One of the key reasons classic text-based RPGs such as the legendary FFVII were/are so powerful:
The ability to enter your own name as the protagonist (“cloud”), in a text-based RPG, enables the game to speak to the role-player’s conscious mind, subconscious mind, and unconscious mind.
This powerful key feature is *absolutely* absent from modern voice-acted RPGs and the remake.
I’ve said before that they should at least attempt to use modern voice synthesis which is able to SPEAK the player’s name, alongside the voice acting. This is the only way to even get close to such dimension of what an RPG is supposed to feel like. A role-player could even use their own voice to train a “deepfake” machine-learned “A.I.” voice for the protagonist.
in the case of the original FFVII in particular for example, the game exploits this further by eventually revealing to the role-player that “cloud” is not who he thinks he is, his memories of his past are false, and he falls into the life stream and has to find his “true self”.
You were telling people before that you were EX-SOLDIER 1st class …? No… that was Zack… remember? Zack died… you picked up his sword though … that wasn’t you in that old photo you remember … that was also Zack …
Thus, the role-player experiences “oh… this is who i really am”, and continues the role-playing game from there.
This is of course even more effective to younger players as they may still be developing their sense of “true self” and identity in the real world.
In various parts of the game, a high frequency constant tone may sound like tinitus, the screen may flash, fade or suddenly switch to a pure black or pure white screen, then dialogue text appearing, speaking to the role-player’s mind, akin to an inner voice inside one’s head, but other times as an external voice speaking into the mind … JENOVA? Sephiroth? Cloud’s consciousness? Are you a puppet? Hmm? Who are you? Are your memories real?
In this way, it was a true masterpiece which exhibits and exploits techniques which yield powerful experiences and effects to the role-player which is impossible for voice-acted RPGs to achieve… unless they implement realistic voice synthesis to speak the role-player’s inputted name, and exploit “deepfake” machine-learning for the protagonist to mimic their real voice.
so, when will we get good voice synthesis for RPGs? machine-learned player voice? wen FFVII remake voice synth mod?enter your real friend’s names as the other party members? train their voice etc?
let’s mosey (where to? the knowlespole? or temple of the ancients? let’s maybe talk to the JENOVA’s witnesses, where have all the Cetra people gone anyway… ?)
the next level of generative art will be brain <-> machine interfaces where one can imagine music and the computer records it, visualise imagery and the computer displays it.
the machine should be able to stream the sounds as they are played in the mind’s ear, not just record them. that will be the real next level.
there will be brain <-> machine interface soundsystem clashes between artists.
an edit i made of: “לארי סילברסטיין – Larry Silverstein יזם： Ground Zero NY אורח עיר הנד＂לן 2014 של מרכז הבניה” (youtube URI: JUvLCzk7nh4) … edited with kdenlive for educational purposes
Larry Silverstein, owner of the World Trade Centre complex on September 11th 2001, recounts that as a child: “… i built model airplanes, i flew them …”
Larry also explains they had the plans to build the new building BEFORE the towers got hit.
He states in this speech that fire brought down WTC7 (salomon brothers building) But, in an old documentary he clearly states that he gave the order to “PULL IT” (textbook controlled demolition terminology) see below:
it is a haunting speech he gives, so i added appropriate music: Music: Mattia Cupelli – Dark Tension Rising Music (Royalty FREE)
Feel free to download and share the video, but please also share the link to the bitchute version for easier sharing.
i previously discovered that the huge tharsis-montes landmarks on Mars are perfectly aligned with Orion, as if made as a sign (see header image and below, it seemed no one else made the connection before), which also matches the 3 main pyramids of the Giza plateu in Egypt.
a friend of mine recently brought to my attention the LIDAR images of hidden ancient Mayan structures that mirror the same signs. Overlaying the constellation here, it matches. Credit to Andrew for spotting this, and Albert Lin & team for the LIDAR discoveries … not sure if this connection has been made before, so sharing it here:
my connection of Mars landmarks & Orion, and the signs of Sol, our Sun on June 1st 2010 solar maximum: remember, looking for patterns in radio noise is how SETI searches for extra terrestrial intelligence, these are prominent patterns, signs:
^ elevation map of Mars with Orion overlayed, along with NASA EVE/SDO images either side.
these are very prominent landmark signs. and they are the main feature of Mars which for some reason are not shown much in most media — they show the other side in most media, or a less prominent depth shading.
