invest in modern popular culture tools. They no longer rely solely on articles or political analysis but have infiltrated entertainment, advertisements, memes, films, seasons, tweets, and spontaneous dialogues that are widely broadcast and consumed as "ordinary content," while they are directed messages that appeal to emotions and stir feelings.
And because the narrative is not a momentary event but a "temporal trajectory," its resistance cannot be through a momentary slogan or a corrective tweet, but through a counter-narrative, authentic, that stems from within and is told in the voice of the homeland, not in the voice of agents. Fortifying society against these narratives requires advanced awareness of the ways of shaping opinion, intelligent criticism of content, and training to uncover the cunning in the language of image and word.
When the Presidency of State Security referred to this concept, it was sounding the alarm and directing the compass towards a soft battle fought in the field of consciousness, not in the field of politics or war. Therefore, victory in this battle is not achieved through oppression or loud voices, but by building a collective awareness capable of distinguishing intent from tone, and truth from distortion.
The directed narrative against Saudi Arabia is not just a test for the state, but a test of the intelligence of society, the maturity of its individuals, the astuteness of its elite, and the integrity of its media and cultural institutions. It is an open invitation for every citizen to rethink the content they receive, not just with an eye for entertainment, but with an eye for awareness and critical thinking. The homeland is not protected by weapons alone, but by the story we tell about ourselves before others tell it.
This directed narrative does not appear in the form of an explicit enemy or declared opponent, but rather sneaks in as an intriguing story, or sarcastic content, or a fake documentary, or a planted report built on half-truths. Its danger lies in the fact that it does not ask the audience to believe it immediately, but aims to provoke doubt, sow confusion, and reshape the mental image of the homeland, its history, its people, and its present.
The directed narrative is akin to a grand novel, constructed through a series of messages that accumulate and take shape until they transform into an unconscious "conviction" in the minds of some. It is not a blatant attack, but a long-term draining of trust. It begins with a suspicious question, passes through a biased report, is echoed by an obscure influencer in a podcast, and then concludes with a cinematic scene or a dramatic production presented as neutral, while it feeds a distorted narrative about society, values, or leadership.
What is happening is not merely "image distortion," but a reformation of consciousness. The narrative is not overtly aggressive; rather, it gradually lures minds into adopting a skewed perspective without resistance. It does not scream hatred, but whispers distortion. Therefore, it is more dangerous than direct media campaigns, as it wears the clothes of "analysis" and "objective presentation," while being driven by a malicious intent and an external agenda.
Directed narratives often target the values that form the foundation of national cohesion, such as the idea of belonging, pride in identity, and trust in institutions. They do not publicly deny these values, but rather drain them of their substance and re-present them through the eyes of outsiders or in a language that raises doubts about their validity. Sometimes they depict the citizen as a victim, sometimes portray the state as a monster, and sometimes demonize developmental transformations as "Westernization," or simplify them as a "cosmetic project."
What increases the danger of these narratives is that they invest in modern popular culture tools. They no longer rely solely on articles or political analysis but have infiltrated entertainment, advertisements, memes, films, seasons, tweets, and spontaneous dialogues that are widely broadcast and consumed as "ordinary content," while they are directed messages that appeal to emotions and stir feelings.
And because the narrative is not a momentary event but a "temporal trajectory," its resistance cannot be through a momentary slogan or a corrective tweet, but through a counter-narrative, authentic, that stems from within and is told in the voice of the homeland, not in the voice of agents. Fortifying society against these narratives requires advanced awareness of the ways of shaping opinion, intelligent criticism of content, and training to uncover the cunning in the language of image and word.
When the Presidency of State Security referred to this concept, it was sounding the alarm and directing the compass towards a soft battle fought in the field of consciousness, not in the field of politics or war. Therefore, victory in this battle is not achieved through oppression or loud voices, but by building a collective awareness capable of distinguishing intent from tone, and truth from distortion.
The directed narrative against Saudi Arabia is not just a test for the state, but a test of the intelligence of society, the maturity of its individuals, the astuteness of its elite, and the integrity of its media and cultural institutions. It is an open invitation for every citizen to rethink the content they receive, not just with an eye for entertainment, but with an eye for awareness and critical thinking. The homeland is not protected by weapons alone, but by the story we tell about ourselves before others tell it.