related: South Crypt mural, the so-called “dendera light” (A.Mariette: “Crypte 4”) in the same crypt as the only other depiction of the so-called “Menat Necklace”
Wolfgang Waitkus: “Die Texte in den Unteren Krypten des Hathortempels von Dendera” (Crypt East 1 A East Wall)
dendera HatHor crypt text:(“[Come] in peace, In-Secret-Initiate of holy places, young man [……rest destroyed]”)
in the chambers above the crypts of the temple of HatHor in dendera, there exists the only other mural of the so-called “menat necklace” device, also depicted in one Crypt (A.Mariette: “Crypte 4”). i was lucky to get photos of this, and i cannot find any other photos of it online.
compared to the one in the crypt, if we look closely, it has slight variations on the details. of particular interest it seems to show equidistantly-spaced cylinders around the cables, as opposed to a series of circles.
this arrangement matches the unlabeled artefacts i found in the Cairo museum: copper & iron rods with equidistantly-spaced cylinders around the rods, grouped with heads of HatHor “terminals” (see below — i am also awaiting a reply from the ministry of tourism & antiquities regarding any information on them)
the undocumented, rarely-seen section:
equidistantly-spaced cylinders around the cables (in contrast to a series of circles) the “terminals” are styled as heads of HatHor as usual, but the cables seem to terminate differently this variation too, a “flower” appears on the left bottom piece:
Unlabeled, rarely-seen museum artefacts match the device
LOOK AT THIS AMAZING NECKLACE!!! <3 (the unlabeled cabinet i discovered in the Cairo museum — cannot find a photo of this anywhere else or any information on it)
iron rod, copper rod, equidistantly-spaced cylinders around the copper rod, and terminal-like parts styled as the heads of HatHor
the different variety of the cylinders and heads may indicate different usage and functions. some have square holes, some have round holes, some are different materials/colours, some have bulges, etc., and we see one type of cylinder used repeatedly along the copper rod. they also may have been experimenting to find optimal materials.
the copper and iron rods exhibit high levels of rust/oxidation — the iron rod in particular — possibly from immersion or exposure to fluids, for example using an iron rod surrounded by copper, in a jar filled with electrolytic fluid (grape juice, etc) similar to the “baghdad(/parthian) batteries”.
there most likely are many more related artefacts in their collection
below is the mural variation from the crypt, the only other place it is depicted in the entire dendera complex, note here we do not see the equidistantly-spaced cylinders, nor the “flower” at the base of the left piece … possibly simplified elements … (the zig zag inside the circle is missing from A.Mariette’s 1870s drawing):
South Crypt mural, the so-called “menat necklace” (A.Mariette: “Crypte 4”)
Cases of Compartmentalised technology, secret inventions in Ancient temples such as in Alexandria, kept secret from lay worshippers, engineering the presence of gods
Statues in temples that would “cry blood”, there were thunder machines in temple roofs that would emulate the sound of thunder as a sign from the gods, altars for fire sacrifice that would cause a door to open when the fire was made — statues that animate — and even lesser known would be ritual objects and electrified statues that would either shock the common worshipper or cause a tingling sensation — and ones possibly with electrically-illuminated elements.
it is known that in various ancient temples including in Alexandria the initiates/elite priests of those temples sometimes exploited secret inventions & “magical” technology to create impressions on the lay people who came to worship, effectively engineering a sense that “the gods” were present, or that a prayer or sacrifice was answered, etc.
Much of this “temple technology” was kept compartmentalised & secret, it was for the initiates (maybe prescribing punishment of death for revealing secrets), and the common people were not taught these early “magical” technologies. The secrecy of the early esoteric temple technology was absolutely essential for the desired effect.
Consequences of this is that the technology is easily lost to the sands of time, after wars. in cases where we do find references, key pieces may be in a symbolic form which was only easily-understood by the initiates (i.e: Agastya Samhita listing “the neck of a peacock” ingredient, which was a symbolic reference to copper sulfate to make electrochemical jars, copper sulfate being the same colour as the neck of a peacock)
We have a few documented examples of related technology such as from Hero of Alexandria though there must have been much more, not least the public inventions lost to the destruction of the library of Alexandria, but also the secret temple technology which required strict secrecy of the inventions for them to be effective in maintaining the “presence of the gods” effect. It simply would not have the desired effect if people could see “the wizard pulling levers behind the curtain”
the Encrypted Ritual Objects of the HatHor temple Dendera were “Given Life” on Holy Days and Brought Up
In the case of the temple of HatHor at dendera, we know the crypts were for the initiates of the secrets, and the special “ritual objects” were kept down there, together with symbolic esoteric murals for the initiates:
Wolfgang Waitkus: “Die Texte in den Unteren Krypten des Hathortempels von Dendera” (Crypt East 1 A East Wall)
(“[Come] in peace, In-Secret-Initiate of holy places, young man [……rest destroyed]”)
Those “ritual objects” were brought up from the crypts only on specific festivals and holy days, and on those days it says they were “given life” in the crypt and brought up — the Ba/Ka (energies of life) were manifested in the idols on those special days, and the people rejoiced in reverence
Wolfgang Waitkus: “Die Texte in den Unteren Krypten des Hathortempels von Dendera” (with a dodgy google translate)
Given that we know Alexandria and other locations had “temple technology” to amaze the oblivious lay-people, it would make sense that the “Ritual Objects” that are “Given Life” from the crypts of the temple of HatHor most likely exhibited “magical” properties to engineer the sensation in the lay people that the gods were truly present on those special holy days, when they took the ritual objects to the roof and other places for a spectacle, a microcosmic ceremony where the images of the gods were “given life”, made themselves apparent, much more than just simply bringing up lifeless statues.
Huge key sections of the crypts have been hacked off, but even with what they left us we can see what appear to be symbolic references to technological devices, and possible archaeological evidence of electrical components for some of those devices in an unlabeled cabinet in the cairo museum (iron rod, copper rod, cylinders, HatHor head terminals).
The Agastya Samhita told us to use “the neck of a peacock” to make electricity, we now know it meant copper sulfate.
So what of harsomtus the serpent coming alive and being contained in the hn-container, supported by the anthropomorphised djed pillar, the “ba” and “ka” energy manifesting, etc.
One must strive to see these crypts through the eyes of the initiates of the secrets, not as a lay-person.
more to come, and will be updated with more sources, references, and connections…
a small selection of many photos i took of mostly South Crypt (A.Mariette: “Crypte 4”), where the so-called “dendera light” mural is located, the same Crypt with the so-called “menat necklace” with cables coming out of the head terminals. All the main murals of West Crypt (“Crypte 7”) have been mostly hacked off …
As much as i highly appreciate this great work, it must be known that Auguste Mariette’s drawings exhibit inaccuracies, missing symbolism, and missing details, when we compare them to the real thing.
it is important to note that these 1870s publications are the go-to source for most egyptologists and scholars studying the temple of HatHor at Dendera, for example his drawings are used in the wikipedia page of the “debunking” of the so-called “dendera light”: https://en.wikipedia.org/wiki/Dendera_light (i believe it’s something electrical, but not a light in that mural – a new post with new revelations coming soon on that)
Below are some photos i took on my visits to the temple, with a comparison to Auguste Mariette’s drawings. These are just a select few key pieces to demonstrate the type of inaccuracies and missing symbolism. There is obviously a lot more to be compared. Some may view these inaccuracies as insignificant, but for example the difference between a straight “tail” or serpent, and a wavy one, and whether something is pinning it down, may be the difference between “on” and “off”, so-to-speak. Accuracy is important, so are details.
“Crypte 4”:
however, it does contain drawings of some bits and pieces that are now missing, which were intact in his time (for example in “Crypte 4”, a few small pieces). That said, unfortunately “Crypte 7” is still missing the main sections in his drawings, “Crypte 7” and other parts were subject blatant destruction of many of the main sections, so the fact those missing sections are not in his drawings are a clear indication that “Crypte 7” had been hacked off before the 1870s.
SEE MY NEW VIDEO OF UNLABELED ARTEFACTS I FOUND IN THE EGYPTIAN MUSEUM IN CAIRO:
THESE HAVE NO DESCRIPTION AND THEY WERE PLACED AROUND ARTEFACTS OF THE HEAD OF HATHOR, AT THE TOP OF THIS MAIN CABINET THEY HAVE PLACED 2 EYES AROUND WHAT LOOKS LIKE A BLUE SCARAB, VERY SYMBOLIC:
::: NOTE: SINCE POSTING THIS IN HASTE I LEARNT MORE KEY PARTS, OBTAINED TRANSLATIONS, ETC. THERE ARE SOME INACCURACIES BELOW, AND ALSO THINGS I CAN EXPLAIN IN BETTER DETAIL WHEN I COME BACK TO FIX THIS, BUT THINGS FIT AS THEY SHOULD! :::
Crypt East 1 A East Wall:
“[Komme] in Frieden, In-Geheimes-Eingeweihter der heiligen Stätten, Jüngling […… Rest zerstört]”
(“[Come] in peace, In-Secret-Initiate of holy places, young man [……rest destroyed]”)
this is a BIG UPDATE to my previous post concerning depictions of what i believe to be the “baghdad batteries” (electrolytic cells) symbolically depicted in the crypts of the temple of HatHor, dendera.
i will make a comprehensive video soon, in the meantime please explore this post.
i recently travelled to Egypt in March to April to see the temple of HatHor and the crypts there in-person. i also visited many other temples and the museums, of importance here is Cairo museum in El-tahrir square. i discovered much more than i expected.
to start, please check out my new 13 minute raw video below i filmed down “Crypte 4″ (A.Mariette) in the temple of HatHor, dandera. i have video of the other crypt “Crypte 7” (A.Mariette) which has all the main pieces destroyed/hacked off, i will upload that soon.
bear in mind THESE ARE CRYPTS, NOT TOMBS. these crypts hold ENCRYPTED INFORMATION reserved for the elite priests/priestesses of the time, INITIATES OF SECRETS, only they would be allowed down here, and they once held important “ritual” objects/devices/technology which have since been looted/destroyed/kept in private collections.
important note: SOME OTHER CRYPTS IN THIS TEMPLE WITH THE SAME NARROW LAYOUT HAS THE MAIN SECTIONS HACKED OFF AND REMOVED, SOMEONE DOES NOT WANT US TO SEE WHAT WAS THERE. IMAGES & VIDEO SOON.
What i observe here i believe to be the following (i may be going along the sections in reverse, or maybe not, but the information i can derive this way, starting from the “baghdad batteries”):
1. the so-called (HUGE) “Menat necklace” is depicting 4 “baghdad batteries” (more accurately electrolytic cells: a clay/other jar with an iron rod inside, the rod surrounded by copper, and filled with electrolyte fluid such as grape juice to create a small amount of electrochemical energy).
2. from these jars we see the “beads” which are small circles, representative of small amounts of energy moving to merge into the bigger piece on the left into the platform, to create a larger sum of energy.
3. between the 2 jars on the right, we see a large circle of power, on a boat, with the symbol for water (zig-zag) inside it. Hence, it is telling us the energy is like a water current flowing, moving, as if on a boat. We use the same terminology in modern times (electrical currents), and it can also relate to the use of electrolytic fluid (“water”) inside the jars (“baghdad batteries”)
4. on the section to the left of this we see a boat with a lotus flower opening, and a live serpent emerges from the lotus flower. the lotus flower opening represents the un-insulated naked cable/resulting electrical discharge and the live serpent is live electricity or live wire — the boat in this section differs also in that it has a lotus flower as one of its sides.
5. the section opposite (i interpret as the big picture “corresponding” section) the boat with a papyrus flower(?) has a similar set of symbolism, this time it has a person holding the “lotus vine” (i believe to be the sheatehed/insulated part of the cable — safe to hold), with the dangerous part of the wire/discharge coming out of the sheath which is symbolised as the LIVE serpent emerging from the lotus flower. they cannot touch the live serpent because they will get “bitten” (shocked).
6. THE NEXT SECTION IS THE END OF THE LEFT SIDE OF THE CRYPT. THIS SECTION IS COMMONLY REFERRED TO AS THE “DENDERA LIGHTBULB” but it may be representing electrical generation and power in general, maybe a generator or other device harnessing the live serpent at both polarities.
7. OPPOSITE THIS SECTION (what i interpret as the “correspondence”), WE SEE SOMEONE IN A PROTECTIVE SUIT BEING GROUNDED/EARTHED, BEHIND THEM IS A PERSON WITH A STRAIGHT SERPENT STAFF PINNING THEIR “TAIL” TO THE GROUND FIRMLY. STRAIGHT SERPENT SYMBOLIC OF THE POWER BEING CONTROLLED AND NO LONGER “LIVE” THE PERSON IN THE SUIT HOLDS TWO KNIVES WHICH IF FOLLOWED VIA THE ARMS MOVING DOWNWARDS WOULD MAKE CONTACT WITH THE TWO TERMINALS (“HANDS”), THE HIEROGLYPHS NEXT TO THE PERSON IN THE SUIT INDICATE THAT THE KNIVES HAVE THE POWER TO CREATE LIFE OR DEATH (they can start the system to generate the electricity, but it’s so dangerous it could kill someone if they use it wrong, hence he must be grounded, and protected)
will update this very soon, publishing now to get out there
